The Mercedes-Benz Citaro (or O530) is a low-floor, wheelchair-accessible, single-decker transit bus built by Mercedes-Benz and EvoBus GmbH. As the successor to the older O405/O405N series, the Citaro is highly popular around the world, with over 45,000 units built from 1997 to 2015. These buses are manufactured in Germany and shipped completely built-up (CBU) to Singapore.
First introduced locally in 2010 by SMRT Buses, the operator ordered a small batch of buses which were delivered in 2011. SBS Transit followed suit, and made one of the largest Citaro orders to date, ordering around 1000 buses with deliveries from 2011 – 2016, and later further increased by the Land Transport Authority (LTA).
In 2016, under the Bus Contracting Model (BCM), the LTA leased Mercedes-Benz Citaro buses (built to SBS Transit specifications) to Tower Transit, Go-Ahead Singapore as well as SMRT Buses.
With the exception of a handful of SMRT Citaros, most Citaro buses in Singapore are similar in technical specifications, with differences only in the interior specifications. In Europe, these would be referred to as 'face-lifted Citaros' (Year 2005) to differentiate them from the first generation of Citaros, which were produced since 1997.
The Mercedes-Benz Citaro is the flagship of the Daimler city bus fleet. First unveiled in 1997 at the UITP Congress in Stuttgart, over 45,000 units have been delivered to bus operators around the world from 1997 to 2015, making it one of the most successful models of bus ever produced.
The Citaro is available in Urban and Suburban/Interurban models, but the Urban model is the focus of this article. They are available as either a rigid bus or an articulated bus. Rigid buses are offered in lengths between 10.5-metre to 15-metre (with 2 or 3 doors), while articulated buses are offered between 18-metre to 21-metre lengths (with 3, 4 or 5 doors). With the exception of low-entry configuration models, all Citaro buses are fully-low-floor as standard, which allows for smoother passenger flow within the bus.
The rigid bus entered the market in 1997 and the articulated version was launched in 2002. In 2005, the low-entry specification was offered, along with the first external facelift. In May 2011, a second facelift was unveiled, and the Euro VI engine option became available in 2013. In addition to its standard lineup, variants of the Citaro buses have been adapted for use on guided busways and as trolleybuses.
While most Citaros are diesel-powered, CNG-powered variants have previously been offered. A diesel-hybrid variant (BlueTec Hybrid) and a fuel cell variant (FuelCELL-Hybrid) have also been produced in small numbers. A battery-powered Citaro G has also been on trial since 2015 in Aachen, Germany, and in July 2018, the production battery-electric Citaro was launched, named the eCitaro.
All Citaro buses in Singapore are of the 2nd-generation 12-metre urban model with two doors. They fulfill the requirements of the Euro 5 and EEV emissions standards using BlueTec 5, the selective catalytic reduction (SCR) technology developed by Mercedes-Benz, hence requiring the use of AdBlue as a diesel additive.
It is worth noting that all Citaros are of the 2005-facelifted version, although Mercedes-Benz had launched a newer 3rd-Generation facelift in 2011. The older design was acquired in bulk likely as a cost-saving measure and to promote fleet standardization. As a result, Mercedes-Benz continued to keep the production line open for these 2005-facelifted buses well past 2012, simply to fulfill orders for the Singapore market.
Mercedes-Benz Citaro buses are only available as an integral product, and all elements of the bus are fully assembled in Europe before shipment to Singapore. Citaro buses built for the Singapore market roll off the EvoBus production line in Mannheim, Germany.
SMRT Buses brought in the first Citaro into Singapore for demonstration purposes. A Year 2005 face-lifted Citaro, it was registered as SMB136C, and entered service in March 2010, prided as 'Southeast Asia's 1st 100% Low Floor Euro V Bus". The bus was a well-conceived continuation of SMRT's legacy with Mercedes-Benz buses, following its long history of operating O405s and O405Gs. Positive public feedback paved the way for more Citaros in Singapore.
By 2011, the exemption of Additional Registration Fee (ARF) for public buses made importing the foreign-built Citaros much more affordable. SMRT acquired 10 units in its first production batch in early 2011, followed by an additional 40 more units by late 2011, bringing a total of 51 units.
SBS Transit had put its confidence behind the Citaro with the first batch of 300 Citaros intended for fleet replacement and expansion, among the largest orders at the time. Technical specifications were highly similar to SMRT's Citaros, and buses were delivered between 2011 and 2012. A further order of 450 additional Citaros are currently under delivery, expected to be completed by 2015. In July 2014, SBS Transit placed an additional further order of 250 Citaros, bringing the total to 1000 units.
In December 2015, the LTA bought out SBS Transit's contract for any remaining Citaros yet to be delivered. Together with the BSEP fleet, these buses have been gradually reassigned to other bus operators as part of the Bus Contracting Model (GCM/BCM) under a lease agreement. A messy reassignment scheme is under way to transfer these buses from SBS Transit to their new operators. As a result, Tower Transit, Go-Ahead Singapore as well as SMRT Buses have Mercedes-Benz Citaros in their fleet, that were built to SBS Transit specifications.
SMRT brought in a single Demonstrator Unit and 50 Production Batch Mercedes-Benz Citaros (in two batches) between 2010 and 2011. These buses were built in Germany and shipped to Singapore as a whole. Formerly allocated to all bus depots, their limited numbers within the SMRT fleet led to these buses being eventually consolidated into Ang Mo Kio Bus Depot.
For more information, refer to the main article here.
After SMRT Buses brought in its first batch of wheelchair-accessible Mercedes-Benz OC500LEs in 2008-2009, there was a need to expand the bus fleet with more wheelchair-accessible buses to further cater to passenger demands. For Mercedes-Benz, the Citaro was the direct successor to the O405 series of buses, which SMRT operated in large numbers (along with the articulated O405G variant). The fully low-floor design, ride comfort and environmentally friendly technology was promising, and SMRT decided to bring in one unit for trial purposes.
Registered as SMB136C, the bus was unveiled on 9 March 2010 at a launch ceremony in SMRT's Ang Mo Kio Bus Depot, exactly one day after its date of registration. Along with a promotional livery, it was marketed as "Southeast Asia's 1st 100% low-floor Euro V bus".
SMB136C entered revenue service exactly a week later, appearing on SMRT Service 855 on 16 March 2010. It was placed under a one-year trial on various trunk and feeder routes that was ultimately successful, with much positive feedback from passengers.
SMB136C has a licensed carrying capacity of 88 passengers, comprising 37 seating passengers and 51 standing passengers. The wheelchair bay accommodates a single wheelchair, and is equipped with a rear-facing foldable seat for two people when not occupied by a wheelchair user. Its interior layout would be duplicated in all future SMRT Citaro orders.
By end 2015, SMRT finally removed the promotional advertisement off SMB136C, which had been in bad shape after being stuck on for over five years. The bus appeared on revenue service in full SMRT livery for the first time in December 2015. The SMRT logo was replaced with a full-red version shortly afterwards.
Following the successful trial of SMB136C, SMRT Buses purchased 10 Mercedes-Benz Citaros as part of it's fleet renewal programme. This was spurred by LTA granting public buses an exemption from the Additional Registration Fee (ARF), making importing the Citaros significantly more affordable. The buses were registered as SMB139U – SMB148T between 11 Mar 2011 and 6 May 2011.
This batch of buses retain the major technical specifications of SMB136C, with minor changes such as a newer-generation ZF Ecolife gearbox (SMB148T being the exception, being fitted with a Voith).
Production batch Citaros use LAWO BENEFIT electronic display signages, with an upgraded nearside display to show route details along with the service number. SMRT's Passenger Information System (PIS) is integrated into the interior, replacing the bus stopping indicator.
The original hopper windows (with little use in a tropical country) on SMB136C were changed for full-sized windows. The rear door has been changed to a out-swinging plug door, with an additional visual indicator that lights up when the doors are closing.
On the interior, the seat covers have also been changed to a blue and purple theme, with priority seats in red. similar to those used in the OC500LE, and priority seats with red seat covers. The PVC seat covers are easier to maintain compared to SMB136C's fabric seats. On 21 March 2011, these production batch buses began their debut on services 75, 531, 920 and RWS8 Staff.
SMRT Batch 1 Citaros have licensed carrying capacity of 88 passengers, comprising 37 seating passengers and 51 standing passengers. The wheelchair bay accommodates a single wheelchair, and is equipped with a rear-facing foldable seat for two people when not occupied by a wheelchair user.
As SMRT Buses' New Livery was rolled out, SMB140P received a new corporate livery.
SMB148T was part of the Batch 1 Citaros, but was only registered in May 2011 (while 139 – 147 were registered in March 2011). The bus was delivered with a four-speed Voith DIWA 854.5, different from its ZF EcoLife 6AP 1200B cousins in Batch 1. After delivery, it was retained by Mercedes-Benz's local dealer, Jardine Cycle & Carriage (C&C) for two months where it was fitted with a mock-up interior for SBS Transit for trial purposes. It was later re-assembled with SMRT interior configuration, registered and handed over to SMRT in May 2011, making its debut on Premium 531.
The interior fixtures are similar to its Batch 1 cousins, and its most distinguishing feature is the Mercedes-Benz badge at the front of the bus, which was not filled up in black.
SMRT's Batch 1 Citaro Interior. Click for larger image.
Following up on the first production batch of 10 buses, the second batch of 40 SMRT Mercedes-Benz Citaros were registered between 7 Oct 2011 and 30 Nov 2011, in numerical order (SMB149R – SMB188C).
The Production Batch 2 ccitaros would be fitted with a 4-speed Voith DIWA 854.5 gearbox (similarly installed on SMB148T and future SBS Transit orders), in place of the six-speed ZF Ecolife gearbox.
SMRT Batch 2 Citaros have licensed carrying capacity of 88 passengers, comprising 37 seating passengers and 51 standing passengers. The wheelchair bay accommodates a single wheelchair, and is equipped with a rear-facing foldable seat for two people when not occupied by a wheelchair user.
Additional grab poles were installed above the wheel arch and at the side of the wheel arch seats (granny seats) for additional safety. These buses are also fitted with a third brake light at the rear.
SMRT Batch 2 Citaros. Click for larger image.
As SMRT Buses' New Livery was rolled out, SMB179D received a new corporate livery.
While SMB136C was still under trial by SMRT Buses, SBS Transit announced its purchase of 300 face-lifted Citaros (similar in appearance to SMRT's Production Batch) to replace its retiring Volvo B10M Mk III buses. Back then, this was the largest order of Citaros for Asian. These initial 300 buses under Batch 1 were procured at a cost of $110 million and were registered between April 2011 and August 2012.
With the success of the first batch of Citaros, a follow-up order of 450 Mercedes-Benz Citaros was announced as part of its fleet renewal programme. Buses in Batch 2 were registered from January 2013 to April 2015. An additional 24 Citaros were registered as well (3 Production Buses, 21 BSEP Buses) under this batch.
In July 2014, a further order of 250 Citaro buses was placed, with deliveries starting from Apr 2015 to 2016, but midway through deliveries, the LTA bought out SBS Transit's contract for any remaining Citaros yet to be delivered. Together with the BSEP fleet, these buses have been gradually reassigned to other bus operators as part of the Bus Contracting Model (BCM) under a lease agreement.
An additional 80 more buses were ordered by LTA with specifications similar to SBS Transit's order for the Bus Contracting Model.
Whilst all deliveries were ongoing, the Bus Service Enhancement Programme (BSEP) was gaining traction, and to support the expansion of the BSEP, some Citaro buses would be transferred over to Government ownership. These BSEP-registered units are purchased by the Government, as funded by the BSEP budget. In 2015, to support the gradual implementation of the Bus Contracting Model (BCM), Citaro buses were procured by tapping into SBS Transit's existing orders, and will thereafter be leased out to successful tenders of the various route packages. Early batches of these buses were registered immediately with the SG-prefixed registration plates without having to be registered with a SBS-prefix registration plate.
It is worth noting that SBS Transit's Citaros are of the 2005-facelifted version, although Mercedes-Benz had launched a newer facelifted version in 2011. The older design was acquired in bulk likely as a cost-saving measure and to promote fleet standardization.
SBS Transit's first batch of Citaros were registered between April 2011 and August 2012, intended to replace their retiring Volvo B10M MkIIIs. 300 2005-facelifted Citaros were ordered a cost of $110 million, which was then the largest Asian order of Citaros to date. Technical specifications of the new batch are very similar to those in SMRT's production batch, with the only differences being interior configuration and the high density LAWO HIGHLED electronic display signage.
A total of 300 buses fall under the Batch 1. 258 units, namely SBS6000L – SBS6285G (with unused registration numbers in between), were registered to SBS Transit. Midway through deliveries and registration, 42 units of this batch were reallocated to the then-newly-launched Bus Service Enhancement Programme (BSEP), for deployment on new BSEP routes, as well as the service enhancement of existing routes. BSEP Buses were registered as SBS6300X – SBS6341C. All buses were registered between 26 April 2011 to 3 December 2012.
The large order of Citaros was made possible with LTA's exempting public transit buses from the Additional Registration Fee (ARF), enabling SBS Transit to acquire the Citaros at a much cheaper price and in bulk. A handover ceremony was organised on 16 May 2011 at SBS Transit's Ang Mo Kio Depot with the first two SBS-registered Citaros, SBS6000L and SBS6001J. SBS6000J entered revenue service on 1 June 2011 on Service 28 between Tampines and Toa Payoh.
On the outside, the most distinguishing feature is the LAWO Electronic Destination Signage (EDS) which appears more defined than SMRT's Citaro EDSes. The LAWO HIGHLED used in SBS Transit Citaros are a much denser array of LEDs to display clearer text, and they are able to form images such as those used in Express and Fast-Forward routes. The swinging-plug exit door is same as those on SMRT's production batch.
The seating configuration slightly differs from SMRT's Production Batch of Citaros, with the exclusion of two seats and the foldable seat at the wheelchair bay, allowing for a larger standee area. The foldable seat is replaced with a simple backrest. Seats use PVC covers in SBS Transit's colour scheme; yellow seats between the front and rear doors, and red seats for the rear half of the bus. A manual wheelchair ramp is fitted at the rear door as a standard specification.
The first few buses in this batch were equipped with a larger palm-type bus stopping bell pushes, but subsequent buses had reverted to the normal push-button-type bus stopping bell. The larger bus stopping bell could be easily triggered by leaning on it, causing frequent false indications to the driver, and these were eventually replaced with normal push-button-type bells.
From SBS6150L onwards, larger and more air-conditioning vents were installed to cope with the tropical climate.
Finally, the bus stopping sign has been integrated into the design, similar to SMB136C, but instead just shows the word "STOPPING".
SBS6000L's debut on Service 28. Click for larger image.
SBS6000L's interior. Notice the palm-type bell pushes which have since been replaced. Click for larger image.
SBS Transit Batch 1 Citaros have licensed carrying capacity of 90 passengers, comprising 35 seating passengers and 55 standing passengers. The wheelchair bay accommodates a single wheelchair.
SBS6103Z is fitted with a next stop reporting system (with audio) and electronic screens as part of an LTA-initiated trial. The bus is not on revenue service. More on this bus at this news article.
With the success of the first batch of Citaros, SBS Transit decided to follow-up with a second batch of Citaros as part of its fleet renewal programme. 450 Mercedes-Benz Citaros and another 550 Volvo B9TL Wrights were added at a cost of $433 million SGD. Of the 1,000 new buses, 260 were funded by the Government under the Bus Services Enhancement Programme (BSEP), while SBS Transit will fund the 740 buses under its growth and fleet replacement plans.
24 Additional Citaros were delivered as part of this batch on top of SBS Transit's initial announced order.
A total of 474 buses fall under the Batch 2. 266 units were registered to SBS Transit namely SBS6600E – SBS6865H. 208 units were allocated to the Bus Service Enhancement Programme (BSEP), registered as SBS6342A – SBS6549X, for deployment on new BSEP routes, as well as the service enhancement of existing routes. All buses were registered between 2013 and 2015.
Buses in this batch have minor additional features compared to the Batch 1, such as extra CCTVs and an extra grab pole at the front of the bus, beside the driver's cab. They were registered from SBS6600E to SBS6865H.
SBS Transit Batch 2 Citaros have licensed carrying capacity of 90 passengers, comprising 35 seating passengers and 55 standing passengers. The wheelchair bay accommodates a single wheelchair.
In July 2014, SBS Transit announced orders worth S$311 million for 250 Mercedes-Benz Citaro buses and 415 Volvo B9TL Wright buses, a total of which 296 will be funded by the Government under the Bus Service Enhancement Programme (BSEP). These 250 Mercedes-Benz Citaros fall under the Batch 3, with deliveries starting in April 2015.
However, in December 2015, the LTA bought out SBS Transit's contract for any remaining buses yet to be delivered, transferring these buses to the Bus Contracting Model (BCM).
The Batch 3 Mercedes-Benz Citaro were registered from 23 Apr 2015, using the registration numbers SBS6866E – SBS6893B for SBS Transit-owned buses, SBS6550R – SBS6599B, SBS2000M – SBS2004C for BSEP buses and SG1000G – SG1071B, SG1080A – SG1245S, SG1691L – SG1699R for BCM buses.
80 Additional buses were ordered by LTA on top of SBS Transit's order of 250 buses.
Same flooring design for raised parts of the bus and the floor of the bus.
Leg safety panel directly after exit door and standee area changed from frosted glass to black glass.
As announced in December 2015, the LTA will buy over 12 Citaros from SBS Transit to expand the BCM bus pool. These buses are SBS6882H to SBS6893B.
SBS Transit Batch 3 Citaros have licensed carrying capacity of 90 passengers, comprising 35 seating passengers and 55 standing passengers. The wheelchair bay accommodates a single wheelchair.
For background information on the BSEP, read the Bus Service Enhancement Programme article.
Before the Bus Contracting Model (BCM/GCM) was launched, the LTA had directly funded the purchase of buses under the Bus Service Enhancement Programme (BSEP) launched in 2012, where these resources were used to launch new bus routes and enhance existing ones. Whilst registrations for Batch 1, 2 and 3 Mercedes-Benz Citaro were ongoing, a portion of buses from each batch were diverted to the BSEP, where they were registered as SBS6300X – SBS6599B and SBS2000M – SBS2004C.
Technical specifications of the BSEP-registered Citaros are identical to the Production batches that they were taken out from.
Deliveries ended in early 2016 with the remainder of buses registered under the BCM instead. BSEP Mercedes-Benz Citaros were also the first buses to spearhead the transition to the BCM as these buses were owned by the Government.
As part of the BCM, LTA would purchase buses from both SBS Transit and SMRT Buses to lease them to the winning transport operators of the various route packages. The bus models for this scheme include SBS Transit's Mercedes-Benz Citaros, SBS Transit's Volvo B9TL Wrights, SMRT's MAN A22s, SMRT's Alexander Dennis Enviro500s as well as SMRT's MAN A95s.
LTA has initiated the BCM initially using buses destined for SBS Transit but registered under the Bus Service Enhancement Programme (BSEP). These buses, destined for service with SBS Transit fleet but owned by LTA, were rerouted to operators of the first few GCM packages such as Tower Transit, the initial operator of the Bulim Bus Package. As such, several new Citaro buses built to SBS Transit (Third Batch) specifications would be registered from SG1000G onwards.
To further expand the BCM bus pool, the LTA said on 29 December 2015 that it would take over SBS Transit's bus purchasing contracts worth S$164 million for 346 new bus purchases, scheduled for delivery in 2016 and 2017. It will also directly buy 50 buses, worth about S$23 million, which were delivered to SBST between June and December in 2015.
Among the 346 buses to be procured under the contracts, 100 are single-deck Citaro buses, and among the 50 buses to be bought from SBS Transit, 12 are single-deck Citaro buses. These 12 buses from SBS Transit were SBS6882H – SBS6893B.
On 11 Feb 2016, 9 Mercedes-Benz Citaro buses were registered as SG1691L – SG1699R for SMRT Buses. These buses were originally to be registered SG1011A – SG1019D for Tower Transit under the Bulim Bus Package. However, for various reasons, they were passed on to be operated by SMRT Buses for the short term, possibly to offset smaller quantities of MAN A22 buses ordered under the BSEP. With insufficient MAN A22 BSEP buses, new BSEP bus services such as Service 805 were introduced running on non-BSEP buses.
To celebrate the delivery of the 1000th Citaro, SG1000G had a large "1000th Citaro Celebrations" text pasted across the windows, on both sides of the bus. First spotted in early March 2016, the bus was also programmed with a custom "1000th Citaro Bus In Singapore" Electronic Display Signage message used for Daimer's opening of a regional center for Commercial Vehicles in South East Asia in Singapore.
When SG1001D was the first Citaro to be registered under the GCM, as compared to SG5000E being the first Volvo B9TL, we gather that SG1000G was likely reserved by the LTA for the 1000th Citaro delivered to Singapore.
The bus is currently operated by SBS Transit, sporting an early version of the Lush Green livery with a grey section at the front. The operator logo was added in early 2017.
Split into 31 Batch 3, 76 BSEP Batch 3 and 143 BCM Batch.
BSEP buses are funded by the BSEP scheme and may be used also under BCM.
BCM batch buses funded by the Government and leased to operators of BCM route packages.
80 more buses ordered by LTA for GCM Batch.
SBS6000L pre-debut. Click for larger image.
O530 Citaros are now outdated. Why not LTA purchase latest-gen citaro C2s?


Mobile, high performance model for use as a shared device in busy offices. Shreds store cards, credit cards and also CDs as well as floppy disks. Modern electronic controller. Photoelectric cell for automatic start/stop control. On/off switch with integrated reversing function. Safety element above paper intake, with infeed slot for CDs/floppy disks in security level 2. Stand-by mode with LED indicator. Stops automatically when the container is full and door is open. Waste container with reusable collecting bag.


COUGAR CREST ESTATE WINERY was established at the Walla Walla airport in 2001 by Deborah and David Hansen. Natives of the Northwest, Deborah from Spokane and David from Bremerton, they met in Pullman. After graduating from Washington State University in the 1970's, Deborah in Pharmacy and David in Veterinary Medicine, their careers led them to the San Francisco area for 18 years. It was there, among the California wineries, that the appreciation of the art of winemaking was born. While pursuing their careers and being wine tourists in California, the Hansens purchased land and developed 125 acres of apple orchards in the Walla Walla Valley. In 1995 the farms became self sufficient and they moved their family to the Valley in 1996.
The return to the Northwest was a pleasant surprise. There were seven wineries making amazingly good wine in Walla Walla. Upon visiting the Walla Walla vineyards, the decision was made to replace some aging apple orchards with wine grapes. Dave was born with a green thumb, and learned to propagate vines from cuttings. Fortunately self rooted vines are the norm in Washington State, and he was able to grow all our Cabernet Sauvignon vines from cuttings off the original Seven Hills Vineyard, and Syrah vines from cuttings off Cailloux Vineyard. The first vines were planted in 1997 and they were a huge success. The vines flourished and more were propagated and planted the following years. Today the vineyard acreage totals 110 acres, spread out over four different vineyards in the Walla Walla AVA.
The little building at the Walla Walla airport was home for seven years. Initial production was small, 900 cases, and consisted of Merlot, Cabernet Sauvignon, Cabernet Franc, and Syrah. When this wine was bottled in 2003 it was entered in several international contests. The Los Angeles Fair was the largest wine competition in the United States at that time. All of these wines scored well but two of our wines catapulted to the head of their class. Both the 2001 Merlot and the 2001 Cabernet Sauvignon won gold medals and Best of Class. The Cabernet went even further, winning the top award for Best Cabernet Sauvignon of the entire contest. We were thrilled to receive this recognition in our first year of winemaking.
Little did we know our second year of winemaking would bring even bigger surprises. In 2004, the 2002 Syrah was recognized by Wine Spectator as one of the Top 100 Wines of the World. In two short years, our very first vintages had won more recognition than we had dared to dream of. In the years since, we have received many Gold Medals and high ratings and recognition, but we still reminisce about the thrilling results during our first two years.
In 2008 we completed the move to our new facility on Frenchtown Road. It is a beautiful modern prairie design with soaring clerestory windows, chunky glue-lam beams, barrel-rolled ceilings, and a subterranean library wine cellar. Rastra block construction material, tankless hot water heaters, and recycled materials were used to create a truly environmentally friendly building.
Since moving back to the Northwest, the Hansen's children have passed through all the stages of becoming adults and we now look at them eye to eye. The apple orchards have seen good times and bad, and the love of fine wine has grown into a passion for growing grapes and turning them into wine that everyone in the Valley can be proud of.


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text:
Q: PHP index.php File get other pages content from subdirectory location How to get only an index.php in the server root directory and have all linked pages like /about.php /contact.php and so on located in a subdirectory like /pages/dist in the server? If someone visits example.com/about.php it get's the content from /pages/dist/[filename.php] ?

A: There are two ways that I have found to do it.

*

*Using htaccess with regex:
Using rewrite engine, you link the base url to a folder like this:
RewriteEngine On
RewriteRule ^(?!index\.php)([\w-_]+)$ pages/dist/$1.php [QSA,L]
RewriteRule ^(?!index\.php)([\w-_]+\.php)$ pages/dist/$1 [QSA,L]

The second line is for files that end without the .php tag, and the third with.
What this does is if the user inputs in the url www.example.com/test.php it will show what is on the www.example.com/page/dist/test.php, even if the user strips the php tag, but if he inputs the index.php it will stay the same.

*Using htaccess without regex:
This one is just for the simplicity, but if we where not to use regex it could look like this:
RewriteEngine ON
RewriteRule "test.php" "page/dist/test.php"
RewriteRule "test2.php" "page/dist/test2.php"
RewriteRule "test3.php" "page/dist/test3.php"
...

Please correct me if I'm wrong.

redpajama_set_name: RedPajamaStackExchange


text:
Rediff.com » Business » HC relief to Rahejas in land dispute with Wadia
HC relief to Rahejas in land dispute with Wadia
By BS Reporter
July 20, 2012 13:54 IST
In a breather to the Mumbai-based realty developer G L Raheja group in its long-drawn legal battle with Wadia Group Chairman Nusli Wadia over a 478-acre prime plot in Malad, Mumbai, the Bombay High Court on Thursday allowed an appeal filed by a Raheja unit against an earlier order, which was in favour of Wadia.
In a July 2010 order, the court had restrained Ferrani Hotels of Rahejas from handing over possession of constructed premises on the disputed plot to third parties without Wadia's consent. The order was set aside by a division bench on Thursday.
Rahejas were allowed to construct and sell properties on the land owned by EF Dinshaw Estate in which Nusli Wadia is the administrator. Both Wadia and GL Raheja Group were in long-drawn legal battle which started in 2008. In 1995, both entered into an agreement to develop the plot.
However, Wadia cancelled the power of attorney between Rahejas and him and moved the high court in May 2008, alleging that Ferrani Hotels and the Raheja group had violated the agreement.
According to him, though the agreement required Rahejas to sell and lease properties built by them to genuine third parties, the Raheja group has sold or leased properties to sister concerns and shell companies created for the purpose of purchase of these properties at a price lower than market price. Of this, 44 were commercial properties.
Under the agreement, Wadia was entitled to 12 per cent of all sale proceeds as administrator of the Estate. Wadia sought orders restraining Ferrani from proceeding with the project, and demanded Rahejas to demolish certain buildings in Malad and sought Rs 1,370 crore (Rs 13.7 billion) towards damages.
In 2010, Ferrani filed a plea, asking the court to remove Wadia as the administrator of the estate. Among others, it argued that out of 44 properties, 34 were transacted before 2005 and cannot be taken into consideration as per law of limitations. Though its plea was quashed in 2010, the Bombay High Court admitted it last year.
Both parties also differed on the amount the plot had fetched so far. While Rahejas claimed that Ferrani paid Rs 230 crore (Rs 2.3 billion) to Wadia towards his 12 per cent share and the company sold properties worth Rs 1,600-1,700 crore (Rs 16-17 billion), Wadia's counsel had argued Ferrani had received Rs 10,264 crore (Rs102.64 billion) from sale of residential and commercial properties so far.
On Thursday, the two-judge bench said it was appointing judge S K Shah as commissioner for looking into evidences.
"The division bench has has categorically upheld the interpretation of third party under the development agreement to mean genuine/arms-length parties. This expressly does not accept the Raheja's contention that it can sell under the agreement to their own sister companies/related companies," said a spokesperson of the Wadia group.
"The Court has directed Raheja to deposit in the designated account of the administrator, 12 per cent as provided under the agreement, and keep accounts of all the transaction entered into by it in respect of units/buildings constructed" the spokesperson added.
BS Reporter in Mumbai
Related News: Nusli Wadia, Rahejas, GL Raheja Group, Ferrani, Bombay High Court
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text:
Q: Is 'home' a special hostname on Windows 7? My local network is managed by a router running DD-WRT which assigns a DNS hostname to each machine on the network that I've selected. For example, "laser" maps to a 192.168.1.7 (a laser printer) and "beagle" maps to a desktop server at 192.168.1.3.
I have a small Raspberry Pi hosting a web server connected to this network at 192.168.1.11. The router assigns the DNS hostname "home" to this device. From Linux and Mac machines connected to this network, "home" resolves to 192.168.1.11 and http:// home/ brings up the web server. From a Windows 7 machine, I can access "laser", "beagle", etc. the same way, but not "home".
If I run:
> nslookup home

I get:
Server: DD-WRT
Address: 192.168.1.1

Name: home
Address: 192.168.1.11

This is correct and expected.
If I run:
> ping home

I get:
Ping request could not find host home. Please check the name and try again.

Requesting http:// home/ in a browser also fails.
Pinging other local hostnames work, requesting other local hostnames in a browser works.
This is a rather new install of Windows 7 as arrives on a Dell with very few changes made. C:\WINDOWS\system32\drivers\etc\hosts has not been modified, has no uncommented lines in it, and doesn't mention "home" anywhere, even in the comments.
The only explanation I can come up with is that "home" is some sort of special hostname in Windows 7. I couldn't find any reference to this online. Is this the case?

A: It may not be a windows-specific question but it is definitively a networking one :)
I did have this problem myself last year. I couldn't ping our demo-pc with ping demo. I also didn't have a DNS Suffix. But after adding it, the ping demo.suffix and the ping demo both started working.
There are 3 different things you could try (#1 being the preferred one):

1)
You can add a correct DNS Suffix to your network. I think this is the preferred method because it will correct this behavior on all machines without configuring them. You could use my.lan or something similar.
To set this up in a DD-WRT router you can follow this guide:
How To Access Your Machines Using DNS Names with DD-WRT

2)
Under the DNS tab of the advanced properties of the TCP/IPv4 of your network adapter you can under the "Append primary and connection specific DNS suffixes" UNchecked the box for "Append parent suffixes of the primary DNS suffix".

3)
If #2 does not work you can do the following:
Under the DNS tab of the advanced properties of the TCP/IPv4 of your network adapter you can change the radio button to "Append these DNS Suffixes (in order)" AND THEN click Add and for the suffix just enter a period ..


Thanks for stopping by and I hope that you can take a minute to learn about these incredible organizations. I have worked for Zabsplace for over 3 years and I continue to LOVE going to work everyday...and not many people can say that! I'd really appreciate your help so that we can continue to help many more young adults.
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There's no need to rustle up a hard copy of this year's Prep School Family Handbook. This link to it is available to parents logged into the private section of Bluenet. You'll find descriptions of co-curricular programs, school routines, codes of conduct, academic policies and more.


text:
Is Facebook making you depressed?
"Facebook depression" is becoming a growing concern among users of the social network.
By Flannery Dean Updated March 29, 2011
Does Facebook make you feel more or less popular? It's not as silly a question as it sounds (OK, maybe it's just a little silly.)
If some social media researchers are to be believed, the site and others like it provide a whole new way to make a person feel sad, lonely and unpopular. This is especially true for teenagers, who are susceptible to what pediatricians are calling "Facebook depression." For these kids, Facebook is akin to a popularity contest in which they come last. To better equip parents to combat the negative effects of social media, the American Academy of Pediatrics (AAP) posted their research and new social media guidelines on Monday.
But that's just half the story. The AAP also acknowledges social media's positive effects, noting that where some kids feel social isolation even more acutely online, others thrive. In these cases, social networking enhances a sense of belonging, facilitates social interaction and helps shape a sense of self.
I have a Facebook profile and have had one for something like three years. I have 194 friends. Don't scoff. It's taken me upwards of three years to convince 194 people to accept my friend invitation. During that time, I've been rejected, ignored and even de-friended (I know what you did, Jon!)
I'm not a teenager (thank you, aging!), but I'll admit to a little Facebook-related depression every once in a while. When I see someone with an active wall, complete with postings, great pictures, and plenty of jokey, friendly banter, I'll admit to an occasional twinge of envy. What a great Facebook life they appear to have, I've thought to myself. All those friends and all that travel! I wonder how many Air Miles they've wracked up this year?
That's on my most self-indulgent 'nobody likes me, and why isn't Matthew Fox replying to my friend request?' day. Most of the time, however, I see the glass half full. I congratulate myself for having 189 more friends on Facebook than I actually have in my real life. (Who could juggle 194 friends in real life? I can barely keep up with the five or six people I see semi-regularly.)
Clearly, you don't have to be a teenager to indulge in Facebook-related depression or elation. But as a former teenage girl (threat level: code red), I can't imagine that I needed yet one more opportunity for feeling either extreme.
What about you? Does Facebook affect you one way or the other?
FILED UNDER: chatelaine-daily depression Facebook Flannery Dean teenagers


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Damascus submits nominees to rewrite constitution: U.N.
May. 29, 2018 | 12:23 AM
The Syrian government has submitted a list of names to the United Nations as candidates for inclusion in a constitutional committee, U.N. envoy Staffan de...
Damascus gives UN list of nominees for constitutional committee
May. 28, 2018 | 05:47 PM
Pollsters predict Parliament shake-up
Sabine Darrous May. 04, 2018 | 12:28 PM
With only two days to go before the long-awaited parliamentary elections, the focus is shifting from the race to who will be the winners and losers and what...
Fourteen Saddam-era officials still jailed in Iraq
Fourteen officials from Saddam Hussein's regime are still in Iraq's prisons, 15 years after the late dictator was deposed by a U.S.-led invasion in 2003,...
The commune system: PYD governance in northeastern Syria
Dan Wilkofsky Mar. 20, 2018 | 12:13 AM
The Democratic Union Party's (PYD) position is precarious.
Sadr, communist sickle join forces in Iraq vote
Sammy Ketz Mar. 12, 2018 | 12:21 AM
Supporters of a black-turbaned Shiite religious scholar are seeing red in the runup to Iraq's May elections thanks to an unprecedented alliance with the...
Iraq orders seizure of assets of Saddam-era: officials
Mar. 05, 2018 | 01:41 PM
Iraq has ordered the seizure of assets that belonged to executed dictator Saddam Hussein and more than 4,200 officials from his former regime, an official...
Iraq orders seizure of assets of Saddam-era officials
Mar. 06, 2018 | 12:11 AM
Iraq's parliamentary elections likely to return status quo
Kirk H. Sowell Feb. 14, 2018 | 12:05 AM
Iraq's parliamentary elections are set for May 12 following a heated debate over efforts to delay them. Despite some hope that war and widespread...
Syrian gov't rejects UN-led committee to alter constitution
Feb. 13, 2018 | 03:51 PM
Syria's government Tuesday rejected efforts led by the United Nations to form a committee to rewrite Syria's constitution, the main result of a peace congress...
Iraq publishes most-wanted list headed by Daesh leader
Iraqi authorities published a list of most wanted fugitives Tuesday headed by elusive Daesh (ISIS) group leader Abu Bakr al-Baghdadi and his No. 2.
Iraq publishes most wanted list headed by Daesh leader
Iraqi authorities published a list of most wanted fugitives Tuesday headed by elusive Daesh (ISIS) leader Abu Bakr al-Baghdadi and his number two.
Iraq lists 60 most-wanted militants and Baathists
Iraqi security services Sunday published the names of 60 people wanted on suspicion of belonging to Daesh (ISIS), al-Qaeda or the Baath Party of late dictator...
Iraq lists 60 most-wanted militants, Baathists
Russia to set up committee to reform Syrian constitution
Gemma Fox Jan. 31, 2018 | 07:12 PM
The Russia-led Sochi congress concluded Tuesday with the announcement that it would set up a committee to reform the Syrian constitution, but was marred by...
Sochi talks to start despite opposition boycott
Delegates Monday arrived in Russia for peace talks aimed at ending the Syrian conflict, but hopes of progress were dimmed after the main opposition group and...
The uncertain fate of Syria's opposition media activists
Luna Safwan Dec. 13, 2017 | 12:09 AM
Media activists opposed to the Syrian government have documented much of the worst of the war in Syria.
After vote, Kurdish leaders feel under siege
Philip Issa Oct. 26, 2017 | 12:13 AM
Just a month ago, Iraq's Kurds were celebrating their symbolic vote for independence as a historic step toward their decades-old dream of statehood, with...
Daesh came to Syria town with hit list, left in trail of blood
Daesh (ISIS) militants came into the Syrian town with a hit list.
Little-known Syrian politician elected parliament speaker
Sep. 28, 2017 | 02:41 PM
Syria's state news agency says Hamoudeh Sabbagh, a little-known legislator, has been elected speaker of parliament.


Keith Lance just got back from the LSTA thing and was much taken with your wit and intelligence. He felt you would be interested in my documentary about librarians, currently in production. ALA is hosting a red carpet event in New Orleans 06 with a Sneak Preview of the film. When you have a moment, please check out the web site and let me know what you think. (KL is even pushing me to interview you for the film, and I trust his judgment.) I look forward to talking with you.


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text:
Q: Include external javascript file in a nuxt.js page I have a relatively simple question.
I am trying to implement the widget from this codepen in Nuxt.js.
Here's my code, which works fine if I use RAW HTML:
<!DOCTYPE html>

  <dev-widget data-username="saurabhdaware"></dev-widget>

But when I try to include this dev widget in my nuxt.js project, in one of my pages, it does not work.
Here is my code:
<template>

        <dev-widget data-username="saurabhdaware"></dev-widget>

</template>

I keep getting an error:
Unknown custom element: < dev-widget >

Any idea what I am doing wrong here?

A: You need to add your script in nuxt.config.js. Here is how it should look like

export default {
    mode: 'universal',
    /*
     ** Headers of the page
     */
    head: {
        title: 'Your title',
        meta: [{
                charset: 'utf-8'
            },
            {
                name: 'viewport',
                content: 'width=device-width, initial-scale=1'
            }
        ],

        link: [
            {
                rel: 'stylesheet',
                href: 'css/mystyles.css'
            }
        ],

        script: [
            {
                type: 'module',
                src: 'https://unpkg.com/dev-widget@1.0.3/dist/card.component.js'
            }
        ]
    },
    /*
     ** Customize the progress-bar color
     */
    loading: {
        color: '#fff'
    },
    /*
     ** Global CSS
     */
    css: [],
    /*
     ** Plugins to load before mounting the App
     */
    plugins: [],
    /*
     ** Nuxt.js dev-modules
     */
    buildModules: [],
    /*
     ** Nuxt.js modules
     */
    modules: [],
    /*
     ** Build configuration
     */
    build: {}
}

A: Adding as globally
Navigate to the nuxt.config.js file.
It adds the script tag to all pages in your Nuxt app.
export default {
  head: {
    script: [
      {
        src: "https://code.jquery.com/jquery-3.5.1.min.js",
      },
    ],
  }
  // other config goes here
}

If you want to add a script tag before closing the  instead of  tag, you can do it by adding a body: true.
script: [
  {
    src: "https://code.jquery.com/jquery-3.5.1.min.js",
    body: true,
  },

You can also add async, cross-origin attributes to a script tag like this.
script: [
  {
    src: "https://code.jquery.com/jquery-3.5.1.min.js",
    async: true,
    crossorigin: "anonymous"
  },
],

OUTPUT

Adding to particular page

Note:
If you want to add a local js file, place it in a root static folder and add it as follows.
  export default {
    head() {
      return {
        script: [
          {
             src: '/js/jquery.min.js'
          }
        ],
      }
    }
  }

A: @kiyuku1 's answer would work, but here's the complete solution that would work if we want to include a js (or mjs) file in ONE nuxt.js page only, instead of globally:
<template>

        <dev-widget data-username="saurabhdaware"></dev-widget>

</template>

A: Here is the clue in your answer: "Unknown custom element: < dev-widget >".
Register dev-widget component.
For more details:
https://github.com/nuxt/nuxt.js/issues/2877

A: With nuxt 3.0.0-rc.6 it is:
meta: {
  script: [
    { src: "https://path.to/your.js" }
  ]
},


"My Grandmother Tells Me This Story"
I've been religiously reading the O. Henry Prize anthologies every year since college, when I first began trying to write stories. Many of the authors whose work I cherish the most were people I first learned about through The O. Henry Prize Stories—and then I'd go search for their books. To have my own story here has been a dream for many, many years, and I'm tremendously honored to be included.
One thing that's always helped quell my writerly anxieties is seeking out interviews with writers I admire. Many years ago I read one with Paula Fox, whose novel Desperate Characters has meant a great deal to me over the years. She said that in writing fiction, truth is just as necessary to her as story. And she talked about the importance of genuinely meaning—and believing in—every word she wrote. Reading that interview was the first time I really understood that rather than trying to impress the reader with my cleverness, I should just write clearly and honestly about the things that are most important to me.
Molly Antopol's debut story collection, The UnAmericans, was longlisted for the National Book Award and received a 5 Under 35 Award from the National Book Foundation. She teaches creative writing at Stanford University, where she was a Wallace Stegner Fellow, and is at work on a novel. She lives in San Francisco.
I'm working on a novel set in Israel, but I'm too superstitious to say anything else!


text:
Lets mellow out this morning and try a little tenderness by Otis Redding. I first heard this song by Three Dog Night who I like a lot but I have to go with Otis.
This song is a standard recorded by many artists, including crooners Frank Sinatra, Mel Torme and Bing Crosby. It was written by Jimmy Campbell, Reg Connelly and Harry Woods, and first published in 1933.
Otis recorded this song for Stax Records in Memphis. The house band was Booker T. & the M.G.'s and they backed him up on this recording…
Redding did not want to record this song, but Stax Records executives and his friends wore him down with a constant barrage of requests.
When he finally recorded it, he did it with a pleading vocal that he was sure would not be released. The ploy didn't work. Redding's version of "Try a Little Tenderness" became his biggest selling record released before his death.
The song peaked at #25 in the Billboard 100 and #46 in the UK in 1966.
Campbell and Connelly were a British songwriting team who often collaborated with a third composer, which in this case was the American Harry Woods.
In 1962, Aretha Franklin recorded the song, charting at #100 in the US at a time when most of her singles failed to get much higher. Her arrangement was similar to that of the previous crooner versions and her vocal relatively restrained; it was Otis Redding who did the definitive soulful version of the song, complete with horns, organ, and an uninhibited vocal that builds in intensity as the song progresses.
Sam Cooke's version of this was a big influence on Redding. It was never released as a single but was one of high points of his live "Sam Cooke at the Copa" LP (1964) as part of a medley that started with "Tenderness" (followed by "Sentimental Reasons" and "You Send Me"). Redding idolized the man, particularly after Cooke's death, but he did not want to record "Tenderness." He caved in after tremendous pressure from his friends and (according to one source) a family member – but he didn't want to record it like Cooke (in fact, he considered his version a "joke" to quiet the people who wanted him to record it). The rest is history.
Three Dog Night recorded this as a tribute to the late Otis Redding. Their version became their first Top 40 hit in 1968. Their first Top 10 hit, "One," written and originally recorded by Harry Nilsson, soon followed.
For Three Dog Night, it was a staple of their live shows throughout the 1980s. They would often stretch the song to the 15-20 minute mark.
In the movie Bull Durham, erratic young pitcher Nuke LaLoosh, played by Tim Robbins, sings this on the team bus but butchers the lyrics, much to the dismay of Crash Davis, the veteran catcher played by Kevin Costner. Instead of "Young girls they do get wearied" he sang "Young girls they do get wooly."
This was one of two songs Aretha Franklin performed when she made her TV debut on American Bandstand August 2, 1962. A cover by her peaked at #100 on the Hot 100 the same year.
Jon Cryer's character Duckie lip-synchs this to Molly Ringwald's character Andie in the 1986 movie Pretty In Pink. The film's director Howard Deutch chose the song because he wanted something that would express the heartbreak Duckie feels as he tries to make inroads with Andie.
In 2015, Cryer re-created the scene on The Late Late Show with James Corden.
This was covered by Florence and the Machine for their 2012, MTV Unplugged – A Live Album. Speaking with Nicole Alvarez of LA radio station 106.7 KROQ, Florence Welch said it was hard choosing an acoustic cover for the show. "I almost didn't do 'Try A Little Tenderness' because it's my favorite song and I thought, 'I can't do this,'" she admitted. "I didn't know how to do it the same, but I just thought, 'I've got to slow it down.'"
The Otis Redding version was used in 2015 commercials for McDonald's Chicken Select Tenders. Because, you know, "tender" is in the song title.
Ooh, she may be weary
And young girls, they do get wearied
Wearing that same old shaggy dress, yeah
But when she gets weary
Try a little tenderness, yeah, yeah
You know she's waiting
Just anticipating
The thing that she'll never, never, never, never possess, yeah, yeah
But while she's there waiting, and without them
That's all you gotta do
It's not just sentimental, no, no, no
She has her grief and care, yeah yeah yeah
But the soft words, they are spoke so gentle, yeah
It makes it easier
Easier to bear, yeah
You won't regret it, no no
Young girls, they don't forget it
Love is their whole happiness, yeah
But it's all so easy
All you got to do is try, try a little, tenderness yeah
All you've gotta do is, man
Hold her where you want her
Squeeze her, don't tease her
Never leave her, get to her
Just try, try a little tenderness, y-y-yeah
You got to love and kiss her, man
Got to, got to, got to, don't lose her, no, no
You got to love her, tease her, don't you leave her
Got to try, now, now, now
Try, tru a little tenderness
Yeah, watch the groove now, you gotta know what to do, man…
Author badfinger20 (Max)Posted on September 27, 2020 September 26, 2020 Categories 1960s, Music, SinglesTags Otis Redding, Try A Little Tenderness
12 thoughts on "Otis Redding – Try A Little Tenderness"
I really like the live video watching everyone smiling.
badfinger20 (Max) says:
Yea… they were not contaminated by talcum powder!
really good song, but shows you how much I know about mid-'60s music outside of maybe the Beatles… I thought it was an Otis original!
Don't feel alone…I did also.
christiansmusicmusings says:
Great song. When it comes to soul, for the longest time Motown was my first choice. While I still enjoy the Motown sound, even though it is repetitive, once I discovered Stax, I was hooked. So much great music came out of that label!
Oh yea…Stax has more soul to me.
I don't remember Tim Robbins singing this in Bull Durham but, I sure as hell remember Duckie's song & dance scene. That is one of the best scenes in 80s teen angst films.
It's been a long long time. I need to get it.
They kinda drop the "mellow" feel at the end when Otis starts to feel it. One of my top singers. Love the guy and the MG's
CB what a pairing that was between those two factions. They had soul to spare.
Fantastic music from that group of people.
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The goal of the Public Relations Committee (PR) is to increase public awareness and interest in the AWIS San Diego Chapter as a STEM organization dedicated to advancing equity by providing our members with career advancement opportunities for each career stage through networking, leadership, and professional development program offerings.
Help us to build awareness of AWIS-SD events and news on a flexible schedule—we have short and long term projects that fit a busy life, and we thrive on new ideas! Join Us!
Responsibilities: Public Relations promotes AWIS SD resources for career development and acts as a voice for women in STEM to the wider community.
Communication, Marketing, and Management: Develop key skills in communication, marketing, and management with application to any career fields and levels.
Creative Design: Develop your creative talents through design of social media campaigns, promotional materials, and or showcase your photography skills for our events.
Networking: Develop relevant relationships with other AWIS SD committees, media contacts, sponsors, and partners. Represent AWIS SD at local conferences and STEM events.
Recognition of Contributions: We provide visibility through the nomination of AWIS San Diego Awards, name recognition in email signature lines, our website, member spotlights, and through LinkedIn recommendations.
Yashi (PR member) and Vicki (Outreach member) at the AWIS-SD booth at the STE[+a]m ASCEND Conference.
AWIS-SD volunteers celebrating International Women's Day with QWISE at Qualcomm.
If you are interested in becoming involved in increasing awareness of our chapter, while improving your communication skills and learning to interact with the media, please contact the PR Chair.


text:
I. The Victorian Era 1832–1901
II. Elizabeth Barrett Browning (1806–1861)
2. Biography
3. Sonnets from the Portuguese
4. The Cry of the Children
5. Study Questions, Activities, and Resources
III. Robert Browning (1812–1889)
7. Porphyria's Lover
8. My Last Duchess
9. The Bishop Orders His Tomb at Saint Praxed's Church
10. Soliloquy of the Spanish Cloister
11. Study Questions, Activities, and Resources
IV. Alfred, Lord Tennyson (1809–1892)
12. Biography
13. The Lady of Shalott
14. From the Princess
15. The Lotos-Eaters
16. Ulysses
17. Break, Break, Break
18. from In Memoriam A. H. H.
19. The Charge of the Light Brigade
20. Crossing the Bar
V. Charles Dickens (1812–1870)
23. A Christmas Carol: Stave 1
VI. Christina Rossetti (1830–1894)
30. Goblin Market
VII. Henry James (1843–1916)
33. Turn of the Screw: Introduction
34. Turn of the Screw: Chapter 1
43. Turn of the Screw: Chapter 10
VIII. Oscar Wilde (1854–1900)
60. The Importance of Being Earnest: Act I
61. The Importance of Being Earnest: Act II
62. The Importance of Being Earnest: Act III
IX. Rudyard Kipling (1865–1936)
65. Fuzzy-Wuzzy
66. Recessional
67. The White Man's Burden
X. Thomas Hardy (1840–1928)
70. Hap
71. Drummer Hodge
72. The Subalterns
73. The Ruined Maid
74. The Impercipient
75. Mad Judy
76. The Going
77. The Haunter
78. The Convergence of the Twain
79. Ah, Are You Digging on My Grave?
80. Let Me Enjoy
81. Channel Firing
82. The Man He Killed
XI. George Bernard Shaw (1856–1950)
85. Major Barbara: Act I
86. Major Barbara: Act II
87. Major Barbara: Act III
XII. Joseph Conrad (1857–1924)
90. Heart of Darkness: Chapter 1
XIII. William Butler Yeats (1865–1939)
95. The Lake Isle of Innisfree
96. No Second Troy
97. Easter, 1916
98. The Wild Swans at Coole
99. The Second Coming
100. A Prayer for My Daughter
101. Leda and the Swan
102. Sailing to Byzantium
103. Among School Children
104. Byzantium
105. Crazy Jane Talks with the Bishop
106. The Circus Animals' Desertion
107. Study Questions and Activities
XIV. A.E. Housman (1859–1936)
108. Biography
109. Loveliest of Trees
A.E. Housman
110. Farewell to Barn and Stack and Tree
111. To an Athlete Dying Young
112. Is My Team Ploughing?
113. [Additional Poems]
114. [More Poems]
115. Study Questions, Activities, and Resources
XV. Hector Hugh Munro (Saki) (1870–1916)
117. The Open Window
Hector Hugh Munro (Saki)
118. The Schartz-Metterklume Method
XVI. World War I Poetry
XVII. Wilfred Owen (1893–1918)
122. Disabled
Wilfred Owen
123. Dulce et Decorum Est
124. Futility
125. S.I.W.
126. Mental Cases
127. Smile, Smile, Smile
128. Anthem for Doomed Youth
129. The Sentry
XVIII. Siegfried Sassoon (1886–1967)
132. Counter-Attack
133. Does it Matter?
134. The Death Bed
135. Base Details and Glory of Women
XIX. Isaac Rosenberg (1890–1918)
138. Returning, We Hear the Larks
Isaac Rosenberg
139. Break of Day in the Trenches
140. Dead Man's Dump
XX. Rupert Brooke (1887–1915)
143. Oxford JISC Tutorial: Rupert Brooke
XXI. Sean O'Casey (1880–1964)
146. Explanatory Notes to Juno and the Paycock
147. Juno and the Paycock
Sean O'Casey
148. Juno and the Paycock: ACT I
149. Juno and the Paycock: ACT II
150. Juno and the Paycock: ACT III
XXII. Virginia Woolf (1882–1941)
153. To the Lighthouse: Introduction
154. To the Lighthouse
155. Professions for Women
XXIII. James Joyce (1882-1941)
158. Dubliners: Araby
159. Dubliners: Eveline
160. Dubliners: After the Race
161. Dubliners: Counterparts
XXIV. D.H. Lawrence (1885-1930)
164. The Horse Dealer's Daughter
165. The Rocking Horse Winner
XXV. T.S. Eliot (1888–1965)
168. The Hollow Men
169. The Journey of the Magi
170. Love Song of J. Alfred Prufrock
171. The Waste Land
XXVI. Katherine Mansfield (1888–1923)
174. Miss Brill
175. The Daughters of the Late Colonel: I
176. The Daughters of the Late Colonel: II
177. The Daughters of the Late Colonel: III
178. The Daughters of the Late Colonel: IV
179. The Daughters of the Late Colonel: V
180. The Daughters of the Late Colonel: VI
181. The Daughters of the Late Colonel: VII
182. The Daughters of the Late Colonel: VIII
183. The Daughters of the Late Colonel: IX
184. The Daughters of the Late Colonel: X
185. The Daughters of the Late Colonel: XI
186. The Daughters of the Late Colonel: XII
187. The Fly
188. A Cup of Tea
XXVII. Aldous Huxley (1894–1963)
191. Brave New World: Chapter 1
200. Brave New World: Chapter 10
XXVIII. George Orwell (1903-1950)
211. Pleasure Spots
212. Can Socialists be Happy?
Appendix 1: A Mini-Casebook on The Turn of the Screw
Appendix 2: A Mini-Casebook on Brave New World
Appendix 3: A Mini-Casebook on Heart of Darkness
Appendix 4: Glossary of Literary Terms
Appendix 5: Writing an Analysis of a Poem, Story, or Play
Appendix 6: Documenting Essays in MLA Style
List of Links for Print Users by Part
English Literature: Victorians and Moderns
Virginia Woolf (1882–1941)
153 To the Lighthouse: Introduction
by Alix Hawley
Why read To the Lighthouse? What is it? A novel? A painting with words? A fairy tale? A feminist manifesto? An autobiography? A declaration of war? An "elegy," as Virginia Woolf put it?[1] If so, for what?
In a way, this book is without a plot. What story there is can be summarized quickly: Mr. Ramsay, a philosopher, and his wife, a famous beauty, both in middle age, are staying with their eight children and various guests at their summer holiday home in the Hebrides, islands off Scotland. Conflicts arise and fall in Part One, especially between Mr. and Mrs. Ramsay, but also within individual characters' minds. We see the shifting flow of thought and relationships from various points of view. The day culminates in a dinner in which union is triumphantly achieved, at least for a moment. In Part Two, things fall apart; time ravages the house, and we learn in passing that Mrs. Ramsay has shockingly died. Moreover, a daughter, Prue, has died in childbirth, and a son, Andrew, has been killed in First World War. Blackness and chaos lift at last as the housekeepers get to work on the dilapidated house and discuss the family's coming return. Part Three is a revisiting of Part One; now Mr. Ramsay is back at the holiday house with some of the remaining children and original guests, including the artist Lily Briscoe. Mrs. Ramsay's absence is enormous, as is the question of how to find union again, and the living characters struggle with both. In the end, a tenuous connection is made once more between the characters, and between past and present.
To the Lighthouse, then, is no racing page-turner. The important events tend to happen in the background: Mrs. Ramsay's death is the most obvious case. But the book carries readers onward with its rhythm and patterns. Of Woolf's books, it is probably the most accessible, and at the same time, the most innovative. It looks back, but is unlike anything before it. It is all of the genres listed above. Like a painting, it asks us to look closely at the author's technique to see how it has been made. Like a fairy tale, it manages to transform the everyday into something magical and extraordinary. Like a feminist manifesto, it exposes and challenges traditional gender roles. Like an autobiography, it recalls the intensity of childhood feelings. Like a declaration of war, it promises to fight the wrongs of the past. Like an elegy, it mourns the dead and lays them to rest so life can move on. The book's major achievement is the way it manages to make something new and permanent out of passing moments and feelings. As Woolf's artist character Lily Briscoe thinks of her painting, it must be like "a butterfly's wing," but "clamped together with bolts of iron."[2] To the Lighthouse does this in two ways: through its structure and its conflicts.
The story's structure is a reaction to Woolf's Victorian past. By the time she published To the Lighthouse in 1927, she had famously said, "On or about December 1910, human character changed."[3] This change, she said, was a response to the exhibition of Post-Impressionist painters like Cezanne and Gauguin, whose deliberate abandonment of realistic representation caused outrage. Lily Briscoe in the book causes similar consternation in struggling to create her own vision, painting Mrs. Ramsay and her son as a purple shadow. Woolf too wanted to show that ways of seeing had changed as the Victorian and Edwardian eras came to an end, and her book's fresh shape reflects this. Many Victorian novels came in three parts, as does To the Lighthouse. But Woolf argued that many writers of the previous era could create a house, but not the people who lived here.[4] As a rebuttal, her construction is concerned with a house, and it itself built in the shape of a house—"two blocks joined by a corridor,"[5] as she planned Parts One and Three to connect via the brief Part Two—but it is a modernist house, where the corridor is only briefly lit, and where we cannot see exactly what is happening, only feel the impressions light sweeping past in the dark, like the lighthouse beam. When we reach Part Three, we cannot turn back. Though it is a block parallel to Part One, the changes here are obvious, the break is great. The book tells us that though we may recall the past, "[l]ife has changed completely."[6]
Life does not conform to literary conventions, Woolf seems to say, so how can a writer portray it in a novel? Her answer is to do away with convention altogether, or to turn it to new ends. In the book, Woolf similarly bends the events of her own life. She was born Adeline Virginia Stephen in 1882, a Victorian girl in a fairly conventional upper-middle class Victorian home. Like many modernist writers, she frequently argued with her past, using it as material while trying to shape something new of it, as does Lily Briscoe, trying to paint the dead Mrs. Ramsay in Part Three. The Ramsays were modelled on Woolf's family: her father, Sir Leslie Stephen, was a literary critic and editor of the Dictionary of National Biography; her mother, Julia Jackson Duckworth Stephen, was a famous beauty with artistic and literary family connections. Between them, they had eight children, with whom they spent happy summers at St. Ives in Cornwall, the model for the Ramsays' holiday house. However, Julia died suddenly when Woolf was 13—"the greatest disaster that could happen"[7]— followed by Woolf's half-sister Stella, shortly after marriage, in 1897. Her father died in 1904 of cancer, and her brother Thoby was struck down by typhoid fever in 1906. Death had an enormous impact on Woolf's mental health and her writing. The First World War only exacerbated its power, and made her seek new forms more urgently, as neat plots seemed of no use after such destruction. At the same time, she wrote the book to lay the ghosts of her parents to rest,[8] and with them, the Victorian past. Attempts to find order in the face of shocking chaos come into her work frequently, as we see with the characters seeking connection and memorable moments throughout To the Lighthouse. Like her Bloomsbury Group friends, a loose gathering of artists and writers in London, she saw the purpose of art as a search for true, even wordless, communication, which could produce a permanence lacking in life. Trying "to make of the moment something permanent," as Lily and Mrs. Ramsay do,[9] is all one can do.
Woolf's style is part of her structural innovation. Her sentences are poetic and fluid, and the text is full of juxtapositions and sudden shifts; for instance, Mrs. Ramsay loves her husband one minute, is filled with irritation for him the next, and then admires him again. Like other modernists, Woolf is concerned with representing the way the mind works, in all its changing impressions and rhythms. In her 1919 essay "Modern Fiction," she writes:
Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad of impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old, the moment of importance came not here but there. . . . Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display . . ..[10]
If we recognize that Woolf is interested in inner states rather than external events, the simplicity of the plot ceases to matter, and the book takes on new depth. Moreover, if we recognize the quick shifts in points of view—in the first two pages, we move between the minds of Mrs. Ramsay, James, and Mr. Ramsay—we see that Woolf is trying to link multiple perspectives. Many of the characters are lonely or isolated in some way; Lily Briscoe and Charles Tansley are the clearest examples among the guests, but Mr. Ramsay is also alone and fighting to be understood. Woolf's movements in point of view blend these individual characters' minds into a kind of community, creating the moments of connection they are all seeking in their attempts to fight chaos.
The fight against disunity is just one of the book's conflicts. The past versus the present, older versus younger generations, the married versus the single, art versus science—all are "opposite forces" that must find "that razor edge of balance," as Lily thinks of it.[11] Perhaps the major opposition is between male and female. Woolf is well known as an early feminist who felt that because of her sex, she had been unfairly denied a formal education, though she read widely on her own.[12] As she planned the book, she imagined her father at the centre of it, hoping to come to terms with his effect on her. Leslie Stephen fell into despair after Julia's death, demanding care and attention from his daughters and stepdaughter. Woolf later wrote that if he had lived longer, "His life would have entirely ended mine. What would have happened? No writing, no books—inconceivable."[13] The character of Mr. Ramsay is fatally "sterile,"[14] always claiming sympathy from the women and girls. His answer to the book's major question, "What is the meaning of life?,"[15] is an uncompromising search for the truth, even to the point of hurting his children.[16] Woolf also wanted to represent her mother; the book was published on the thirty-second anniversary of her death, and Woolf had been looking at Victorian photographs of her before she began to write. Like Julia Stephen, Mrs. Ramsay's female answer to life, in contrast to her husband's, is to unite everyone, especially in marriage. The book's male characters make various disparaging remarks about women; Charles Tansley, for instance, appears in Lily's mind saying, "Women can't paint, women can't write."[17] Though Woolf implicates men as oppressive figures, she also represents the benefits and failings of all traditionally gendered approaches to life. Mr. Ramsay is stark, but brave in his pursuit of understanding, and Mrs. Ramsay is loving, but short-sighted and controlling. Lily Briscoe's solution to life's question, in an apparent echo of Woolf's own view, is a combination of both male and female ideas, or an androgynous one. She learns not to shut herself and her ideas away, in spite of male criticism, and shares her painting, her personal "vision" of truth, with others, including Mr. Ramsay. Her art, like the book, is a unifying force, a source of order and permanence. When Lily lays down her brush and says, in the end, "I have had my vision,"[18] we notice the verb tense. The vision is already finished. But it has existed, and that is enough.
The Diary of Virginia Woolf, Vol. 3 (27 June 1925). Ed. Anne Olivier Bell. San Diego: Harcourt Brace Jovanovich, 1980. 34. ↵
Woolf, To the Lighthouse. Project Gutenburg E-text 119. ↵
Woolf, "Mr. Bennett and Mrs. Brown." 1923. The Collected Essays of Virginia Woolf. Vol. 1. New York: Harcourt, Brace, and World, 1967. 320. ↵
Ibid. ↵
To the Lighthouse: The Original Holograph Draft. Transcribed and edited by Susan Dick. Toronto: U of Toronto P, 1982. 48. ↵
Woolf, To the Lighthouse. Project Gutenberg e-text 121. ↵
Woolf, "A Sketch of the Past." Moments of Being. Ed. Joanne Schulkind. 2nd ed. San Diego: Harcourt Brace Jovanovich, 1985. 40. ↵
Woolf, "A Sketch of the Past." Moments of Being. Ed. Joanne Schulkind. 2nd ed. San Diego: Harcourt Brace Jovanovich,1985. 81. See also The Diary of Virginia Woolf, Vol. 3. Ed. Anne Olivier Bell. San Diego: Harcourt Brace Jovanovich, 1980. 208. ↵
Woolf, "Modern Fiction." The Common Reader: First Series. 1925. London: Hogarth, 1975. 154. ↵
See her essays "A Room of One's Own" and "Professions for Women," for example. ↵
Woolf, The Diary of Virginia Woolf, Vol. 3. Ed. Anne Olivier Bell. San Diego: Harcourt Brace Jovanovich, 1980. 208. ↵
Woolf, To the Lighthouse. Project Gutenberg e-text 26. ↵
Ibid. 112. ↵
Ibid. 2. ↵
Ibid. 34 and 137. ↵
Previous: Biography
Next: To the Lighthouse
English Literature: Victorians and Moderns by James Sexton is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.


White Woman is a contemporary dance work exploring the broadly held dichotomy of women as inferior and white as superior.
Shapeshifting has been happening since the beginning of time. Since the dreamtime. Is it just stories from the past that have no place today? If you are shapeshifting, how do know what your "real" identity is and where would you go?
Come. Take night-time hours as your own. Uncover stories about women and the spaces we inhabit. Explore the projections, imaginings and fantasies by which we are limited and defined.
Inspired by a sequence of murders committed in Sydney between the 70's and 90's THE UNTOUCHED REMAINS investigates Australia's hidden history of gay hate crimes.
We are living in the end times. Catastrophic capitalism and climate change collide. The ground will shake.


Semi-precious earrings featuring natural seraphinite and marble in beautiful shades of dark green and copper. Finished with 14kt gold filled ear wires. Each marble stone is unique. Only one pair available.
Total drop length measures 40 mm.


text:
Healthiest Fast-Food Double Cheeseburger
Written by Sara Ipatenco; Updated November 21, 2018
1 World Nutrition Facts
2 10 Worst Fast Foods
3 Is Salami Healthy?
4 Healthiest Desserts at Applebee's
A juicy double cheeseburger is a much-loved fast-food item, but you'd be hard-pressed to find one that could be considered nutritious. Fast-food double cheeseburgers contain a large amount of ground beef, which means they're also high in saturated fat. The cheese and other ingredients can add even more fat, as well as a huge amount of sodium. Too much saturated fat and sodium increases your risk of heart disease. If you still want the double cheeseburger, at least opt for the best of the worst.
Burger King Wins
A Burger King double cheeseburger is better than other fast food leaders in terms of calories and fat, with 370 calories and 18 grams of fat, of which 9 grams are saturated. With 720 milligrams of sodium, it's also a better choice when it comes to sodium content. The Burger King cheeseburger contains more protein than McDonald's, as well, with 22 grams, which is almost half of the 46 grams of protein women need each day and 40 percent of the 56 grams men require every day.
A double cheeseburger from McDonald's contains 440 calories and 23 grams of fat, of which 11 are saturated. If you follow a 2,000-calorie diet and limit your saturated fat intake to the recommended 7 percent or less of your caloric intake, that's more than half of the saturated fat you should have for the entire day. The burger also contains 1,050 milligrams of sodium, which is 70 percent of the 1,500 milligrams of sodium you should limit yourself to each day, according to the American Heart Association. A McDonald's double cheeseburger also supplies 20 grams of protein and a good dose of calcium and iron.
The double cheeseburger at Wendy's, called the Double Stack, contains 420 calories and 21 grams of fat, of which 10 grams are saturated. In terms of fat, this version is better than the McDonald's version, but isn't as good as the double cheeseburger from Burger King. The Double Stack beats out both McDonald's and Burger King with its 27 grams of protein, but ties with McDonald's with its 1,050 milligrams of sodium.
Less Popular Double Cheeseburgers
Smashburger offers a "Big Smash," which contains about as much meat as a double cheeseburger and contains 768 calories and 50 grams of fat, of which 23 are saturated. This makes it one of the worst fast-food double cheeseburgers. At Carl's Jr., the double cheeseburger is called the "Super Star" with cheese, and it contains 940 calories and 59 grams of fat, 24 grams of which are saturated. With 1,560 milligrams of sodium, it's also one of the worst fast-food double cheeseburgers. A "Double Steakburger" at Steak and Shake is one of your better options with 590 milligrams of sodium. This one also contains 440 calories and 25 grams of fat, of which 11 grams are saturated.
Harvard School of Public Health: Fats and Cholesterol: Out With the Bad, In With the Good
American Heart Association: Sodium (Salt or Sodium Chloride)
Burger King: Burger King USA Nutritionals
Carl's Jr.: Nutrition Information
Centers for Disease Control and Prevention: Protein
Sara Ipatenco has taught writing, health and nutrition. She started writing in 2007 and has been published in Teaching Tolerance magazine. Ipatenco holds a bachelor's degree and a master's degree in education, both from the University of Denver.
Ipatenco, Sara. "Healthiest Fast-Food Double Cheeseburger." Healthy Eating | SF Gate, http://healthyeating.sfgate.com/healthiest-fastfood-double-cheeseburger-11026.html. 21 November 2018.
Ipatenco, Sara. (2018, November 21). Healthiest Fast-Food Double Cheeseburger. Healthy Eating | SF Gate. Retrieved from http://healthyeating.sfgate.com/healthiest-fastfood-double-cheeseburger-11026.html
Ipatenco, Sara. "Healthiest Fast-Food Double Cheeseburger" last modified November 21, 2018. http://healthyeating.sfgate.com/healthiest-fastfood-double-cheeseburger-11026.html
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How Much Protein Is in a Subway Roast Beef Sandwich?
The Bad Effects of Burgers
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How Much Sodium Is in an Average Hamburger?
The Healthy Choices at Steak 'n Shake
Top 10 Healthiest Fast Food Choices


text:
En innovationshubb på Malmö universitet där vi får idéer att lyfta
Vad är Storm?
Övriga innovationsmiljöer
Lånelista
Metodstöd
Mötesstruktur
Idégenerering
Pauser
Hoffice
Publicerat 12 april, 2019 av Jenny Levhag
STORMATHON 2019.04.02
There is a lot of knowledge created within the walls of Malmö University. But how do we make sure that it leaves a lasting impact, and contributes to a better world?
Last week, Stormathon was arranged for the first time here at Storm. During 12 intense hours, 38 students from 27 different programs and courses, divided into 9 groups, worked together to solve a case from the City of Malmö. With the help from innovation coaches and facilitators, the students got a chance to practice their innovation and problem-solving abilities, as well as collaborating with people outside of their field. At the end of the day, they pitched their results in front of a jury and three of the teams were awarded a special prize.
"Based on a real challenge, the students can understand and learn from each other's different perspectives, competencies, and experiences, which strengthens them for future situations in the working life", says Karolina Rosenqvist, one of the coordinators and part of the Storm team.
For the first Stormathon, Storm teamed up with the City of Malmö who provided the students with a challenge of how to improve the maintenance of the outdoor environment in Malmö.
"This was an exciting collaboration for us. It was a way for us to get valuable input from young adults about how we can limit damage and sabotage and make the city more sustainable", says Jenny Aurell, change leader of the project Digital Malmö.
"Through Stormathon and similar events, we can encourage new ways of working that inspire more people within the institution to collaborate internally and externally", says Anna Bogeskär Brandt, project coordinator at the University Executive Office.
The Stormathon innovation day was a great success thanks to a great commitment from the students, the City of Malmö and specially invited guest lecturers. The winning team will now get the chance to continue developing their idea – with the help from the City of Malmö and MINC. while the second runners-up will be able to dig deeper into the innovation-practice by attending Skåne Innovation Day and Urban Innovation day.
Why do we do this?
Storm is here for you who work or study at Malmö University. Our goal is to challenge and guide employees and students towards innovative thinking, make people meet and highlight research and innovation to build upon. By arranging this kind of events where collaboration is in focus we aim to stimulate networking and knowledge transfer as well as pave the way for transboundary meetings.
Our hope is to be able to arrange more events like this, where students, teachers, researchers, and other employees can collaborate multidisciplinary and with external actors. At Storm, we see great potential in the concept and think that a next step could be to collaborate across faculty and departmental boundaries where students in specially selected programs with contact points in professional life could be targeted.
"One of Storm's strengths is that we have a broad network within the university, both on the education side and the research side. It is not certain that a research group that works with a particular issue knows what other research groups do in closely related areas. Storm could help with identifying collaborative opportunities and we can be used as a resource to establish collaboration between research groups and educational programs", says Karolina Rosenqvist.
But it's not just about networking and collaboration. It's also about exploring new methods and tools for innovation and problem-solving.
At Storm, we believe in learning by doing. Compressing the innovation process to 12 hours is a challenge, but it also allows the students to get a taste of the different steps and try out several tools for ideation and presentation. We wanted to spark curiosity and give the participants confidence in their own creativity", says Julia Micanovic, one of the Stormathon coaches and part of the Storm team.
Stormathon was held on April 2nd and was a collaboration between Storm Innovation Hub at Malmö University and the City of Malmö.
KategorierEvent Taggarcreativespace, creativethinking, ideageneration, innovation, innovationhub, storminnovationhub
Föregående inläggFöregående Happy International Women's Day!
Nästa inläggNästa Movie for Change: Cowspiracy
Gäddan, Citadellsvägen 7, 211 18 Malmö
@storm_mau
/storm.mau/


text:
Read Next:	Huayi Lands 'Moonfall' Roland Emmerich Space Adventure for China
September 8, 2016 8:09PM PT
Film Review: 'Ithaca'
Meg Ryan's directorial debut is an uneven adaptation of William Saroyan's "The Human Comedy."
By Joe Leydon
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Sam Shepard, Hamish Linklater, Meg Ryan, Alex Neustaedter, Spencer Howell, Jack Quaid, Christine Nelson, Gabriel Basso, Tom Hanks.
Official Site: http://www.imdb.com/title/tt3501590/
By turns poignant and plodding, affecting and affected, "Ithaca" is the sort of frustrating movie that's just good enough to make you wish it were a lot better. First-time feature director Meg Ryan — yes, that Meg Ryan — and screenwriter Eric Jendresen have reconstituted William Saroyan's 1943 novel "The Human Comedy" as a wildly uneven period piece that, despite several dramatically potent episodes, never really develops a sense of narrative momentum.
Indeed, there is a point scarcely 20 minutes into the film where it easily could have ended, and come off as a reasonably satisfying short. Equally problematic: Actors are burdened with too many lines that sound more like declarations than dialogue — and not just during the intrusive stretches of voiceover narration — while tragedies are foreshadowed so heavy-handedly that two obviously doomed characters might as well have vultures perched on their shoulders right from the get-go.
And yet, despite its predictability and other conspicuous flaws, "Ithaca" is surprisingly successful in fits and starts when it comes to sustaining interest and empathy, thanks partly to Ryan's ability to subtly yet vividly evoke particulars of time and place on an indie-movie budget, and largely because of some compelling performances in lead and secondary roles.
The setting is Ithaca — Saroyan's fictional version of his real-life home town of Fresno, Calif. — during the early days of U.S. involvement in World War II. (The movie was shot on various Virginia locations.) When his older brother (Jack Quaid, son of Ryan and ex-husband Dennis Quaid) joins the military, 14-year-old Homer Macauley (newcomer Alex Neustaedter) assumes his sibling's role as man of the house for a family that includes his widowed mother (Ryan), his sister Bess (Christian Nelson), and his younger brother Ulysses (Spencer Howell).
As "Ithaca" begins, Homer lands a job delivering telegrams for the local branch of Postal Telegraph, where he quickly impresses easygoing manager Tom Spangler (Hamish Linklater) and amiably boozy telegrapher Willie Grogan (Sam Shepard). Unfortunately, the job requires Homer to occasionally deliver messages announcing the deaths of soldiers to their next of kin. When he tells his mom about this grim task, she responds with a loving warning: "You're becoming aware of a world in which you've been a child."
In the margins of the coming-of-age storyline, there are other reminders and reflections of the far-off war: A bartender bitterly complains that "the war to end all wars" — his war, World War I — didn't live up to its billing. Three soldiers shyly invite two local girls (one of them Homer's sister) to join them for a night at the movies — the night before they ship out. Meanwhile, Marcus, Homer's older brother, bonds with a fellow soldier, an orphan named Tobey (Gabriel Basso), by regaling him with affectionate tales of his family back home.
"Ithaca" unfolds at a steady pace that, truth to tell, makes the movie seem longer than it is. Worse, screen time is not fairly apportioned — some interesting characters aren't around nearly often enough, while others either overstay their welcome, or aren't welcome at all. Chief among the latter: Homer's dead father, who periodically appears as a fond memory, or maybe a ghost, to Homer's mom. It doesn't help at all that this apparition is played, almost entirely without dialogue, by Tom Hanks, whose stunt casting distractingly recalls his more entertaining screen pairings with Ryan in "You've Got Mail" and "Sleepless in Seattle."
On the other hand, Sam Shepard is so wonderfully engaging as the crusty Willie Grogan, an avuncular alcoholic who spouts wisdom while sporting Harold Lloyd-type glasses, you can't help thinking that, in almost any other context, his performance might generate award-season consideration. Ryan doesn't give herself much to do as Homer's mother, but she does encourage a credible and creditable performance from Neustaedter, who brings depth of feeling and welcome touches of humor to his portrayal of a character who might have come off as just your standard-issue sensitive adolescent. Linklater slyly suggests the effortless charm of a young James Stewart — think George Bailey during the happier scenes in "It's a Wonderful Life" — while young Howell is a charming scene stealer even W.C. Fields might have loved.
John Mellencamp's folky, period-appropriate musical score is effective and evocative throughout "Ithaca," but especially during the final scene, a dead-solid perfect coda that, not unlike the quietly powerful ending of Peter Fonda's "The Hired Hand," suggests an outsider can find redemption by filling the void left by a fallen friend. It's a profoundly mixed blessing, but a blessing nonetheless.
Film Review: 'Ithaca'
Reviewed online, Houston, Sept. 8, 2016. MPAA Rating: PG. Running time: 89 MIN.
Production: A Momentum Pictures release and presentation, in association with Creative Media Finance Corp. and Bron Studios of a Co-Op Entertainment production, in association with Apple Lane Prods., Pilothouse Pictures, Shy Moon Prods. Producers: Janet Brenner, Laura Ivey, Eric Jendresen. Executive producers: Robert Immerman, Steven R. Palmisano, Scott Setrakian, Tom Hanks, Gary Goetzman, Jason Cloth, Alan Simpson, Aaron L. Gilbert.
Crew: Director: Meg Ryan. Screenplay: Eric Jendresen, based on the novel "The Human Comedy" by William Saroyan. Camera (color): Andrew Dunn. Editor: John F. Lyons.
With: Sam Shepard, Hamish Linklater, Meg Ryan, Alex Neustaedter, Spencer Howell, Jack Quaid, Christine Nelson, Gabriel Basso, Tom Hanks.
Film News Roundup: Jon Bernthal Joins Williams Sisters' Tennis Drama 'King Richard'
In today's film news roundup, Jon Bernthal is cast in "King Richard," FilmFreeway sets a Toronto Film Festival deal and "Phoenix, Oregon" gets distribution. CASTING Jon Bernthal is in talks to star as tennis coach Rick Macci in Warner Bros.' "King Richard" opposite Will Smith. Reinaldo Marcus Green is directing the drama, written by Zach [...]


MatureManyula from the USA joined our Pokemon Generation III Tribute Project in 2018 and the submissions of Aron and Beldum as one of the new artists on board. These two illustrations are till today (April 2019) the last deviations there.
Have a look at the gallery here.