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Analysis of Reefer Madness
by Anthony Gramuglia 3 years ago in history / vintage / product review
Setting the stage for anti-drug propaganda in the 30s, an analysis of 'Reefer Madness' explores the ridiculousness of the doc.
Few movies are as ridiculous as Reefer Madness, a 1936 "documentary" featuring fictionalized characters who, after smoking marijuana once or twice, behave in a manner that would only appear realistic if you've never seen a person get high in your life before. Which, of course, is probably what happened.
While the film failed upon release, it has since developed a cult following that has ensured it a long life even in our enlightened times where only a few (high-ranking) politicians claim that marijuana is just as bad as opium. So, in the name of fear-mongering and ridiculous paranoia, it's important to take a step back and analyze Reefer Madness.
The "Truth" Behind Fiction
Long before this film was produced, marijuana had suffering a downswing in popularity. In part due to racism in that time, marijuana was associated with both illegal immigrants and the African-American community. Now, in these simple (read: racist) times, no one really knew what marijuana really was. People used hemp as fabric for years. Abraham Lincoln, Victor Hugo, and other noteworthy intellectuals and leaders smoked hash in pipes all the time.
But when the immigrants used it? The non-white folk who people stereotyped as violent and thuggish? Well, marijuana became an instrument of violence, enough to compel people to violent ends. And thus writers, smoking pipes filled with hash, wrote that marijuana made you evil.
This was escalated even further in 1933, when, in a highly publicized murder case, a teenage boy named Victor Licata chopped up his parents, two brothers, and sister up with an ax.
Like many unexplainable tragedies, the media had to find some external source as to why this boy would suddenly go crazy. But, as video games, heavy metal, and Dungeons and Dragons were a few decades away from inception, they fell onto his marijuana smoking.
Of course, the fact that Victor Licata had undiagnosed schizophrenia with homicidal tendencies put a damper on the whole marijuana case. Until some expert claimed "Hey, did he have schizophrenia before smoking? Maybe the marijuana GAVE him schizophrenia!"
Of course, anyone with half a brain would think that sounded ridiculous. Unfortunately, angry mobs of concerned parents lack even that among them. They raged and raged until, in 1937, Congress passed the Marijuana Act of 1937, outlawing marijuana and marijuana products nationwide.
It was by that point that the hash-smoking reporters realized they done fucked up.
Reefer Madness, released in 1936 (though some sources place it anywhere between 1933 and 1938), was made by concerned (read: uninformed) adults who wanted to protect their children from, as they saw it, a drug produced by illegals and "colored" folks that made you act thuggish, go schizophrenic, and murder your entire families.
Yes. We're dealing with that much stupidity people. Strap yourselves in.
The Making
Originally titled Tell Your Children, Reefer Madness was produced by George A Hirliman. He and his religious group filmed the whole thing in about three weeks. All of the teens, as one can probably imagine, were all adults who had never smoked marijuana.
According to Thelma White, one of the actresses in the film, RKO, a major film studio at the time famous for films like King Kong, gave them several thousand dollars to produce the film. The biggest name in the film was an actor playing the judge in the film, who, prior, had played a judge in the Three Stooges movie, Disorder in the Court. Even Ed Wood could get Bela Lugosi in his awful films, even after Lugosi died.
Midway through production, however, exploitation director Dwain Esper purchased the rights to the film, and added in extra exploitation material to bring seats into the theater. Many of these shots upped the violence and sensationalism in the film (even if, by today's standards, these shots were incredibly mild, and, by any standard, makes little sense in the logic of the film).
Everyone involved with the film was white. This was not surprising, given that it was made in the 30s, but, to a modern perspective, it can be very disconcerting.
The film, though completed and even filmed before, was announced in Variety Magazine in 1938. It was sold to many distributors, who released the film on a state-by-state level, under various names. The original name, Tell Your Children, was deemed not sensational enough. The Burning Question became the name in some regions, but, ultimately, Reefer Madness is the name that stuck.
The film was largely forgotten a few years after release, until the 60s, when film producer Robert Shaye bought the film rights to the film, and started distributing it through theaters and college campuses, where Reefer Madness found a new audience among stoners and film aficionados due to its so-bad-it's-good qualities. With the rise of the Midnight Movie, thanks to films like El Topo, Rocky Horror Picture Show, and Eraserhead, Reefer Madness found a new audience among cult film fans.
The film funded Shaye's film studio, New Line Cinemas. The studio would later use almost everything they earned redistributing Reefer Madness to produce a small horror film that no one thought would ever work: A Nightmare on Elm Street. The success of this film led New Line Cinema to become a mainstream institution of the film industry, allowing Robert Shaye to produce the film saga that no one else wanted to touch, The Lord of the Rings.
So yes. Freddy Krueger and Peter Jackson's magnum opus would not exist if not for Reefer Madness.
Why the Film is Awful
Even at the time, critics realized that Reefer Madness was ridiculous. But let's understand why it's a work of madness.
The film starts (following a boring credits crawl) with a concerned professor-type high school principal talking to an audience about the dangers of marijuana (spelled in the film as marihuana). The principal makes the brave declaration that marijuana is the worst drug corrupting the youth of America at that moment. Not alcoholism. Not opium. Not cocaine. Marijuana.
So, in order to combat the infestation of the devil's lettuce, he goes on to outline how to properly hide marijuana in normal, mundane objects. Fake heels in shoes. Inside books. Really, for five minutes, the movie turns into a guide as to how to properly smuggle weed. The intent is to educate people on how to spot people smuggling weed, but I fail to see how any of this would help everyone unless your intent is for people to kick the heels out of ladies' shoes or snatch books from people's hands to check for secret marijuana.
For a film so concerned with eradicating the spread of marijuana, they sure seemed eager to teach you how to spread it.
The principal then tells the audience a case inspired by the Licata murders. An unmarried couple living together ("living in sin") smoke and deal marijuana. The man in the relationship sells to teenagers, none of whom look younger than 35.
The teenagers, beforehand, are so uncomfortably wholesome that maybe marijuana would do some good for them. Characters from Leave it to Beaver and The Brady Bunch are more realistic than these bizarre people. They're all "Gee willickers!" and "Gosh darn it," and "This is really swell, pop!" It's kinda creepy.
So they go to parties and what have you with the pot dealers, often in the company of a creepy piano player who is often veiled in clouds of smoke while grinning like a demon. One of the teens, Jimmy, smokes weed behind the wheel of a car, loses control of his car, and runs over a person. Naturally, he gets away with it.
This is followed by a weird series of events. In a weird series of events, Jimmy's sister Mary goes to look for her brother in the home of the pot dealers, ends up almost being raped by one, while Jimmy's friend Bill, who is there banging the pot dealer's live-in girlfriend, walks in, hallucinates Mary stripping for Bill thanks to pot (because marijuana is a hallucinogen, apparently), and then draws a gun. Of course, in the struggle, Mary is shot dead.
Bill is accused of murder, framed by the drug dealers, and... hilarity ensues. It is at this point that the film gives up any attempt at cohesiveness, and just starts losing control, like some weird acid dream. We have crazy piano playing, drug gangs trying to silence witnesses, and insanity by pot smoking. Also, random suicide.
It all ends with the principal from the beginning telling us that "the next tragedy may be that of your daughter or your son... or yours... or yours..." Points at the camera. "OR YOURS."
The Fanbase
A film this ridiculous could only be a cult classic. The insane writing, silliness of the plot, and terrible acting may turn off critics looking for quality cinema, but there's a certain subset of people who adored this film.
And, ironically, it's high college students.
The fact that the film rose to popularity in the 60s is not a coincidence. At this time, marijuana culture had become a stable, widespread concept. Grateful Dead and The Beatles spread the popularity of the Devil's Weed, and the rise of Nixon's War Against Drugs led to people needing a good laugh at the fear mongering mentality of so many authority figures.
Thus, Reefer Madness: the cult classic.
Such a misleading, poorly informed, paranoid film as this could never really convince anyone that marijuana was half as dangerous as the film claimed it to be. So, rather than run from Nixon and later Reagan's unfair and destructive war against marijuana, they laughed at it through the lens of Reefer Madness. How can anyone take Reagan's War on Drugs seriously when it's standing on the same alter as this insanity?
The film would later be colorized to look even goofier than before, and, in 2005, was remade into a musical starring Alan Cumming and Kristen Bell.
As for the critics, well, even they have helped elevate it to a level of so-bad-it's-good popularity. Noteworthy critic Leonard Maltin called it the "grandaddy of all worst movies," ranking it alongside Ed Wood's Plan 9 from Outer Space. Popular internet critic Doug Walker claimed "It's so misinformed about what it's trying to inform you about that the hilarity speaks for itself."
Reefer Madness remains a masterpiece of terrible cinema. It's misinformed, misleading, but incredibly funny.
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Anthony Gramuglia
Read next: Top Stoner TV Shows
Obsessive writer fueled by espresso and drive. Into speculative fiction, old books, and long walks. Follow me at twitter.com/AGramuglia
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Best Hemp Clothing Brands
Johnny Hash
For all of those who have never considered wearing a piece of clothing made out of hemp, it's time you look at some brands worldwide that are making an impact in the fashion industry. After doing so, you definitely are going to start looking differently this great fabric, which is one of the most durable of natural fibers.
Top Stoner Movies
Have you ever sat down with friends, your significant other, or just by yourself, to pick something to watch on TV? More to the point, have you ever sat there and spent the whole time you meant to be watching TV watching previews for an hour, unable to decide on what to watch? This happens to me all the time. Even when I am not stoned. It all comes down to data. How informed are you? Where can I turn to when I need a real recommendation? Sure, I could buy in to the notion that Netflix or Amazon have their amazing algorithms that determine just the right content for you to watch, but that works like shit if you have 10 family members and friends mooching off your account.
Ishmael Reed's Civil War Slavery Novel 'Flight To Canada'
Frank White
In an era where racial tensions have risen and the country seems more divided than it has been since the 1960's on issues of racial divide, immigration and the lost white middle class, Flight to Canada seems as relevant today as it did when first published. We are living in a world of a counter culture renaissance. Most importantly the biggest counter cultural issue of the early 21st century is the legalization of marijuana.
Choosing the Right Seeds
Choosing the right seed is probably the most important decision that a grower makes. The seed, actually the fruit of the cannabis plant, properly known as an achene, contains, among other things, the germ plasma, or genetic material.
Mushrooms of Palenque
The ancient Mayas, Aztecs and pre Columbian inhabitants of Central and South America worshipped divine power in the cult of the sacred mushroom. Their word for the hallucinogenic variety. "teonanacatl," translates to "god's flesh." This apparent reference to an alternative form of holy communion profoundly offended the Catholic priests who came to the "new world" with the Spanish Conquistadores. They went to great lengths to suppress mushroom worship among the natives and completely destroyed those cults which worshipped the mushroom as a fertility symbol.
Famous Celebrities Who Smoke Weed
Emily McCay
"Celebrities, they're just like us!" might be a cliche, but it is also true. Nothing connects celebrities to the common man more than smoking weed. Sure, smoking marijuana goes along with the "Hollywood" party lifestyle, but recently celebrities have come out in support of the herbs medical benefits, in addition to its recreational uses. With uptick in popularity of legalization, it's not surprising that famous celebrities who smoke weed are no longer hiding their affection for the drug, but instead proclaiming it proudly.

redpajama_set_name: RedPajamaCommonCrawl


Firefighters were able to extinguish a chimney fire at 210 Plain Drive on Monday night.
Fire Capt. Scott Breen said the blaze was reported at 7:30 p.m. Firefighters used a ladder to drop chemicals on to the blaze, which was put out quickly without damage to the roof or structure, he said.
It was a busy night for firefighters, who also responded to many calls for sprinkler breaks and minor car accidents.


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QLD to get smart licences next year
Facial recognition behind fraud crack-down
Darren Pauli (Computerworld) 23 April, 2009 14:41
Queensland Transport has inked a five-year deal with Unisys to design and build a facial recognition and biometric matching platform for the state's smartcard drivers' licence.
Unisys would not reveal the value of the deal.
Some three million laminated drivers' licence will be gradually replaced from mid-next year with the smartcards, which will also provide access to multiple government services.
Registered clubs, car hire companies and other government agencies including Australia Post will have access to user data embedded in the licence and stored in government databases for validation of identity, address, and whether the person is allowed to drive. The cards will also provide for the automatic transfer of vehicle registration
Unisys will design some 370 image capture devices to be used in QLD Transport customer service centres, police stations and other government agencies. It will also be responsible for cross-checking new photographs with database records to detect fraud using biometric software.
QLD Transport land and safety director Judy Oswin said the smartcards will reduce the level fraud plaguing the existing laminated drivers licence.
"We have used the laminated licence design in QLD for over 20 years. The new digital licence will deliver a more secure form of driver licence documentation for Queenslanders as it is harder to forge or alter," Oswin said in a statement.
"As a result it will help reduce the risk of identity theft to QLD licence holders and give them greater confidence that their personal licence information is being kept secure.
"It will also enable QLD Transport to deliver services in a more convenient manner as licence holders will be able to use a card reader or the [government] Web site to view, update and transact on their licence and registration themselves," she said.
Read more Aussies back beefed up biometric security to speed up airport transfers
Overarching software , dubbed the Library of eID Artefacts, will monitor all components of the smartcard system to assist fraud investigations and trigger alerts if an individual is holding drivers licences under false names.
Some 10,000 handheld smartcard readers will be deployed across the state, which may include public terminals, homes, businesses, and pubs and clubs.
The licences are expected to cost about $20.
Function-creep is one of the biggest concerns with the New Queensland Drivers' Licence (NQDL) which has been in planning and development since 2003. The Australian Law Reform Commission said allowing additional agencies to access smartcard data creates significant privacy risks because of the large amount of personal data stored on the cards.
While the QLD card will shun wireless connectivity and require direct contact with readers, a German group last year cracked the popular Mifare Classic Radio Frequency Identification (RFID) card by removing its chip and cutting layers away. The encryption algorithm was discovered after researchers stripped away layers and photographed the connections using a microscope.
Unisys deployed a similar smartcard for Malaysia, the MyKad identity card, which the company claims is the world's first multi-application smartcard.
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More about Australia PostUnisys Australia


We are excited to announce the national launch of AT&T BELIEVES! Our television spot "Roll Up Your Sleeves" aired yesterday during the Masters and we are asking everyone to "Roll Up Their Sleeves" and help spread the message.
While this spot highlights AT&T efforts in several Believe Cities, hopefully you see a few shout outs to Dallas! Special shout out to a DFW hero, Dr. David Woody, President and CEO of The Bridge.
We hope to generate awareness by asking to you post to your social channels and ask your friends and family to do the same. Check it out: John Donovan, CEO, AT&T Communications, has already taken the lead by posting on LinkedIn .
DALLAS, Texas, Dec. 11, 2018 — AT&T*, is committed to helping build a better tomorrow for the homeless community in the city of Dallas. We're doing that through a new initiative we call "Believe Dallas℠," with the goal of mitigating homelessness for service-accepting families and veterans in Dallas.
AT&T is bringing together its leadership, employees and resources to work alongside the city, business and non-profit communities, and established homeless service providers (HSP) in the Dallas area to maximize impact in the homeless community. This program is an extension of AT&T Believes℠, a larger company-wide initiative, which aims to create positive change in local communities.
To help us move closer to that goal, we are giving $565,000 in contributions to Dallas-area homeless service providers for their outreach programs. The HSPs are also eligible for part of $150,000 in additional funding provided by AT&T.
AT&T is also proud to announce a collaboration with Bishop T.D. Jakes of The Potter's House and his church's Texas Offenders Reentry Initiative (T.O.R.I.) to focus on the untapped pool of eligible candidates through second chance hiring.
"We have a legacy of service in the communities where we work and live. We think we can make a meaningful difference by focusing our resources on local challenges like homelessness here in Dallas. In other cities, we're addressing other man-made disasters," said John Donovan, CEO of AT&T Communications.
Over the past year, the company launched AT&T Believes in Chicago and New York and now, Dallas. In Chicago, we're focusing on hiring and training efforts in neighborhoods heavily impacted by gun violence. In New York, we're using our retail stores to help educate families on how protect their children online and give them effective tools to address the problems head-on.
In Dallas, over the past 3 years, the unsheltered homeless population has grown by nearly 269%. Nearly 200 new homeless individuals are identified each month1. OurCalling is one of the agencies that will receive $150,000 from the $565,000 in contributions. OurCalling is a religious-based nonprofit whose goal is to help homeless individuals discover the reasons they are homeless and to provide them with resources to help overcome those challenges. OurCalling plans to use the contribution to create a new space for homeless women in Dallas.
As a leading convener of all HSPs in Dallas, OurCalling is a key collaborator in AT&T's Believe Dallas℠ initiative. AT&T is leveraging OurCalling HSP's tech savvy to develop ways to use technology and data analytics to assess and address homeless needs. AT&T is supporting the expansion and completion of their Women's Center, serving homeless women and children.
Downtown Dallas, Inc. (DDI) is a key stakeholder that has developed a pilot program of two early mornings (5-8 AM) crisis intervention teams, including trained case managers from The Bridge, DDI's Downtown Safety Patrol and Clean Team, and off-duty Dallas Police officers.They engage individuals, offer the assistance of services, and in many cases, connect them with appropriate shelters. AT&T is supporting the expansion of this program in an effort to inspire other area businesses to contribute to the program for a downtown-wide presence.
The Communities Foundation is a fiscal agent for the Dallas Area Partnership to End and Prevent Homelessness (DAP). In an effort to assist the City and County with their mission to end and prevent homelessness as well as holding up our promise to be a good neighbor to other downtown residents, AT&T has agreed to assist with the Dallas Homeless Solutions Strategy by providing funds for production and dissemination of the campaign public service announcements. AT&T's support will help to defray some of the costs associated with this homeless awareness campaign.
Bishop T.D. Jakes, senior pastor of The Potter's House, is the founder and visionary of the Texas Offenders Reentry Initiative (T.O.R.I.), which provides dedicated support for ex-offenders including assistance in obtaining housing, employment, education, and healthcare, among other ongoing services. AT&T is working with OurCalling, and T.O.R.I. with a focus on Second Chance Hiring among the Dallas' formerly incarcerated and homeless population. OurCalling will collaborate with the T.O.R.I program to serve returning citizens and homeless residents a full spectrum of wrap around services to meet their needs and help reintegrate back into the community at large.


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This Thing Is Neat
Pokémon Johto and Tenderfoot Role-Playing
On 12 August, 2018 16 February, 2020 By Data_ErrorIn Full-length Essays, Video Games
Pokémon Gold, Silver, and Crystal are available for Gameboy Color or on the Nintendo 3DS' eShop. Pokémon HeartGold and SoulSilver are available for Nintendo DS.
My gut reaction to Pokémon: Let's Go, Cute Critter! was admittedly on the pessimistic side, and while I stand by what I wrote, it definitely comes from a certain perspective that doesn't represent all – possibly even most – potential players of that game.
So I'd like to leverage that same perspective to talk about what has and still does excite me about the Pokémon games, and a huge part of the reason why I'm still willing to come back to the table every single time one of these games comes out.
I was pretty much bang in the middle of the target demographic for Pokémon Red and Blue when they hit stateside, which means that I was a bit young to have latched onto the proper computer RPGs at the time – I love Ultima IV now, but seven-year-old me wasn't quite equipped for it. But it was the big wave hitting, dangit, so I saved up for over a year until I could pick up a Gameboy Color with Pokémon Gold, which had just released in the meantime.
That was effectively my first time playing through a role-playing game, digital or otherwise.
And boy howdy, did I put it through its paces.
Oddly enough, Pokémon reverses the trend a bit in the divide between Eastern and Western styles of role-playing games – especially early in the series. While as a general rule, Japanese-developed role-playing video games games borrow tabletop role-playing mechanics to spin a particular yarn about a pre-baked set of hero characters, their Western-developed counterparts tend toward blank-slate, player-made protagonists and a less rigid plot structure.
Despite being clearly a game made in Japan, Pokémon is very much in the latter camp.
The games are remarkably open about how you build your own party of monsters – barring a few deliberate exceptions, there are virtually no two players who will have the exact same team of cute-and-fearsome critters (nobody else in my schoolyard saw the value of a Mantine), and to this day the huge volume of options means that in over a dozen adventures in as many years, I've managed to avoid training up the same monster twice. It lead to all sorts of those "water cooler" conversations that people can have about Bethesda's games like Fallout these days, as everybody would encounter roadblocks in slightly different places depending on what their team can best handle.
For nine-year-old me, that was failing to understand that Ash's flippant Charizard in the show had no bearing on the games mechanics and therefore refusing to ever evolve my starting Cyndaquil into something with respectable stat values, but that's neither here nor there.
All the series do this to some extent, but to this day I hold that Pokémon Gold and Silver are the best in the series at creating what feels like a very full world – within the first few hours, you're introduced to at least three areas that you can see but not access until you come back much later with more at your disposal – not just little beaches with few items or NPCs, but whole new floors of dungeons and, in the earliest case, a path to the last boss characters in the campaign. In fact, almost every roadblock in the game seems organic (an immovable tree blocking the road, a waterfall you can't surmount, etc.), and there so much yet to see even after the credits have rolled that you're perpetually driven by your own curiosity to explore and discover more of the world, which inherently keeps you more invested in your own journey.
(A sense of investment that would also lead me to interacting with fanfiction for the first time, but that's a whole other can of Wurmples).
8∙
To go with this, there's always been a sense of progression being made almost entirely at the player's leisure. Sure, you're required to collect the move Surf to get across the sea to the fifth (sixth?) gym, but you're never pushed into it, rather obtaining it from a dance hall that otherwise reads very much like a sidequest. Only in very recent games are these things even formatted in the way of quests; you're predominantly expected to seek out all the major content on your own and forge your own way forward. It's an incredibly empowering thing for a young player, that a game will trust you with solving your own problems and un-sticking your own ruts rather than whispering a stream of suggestions in your ear.
And with the game's bright sense of wonder and delightful range of goofy-to-cool character designs, it's got much of the most attractive parts of JRPGs for me, too. It's fun and big-hearted in equal measure to being a real self-directed role-playing adventure. Truly the best of both worlds.
And, when it gets right down to it, Pokémon still hasn't lost any of these endearing elements. You're still (almost) never forced into actually using a certain monster, there are still a few areas in each game waiting for a player with the initiative good memory to unearth them, and the characters and settings have only become more inventive (even going overboard sometimes).
The coating and delivery has changed, but the core of these games is still strong. Here's hoping that it shines through ever clearer in the future.
BlaugustReborn
Pokémon: Let's Go and Helicoptering
Digimon Story and Consumer Relations
2 thoughts on "Pokémon Johto and Tenderfoot Role-Playing"
SDWeasel
I'm looking forward to Pokemon LG, um, not leaf green. All my children are old enough to enjoy the game now and I think this is a good move for their age group.
I'm not in a huge hurry for next gen, since they typically release a more "definitive" edition a year later.
13 August, 2018 at 05:05	 Reply
Data_Error
They seems to be backing off the third-version mentality lately, but it's nice to have a proof-of-concept like Let'sGo to ease that itch to pounce on the first-edition games. As noted, usually the content is open-ended enough to get away with a second playthrough for me, anyway, but I'm a bit of a sucker. :P
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We finally know why the Betelgeuse star dimmed—and it's not what you think
The nearby star didn't explode. But it did the next best thing: everything else.
By Charlie Wood | Published Jun 18, 2021 6:00 AM
Betelgeuse was noticeably dimmer in December 2019. ESO, M. Montargès et al.
When buzz started to circulate among astronomers that the nearby red supergiant Betelgeuse was fading in November of 2019, astrophysicist Miguel Montargès doubted anything unusual was going on. After all, the star, which forms the beefy shoulder of the constellation Orion the Hunter, does have regular dimming cycles. But as Betelgeuse's brightness plummeted, he couldn't ignore the apparent anomaly. So he set out to prove that the standard cycles had aligned by chance, and sought out a team and instrument capable of zooming in on our friendly neighborhood red supergiant.
"My goal was to take an image with [Chile's Very Large Telescope] to show that the star was as it is normally," says Montargès, who currently works as an astronomer at the Observatory of Paris. "Of course, I was completely wrong."
Meanwhile, rumors spread like wildfire. Was the elderly Betelgeuse's sputtering a sign of an impending and spectacular supernova? Such exploding stars are a rare sight, observed just five times in our galaxy—and never at such close range. Astronomers didn't think so, but they couldn't deny that the red supergiant was up to something unusual. Its brightness eventually fell by roughly two-thirds before rebounding—an all-time low since the beginning of modern measurements. Even naked-eyed stargazers spotted the dimming.
Betelgeuse is usually the brightest star in the Orion constellation. But astronomers noticed some serious dimming between 2019 and 2020. Credit: Emily M. Levesque
Two years later, Betelgeuse remains in the night sky, whole and undiminished. So what really went down in that corner of Orion, hundreds of light years away? After conducting observations from one of the world's most powerful telescopes— and painstaking theoretical work sifting through thousands of theories—Montargès and his team have figured out the most likely explanation. Their conclusions provide the best answer the astronomical community is likely to get for this head—er, shoulder-scratcher.
"This is the most comprehensive picture of what caused the 'Great Dimming' that we've seen," said Emily Levesque, an astronomer at the University of Washington, who was not involved in the research. "It gives us a really nice, clear picture of what happened to Betelgeuse."
A world class zoom
As Betelgeuse faded before astronomers' eyes, ideas abounded for what the culprit could be. Maybe something was simply obscuring the star. It had no known binary twin, so perhaps an interstellar dust cloud had drifted in front. Or some portion of the expansive dust cloud surrounding the aging star could have thickened up. Perhaps the star itself might have cooled.
To solve the puzzle, the team turned to one of Earth's highest-powered zoom lenses: an instrument at the Very Large Telescope known as SPHERE (short for Spectro-Polarimetric High-contrast Exoplanet Research).
In most astronomical instruments, Betelgeuse shows up as a single-pixel speck surrounded by a billowing dust cloud. But with SPHERE, the researchers could zoom in far enough to see the star as the round object it really is. This up-close perspective let them observe not only the fact that Betelgeuse was dimming, but also where it was dimming.
Montargès and his colleagues used SPHERE to take a series of images, building on one snapshot he happened to take in 2019 before the fading began. The group followed up with another during the December dimming, and two more in January and March of 2020. Capturing the complete sequence came as a stroke of luck. The first image was taken on the second of a two-night observation window, after clouds had scuttled their first attempt. "It was really a miracle that we got the [pre-dimming] image in the end," says Emily Cannon, a coauthor from the Catholic University of Leuven in Belgium.
Perhaps equally miraculous, the team got the final image on VLT's last day of observations before the pandemic shut it down
The hard-won snapshots told a clear story: Betelgeuse's bottom half had dimmed and stayed dark throughout the episode, ruling out a quickly passing interstellar interloper.
14,000 guesses, one answer
In the months following the event, two leading hypotheses emerged, both supported by different observations. The first was that a nearby patch of dust, part of the star's natural veil, seemed to have obscured its bright surface. The second, a cool spot also seemed to have formed. Montargès and his team considered thousands of models for different ways the dust and cold spot could have played out, about 14,000 in all, searching for the theory that best matched SPHERE's images. They eventually concluded that the two effects had worked together to darken the star.
Here's what they think happened. About a year before the Great Dimming, Betelgeuse let out a giant belch of gas, releasing a cloud of hydrogen and other atoms. Then, by chance, a giant swath of the stellar surface cooled down. Convection roils all stars, as hotter material rises and forms quickly cooling bubbles on the surface—a popcorn-like phenomenon astronomers recently observed on our own sun.
[Related: These close-up photos of the sun could help us forecast space weather]
In a puffy red supergiant like Betelgeuse, these cells can cover up to a quarter of the star's surface, sending a chill out into space. The cold snap gave the gas cloud a chance to settle down and combine into gritty molecules of dust. That sooty cloud then blocked the star's light from reaching Earth. The group detailed their findings on June 16 in Nature.
A cool spot likely gave atoms the chance to gather into dust molecules, blocking the star. Credit: ESO/L. Calçada
"People had proposed pieces of this, and this Nature paper does an amazing job of putting them all together," says Levesque, who wrote an accompanying analysis.
A nearby stellar testbed
While Betelgeuse isn't ready to school modern astronomers in the finer details of supernovae just yet, the Great Dimming incident is helping them understand the final act of stars at least eight times the mass of our sun.
"Betelgeuse gave us this amazing nearby testbed for studying red supergiants that hopefully we can now turn around and apply to these stars as a whole," Levesque says.
Theorists have known that cool patches and gassy burps are likely to be common, but getting a close look at how these behaviors interact can clarify how stellar winds launch from star surfaces.
Stellar winds are responsible for spreading the heavy atoms that form planets and people throughout the cosmos, as well for determining whether these heavy stars will have enough heft left over at the end of their lives to collapse into a black hole (Betelgeuse will likely end up as a neutron star, but it's on the cusp of blackhole-dom).
[Related: Why are big neutron stars like Tootsie Pops?]
Betelguese sits much closer to Earth than other red supergiants, so astronomers can see just clearly enough to really figure out what's happening when it acts up. In fact, the nearby star shines so brightly, its fiery rays can easily damage delicate astronomical equipment "Your biggest fear with Betelgeuse is that you'll actually burn the detector," Cannon says.
The dramatic explosion many hoped for is still coming, but exactly when is anyone's guess. It could arrive any day in the next 100,000 years or so. Montargès, for his part, feels sentimental about Betelgeuse, the first star he learned to identify by name as a child. He looks forward to studying the red supergiant for the rest of his career."
When I am a 70-year-old, perhaps I'm fine [with it exploding as a supernova]," he says. "Or 80. When I'm an 80-year-old it's fine."
Charlie Wood
Charlie is a journalist covering developments in the physical sciences both on and off the planet. In addition to Popular Science, his work has appeared in Quanta Magazine, Scientific American, The Christian Science Monitor, and other publications. Previously, he taught physics and English in Mozambique and Japan, and studied physics at Brown University. You can view his website here.


text:
# Function used to calculate effect of the terrain and other linked modifiers
def calculate():
    # List with all of the information needed by simulator
    terrain_modifiers = []
    # The first information is attached to the list (terrain)
    terrain_modifiers.append(terrain())
    # The second information is attached to the list (crossing)
    terrain_modifiers.append(crossing())
    # The third information is attached to the list (siege status)
    terrain_modifiers.append(siege())
    # Returns list of all modifiers
    return terrain_modifiers

# Calculate effect of the terrain
def terrain():
    # Dictionary of terrain types in Eu4 together with modifier to the dice roll
    terrain_types = {
        "woods": -1,
        "steppes": 0,
        "savannah": 0,
        "mountain": -2,
        "marsh": -1,
        "jungle":-1,
        "hills": -1,
        "highlands": -1,
        "grasslands": 0,
        "glacial": -1,
        "forest": -1,
        "farmlands": 0,
        "drylands": 0,
        "desert": 0,
        "coastline": 0,
        "coastal desert": 0,
    }
    # User's input about terrain
    terrain_input = input("The first thing you need to tell me is the terrain type of the battle (Forest, Swamp etc): ").lower()
    # Returns modifier, which will affect dice roll
    return(terrain_types[terrain_input])

def crossing():
    # Dictionary of crossing penalties together with modifier to the dice roll
    crossing_types = {
        "river":-1,
        "strait":-2,
        "landing":-2,
        "no":0,
    }
    # User's input about crossing
    crossing_input = input("Will you suffer any crossing penalty? ").lower()
    # Returns modifier, which will affect dice roll
    return(crossing_types[crossing_input])

# Specifies if province is under siege
def siege():
    # If the condition is true, all of the terrain modifiers are substracted from the defending army
    siege_status = {
        "yes":True,
        "no":False
    }
    # User's input about siege status
    siege_input = input("Can you specify if attacked province is under siege? ").lower()
    # Returns siege status
    return siege_status

# Used to testing, prints out values
if __name__ == "__main__":
    print(calculate())
    input()
    quit()


text:
Paris Winds
Patrick Gallois, flute
Maurice Bourgue, oboe
Michel Portal, clarinet
André Cazalet, French horn
Amaury Wallez, bassoon
Pascal Rogé, piano
Samuel Barber (1910-1981): Summer Music, Op. 31
Slow and indolent
With motion
Lively, still faster
 Faster
Ludwig van Beethoven (1770-1827): Quintet in E-flat major, Op. 16
 Grave; Allegro, ma non troppo
Andante cantabile
Rondo: Allegro, ma non troppo
György Ligeti (1923- ): Six Bagatelles (1953)
Allegro con spirito
Rubato, Lamentoso
Quieto (poco rubato). Cantabile, Molto legato
Presto energico
Adagio. Mesto--Allegro maestoso--Più mosso.
Agitato--Tempo I (B. Bartók in memoriam)
 Vivace. Capriccioso
Francis Poulenc (1899-1963): Sextet (1932-9)
Allegro vivace: Très vite et emporté
Divertissement: Andantino
 Finale: Prestissimo
Samuel Barber is one of the bright but undersung stars in the firmament of twentieth century United States-born composers. Born in West Chester, Pennsylvania, he became a student in the earliest classes at the new Curtis Institute of Music in Philadelphia in the 20s and later taught composition there. In addition to spending many summers studying and writing in Europe he also worked under the auspices of the American Academy as a Prix de Rome winner in 1935. In the same year, and again in 1936, he was awarded Pulitzer Fellowships. These years were ultimately the springboard for his fruitful career, during which he produced his Symphony No. 1, the Quartet in B minor, and the arrangement of its slow movement as the Adagio for Strings. In addition, while in Italy he met Arturo Toscanini, who conducted Barber's Adagio for Strings and Essay for Orchestra (1937) in Europe and with the NBC Symphony. Later collaborations with Martha Graham and with Gian Carlo Menotti led him into the realms of ballet (Medea) and opera (Vanessa), respectively.
Barber's style, while eventually including serial techniques and other modern devices, remained essentially conservative and in touch with principles of romanticism, yet without any attempt at projecting nationalism. His work is marked by a fine craftsmanship and great sensitivity for melodic line, especially in works for the voice, of which he wrote many.
Summer music was commissioned by the Chamber Music Society of Detroit; the premiere was given March 20, 1956, at the Detroit Institute of Arts by the principal wind players of the Detroit Symphony. It is a single movement work arranged in modified rondo form. Each section has its own distinct mood, tempo, sense of motion, and texture. The first principal theme, lyrical, in 5/4, returns after two intervening sections (faster, very staccato, and still faster, in 2/4 then 7/16) and again at the end after a third intervening section (fast, syncopated rhythm but with legato melody and a slow trill background) and a return to the staccato theme. The work concludes with a variant of the syncopated legato theme. Throughout Summer Music, the instruments are treated with satisfying variety: upon occasion, for instance, ranges are reversed-the flute line lies below the bassoon or below the horn, providing subtle and lovely timbres.
As distinct as each section of Summer Music is, however, the work is not programmatic. In a 1980 interview with Allan Kozinn, reported in Phillip Ramey's notes for the Barry Tuckwell Wind Quintet recording of Summer Music for Nonesuch, Barber said of the work: "It's supposed to be evocative of summer--summer meaning languid, not killing mosquitoes. I think Henry Cowell once wrote a piece in which the orchestra members had to clap their hands as if to kill mosquitoes--'brilliant innovations,' the critics called it. But really, there is not much to say about Summer Music except that everybody plays it too slowly."
Beethoven's Viennese career began in earnest in 1792, after an all-too-brief (probably three-week) period of study with Mozart there in 1787. In spite of his first efforts at study with Haydn after 1792 and the undeniable influence of this master on his music, Beethoven still carried the impression of Mozart in his compositional style. Even more than musical style, however, was the matter of genre: Beethoven's Piano Quintet in E-flat major, Op. 16, was evidently inspired by Mozart's Quintet in the same key (K. 452), and several thematic details would suggest that Mozart's music was not far from Beethoven's mind in writing this work.
The Quintet was completed possibly as early as 1796 and premiered in 1797 as a Quintet for fortepiano and four wind instruments (clarinet, oboe, horn, and bassoon). In 1801 it was published for that same ensemble and simultaneously in transcription as a quartet for piano with violin, viola, and cello, with the same opus number, presumably for household use among amateur musicians; the dedication of both versions is to Prince Joseph Johann zu Schwarzenberg.
At the premier, as well as in subsequent performances, Beethoven himself was the pianist. Ferdinand Ries's biography of the composer relates an incident in which Beethoven used his improvisatory skills in the Quintet in an unusual way, to the discomfort of his associates: at a cadenza point (probably the second of two, in the third movement) he extemporized at such length that the wind players had no idea how long they would have to wait for their reentry and several times had raised their instruments to play, only to have to put them down again to wait Beethoven out. Yet in spite of his own excursions in performance, he roundly resented Carl Czerny's taking liberties with the same cadenza!
The Quintet is in three standard movements. The first, a sonata-allegro, is opened by a slow introduction with the dotted rhythm so typical of the French baroque overture and used by Mozart in both symphony first movements and opera overtures (The Magic Flute, for instance--one of Beethoven's favorite works). Haydn's influence is also present in the very convincing return of the first theme toward the end of the development, but in A-flat--the wrong key for the recapitulation. Only with the entry of the theme in E-flat some forty-six measures later do we realize the trick of the false reprise.
The second movement, 2/4, in B-flat, is a neatly formed rondo beginning with a simple melody over an Alberti bass (in which the pitches of three-note chords are played successively in the order lowest, highest, middle, highest). The ghost of Mozart is again summoned: the theme hauntingly evokes his "Batti, batti" from Don Giovanni (which Beethoven thought an immoral opera!) This familiar opening is highly identifiable when it returns after excursions into G-minor, led by the oboe, and B-flat minor and D-flat major, led by the horn.
The third movement is a rollicking 6/8, evoking the merriment of the hunt. It is titled "Rondo." The second excursion, however, is not new material but rather developmental, suggesting a kind of sonata-rondo process often used by Haydn.
Hungarian-born György Ligeti entered the consciousness of the Western public with the use of his Atmosphères (1961) and Lux aeterna (1966) in the science fiction film 2001, A Space Odyssey. These two works, with their dense clusters of gently shifting sonorities and other-worldly effect of mid-air suspension, belong to a style of composing that occurred well into Ligeti's mature career, after moving to western Europe in 1956.
Ligeti graduated from Budapest Academy in 1949 and in the following year became professor of harmony, counterpoint, and formal analysis there. At this time he was heavily influenced by the work of his countryman, Béla Bartók, both in his musical style and in his research in the folk music of rural Hungarian and Romanian districts. Like Bartók, Ligeti did field studies of Romanian folk music and created many folk-song arrangements. Unlike Bartók, however, Ligeti was working under the Communist regime's post-World War II cultural control which not only limited what a creative artist could produce for public consumption but also what art works from the West could cross the country's borders and thus pollute the creative style of the state's artists. Even though Ligeti would begin to employ the "modern" technique of twelve-tone composition in the mid-50s, the radical change in his music was not possible until he left Hungary.
In his January 1991 Gala Subscription Series recital, Sergei Babayan performed a set of Ligeti's piano works entitled Musica ricercata, composed in 1951-53 while Ligeti was still in Hungary. These eleven miniatures constitute a reflection of the old ricercar (literally, "searching") procedure. Ligeti produced a series of "searches" for ways to treat fundamental elements such as a single note, an interval of two notes, three notes, and so on. In a way, he continued his "search" even beyond these eleven piano works; he decided to transcribe the last one for organ, calling it Omaggio a Frescobaldi (a baroque composer who wrote works called ricercari), and he transcribed numbers 3, 5, and 7 through 10 for wind quintet as the Six Bagatelles heard on tonight's program. Both transcriptions were completed in 1953.
In his monograph György Ligeti (London, Robson Books, Ltd, 1983, p. 21), Paul Griffiths records an interview with Ligeti in which the composer explains his circumstance at the time he wrote the Six Bagatelles:
"Every composer had to be a member of the composer's union: you had to be in order to get hold of manuscript paper. If you wanted a performance or publication, you had to submit your work to a committee, and there might even be a private performance for that committee... Then you would be informed if they wanted to broadcast the music, or whatever. You couldn't ask. My Arany songs [settings of poems by Hungarian poet Janós Arany, 1817-1882] were something between Bartók and Kodály, with some dissonances, and they were not acceptable.
"But the most interesting thing from this point of view was my Six Bagatelles for wind quintet. The sixth is a chromatic piece and there was no possibility of these pieces being performed when I wrote them in 1953. [Note that recasting already written material for the piano into the new medium of flute/piccolo, clarinet, oboe, horn and bassoon is not mere transcription to Ligeti!] But in 1956 there was a festival and they performed the first five: the sixth was still too chromatic and dissent even for those times."
The premiere performance of the complete Six Bagatelles was given by Stockholm Philharmonic Wind Quintet in Södertälje, Sweden, on October 6, 1969; Ligeti had taught composition at the Stockholm Academy of Music from 1961.
Francis Poulenc is recognized as one of the early twentieth-century French mavericks known as Les Six. Although there were indeed six composers (Poulenc, Louis Durey, Germaine Taileferre, Georges Auric, Darius Milhaud and Arthur Honegger) in this cluster, other creative artists were clearly associated with it--notably Jean Cocteau and Erik Satie. Their maverick status can be said to result from their sense of irreverence for the schooled traditionalists (which to them included the Impressionists), their eagerness to utilize the styles, genres and idioms of the current popular culture, and their whimsical, often outrageous, and quite unique blend of the two sources.
Poulenc is perhaps the most lyrical and sensual of Les Six, but he unquestionably exhibits the love of wit and flippancy common to them all. His three-movement Sextet for piano, flute, oboe, clarinet, bassoon and horn contains these elements and more. Poulenc composed the work originally in 1930-32, but, dissatisfied with it and several others, he undertook a complete revision of it in 1939. He said of it, "This is chamber music of the most straightforward kind: an homage to the wind instruments which I have loved from the moment I began composing." (Keith W. Daniel: Francis Poulenc, His Artistic Development and Musical Style. AnnArbor: UMI Research Press, 1982, p. 116.) TheSextet received its premiere performance in 1933 and, in its final form, in December 1940.
Poulenc's biographer Henri Hill thought the first movement's form "somewhat incoherent, but the admirable writing for the wind instruments is always in character--a delight in itself." (Francis Poulenc, trans. Lockspeiser. New York: Grove Press, Inc. 1959, p. 59). Its three sections begin with a bright-tempoed motor rhythm, lead through a bassoon solo to a lyrical passage begun by piano, then return to Tempo I and conclude with a march-like finale. The second movement inverts the arrangement of the first; a "very sweet and expressive" melody of the beginning yields to a sprightly, smart section in halved note values and returns to Tempo I. The third movement opens a very rhythmic cabaret style, followed by a long, lyrical, sentimental melody in varying meters, and a return to the first idea; the finale begins slowly in 5/4, with an "expressive, very sweet and melancholy" oboe melody that grows to a majestic finish.
As Paris Winds original performance is not available on YouTube, please enjoy these performances:
Barber's Summer Music, Op. 31
University of Michigan Bassoon Studio
Beethoven's Quintet in E-flat major, Op. 16
Klara Würtz, piano | Henk de Graaf, clarinet | Hans Meyer, oboe | Peter Gaasterland, bassoon | Martin van de Merwe, horn
Ligeti's Six Bagatelles (1953)
The Center Woodwind Quintet
Poulenc's Sextet (1932-9)
Ensemble ACJW


Home » Library 2.0/Web 2.0 » My library is going to Google Apps for our email – thoughts?
My library is going to Google Apps for our email – thoughts?, originally uploaded by Librarian by Day.
Librarian by Day is looking for feedback… What do TTW readers think? I am very interested in this myself.
I've been using Google docs for a while, but it's been a chore to get co-workers to participate and share. I've finally got some colleagues in Second Life using it. My university (Utah State) is going the same way as yours, but what I don't like is that they are not licensing the entire suite of Google apps. It's not a full-blown iGoogle account, but a selected subset. That aside, I do love the "web as platform." Will it work with "Gears," so folks could also work offline if they want?
Using the web as platform assumes the web infrastructure will always be live. Of course, using the university (or job) network servers assumes the same thing, but there's something about all of us putting all our stuff out 'there' and then 'there' being not there. Must be weighed between convenience of sharing and accessing from anywhere vs. is there anywhere out there?
A number of universities have gone to Google Apps for email (and other services) with little to no complaints. I personally use Google Apps (email, docs, calendar, etc) and if my library were to make the switch, I would applaud it.
The web as platform allows the library to escape its walls in just one more way: here it means it is not dependent on servers in the library or at a single remote location for these services to continue, meaning that email is no longer at the mercy of power outages at any one location. It is another step forward to the library providing persistent services regardless of where the user is or the physical condition of the library. It is a step towards the persistent presence of the library.
The public high school that I work at is actually doing the same thing. They got tired of hosting and dealing with it so they decided to pass it off to Google.
An interesting alternative approach is for universities to get out of the "supplying email accounts" game altogether, at least for students. Most students on our campus are issued with a uni email acct that they do not use, and then have to ensure that they fill in another form to tell the uni what there *real* email address is.
I know some unis are looking at "official channels of communication" involving portals, where students have to check or subscribe to get their info…so uni email is no longer used for this.
It would be interesting if unis provided both – a chit chat channel on gmail and then a "letterhead" kind of email account. Some communication needs to be officially from the university and guaranteed retrievable and private for statutory record keeping purposes. For everything else, there could be google???
We use this at LibLime and it's very very handy for an office like ours that is spread across the continent.
With Google apps we can share our calendars, our documents, create sites (like an intranet and a the Koha Manual).
If I have any complaints it's that Google Docs are hard to format and there are still some features missing from Google Sites. Overall, I've been very pleased with the way things work for us.
We used Google Docs on a number of occasions across TAFEWA. We had a lot of trouble sharing the various documents. On the next occasion that we needed to collaborate we used Zoho and found this a much more user friendly environment.
I adore Gmail. There is no comparison in other email products. I find the lack of formatting to be problematic in Google Docs, but I still use it for almost all my writing and spreadsheets. I have also created a couple collaborative presentations in GDocs and it worked great.
How the product functions seems to be librarians' only focus. What I find even more crucial is how Google deals with personal data flows and enhances or degrades the user experience with flimsy, vauge privacy polcies rather than meaningful user control.
Personally, I use Google for email, feedreader, collaboration, just about everything. Ever since Gdocs came out with the presentations I haven't given one that hasn't been created there. But Michael Porter's post a couple of weeks ago made me start thinking hard about Google (and Facebook).
I haven't had the time to research like I should. So I can't speak with any authority on it. I do have some concerns about the decision making process and why we made the switch. I think that other than myself and a maybe few other power users no one will use all the tools it comes with.
I am familiar with the functionality of it, I'm more concerned about the points Cee makes regarding privacy and information.


Unit 32 regulates hunting opportunities for wildlife in Idaho and covers 1,442 square miles. Public lands comprise 345 square miles (24%) of the total land covered by this game management unit. The greater region is best serviced by Payette, Emmett, and Weiser. The elevation of the region ranges from a low of 2,100 feet to a high of 8,200 feet above sea level. This area contains 3 campgrounds, and 1 public fishing access sites. There are 8 trailheads that provide public gateways to these forested areas: Boise National Forest. Additionally, 30 sites are open to the public for access to managed private lands.


text:
430 F. 2d 334 - Locust Cartage Co v. Transamerican Freight Lines Inc
430 F2d 334 Locust Cartage Co v. Transamerican Freight Lines Inc
LOCUST CARTAGE CO., Inc., Plaintiff, Appellant,
TRANSAMERICAN FREIGHT LINES, INC., Defendant, Appellee.
United States Court of Appeals, First Circuit.
Aug. 3, 1970.
Arthur E. Nicholson, Boston, Mass., with whom Harold M. Linsky, Boston, Mass., and Mary E. Kelley, Medford, Mass., were on brief, for appellant.
Stephen J. Paris, Boston, Mass., with whom Alan G. Miller, Boston, Mass., was on brief, for appellee.
Before ALDRICH, Chief Judge, COFFIN, Circuit Judge, and FORD, District judge.
COFFIN, Circuit Judge.
The Motor Carrier Act of 1935 forbids common carriers to engage in transportation without filing a tariff, 49 U.S.C. 317(d), and obliges such carriers to charge their published rates 'for transportation or for any service in connection therewith'. 49 U.S.C. 317(b). Relying on these provisions, appellant Locust Cartage Co., Inc. brought suit in a Massachusetts state court against appellee Transamerican Freight Lines, Inc., seeking to recover the difference between Locust's published rates and the rates it charged Transamerican over a two year period. Transamerican immediately removed to federal district court on the grounds of diversity. After a tortuous procedural history, which consumed four years and included both informal and formal opinions from the Interstate Commerce Commission, the case is here on appeal from a final judgment against Locust.
Both parties are common carriers by motor vehicle operating under certificates of convenience and necessity issued by the I.C.C.1 Their dispute stems from a contract which Transamerican entered with one Paul C. Ryan in 1961. At that time, Transamerican, a carrier with extensive interstate operations, was experiencing difficulty in the operations of its Boston terminal. Ryan agreed to take over dock handling at the terminal and to perform pick up and delivery service between the terminal and other points in Massachusetts, both within and without the Boston commercial zone as defined in 49 C.F.R. 1048.9. Under the terms of the contract, Transamerican issued all shipping documents and dealt with the public, while Ryan employed the drivers and controlled the physical details of the service. Since Ryan possessed neither state nor federal operating authority, he purported to lease his equipment to Transamerican, which obtained appropriate licenses for the vehicles in its own name.
Operations continued under this arrangement until February 1962, when Ryan purchased the stock of All Mass. Services, Inc., a common carrier authorized to provide service within Massachusetts. After changing the corporate name to Locust Cartage Co., Inc., Ryan caused the company to obtain new licenses for his vehicles and to file a notice with the I.C.C. adopting the tariffs of All Mass. Services. However, in spite of these indications that Locust intended to operate as a common carrier, Locust continued to perform pick up and dilivery service for Transamerican and to charge Transamerican a rate other than the applicable tariff until late 1963, when I.C.C. investigators informed Locust that this practice was illegal. After extensive negotiations among Locust, Transamerican, and representatives of the Commission, Locust rectified its error by filing a concurrence in Transamerican's tariffs, effective as of October 1964.2 Shortly thereafter, Locust filed suit to recover the difference between its tariffs and the rate it charged Transamerican from its date of birth in February 1962 to the date of its concurrence in October 1964.
In the district court, argument focused primarily on whether Locust's tariffs applied to the services which it performed for Transamerican. This issue, in turn, depended on whether the services in question were 'transportation' within the meaning of 49 U.S.C. 317(b) or a mere cartage operation. The district court initially directed the parties to seek an advisory opinion from the I.C.C. concerning whether Locust's published rates applied on the basis of several assumptions, the most important of which was that Transamerican did not exercise complete control over Locust's operations.3 When an informal opinion of the I.C.C. staff upheld Locust's claim, Transamerican moved to stay proceedings on the grounds that the issue of the applicable rate fell within the primary jurisdiction of the I.C.C. The district court then ordered Transamerican to initiate proceedings for a declaratory order before the Commission. Both parties submitted arguments and extensive affidavits to the Commission. On the basis of these affidavits, the I.C.C. trial examiner concluded that Locust's operations exhibited the characteristics of a common carrier rather than those of a mere cartage operator, and that Locust was therefore bound to charge its published rate for services outside the commercial zone of Boston.4 Division 2 of the Commission affirmed. 335 I.C.C. 46 (1969). However, the district court, relying on substantially the same evidence, concluded that Ryan and Transamerican intended no more than a cartage operation, and that subsequent developments did not alter their basic arrangement. The court therefore entered judgment against Locust.
An initial question we must confront is whether the district court properly substituted its own findings of fact and conclusions of law for those of the I.C.C. This question, in our view, turns on two separate issues: first, whether the issue of Locust's duty to charge its published rates fell within the special competence of the I.C.C.; and second, whether the I.C.C. has exercised its competence by drawing independent findings and conclusions from the record before it.
Turning to the first issue, we note that although Transamerican invoked the primary jurisdiction of the Commission in the court below, neither party has pressed the question on appeal. The doctrine of primary jurisdiction, however, does more than prescribe the timetable of a lawsuit; it also allocates the law-making function between court and agency. United States v. Western Pacific R.R. Co., 352 U.S. 59, 65, 77 S.Ct. 161, 1 L.Ed.2d 126 (1956). The doctrine is, moreover, especially relevant in cases like this, where courts are confronted with issues of fact arising under a complex regulatory scheme outside their normal experience. Far East Conference v. United States, 342 U.S. 570, 574, 72 S.Ct. 492, 96 L.Ed. 576 (1952). We have, therefore, on our own motion considered whether the question of Locust's obligation to charge its published rate fell within the primary jurisdiction of the I.C.C. This, in turn, depends on 'whether the question raises issues of transportation policy which ought to be considered by the Commission in the interests of a uniform and expert administration of the regulatory scheme laid down by that Act.' United States v. Western Pacific R.R. Co., 352 U.S. at 65, 77 S.Ct. at 166.
Applying this standard, it is apparent that the question of Locust's obligation raises significant issues of transportation policy. Under49 U.S.C. 317(b), Locust's obligation to charge its published rates depends on whether Locust is performing 'transportation * * * or any service in connection therewith.' The term 'transportation' plays a key role in the regulatory scheme created by the Motor Carrier Act. The Act defines this term comprehensively to include 'all vehicles operated by, for, or in the interest of any motor carrier * * * together with all facilities and property operated or controlled by any such carrier * * * and used in the transportation of passengers or property in interstate commerce * * *.' 49 U.S.C. 303(a)(19). Those who provide transportation for hire must possess either a certificate or a permit issued by the I.C.C. 49 U.S.C. 303(c). Possession of operating authority requires a carrier to observe a variety of statutory obligations, including the obligation to charge published rates, whenever it performs any form of transportation. See 49 U.S.C. 316, 317, 318. These provisions do not prevent one carrier from placing his equipment under the control of another under a lease or similar arrangement. In such cases, the user rather than the owner provides transportation within the meaning of the Act, Cecil G. Dixon, 21 M.C.C. 617 (1940), and the statute is enforced by treating the user as the operator of the equipment in question. See, e.g., 49 C.F.R. 1057 (I.C.C. regulations on lease and interchange of equipment). Thus the question of whether a carrier performs transportation has important consequences not only for the carrier itself, but also for the agency charged with enforcing the Act.
There is, however, no single touchstone for resolving this question. One important factor is whether a carrier has held himself out as performing an integrated transportation service. But it is common for traffic solicited and billed by one carrier to move over the lines of another under an interline arrangement, and it is settled that one common carrier can act as an agent for another without losing his status as carrier. United States v. Brooklyn Eastern District Terminal, 249 U.S. 296, 39 S.Ct. 283, 63 L.Ed. 613 (1919). Another significant factor is whether a carrier retains sufficient control over an operation to discharge a carrier's responsibilities to shippers and the general public, but this question requires a weighing of several considerations, including whether the carrier assumes responsibility for the safety of equipment and control of daily operations. See Boston & Maine Transportation Co., 34 M.C.C. 599, 610-613 (1942). These factors illustrate that whether a carrier performs transportation cannot be determined by a simple verbal formula, but requires consideration of a complex of facts in the light of the broad remedial purposes of the Act. Compare United States v. Drum, 368 U.S. 370, 375-376, 82 S.Ct. 408, 7 L.Ed.2d 360 (1962). Of course, courts could resolve these factual questions, but they could not provide the uniformity of resolution required by the regulatory scheme. We therefore conclude that the issue of whether Locust was obliged to charge its published rate under 49 U.S.C. 317(b) fell within the primary jurisdiction of the I.C.C. Cf. Agricultural Transportation Assoc. of Texas v. King, 349 F.2d 873, 883-885 (5th Cir. 1965).5
This conclusion brings us to the second part of our problem: whether the I.C.C. in fact exercised the lawmaking powers reflected in the doctrine of primary jurisdiction. Since the Commission followed its normal procedure in a declaratory action, the answer would seem to be obvious. Transamerican, however, argues that the court, the parties, and the Commission itself contemplated that the Commission would merely offer an 'advisory opinion' based on hypothetical circumstances posed by the court. Our examination of the record leads us to a contrary conclusion.
The issue of primary jurisdiction was first raised by Transamerican in October 1967, shortly before the case was scheduled for trial. We do not know why the district court failed to rule on the issue before requiring the delay and expense of a formal administrative proceeding. Nevertheless, the court's initial action in retaining jurisdiction and ordering Transamerican to seek a declaratory order were consistent with a formal reference to the I.C.C. under the doctrine of primary jurisdiction. See, Elgin, Joliet & Eastern Rwy. Co. v. Benjamin Harris & Co., 245 F.Supp. 467, 469 (N.D.Ill.1965); 3 K. Davis, Administrative Law Treatise 19.07, at 42. The initial actions of the parties in submitting extensive affidavits to the Commission are also consistent with a formal reference to the agency. Moreover, the trial examiner obviously relied on these affidavits in reaching his ultimate conclusion concerning the applicable tariff. Two of the examiner's three ultimate findings cannot be deduced from the court's assumptions alone, and the third, concerning Transamerican's lack of control over Locust's operations, reflects the examiner's independent study of the evidence, as well as the court's assumptions.
At this point, however, an ambiguity appears in the record. In its exceptions to the examiner's report, Transamerican protested that the examiner erred in 'treating the issues as confined by the assumptions of fact set forth in the Court's order * * *.' Answering this objection, Division 2 of the Commission stated:
'The function of this Commission in this proceeding is to render administrative aid to the court. Therefore, the examiner was correct in confining his consideration of the issues to those reflecting the court's assumptions.' 335 I.C.C. at 50.
Both Transamerican and the district court read this statement to mean that the Commission made no independent findings, but relied entirely on the court's assumptions. But the statement can also be read as an accurate description of the limited administrative role in cases which raise both broad issues of regulatory policy and specific questions of contractual liability. See, e.g., Thompson, Trustee v. Texas Mexican Railway System, 328 U.S. 134, 66 S.Ct. 937, 90 L.Ed. 1132 (1946). The latter reading seems preferable. We doubt whether the Commission would have decided a significant issue of transportation law-- and published its opinion-- on the basis of a purely hypothetical situation. More probably, the Commission confined itself to the issues posed by the court's assumptions, but relied on the trial examiner's findings of fact. We conclude, therefore, that the Commission's declaratory order was not merely advisory, but reflected the Commission's considered opinion of an issue within its primary jurisdiction.
Given this premise, we think the district court erred in substituting its own findings and conclusions for those of the Commission. When the Commission resolves a question within its primary jurisdiction, its resolution should not be set aside unless it exceeds the Commission's statutory authority or is unsupported by substantial evidence. Illinois Central R.R. v. Norfolk & Western Ry., 385 U.S. 57, 69, 87 S.Ct. 255, 17 L.Ed.2d 162 (1966); Consolo v. Federal Maritime Commission, 383 U.S. 607, 619-621, 86 S.Ct. 1018, 16 L.Ed.2d 131 (1966); Keller Industries v. United States, 311 F.Supp. 384, 387 (N.D.Fla.1970). Moreover, when a district court refers an issue to the I.C.C., a party aggrieved by the I.C.C.'s order must file an action for review within 90 days. 28 U.S.C. 1336(c); cf. McLean Trucking v. United States, 387 F.2d 657, 659-660, 181 Ct.Cl. 170 (1967). No such action was filed in this case within the time allotted. Thus the decision of the I.C.C. on the issue of Locust's obligation to charge its published rates became final and binding on the district court. Elgin, Joliet & Eastern Rwy. v. Benjamin Harris & Co., 245 F.Supp. at 471-472.
We recognize that our conclusion concerning the binding effect of the I.C.C.'s order may seem harsh. Transamerican's failure to seek review may be attributed to honest confusion arising from ambiguities in the Commission's opinion. Were we convinced that the Commission's opinion was an insufficient basis for liability, we might remand for further proceedings before the I.C.C. On the other hand, this lawsuit has already been prolonged by several years because of Transamerican's insistence on obtaining the I.C.C. order whose consequences it now seeks to escape. Moreover, our own examination of the record convinces us that there was warrant in the law and a rational basis for the Commission's decision.
The evidence before the Commission, while conflicting, supports its conclusion that Locust's operations exhibited the independence characteristic of a carrier performing transportation services. Transamerican emphasizes that all the shipments in question travelled on Transamerican's bills of lading, that Transamerican did all billing and collecting, and that Transamerican satisfied all damage claims. Moreover, the parties have stipulated that the rates charged shippers were based on Transamerican's tariffs from point of origin to point of destination, with no separate charge stated for the portion of the service performed by Locust. However, the I.C.C. hearing examiner found that Locust controlled the handling and routing of all shipments between the Boston terminal and points within Massachusetts. In addition, all drivers were employed by Locust, and Locust performed the required safety inspections of all equipment used in its portion of the service, including Transamerican trailers. Locust also carried its own meager business on the same trucks as Transamerican's freight. Finally, as the hearing examiner emphasized, the lease of Ryan's equipment to Transamerican was terminated as soon as Locust received operating authority from the I.C.C. Transamerican challenges tis final conclusion, but it seems clear to us that the lease was primarily a device for putting Ryan's equipment on the road and had no further effect between the parties as soon as Locust obtained its own authority. These findings justify the I.C.C.'s conclusion that Locust did not transfer the exclusive use of its vehicles to Transamerican, but continued to exercise the kind of control characteristic of a motor carrier exercising its own authority. See Boston & Maine Transportation Co., supra at 611-613.
Transamerican attacks this conclusion as based on an erroneous legal standard. The correct criterion, in Transamerican's view, is not whether it lacked physical control of Locust's operations, but whether Locust's operations were part of a single complete freight service which Transamerican held out to the public. For this proposition Transamerican cites United States v. N. E. Rosenblum Truck Lines, Inc., 315 U.S. 50, 62 S.Ct. 445, 86 L.Ed. 671 (1942) and Thomson, Trustee v. United States, 321 U.S. 19, 64 S.Ct. 392, 88 L.Ed. 513 (1943). Both Thomson and Rosenblum involved applications for 'grandfather' operating rights by carriers who had relied on independent contractors to provide their services. In each case, the I.C.C. awarded operating rights to the independent contractors rather than to the carrier who offered the service to the public. The Supreme Court rejected these rulings on the grounds that Congress, in providing for grandfather rights, did not intend to create multiple operating rights on the basis of a single integrated transportation service. United States v. N. E. Rosenblum Truck Lines, supra at 315 U.S. 53, 54, 62 S.Ct. 445; Thomson v. United States, supra, 321 U.S. at 24, 64 S.Ct. 392.
These cases do not, however, involve a total repudiation of the I.C.C.'s 'control and responsibility' test. See Thomson v. United States,supra at 26, 64 S.Ct. 392. We agree with the Commission that control over daily operations is still a relevant factor in determining whether a truck owner performs transportation services. See Riss & Co., Inc., 48 M.C.C. 327, 353-360 (1948). We think the 'control and responsibility' test may properly be made determinative when the issue is not which of several carriers is entitled to operating rights, but whether a carrier who has already secured such rights must abide by his statutory obligation to charge rates fixed by his tariffs. If Rosenblum and Thomson could be used to cloak the operations of two already certified carriers, then many of the I.C.C.'s detailed regulations of tariffs, joint rates, and leasing arrangements could be defeated by private agreement. We conclude, therefore, that the Commission was within its statutory authority.
There remains for consideration Transamerican's claim that even if Locust was a common carrier, it should be estopped from recovering more than its agreed charge from another carrier. Transamerican concedes, as it must, that a carrier can recover undercharges from a shipper regardless of contrary agreement, misquotation by the carrier, reliance, or other equitable defense. Louisville & Nashville R.R. Co. v. Maxwell, 237 U.S. 94, 35 S.Ct. 494, 59 L.Ed. 853 (1915); Pittsburgh, Cincinnati, Chicago & St. Louis Rwy. Co. v. Fink, 250 U.S. 577, 40 S.Ct. 27, 63 L.Ed. 1151 (1919). But Transamerican insists on the distinction between carriers and shippers. When a carrier charges a shipper less than its published rate, it confers an immediate economic advantage over other shippers similarly situated. Thus carriers cannot be permitted to vary their tariffs by agreement with individual shippers. Carriers are, however, encouraged to agree among themselves about joint rates. 49 U.S.C. 316(c). Indeed, the agreed rate in this case would have been legal had Locust simply filed a concurrence. In These circumstances, Transamerican maintains, Locust should be estopped from recovering more than its agreed charge.
A similar argument was made and rejected in Bowser & Campbell v. Knox Glass, Inc., 390 F.2d 193 (3d Cir.), cert. denied, 392 U.S. 907, 88 S.Ct. 2061, 20 L.Ed.2d 1365 (1968), a case involving the efforts of a contract carrier to recover undercharges from a shipper. Contract carriers, unlike common carriers, are free to negotiate their rates with individual shippers so long as the resulting tariffs are filed. The carrier in Bowser & Campbell neglected to file an agreed rate which was substantially below its published rates. The court admitted that this oversight caused no harmful discrimination among shippers, but nevertheless permitted the carrier to recover. The duty to abide by published tariffs, in the court's view, served to discourage not only unjust discrimination against shippers, but also destructive competition among carriers, 390 F.2d at 195-197.
We find this reasoning compelling and applicable to our case. Published tariffs play a central role in expediting the I.C.C.'s rate regulation and in insuring the economic stability of the trucking industry. Even though joint rates are the product of bargaining between carriers, the obligation to publish and abide by these rates prevents the kind of fluid, ad hoc ratemaking which endangers efficient service. Cf. American Trucking Association v. United States, 344 U.S. 298, 305-606, 73 S.Ct. 307, 97 L.Ed. 337 (1953). Moreover, once carriers have agreed to file a joint rate, the Commission has the power to supervise their relationship and to establish a just division of fares between them. 49 U.S.C. 316(f). Finally, published tariffs serve an important notice function for the Commission and other interested parties, compare, e.g., Great Western Packers Express, Inc. v. United States, 246 F.Supp. 151 (D.Colo.1965), a function which would be seriously jeopardized if carriers could readily enforce unpublished rates among themselves. It is for these reasons, we think, that the statute obliges carriers to collect their published tariffs from all who use their services, not merely from shippers. 49 U.S.C. 317(b); see ICC v. North Pier Terminal Co., 164 F.2d 640 (7th Cir. 1947), cert. denied, 334 U.S. 815, 68 S.Ct. 1071, 92 L.Ed. 1746 (1948). This obligation is best enforced by treating one carrier as legally obliged to collect and the other to pay the published tariffs regardless of contrary agreement. Cf. Lowden v. Simonds-Shields-Lonsdale Grain Co., 306 U.S. 516, 520, 521, 59 S.Ct. 612, 83 L.Ed. 953 (1939); Baldwin v. Scott County Milling Co., 307 U.S. 478, 484, 485, 59 S.Ct. 943, 83 L.Ed. 1409 (1939).
We therefore hold that Locust was legally obliged to collect its published rates for services performed outside the terminal zone of Boston between February 1962 and October 1964, and that it is not estopped from collecting its full rate because of its agreement with Transamerican to accept a lesser sum. We express no opinion on the issue of damages.
Reversed and remanded for proceedings not inconsistent with this opinion.
Locust is authorized to transport general commodities within Massachusetts under a certificate issued by the Massachusetts Department of Public Utilities and registered with the I.C.C. pursuant to 49 U.S.C. 306(a)(1). Transamerican transports general commodities between points in a number of states under an I.C.C. certificate, and also possesses irregular route authority from the Massachusetts DPU
49 U.S.C. 316(c) permits carriers to establish joint rates. This is usually accomplished by having one carrier concur in the rates of the other pursuant to 49 C.F.R. 1307.47
The court order read, in relevant part:
'Both parties will seek to secure an informal or, if possible, a formal ruling from the ICC as to whether in its opinion the agency tariffs of New England Motor Rate Bureau, Inc. would apply to the carriage of Locust Cartage Company, Inc. upon the following assumptions:
'The first assumption is that there was an oral agreement or a novation of a written agreement under which Locust Cartage Company, Inc. agreed to carry for Transamerican Freight Lines, Inc. goods which were covered by shipping contracts between Transamerican Freight Lines, Inc. and its customers.
'The second assumption is that the actual carriage was within the points that Transamerican Freight Lines, Inc. was authorized by the ICC to carry goods.
'The third assumption is that the shipper paid to Transamerican Freight Lines, Inc. precisely the amount that was appropriate if the total carriage was by Transamerican Freight Lines, Inc.
'The fourth assumption is that Transamerican Freight Lines, Inc. did not have complete control of the operations of Locust Cartage Company, Inc. With respect to the fourth assumption, a more detailed statement may be made by the parties.'
49 U.S.C. 302(c)(2) provides that the provisions of the Motor Carrier Act shall not apply to pick up and delivery service performed for a common carrier within a terminal area-- here the commercial zone of Boston. See also 49 C.F.R. 1057.3(c) exempting operations within a commercial zone from the I.C.C.' § lease regulations
By this ruling we do not intend to encumber every carrier's suit for undercharges with a parallel administrative proceeding. The doctrine of primary jurisdiction is a flexible tool for the allocation of business between court and agency and should seldom be invoked unless a factual question requires both expert consideration and uniformity of resolution. Thus no reference to the agency is necessary when the issue turns on questions of law which have not been committed to agency discretion, e.g., Packard Motor Car Co. v. NLRB, 330 U.S. 485, 67 S.Ct. 789, 91 L.Ed. 1040 (1947), or when agency policy has already been clearly enunciated, e.g., Shew v. Southland Corp., 370 F.2d 376, 379-380 (5th Cir. 1966), or when the issue turns on questions of fact which are peculiar to the case and have no broader implications for the I.C.C.' § regulatory program. E.g., Pennsylvania R.R. Co. v. Fox & London, 93 F.2d 669 (2d Cir. 1938). In this case, however, the question of whether Locust performed transportation raises broader issues of transportation policy requiring uniform agency resolution. Otherwise, Transamerican's identical relationships with two carriers in different terminal areas could produce diametrically opposed rulings on the appropriate tariff


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What is Happening with Hardwood Plywood Products from China?
An update on the anti-dumping case before the Commerce Department.
Hardwood Distributor's Association- Many people are wondering about the latest decision by the Commerce Department and what it means for hardwood plywood. We'll do our best to clear up some of the questions.
Did Chinese Companies "Dump" Hardwood Plywood?
Yes. The U.S. Commerce Department reached a preliminary determination on June 19, 2017 that some Chinese companies are, in fact, dumping certain hardwood plywood products in the United States.
A Commerce Department investigation found that exporters from China had sold hardwood plywood used for wall panels, kitchen cabinets, tabletops and flooring in the United States for as much as 114.72 percent below fair value, the department said in a statement.
The merchandise subject to this investigation is hardwood and decorative plywood and certain veneered panels. All hardwood and decorative plywood is included within the scope of this investigation regardless of whether or not the face and/or back veneers are surface coated or covered and without regard to dimension or thickness. Excluded from the scope of the investigation were wooden furniture and kitchen cabinets, including RTA. Also excluded are finished table tops, finished countertops, and laminated veneer lumber door and window components.
What Penalties Were Imposed?
The department preliminarily set an anti-dumping margin of 114.72 percent for Shandong Dongfang Bayley Wood Co Ltd and a margin of 57.36 percent for other respondents eligible for a separate rate. A rate of 114.72 percent was set for other Chinese producers who belong to a China-wide entity, the Commerce Department said.
Mandatory respondent Linyi Chengen Import and Export Co Ltd was determined not to be dumping and was not assessed any anti-dumping margin, the department said.
As a result of the decision, the Commerce Department will instruct U.S. Customs and Border Protection to require cash deposits from the firms based on those preliminary rates. Linyi Chengen will not be subject to a cash deposit rate.
How Did This Start?
The investigation was launched after the Coalition for Fair Trade in Hardwood Plywood initiated a complaint on behalf of itself and its members, six private firms in New York, Oregon, and North Carolina.
What Does This Mean for Pricing and Availability?
That's a great question! We wish we had a magic eight ball and could figure that out. Past industry trends show that this may result in a rise in the cost for imported plywood. There are also possibilities of shortages throughout the supply chain as pricing and supply adjustments are made.
If you regularly purchase hardwood plywood products, work with your distributor to plan for any pricing or inventory changes ahead of time.
 Tags Hard plywood
Premier EuroCase names Aetna Plywood as Midwest distributorWhat You Need to Know About Hardwood Plywood


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Nisha Ganatra, née le  à Vancouver, Colombie-Britannique, est une réalisatrice, productrice, scénariste, actrice, monteuse et directrice de la photographie canadienne.

Biographie

Nisha Ganatra est ouvertement lesbienne.

Filmographie

Comme réalisatrice
 1996 : Junky Punky Girlz
 1997 : Drown Soda
 1999 : Chutney Popcorn
 2000 : The Real World (série télévisée)
 2002 : The Real World/Road Rules Battle of the Seasons (série télévisée)
 2003 : Cosmopolitan (TV)
 2003 : Fast Food High
 2005 : Cake
 2008 : Will You Merry Me (TV)
 2012 : Big Time Rush (série télévisée)
 2013 : L'Ordre des Gardiens (The Hunters)
 2013 : Un Noël sans fin (Pete's Christmas) (téléfilm)
 2014 : Code Academy (court métrage)
 2014 : Transparent (série télévisée)
 2015 : The Mindy Project (série télévisée)
 2015 : Mr. Robot (série télévisée)
 2015 : Married (série télévisée)
 2015 : Red Oaks (série télévisée)
 2016 : Shameless (série télévisée)
 2016 : Toi, moi et elle (You Me Her) (série télévisée)
 2016 : Better Things (série télévisée)
 2017 : Girls (série télévisée)
 2017 : Dear White People (série télévisée)
 2017 : Bienvenue chez les Huang (Fresh Off the Boat ) (série télévisée)
 2017 : Great News (série télévisée)
 2017 : Future Man (série télévisée)
 2018 : Love (série télévisée)
 2016-2018 : Brooklyn Nine-Nine (série télévisée)
 2017-2018 : The Last Man on Earth (série télévisée)
 2019 : Late Night

Comme productrice
 1997 : Drown Soda
 1999 : Chutney Popcorn
 2000 : Kiss It Up to God
 2002 : The Other Brother, supervision de la production
 2003 : Fredonnement (Hummer), productrice exécutive
 2004 : CHO Revolution

Comme scénariste
 1996 : Junky Punky Girlz
 1997 : Drown Soda
 1999 : Chutney Popcorn
 2008 : The Cheetah Girls: One World (TV)

Comme actrice
 1999 : Chutney Popcorn : Reena
 2000 : The Acting Class : danseuse exotique
 2005 : Bam Bam and Celeste  : Linda
 2007 : Don't Go (TV) : Shanti

Comme directrice de la photographie
 1998 : Fairy Tale
 1998 : Double D

Comme monteuse
 1996 : Junky Punky Girlz

Références

Liens externes

Naissance en juin 1974
Naissance à Vancouver
Actrice canadienne
Scénariste canadien de cinéma
Réalisatrice canadienne
Réalisatrice canadienne dont l'œuvre est marquée par les thèmes LGBT
Productrice canadienne de cinéma
Personnalité ayant fait son coming out
Réalisatrice de Transparent

redpajama_set_name: RedPajamaWikipedia


The first day of June is here, and we are already in the triple-digits in Dallas. It's officially-unofficially the start of summer. For most of us, this means we'll spend more time indoors than outdoors, and we're already counting the days until that hard-earned summer vacation rolls around. Where are you headed? Whether you are traveling to the sugar white beaches along 30A or you're hiking with the family in Lake Tahoe, when you get away, you want to leave work at home. Let us cover your back office to keep your firm running efficiently while you're away; and no matter where you're vacationing, you'll be headed to greater peace of mind.
At The Dove Agency, we work hard so you don't have to. We'll track your orders, file your damage claims and follow up with your vendors to learn when your clients' selections will arrive. You can take a break from that creative brain of yours, too. Let us manage your social media posts while you lay beachside with a good book. We work around the clock, so you can enjoy time with your loved ones; it may be five o'clock somewhere but not at The Dove Agency.
Too busy to take a vacation? We disagree! Let us help you work smarter, not harder. According to a recent Forbes article, nearly 50 percent of American workers forfeited paid vacation in 2017, and a Glassdoor study suggests "fear of falling behind" is the number one reason why. We are here to offer a solution as your invisible back office. Your firm will continue to run seamlessly while you unplug and enjoy time away from work. With The Dove Agency, your only interruption will be room service delivering those late-night tacos. Give us a call and you'll be ready to "peace out" this summer!


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Home » News » Ukraine may receive American GLSDB missiles for Himars MLRS in March
Ukraine may receive American GLSDB missiles for Himars MLRS in March
The delivery of GLSDB missiles to Ukraine for the Himars MLRS with a range of up to 160 kilometers may begin in March.
At the moment, the Pentagon is consulting with Boeing on the volume of supplies of such weapons for the needs of the Armed Forces of Ukraine. At the same time, we are probably talking about a relatively small batch of ammunition, with a total volume of about 200-300 missiles. At the same time, Washington, as before, adheres to the version that such weapons cannot be used on the territory of Russia, which is recognized by the world community.
If the supply of such weapons for the needs of the Armed Forces of Ukraine really takes place, this will create a serious threat to the Russian troops located in the NVO zone, as well as to the northern part of Crimea, since such guided missiles, in addition to having navigation systems, are capable of striking at distances up to 160 kilometers.
Previously, the Russian side has repeatedly warned the West that the supply of weapons to Ukraine with a range of over 160 kilometers will be the crossing of red lines and may prompt Russia to act quite harshly, however, it is obvious that in the United States and European countries they decided not to take the Russian side seriously, since the supply of long-range weapons to Ukraine is still being discussed. At the same time, it has been noticed that the United States no longer announces its supply of most of the weapons to Ukraine, thereby trying to create an effect of surprise.
To date, the most long-range weapons in the possession of the Armed Forces of Ukraine are the Alder MLRS, capable of hitting targets at distances up to 130 kilometers.


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Thank you for your interest in Gateway Christian Schools, Eagles campus, a K-5 elementary school where you will find academic excellence in a caring Christian community.Our intentionally smaller school size ensures students receive the personal attention and care they need to succeed and grow. Our teachers provide the fundamentals for a rigorous academic career and make learning a joy.
Beginning in kindergarten, students enjoy a wide variety of specialist programs including art, music, computers, Spanish, PE and STEM (Science, Technology, Engineering & Math). We recognize that not all students are ready for a full day of kindergarten, and half-day kindergarten is available.
Spiritual education is fostered through Bible classes, scripture memorization, and weekly chapels. Biblical principles are integrated into all curriculum to instill a biblical worldview in each student that celebrates the truth that there is a personal God who has created us, loves us and calls us to follow Him. Focus is placed on community service and missions work to teach our students about not only the need for basic necessities, but the need for Christ throughout the world. Our quarterly Character Awards help students to learn to emulate and celebrate the character traits of Jesus Christ.
Contact our admissions team for more information or to schedule a campus tour!