text:
Photo by Amy Wilton
Melanie Ellsworth is the author of the new children's picture books Clarinet and Trumpet and Hip, Hip...Beret!. She has worked as an ESOL teacher and literary specialist, and she lives in Maine.
Q: What inspired you to write Clarinet and Trumpet? Why did you choose those two instruments as the main characters?
A: Clarinet and Trumpet is based on my own musical journey growing up.
When I started writing picture books, I wondered how I might share that experience and at the same time address what I perceived as a bit of a musical gap in the picture book market. I had also been wanting to write a friendship story. So I combined the two ideas and created a friendship between Clarinet and Trumpet.
I started playing the clarinet when I was in fourth grade, and throughout elementary, middle, and high school, I sat right in front of the trumpet section in band.
Sometimes the trumpets were so loud (particularly in elementary school) that we woodwinds couldn't hear ourselves at all, but the rivalry was always good-natured. So I thought a story featuring a clarinet and trumpet who were friends that temporarily got out of tune with each other would be fun to write.
For me, and for many people, music summons up strong emotions and memories, and I hope readers can feel that emotion in the book – all those ups and downs. But I didn't want the book to be too heavy, so I added humor through musical word play and instrument antics.
The book can be a teaching tool for talking about instrument families, but it also has a broader theme around belonging to groups while also being part of a bigger, broader community.
Most of all, I hope Clarinet and Trumpet reminds readers that we need everyone's voice at the table to create something amazing, just as a band needs all its sections to make music.
Q: You also have another new picture book, Hip, Hip Beret!. How did you come up with the idea for the beret's journey?
A: This book came from playing around with the phrase, "Hip, hip hooray!" and exchanging the "hooray" for various rhyming words. I came up with lots of silly book ideas but eventually settled on "beret" as the rhyming word and concept to focus on.
I think one of my brief brainstorms had to do with a guinea pig who wants a beret and travels far and wide looking for one. Early on in the brainstorming process, though, I realized that the beret itself should do the traveling. I imagined a windy day and the beret being carried from one head to another.
Each repeating "Hip, hip…" phrase needed a different rhyming end word, so that phrase formed the structure of the book, and those rhyming word choices dictated where my beret could travel and who it might meet along its journey.
This book is really all about the joy of playing with words, and I hope it inspires readers to do the same. And maybe to come up with a few more words that rhyme with "hooray!"
Q: What do you think the illustrations (by John Herzog and Morena Forza respectively) add to the books?
A: John Herzog's illustrations infuse emotion, energy, and humor into Clarinet and Trumpet. The characters seem to be jumping off the page. I can almost hear them tooting their horns and making music! (The built in rainstick-like shaker in the book's spine helps with that effect, too!)
I imagine it's a huge challenge to bring objects to life, but John did. And I love how he added things never referenced in the text, like a metronome that skips around on some of the pages. My sister thinks that's the cutest character in the book!
Morena Forza combined digital and hand-drawn art in a really unique way in Hip, Hip…Beret! Each little cobblestone on the street on the cover is individually drawn.
The book spans a full year, and I love Morena's use of vivid colors that reflect each season. Her characters are full of joy, and she included a few of her own pets in the illustrations.
When we finally met on Zoom after the book was published, she told me that the other girl in Bella's birthday scene is based on a photo of Morena when she was a child. With her warm, whimsical art, Morena perfectly matched the playful tone of the text.
Q: What first got you interested in creating children's picture books?
A: Picture books were an instrumental (😊) part of my childhood, and I was lucky to have an ample supply from my library growing up. I brought a big bag of picture books to all my babysitting jobs – I could count on a child connecting with at least one of them and giving me a few quiet, calm moments on the job.
I think the first picture book I actually wrote was when I was traveling in my mid 20s through Kenya, and I was inspired by a particular type of tree in the Kakamega Rainforest. I wrote that book for fun, and a friend traveling with me illustrated it.
Later, I worked at an educational publishing company, then taught ESOL and worked as a literacy specialist, so I think the educational aspect of picture books has always interested me.
But I like how picture books can educate very subtly in a format that's fun and filled with beautiful art. Themes of kindness, friendship, sharing, cultural exchange, understanding others, etc. can be introduced and shared with children and enjoyed by adults, but as a story, rather than a lesson that must be taught and learned.
When you come across an old picture book that you loved as a child, you get this almost magical, tingly feeling. Perhaps that comes from a combination of memories: the cuddling while being read to, pouring over the art, and being empowered as a child to "read" the story through the art even before you could understand the letters and words.
A: I have lots of new ideas I'm excited to make into picture books, and I'm revising a few stories. My agent has several picture books on submission as well.
A: I'll be doing a webinar event on May 5 through Print: A Bookstore (Portland, Maine) with illustrator John Herzog, and we'll be talking about the making of Clarinet and Trumpet. I hope anyone interested in learning more about creating a picture book will come Zoom with us!
--Interview with Deborah Kalb


text:
<?php

declare(strict_types=1);

namespace Sylius\Bundle\AdminApiBundle\Form\Type;

use Sylius\Bundle\PromotionBundle\Form\Type\PromotionCouponToCodeType;
use Sylius\Bundle\ResourceBundle\Form\Type\AbstractResourceType;
use Symfony\Component\Form\FormBuilderInterface;

/**
 * @author Łukasz Chruściel <lukasz.chrusciel@lakion.com>
 */
final class OrderPromotionCouponType extends AbstractResourceType
{
    /**
     * {@inheritdoc}
     */
    public function buildForm(FormBuilderInterface $builder, array $options): void
    {
        $builder
            ->add('promotionCoupon', PromotionCouponToCodeType::class, [
                'by_reference' => false,
                'label' => 'sylius.form.cart.coupon',
                'required' => false,
            ])
        ;
    }

    /**
     * {@inheritdoc}
     */
    public function getBlockPrefix(): string
    {
        return 'sylius_admin_api_order_promotion_coupon';
    }
}

redpajama_set_name: RedPajamaGithub


text:
February 15, 2019 / GO Brooklyn / Brooklyn news / Where to GO
Schneps Media salutes Brooklyn's Power Women
By Courtney Donahue
Elizabeth Melendez Fisher
Global reach: Elizabeth Melendez Fisher is the founder and chief executive officer of the Selah Foundation, and will be honored for her work with the Global Leadership Award at the Power Women Awards on March 14.
Lisa Evers of Fox 5 will c-host the night's festivities.
Our 2019 Power Women honorees
Dyker Heights: Ladies night! We celebrate Brooklyn's strong, selfless women
Event: Comedian Ophira Eisenberg will emcee our Women of Distinction gala
Power Women: Lauding ladies! We toast boro's best and brightest females at 2018 Women of Distinction gala
Transit: Congestion pricing ready to pass in Albany, but would barely affect Kings Countians, analysts say
Mean Streets: Southern Bklyn pol taps locals to serve on new street-safety task force
Schneps Media will host its eighth-annual Power Women Awards and Networking Event on March 14 to honor and celebrate the ladies whose contributions, work, activism, and heart have had a positive impact in Brooklyn — and we're inviting you to join us!
The event honors top Kings County women for their outstanding leadership and contributions to the community. This year's festivities, at Sirico's Caterers in Dyker Heights, will be co-hosted by Lisa Evers of Fox 5, and will include an interactive business expo, followed by a dinner and awards ceremony. The night is a great way to thank the wonderful women who give their all to this borough, said the event's organizer.
"There is so much talent and there are so many successful women who give back to the community," said Lori Pedone. "This is an opportunity for them to network with each other and be recognized for all that they do."
The beautiful night is made possible by our wonderful sponsors, Dime Bank, JP Morgan Chase, MetroPlus Health Plan, Northwell Health, The Avondale Care Group, Broadway Stages, and DMV Service Centers LLC / JSA Tags Inc.
This year's event will feature a new award, the Global Leadership Award, which will be presented to Elizabeth Melendez Fisher, the chief executive officer and co-founder of Selah Freedom and founder of the Selah Way Foundation, organizations that focuses on ending sex trafficking and exploitation.
Fisher says her passion started with a resolve to help victims of sex abuse. When she was planning an event and looking for a charity to give to, she learned about the horrific level of sex trafficking in America, and how it impacts local communities. She became interested in helping, and has since become a crusader whose aim is to educate, prevent, and help children and women affected by this. She adds that the root of sex trafficking is often a child who has suffered sexual abuse.
Fisher founded Selah Freedom in 2011, and later founded the global arm, Selah Way Foundation.
Selah Freedom's initiative, Prevention, arms kindergarten through 12th-grade children, parents, and caregivers with the knowledge they need to recognize and avoid trafficking through materials that are placed in schools and community centers. Fisher says the curriculum also teaches those who may be victims of abuse and trafficking to safely disclose what they're experiencing. The program is currently in Brooklyn and throughout the tri-state area.
The Protection program trains law enforcement personnel to recognize signs of trafficking — and Fisher says this is particularly important for officers to learn because it isn't always easy to spot.
She says, for instance, a young child could be riding in the back of a car with an adult in the front. She trains the officers to recognize if it looks questionable — for instance, if the child looks scared — and to intervene.
"A young girl or boy in the back of a car with an adult that looks questionable, they should stop the car, take a moment with the child, take a moment with the adult," said Fisher. "If they know what they're seeing, they won't miss it. The key to stopping trafficking is intervening before it gets out of control."
Receiving the Global Leadership Award is a true honor, she says, because it's a chance to make more people aware of her cause — and could spark that same passion in someone else.
"It means more to me than you would ever understand," said Fisher. "My passion is training other people. Speaking about sex trafficking, you open people's eyes. Nothing makes me more excited than when I can have a platform, because that's the only chance you have to awaken leaders. It takes my breath away."
One hundred percent of the proceeds from the evening's raffle will go to the Selah Foundation.
And don't miss the Brooklyn's Power Women issue, on stands March 8, where you can read about the important work all of our honorees do everyday to make the borough a better place.
Eighth-annual Power Women Awards and Networking Event at Sirico's Caterers (8023 13th Ave. between 80th and 81st streets in Dyker Heights) March 14, 6–9 pm. Tickets $150 and available at www.brooklynpaper.com/powerwomen.
Downtown: Pre-mium K: International private school to open in Downtown Brooklyn
Virginia from Park Slope says:
Not one trans woman is featured - does Schneps Media believe they have no power? Or are they just bigots?
Feb. 15, 2019, 6:17 am
Willy from Bay Ridge says:
Looks like "Models Gone Professional". If they can bring home the bacon, I'm sleeping in!
Feb. 15, 2019, 10:46 am
Henry Ford from Bay Ridge says:
Hey Willy, I'm a power bottom if you're interested. ;)

redpajama_set_name: RedPajamaCommonCrawl


Team Fortress is a cool game with cool cinematics and really cool writing and we need more of it! Seriously, we need a Team Fortress animated series! Please do something, Valve! Netflix?! We're starving for Team Fortress animated content. Please give us the Team Fortress animated series!
Ps.: Can you get the original writers, somehow?


text:
NBA Rumors: One Player's Contract Stood In Way Of Lakers/Pacers Blockbuster
Dave Litman September 01, 2022 Indiana Pacers, Los Angeles Lakers, Utah Jazz
Before the Los Angeles Lakers dealt Talen Horton-Tucker to the Utah Jazz for Patrick Beverley, the Indiana Pacers were hoping to land him as part of a blockbuster trade.
According to Michael Scotto of HoopsHype, the Pacers were ready to do the long-rumored move of sending Myles Turner and Buddy Hield to the Lakers in exchange for Russell Westbrook and L.A.'s two available first-round picks, in 2027 and 2029. That, the Lakers would likely have done.
But the Pacers tried to go one step further, to extract Talen Horton-Tucker, while adding in Daniel Theis from their end. That was a deal-breaker for the Lakers.
So per @MikeAScotto he heard the Pacers wanted both picks, THT, AND the Lakers had to eat the Daniel TheIs contract.
It's unprecedented that a team sending the contract to provide cap relief ALSO has to attach premium draft Capitol, a young asset AND take long term salary 😂
— 🏆LakersGuru🏆 (@GuruLakers) August 31, 2022
Theis has 3 years and about $27M left on his contract, and that's not something LA was interested in taking on.
"Essentially, Indiana was hoping to get Westbrook's expiring contract, the Lakers' two first-round picks in 2027 and 2029, along with Horton-Tucker for Turner, Hield and they wanted to make LA take Daniel Theis," said Scotto.
The Pacers and the Jazz are still seen as the most likely landing spots for Westbrook and his $47M expiring contract—if the Lakers are able to get a deal done.
We noted on Wednesday that if Jazz CEO Danny Ainge is to be involved, he'll try to squeeze the Lakers dry.
Photo: David Richard-USA TODAY Sports


In 2017 I began making a porcelain-cover book to archive the work that I make in a year. The books are made in editions of about five. They are always made with the support of the Free Witch Press in Cambridge, MA. For an interview with the Free Witch Press about my work, click here.


text:
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Home Gaming How Stan Lee Inspired Marvel's Avengers Developers To Tell Their Story
Deepansh Gupta
Anyone who is a fan of Marvel movies would probably know who Stan Lee was. One of the biggest names in comic book universe, Stan Lee was an inspiration to millions of people. Even after his death, Stan Lee has been a monumental figure in the upcoming Marvel's Avengers game.
Crystal Dynamics, the studio behind the game were inspired by Stan Lee's words and tried to create a fresh and unique Marvel story . Scot Amos, head of studio at Crystal Dynamics sat down with Techradar and talked about the overall impact of Stan Lee's philosophy on the upcoming game.
"Stan was a complicated guy,. He just loved his characters. We actually asked him, what does he want to do and what is his characterization. We had questions through fans and members of even Marvel, saying, 'Well, what can we ask him? What is his relationship [with us]? What do we have to do?'"
"The beauty of Stan was that he made these characters because he wants to love them and enjoy them. He had this perception that any comic could be somebody's first – and that stuck with me"
"It's true. This could be the first time you've heard of Captain America or Hawkeye or Thor, and how do I make sure you don't feel left out or like 'I don't know who these characters are' or 'I didn't read the comics' or 'I didn't see the movies'. I don't want that ever.
"That's something that we've been very keen to say, we can't rely on anybody having precursor knowledge, it's really assuming. You're showing up for cool action adventure game. We want you to fall in love with these heroes for the first time, or want you to fall in love with them all over again."
It is important to have a unique story so as to provide a different experience to the players. Stan Lee's words really inspired Crystal Dynamics to make an original Avengers game. We'll have to wait to know how unique the game actually is.
Marvel's Avengers releases on May 15, 2020.
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© Copyright 2020 -The Nerd Web


Other than information on new games coming out one of the main reasons I get excited about the Tokyo Game Show each year is to see high quality cosplay pictures. Cosplay pictures from TGS 2007 and TGS 2008 didn't disappoint but how did TGS 2009 stack up?
There is a special cosplay section at the Tokyo Game Show and it offered mixture of cosplayers and costumes. Read on further to see examples of the crazy, not so good and excellent costumes on show.
OMG! Cammy! What happened to that woman? That is certainly tight in the private parts. And the one after her in white stockings is bold, too. And quite hot. I just don't like the boots.
mek sure yuh bring mi wid yuh! alright mi rich fren?
Amazing I wish there were costumes like this at animania 2009. There are not enough fans in Auz….
4th pic is EPIC, 3rd not so much xD Indeed a little tight in the lower regions.


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Last Friday, I had an amazing time attending a new collection launch by one of my favourite brands – Global Desi. I was ecstatic when I got my invite for the Global Desi Autumn/Winter collection 2014 Bloggers Meet. I've seen many of the Global Desi garments at stores, in malls and fashion weeks but never really got a chance try out any myself.
When I reached the venue, I was warmly welcomed by Global Desi's eloquent staff.The store was so colourful and brightly decorated. Quite naturally, I was mesmerized! There was a complete bohemian vibe in the air neatly blended with a fusion of ethnic and urban wear.
The Autumn/Winter 2014 collection is called MiMaMo and it is inspired by the beauty of heritage and the vibrancy of art. Mithila, Madhubani and Mosaic are the inspirations behind the collection making it a unique mélange of Indian and global contemporary fashion.
I loved the yellow top which I am holding below. And also the cute blue shirt-dress which I so wanted to try out!
… And indeed I did!
This was the Amissi Dress taken from the MiMaMo look book. I found the dress to be chic and vibrant. It had the youthful appeal while maintaining a certain level of modern flair.
I liked some of the accessories as well. The golden charms were lovely but I particularly loved the neck pieces. The beaded necklaces were skilfully designed. They highlighted the innate beauty of medieval art with a slight Asian touch to it. You like?
But what caught my eyes was this stunning blue Anissa Blouse.
Isn't it so pretty? I was completely sold.
The royal blue and golden colour combination was the first thing which appealed to me. The blouse was a striking blend of Indo-western influences with stylish high-low cuts, traditional gold-printed embroideries and modern geometric designs. This was also taken from the MiMaMo look book.
It was something refreshing and one could wear it over a pair jeans or even churidaar. I chose to style it with a pair of stylish Iksha pants. I was happy to try it on and pose on the cute MiMaMo boat !
Little did I expect that Global Desi would end up gifting me the same! Thank you so much Global Desi for the fantastic present – you made my day!
Of course, to keep the enthusiasm up and going, we were accompanied by champagne & some delicious starters were served too. Notice the cute flags?
Overall, it was so much fun and I had a blast! Girls, you should totally check out Global Desi's beautiful Autumn Winter 2014 collection – MiMaMo. Prices starting from Rs 1,099, the collection is available at exclusive stores .


text:
The J Geils Band formed in Boston, Massachusetts in the late '60s. J Geils himself was an acoustic slide guitarist who was popular in the Cambridge folk scene around that time, playing in an eponymous blues trio with a master harmonica player and an acoustic bassist. Fans of the band can probably guess these accompanists were Magic Dick and Danny Klein. A fast-talking DJ named Peter Wolf from the Bronx arrived in town and landed a job at Boston's brand-new FM radio station, WBCN, and when Wolf heard the J Geils Blues Band at a Cambridge club one day, he saw the future. Wolf had a band at the time — The Hallucinations — and was particularly fond of their drummer, Stephen Bladd; Wolf proposed to bring him along into an amped-up, ramped-up version of what the J Geils Blues Band was already doing. Seth Justman joined on piano and organ in 1969, and that lineup would hold steady for 14 years and as many albums.
In the classic strutting-with-a-straight-stand rock star avatar established and defined by Robert Plant and Mick Jagger, America had no finer offering in the category than Peter Wolf. If there has ever been a better American front man in that tradition, it was from another band out of Boston, Aerosmith. Hardly anyone stateside else even comes close to Tyler or Wolf, and if you want to take that Gene Kelly, Ken Berry, Danny Kaye polished song and dance man into the rock idiom, it's hard to imagine a non-instrumentalist frontman on either side of the Atlantic that put in a more accomplished or energetic performance than Peter Wolf from the J Geils Band. Well, perhaps James Brown.
There are high concept album bands like Pink Floyd, Genesis, ELP and Yes, and then there are bar bands. The Rolling Stones would qualify as a bar band in some definitions, and it is sometimes said that the J Geils Band was the United States' answer to the Stones. A charismatic frontman, an enigmatic and reserved guitarist and a punishing rhythm section are similarities enough. Are they the best American bar band in rock 'n' roll history? The case could be made.
One of the best live albums of any type is the classic J Geils Band album, Full House. It is a monster set of music played at the Cinderella Ballroom in Detroit, a city that served as the band's second home. Side one of this record is some of the most hard-driving, tight and raucous fifteen minutes of live rock and roll you'll find, and if you haven't heard it in a while, saddle up and give it another spin. Side two features the knock-down, drag-out slow blues "Serves You Right to Suffer" and closes out with tireless pounding of "Looking for a Love." Musicians: if you want to know how to end an up-tempo rock 'n' roll jam, this is how it's done. It is with Full House that you would make the best-bar-band-in-history argument. Although a 2000-seat venue, the Cinderella Ballroom qualifies by evidence of its infamous "No dope-smoking, no beer sold after midnight" signage.
While the case could be made that they were the best American bar band in rock history, the J Geils Band was always its own competent, confident and complex entity. The band had an entirely new second lifetime beginning in 1980, one whose success far outstripped any of the recognition, adulation and record sales they had ever experienced as a gut-bucket rock 'n' roll outfit. A string of monster hits in 1980 ("Love Stinks"), 1982 ("Centerfold"), and 1984 ("Freeze Frame") kept the band at the top of the rock charts long after what their expected run might have been.
Many bands first learned how to play by proselytizing rock 'n' roll and rhythm & blues. Starting as cover bands in parents' attics and basements, these groups had heard the innate power of black American blues and R&B artists and sought to reinterpret some of the genius they detected in those records. The groups that were able to sustain great careers out of those roots were the ones who birthed a great songwriting team. The output of Peter Wolf and piano and organ player Seth Justman in this regard is impressive. Their original songs have held the #1 slot on Billboard ("Centerfold"), #4 ("Freeze Frame"), and #12 ("Must of Got Lost"). A handful of other songs they have written together entered the Top 40, and many of their songs have appeared in television and films.
A prickly breakup in 1983 was finally settled and a number of reunion dates were scheduled beginning in 1999. J Geils died in 2017 after spending his final decades mostly playing jazz in and around New England with his own trio or quartet. If there were a New England Rock 'n' Roll Hall of Fame, the J Geils Band would be first-round inductees.
(by Chris Elliott)
Help support MMONE
Purchases made on Amazon.com help to support MMONE's effort to celebrate New England's rich musical heritage. Learn about more ways to support us here.
Related Articles on MMONE.org
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Opening for The J. Geils Band at Boston Garden
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The last two times Juno went to her Physical Therapy appointment---she goes once every month for a water treadmill workout and check-up---she gained 1 full pound of weight on both visits. She was down to a svelte 58 lbs and hovered there all winter, which greatly helped ease the pain of her severe hip dysplasia. But now my chunky-monkey is back up to 60 lbs. And just when I started to panic and go all diet-Nazi (as Mr. Wild Dingo calls me when it comes to starving feeding the Sibe), I discovered, it's not all that bad.
Juno's PT noticed she actually gained a ton of muscle in her back legs, which have always been severely atrophied from improper use. And both legs are more evenly developed, as her right leg is usually worse than her left. Dogs with hip dysplasia will swing their hips side-to-side (like a wiggle) while walking in order to compensate for the pain, which causes the muscles to atrophy in the legs. Unfortunately, that compensation will cause more complications in the spine later down the line, so it's important to keep muscles strong in order to stabilize the hips and the spine. Leash walking unfortunately doesn't help since the pace is slow enough to cause the swinging motion and running won't help since a dog will 'rabbit' the back legs.
As soon as spring hit, I started jogging her by bike again at a trotting pace 2-3 times per week. The trotting pace forces the dog to swing the legs directly underneath her body in a normal forward and back motion, using core strength and building hip flexor muscles. And now after the PT has noticed a huge improvement each visit and muscle gain, I'm more convinced than ever that trotting is the best exercise for a dog with hip dysplasia.
She's doing so well. Her trotting pace is actually getting faster. It used to take her a little over an hour to do her 4 + mile loop. Now it takes her under 50 minutes. The first 20 minutes are spent walking to the sport field and letting her take care of business and pee mail. After 20-minutes it doesn't take much to convince her to "get down to business" and get into a steady trotting rhythm next to my bike. She absolutely loves it. And it's a joy to watch her. We'll jog up to 15-20 minutes at a time, take a break, then add another 15-20 minutes.
Her weekly schedule basically rotates between her short bike runs of less than an hour and long slow distance, off-leash hikes of 1.5-2 hours. Hiking her anything short of that doesn't do much for her bad Sibe self. Sibe owners can sympathize. But biking her 2-3 times per week is a win-win for both of us. It gives my poor hiking feet a break which allows me to do my own ride on those days as well, and it makes her as tired as a long hike.
I put together a little video of how she and Loki run with me on the bike. Though I started off biking them separately, I found a way to make logistics work so I can bike them together now. I tend to prefer just free biking versus bike-jorring because it allows them the free time they need at the beginning of it all to take care of their pee-mail business. But typically 20 minutes into it, both are fairly committed to holding a pretty good pace and keep it up. At first Juno tried to run with Loki when he ran ahead, but I have to hand it to the Sibe. She's pretty good at listening to me and slowing down when I tell her to. Running won't hurt her, but it won't help build muscle and since this is all about that, I slow her down to a trot and I let her run, if she wants to, on hiking days instead. In fact, she's pretty much figured out she doesn't have to keep his pace and you'll notice she stays at her own trotting pace even if I or Loki are ahead of her.
It's almost as if she knows it's better for her health. Maybe she does.
GO JUNO! Amazing how well she is moving. I will take your word for it that there are good muscles under the floof.
That was so much fun to watch. When we read the first paragraph, we couldn't figure out why you were 'punishing' Juno with starvation for adding muscle mass, which is of course heavier than fat. Glad for Juno's sake you quickly figured out it was healthy weight gain. Both their movements look very fluid as they run. How did you get the smooth fore and aft shots while riding your bike? Especially the aft shots? So what do you do in the winter when it's too icy to trot alongside the bike? Interesting that Juno moved between the pavement and grass while Loki stuck strictly to the pavement.
I think you need to come and get Morgan for a month and get her into shape with Loki and Juno! lol She looks fantastic, even if I did laugh all the way through that video over the song choice!
Juno looks awesome! I'm glad to see that she has gained so much muscle. Baby got back!
I enjoyed the video and I am so impressed that Juno and Loki trot next to you without going off-track. I doubt I'll be able to do this with Homer. Well, I haven't tried... a bit nerve wrecking for me as he tends to have a mind of his own.
Good lord woman...... badass bootcamp trainer is right! I've been thinking I might like living with you, but after this post I realize I wouldn't fit in. I like leisurely strolls through the neighborhood preferably with a cool breeze giving me a nice tailwind. After a half mile or so, I'm ready for a biscuit and a nap.
That's amazing - bravo for you, Juno! You are an inspiration! Loved the video, too!
Thank you for your words of support for our Chloe. I'm going to show her your video when she wakes up!
Juno sure looks wonderful... and very, very happy! You can tell she's feeling great!
Our mom is a bit of a slug, no long long bike rides or walks fur us, its a good thing we have a big yard to zoom around in!
Your description of me was uncanny in its accuracy. Petit bossy doggie riding in your bicycle basket through the scenic countryside... barking directions while munching on biscuits... ooh la la, sounds like a dream come true. The Wild Dingo Swiss estate is definitely back on my bucket list.
Now about your resemblance to your cracker and criminal doggies... me think you doth protest too much:) How else could you write so eloquently about their, uh... shortcomings... unless you too have at least some proclivity at said misbehaviors? Un huh. I will whole-heartedly concur that you must be very fit (badass fit) so it must be Monsieur WD who is "sweet" and "fluffy." Just makes me love him more.


The long-awaited luxury rentals at 290 Mulberry Street are now available for lease, and Lucie Holt, a senior vice president at Citi Habitats (of "Selling New York" fame) will be the exclusive marketer for the nine-unit building, the brokerage said today.
The 12-story building, opposite the Puck Building on Houston Street, was initially conceived as a condominium with eight full-floor apartments and a shared 2,600-square-foot terrace by former owner Cardinal Real Estate Investments. It was brought to market in the spring last year. However, after mystery buyers — now revealed to be Karass Development — bought the building last December for a reported $25 million, they decided to change course and go rental.
Each unit, save for the triplex penthouse, is a full-floor three-bedroom apartment with private keyed elevators, the statement said. The three-bedroom penthouse offers 1,600 square feet of private outdoor space.


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Q: How do I retrieve the root window properties for a display in X11? The PulseAudio FAQ has this sentence:

If $DISPLAY is set, the library tries to connect to that server and looks for the root window property PULSE_SERVER for the host to connect to.

For a given $DISPLAY, how can I retrieve this and other root window properties, from, say, bash or Python?

A: I think the xprop command is what you're looking for:
xprop -display $DISPLAY -root

redpajama_set_name: RedPajamaStackExchange


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A Real American Book!
G.I. Joe Research
Toy Ads!
← My First Comic Book Ever Was "G.I. Joe Yearbook" #3 – Part One
My First Comic Book Ever Was "G.I. Joe Yearbook" #3 – Part Two →
Behind the scenes of G.I. Joe – PSA #10 Storyboard
Endorsed by the National Child Safety Council, a non-profit founded in 1955, the now infamous G.I. Joe public service announcements (PSAs) were created to elevate the series' profile as an agent for pro-social values and to ward off criticism from parents' groups that the G.I. Joe cartoon was a) violent and b) a half-hour toy commercial. 35 PSAs were created in all, with topics ranging from not giving in to peer pressure, to nutrition, and to owning up to one's own mistakes. The format was likely borrowed from Filmation's 1983 series He-Man and the Masters of the Universe. In that show, at episode's end a marquee character would directly address the audience and refer to an incident from the proceeding episode. The Joe ones were different, working both in "regular" continuity wherein the Joes spoke to kids in-scene, and not the television audience, but also a kind of parallel universe where the Joes were always near suburban danger and utterly lacking in top secret status.
For Footloose's rapid-fire instructions, PSA #10 is one of my favorites — there's no way I'd remember what to do in my own soccer crisis unless I had a transcript handy. Also, this is perhaps one of three incidents in all of G.I. Joe animation 1983 to 2000 where the animators showed blood. I appreciate the added dash of seriousness.
Here's the storyboard for PSA #10. I should know who drew this, but don't. I'll check my sources and update this post when I can.
For those unfamiliar with storyboard formatting, here are a few items of note:
-The second panel — the stretched out one — represents a camera move.
-The numbers under the panels represent length of footage in feet and frames. Old school film editing (and animating) was measured not in seconds/frames, but in feet/frames, with a foot being the physical length of 16 frames of film, and a frame lasting 1/24th of a second. So where it says "SLUGGED BOARD" at the top left of page one, the board artist has timed out to the audio track each shot's duration, or is providing a time table for the animators to show how long each shot should last.
As a special thank you, I'd like to acknowlege YouTube user PSAGIJoe, who has uploaded the original, non-satirized PSAs. You can find them here.
Filed under Animation, G.I. Joe Behind the Scenes
Tagged as Behind the scenes, G.I. Joe cartoon, G.I. Joe PSAs
One response to "Behind the scenes of G.I. Joe – PSA #10 Storyboard"
I wrote most of these. Did Hasbro advertising for most of the 1980s into the 1990s
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The Domain Name System (DNS)
What is the DNS and how does it work?
The domain name system (DNS) is mostly known for associating names with IP addresses, as humans can more easily remember names than numbers. Also software and hardware on the internet name things, including web browsers, e-mail applications, gaming consoles, or video streaming devices. The DNS is flexible and not linked to a device or location, i.e. a domain name stays the same even though the underlying IP address might change. The DNS has a lot of built-in redundancy to ensure reliability: if a server is not reachable, it can rely on multiple others that store the same data.
For applications to work and/or communicate with each other via Internet protocols, domain names need to be translated into IP addresses. This process is set off by a query, i.e. when you want to send an e-mail or wish to access a website.
The following video explains it a bit more in detail:
ccTLD registry
A country code top-level domain (ccTLD) registry operator manages or administers a country-specific top-level domain, such as .si or .eu. Not one ccTLD registry operator is like another. In Europe, registry operators vary considerably in business model, ownership, size and, correspondingly, relations with their governments. Most "ccTLDs" are not-for-profit: they are foundations, cooperatives, universities, research institutes or part of their government. They are funded through the proceeds from registrations that are then reinvested into maintaining their functioning, educational campaigns, research, etc. They are operated by as many as 100 or as few as 1 person. By nature, ccTLDs have strong links with their local internet communities (LIC), including the government. ccTLDs are mainly governed by national law, mostly like any other organisation of their kind. Only in few cases are there ccTLD-specific laws. Also EU policies and international standards play an important role.
What are IDNs?
Internationalised Domain Names (IDNs) are domain names that include characters from different scripts such as Arabic, Chinese, Cyrillic, or the Latin alphabet characters with diacritics, such as French. These non-ASCII characters can appear at the second or third levels of the domain name (e.g., www.monidéeàmoi.be) thanks to the 2008 Internationalizing Domain Names in Applications (IDNA2008) protocol, but the first non-ASCII top-level domains (TLDs) were only introduced to the root zone in 2010.
The first IDN TLDs were country code top-level domains (ccTLDs). In June 2010, the IDN ccTLDs لسعودية., مصر. and امارات. (Egypt, Saudi Arabia and the United Arab Emirates), as well as .рф (Russia) were successfully implemented, closely followed by .中国 and .中國 (China), .香港 (Hong Kong), as well as .台灣 and .台湾 (Taiwan). To date, more than 38 IDN ccTLDs have been delegated worldwide and more than 1M IDNs below top level have been registered in the European region (see up-to-date list here).
What are new gTLDs?
There are two main categories of Top Level Domains: country code top level domains (e.g. .be, .fr, .es) and generic top level domains (e.g. .com, .info, .net).
In order to improve competition and consumer choice, ICANN has decided in 2011 to open up the gTLD space. The additional top level domains are called "new gTLDs".
Small scale additions to the namespace have been made since 2000. In contrast, ICANN now decided to authorise any new gTLD which meets the published criteria. The window for applications closed at the end of April 2012.
The complete list of TLDs available in the root zone database is available on the IANA website.
News articles, presentations, and government documents, are all making an urgent appeal to adapt the Internet so as to cope with its growth. "The Internet is running out of IP addresses and if no immediate action is taken now, further growth will be impossible", they claim.
This alarming message must be taken seriously. But, there is no need to panic, the Internet is not at risk and will not stop working. There is no bug or threat that has to be fixed; however, changes are needed to guarantee the continuous steep growth of the global network.
The current and much widely used version of the Internet Protocol IPv4 needs to be replaced by the IPv6 protocol. IPv6 addresses are longer so that more unique combinations can be made. An IPv6 address is represented by 8 groups of hexadecimal values separated by colons. A typical example of an IPv6 address is 2a02:d08:1001:108:1880:9309:7197:1.
ICANN/IANA
What is ICANN?
The Internet Corporation for Assigned Names and Numbers (ICANN) is a California based, not-for-profit organization that brings together individuals, industry, non-commercial and government representatives to discuss, debate and develop policies about the technical coordination of the internet's domain name system. While ICANN's scope is limited, its importance cannot be overestimated. While policies developed at ICANN affect mainly generic Top Level Domains (gTLDs), some that are of a technical coordinating nature have an impact on country code Top Level Domains (ccTLDs). A perfect example of the latter is the framework described by ICANN that sets out the rules for the operation of internationalised domain names (such as top level domain names in Cyrillic and Greek). In addition to its policy role for technical coordination of the internet's domain name system, ICANN is also the home of the Internet Assigned Numbers Authority (IANA). More information can be found at https://www.icann.org
What is IANA?
The Internet Assigned Numbers Authority is the organisation responsible for maintaining the registries of the internet's unique identifiers. These consist of three categories: the root zone management for domain names, maintaining the registries with protocol parameters and internet numbers (such as IP addresses and autonomous system numbers). Until now, the US department of commerce, more in particular the National Telecommunications and Information Administration (NTIA), oversees the IANA operations based on a contract with ICANN. In March 2014, the NTIA announced that it intends to transition this stewardship to the global internet community. Since then, the IETF, IAB, RIRs and the stakeholders in the domain name industry have worked hard on a proposal that meets the criteria the NTIA had put in place. This process is known as the IANA stewardship transition process. More information can be found at https://www.iana.org.


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With Autumn in full flow, we have been deployed to keep one step ahead with hand sanding problem areas in the County. Treesmill near Par, Bodmin Parkway, Onslow and St Germans are treated each day.
Many thanks indeed Craig for another fine bunch of pictures to celebrate the sunshine and colour of Autumn.


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Asus Exec: Google Is Building A Tablet To Kill The Kindle Fire
Claire Jim
Photo: Steve Kovach, Business Insider
Google Inc will soon unveil a tablet co-branded with Taiwan's Asustek Computer Inc and priced to compete with Amazon's Kindle Fire device, an Asustek executive said on Wednesday.Amazon's Kindle Fire, which runs a version of Google's Android operating system, sells for $199. Through it users can access Amazon content including books, music and video.
"It's targeting Amazon. The Kindle is based on Google's platform but with its own service, so Google has to launch its own service, too," said the executive of the device.
Google has its own store for apps called Google Play, but does not have anything like Amazon's service.
Bloomberg earlier reported that Google would launch a tablet at its developer conference this week, taking direct aim at Apple Inc's iPad, citing two people familiar with the matter. One of the sources said the 7-inch tablet would showcase new features of Android.
The Asustek executive, who did not want to be named as the planned device has not yet been made public, declined to give details on its price, specifications or launch timetable. rumours that the search engine giant planned to launch a tablet at its annual developer conference have circulated on tech blogs for weeks.
Google declined to comment.
Apple's iPad had a 68 per cent share of the market in January-March, according to data from IDC. Amazon had a little over 4 per cent, lagging Samsung Electronics and Lenovo. Microsoft last week introduced its own line of tablet computers, marking a major strategic shift for the software giant as it struggles to compete with Apple and re-invent its ageing Windows franchise.
Google has previously worked with hardware manufacturers HTC and Samsung to produce co-branded Android mobile phones under the Nexus brand. This would be its first such tablet device.
Asustek shares gained 2.6 per cent in Taipei, outperforming a 0.6 per cent gain on the benchmark stock index.
(Reporting by Clare Jim in TAIPEI and Chandni Doulatramani in BANGALORE; Writing by Jeremy Wagstaff; Editing by Ian Geoghegan)
reuters sai-contributor sai-us


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News in Science › Innovation and Technology
Robot legs take a step forward
The biomechanical legs are the first to mimic walking in a biologically accurate, energy-efficient manner(Source: Theresa J Klein/Theresa J Klein)
Ground coffee helps robot get a grip, Science Online, 26 Oct 2010
Locust wings to inspire flying robots, Science Online, 23 Oct 2009
Fashion robot to hit Japan catwalk, Science Online, 17 Mar 2009
Mimicking humans Scientists in the United States say they have made the world's most advanced pair of biomechanical legs, bringing the goal of human-friendly household robots a bit closer.
About half the size of their human counterparts, the legs are the first to mimic walking in a biologically accurate, energy-efficient manner, say the researchers.
They have the slight up-and-down movement of human legs, using load sensors in the feet that help a small computer adjust the motion according to the surface.
"One of the ideas is that we build what I call soft robots, which can be used around human beings," says Anthony Lewis, who worked on the invention with Theresa Klein, both of the Department of Electrical and Computer Engineering at the University of Arizona.
"In this robot, if you push against the legs, they'll give away freely, they won't resist you.
"But conventional robots derive their heritage from industrial robots and they are very stiff - they wouldn't be safe around grandma. So this is a step in that direction," says Lewis.
The research appears in the Journal of Neural Engineering.
Imitating human gait
The sensors are one component in a triple system that aims at imitating the human gait, which has been honed by millions of years of evolution to be as smooth and energy-efficient as our anatomy will allow.
The 'skeleton' of the legs copies the three joints in the lower anatomy - the hips, knees and ankles - and the muscles are straps, which move up and down as actuators.
The actual movements are determined by an electronic imitation of the central pattern generator (CPG), a neural network in the lower region of the spine that is semi-autonomous from the brain.
The CPG generates rhythmic muscle signals after gathering information from various parts of the body that respond to the environment. This explains why we can walk without having to think about it.
"We combined the three elements, the biomechanics and a complex central pattern generator with sensory feedback," says Lewis.
"When we put all three together, the resultant movement was very much like a human being's and we know that because we saw a very good agreement with what we saw in human studies, particularly in the movement of the robot at the hip and knee."
Next phase
The next phase will be to incorporate vision to control gait as well as other tactile sensors, "so that if you stumble, the system will correct itself and not fall over," says Lewis.
The legs are intended for fundamental research into understanding how humans learn to walk, but the researchers hope there could one day be gains for doctors trying to recover walking ability for patients with spinal-cord injuries.
In robotics, "two major corporations in the US have expressed interest in this work, and we are currently looking at transferring this technology to one of them," Lewis adds.
Tags: robots-and-artificial-intelligence
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Hotel Anagnina is located right in the namesake shopping centre in a fast developing commercial neighbourhood in the southern suburbs of Rome, close to Ciampino Airport and Ikea store.
This brand-new establishment is the first hotel in Italy to be placed inside a shopping mall which, with its own 50 stores, offers a wide range of shopping opportunities.
When the shopping frenzy is over, you can also visit all the monuments and landmarks of the Eternal City, taking advantage of the close proximity to the Anagnina metro terminus (line A), providing fast connection to all major city destinations.
The hotel's Tuscolo meeting room is fully equipped with all the latest technology for a stress-free business event, whilst in the Quintili Room you can enjoy a tempting buffet in a comfortable ambiance, with a capacity of up to 80 persons.
All the rooms are comfortable and spacious.
Anagnina metro station is 700 metres away from the hotel, connected by frequent buses taking you there in approximately 5 minutes.
The hotel is also close to a host of national and international companies including Ericsson, to Cinecittà Studios and the Tor Vergata University.
Metro line A stops at 21:00.
Cancellation Policy: If cancelled up to 1 day before the date of arrival, no fee will be charged.
Internet: Internet via TV is available in the hotel rooms and costs EUR 3.00 per hour.
Meal Plan: American breakfast is included in the room rate.
You can guarantee your booking with American Express, Visa and Euro/Mastercard. Please note that the property you have selected may require a different method of payment upon arrival, but this will be detailed in both your on-line and email confirmations.
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Select the desired dates. When allready know, this step is skipped.
Select your desired room types and your desired number of rooms. Then press the "book now" button. Subsequently the reservation form appears and you have to confirm your booking. Immediately thereafter you will receive a printable, screen confirmation of your booking. Then, following your screen confirmation, you will receive an instant detailed email confirmation with all of the hotel's contact information and the pricing details.
Your reservation is absolutely secure. All personal data is encrypted and will be processed in a secure way. 2hotel.nl takes the privacy of your personal data very serious. Your personal information will only be used to process your booking. 2hotel.nl will not charge you any reservation fees for making this booking, nor charge your credit card. You will simply pay for your stay at the hotel. Cancellation is free of charge; provided you adhere to the notification period stated in the hotel cancellation policy (see "Hotel Policies" under Overview ).


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Home » The Slaughter Question
The Slaughter Question
Horse slaughter becomes a hot issue after California's Proposition 6 banned the transport of horses for slaughter in the state.
By Jennifer Corkery | November 21, 2007 | 12 minutes read
Jeanette's new gelding, Bart, just wasn't working out. His classified ad had touted his as an "awesome athlete" that would be great for an "intermediate rider." After she'd had him a short while, she discovered he used his athleticism mainly to rear and buck at unpredictable moments. Unable to sell the gelding at private treaty–because she refused to misrepresent him–she opted in frustration to send him to a local livestock auction. She'd heard stories from friends who'd found riding horse there. Maybe the right person would find Bart, she reasoned, someone with the skills and patience needed to transform him into a reliable mount.
?Practical Horseman. All Rights Reserved.
With that happy ending fixed in her mind, Jeanette shrugged off a few misgivings as she handed Bart over to auction-yard workers. The next morning, alas, nobody fitting Jeanette's daydreams found her gelding at auction. For $750, though, a man who knows how to turn a profit from horseflesh did. That afternoon, Bart was loaded onto a cramped double-decker trailer and hauled across six states to meet his end in a slaughterhouse.
Bart's story couldn't have taken place in California. Since the passage of Proposition 6 in 1998, the sale and transport of horses for slaughter have been banned in that state. Now, slaughter opponents are zeroing in on the last two equine slaughterhouses in the United States, hoping a little-used state law will close down the foreign-owned Texas plants for good.
On the other side of the issue, slaughter proponents–which include many who make their living in the horse industry, and groups such as the American Quarter Horse Association–view banning slaughter outright as folly that will lead to tragic, unintended consequences.
The key point of contention is whether horses should be slaughtered at all–that is, whether slaughter is, or can be regulated to be, a suitable alternative for unwanted horses. Within that issue arise other arguments over the treatment and circumstances of horses before and during transport, as well as their treatment and method of death once at the slaughter plant. Further disagreement swirls around the fate of unwanted horses should slaughter be banned.
In this article, we'll look at both sides of the arguments surrounding this highly charged issue.
Slaughter in America, Dinner Abroad
The term "slaughter" applies to the method of procuring meat for human consumption. By law, the slaughter animal is kept alive until it can be immediately processed for food. The method of death must not introduce foreign substances into the animal's body; therefore, no euthanasia drugs may be used. Instead, the animals receive a stunning shot to the brain, then are immediately bled out (exsanguinated) and dismembered.
This procedure differs dramatically from rendering, in which the carcass of an already-dead animal is processed into byproducts, such as bone and blood meal for animal feed and fertilizer, stearic acid for car tires, and tallow for soaps. It's permissible for horses arriving at a rendering plant to be dead from disease, natural causes, or euthanasia drugs, because the intense heat in the vats breaks down any potential contaminants, disease-causing organisms, chemicals, and pharmaceuticals.
Despite Americans' passion for beef, pork, and chicken, we don't eat horsemeat. It's the foreign market that drives the American horse-slaughter industry. Belgium, France and Switzerland are the leading horsemeat consumers. And, with recent mad-cow and foot-and-mouth disease outbreaks, Europeans have increased their demand for horsemeat, both domestic and imported. (Other countries exporting horsemeat to Europe and Asia include our neighbors, Canada and Mexico, as well as Argentina, Australia and New Zealand.)
Largely as a result of this demand, approximately 70,000 U.S. horses are slaughtered or exported across the borders to slaughter in Canada or Mexico each year. This accounts for about 1 percent of the nearly 7 million horses in America. Horses slaughter was at its height in the late 1980s, when animals were sold off in great numbers after tax shelters for horse farms collapsed. According to United States Department of Agriculture figures, about 400,000 horses were slaughtered in the United States or shipped to Canada for slaughter in 1990. Today's figure is less than a sixth of that number.
Another marked decline is in the numbers of U.S. plants processing horsemeat. A decade ago, more than a dozen existed. Now there are just the two Texas plants, whose futures are increasingly uncertain.
Unsound, unhealthy, unmanageable-ultimately unwanted-horses wind up in the slaughterhouse. Every breed and type can be found, from failed or broken-down racehorses and former pleasure and show mounts to unproductive breeding stock and by-product foals of the Premarin industry (which uses pregnant mares' urine to produce hormone-replacement drugs for women).
Christine Berry of the Equine Protection Network uses a Black Beauty analogy to explain how a horse can decline into unwanted status. Beauty starts out as a young, vital, well-bred horse who's sold from owner to owner, acquiring injuries and infirmities along the way. Less useful as a riding or working horse with each owner, he eventually finds himself up for auction as an aged, unsound gelding–after a lifetime of loyal service. The story ends happily when Joe Green, a kind man who remembers Beauty from the days of their youth, buys the horse and retires him to pasture.
"But there are no Joe Greens for most horses sent to slaughter," laments Berry. The most common routes to the slaughterhouse for American horses are auctions and, to a lesser degree, private-party transactions and theft. Horses are sent to local auction (usually weekly or monthly livestock sales, as opposed to well-promoted, seasonal breed or performance-horse auctions) for a variety of reasons, and it's not always the aged and infirm that wind up in the slaughterhouse. Any horse that brings less than $1,000 (his per-pound worth) at auction is at risk of heading to slaughter.
"Killer buyers"–those seeking a profit by buying and selling horses for the slaughter industry-load up their purchases and haul them to Texas. The cheaper the horse, the more profit to be cleared. Thus, free horses, even those intended for a good homes by na
Slaughter opponents cite the path to slaughter, including auctions and transportation, as an industry segment that will continue to subject horses to misery despite the Commercial Transportations of Equine to Slaughter Act passed by Congress in 1996. Auction yards, with crowded pens of frightened, starving, injured, and frail horses, and the transport of those horses from auction to slaughterhouse, sometimes for days at a time in rigs unsuited for hauling horses, are a large part of the horse world's concern over the slaughter industry.
Doubledecker big rig trailers designed for shorter livestock, such as cattle and hogs, don't allow horses to stand comfortably or safely. Forty-plus horses can be squeezed in, after either climbing a ramp to the top deck or scrambling down a ramp into the belly. Once inside, many can't raise their heads due to the minimal 5-foot-8-inch clearance. New injuries are sustained as horses struggle to balance on metal floors slippery with urine and manure.
Extreme summer and winter temperatures compound the misery. Some horses show up at the slaughter plants dead on arrival, having succumbed to their preexisting conditions, or having been crushed and trampled.
"The economics of shipping horses to slaughter are in direct opposition to appropriate shipping methods," says Berry, who rode with and cared for valuable horses as an employee of one of the nation's largest commercial horse transporters. "To make it economical, too many horses are crowded into each shipment. All kinds of horses–aggressive stallions, pregnant mares, yearlings, elderly geldings–are forced in together, no matter their condition. To the slaughter industry, they're all the same. Many are in poor health or suffer severe unsoundness prior to the journey, so the ordeal is even more miserable for them. I've witnessed all of these horrors, and regulations haven't changed things."
On the other hand, Temple Grandin, one of the nation's leading authorities on the humane treatment of livestock, says transport to slaughter is not the horses' primary cause of suffering. "Some horses do get hurt on trucks," she stated in a September article by Barry Shlachter in the Dallas/Fort Worth Star-Telegram. "But the biggest problem is owner neglect-long before the horse gets to a slaughterhouse."
Still, the Equine Protection Network opposed the Commercial Transportation of Equine to Slaughter Act, because of weak language and perceived shortcomings. Berry claims the act has, by not specifically outlawing them, actually helped entrench cruel practices, such as traveling for up to 28 hours at a stretch without resting, watering, or feeding the animals.
Double-decker trailers still legally transport horses to slaughter in every state except Arizona, California, Connecticut, New York, Pennsylvania, Virginia, and Vermont.
Inside the Slaughter Plant
Once at the facility, horses are driven into chutes, then shot in the skull with a captive dead bolt (a 4-inch nail that punctures the brain and then retracts.). Each animal is then hung from the ceiling by a chain fastened to one hind leg, so that the carotid arteries and jugular vein at the base of the neck can be slit for bleeding out (even though the animal is unconscious, its heart continues to pump blood). Finally, the exsanguinated carcass is skinned, gutted and dismembered.
Slaughter proponents say the process is essentially humane–the horses don't know they're going to be killed, and aren't subjected to physical pain. Opponents strongly disagree, pointing to the sensitive nature of horses, the particulars of the ordeal, and inadequate oversight at the plants.
They note that horses arriving at the slaughterhouse are exhausted from traveling for hours or days packed skin-to-skin with each other. Workers wielding prods then urge the animals through a system of chutes to the "knock box." There, the horses stand for the captive bolt. Naturally attuned to their surroundings, the horses can hear and smell what's going on around them.
The captive bolt is supposed to render horses unconscious and insensitive to their ensuring bleed-out dismemberment.
"The captive bolt system is commonly misrepresented as an inhumane method of euthanasia," says Jerry Black, DVM, president of the American Association of Equine Practitioners. "It's a penetrating rod and the effect is the same as a bullet–it renders the horse immediately brain dead. The effect is instantaneous and humane. Horses that are euthanized by a veterinarian don't even go that quickly."
However, that's another point of disagreement, because sometimes one shot with the captive bolt isn't enough to do the job.
Cathleen Doyle of Save the Horses and co-sponsor of California's Prop. 6, has undercover videotape of horses that must be hit two and three times by the device before finally going down, and they struggle frantically between shots. Also caught on film is a buckskin horse receiving a captive bolt shot to the shoulder to bring his head into position for the kill.
"The proof is in the pictures," Doyle says. "Pictures the pro-slaughter forces are sure 99% of horse people will never see. I have footage of slaughter horses suffering violent, prolonged deaths, and couldn't get them on television to promote Prop. 6 because the stations told me, 'We can't show that. People would go crazy if they saw it.' Well, that's the point! Slaughter is ugly and violent, and it's been a hidden industry to all but the few who work in it."
Doyle contends that some horses aren't even brain dead when they're dumped out of the knock box, and that chaining and dismemberment begins while they're still conscious.
"Slaughter proponents say USDA officials at the plants ensure that slaughter is carried out in a humane manner. But those officials are meat inspectors in rubber boots and gloves, not experts with horses or their care. A slaughterhouse death is the furthest thing from humane euthanasia."
A Necessary Evil?
The horse industry is increasingly split on the issue. Most of the major breed organizations take no official stance. "We have no position statement," says Jerry Circelli, director of public relations and communications for the American Point Horse Association reflecting a common response. "We respect our members' individual decisions on this issue."
By contrast, the AQHA has made its pro-slaughter position public. The association claims that "the processing of horses for food" is a necessary facet of today's horse industry. It further maintains that if slaughter were banned, horses that would've been slaughtered will instead suffer a lingering death because of neglect and abuse by owners who no longer want or can afford them.
The AQHA also cites federal regulations intended to prevent slaughtered horses from suffering.
"As with all livestock, the processing of horses has been fully regulated by the USDA for many years under the Humane Methods of Slaughter Act," States the association's position paper. "This requires USDA veterinarians and inspectors to review the plants and their methods to ensure they are following the requisite procedures."
The AAEP shares this stance. According to its official position statement of May 2002, the association "recognizes that the processing of unwanted horses is currently a necessary aspect of the equine industry, and provides a humane alternative to allowing the horse to continue a life of discomfort and pain, and possibly inadequate care or abandonment."
AAEP President Dr. Black adds, "If slaughter exists, we expect and advocate that it's done humanely and with dignity. We feel that with current federal guidelines for transportation and slaughter, horses are treated humanely. Within the last few months, our officers have conducted site inspections of the processing plants, and found those guidelines are being used regularly. The chairman of our welfare committee reported that the horses were treated very well, and there was nothing to indicate that wasn't the case on a regular basis."
Alternatives to Slaughter
What are the alternatives to slaughter for unwanted horses? Horse rescue groups can provide new homes for some horses, but many older, infirm animals will still need to be put down.
"The only proper, ethical way to end a horse's life is humane euthanasia at the hands of a veterinarian," says Berry, who concedes that this option is difficult for many owners. "Unfortunately, too many people won't take the responsibility for having a horse euthanized, preferring to pass it off at auction or give it away, hoping it'll go to a good home. But their horse would be far better off if they'd just summon the strength to have a vet put it down."
Another limiting factor is the cost of veterinary euthanasia, which varies throughout the country and from vet to vet. The actual procedure usually ranges from $75 to $150; carcass disposal costs can be another $100 to $250. (Recent energy price hikes have caused rendering plants to double and triple their charges for accepting carcasses.)
"The price of euthanasia and rendering, at its highest, is equivalent to a few shoeings," notes Doyle. "If we can afford to shoe our horses so they can serve us, we can afford to give them a humane and dignified death."
Veterinary euthanasia makes use of the anesthetic agent sodium pentobarbital. The time from injection to actual death varies.
"I tell people that their horse's eyes will typically glaze over while he's still standing, and at that point, he's pretty anesthetized, thus unaware," says equine-practitioner Barb Crabbe, DVM. Dr. Crabbe admits that some horses will hit the ground hard, but that the vet can usually prevent this from happening. "In an ideal situation, the horse is down in about 2 to 3 minutes. Then it may take the heart a couple more minutes to stop beating," she says.
But sometimes it doesn't happen ideally.
"When it doesn't go well, the horse slams to the ground, flops around, and maybe flips over, then refuses to stop breathing, blinking or kicking for 10 minutes," says Dr. Crabbe.
Berry sums up the antislaughter position this way: "A horse deserves to die in familiar surroundings by humane euthanasia administered by a veterinarian."
But what if, on the other hand, a horse in familiar surroundings starves to death after standing for months (or years) on untrimmed hooves, tormented by biting insects, and drinking putrid water? Is that a fate potentially worse than slaughter, as the AQHA and others maintain? How likely a scenario is it?
Certainly it's not impossible to imagine that the same person who'd sell a horse at auction knowing the slaughterhouse awaits would also neglect him in the field if the option of profiting from his sale was eliminated.
"In a survey of our 6,000 AAEP members-vets in the field who witness the care of horses every day-the overwhelming response was that if slaughter weren't an option, there would be widespread neglect and abuse instead," reports Dr. Black.
Doyle argues that false reasoning.
"Horses are starving in fields right now, while slaughter is legal, and the existence of slaughter hasn't prevented their owners from neglecting them. I've seen many examples of people who wouldn't consider sending their horses to slaughter, claiming to love them, but neglect them anyway. The option of slaughter doesn't save horses from neglect."
Prop. 6–Bellwether or Folly?
Doyle and other slaughter foes claim the passage of Prop. 6 in California-the largest state overall, the largest horse-owning state, and the largest agricultural state in the nation-clearly demonstrated the nascent "will of the people" regarding slaughter. They believe the proposition is the driving force for national legislation, and will ultimately help to end equine slaughter in the United States.
Though current events in Texas may be affirming this belief, not everyone agrees it'll be a good thing.
This article first appeared in the December 2002 issue of Horse & Rider magazine.
Posted in Articles, Horse Industry Controversies, Rescue & WelfareTagged Rescue & Welfare
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Site and Motion
I am a walker. When I've lived and visited other cities or towns, I make a point of exploring in this manner, seeing things and being within a space, to know a place. This was entertaining when I'd visit the thrift shops in Detroit, or when I was in Banff, for different, yet related, reasons. That's a factor in responding to Motion | The 2018 City of St. Catharines Annual Juried Exhibit that opened late September and runs until March (2019) for several interlinked reasons.
Many of the scenes depicted by the artists in paint or photography or textile are part of "my city." Mary Burke's A City on the Move is a fragment of St. Paul Street I pass through often (as I've frequented Plan B, which is prominent to her composition). Morning Rush, by David Rose, offers a vignette of Geneva Street that's another of my "routes", and the unique architectural fragments of that Welland / Geneva intersection (with the Golden Grill, that I remember passing as a teenager living here, decades ago) are rendered in a way that alludes to the title: roughly, with no excessive detail, like a blur in passing as you move. Full disclosure: when I visited the St. Catharines Art Association recently David had one of my favourite pieces for the group critique, a work that evoked winter light and a sense of nostalgia.
My favourite work right now – perhaps, as there's another in close competition for that, and I reserve the right to change my mind, as often happens with exhibitions that are on display for long periods that I revisit – is Quin McColgan's photograph Downtown. It dates from 2015 and offers a very different view than many of the other landscapes that dominate Motion. Taken from several stories above St. Paul, this is a less "optimistic", less "charming" portrait. The colours and the prominent decay and wear in the street and buildings are, frankly, more the St. Catharines I know, that I live and walk – move, if you will – through. (With some of the incidences of violence recently in the downtown, there's the usual chorus of the death of said space, both specifically and in other urban areas in the region. As someone who lives and works in that space, I'll quote Susan Musgrave: "Sometimes it seemed they hadn't really died so much as I myself had become a ghost…." The subtle and quiet tones of McColgan's works suggest a less celebratory scene that many of the artists have chosen, for Motion.)
The exhibition is on the 3rd Floor of City Hall at 50 Church Street in downtown St. Catharines: this hallway space works very well – surprisingly – with several of the works, but more on that in a moment. The curatorial call / statement is this: Motion called upon artists to consider what movement of everyday life in our community looks like. This exhibit provides the audience with an opportunity to consider what the process of movement means to them in their community. How does it feel? What does it sound like? What objects or infrastructure enable this transportation? Fifteen local artists demonstrate what Motion in the City means to them through their work.
Unsurprisingly, Motion favours painting: also unsurprisingly, the Burgoyne Bridge is a favoured subject. But before I offer some thoughts – both positive and perhaps a bit more edged as to the prominence of that landmark – on works like Zoom or Crossing, I'll cite another "bridgework" and the piece previously hinted at, that competes with McColgan, for me. Gillian Dickson's Truck on Skyway blends hints of abstraction with some modernist forms to produce an atmosphere that makes it the most accomplished painting in Motion. The manner in which the bridge can dominate the skyline for a person on the ground is present in the monolithic rendering of the supports and the bridge, and the sky is bright yet seems to shimmer, perhaps with a humidity and concrete asphalt heat so common to Niagara summers.
But the bridge that appears most often here is Burgoyne: this can be interpreted in terms of how its white "bone" (like ribs, or spine, perhaps) arched installation has been the subject of many pictures and advertising / tourism moments in Niagara. A bit less positive: the recent report regarding massive budget overruns and how that demonstrates a Petrowski, a Caslin, if you will, of self serving incompetence in Niagara civic governance employs the Burgoyne as a "landmark" in a way other than physical (some have called it, in various social media spaces, a 'white elephant', but that's a bit unfair).
It's on people's minds, clearly. When I began writing this response to Motion, it was before two individuals in less than a week had attempted to end their lives by jumping from the bridge (I'm reminded of one of my favourite writers, Timothy Findley, whose characters often struggled with such issues, saying that the "insane", perhaps suicidal, person is not someone who has lost their reason, but lost everything EXCEPT their reason…).
In light of these events, again, the bridge takes on a different sense, a different personality, something that is both an icon of positivism but also a space of despair….
Some of the depictions of the bridge are more about the movement – the motion – implied by its formal aesthetic, as much as how many (like myself) welcomed its opening so I needn't go through the muddy snow and seasonal slushy mud by the creek to visit Rodman Hall. Jennifer Gruhl's digital photograph, with rich reds and deep blacks, titled Zoom is more dynamic than Marge Dorant's painting Crossing (but Dorant has the flat blue sky and bright white steel in an equally abstract composition that makes me think of the many times I've walked that bridge and seen the flat blue sky and the shining white steel).
Other artists explore alternate visual interpretations: Marinko Jareb's Box Trick Model (picture below) has his usual enjoyable irreverence, but also has a personal history to it that will make you smile.
Like all City Hall exhibitions, Motion is on display for an extended period (it closes March 15th, 2019). In the brief period the show has been on display, events in the city – as with Burgoyne, for example – have changed how I see it, and interact with it. I'll be visiting again, as more things happen, to see how the show "moves" in a similar, or different, responsive manner.
Images are courtesy and copyright of the artists and St. Catharines Culture at the City of St. Catharines.
Audrey Parker Brita Housez Burgoyne Bridge David Rose Deborah Larson Donna Szoke Gillian Dickson Jennifer Gruhl Joanne Ring Kathleen O'Flaherty Kevin Wang Marge Dorant Marinko Jareb Mary Burke Melani Pyke Motion Quin McColgan St. Catharines Culture STC
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The Origins of the League of Nations
The common belief in our history is that President Woodrow Wilson championed the concept of the League of Nations and it failed at the hands of his Republican adversaries who leaned toward isolationism. Historian Paul Johnson in his history of the 20th century, Modern Times, adds depth and maybe accuracy to the controversy.
The League was the brain child of two eccentric Brits; a religious Walter Phillimore and Lord Robert Cecil, a pacifist. The British military and diplomatic experts disliked the idea believing it would create a false sense of security and be used to disarm in the face of growing dangers. Such a treaty would still require military force to assure its compliance.
The French wanted something like NATO, a regional defensive alliance, and like the British were tepid toward the league. They considered a universal alliance in which all power belonged regardless of their record, and which guaranteed all frontiers regardless of their merits to be nonsense.
Senator Cabot Lodge, the Republican adversary to Wilson's push for the League, shared this skepticism. Not an isolationist he shared the concern for mutual security, and felt that the nations were unlikely to go to war to enforce the League's decisions. Cabot supported the Treaty but held reservations about the League and Wilson who pushed the League with a messianic religious zeal refused to compromise on the project, dooming it irreparably.
Tags: League of Nations, Modern TImes, Paul Johnson, Woodrow Wilson
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