text:
Thursday, Thu, 23 JanuaryJan 2020
Restoration begins on historic prison
By David Loughrey
The former Dunedin prison yesterday, where workers were erecting scaffolding as part of an effort to restore the building to its original 1896 appearance. Photo by Linda Robertson.
Scaffolding is rising outside the former Dunedin prison as stonemasons at a South Dunedin business prepare the way for the building to return to its original form.
Tradespeople are expected to start work next month on what is one of the oldest prisons in New Zealand.
The 120-year-old Victorian-style courtyard facility designed by John Campbell, who, six years later, was to design the neighbouring courthouse building, was decommissioned in 2007.
The Dunedin Prison Trust, which took on the building, has raised about $500,000 to start the first stage of its development programme to return the building to its original appearance.
Part of that work is to replace decorative architectural elements removed from the front of the building.
Workers at Wainwright & Co Stonemasons yesterday were sculpting mainly aerated concrete, or Hebel, as it was difficult attaching Oamaru stone to the reinforced concrete that had been added to the building.
Hebel looks just like Oamaru stone but feels like pumice, being extremely light for concrete.
An early drawing of Dunedin Prison, which was built in 1896. Image: The Hocken Collections, ref MS1759/010
Architectural conservator Guy Williams said elements of the original building had been ''torn off' in the past and replaced with heavy concrete.
He understood that was done to make the building more stable in an earthquake, and because the Department of Justice, as it was known, was in the business of locking people up, rather than retaining the building's architectural details.
''We're going to go, as far as we can, back to the original.''
Mr Williams said it was fortunate there were two illustrations in the Otago Daily Times archives that had helped him work out how the building had looked and what needed to be done to restore it.
''Without those it would have been almost completely lost.''
They allowed him to work out relative heights of aspects of the building and produce concept drawings.
''There was a lot of work getting the shapes right.''
Stonemason Marcus Wainwright - whom Mr Williams described as ''a remarkable craftsman'' - said he been working on the decorative pieces for about two years, and had been asked to finish the work by Christmas.
His employees were working on various Oamaru stone and Hebel stone balls and other shapes that graced the building in the past.
Dunedin Prison Trust chairman Owen Graham said scaffolding started going up at the former prison at the end of last week and there was more still to go.
Tradespeople would begin working on the site from September 5.
Last year, the trust lodged a planning application with the Dunedin City Council detailing about $250,000 of restorative work which would return the prison's exterior to its original 1896 condition.
The application included work on the building's roof and walls, as well as seismic strengthening, work expected to cost another $250,000.
david.loughrey@odt.co.nz
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Masonry falls from newspaper building


text:
ASPCA Appears before Congress in Support of PREPARED Act
The ASPCA provided expert testimony in the U.S. House in support of the PREPARED Act, which would require Animal Welfare Act license holders to create disaster plans that account for those animals.
The ASPCA regularly deploys nationwide to assist in pre- and post-disaster care for animals affected by catastrophes like tornadoes, floods and wildfires.
To ensure animals are included in disaster planning, urge your lawmakers to pass the PREPARED Act.
Today, the ASPCA testified before a subcommittee of the U.S. House Transportation and Infrastructure Committee on the vital importance of including animals in disaster planning. We called upon Congress to pass the PREPARED Act, which would ensure animals in institutional settings covered by the Animal Welfare Act are protected. Dogs in puppy mills, animals used in research facilities, and animals displayed in zoos and public exhibits would all benefit from this requirement.
This marks the third time in three weeks that Congress has asked for the ASPCA's testimony regarding animal welfare-related legislation. In recent weeks, we also advocated for a ban on the slaughter of American horses and for more humane management of wild horses and burros.
The ASPCA is a national leader in animal-related disaster response, with field expertise gained all over the country. We have partnered with local authorities to rescue and shelter animals in harm's way during hurricanes, tornadoes, floods and wildfires. We know firsthand how a lack of preparation can lead to dire consequences for animals left behind. Additionally, we want to ensure that no one has to face the difficult choice between evacuating to safety without their pets or staying behind in a disaster.
"Congress can and should address the remaining gaps in the inclusion of animals in disaster planning. In particular, the ASPCA urges Congress to pass H.R. 1042, the Providing Responsible Emergency Plans for Animals at Risk of Emerging Disasters Act or PREPARED Act. This bipartisan legislation, sponsored by Chairwoman Dina Titus (D-NV) and Representative Peter King (R-NY), will ensure that animals in certain institutional settings—such as zoos, research facilities, and commercial breeding operations—create detailed plans to protect the animals in their care during disasters and ensure that their employees know what steps to take when an emergency occurs," stated Richard Patch, ASPCA Vice President of Federal Affairs.
With natural disasters occurring more frequently, it's more important than ever that we are prepared to protect and care for animals who can't fend for themselves.
You too can tell Congress how important it is for animals to be included in disaster planning. Please urge your lawmakers to pass the PREPARED Act today!

redpajama_set_name: RedPajamaCommonCrawl


The greatest way to create buzz and impact with your hiring brand is to be consistent. Where your clients, candidates, the industry start to recognise your look, your voice, your presence.
You need to keep it real, alive & interesting. That's when you'll get noticed.
People will want a piece of you. They'll want a part of what you do.
Brands can't lie or deceive an audience thanks to the social web.
Whether a brand is actively involved in Social Media or not, they're being talked about. The sentiment is out there.
Anything short of transparency and you'll come unstuck.


Join us at the fantastic La RUCA cafe for an exciting evening of revolutionary folk songs and Nicaragua-themed entertainment!!
We're delighted that two visiting Nicaraguan musicians—Franklin Martínez & Luis Jarquín—will be providing live music, including a performance of the famous Carlos Mejia Godoy songs from the Misa Campesina Nicaragüense (the Nicaraguan Peasants' Mass).
Arrive at 6pm for food, available for purchase from La Ruca's fantastic (and very reasonably priced) menu. Bring your own beer / wine (but please make a donation for corkage!) Music from 7pm.
Plus a raffle with the chance of winning a bottle of Nicaragua's prized Flor de Caña rum!
£5 entry. All proceeds will go towards the development projects supported by BLINC, Bristol's twinning with the Nicaraguan town of Puerto Morazán.


This week's show is brought to you by Duo Security, big thanks to Duo for that! In this week's sponsor interview we'll be chatting with Duo Security's very own Dave Lewis about some Beyond Corp stuff. Beyond Corp is the enterprise computing model of the future and Dave will be along after this week's news to talk about some of its finer points.


text:
Bigg Boss Telugu Vote
Categories: ActorBiographyKollywood
Srushti Dange Wiki, Biography, Age, Height, Images, Husband, Family
Srushti Dange Wiki
Srushti Dange is an Indian Model and Film actress who primarily works in Kollywood Industry. She has done approximately twenty films in Tamil, Telugu and Malayalam in her career. She made her on-screen debut with Tamil Film Kadhalagi in 2010. She initially appeared in supporting roles by playing a victim in Myshkin's Yuddham Sei in 2011. In 2014, she acted in Telugu film April Fool. Srushti Dange was received Edison Award for Best Actress in a Social Awareness Movie Kaththukkutti in 2015. Check out below for Srushti Dange Wiki, Biography, Age, Height, Images, Husband, Family
Read Other Biographies: Manisha Yadav | Anjena Kriti | Arun Prabhu Purushothaman | Sundeep Kishan | S R Prabhu | Aditi Balan | Sriranjani | Amit Bhargav | Lakshmy Ramakrishnan | Sandy Master | Dhruv Vikram | Sana Althaf
Srushti Dange Profile and Career
Srushti Dange was born on 26 May 1992 in Mumbai, India. Her personal details, career, age will be updated soon. She works in Tamil, Telugu and Malayalam film Industries. She made her on-screen debut with Tamil Film Kadhalagi in 2010.
In 2011, She initially appeared in supporting roles by playing a victim in Myshkin's Yuddham Sei. In 2014, she acted in Telugu film April Fool.
Srusthi came into limelight after she was portraying the lead role in the romantic thriller Megha, winning mixed reviews for her performance in the title role. In 2015, she was seen in the horror film Darling and the psychological thriller film Enakkul Oruvan.
Srushti Dange was received Edison Award for Best Actress in a Social Awareness Movie Kaththukkutti in 2015. Also, she has acted in Puriyatha Aanandham Puthithaga Aarambam, a romantic film which launches Krish in the leading role.
Srushti Dange Images
Srushti Dange Movies
Kadhalagi (2010), Yuddham Sei (2011), April Fool (2014), Megha (2014), Darling (2015), Enakku Oruvan (2015), Puriyadha Anandam Puthinthaga Arambam (2015), Kaththukkutti (2015), Vii Ambu (2016), Navarasa Thilagam (2016), Jithan 2 (2016), Kaalakkoothu (2016), Dharma Durai (2016)
Srushti Dange Biography
Name Srushti Dange
Nickname Srushti
Profession Indian Actress, Model
Height 5″7′
Hometown Mumbai, Maharashtra, India
Married No
Husband Name NA
Current City Mumbai, Maharashtra, India
Srushti Dange Facebook: https://www.facebook.com/SrushtiOfficialPage/
Srushti Dange Twitter: https://twitter.com/srushtiDange
Srushti Dange Instagram: https://www.instagram.com/explore/tags/srushtidange/
Read More Biographies
I am the content writer and editor at NewsBugz. I have a keen interest in films and social media trends. Contact me at newsbugzofficial@gmail.com
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"There's a guy around who's snatching purses. He grabbed an older lady's purse and put her in the hospital. You know, she was 72 years old and he put her in St. Joe's.
Is there anyone who can provide Tony with an opportunity to do 20 hours of "commun- ity service"?
Tony needs to perform 20 hours of community service in order to avoid jail time. He tells me that qualified organizations are preferring young people as volunteers. Thus, he's not found any opportunity to do his community service. Can anyone help?


text:
To address Coronavirus: UK 'well' prepared, with cases, says the government
The number of UK cases rose to 13, according to cruise ship passengers back in the UK on Saturday.
https://ichef.bbci.co.uk/news/1024/branded_news/70BD/production/_111016882_coachescarryingpassengersthathavebeenrepatriatedtotheukfromacruiseshiphitbythecoronavirusinyokohamajapanarriveatarroweparkhospitalonthewirralwherepa.jpg,https://ichef.bbci.co.uk/news/320/cpsprodpb/70BD/production/_111016882_coachescarryingpassengersthathavebeenrepatriatedtotheukfromacruiseshiphitbythecoronavirusinyokohamajapanarriveatarroweparkhospitalonthewirralwherepa.jpg,https://ichef.bbci.co.uk/images/ic/720x405/p084kjcg.jpg
to_address_coronavirus_uk_well_prepared_with_cases_says_the_government
Evacuees were taken from the Diamond Princess Cruise Ship , to Arrowe Park Hospital on Saturday
the UK was "well prepared" to deal with coronavirus cases and The Risk for people "remained low", the government has said.
Downing Street said, 99% of the tested in the UK had come back negative.
The total number of cases in the UK could a 13
It Comes amid growing fears of the outbreak to reach pandemic scale
Italy has the largest number of coronavirus cases in Europe are currently 165 and reported its fifth death from The Virus .
It's hard measures it has taken to try and contain the outbreak, including the enforcement of a lockdown in several small towns in Lombardy and Veneto.
Asked whether similar measures could be imposed to that said in the UK, the Prime Minister 's official spokesman: "We are led by the Council of the Public Health and medical experts and take the steps you feel are necessary to best protect The British public. "
The Risk for people "remains low" and 99% of the tested in the UK had come back negative, the spokesman added.
He said: "We are good cases, prepared for the UK, we are best practices to prevent further spread, and the NHS is very well prepared and used to manage infections. "
The government will continue to work to "closely" with The World health organization and the international partners, and "remain prepared for all eventualities," he said.
The Foreign office has updated at the weekend, the spokesman added.
the Irish Ministry of Foreign Affairs
the UK has confirmed the delivered equipment, including face masks in China to help in the fight against the spread of the disease, the spokesman.
"We have delivered [the Chinese government] with 1,800 pairs of glasses, 430,000 disposable gloves, 194,000 disinfecting wipes, 37,500 medical dresses and 2,500 masks," he said.
The total number of UK cases has risen flown 13 to four cruise passengers to the UK, tested on Saturday is positive for The Virus .
More Than 620 people on Board the Diamond Princess , tested positive for The Virus
they were among 30 of the repatriated Britons and Two Irish citizens at the beginning of a 14-day quarantine in Arrowe Park Hospital in Wirral.
The Four British nationals of The Virus caught on the Diamond Princess liner in Japan, and to be treated centres, in specialist NHS infection.
Two of The British , who were not on the evacuation flight, Sally and David Abel, treated in a Japanese hospital
The World health organization (WHO) has said it will not officially known, a Corona-Virus -pandemic starts, but with the term in the communication, if it reaches that stage.
spokeswoman Margaret Harris said: "We could start to describe it, such as a pandemic, but in the moment we say, it is clusters and outbreaks in some countries. "
She Said that, in most cases, there was a clear epidemiological link between the affected and cases from Asia reported.
"When was that added all around the globe and we see a systematic community transmission, we would say, this is the definition of a pandemic" is added.
The statements come, as countries like South Korea , Italy and Iran struggling to contain The Virus , resulting in respiratory diseases Covid-19.
Approximately 77,000 people in China, where The Virus emerged last year, were infected and almost 2,600 died.
More Than 1,200 cases have been confirmed in over 30 other countries and More Than 20 deaths have been.
you Ask me this explainer


Make sure you also check out our calendar page for a complete listing of events, or our Holiday Events page. You can also check out our Seasonal Activities for more ideas!
As I've said before, there are always a TON of things to do! Get out and enjoy yourself, especially this time of year! The holidays are magical in Utah, especially for families!


text:
[CmdletBinding()]
param(
    [Parameter(Mandatory = $false)]
    [string]
    $SharePointCmdletModule = (Join-Path -Path $PSScriptRoot `
                                         -ChildPath "..\Stubs\SharePoint\15.0.4805.1000\Microsoft.SharePoint.PowerShell.psm1" `
                                         -Resolve)
)

Import-Module -Name (Join-Path -Path $PSScriptRoot `
                                -ChildPath "..\SharePointDsc.TestHarness.psm1" `
                                -Resolve)

$Global:SPDscHelper = New-SPDscUnitTestHelper -SharePointStubModule $SharePointCmdletModule `
                                              -DscResource "SPDistributedCacheService" `
                                              -IncludeDistributedCacheStubs

Describe -Name $Global:SPDscHelper.DescribeHeader -Fixture {
    InModuleScope -ModuleName $Global:SPDscHelper.ModuleName -ScriptBlock {
        Invoke-Command -ScriptBlock $Global:SPDscHelper.InitializeScript -NoNewScope

        # Mocks for all contexts
        Mock Use-CacheCluster -MockWith { }
        Mock -CommandName Get-WmiObject -MockWith {
            return @{
                StartName = $testParams.ServiceAccount
            }
        }
        Mock -CommandName Get-NetFirewallRule -MockWith {
            return @{}
        }
        Mock -CommandName Get-NetFirewallRule -MockWith {
            return @{}
        }
        Mock -CommandName Enable-NetFirewallRule -MockWith { }
        Mock -CommandName New-NetFirewallRule -MockWith { }
        Mock -CommandName Disable-NetFirewallRule -MockWith { }
        Mock -CommandName Add-SPDistributedCacheServiceInstance -MockWith { }
        Mock Update-SPDistributedCacheSize -MockWith { }
        Mock -CommandName Get-SPManagedAccount -MockWith {
            return @{}
        }
        Mock -CommandName Add-SPDSCUserToLocalAdmin -MockWith { }
        Mock -CommandName Test-SPDSCUserIsLocalAdmin -MockWith {
            return $false
        }
        Mock -CommandName Remove-SPDSCUserToLocalAdmin -MockWith { }
        Mock Restart-Service -MockWith { }
        Mock -CommandName Get-SPFarm -MockWith {
            return @{
                Services = @(@{
                    Name = "AppFabricCachingService"
                    ProcessIdentity = New-Object -TypeName "Object" |
                                        Add-Member -MemberType NoteProperty `
                                                   -Name ManagedAccount `
                                                   -Value $null `
                                                   -PassThru |
                                        Add-Member -MemberType NoteProperty `
                                                   -Name CurrentIdentityType `
                                                   -Value $null `
                                                   -PassThru |
                                        Add-Member -MemberType ScriptMethod `
                                                   -Name Update `
                                                   -Value {} `
                                                   -PassThru |
                                        Add-Member -MemberType ScriptMethod `
                                                   -Name Deploy `
                                                   -Value {} `
                                                   -PassThru
                })
        } }
        Mock -CommandName Stop-SPServiceInstance -MockWith {
            $Global:SPDscDCacheOnline = $false
        }
        Mock -CommandName Start-SPServiceInstance -MockWith {
            $Global:SPDscDCacheOnline = $true
        }

        Mock -CommandName Get-SPServiceInstance -MockWith {
            if ($Global:SPDscDCacheOnline -eq $false)
            {
                return @(New-Object -TypeName "Object" |
                            Add-Member -MemberType NoteProperty `
                                       -Name Status `
                                       -Value "Disabled" `
                                       -PassThru |
                            Add-Member -MemberType NoteProperty `
                                       -Name Service `
                                       -Value "SPDistributedCacheService Name=AppFabricCachingService" `
                                       -PassThru |
                            Add-Member -MemberType NoteProperty `
                                       -Name Server `
                                       -Value @{
                                           Name = $env:COMPUTERNAME
                                        } -PassThru |
                            Add-Member -MemberType ScriptMethod `
                                       -Name Delete `
                                       -Value {} `
                                       -PassThru |
                            Add-Member -MemberType ScriptMethod `
                                       -Name GetType `
                                       -Value {
                                    New-Object -TypeName "Object" |
                                        Add-Member -MemberType NoteProperty `
                                                   -Name Name `
                                                   -Value "SPDistributedCacheServiceInstance" `
                                                   -PassThru
                                        } -PassThru -Force)
            }
            else
            {
                return @(New-Object -TypeName "Object" |
                            Add-Member -MemberType NoteProperty `
                                       -Name Status `
                                       -Value "Online" `
                                       -PassThru |
                            Add-Member -MemberType NoteProperty `
                                       -Name Service `
                                       -Value "SPDistributedCacheService Name=AppFabricCachingService" `
                                       -PassThru |
                            Add-Member -MemberType NoteProperty `
                                       -Name Server `
                                       -Value @{
                                           Name = $env:COMPUTERNAME
                                        } -PassThru |
                            Add-Member -MemberType ScriptMethod `
                                       -Name Delete `
                                       -Value {} `
                                       -PassThru |
                            Add-Member -MemberType ScriptMethod `
                                       -Name GetType `
                                       -Value {
                                    New-Object -TypeName "Object" |
                                        Add-Member -MemberType NoteProperty `
                                                   -Name Name `
                                                   -Value "SPDistributedCacheServiceInstance" `
                                                   -PassThru
                                        } -PassThru -Force)
            }
        }

        # Test contexts
        Context -Name "Distributed cache is not configured" -Fixture {
            $testParams = @{
                Name = "AppFabricCache"
                Ensure = "Present"
                CacheSizeInMB = 1024
                ServiceAccount = "DOMAIN\user"
                CreateFirewallRules = $true
            }

            Mock Use-CacheCluster -MockWith {
                throw [Exception] "ERRPS001 Error in reading provider and connection string values."
            }
            $Global:SPDscDCacheOnline = $false

            It "Should return null from the get method" {
                (Get-TargetResource @testParams).Ensure | Should Be "Absent"
            }

            It "Should return false from the test method" {
                Test-TargetResource @testParams | Should Be $false
            }

            It "Should set up the cache correctly" {
                Set-TargetResource @testParams
                Assert-MockCalled Add-SPDistributedCacheServiceInstance
            }
        }

        Context -Name "Distributed cache is configured correctly and running as required" -Fixture {
            $testParams = @{
                Name = "AppFabricCache"
                Ensure = "Present"
                CacheSizeInMB = 1024
                ServiceAccount = "DOMAIN\user"
                CreateFirewallRules = $true
            }

            $Global:SPDscDCacheOnline = $true

            Mock -CommandName Get-AFCacheHostConfiguration -MockWith {
                return @{
                    Size = $testParams.CacheSizeInMB
                }
            }
            Mock -CommandName Get-CacheHost -MockWith {
                return @{
                    PortNo = 22233
                }
            }

            It "Should return true from the test method" {
                Test-TargetResource @testParams | Should Be $true
            }
        }

        Context -Name "Distributed cache is configured but the required firewall rules are not deployed" -Fixture {
            $testParams = @{
                Name = "AppFabricCache"
                Ensure = "Present"
                CacheSizeInMB = 1024
                ServiceAccount = "DOMAIN\user"
                CreateFirewallRules = $true
            }

            $Global:SPDscDCacheOnline = $true

            Mock -CommandName Get-NetFirewallRule -MockWith {
                return $null
            }

            It "Should return false from the test method" {
                Test-TargetResource @testParams | Should Be $false
            }

            It "shuts down the distributed cache service" {
                Set-TargetResource @testParams
                Assert-MockCalled Enable-NetFirewallRule
            }
        }

        Context -Name "Distributed cache is confgured but should not be running on this machine" -Fixture {
            $testParams = @{
                Name = "AppFabricCache"
                Ensure = "Absent"
                CacheSizeInMB = 1024
                ServiceAccount = "DOMAIN\user"
                CreateFirewallRules = $true
            }

            $Global:SPDscDCacheOnline = $true

            Mock -CommandName Get-AFCacheHostConfiguration -MockWith {
                return @{
                    Size = $testParams.CacheSizeInMB
                }
            }
            Mock -CommandName Get-CacheHost -MockWith {
                return @{
                    PortNo = 22233
                }
            }
            Mock -CommandName Get-NetFirewallRule -MockWith {
                return @{}
            }
            Mock -CommandName Remove-SPDistributedCacheServiceInstance -MockWith { }

            It "Should return false from the test method" {
                Test-TargetResource @testParams | Should Be $false
            }

            It "shuts down the distributed cache service" {
                Set-TargetResource @testParams
                Assert-MockCalled Remove-SPDistributedCacheServiceInstance
                Assert-MockCalled Disable-NetFirewallRule
            }
        }
    }
}

Invoke-Command -ScriptBlock $Global:SPDscHelper.CleanupScript -NoNewScope

redpajama_set_name: RedPajamaGithub


text:
Who's That Man? Mifune at 100
By Moeko Fujii
Everyone remembers their first time with Toshiro Mifune. With almost anyone else, such a first would be recollected with a shrug or a casual "it was . . . fine." But Mifune induces delirious and perfect recall: of him flat on a haystack in Sanjuro, rolling in the mud in Rashomon, hotly tucked in a train bathroom in High and Low. In severe cases, numbers enter the conversation, as in: let's rank all sixteen Mifune-Kurosawa collaborations, or "he's like a seven in his early noirs but a solid nine in Yojimbo." That Mifune still prompts such possessiveness might seem a little excessive. I said so to a friend, who informed me that the only acceptable and human response to Mifune is to want him supine.
For most of the past century, when people thought of a Japanese man, they saw Toshiro Mifune. A samurai, in the world's eyes, has Mifune's fast wrists, his scruff, his sidelong squint. Postwar Japanese cinema—led by Kurosawa, Mizoguchi, Naruse, Ozu, Kobayashi—featured many men who were bores and disappointments, and actors such as Chishu Ryu, Tatsuya Nakadai, and Takashi Shimura infused that stoop of failure with inevitability, resonance, depth. Mifune, meanwhile, embodied a different kind of failure, one that looked sexy. He may have played warriors, but they weren't typical heroes: they threw tantrums and fits, accidentally slipped off mangy horses, yawned, scratched, chortled, and lazed. But when he extended his right arm, quick and low with a blade, he somehow summoned the tone of epics.
"There are all kinds of legends," Mifune would say, demurely, of his first audition. When he showed up at Toho Studios in 1947, he was a starving laborer scraping by while working for the U.S. occupation forces. Mifune didn't want to act; a photographer's son, he was there for the job of photographer's assistant. Somehow, his résumé ended up in a pile for a "New Faces Contest," where he was judged by a panel of directors and actors who deemed him insubordinate and uncontrollable. "Is it true," later interviewers would ask him, "that you refused to smile?" But one of the judges, actor Hideko Takamine (and here, the legend starts reading like someone's fantasy cocktail party of Japanese cinematic greats), skipped out and over to Akira Kurosawa and told him that there was a boy worth looking at. When Kurosawa got there, he saw a man "reeling around the room in a violent frenzy . . . a wounded or trapped savage beast trying to break loose."
My education on Toshiro Mifune began, naturally, with his ass. As a teen, I'd prematurely decided that one could be a Kurosawa girl or an Ozu girl—Kurosawa's films were all about the butt and legs, Ozu's the neck and eyes—but you couldn't be both at once. I dismissed Kurosawa's movies as too sweaty, a parade of testosterone with far too many swords. I preferred, I said, to be slayed by delicacy, urban irony, women: Hideko Takamine's flushed glances, Setsuko Hara's hands hiding her face. I lasted until college. One winter break, during a bout of flu, I let Toshiro Mifune wander into my life—he turned his back to me and said, "abayo"—and I felt myself changed. Most people, I realize, do not fever-dream about the curvature and twitch of Mifune's ass—lashed by sheets of rain—after binging Kurosawa's greatest hits. But I know that I am not the first to feel called upon to write about it (Pauline Kael, also a fan: "No actor can do more with his knees and his behind than Mifune"), or to have stared at it, head tilted, thinking: is that . . . butt-acting? Tarkovsky, too, would take a shot at a theory of Mifune's lower half in Seven Samurai—why it affects him so—though he's more indirect about it: "the samurai," he wrote, wears a "garment that leaves most of the leg bare, and their legs are plastered with mud. And when one samurai falls down dead we see the rain washing away the mud and becoming white, as white as marble . . ." I wanted more clarity. I turned to my mother, who lives in Tokyo and has long scoffed at my pretensions. "Wait until you see it in white linen," she said.
There's a tendency to make Mifune sound mythical. The leading man of Kurosawa-gumi, the Emperor's coterie, he would cement his superstar status in over 150 films in his lifetime, acting for other famed directors—Hiroshi Inagaki, Kajiro Yamamoto, Kihachi Okamoto—in roles ranging from a caped lover to a Mexican bandit. I want to make him feel more real—less Theseus, more Joe—but details from his private life simply refuse to cooperate. Here is Mifune piloting a Cessna low over his son's elementary school courtyard, flinging red carnations out his window for his wife and other mothers on Mother's Day. Here he is sailing out in his own motorboat into a monstrous hurricane and saving actual lives in 1958; here he is flamenco-ing away an Italian night with Gina Lollobrigida; here he is easily and gently shouldering drunken Kajiro Yamamoto—wheelchair and all—like a bag of feathers down the stairs. Finally, I find a photograph of him at the wheel of his baby—a cream-colored MG-TD—looking windswept and happy, like some normal man after a good drive. But still he resists: there's a samurai sword balanced on the dash.
"Mifune is simply too well-built," Kurosawa would say, according to Donald Richie. "He has too much presence." I am caught by this measuring, weighing tone of too—the idea of Mifune's too-much-ness—because the undeniable extremes of his attractive body and his global stardom raise some questions: how much of it is Kurosawa, how much of it is Japanomania, how much of it is craft, and how much of it is just him? In Drunken Angel (1948)—Mifune's first film with Kurosawa—Mifune is a yakuza-nobody with late-stage TB, so he tucks a carnation into his lapel, knocks back some whisky, and rollicks in a white linen suit for a world that doesn't care. In a club scene, we see him dance to Kurosawa's lyrics—an unsubtle Wwwwow, wow wow!—and the women around him stare at those hips, so death-bound. Mifune doesn't give a sense of a barre or precision—that would come later, in movies like The Bad Sleep Well or High and Low—but moves with the thin, violent brightness I associate with young geniuses, scared of standing still, taking stock, and flaming out. "I like extremes," Kurosawa would say, "because I find them most alive."
But there's something more to the thrill of Mifune's movement than extremity; he makes you want to imitate him, even if—or because—you know you can't. One long afternoon, I watched YouTube clips of John Belushi on SNL from the midseventies, a series of samurai parodies "inspired" by Mifune. Most of the time I was clasping my cheeks—dear God, mumbo-jumbo "Japanese"—but a few seconds of it, strangely, made me laugh out loud. Schlubby Belushi was nailing that unmistakable Mifune chin-stroke from Yojimbo, with his scratching hand emerging not from a sleeve but from the V-opening of his kimono. How funny and stupid he looks—how funny we would look—imitating gestures that are now Mifune signatures. The movements so clearly don't fit the person, which is of course what makes them parody. But what made them fit Mifune? What makes us want to play at being him? What makes some movements feel like his and his alone?
Drunken Angel
Some of the allure of Mifune's movements comes from the fact that he was the original man with no name. In a scene of Seven Samurai (1954), Mifune demands that the other six samurai recognize him as one of their own. He pulls out a samurai family registry and points at a name: my name is Kikuchiyo; see there. Takashi Shimura, the samurai leader, reads it and starts laughing. "You hardly look thirteen years old to me," he says, and Mifune recoils, as though knifed by their laughter. We never find out his actual name. In Yojimbo (1961) and Sanjuro (1962), Mifune carries his namelessness with a lot less existential unease: when asked for his name, he looks out the window, yawns, and arbitrarily names himself by what he sees—camellias, a mulberry field. There's nothing better than Mifune nameless, childless, and parentless, stripped of a past. Unlike the stable of Kurosawa's types—the despairing farmer, the proud samurai, the bobbing bureaucrat—Mifune's characters feel parachuted in from a different story. Without a "real" name, he disavows material legacies, or any orientation toward a future. Everything is about bodily attention, how he's crossing his muscly arms and glaring at you, now. We become so used to his present-ness—his "too much presence"—that after a while we don't even need his body on-screen to sense him. Before the final battle in Seven Samurai, we see a bunch of swords thrown from off-camera into a mud heap in the middle. In this film, Mifune is the only samurai who would fling things. We don't need Kurosawa's slow pan to the right to identify the thrower.
Mifune's magnetism, in other words, did not seem to require subtitles. After the international success of Rashomon (1950), he made generations of prominent American critics reach for their best animal metaphors: he was the Emperor's wolf, a panther, a lion, a hyena, a lynx. For Anthony Lane, Mifune was "a human hedgehog"; for Vernon Young, a "soft padding genial tiger"; for Michael Sragow, a "Japanese bull in a china shop." For Stanley Kauffmann, Mifune in Rashomon was "one of the most purely feral performances on film—animalistic in both the bestial and the elementary senses." Mifune was the Japanese John Wayne, they said, but it was easy to read between the lines: if Wayne rode animals, Mifune was one.
But unlike John Wayne—who, as Joan Didion wrote, suggested a world where "if a man did what he had to do, he could one day take the girl and go riding through the draw and find himself home free"—Mifune's life on-screen centers solely around men. Women, when they do appear, feel arbitrary, mythical, temporary: it's clear that no one is really invested in the thrums of heterosexual desire. While Mifune took part in his fair share of melodramas, in his best roles he feels unavailable, with more on his mind than garden-variety love. For those in the audience, this was a tried-and-true formula for elevated hotness—but for which audience? Toshiro Mifune cemented his reputation as an icon of masculinity right alongside Hollywood narratives of neutered Asian manhood. In 1961, Mifune provoked worldwide longing by swaggering around in Yojimbo, the same year that Mickey Rooney played the bucktoothed Mr. Yunioshi in Breakfast at Tiffany's. Looks-wise, he's the opposite of his predecessor, the silent film star Sessue Hayakawa—often christened the "first Hollywood sex symbol"—with his long, slim fingers and Yves Saint Laurent polish. But Mifune represents a development beyond Hayakawa's Japanese-man-on-screen, who, despite his huge white female fanbase, was always limited to roles of the "Oriental" villain, the menace, the impossible romantic lead: in 1957, Joe Franklin would tell Hayakawa in his talk show, "There were two things we were sure of in the silent movie era; the Indians never got the best of it, and Sessue Hayakawa never got the girl."
Mifune never wants the girl in the first place. So the men around him can't help but watch him a little open-mouthed, as he walks his slice of world, amused by and nonchalant about the stupor he leaves in his wake. "Who is he?," someone asks, and no one ever has a good answer. You can't help but want to walk alongside him, to figure it out. This, of course, makes you far more curious about the man who can meet Mifune unfazed. Takashi Shimura—Kurosawa's other leading man, the frog to Mifune's prince—often carried this crucial, more earthy role: the consummate man of talk. In Stray Dog (1949), Mifune plays a young cop who tries to get information out of a prostitute by yelling. He fails. Later, he finds Shimura—who, he learns, is his new partner—and the girl snickering and flirting over popsicles in a booth. If Mifune shape-shifted between roles, Shimura shifted within one. He provided the necessary human, ironic anchor to Mifune's mythic wandering, the counterpoint to Mifune's feral rage.
Mifune and Kurosawa on the set of Yojimbo
For all of Mifune's animal exuberance, his characters hinge on moments of human connection, when he claims that he is like someone else. "I am this baby," he cries, carrying an orphan farmer's child in his arms in Seven Samurai. "I, too, had my knapsack stolen," confesses Mifune as the cop in Stray Dog, putting himself in the shoes of a killer. The viewer is, for a moment, startled out of the narrative by the absurd dissonance: Toshiro Mifune is claiming that he is like another sniveling man. And he sounds like he believes it. The power of the voice of a man who speaks rarely: it carries weight. So you ask: Him? How? You look harder, think further: what makes us identify with others? What leads us to help other people, even when—especially when—they do not share our background, when they do not look like ourselves?
This question of identification—of who you recognize as being like you—is central to Kurosawa's 1963 High and Low. It's a procedural following the story of a kidnapper who mistakenly abducts a chauffeur's son, instead of the son of the man the driver works for: the wealthy industrialist Gondo. Mifune's Gondo faces a reckoning: given that he was happy to pay a ransom that would've driven him to ruin in order to save his son's life, would he do the same for his driver's? To what extent can he empathize with the plight of the driver—or that of the killer? Where Mifune literally bounced off floors and walls in the early noirs, in this film he's tense and compact, a pivot point, the brittle needle on which the compass of the story spins. He's always somewhere, bent. We don't see him flailing or bellowing; he ossifies his samurai's waiting crouch into a businessman's stiff neck and bow.
But Mifune funnels this energy into two discrete scenes, to stunning effect. In the first, he tears at his hair in the shower in between the kidnapper's calls, and in the second, he rakes and splashes his face under the sink in a train bathroom after throwing the entirety of his fortune—the ransom—out the window. After both scenes, the camera closes in on his water-sodden face, a face that, in the space of an everyday gesture, is allowed to lose a modicum of composure. In those few seconds, the clouds part, revealing an expression not quite animal or human. We can see the fury of a younger, slim-faced Mifune throwing himself against surfaces, reflected only on the dark panes of those older eyes.
But what happens when a glorious shape-shifter stays still in one form too long? Perhaps that's what happened to Mifune, who, after parting with Kurosawa following Red Beard (1965), was left with a single name: the Last Samurai. Despite his physicality and range, Mifune stopped shifting, cutting a similar—and increasingly declining—figure in the same old legends. The wheels spun in the air and started to slow. "Is it true that they call you Mr. Clean?" Tetsuko Kuroyanagi asks him in 1981 on her talk show. He's sixty-one, in a comfortable yellow tweed and black turtleneck, smoking. They are laughing about what the girls in his neighborhood call him, because in those years he was often found carefully vacuuming the outside of his production studio. This man, who was once so bodily that he made you forget he had a body, shape-shifted one last time—from an aging superstar to a smaller, more ordinary legend, a man who wipes his own windows. Then he chuckles. "There's a variety of names. That, and Old Vacuum Man," he says, smiling that broad Mifune smile. "But I call myself the Minister of Cleaning."
A centennial tribute to Mifune is now playing on the Criterion Channel. Watch the series trailer below:
Tokyo Journal: Remembering Toshiro Mifune
One of the preeminent voices on Japanese cinema talks about how the iconic actor was always trying to do the right thing.
By Donald Richie
— Oct 1, 2008
Moeko Fujii is a writer and critic. Her essays and criticism have appeared in the New Yorker, Film Comment, Aperture magazine, and elsewhere.
More: Features
In Another Room, from Another Time
In Hirokazu Kore-eda's Still Walking, the briefly heard Japanese pop hit that inspired the film's title is both a portal to long-buried memories and a minor detail that resists interpretation.
By Ben Elias
On Film / Features — Jan 15, 2021
Long Live the Microcinema
With the future of film exhibition more uncertain than ever, several small-scale organizations with highly personal curation are proving they have what it takes to survive against the odds.
By Nicolas Rapold
In Case You Missed Them: A Year's Worth of Essential Reading on the Current
Before ringing in the new year, we're taking a look back at some of the most memorable essays and interviews we published in 2020.
On Film / Features — Dec 20, 2020
The Self-Created Immortality of Mae West
With her contralto drawl, genius for innuendo, and fierce control behind the camera, this great Hollywood provocateur pioneered a sex-positive cinema far ahead of its time.
By Farran Smith Nehme
On Film / Features — Dec 4, 2020


That's some scary chart Sharpshot. Any idea why that happened?
Probably some search changes killed off my best selling images. They cut commissions a few times and I stopped uploading because there was no incentive to carry on. Then there's the increased competition, especially when istock exclusives dropped the crown and started to use FT. I'm not sure why some of us have seen a big earnings drop while others have been OK.
My earnings have stayed fairly stable with SS, even though I haven't uploaded much for a long time now.
As I recall, FT had a policy starting years ago that the search results would punish contributors who did not submit new images. When I stopped submitting, my sales at FT started to fall and they are still falling, compared to SS and DT.
I see the same trend with my earnings at Fotolia. My only explanation for that is that as your rank goes up (I am sapphire) and you can set higher prices for your images, your search position goes down. Fotolia clearly demonstrated that their strategy to compete is by slashing prices, so why would they want to show buyers images with more fair pricing. Somebody new with lower priced images get better position and better earnings.
most Canadian banks charge monthly fee for maintaining a US account. Did you find a bank which gives you a free US account?
For my US account they don't charge a fee until you make a transfer, which is $1.50 I think... I don't remember if I had to twist their arms for that, sometimes if you ask they can offer you a better deal. In general they are all the same, you know how it is with Canadian banks - they totally do price fixing and nobody so far is able to stop them from doing that.
1% doesn't seem to be worth all the hassle, but when you exchange 10,000 it a $100. Plus, while the money is sitting on your US account with your bank, you're getting some (really pathetic) interest (paypal has none).
1- Log into PayPal and click on My Account, then Withdraw followed by Transfer funds to your bank account. In the Withdraw Funds by Electronic Transfer page click on 2- Add Bank Account.
3- In the Add a Bank Account page, select "United States" as Country and type in "Royal Bank of Canada" as the Bank Name.
4- Enter the 9-digit routing number exactly as suggested by the graphic. Royal Bank's routing number is "026004093".
5-Since the trick is to get the account number correct, ignore the example suggested by the graphic. Instead, enter the five-digit transit number of your account followed by your actual account number. You can also get the exact sequence of numbers (transit number followed by account number) from your monthly statement or online.
6-Re-enter the account number and click Continue. Wait for PayPal to make two small deposits into your bank account and then confirm that you have added the bank account successfully in PayPal by entering how much was deposited.
7- Once confirmed, your US-dollar account will show up in the To field in the Withdraw Funds page and you should be able to transfer funds in US dollars into your USD chequing account.
Using this I get the withdrawal process Faster, with no Fees, and I do the conversion (or not) in my RBC account.
I looked into this option - this used to work, but they closed this loophole a few years back. When did you register your RBC US account with paypal - was it a while ago?
Fotolia - all time low - less than 20% of all time high! wow. Lower than DT. A few years back it was #1 earner... how dramatically things changed. Not sure if there is hope for that agency.
@ouchie: Obviously, you have never seen a model release and have not a slightest idea what it states in pretty noticeable full-size print. So, you posting in this thread why? You know, you can start your own thread discussing problems of shooting cabbages, I can help with that if you don't know how, but please, don't make posts without at least some rudimentary understanding of the subject.
Pixta earns me 4% of what Shutterstock does. We sent them content by mail so didn't have to upload, but I do wish sales where better. Recent conversion rate from yen is not helping either.
I have to partially disagree with that explanation, its only part of the phenomenon. You could have 15,000 landscape shots, and hit a wall, but as soon as you add 1000 lifestyle images you may just as easy get a bump in earnings.
Switch your subjects as many times as you want, you will still hit the wall, sooner or later.
I have about 15,000 images in my portfolio. What people refer to as a "wall" is a simple mathematical fact: for most people the growth of their portfolio can be described by a simple arithmetic progression. This means you're only capable of adding certain number of images in certain period of time. Let's say you do 500 images a year. First year you see amazing growth of your income. Second year you add another 500 and you double your income - sweet! Third year you add another 500 but only increase your income 1.5 times, and so on. If in 10 years you have a portfolio of 5000 images and added another 500, you're only increasing your income by 10%, and if you take into account things like your older images stop selling and rapid expansion of stock libraries, you may actually see a decrease in your earnings. You can keep adding another 500 every year after that, but you'll be lucky if you can maintain your income.
You can break the wall by trying to increase your production (hiring people to work for you and such), but then you'll eventually hit another, higher wall.
I am still growing my portfolio - I do it mostly for fun, and for improvement of my skills, and I am able to maintain my income. But I don't think about money when I make images, it would be too depressing.
Congratulations Katja, excellent news! This creates a precedent for future cases like this, and hopefully will reduce the number of them.
Well, I thought I was using a fairly decent English, but looks like nothing I said was understood. People are arguing with me as if it was me who thinks the models should sue the photographer and the end user, when all I said was you have to be careful about this things, because some people may take this the wrong way and cause trouble. I don't take it the wrong way. I only say there are people who might, especially in the US, based on many similar cases I've read about during my 10 years working in stock photography. I don't agree with this kind of lawsuits, being a stock photographer myself (I didn't think that needed to be spelled out!).
But instead of a reasonable discussion we're going to argue here what the models should or should not be thinking or feeling or doing (that was sarcasm by the way, spelling it out just in case).
I don't see that any of these uses are defamatory, and at least one of the original images is innately risible.
I've seen far worse in-uses which were deemed OK, these are mild, and IMO funny and very funny.
Not trying to spoil everyone's fun, just considering possible consequences. Not saying there will be lawsuits, just being cautious. Some people don't have a sense of humor, one of them could be a stock model. Photographers did not modify the images, but they never do, and still get sued sometimes. The end user can cut out your model's head and put it on some other body (that scenario I've seen myself), and if the model finds it offensive, you may get in trouble. I guess it can be irritating that I didn't go along with "har har this is funny, lol!" theme of this thread, well, I just had a different thought.
I thought those were hilarious. I don't see how the original photographer could be held liable for what somebody else did with Photoshop, especially when the intention is clearly humorous. I imagine some models might not like it, but hopefully they would have at least a rudimentary sense of humor. In any event they would have no grounds to go after the original photographer.
Sure, let's all hope the models have the same sense of humor as people laughing at these images... Like the old guy who's head is being vacuumed or the naked couple. Of course they'd have grounds to go after the photographer if they consider the use defamatory. It happened before many times and it keeps happening. This is the old one, but was also intended as something funny: http://ww2.roanoke.com/news/roanoke/wb/132543/ It doesn't matter if you put offensive text in the image or photoshop something or somebody in - if the end result is perceived by the model as defamatory, the photographer may get sued. Not so funny to me.
Nice way to open yourself to lawsuits... many of these can be considered "defamatory" by models. And as we've seen before, the photographer would be the one to get sued, too. Yeah, it's funny as long as it's not your images and he is not putting *you* at risk of being sued.
"Soon Shutterstock will only have artists from poorer countries, as the rest of us can't live on the income we receive, and will be forced to use our talents elsewhere."
they have been Farming those countries for a few years.
Poorer countries? I am from the Balkans and I can tell you that food/clothing prices are the same or higher than in the US. Yes, we have a crap but cheap healthcare system and housing/renting is much cheaper but the prices of the main commodities are getting more and more similar across the globe. The main difference is in wages.
I live in Canada, but was born in one of those "poorer countries". One of the cultural shocks I had to overcome is how much housing actually costs here. Food and clothing or even a car compared to your rent or mortgage is nothing. Most of your income is spent on having a roof above your head. So, count yourself lucky still - you don't have to work your behind off just to avoid sleeping under the bridge.
General Stock Discussion / Re: How did 2014 compare to 2013?
Had my Best Year Ever. Started in stock photography in 2007, but in the last years I had seen my income decline. In 2013 I joined Stocksy and it made all the difference. In 2014 I doubled my 2013 income with Stocksy bringing in 69% of my income. Sure, I am a small contributor, but I find it stunning that even though my port on Stocksy is the smallest compared to all other agencies, it brings in the biggest return. Guess where I'll be focusing my efforts in 2015?
I am so glad to hear it Melanie, I love your work, and yes it looks like your style is very good fit for Stocksy. Wish you even more success this year!
My sales on Shutter are really weird lately - one day it's an X amount, the next day it's 2*X amount. And the next day it's an X amount again. It's been like that all January (so far). Kind of a yo-yo thing... a little bit unnerving. Used to be way more consistent.
A while ago I was directly contacted by DT asking my permission to use a certain number of my images in their beta test program. Their email was considerate and polite, and I was given an easy way to opt out - which I did since I didn't particularly like the deal. I understand that the agency might be looking for new sources of revenue and trying new things out, and I also don't have to like everything they are doing, but if they are properly informing me and giving me an easy opt out - I don't see a problem with that. In fact, I don't see a problem with that at all. This is how it should be.
Don't try to get rid of these yourself, you'll make if worse.
I clean mine any time the lens has been off. It's easy.
Depends on what kind of stuff is on your sensor. There was some sticky stuff on mine once, I suspect could have been some pollen or who knows what, some mold growing? anyhow, if it works for you, great, but I'd still go for pro cleaning every time.
This makes more money than many "low earners" agencies. I don't advertise at all though, so if you do you can do much better.
What are you using for your site? I know there are some wordpress add ons or sites from KTools and a few others. Are you using one of these? Looks decent.
It's older version of Ktools on steroids:) Works fine for me, but there are quite a few improvements/customizations there. My site more than pays for itself, no problem at all, even without any advertising.
Nikon Service. Don't try to get rid of these yourself, you'll make if worse. After 8 years spending a few bucks on proper sensor cleaning should not be a big deal. They do a very good job. I have to drive more than an hour each end to get to my Nikon Service center, but it's well worth the trip. I am also a Nikon Professional Services member and they do sensor cleaning for free for me. Some photo stores offer sensor cleaning too but I was never happy with their results. Go to Nikon.
Bad Behavior has blocked 63661 access attempts in the last 7 days.


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Women's College Research Institute (WCRI) scientist Dr. Ophira Ginsburg is one of seven women honoured this year with a YWCA Women of Distinction award.
Each year the YWCA recognizes a group of women for the important and life-changing work they do for women and girls.
As a physician, scientist and advocate for women's right to medical care, Dr. Ginsburg has worked relentlessly to ensure that all women everywhere have access to breast cancer treatment. She is also a medical director of the Cancer Prevention and Screening Program, adjunct assistant professor at the University of Toronto's faculty of medicine, and the Dalla Lana School of Public Health and director of familial oncology at RS McLaughlin Durham Regional Cancer Centre.
Along with her many local projects, Dr. Ginsburg has done some extraordinary international work; one example is being the co-founder of the Amader Gram "Our Village" Breast Care clinic in Bangladesh, providing women there with free breast cancer treatment. She also helped develop clinical guidelines for Bangladeshi doctors to assist them in their provision of evidence-based breast cancer treatment.
Dr. Ginsburg has also been helping women in Vietnam where access to treatment for breast cancer is limited.
In Toronto, Dr. Ginsburg is a medical oncologist and scientist at WCRI, and also works with immigrant women encouraging them to seek proper breast cancer diagnosis and treatment.
In Toronto and around the world, Dr. Ginsburg is transforming women's health care.
The awards ceremony will take place May 2, at the Metro Toronto Convention Centre.
To learn more about Dr. Ginsburg click here.


I didn't want this tutorial to have direct relation with the tools I used to create the animation short. My idea is to show you all the steps followed to make the animation and make you understand that no matters the software you want to use (Max, Softimage, Maya...), because now adays most of the tools are good enough to get very good results, so just select the one you like more.
My only intention with this tutorial is to explain all the diferent parts involved in the creation of an animation short, and show you the decitions taken for the particular case of "Superlópez". I think this is more useful than telling you all the particular techniques related to the programs I used for the short.
The origin of this short was unexpected. When I started modelling the character I wasn't thinking about making an animation short, I just wanted to make a small animation with Superlópez, just for fun, he's always been my favourite comic character. But when I had that little 15 seconds animation, I thought that it wasn't enough, I needed to do something bigger with him, and that was the moment when the big robot being born from a small and insignificant ball came to my mind. So, with the main objetive of including this two characters in a story, I started to work very hard.
It was evidence that I didn't want to think in a complex script, I didn't want to involve the characters in a trascendental story, but make a tipical context of any of the comics. I wanted a story that any fan of Superlópez could asociate with him, so taking into acount that I wanted the robot in that story, I thought that the best thing I could do were to make them fighting. That was going to be the main idea for the short, so I ordered the ideas and structured the script in four different parts: introduction for Superlópez, introduction for the robot, fight and ending.
When I finished working on all this different parts was when I started to think about a good way to introduce and finish de short, and I achieved the idea of the comic in the room, so that I could show the inmersive story contained in the book.


text:
Q: How do you find a table using capybara with no ID I am using Capybara to do some testing on a website which has a table on it that holds a variable amount of data and is generated by google visualisation. The table has no ID value and I have been told there is no way of putting an ID field in.
Is there any other way to find a table and then be able to pull in and look through the data in the table in capybara/ruby? I know what data should be in the table and want to check that it is displaying the correct results.
Thanks

A: You could use xpath:
find(:xpath, "//table/tr")

Or standard finders a la jQuery:
find("table")

Sidenote, remember you can chain find calls.

Since you've a class, use it!
find(".class_name")
find(".google-visualization-table-table")

redpajama_set_name: RedPajamaStackExchange


This was supposed to be my entry to BRAWL 2011. I got busy with other things, and so i wasnt able to finish the rest of the movie. And i wasn't really happy with what you see here either, because i think the animation wen't to fast, and i couldn't properly compress the film. but anyway, enjoy.


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Acantholycosa mordkovitchi  è un ragno appartenente alla famiglia Lycosidae.

Etimologia
Il nome della specie è in onore del zoologo russo Vyacheslav Mordkovitch, specialista degli artropodi della Siberia occidentale e direttore del Museo Zoologico di Novosibirsk.

Caratteristiche
L'olotipo maschile rinvenuto ha lunghezza totale è di 8,00mm; la lunghezza del cefalotorace è di 3,60mm; e la larghezza è di 2,90mm.

Distribuzione
La specie è stata reperita nella Russia centrale: l'olotipo maschile è stato rinvenuto lungo il fiume Kastakhta, a circa 2000-2400 metri di altitudine, a sud dei monti Terektinsky, nella sezione russa dei Monti Altaj.

Tassonomia
Appartiene al mordkovitchi-group, le cui caratteristiche peculiari sono: una consistente apofisi terminale troncata alla punta e un'apofisi tegolare con la parte terminale estesa retrolateralmente.

Al 2016 non sono note sottospecie e dal 2011 non sono stati esaminati nuovi esemplari.

Note

Bibliografia
 Marusik, Y.M., Azarkina, G.N. & Koponen, S., 2004 - A survey of east Palearctic Lycosidae (Aranei). II. Genus Acantholycosa F. Dahl, 1908 and related new genera. Arthropoda Selecta vol.12, pp.101-148 PDF (pag.123)

Collegamenti esterni

Acantholycosa
Taxa classificati da Jurij Marusik
Taxa classificati da Seppo Koponen

redpajama_set_name: RedPajamaWikipedia


Grandad house is a charming farm shop which is located in the storehouse at Bakken in Blaker. Here you can shop purchased interior, but best of all, lots of home-made exciting and creative products. We offer homemade furniture, also on order. We have lots of great pillows, and can also make this on request. We are predominantly a rural style of our products.
We also have our own jacket "Bestefarkoften", and is a replica of the old jacket to the grandfather who previously lived on the farm. This can be made by request.
In addition to the interior, we have typical farm products such as homemade red currant jelly, honey, fresh eggs and potatoes. Before Christmas we offer homemade cookies, julenek and Christmas trees that you can buy in a setting that makes the Christmas spirit perfectly. Maybe you also want to pick up some homemade roasted almonds and other sweets in small cones.


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Archives / Plan your visit
Kingswood, Western Sydney
Getting Started With Your Research
Preorder Records for Your Visit
Reading Room Guide
Regional Repositories
Limited re-opening by appointment
The Reading Room at the Western Sydney Records Centre is open to the public on a limited basis.
Face masks are required in indoor spaces
Our Reading Room is at:
161 O'Connell Street
Kingswood NSW 2747
9:00am-12:30pm and 1:00pm-5:00pm
10:00am-12:30pm and 1:00pm-4:00pm
What to do next and what to bring with you
To help protect the health and wellbeing of all visitors and staff and to minimise the spread of COVID-19 (coronavirus), the Reading Room at the Western Sydney Records Centre (WSRC) is open by appointment as follows:
An appointment is required for every visitor to the Reading Room including children
Appointments are subject to availability
Apply for a readers ticket if you do not already hold one.
Place a preorder in Collection Search for the original archives you plan to use. See information about preordering records in Collection Search »
If you have any enquiries please contact us »
What to bring to the Reading Room
Please bring your own face masks, pencils and stationery.
If you wish to make copies of records we strongly suggest that you bring your own camera/tablet/smartphone or USB. Our paper-based photocopy service is still available but may be subject to delay and additional costs at this time.
If you plan on using a locker please bring your own $2 coin.
Hand sanitiser, gloves and cleaning products will be freely available in the Reading Room for your use.
Facilities at the WSRC
The Western Sydney Records Centre (WSRC) has ample parking and a well equipped readers lounge. Wheelchair access and accessible toilets are provided. Ramp access to the reading room is available via a separate entrance.
Facilities: Ample parking / Wheelchair & Ramp Access / Accessible Toilets / Digital Cameras / Self-service Copiers / USB Sticks / Reader's lounge / Free tea & coffee / Microwave / Fridge / Free Wi-Fi.
Local shops: Claremont Meadows, Caddens and Kingswood. There are no shops within walking distance – the new shopping centre at Caddens Corner is a hilly 800m walk away. We recommend you bring your lunch if you are staying the whole day.
See our Reading Room Guide for more information including: reader's ticket application, care and handling guidelines for archives, available digital copying services and using your own equipment.
We suggest that you also read Getting Started With Your Research Guide.
We are not accepting group visits at this time.
Directions to the Western Sydney Records Centre
Driving from Sydney (approx. 50km)
Take Parramatta Road to North Strathfield
Turn onto the M4 motorway and continue to the Kent Road (Claremont Meadows) exit.
Turn right onto Kent Road and follow as it changes to Gipps Road.
Turn left into Sunflower Drive and follow the road around past the shops and Claremont Meadows Public School.
Turn left into O'Connell Street and keep going until you reach the WSRC at 161 O'Connell Street on the left hand side of the road.
Driving from the Blue Mtns
Take the Great Western Highway / M4 to the Northern Road exit
Turn left onto the Northern Road and proceed to the Great Western Highway
Turn right onto the Great Western Highway
Turn right into O'Connell Street and keep going until you reach the WSRC. O'Connell St is L-shaped - follow it around the university to the WSRC.
Buses from both Penrith and St Marys stations stop regularly at the WSRC (161 O'Connell Street). Please check the Busways website for timetables and details.
Archives / Plan your visit /


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Derry Mathews, former boxing champion gets a hair transplant
May 16, 2017 By vjclinics In Hair Transplant No Comments
He recently revealed about the tauts he always had to put up with since he started losing hair at the age of 25. Derry who is now retired from his boxing career had to admit to the public about the fact that he was referred to as a "slaphead" by his fellow colleagues.
Having acquired the title of British and Commonwealth Lightweight Champion, the 33-year-old stepped down from boxing after a tremendous defeat from Ohara Davies in March.
Derry who had plans of getting a hair transplant eighteen months back said that he could find the right time since he always had to train and other various activities.
The star who had the hair transplant performed at Skin Clinic and Hair Transplant centre in Mossley Hill also said that her wife Michelle was never bothered about his hairline, but him as a man had to undergo the procedure to recover his hair.
Hair loss is quite common even among celebrities in any kind of field. A hair transplant is a modern way to remove hair from the back of the head to the bald region.
Derry is now delighted about the results he is getting after the hair transplant procedure in April.
Now anyone from you want to get the more details about the hair transplant surgery they can watch this video:


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text:
Wake up, Bob Brady
Bob Brady
MATT ROURKE / AP
Rep. Bob Brady, the Philadelphia Democratic Party chairman, recently stirred from his slumber to accuse Attorney General Kathleen Kane of being "asleep at the switch" when she spiked a corruption investigation involving five city Democrats. He said he lacks confidence in her fitness to serve as Pennsylvania's chief law enforcement official.
It's about time Brady publicly noted the scandal raging within his own party. Even though his comments were carefully constructed, open to multiple interpretations, and oblivious to his own responsibility, they suggested that the Democratic establishment is at least a little embarrassed by recent events. But if Brady and other party chieftains really cared about public confidence in their leadership, they could have done a lot more to show it.
The Inquirer revealed in March that Kane, a Democrat, had killed her predecessors' sting investigation of four Philadelphia state representatives and a Traffic Court judge, calling it "half-assed" and racially tainted. While the party's leadership ducked for cover, Philadelphia District Attorney Seth Williams vigorously criticized Kane's failure to bring a case. She just about dared Williams to take it over, and he did. So far, he has secured a guilty plea from the former judge and filed charges against two of the state legislators.
As the drama unfolded, the Democratic machine could have offered residents quick relief by abandoning representatives who have done little more than pick up their $84,000-a-year paychecks while allegedly taking money from an undercover informant. But the party stood by them. Most of the officials implicated didn't face opposition from their fellow Democrats or from Republicans in this year's elections.
The sting controversy unfolded as nine judges and an administrator were pleading guilty or preparing their defenses against charges of rampant ticket-fixing in Philadelphia's Traffic Court. City Democrats ran the court as a family business, dispensing leniency for the politically connected and letting dangerous drivers stay on the roads. One clerk testified that Brady's staff made some of the requests to have tickets fixed, an allegation the congressman has denied.
While the Traffic Court and sting sagas should have forced the party leadership to clean up its act, there is little evidence that Brady has done more than lash out at Kane.
But there can be hope even in the absence of much reason. As races for mayor and City Council ramp up in the new year, the party has an opportunity to reward honesty and vision for a city that needs clean government and creative thinking. If the Democratic leadership continues to protect self-dealers, it will continue to lose the confidence of voters.