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4th of July and CATF Kick Off Dazzling Month in Shepherdstown
July 2, 2015 /in SVC Blog /by Shepherdstown Visitors Center
Back by popular demand this Saturday, Shepherdstown's annual Fourth of July community picnic will feature the music of two popular local groups—the Speakeasy Boys and the Gypsy Ramblers—who entertained the crowds at Morgan's Grove Pavilion last year, as well.
The picnic will be held from 12–3pm at Morgan's Grove Park on Kearneysville Pike (Route 480) just southwest of town. The Speakeasy Boys play from 12–1:30pm, and the Ramblers from 1:30–3pm.
But before the picnic, the anticipated annual Shepherdstown Independence Day parade will make its way down German Street, starting at 11am at "the top of the hill" near Church Street.
Organized by the Rotary Club of Shepherdstown, both the parade and the picnic are free and open to everyone. The goal is to provide a wholesome, family friendly Fourth of July celebration for the town.
For more information, contact Peter Smith at pvsmith@frontiernet.net.
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And it's July, so that means CATF lands in Shepherdstown for its 25th Season!
Visitors and locals alike will have just enough time to catch their breath after the Fourth, because the renowned Contemporary American Theater Festival (CATF) kicks off on Sunday, July 5—with a "pay what you can" format through Thursday, July 9. The full CATF schedule begins Friday, July 10, and runs through August 2.
Celebrating its 25th season, CATF is dedicated to producing and developing new American theater, and in doing so, has brought national, and even international attention to Shepherdstown.
Founded in 1991 by Shepherd University's Ed Herendeen, CATF has commissioned 10 new American plays and produced 105 new plays in that time, including 40 world premieres by 77 American playwrights. Forty percent of all CATF plays have been produced by women writers (well above national averages), and in 2014, attendance boasted 14,135 people from 35 states, D.C., and around the world.
The festival has grown from just two plays and a $91,000 budget to just over $2 million and five plays packed into a month-long celebration of all-things art in Shepherdstown with stage readings, a lecture series, meet-and-greets, an art exhibition, and much more.
Gabriel Zucker, CATF's new managing director, has been active in theater for nearly two and a half decades. Before joining CATF, he served as the senior manager for SMART Marketing, a Chicago-based company that builds audiences through subscription sales and fundraising initiatives. There, he was responsible for the staffing, development, and administration of as many as 20 active campaigns with performing arts groups nationwide.
Gabriel Zucker
Gabriel is also a former Theatre Artist and member of Actors' Equity. Prior to his foray into theater and film, he spent several years at the helm of a creative writing program offered through McGraw-Hill's Continuing Education Center. Gabriel earned his MA in the Performing Arts from Emerson College and holds a BA in English and Philosophy from the College of Wooster.
We had a chance to pick Gabriel's brain on what excites him about this year's CATF, and what he looks forward to as the month moves along.
SVC: Tell us a little about this year's show lineup and why the public should be excited about it?
Gabriel: We're presenting five new plays in rotating repertory. Four of them are world premieres. The shows are very diverse in terms of tone and dramatic structure, so I think there's a fair amount of variety—something for everyone, really. We have a comedy (THE FULL CATASTROPHE, by Michael Weller); a love story (WORLD BUILDERS, by Johnna Adams); a thriller (ON CLOVER ROAD, by Steven Dietz); an extremely dark-humored play (EVERYTHING YOU TOUCH, by Sheila Callaghan); and a docudrama (WE ARE PUSSY RIOT, by Barbara Hammond).
THE FULL CATASTROPHE and WE ARE PUSSY RIOT occupy different ends of the theatrical spectrum. The former is about as close to the conventional as CATF gets, while the latter is highly stylized and provocative. Yet they're both staged in the Marinoff and have sold out many of their performances. Only at CATF, right?
SVC: Obviously, each actor plays a crucial role in the success of each show and CATF overall, but are there any particular actors this year that CATF is especially happy to have on board?
Gabriel: It's great watching Molly Carden, Mark Thomas, and Liba Vaynberg—skilled, talented performers launching promising careers—act opposite veterans of the stage, like Tasha Lawrence, Lee Sellers, and T. Ryder Smith (the latter two, along with Cary Donaldson, have appeared at the festival before).
SVC: Last year, CATF enjoyed some buzz even beyond what it normally receives, with recognition on several national theater destination lists, and of course, with UNCANNY VALLEY making it to New York City. Has that momentum carried over into this year, and is CATF's 25th season positioned to build on that buzz and more, in your opinion?
Gabriel: This spring, CATF was named one of "50 essential summer festivals" by The New York Times, and was also selected as an "Editors' Pick" in The Washington Post's Going Out Guide. While the New York City transfer of UNCANNY VALLEY helped "legitimize" our reputation, whatever buzz we're experiencing is the result of hard work and consistency for the past 25 years.
SVC: Outside of the mission to produce and develop new American theater, while honoring the integrity of process, stories, and actor-audience relationships, what, additionally, do you feel CATF does for not just Shepherdstown and the surrounding areas, but for theater overall in this country, and even internationally?
Gabriel: I think it serves as an artistic and regional anchor, a place where inquisitive people who love art and adventure convene every July to immerse themselves in new plays and new ideas—and in the wonderful restaurants, shops, and inns of Shepherdstown and the Eastern Panhandle. The town-festival relationship should serve as a model for other places that wish to merge creativity and commerce in productive and profitable ways.
SVC: Amen to that. Lastly, what is one or more of your personal favorite things about this exciting month in Shepherdstown?
Gabriel: I've only been here since April, but the July I imagine involves meeting old friends and new at the festival, grabbing some coffee and a treat at the Sweet Shop, biking along River Road, and walking down German Street at night after everyone's gone home.
The five plays showcased at this year's CATF will take place in three venues: the 400-seat Frank Center, the 200-seat Marinoff Theater, and the 99-seat intimate setting of Studio 112.
For all information on CATF 2015, including in-depth show descriptions, related events, and the full schedule, click here.
Tags: 4th of July Parade, CATF, Contemporary American Theater Festival, Shepherdstown, West Virginia
https://shepherdstown.info/wp-content/uploads/2015/07/IMG_9691.jpg 3456 5184 Shepherdstown Visitors Center https://shepherdstown.info/wp-content/uploads/2018/03/SVC_logo_80.png Shepherdstown Visitors Center2015-07-02 08:09:382015-07-02 08:09:384th of July and CATF Kick Off Dazzling Month in Shepherdstown
Don't Miss The American Conservation Film Festival This Weekend in Shepherdstown
Step Back in Time on German Street with a Look in Pop's Attic
Shepherdstown's 4th-Annual DogFest Set for May 14–15
Cycling Fun and Film: Two Reasons to Get to Shepherdstown This Weekend!
The Yellow House: Quietly One of Shepherdstown's Oldest Homes
Four Seasons Books in Shepherdstown Rewrites the Meaning of Success
Are You Ready for Boo!Fest? We're One Week Away!
Pride Festival Celebrates LGBTQ Community with Appalachian Flair
CATF 2019: A Look Behind the Curtain(s) July 3, 2019
PRIDE and July 4th Comprise Back-to-Back Weeks! June 20, 2019
Shepherdstown Art Gallery Reinvents Itself and Feeds the Soul June 11, 2019
Bird Enthusiasts Celebrate SU's New Chimney Swift Tower May 28, 2019
22nd-Annual Back Alley Garden Tour & Tea Set for May 18 & 19 May 9, 2019
7TH-ANNUAL SHEPHERDSTOWN DOGFEST SET FOR MAY 4-5 April 22, 2019
Drug Take Back Day Gets an Upgrade in Shepherdstown on April 27 April 6, 2019
Rude Mechanicals Bring in Spring on SU Stage March 25, 2019
Shepherdstown Rallies to Aid Workers Impacted by Government Shutdown March 8, 2019
So Much for Winter: March is Bursting with Action in Shepherdstown February 26, 2019
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Fish Tales, Street Fest, and Fourth of July Step Back in Time on German Street with a Look in Pop's Attic


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Anime/ComicsFeature
10 Batman Books any Bat-Fan Should Read
The Dark Knight. The Caped Crusader. The Dark Detective. Whatever name you may like to refer Batman by, (or just "Bats" like I love to do), we are pretty sure Bat-fans have read some Batman graphic novels cover to cover continuously for six straight weeks like we are preparing for a Batman finals exam. Okay, maybe not that obsessive (who has two thumbs and rewatched the Batman parts from "Batman v. Superman" for uncountable times? THIS GUY).
Anyways, here is a list of top 10 Batman books any Bat-fan may definitely have read more than once…or twice, or thrice, or….you get the idea.
1. The Dark Knight Returns – Written by Frank Miller, Artwork by Frank Miller and Klaus Janson
The seminal classic, released in February 1986, featured a 55-year-old Bruce Wayne who walked around the Batcave totally naked. Okay, not really, only for a few pages. Anyways, our 55-year-old Bruce has retired as Batman and has not donned the cape and cowl for 10 years now, only to find himself forced out of retirement to don the cape and cowl again to confront the Mutant Leader and his minions of weird-speaking fellows, Two-Face, a final battle with the Joker and a Battle Royale with the Man of Steel himself (with the help of the most underrated and intrepid Robin ever, Carrie Kelly!)
Why is this number 1 on this list? Well, did you not see what I wrote earlier that it is a seminal classic and you should just take my word for it? Kidding aside, The Dark Knight Returns is a vitally important Batman book to be published in the last 30 years because, in my humble opinion, Mr Miller wanted to use Batman to tell a story about the state of America back in 1986. His underlying political message for the book was painting an apocalyptic take on how then-President Ronald Reagan's "Morning in America" persona was, in fact, a front used to not solve lingering systemic problems in the American society.
But the book is also vitally important because Mr. Miller has managed to capture the dread and war-weariness of an older Batman who has seemingly lost all ability to continue due to a "death in the family" and isolated himself from everybody else (save Alfred and Commissioner Gordon) for a decade before he had to re-confront the night of his nightmarish birth as the Dark Knight again. And adding on to that narrative, the book gave us a serious depiction of how a fight between Batman and Superman would entail, both physically and philosophically: Batman as the no-nonsense, brutal, dark vigilante versus Superman as the ultimate patriotic boy scout with the American flag wrapped around him.
The Dark Knight Returns was the high-water mark of pushing Batman back towards the dark vigilante characterization we all now know, starting from the foundations being laid earlier by Dennis O'Neil and Neal Adams when they took over the main "Batman" title in 1971, determined to wash away the bombastic and light-hearted take of the 1966 Batman TV show and the ridiculous rainbow Batmen of the 1950s comics thanks to the Comics Code Authority.
Not only that, but the book has clearly influenced director Christopher Nolan in also using an out-of-retirement Batman in "The Dark Knight Rises" and most recently, influenced director Zack Snyder's very much maligned "Batman v. Superman: Dawn of Justice" in which we also see a much older and war-weary Batman in Mr. Ben "Batfleck" Affleck, down to the Armored Batman fighting Superman in the film's first climactic fight.
Seminal classic indeed.
Best Quote: "This should be agony. I should be a mass of aching muscle – broken, spent, unable to move. And, were I an older man, I surely would…but I'm a man of thirty, of twenty again. The rain on my chest is a baptism. I'm born again…" – Batman
2. Batman: Year One – Written by Frank Miller, Artwork by Frank Miller and Dave Mazzucchelli
Another seminal classic (published one year after The Dark Knight Returns) that debuted in Batman #404 to #407 in 1987, gave us a wet-behind-the-ears Bruce Wayne still trying to find his place in seedy Gotham City and Captain James "Jim" Gordon waging a one-man war on corruption within the Gotham City Police Department (GCPD). This book is actually really more about Gordon than about Batman, and readers can identify more with Gordon's double-edged sword of righteousness as a police captain and his recklessness in having an affair with one Sarah Essen behind the back of his very pregnant wife.
The narrative style in the book is standard Frank Miller with our two main characters, Batman and Gordon, having the bulk of the narration to readers. Once again, Mr. Miller does what he does best in using Batman and Gordon to tell a story about the contrasts in lawful corruption within law enforcement and righteousness in unlawful vigilantism.
We also get to see a very different and very honourable Selina Kyle, who essentially lives in the belly of the seedy Gotham beast, and her being inspired by Batman thus leading to her transformation into Catwoman (also a very different Cat-suit than the one we are familiar with now).
My personal favourite part of the book is a badly injured Bruce Wayne essentially becoming Batman in front of the readers' eyes, with this quote immortalised into Bat-lore: "I shall become a bat."
The sequence of Bruce becoming Batman in Year One is important because it is deeply reminiscent of 55-year-old Bruce becoming Batman again in The Dark Knight Returns. It's Frank Miller after all.
Year One is yet another seminal Batman classic because it is the continuation of shifting Batman closer to the "dark and gritty" incarnation we are all familiar with now. Year One has also influenced director Christopher Nolan's "Batman Begins" in its depiction of Jim Gordon as a younger, honest and honourable cop in Gotham City while the book's "Batman summoning bats to save him" moment was also clearly adapted into the film as well. And let's not forget the endings of both Year One and "Batman Begins" involves Gordon mentioning a certain "Joker."
It must also be noted that when The Dark Knight Returns and Year One debuted in 1986 and 1987, Alan Moore's Watchmen was also released. This period of Batman history coincided with a period of comic book history where both of Frank Miller's Batman books and Alan Moore's Watchmen proved to change the comic book landscape forever, where comic books are no longer about colourful spandexed characters fighting colourful villains, but about how those same spandexed characters have to walk the fine line of equivocal morality in the backdrop of social & political commentary.
Speaking of Alan Moore…
Best Quote: "Without warning, it comes. Crashing through the window of your study…and mine. I have seen it before…somewhere. It frightened me as a boy, frightened me…yes, father, I shall become a bat." – Bruce Wayne
3. Batman: The Killing Joke – Written by Alan Moore, Artwork by Brian Bolland
Whenever people start talking about this book, you will definitely hear one word that is ever-present and always accompanying: controversial. The Killing Joke will always be the book that crippled Barbara Gordon. No matter how much DC Comics may want to retcon or rework the story so much so that Barbara managed to get back on her feet again to be Batgirl (in the recent "Rebirth" canon), one can never forget the dialogue-less series of panels that depict the Joker shooting her and thereby paralyzing her for life; and one can also never forget the unbelievable amount of trauma the Joker put a butt-naked Jim Gordon through by showing him a series of big photographs of a naked Barbara lying in pain (Joker presumably took pictures of Barbara after shooting her) while Gordon is chained to an amusement park ride.
To fully appreciate the book, one must peel away the controversial aspects of the story to get the gist of the idea that "All it takes is one bad day to reduce the sanest man alive to lunacy." Legendary comic book artist Tim Sale wrote in his introduction to the graphic novel that the story for The Killing Joke was born when Alan Moore and Brian Bolland was developing a "Batman/Judge Dredd" project and the project fell through.
What conspired next is probably still the best-written origin story for the Clown Prince of Crime. In fact, what we got in the book was a believable origin story at first until when he uttered near the end of the book that "Sometimes I remember it one way, sometimes another…If I'm going to have a past, I prefer it to be multiple choice," that you questioned if the origin story you read earlier was believable anymore.
And of course, as much as this was a story about the Joker, it was as much a story about Batman as well. Batman's no-killing moral code, which he would never break himself, was being put to the test in the book as he warned Joker that he did not wish for the worst to befall both of them and even offered him a lifeline to rehabilitate. It would seem those acts of reaching out to Joker was a way for Batman to do everything "by the book" before he might even want to break that moral code specially just for the Joker.
The ambiguous ending ultimately said as much as what Mr. Moore wanted to say, which was pretty much open-ended. Till this day questions abound as to whether Batman crossed the moral line he drew himself as seen in the final panels of the book.
The Batman and the Joker. Theirs is an eternal fight that will go on forever and ever and ever…
Best Quote: WAY TOO MANY!
4. Batman: The Long Halloween – Written by Jeph Loeb, Artwork by Tim Sale
Supposedly taking place shortly after the events in Frank Miller's Year One, this book sought to establish itself firmly into Bat-lore and boy, establish itself it did. Everything you ever craved for in a Batman crime story is fulfilled in The Long Halloween. Expanding on some of the characters introduced in Year One like Carmine "The Roman" Falcone and continuing the adventures of one "Captain" Jim Gordon and then-District Attorney Harvey Dent, this 13-issue long crime story is not just a Batman tale, but it features an all-star ensemble cast of villains (Joker, Catwoman, Riddler, Calendar Man, Penguin, Solomon Grundy, Scarecrow, Poison Ivy) that encompass the simple tale of our trinity in this story: Batman, Gordon and Dent.
Before you saw the three of them coming together to fight their war on crime in Christopher Nolan's "The Dark Knight", Batman, Gordon and Dent were already doing it in this book. If Year One focused squarely on a lonely Jim Gordon waging his war on crime & corruption in the GCPD, then The Long Halloween's main character is definitely a heroic but ultimately tragic Harvey Dent who thrives on fighting for justice and fighting his dark side as well.
In my humble opinion, the winning formula of this book was how each chapter is named after and took place on a holiday. The smooth syncing of the holiday and the theme of the chapter perfectly encapsulates what the title of the book really means, the trials and tribulations Batman had to go through in every twist and turn, and of course, Harvey's personal fight with injustice and his demons. If you grow sick of the superheroics and the super-villainy in the book, you are treated to a very Godfather-esque power play between the Falcone, the Maroni and the Viti crime families.
Underneath the unravelling of the alliance formed between Batman, Gordon and Dent, the dirty fight for power among the crime families is as raw, violent and natural like any good mobster stories can do. And as if you thought all the pieces of the puzzle are finally recovered and solved, the final twist in the story will definitely leave you flipping back several pages to see how the twist fits into the entire story.
The Long Halloween is truly phenomenal storytelling at its best coupled with one of the most uniquely beautiful artwork you will lay eyes on in a comic book.
"I believe in Jim Gordon. I believe in Harvey Dent. I believe in Gotham City…" – Batman
5. Batman: Dark Victory – Written by Jeph Loeb, Artwork by Tim Sale
If you cannot get enough of The Long Halloween, then fret not, because Dark Victory is the direct sequel to the first book and it is yet another collaboration between writer Jeph Loeb and artist Tim Sale. If Year One focused squarely on a lonely Jim Gordon waging his war on crime & corruption in the GCPD, The Long Halloween focused on Harvey Dent's fight for justice and his dark side, then Dark Victory is all about Dick Grayson, the orphan boy who would become Robin.
Though the sequel is not as original in concept as The Long Halloween, the sequence of events that was unleashed from that story is causing ripples of repercussions in Dark Victory. Batman no longer has faith in the original trinity of him, Jim Gordon and Harvey Dent; so he works almost completely on his own and shuns any existing and possible allies he could have had. Gordon also spent parts of the book leading his police force now that he has become the commissioner and found himself stuck in a good, old tug of war between the warring crime families bent on revenge and the costumed villains eager to usher in this 'new normal' for Gotham.
Throughout the book, you can also witness the relinquishing of power from the crime families and trickle down to the costumed villains. But the book truly shines when you can clearly see how both Jeph Loeb and Tim Sale each using their writing and artwork to illustrate the parallels between the tragic aftermaths of young Bruce Wayne and young Dick Grayson. When I see those series of panels that still give me goosebumps till this day, you cannot help but wonder if the creators of the recent "The Lego Batman Movie" had read this book and so, decided to delve into the same dynamics between Bruce and Dick in the film.
Dark Victory may not be as ground-breaking or ambitious as its predecessor, but it depicted a point of view that Batman cannot do without a Robin, whether you like it or not.
Best Quote: "I made a promise to my parents that I would rid the city of the evil that took their lives. That remains unchanged. Only now…I am no longer alone." – Batman
6. Batman: Knightfall – Written by Doug Moench and Chuck Dixon, Artwork by various artists
In January 1993, comic book fans saw Superman fight a climactic to-the-death battle with Doomsday in "Superman #75" that resulted in the Man of Steel heroically gave his life to kill and defeat Doomsday. Over the next few months, the DC Universe did not have a Superman around to leap tall buildings in a single bound and fly faster than a speeding bullet. DC also did a special "Funeral for a Friend" story which depicted the entire DC Universe's reaction to his death and how some of them wanted to mourn him.
It was under this grim, sombre and changed reality that Batman had to operate under. Which thereby resulted in Knightfall. Even if casual comic book readers had not read the story before, I am pretty sure one thing was at least known: Bane breaks Batman's back (Thank you, "The Dark Knight Rises"). Bane was first introduced in "Vengeance of Bane #1" in January 1993, in an origin story written by Chuck Dixon and artwork by Graham Nolan (no relation to Christopher Nolan). He was later then unleashed onto the Knightfall story as an obsessed man wanting to defeat Batman and who plotted the breakout of all the Who's Who of Batman's Rogues Gallery from Arkham Asylum.
Bane's plan was to weaken Batman significantly from fighting several bouts with the escaped Arkham inmates (which ranged from the Joker, Scarecrow, the Ventriloquist, Riddler, Poison Ivy, Victor Zsasz, Killer Croc, just to name a few) and then in his final bout with Bane in the Batcave itself, Batman would be broken both physically and psychologically.
One of the best things from this story is that we are watching a Batman who is losing strength and losing his confidence with each passing issue while Bane had barely even lifted a finger yet. And as if that was not enough to contribute to Batman's defeat later on, he refused any help from Robin (who was Tim Drake. Welcome to the '90s, folks!), Azrael or even from one Dr. Shondra Kinsolving who was obviously smitten by Bruce Wayne.
And so, Bane would subsequently proceed to physically impose himself on Wayne Manor and symbolically broke Batman's back in the Batcave, supposedly Batman's safest refuge from the outside world. As if not having Superman around in the DC Universe for the first half of 1993 was heart wrenching enough, imagine what an absent Bruce Wayne Batman had done to all the faint hearts of DC fans.
1993 was certainly a year without our World's Finest.
Best Quote: "I am Bane and I could kill you. But death would only end your agony and silence your shame. Instead I will simply…BREAK YOU!"- Bane
7. Batman: A Death in the Family – Written by Jim Starlin, Artwork by Jim Aparo
Before A Death in the Family was written in 1988, Frank Miller famously killed Jason Todd first in The Dark Knight Returns. However, because Returns was not considered as part of Batman's main comics continuity and the fact that the story took place in an alternative future, Jason was not dead in the main Bat-comic continuity. That, of course, changed in A Death in the Family and therefore changing main Bat-comic continuity.
In the four-issue story, a petulant and impulsive Jason Todd broke away from Batman after a petulant and unnecessary argument concerning Jason's parents, which coming from the typical petulant Jason is not that hard to imagine why an argument with him is unnecessary (see, I'm not biased against Jason). Jason then went his own to hunt for his biological mother before Batman met up with him, later on, to take on Lady Shiva, who was one of the prime suspects as Jason's mother.
Shiva was not the mother they were looking for and Batman and Robin ended up in Ethiopia, with a Joker who had somehow gotten his hand on a nuclear missile and sold it to a terrorist while Jason had finally found his real biological mother. Long story short, the Joker got hold of Jason and his mother and he mercilessly injures him so severely that Jason had lost almost all of his strength. In his final act of heroism, he shielded his mother from a time bomb set by the Joker and had perished by the time Batman had found him.
Perhaps the most interesting thing about the book was that Batman fans were given a voice in whether Jason is alive or dead in the book. An advertisement was published at the end of the second book, imploring fans to dial a number to decide Jason's fate in the next book. A majority voted to kill off Jason and main Bat-comic continuity was changed thus.
The other interesting thing about the story itself was that earlier in the year A Death in the Family was published, Alan Moore's The Killing Joke had the Joker cripple Barbara Gordon and put her on a wheelchair. The twin
impacts of Barbara's injury and Jason's death, all due to the Joker, weigh mightily on Batman for the rest of the decade's main Bat-comic continuity and proves to show that the Joker simply will not rest when it comes to Batman.
Best Quote: "One look tells the story. There's no need to check for a pulse. But I do anyway. Nothing. I've lost him. He's already getting cold to the touch. Gone."- Batman
8. Batman: Hush – Written by Jeph Loeb, Artwork by Jim Lee
In another one of writer Jeph Loeb's Batman books (it would be his last Batman book), Hush brought together Mr. Loeb's uncanny ability of writing a long-issue crime mystery story and Jim Lee's very skilful and detailed pencilling. In yet another Batman story filled with an array of his Rogues' Gallery (Joker, Catwoman, Killer Croc, Poison Ivy, Riddler, Harley Quinn, Ra's al Ghul, Talia al Ghul) and a guest-starring Superman, Batman seeks to find the person who is plotting to bring him down as much as he remains suspicious of one mastermind who is orchestrating a series of events to undermine him.
For the sake of the amazing twist and turns in the story, I will not write about the story any further for fear of spoiling it for readers who may not have read the story before. Because Mr. Loeb is so amazing in creating one mystery to thread all the other plot lines in the story, I found myself yet again excitingly flipping back pages to locate the threads that tie things together. If you thought The Long Halloween (Mr. Loeb's earlier Batman work) has more twists, I can assure you Hush will top it.
For me personally, even though the book is very much a mystery story, I always regard Hush as a sweet, romantic story between Batman and Catwoman. Not a lot of writers can do enough justice to a Batman-Catwoman love story because some ended up becoming cheesy and cliché. Mr. Loeb, however, has managed to do a lot of justice to this particular love story between the Bat and the Cat by just keeping things basic about them. They are outlaws. They operate outside the law. And they are forever bounded by tragedies. Keep these things basic, throw in some compelling writing and add a dollop of Jim Lee's pencilling, and you will get what you want in a Bat-Cat love story.
9. Batman: The Court of Owls – Written by Scott Snyder, Artwork by Greg Capullo
When writer Scott Snyder was announced as the new "Batman" main title writer in the New 52 initiative back in 2011, I was as giddy as a schoolboy because I was following his insanely brilliant run on Detective Comics #871 to #881 (Which was later compiled into 'Batman: The Black Mirror') back then. So it was probably a natural choice to have Mr. Snyder take on the main "Batman" title for the New 52. I had supremely high expectations for his run because 'The Black Mirror' was just so damn brilliant. And I was definitely not disappointed at all in his nearly 5-year run of "Batman" with the other brilliant Greg Capullo, which I so loyally followed in month after month of single issues.
Anyways, in Mr. Snyder and Mr. Capullo's first arc for their Batman story, readers will get a history lesson of Gotham City and a history lesson about the Wayne family as well. Now, the kind of history I am talking about is not a boring sort because the history lessons are accompanied by a dose of the supernatural, which is the beauty of The Court of Owls. You get to see this forgotten part of Gotham's history and also hear about a fictitious nursery rhyme concerning this Court of Owls as well.
From beginning to end, Mr. Snyder has not only used history and the supernatural for this tale, he had also utilized the mystery element to whip this tale into some sort of a supernatural mystery story starring Batman. And it sure doesn't hurt that Mr. Capullo's breath-taking artwork greatly enhanced the reading experience. I simply cannot stop admiring the artwork in every page while reading the poetic written words by Mr. Snyder.
Batman is the leading character in this story as he uncovered (along with us readers) the mystery of the Court of Owls and how mistaken and wrong he was in assuming that the Wayne family is the only dominant force in Gotham. We would learn along with Batman how wrong he was in also assuming that Gotham is Batman.
And do not be surprised if you find yourself reading some of the panels upside down in the part where Batman is trapped in the maze. It is deliberately done so and it is done to illustrate the state of confusion Batman is in while trapped in the maze, and us readers are taken along for the ride. Though it is still too premature to declare The Court of Owls a seminal Batman classic, it is however not premature to say that The Court of Owls is probably the best written and best drawn Batman story of the decade (in my humble opinion, of course).
Once you picked up this book, you will not put it down.
Best Quote: WAY TOO FRICKIN' MANY!
10. Batman: Noël – Written and Artwork by Lee Bermejo
It is hard enough to try to write a comic book. It is doubly hard enough to try to write a Batman comic book. It is insanely hard enough to try to draw a Batman comic book. And it is ludicrously hard enough to try to write and draw a Batman comic book. When we started this list, we started with the legendary Frank Miller writing and drawing The Dark Knight Returns. And therefore, it is quite apt for us to end the list with the brilliant Lee Bermejo also writing and drawing his own Batman story.
Noël is actually a very simple tale of a Batman version of Charles Dickens's 'A Christmas Carol', so if you love both Dickens and Batman, you are definitely in for a treat. Like Mr. Bermejo's previous work with writer Brian Azzarello in Joker, this story is told in a third-person point of view and also told by a henchman of the Joker. Batman is Scrooge in this story as he is confronted by his versions of the Christmas Past, Christmas Present and Christmas Future.
Noël is also a celebration of Batman history as Mr. Bermejo has so masterfully illustrated throughout the pages of the book. So not only are readers being treated to a creative concept of putting Batman and Charles Dickens together, readers will marvel at the level of care Mr. Bermejo has always put into his very photorealistic artwork of human characters. I do not think I have seen an artist who has made facial expressions even more expressive than it already is.
And thankfully because this book takes place during Christmas, reading Noël and watching Tim Burton's "Batman Returns" have thus since become my favourite Batman things to do every Christmas! Batman, Christmas and Charles Dickens. Can't go wrong.
Best Quote: "Work was all that mattered to Scrooge. His anger and loss had consumed him to the point where human contact was nearly impossible." – Bob
If you are looking to add these classics to your collection, you can get them physically via Amazon or digitally through Comixology, just follow the links in the titles!
Keith likes to brood in the dark in his Batcave (also known as his bedroom) and wages his relentless war on crime during long, long nights filled with icy, cold air. He is also a lifelong and diehard Batman fan since he was old enough to wear a child Bat cowl. When he is not an illegal but supremely good-looking vigilante, Keith reads Batman comics, builds his Batman Legos, plays with his Bat-collection of action figures and dabbles in Star Wars too.
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These pieces are definitely not joking around.
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Saga is finally back!
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Amazon's The Lord of the Rings Series To Feature More Than One Ring, Unveils Official Title And Trailer
10 Worst Movies Of 2021

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Does the Hamiltonian formulation of classical mechanics require an inner product on physical space? The Hamiltonian formulation of classical mechanics is quite broad and flexible; one of the only nontrivial physical assumptions that need to be made is that the degrees of freedom are continuous rather than discrete.
In the Hamiltonian formalism (working on flat space in Cartesian coordinates), the positions $r^i$ transform as vectors, while the canonical momenta $q_j := \frac{\partial \mathcal{L}}{\partial \dot{r}^j}$ transform as one-forms.
The symplectic manifold of phase space is equipped with a symplectic form, i.e. a closed nondegenerate 2-form over the manifold. But since it's a two-form, it can only input pairs of vectors, not one-forms. Therefore, it isn't obvious that the symplectic form can directly input canonical momenta, which are one-forms. Moreover, I don't think you can directly take the wedge product of a position and a momentum, since one is a vector and one is a one-form, so their tensor product is a type-(1,1) tensor, and it doesn't make any sense to talk about pairs of indices of opposite variance being symmetric or antisymmetric.
If you have a (symmetric) inner product on physical space (not phase space), then this isn't an issue, because you can just use the inner product to convert the position vector into a one-form before taking the wedge product.
But does it make sense to talk about wedge products, Poisson brackets, symplectic forms, etc. for a physical space that's a smooth manifold without a metric tensor? (Of course, in practice the Lagrangian will typically contain such a metric tensor anyway, but I'm just talking about the general canonical formalism, independent of any particular choice of Lagrangian.) If so, then what does it even mean for a symplectic form or Poisson bracket to be "antisymmetric" under the interchange of a tensor input and a one-form input? They seem "apples to oranges", so it isn't obvious to me what it even means to interchange them.
This Wikipedia page seems to imply that there is a way to define symplectic forms on smooth manifolds without a metric structure, but it's way over my head and I don't understand it (I have no idea what a "solder form" is). It would be great if someone could explain this using more elementary language.

A: In many of our classical textbook toy problems (mass moving in a certain potential), yes there is a 'hidden' Riemannian metric (because we're talking about massive particles) which is how we formulate the kinetic term. But, abstractly, no it is not necessary to have a Riemannian metric in order to define a symplectic form or to formulate Hamiltonian mechanics.
You write

In the Hamiltonian formalism (working on flat space in Cartesian coordinates), the positions $r^i$ transform as vectors, while the canonical momenta $q_j := \frac{\partial \mathcal{L}}{\partial \dot{r}^j}$ transform as one-forms.

Well, that's just confusing. The $r^i$ are not vectors or covectors or anything. They are coordinate functions. I have written about this in several answers, so you may want to read some of them and go down the linked rabbit hole starting from Help with geometric view of conjugate momenta and Legendre transformation (which has all the relevant links inside).
Next, regarding your middle paragraphs, you're right, you can't talk about symmetry or skew-symmetry without first fixing an isomorphism between the vector space and its dual. But this is not relevant in this discussion, and I think you're only bringing it up out of confusion.
You write

Therefore, it isn't obvious that the symplectic form can directly input canonical momenta, which are one-forms
and
This Wikipedia page seems to imply that there is a way to define symplectic forms on smooth manifolds without a metric structure, but it's way over my head and I don't understand it…

So, it seems to me you're misunderstanding the spaces things are defined on.
What we're saying is you start with a smooth manifold $Q$. Then, on $T^*Q$, there is a natural 1-form $\theta$ (note this is a much more complicated beast than a 1-form on $Q$. We have $\theta\in \Gamma(T^*(T^*Q))$, i.e it is a mapping $\theta:T^*Q\to T^*(T^*Q)$ such that composing with the projection $\pi_{T^*(T^*Q)\to T^*Q}$ gives you the identity mapping on $T^*Q$). I emphasize again, $\theta$ is NOT a 1-form on $Q$, which is what your wording seems to suggest your interpretation is, instead it is a 1-form on the larger space $M:=T^*Q$. The canonical symplectic form is then given by the exterior derivative $\omega:=d\theta$. This is a 2-form on $M=T^*Q$, giving us the symplectic manifold $(M=T^*Q,\omega)$.
Now, I should mention that not every symplectic manifold arises as the contangent bundle of some manifold. For example, the complex projective spaces $\Bbb{C}P^n$ have standard symplectic structures (by using the standard one, $\sum_{j=1}^{n+1}dx^j\wedge dy^j$,  on $\Bbb{C}^{n+1}=\Bbb{R}^{2n+2}$, pulling it back to the sphere $S^{2n+1}$, and then noting that it is invariant under the $U(1)$-action, and hence descends to a closed 2-form, i.e a symplectic form, on the quotient $S^{2n+1}/U(1)=\Bbb{C}P^n$). Complex projective spaces are compact, while cotangent bundles are non-compact, hence they provide examples of symplectic manifolds which are not cotangent bundles. By the way, a concrete special case is when $n=1$, in which case one has the well-known diffeomorphism $\Bbb{C}P^1\cong S^2$, meaning that the sphere $S^2$ has a symplectic structure. This can even be described explicitly as follows:
\begin{align}
\omega_{S^2}=\iota^*(x\,dy\wedge dz+y\,dz\wedge dx+z\,dx\wedge dy),
\end{align}
where $(x,y,z)$ are the usual Cartesian coordinate functions on $\Bbb{R}^3$, and $\iota:S^2\hookrightarrow \Bbb{R}^3$ is the canonical injection. In other words, if you let $(\xi,\eta,\zeta)$ be the functions obtained by restricting the functions $(x,y,z)$ from $\Bbb{R}^3$ to $S^2$, then $\omega_{S^2}=\xi\,d\eta\wedge d\zeta+\eta\,d\zeta\wedge d\xi+\zeta\,d\xi\wedge d\eta$. This is none other than the area 2-form of the sphere (so it is also not exact, i.e this $\omega$ doesn't arise from a $\theta$ like in the cotangent bundle case).
As you can see from these concrete examples, I never used any Riemannian metric to define the $\omega$ (I didn't assume any Riemannian metric on $Q$ or $T^*Q$, yet I defined $\omega$ on $T^*Q$. Likewise, I defined $\omega$ on $\Bbb{C}P^n$, and especially on $S^2$, all without referencing a Riemannian metric).
Next, if you have a Poisson manifold $(P,\{\cdot,\cdot\})$, for which symplectic manifolds $(M,\omega)$ serve as basic examples, this again has nothing to do with a Riemannian metric anywhere. The bracket is a skew-symmetric $C^{\infty}(P)$-bilinear mapping $C^{\infty}(P)\times C^{\infty}(P)\to C^{\infty}(P)$, and hence it gives rise to a bivector field $\pi$ on $P$, i.e $\pi$ is a section of the bundle $\bigwedge^2(TP)$, i.e $\pi:P\to\bigwedge^2(TP)$ such that it projects back to the identity on $P$ (you can think of it as a $(2,0)$ tensor field on $P$ satisfying a bunch of properties). But again, this section has been defined without referencing any Riemannian metric.

A: *

*Indeed a metric tensor is typically needed for a notion of kinetic energy (both in the Lagrangian and Hamiltonian formulation). See also e.g. this Phys.SE post.

*However, there exist (Lagrangian and Hamiltonian formulations of) topological field theories that don't depend on a metric tensor or a volume form (although gauge-fixing terms therein typically need a metric tensor or a volume form).

*As a simple example, think of a theory $L=p_i\dot{q}^i$ where the Hamiltonian $H=0$ vanishes identically.

A: First I think we need some definitions. A phase space is a symplectic manifold, which in turn is a pair $(\Gamma,\Omega)$ where $\Gamma$ is an even dimensional smooth manifold and $\Omega$ is a closed and non-degenerate two-form in $\Gamma$ called symplectic form. A Darboux coordinate system in $(\Gamma,\Omega)$ is a local chart $(q^i,p_i)$ on some open subset ${\cal U}\subset \Gamma$ such that the two-form $\Omega$ written in this chart has the form $$\Omega=dp_i \wedge dq^i\tag{1}.$$
In that case we call $(q^i,p_i)$ canonical coordinates on $(\Gamma,\Omega)$ and say that $p_i$ and $q^i$ are canonically conjugate variables. The one-form defined $\theta = p_i dq^i$ is called sympletic potential because $\Omega = d\theta$ by definition of exterior differentiation. This is valid locally on ${\cal U}$, but such sympletic potential may not be globally-defined if $H^2(\Gamma)\neq 0$.
Now, in all this discussion you should observe the following: $q^i$ here are not components of a vector, they are coordinates in a smooth manifold $\Gamma$. Likewise, $p_i$ are not components of a one-form, they are coordinates in a smooth manifold as well. The basis differentials $dq^i$ and $dp_i$ are then one-forms in $\Gamma$ while the coordinate basis $\frac{\partial}{\partial q^i}$ and $\frac{\partial}{\partial p_i}$ are vector fields. The sympletic potential $\theta=p_i dq^i$ is not a scalar, but rather a one-form in $\cal U$. Very important to the question, all of this is occurring inside the manifold $\Gamma$.
There are many cases in which one constructs $(\Gamma,\Omega)$ directly without talking about any other space before. And many cases in which $(q^i,p_i)$ are not actual position and momenta, but some other variables obeying canonical commutation relations. Such an example is readily provided in field theory, in the context of the covariant phase space. We start from a Lagrangian describing the dynamics of some fields and we give a prescription to directly build $(\Gamma,\Omega)$.
Nevertheless, in classical mechanics, it often happens to be the case that $(\Gamma,\Omega)$ is constructed out of some other space. In particular, we often have a configuration space $Q$ and then Lagrangian mechanics takes place in $TQ$ while Hamiltonian mechanics takes place in $T^\ast Q$.
So let $\pi:TQ\to Q$ be the canonical projection and suppose that $q^i$ are coordinates on the base configuration manifold over some open subset $U\subset Q$. These will naturally lift to coordinates $(q^i,\dot{q}^i)$ on $\pi^{-1}(U)\subset TQ$ which are defined so that if $v\in \pi^{-1}(U)$ lives over the point $a\in U$ then $q^i(v)$ are the coordinates $q^i(a)$ of the base point, plus $\dot{q}^i(v)$ are the components of $v$ in the coordinate basis: $$v = \dot{q}^i(v)\frac{\partial}{\partial {q}^i}\bigg|_{a}.\tag{2}$$
Again observe that the $q^i$ are not vector components, but they are just coordinate functions, be in $Q$ or $TQ$. The same goes for $\dot{q}^i$. Nevertheless, given the Lagrangian $L:TQ\to \mathbb{R}$ you may construct the one-form
$$\dfrac{\partial L}{\partial \dot{q}^i}dq^i\tag{3},$$
and you might define those coefficients as $p_i$. In that case the $p_i$ so-defined are the components of a one-form over $TQ$. But when we go to $T^\ast Q$ the $p_i$ become just coordinate functions as in the general symplectic manifold analysis. Using the same notation is in fact an abuse of notation since $p_i: TQ\to \mathbb{R}$ and $p_i:T^\ast Q\to \mathbb{R}$ cannot possibly be the same function since they even have different domains.
The bottom line is that you must be aware on which space you are working on:

*

*The $q^i$ are never vector components really, be in $Q$, $TQ$, $T^\ast Q$ or in a generic Darboux chart in a symplectic manifold $(\Gamma,\Omega)$. It just so happens that for the manifold $\mathbb{R}^D$, if $q^i$ are Cartesian coordinates, you can identify the point with a vector at the origin through the identification between $\mathbb{R}^D$ and any of its tangent spaces. But that is a very special case that doesn't generalize - curved spaces have no position vectors really.

*If you have a configuration manifold $Q$ and you build $TQ$ and define $p_i = \frac{\partial L}{\partial \dot{q}^i}$ then the $p_i$ become components of a one-form in $TQ$ because of your definition. However, this should not be confused with the $(q^i,p_i)$ coordinates used in $T^\ast Q$, in which case both $q^i$ and $p_i$ are just coordinate functions. The key issue here is an abuse of notation of identifying $p_i$ in $T^\ast Q$ and $p_i$ in $TQ$.

*In a general phase space with a Darboux chart $(q^i,p_i)$ are both just coordinate functions.
Apart from all that, a small comment is that there is no situation in which you need $\Omega$ to "act on coordinates and momenta". $\Omega$ acts on phase space vector fields and one of its main uses is to define a canonical transformation (symmetry) to be a transformation preserving $\Omega$ and also to define the Poisson brackets $\{\}$. It also establishes the connection between symmetries and conserved charges. If $X$ generates a canonical transformation, $\Omega(X,\cdot)$ is a closed form and the corresponding charge is, in principle, determined by the equation $\Omega(X,\cdot)=-dH_X(\cdot)$. There may be topological obstructions for the charge to be globally-defined though, since only when $H^1(\Gamma)=0$ we will have such $H_X$ defined on $\Gamma$ globally.
Finally, to answer your title question: no, no inner product is required in any of that, c.f. the definition of a symplectic manifold. I suggest you take a look at the book "Physics for Mathematicians" by Spivak, which has a nice account of Hamiltonian mechanics using differential geometry.

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text:
Hotelbeds sale on track says TUI, three times in one statement
By Martin Cowen | April 4, 2016
TUI Group's pre-close update issued last week talks up the total transaction volume (TTV) and room night growth for Hotelbeds, and says "the disposal process (for the business) is on track".
The statement repeats the phrase three times.
Operationally, in the six months to end-March 2016, Hotelbeds lifted TTV by 17%, with room nights up 11%, compared with the same period last year. It has also managed to lift its average selling price by 5%.
Elsewhere, TUI—which uses the corporate tagline of "the world's number one tourism group"—says that 44% of winter season bookings were made online, up 2% year-on-year.
Online bookings for the summer season, which runs from April to September, are currently running at 38%—3% higher than they were at the same stage last year.
Thomas Cook Group issued its pre-close update a week before TUI. Its online performance remains a mystery, with its statement making no mention about the volume of bookings it is seeing online.
Related reading from Tnooz:Hotelbeds strengthens presence in major markets (March 201 TUI review sees Hotelbeds carved from the business (Dec 2015)
NB Hotelbeds is one of the main sponsors of a hospitality-themed Tnooz THack Mallorca, taking place on the weekend of 6-8 May. The other sponsor is API commerce specialist XapiX. For more details, click here.


text:
Q: Space exteranlly loaded swfs with different heights AS3 I've been battling with this for a while now, I'm loading in swf files into a holder swf and want to position each loaded swf underneath eachother with a 10px margin.
This is what I have so far, Its pulling in all the data correctly now just want to position the loaded swfs.
Any help is much appreciated.

import flash.display.LoaderInfo;

var swfLoader:Loader;
var xml:XML;
var xmlList:XMLList;
var xmlLoader:URLLoader = new URLLoader();

xmlLoader.load(new URLRequest("components.xml"));
xmlLoader.addEventListener(Event.COMPLETE, xmlLoaded);

function xmlLoaded(event:Event):void
{
    xml = XML(event.target.data);
    xmlList = xml.children();
    for (var i:int = 0; i < xmlList.length(); i++)
    {
        swfLoader = new Loader();
        swfLoader.load(new URLRequest(xmlList[i].@SWFsource));
        swfLoader.contentLoaderInfo.addEventListener(Event.INIT, loaderInitHandler);
        addChild(swfLoader);
    }
}

function loaderInitHandler(event:Event):void
{
    var swfInfo:LoaderInfo = event.target as LoaderInfo;

    //THIS IS WHERE I WANT TO POSITION MY LOADED SWF'S.
    // I CAN TRACE THEIR HEIGHTS BUT NOT SURE HOW TO POSITION THEM IN Y

    trace(swfLoader.y = swfInfo.height)
}

A: You will run into troubles when using the swfLoader member variable like this: You add each loader to the stage, but the swfLoader reference always points to only one object (the one added last).
It is also problematic to position your clips like this, because you can only get one loader reference at a time, so you will not be able to calculate the position relative to the other loaders.
If nothing else but loaders are positioned on the stage, you could iterate over the main object's children, but I would strongly recommend storing your clips in an array instead.  Your code will look something like this:
var loaders:Array = []; // an Array of loaders instead of a single loader
var xml:XML;
var xmlList:XMLList;
var xmlLoader:URLLoader = new URLLoader();

xmlLoader.load(new URLRequest("components.xml"));
xmlLoader.addEventListener(Event.COMPLETE, xmlLoaded);

function xmlLoaded(event:Event):void
{
    xml = XML(event.target.data);
    xmlList = xml.children();
    for (var i:int = 0; i < xmlList.length(); i++)
    {
        var swfLoader:Loader = new Loader(); // local instead of member variable
        swfLoader.load(new URLRequest(xmlList[i].@SWFsource));
        swfLoader.contentLoaderInfo.addEventListener(Event.INIT, loaderInitHandler);
    }
}

function loaderInitHandler(event:Event):void
{
    var swfInfo:LoaderInfo = event.target as LoaderInfo;
    var swfLoader:Loader = swfInfo.loader;
    if (loaders.length > 0) {
        var lastLoader : Loader = loaders[loaders.length-1];
        swfLoader.y = lastLoader.y + lastLoader.height + 10; // positioning happens here
    }
    addChild(swfLoader);
    loaders.push(swfLoader);
}

The loaders are only added to the stage and pushed onto the array when they are fully loaded, so you can be sure lastLoader is always the last recent item that was placed on the stage.  You can later use the loaders array to remove or reposition the images.


text:
@interface BaseDetailViewController : UIViewController <UISplitViewControllerDelegate>

@property (strong, nonatomic) UIPopoverController *masterPopoverController;

@end

redpajama_set_name: RedPajamaGithub


text:
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The Hearts Collection launched with our now highly in-demand AceDuals: two flavors in one discrete device. It quickly consolidated our brand as one of innovation and fun. The bright colors we chose for our packaging and devices is meant to portray the enthusiasm our company and followers have for cannabis. In addition to the Duals, we recently rolled out a line of glow-in-the-dark AceMinis–a colorful modification to our Spades Collection Minis. Although relatively new to Ace Ultra Premium, we are eager to show you all what our constant escapades have put forward.
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+ Support insert Meta GEO via Meta- Tags configuration.
+ Change the mechanism calculating the number of hits the site. Recount after visitor don't active in 30 minutes.
+ Only admin can see default configure.
+  Add feature of display banner: banner flash is replacing by photo on mobile browsers (Because adobe flash don't run on some browsers).
+ Add global.department.php block (display department contact information).
+ Admin can answer customer more times, the system log all the replies.
+ Change menu management more visually.
+ Split menu types  into block menu distinct.
- Delete block_blocknews (exit with block_groups) in module news.
- Add Bing site diagnostic, Remove yahoo diagnostic.
- Update Shop to Shop Pro and remove module Shop from default NukeViet (To release from NukeViet Store).
- Update Ajax search for the article source.
- Fix database birthday users.
- Module news: add image for topics.
- Add Google Custom Search.
- Upgrade module voting 3.1, add block fixed votes and display home module.
- Fix SEO: Add ALT content for IMG tag, fix breadcrumbs (css class) for google search.
- Active current menu to top of menu.
- Add module name at Admin Control Panel.
- Add cool php captcha 0.3.
- Add feature switching mobile and desktop interface.
- New mobile interface and full support.
- Module upload: add function automatically insert logo on the picture.
- Auto detect FTP remove path.
- Add Quick access pending work from module siteinfo (admin control panel).
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- Add Lunar Calendar function.
- Add option "site timezone by timezone of visitor's country"
- Add option "site timezone by user's PC timezone"
- Module News and block of module.
- Add sitemap xml for module Shop.
+ Fix Duplicate title tags and meta descriptions.
+ Config method update language pack by revision.
+ Fixed 404 erro when url contain special character.
+ Update editor, fixed quick upload in the editor.
+ Update JW Player 5.5. Add feature select image illustration for plugin JW Player of the editor.
+ Check server status, if CPU use >80 % will report "Server too busy. Please try again later".
+ Edit to customizable tool bar of admin control panel.
+ Redefine theme is using at time configure.
+ Fix not detected theme when install new module.
+ Fix module rss, and modules relation with module rss.
+ Delete caches of modules when changing configuration block.
+ Fixed erro at file image.class.php.
+ Fixed chmod in used FTP.
+ Fixed install module: Allows modules don't have outside function.
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+ Fixed block menu when theme by module.
+ Update jQuery and plugins: jQuery v1.5.2, jQuery UI.
+ Use class phpsvnclient: In case commit file use Replace.
+ Fixed function check mimetype when upload file.
+ Add feature delete module has not used (Delete files of the modules).
+ Rewrite for servers which are not supported.
+ Fixed XML Sitemap index on hosting which not support full rewrite.
+ Fixed file Sitemap.xml to Google Webmaster Tools detect easier.
+ Fixed erro misindentified module while enable rewrite feature.
+ Improve to can rewrite single url.
+ Rewrite links while sending mail.
+ Fixed rewrite in case the hosting does not support zlib lead to not loaded css, js.
+ Fixed rewrite on IIS7 to not lose configuration at file web.config. Fixed check rewrite on IIS7.
+ Devide language of block to single file.
+ Theme default: fixed erro not rewrite link of statisticts.
+ Fixed erro undisplay content of block html which contain special character.
+ Fixed theme management: Delete block when delete theme.
+ Add select all works in cleanup system.
+ Config check Nukeviet version feature.
+ Fixed Revision update function in system folder is renamed.
+ Update by Revision. On the hostings need FTP to creat folder and move file.
+ Record system log in these important events.
+ Add tool filter system log, change type of arrangement system log default.
+ Allows user register in public group.
+ Add configuration for users retrieve passwords without be ask secret questions.
+ Fixed error not add, edit users when mechanism forum.
+ Fixed error GodAdmin unable to delete admin.
+ Fixed error active user account.
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+ Fixed error can not change e-mail while loging in.
+ Block login: Fixed path of avata, OpenID image.
+ Fixed time post article. Time post article must  after time creat article.
+ Delete cache of module when users delete article.
+ Fixed incorrect image display of the article in block headline.
+ Fixed error show titles of articles that have not posted in sitemap.
+ Fixed page breaking error while config module "By title, the new up".
+ Fixed rss links of News vitualization module at theme modern.
+ Fixed error can not edit information resource.
+ Fixed delete thumb when delete article.
+ Fixed form comment for theme modern.
+ Fixed show comment, fixed page breaking at comment management.
+ Add feature management menus.
+ Fixed error functions be shown in menu of module User (customizable via login status).
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+ Block menu smooth_navigational don't show sub menu of module weblinks.
+ Fixed module to not obligatory enter question to topic and add presentation.
+ Module download: Fixed path avata of user.
+ Fixed error show inactive article.
+ The feature to see and select product: Categorise product type, the same product, sample product, product most viewed..
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+ Send order: Member website submit order.
+ Deal history: Show deal historys of members.
+ Currency management: Allows add, edit, delete currency.
+ Manage payment gateways mecharnismed: Config payment gateways  if use 1 or more onlien payment gateways.
+ Configuration: Set parameters for the sales system.
+ Management product units: Add, edit, delete product unit.
+ Managet product group (by criteria): add, edit, delete.
+ Manage blocks (product group).
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+ Manage list products: add, edit, delete, search..
+ Manage of orders and print invoices.
+ Auto cut introduction shorter when it shown.
+ Trim introduction shorter if too length be allows to avoid undefined error.
+ Fixed comment product error.
+ Allows display illustration outside of the site.
+ Add feature post/edit/delete article for members.
+ Additional configure represented as a grid, by list article.
+ Add feature "Delete all temp file" for God Admin.
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+ Auto creat sitemap file for search engine.
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+ Rating according to the index site.
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- The feature of upgrade, check version.
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- Restructuring block, allows global block located block of module, allows add more parameters for the block.
- Add Admin full theme and use this theme for admin control panel.
- Fixed upload feature, add  the feature allows each admin upload to each folder of module news.
- Manage admin login rights.
- Add  more log system, full record administrative operator.
- And many other small change….
- Fix and edit cache system.
- Replace CKfinder by Upload module.
- Allows members to use the username with special characters.


text:
Deborah S. Craig, née le , est une actrice américaine d'origine coréenne.

Biographie

Deborah S. Craig est ouvertement lesbienne.

Filmographie

Comme actrice
 1993 : Clarissa Explains It All (série télévisée)
 1996 : Magic User's Club! (mini-série) : Akiko Aburatsubo
 1999 : Big Daddy : paralégale
 2002 : Under: Elegy (court métrage)
 2002 : Samurai Deeper Kyo (série télévisée) : Izumo no Okuni
 2006-2007 : Six Degrees (série télévisée) : Melanie (11 épisodes)
 2008 : Ghost Town : l'infirmière
 2009 : Hysterical Psycho : Deborah
 2010 : Just Wright : Maitre d'
 2011 : Bad Actress : détective Pam Rudin
 2011-2012 : Hart of Dixie (série télévisée) : Shelley Ng (16 épisodes)
 2012 : Unicorn Plan-It (série télévisée) : Bree
 2013 : Acting Range (court métrage)
 2013 : Overly Attached Andy (série télévisée) : Deborah
 2013 : Stupid Hype (téléfilm) : Deborah
 2013 : Dumb Girls (téléfilm) : Olivia Rose
 2013 : BFF Bridal Shower (court métrage) : la mariée
 2013-2014 : Blacklist (série télévisée) : Luli Zeng (9 épisodes)
 2014 : And, We're Out of Time (téléfilm) : Gretchen
 2014 : Transparent (série télévisée) : Kristin
 2014 : Ricky Robot Arms (court métrage) : Carrie
 2015 : Dog with a Blog (série télévisée) : Leslie Lindermulder
 2015 : Kiss Me, Kill Me : Donna
 2015 : The Outfield : Adrienne Rachels
 2015 : No She Wasn't (court métrage) : une invitée à la soirée
 2015 : Almost There (série télévisée) : Gretchen
 2016 : Bajillion Dollar Propertie$ (série télévisée) : Zenelope Pratt
 2016 : Glued (mini-série)
 2016 : Glimpses of Greg (série télévisée) : Wenona
 2016 : Better Things (série télévisée) : Jen Abrams
 2016 : Son of Zorn (série télévisée) : Vicky
 2017 : Workaholics (série télévisée) : Yang
 2017 : Off Set (série télévisée) : Pam McDaniels
 2018 : Cady Did (série télévisée) : Mrs. Anderson
 2018 : Baby Bird (court métrage) : Carly
 2018 : Elementary (série télévisée) : Bethany Ito
 2018 : Instinct (série télévisée) : Mrs. Jorry
 2018 : Bull (série télévisée) : Darcy Whittier
 2018 : Prince Harming : Blanche
 2018 : Poor Greg Drowning : Wenona
 2019 : Brothers in Law (série télévisée) : Kia

Comme scénariste
 2014 : Star Wars Musical (court métrage) (writer)

Notes et références

Liens externes

Naissance en juin 1974
Naissance en Corée du Sud
Actrice américaine
Actrice de Transparent
Scénariste américaine de cinéma
Personnalité ayant fait son coming out
Personnalité américaine née d'un parent sud-coréen

redpajama_set_name: RedPajamaWikipedia


2002 / Betacam / 25 min.
On 19th August, 2002, Marek Kotańki died in a car accident. He created the "Monar", Markot", "Sincere Hearts" movement and many other social initiatives. For 30 years, he did a great deal for the homeless, drug addicts and alcoholics. The film presents the man and his work, but we also get to know Kotański through the opinions of his relatives and people who knew him well. The film was made at a very poignant moment – just four days after his death.


For the Second Consecutive Year, Menlo Security Named to Prestigious List of SINET Innovators for Cybersecurity.
Menlo Security, a pioneer of cloud-based isolation, today announced that it has been named a SINET innovator, as one of the 16 security start-ups offering cutting edge Cybersecurity technologies to address Web and email threats in the enterprise.
SINET is focused on advancing Cybersecurity innovation through public-private collaboration. 16 winning companies were selected from a pool of international applicants from nine different countries.


text:
« The Shakespeare Code: 200,000 Views!!!
'Something Wicked This Way Comes' – New Light on the Witches in 'Macbeth'. Part One. »
'Love's Labour's Lost': The Princess of France IS Queen Elizabeth. Part Three. Conclusion.
September 30, 2015 by Stewart Trotter
It's best to read Part One and Part Two first…..
The dark side of Queen Elizabeth was very much in the minds of Catholics in the months leading up to Love's Labour's Lost….
In the same month that she visited Titchfield (September, 1591) Richard Topcliffe – Elizabeth's hangman – told Thomas Pormont….
…….(a Catholic priest he was torturing on a rack set up in his own home)..
……that he was so great and familiar with her Majesty that he many times putteth his hands between her breasts and paps, and in her neck; that he hath not only seen her legs and knees, but feeleth them with his hands above her knees; that he hath felt her belly, and said unto Her Majesty that she hath the softest belly of any womankind…..
Topcliffe also claimed that Elizabeth had said:
…….Be not these the arms legs and body of King Henry?……..
To which he had answered…..
…….Yea…
Topcliffe also said that Elizabeth….
…..gave him for a favour a white linen hose wroughte with white silk etc.
Topcliffe also claimed that he that he was……
……so familiar with her that when he pleaseth to speak with her he may take her away from any company, and that she is as pleasant with every one that she doth love…..
……that he did not care for the Council, for he had his authority from Her Majesty.
Pormont managed to record and smuggle out these notes to his fellow Catholics…..
…….including the Jesuit missionary and propagandist Robert Persons…..
……who was to have a big influence on Love's Labour's Lost.
Indeed, he is even mentioned by name in the play!
Jaquenetta, the wench, brings a letter she believes Don Armado has sent her, to Sir Nathaniel, the curate, to read….
She says:
God give you good morrow M. Person….
To which Nathaniel replies:
Maister Person, quasi Person? And if one should be perst, which is the one.
(Note: In modern additions, this line is give to Holoferenes – but in the Quarto and First Folio editions it is given to Holofernes.)
Jaquenetta, as can be seen from the above, then switches names for the curate:
Good M. Parson be so good as read me this letter….
This, The Shakespeare Code believes, was a dangerous in-joke for the Catholic recusants in the audience….
ROBERT PERSONS LATEER CHANGED HIS NAME TO ROBERT PARSONS!!!
In 1592 he was to write a pseudonymous attack, in Latin, on Sir Walter Raleigh………
…….entitled………
An Advertisement Written to a Secretary of my Lord Treasurers of England, by an English intelligencer as he passed through Germany towards Italy.
The English summary, which was published alongside it, claims that Raleigh presided over………
……..a school of atheism………….
…. in which, under direction of the astronomer and mathematician Thomas Harriot….
…….whom the book describes as a 'conjurer'…
……..both Moses and our Saviour, the old and the new testament are jested at, and the scholars taught among other things to spell God backward…..
In Love's Labour's Lost 'the school of atheism' becomes, in the King of Navarre's words…..
……The school of Night…..
……..and the blasphemy of writing…..
….God backward…
(…to produce…
….Dog….)
…..is satirised in an exchange between the educated infant, Moth….
……and Holofernes…..
Yes, yes; he teaches boys the hornbook. What is a,
b, spelt backward, with the horn on his head?
Ba, pueritia, with a horn added.
Ba, most silly sheep with a horn. You hear his learning.
Persons also wrote his Responsio later in November 1591…..
This was a reply to Elizabeth's famous 1591……
……Declaration of Great Troubles Pretended against the Realm by a number of Seminary Priests and Jesuits…..
……written on 18th October, by Lord Burghley, but not published till November….
In the 'Declaration' the designs of Spain and Rome on England were exposed and it was asserted that….
………the Jesuits form the nests and lurking places of those who are in rebellion against [Elizabeth's] person, that their General has been to Spain and armed its King against her, that Parsons who taught amongst them and was the general of the English seminary at Rome has done the same and that the Jesuits as a Society has been the life and soul of the enemies which had been raised against England.
Persons/Parsons, replying to this personal attack, countered by describing Elizabeth as…….
……the defender of the Calvinian heresy….
…..and pointed out that King Philip of Spain……
….. had saved her life when she had been imprisoned in the Tower by her half-sister, Mary Tudor……….
Persons claimed that Elizabeth's Anglican priests were…..
…..the dregs of mankind….
…..whereas the young Catholic missionaries, who were accused by Elizabeth of being traitors, were often from noble English families.
Persons chose as his text……
……And I saw a woman drunk with the blood of saints and the blood of martyrs of Jesus.
The events of the next month were to suggest Persons was right……
On 10th December, Swithin Wells….
……a great friend of the Southampton family who had taught at Titchfield…..
…… had recruited Catholic missionary priests…..
…..was hanged outside the Southampton family home in London….
…..together with Edmund Genings…..
……a young man who had been fast-tracked to a priesthood at Rheims…..
……who was also drawn and quartered…..
At Genings's hearing……….
…..to make him a scoffe to the people………..
…….the authorities had………..
………….vested him again, not with his priestly garments, but (almost as King Herod and Pilates soldiers did our Saviour) with a ridiculous fool's coat, which they found in Mr. Wells his house, and when they had so altered him, they laughing told him, he was more fit in that attire to be presented to the Queen for a jester, then to a Nun for a Confessor.
The Shakespeare Code believes that it was this incident that caused Shakespeare to describe the Catholic martyrs in Sonnet 124 as……
………..the fools of time,
Which die for goodness, who have lived for crime.
See: Shakespeare in Italy
But there was another Jesuit missionary who also had a profound effect on Shakespeare…..
……..whom he describes as his…..
…….loving cousin, W.S……
He influenced Shakespeare's imagery, vocabulary and thought.
He was Robert Southwell.
[See Shakespeare, the Earl and the Jesuit (2008) a brilliant book by the distinguished American Shakespeare scholar, John Klause.]
In 1587 Southwell wrote his Epistle of Comfort for the wife of Philip Howard, 20th Earl of Arundel…..
…….a Catholic convert who from 1585 had been under sentence of death in the Tower.
In it Southwell writes about the glory of martyrdom…..
……BUT HE DOES NOT ATTACK ELIZABETH PERSONALLY….
Then as regards to the Queen (to whom I have never done nor wished any evil) I have daily prayed for her and now with all my heart do pray that from his great mercy, through the wounds and most worthy merits of Christ his son, He may grant that she may use the ample gifts and endowments wherewith He has endowed her to the immortal glory of her name, the prosperity of the whole nation and the eternal welfare of her whole soul and body……
Southwell also responded to Elizabeth's 1591 Declaration with……..
…..An Humble Supplication to Her Majesty………..
……..never published, but circulated in manuscript.
Southwell makes the same point about the Anglican clergy that Persons made…..
…..that though the Catholic priests numbered only one tenth of the Protestant priests, they had….
……….happily more gentlemen than in all the other clergy of the whole realm.
He vividly describes the torture Elizabeth's officers use……….
……sleep deprivation and mutilation of….
………….those parts that it is almost a torture for Christian ears to hear it. Let it then be judged what it was to chaste and modest men to endure it the shame being no les offensive to their mind than the pain, though most excessive to their bodies.
But, unlike Persons, Southwell firmly believed that Elizabeth was opposed to such cruelties herself. He addressed the Queen with….
…..the most formal respect, acknowledging her as an anointed sovereign, and presenting his arguments as if she knew nothing of the barbarous treatment ordered by her ministers.
He called her…….
………most merciful Princess………
……and made a direct, personal appeal to her……..
……gracious self……………….
……to bring her back to Catholicism.
In Love's Labour's Lost Shakespeare, like Southwell, gives Elizabeth the benefit of the doubt.
The Princess of France is not a sadist…..
…..drunk with the blood of the martyrs of Jesus.
She is simply morally compromised by her pursuit of fame.
She kills deer because she wants to be recognised as a skilled hunter.
We have seen how
…..the poor deer……..
……which is spelt…..
……the poore Deare…
…..in the 1599 Quarto version of the play…
…..can symbolise…..
(1) …the literal deer which Elizabeth slew on her Progresses….
…and….
(2) ….the men who are 'slain' by the beauty of Elizabeth.
…..as the song in the Cowdray Progress demonstrates….
See Part Two
But it is the view of The Shakespeare Code that there are……
…….THREE MORE CODED MEANINGS TO 'DEARE'!!!
……MEANINGS THAT ONLY A ROMAN CATHOLIC WOULD HAVE SPOTTED!!!
FIRST, THOUGH, WHAT WAS THE 'FAME' THAT QUEEN ELIZABETH SOUGHT?
Elizabeth once discussed her posthumous fame – her legacy – with her ladies-in-waiting…………..
…..and said on the subject of her epitaph:
I am no lover of pompous title, but only desire that my name may be recorded in a line or two, which shall briefly express my name, my virginity, the years of my reign, the reformation of religion under it, and my preservation of peace.
And the inscription on her actual tomb begins with:
Sacred to memory: Religion to its primitive purity restored….
So the fame that Elizabeth most earnestly sought was as the reformer of religion…..
………and it was this longing….
……for praise, an outward part….
…….that caused her to….
….spill
The poore Deare's blood….
So what or who was the 'poore Deare'?
MEANING (3).
In August 1581, Robert Persons was working as a missionary in England, disguised as a soldier.
It is the custom of the Catholics themselves to take to the woods and thickets, to ditches and holes even, for concealment, when their houses are broken into at night.
Sometimes when we are sitting at table quite cheerfully, conversing familiarly about matters of faith or piety…it happens that someone rings at the front door a little more insistently than usual, so he can be put down as an official.
Immediately, like deer that have heard the voice of hunters and prick their ears and become alert, all stand to attention and stop eating and command themselves to God in the briefest of prayers; no word or sound of any sort is heard until the servants report what is the matter….
The deer as an image of Roman Catholics was an old one….
…….as can be seen in one of Rome's earliest basilicas…….
……..of deers drinking from the waters of spiritual truth…..
…….in reference to Psalm 41………
…As the hart panteth after the water brooks, so panteth my soul after thee……..
So spilling….
…..the poore Deare's blood….
…..is a reference to Elizabeth's bloody execution of Catholic Martyrs…..
….the fools of time….
…..like Wells and Genings.
When John Dryden……
….. recorded his conversion to Catholicism, he did so in a poem entitled…..
The Hind and the Panther…………
….where….
A milk-white Hind, immortal and unchanged
………represented the Catholic Church…….
…….. and the panther, the Church of England.
Dryden was drawing on a on a long tradition of equating the deer with Christianity…….
………..which before the reformation meant only Catholicism.
….can also mean destroying the Roman Catholic Church….
….which is exactly what Elizabeth intended to do.
But the deer was also thought to kill snakes….
It miraculously drew them out of holes with its breath…..
……and trampled them underfoot.
So the deer was also an image of Christ himself….
…..(destroying the Devil and all his works)….
…..and often appeared with a crucifix between his horns……
………born the year after the premiere of Love's Labour's Lost…..
……in his great poem Love….
Lover bade me welcome
But my soul drew back,
……uses the phrase………..
……..my dear……..
….when he is addressing Christ….
…..and this equation of the deer and Christ has its roots in the Christianised interpretation of The Song of Solomon…..
My lover is like a swift gazelle or a young dear….
So when the Princess of France….
….spills the poore Deare's blood….
…..it can also refer to Elizabeth's re-crucifying Christ himself……
….. when she kills his Catholic followers…..
……and tries to destroy the Old Faith….
We can never know how many Catholics in Shakespeare's audience picked up these coded references…..
……but they seem to have been forgotten by the time the First Folio was published in 1623…..
….or deliberately suppressed after the Catholic Gunpowder Plot.
Here the spelling of…..
…..Deare….
….is changed back to its more usual spelling…..
….Deere…..
By then, Catholicism in Britain was seen as a lost cause….
Robert Southwell was himself arrested the month after the first performance of Love's Labour's Lost.
Topcliffe tortured him ten times, then hanged him in 1595.
He had intended to draw and quarter him alive as well: but Southwell cut a figure of such dignity and bravery on the scaffold that the crowd, led by Charles Blount, recently created Lord Mountjoy, insisted that Southwell be hanged till he was dead.
Some accounts say Mountjoy – who played Longaville in the play…..
See: 'Love's Labour's Lost' revisited: Aristocratic Actors.
…..pulled on Southwell's legs himself.
If Mountjoy was in the crowd, it is highly likely that Southwell's 'loving cousin, W.S.' was there as well.
Southwell prayed for the Queen on the scaffold.
We don't know if he still believed that Elizabeth was unaware of the tortures that Topcliffe inflicted: but he would have been horrified by the letter about him Topcliffe sent to the Queen in June, 1592, for her….
…. pleasure.
He describes how Southwell would be manacled at the wrists….
…….his feet standing upon the ground and his hands, but as high as he can reach against the wall. It will be as though he were dancing a trick or a figure at trenchmore.
Trenchmore was a lively dance….
Brothers and Sisters of the Code might be interested in reading:
'Love's Labour's Lost': The Background.
'Love's Labour's Lost': The Original Cast.
'Love's Labour's Lost': Aristocratic Actors.


text:
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As a valued Relias Media subscriber, you can find the latest issue of your publication online. The articles below provide timely strategies and research for healthcare providers:
Thalamic Stroke and Sleep Impairment: An Experiment of Nature
In a detailed clinical and electrophysiological study of sleep patterns in 12 patients with thalamic stroke, comparing them with 11 patients who had extrathalamic stroke, the investigators identified a marked decrease in slow wave sleep activity in the group with thalamic stroke. The clinical significance of this finding is uncertain but may have an effect on daytime cognitive performance.
Neuropathological Findings in the Brains of Patients Who Died from COVID-19
In an autopsy study of 41 patients who died from COVID-19 in a single medical center in New York City, most of the brain pathology was the result of hypoxic-ischemic injury, infarction, and hemorrhage, with microglial activation and neuronophagia caused by inflammation. Studies for the presence of viral proteins were negative, and very low levels of viral ribonucleic acid were detected.
Intravenous Immunoglobulin for Stable CIDP: Stop or Taper?
First-line therapy for chronic inflammatory demyelinating polyneuropathy is intravenous immunoglobulin (IVIG), but the timing and method for withdrawal of this treatment are uncertain. In a retrospective review of stable patients on IVIG, investigators at the National Hospital in London observed that there was no significant difference in the likelihood of deterioration or response to retreatment if IVIG was stopped abruptly or tapered slowly.
Neuropathological Variability of NMDAR-Encephalitis
The neuropathological features of N-methyl-D-aspartate receptor (NMDAR)-encephalitis are described in an autopsy cohort of four patients — two diagnosed in life with comorbid brain disorders, and two diagnosed at autopsy and never treated. The two untreated patients had inflammatory infiltrates composed of perivascular and parenchymal T cells and B cells/plasma cells in the basal ganglia, amygdala, and hippocampus. The two treated patients had variable pathologies that reflected their underlying neurological disorders (lymphoproliferative disease and multiple sclerosis). Overall, the topographic distribution of inflammation in patients with NMDAR-encephalitis reflects the clinical symptoms of movement disorders, abnormal behavior, and memory dysfunction with inflammation predominantly observed in the basal ganglia, amygdala, and hippocampus. Loss of NMDAR-immunoreactivity correlated with disease severity.
Neurology Alert (Vol. 41, No. 5) - January 2022
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The Khvorheh Mansion is a historical mansion and temple from the Parthian Empire and is located in Mahallat County, Markazi Province.

References

Fire temples in Iran
Mansions in Iran
Religious buildings and structures in Iran
Zoroastrianism in Iran


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Two nationalities, dual citizenship and one national team
June 25, 2014, 9:10 a.m. CT
To play on a World Cup national soccer team, a player must be a citizen of that country. But most World Cup players don't regularly play in the nation of their World Cup team. Some hold dual citizenship. The U.S. team has several dual-nationals on its team- many are Americans recruited from abroad. It's a phenomenon that isn't unique to the U.S. team. We'll discuss the issue with Michael Madero, assistant coach for the University of Chicago's men's soccer team. He joins us from Brazil. Jon Bohland, associate professor of political science and international studies at Hollins University will also tell us whether he thinks a player's loyalty is ever in question. (photo: United States' Timmy Chandler, right, is a dual citizen of the USA and Germany.(AP Photo/Thomas Mendoza))