NYBA HOF Inductee 1998; 2007 & 2008 TNBA Rhodman Champion; 2008 High Roller 60 and over champion.
This ball has the characteristics of two of my favorite balls. It has the old black Roto Grip Silver Streak weight block, now being used on the Nomads. It also has an urethane shell that reminds me of my old blue hammer, but it can be polished. It's a little stronger than the Storm Natural to me.
I drilled mine 4x4 pin over the ring finger and cg a little right of the palm. No weight hole.
I had my Mutant Cell Pearl drilled 4-1/2 x 4. The pin is 1" over the ring finger and 1/2" to the right, the cg is 1-1/2" below the ring finger and the mass bias is 1/2" right of the thumb hole, no weight hole.
Mr. Ken, just wanted to drop you a line and thank you for coming out and bowling yesterday in the tournament. It was good seeing you bowl well against those young bucks......i see you made it into the money, which is always good.:) Thanks for your support and hope you enjoyed everything. Talk to you soon.
Hi Mr Ken, impressive resume`. I'm glad you joined the site. Feel free to post some pictures, events, start some discussions or whatever you like. This site is an avenue for bowlers to talk and network. Pass the word to your friends and bowling buddies. Thanks for your continued support and hope to see you soon.


"I am not a fish," replies the penguin. The fish eyes the penguin suspiciously.
"Fish do live here, but so do others. The sea is a diverse and rich place," said the penguin.
"Yes. It's a pity all you penguins are the same," said the fish, rather tartly.
"Oh no. To the non-penguin, there may be a strong family resemblance, but there's a fair variety amongst us too. An emperor is quite different from a rock-hopper. I'm sure if you left the water occasionally and came to live among us, you would see," explained the penguin.
"I couldn't possibly leave the water. It is what we live in. Why are you so opposed to water?" asked the fish.
And with that, they go they separate ways. The fish dives down into the murky depths, while the penguin hops and takes a gulp of air.
This entry was posted in Short postings and tagged parable, tradition. Bookmark the permalink.


The Kaehler-Rector House is one of the finest remaining examples of Victorian Queen Anne architecture in Merced County. Designed by Louis Wegner, a locally known architect and builder, the home was lavishly constructed in terms of size and appointments, both inside and out. It is popularly referred to as one of the old castles of Merced and is one of the better restored of this group.
Louis Wegner, a native of Germany, was a well-known architect in the Merced area and a builder with the instincts of a craftsman. He was active in local affairs, serving twice as Mayor of Merced. He focused much of his energy on city beautification, improving streets and installing sidewalks. Many of the finest buildings in the town and county are products of his combined talents as architect and builder.
George Kaehler, the original owner, was a prominent businessman. Kaehler and his brothers, Reinhold and Max, were in the wholesale liquor business in Merced, Fresno, and Los Banos.
Judge E. N. Rector, the second owner, served on the Superior Court of Merced County for thirty-eight years. His father had been instrumental in the formation of Merced County, leading the drive to separate it from Mariposa County in 1855. Rector occupied the home from 1903 until his death in 1941.


text:
Q: Show mounts under /mnt in File Manager I have a few secondary hard disks in my pc, configured in /etc/fstab to be mounted in /media at boot time, so they show up as device in file manager (I have nautilus configured as default file manager, but also use nemo).
Now I want to change that /mnt, for several reasons, but I want to keep the feature, that each disk is shown in nautilus/nemo as a device.
I tried (soft-) linking the /mnt/disk1... folders to /media/disk1... - but that doesn't do the trick. Is there a trick to do this?

A: You could try using the bind mount method, in order to have your secondary hard drive mounted into two location.
mount --bind /mnt/... /media/...

In order to make it persistent, modify your fstab.
/mnt/...     /media/...    none      bind

Don't forget to add this line after all other mounts.

redpajama_set_name: RedPajamaStackExchange


If you want to pass the dispatcher interview questions you need to make certain that you are physically and mentally prepared. The interview won't take more than an hour, but a lot of things can and will happen in that time span. For this reason, you need to prepare in advance, otherwise your application might be rejected.
The key to passing begins before the interview as Interview Questions and Answers.biz points out. Make sure that you arrive 15 to 30 minutes early, and don't forget your manners regardless who you meet there, because the way you act towards these people will be reported back to the panel that will interview you.
It is hard to emphasize how important making a good first impression is, as it is up there with your speech and words. While you're waiting for your turn, take deep breaths and relax. If you're still not sure, you should follow this guide at Jobinterview.net first. Before the interview begins, shake hands with everyone and make eye contact. During the course of the interview, maintain eye contact with whoever is asking questions and address them by their title and last name.
Q: How did you prepare for this job?
A: What I did for my preparation was attending a public safety career class. I also participated in the Citizen's Academy, and I have worked with various officers as well. These experiences provided me with insights on how police officers from different agencies collaborate and how dispatchers should handle calls.
There are many other questions that may be asked such as the following, so you should prepare for them.
Have you faced a challenging situation before? How did you handle it?
What are your career accomplishments and awards?
How do you assess situations and respond when new data arrives?
How does your experience, training or education relate to the job of a police dispatcher?
Do you have multitasking capabilities?
In addition you may be asked stress questions like.
What issue would you tackle first if you were President?
Tell us a good joke.
What question were you praying we would not ask?
These are some of the questions that you will be asked, and while there are many ways to answer them, the best method is still the one that Dispatch Online Magazine suggests, which is to be honest. Don't make something up just to sound impressive, and instead just tell the panel the truth.
Would you inform your superiors if a coworker came to work smelling of alcohol? The answer should be yes, because the rule of law covers everyone, including friends and coworkers.
You got a domestic violence call involving a police officer. What will you do? The answer should be to alert the authorities like any other domestic violence incident.
In addition to these questions, you will also be asked how to react to various scenarios, and in many cases there are no right or wrong answers here, and all the panel is interested in is learning how your thought processes work.
There are three things you need to remember: be honest, credible and show confidence, without being arrogant. Furthermore, you won't just be judged by your answers but the way you conduct yourself. During the interview, you need to emphasize that you are a team player, can get along with other people and can multitask easily. You also need to show the board panel that you can think quickly and make decisions.
Aside from conveying a positive impression and answering questions, you should not hesitate to ask questions. In fact, it's a good idea to ask questions since it shows that you are interested in the job. Some of the questions that you may want to ask during the course of the interview are the following.
What are the priorities of the dispatcher in this agency?
What are the biggest challenges that someone in this position will face?
What agencies do you interact with and in what ways?
What specific qualities are you searching for?
There are a few more things you need to look out for during the interview. For one thing, eye contact has to be maintained during the interview, and second, your appearance has to be professional. You also need to hold your end during the conversation, because poor communication skills won't help you get hired. In addition to these, you can't come off sounding like a know-it-all, and instead you must show respect to the people that are interviewing you.
As you can see, learning how to become a police dispatcher is not going to be easy. However, you can give yourself a hand by getting the Dispatcher Interview e-book. With this guide you'll learn the hidden questions that these board panels ask, how to offer attention grabbing answers and the clue that will tell you what the panel thinks of the answers you gave.


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Chess Praxis
Offering commentary on the royal game. I shall do my best to analyze games, including my own over-the-board experiences, and share thoughts on the current state of the game of chess.
After a Looooong Break
Apologies to my steady readership. It's been a long winter/spring of non-chess life. I've been writing a book over the past year, and during the heavy writing season (when I'm not focusing on funding the project) it's really hard to find any time for chess. Of late though I've been following the chess world a bit more, and I've been considering how to make a comeback.
When last I was blogging, as some of you may remember, I had been going through a rough stretch in my play. Slumps have been very rare creatures (Thankfully) in my praxis, but last year's was an unpleasant one, and it seems to me that the first thing to do as I consider how to reapproach the tournament scene is to reflect on what went wrong last year and to try to learn from it. I envision a series of postings analyzing some of the uglier experiences.
I started 2007 with a rating of 1880 USCF. I reached a peak for the year of 1904, and finished on the boomerang low note of 1842, though this was something of a rebound from my nadir at 1806. I won 18 games, including a scalp of a master, drew 20 games, and lost 17, for close to a 50 percent performance. Kind of mediocre.
I think I'll start with a couple of examples of blunderitis which seemed to creap into my play last year after a several year absence.
Here's a position that I think typifies some of my less successful play from 2007. I was white, playing in a position where I was under some pressure and rather uncomfortable. Something that I thnk came up a number of times in 2007 that was interesting was a tendency in my play to seek "advantages" based on principles, rather than assessing positions concretely. Here, for example, I think that I sought this structure, with my opponent having split q-side pawns, and myself with hanging pawns, because I thought that the isolated c-pawn would be weak. I hadn't thought about the fact that my opponent could simply push c7-c5 at an auspicious moment to clear away the weakness—hadn't thought about it until I got to the structure, that is.
Here now, I was struggling with the problem of how to relieve the pressure on the Nf3. Now I think that Ncd2 was probably the easiest way, though I'm still uncomfortable with the consequences of a c5 push by black. Basically, I think that white is struggling a little all around, but I played the ridiculous 21.Qf1??, thinking that I would move the knight and welcome an exchange of bishops - perhaps also fantasizing that my opponent would not play c5. This seems to me to be the kind of a blunder that happens when you're so caught up in trying to solve a problem on the board that you begin to lose sight of the position. Even so, though, it's kind of an amazing blunder for me.
Here's another example of a position in which I blundered. I had the black pieces, and was playing an uptempo game in 30. At the time, I remember thinking that my opponent had gone wrong in the opening and that I would be better, when in fact, I now think that the position is rather unclear. In any case, white has just played Nxd5, capturing my knight, and I need to respond. I had calculated 9...Nxd4 10.Qd1 Nxf3+ 11.Bxf3 Bxd2+ 12.Qxd2 exd5, and had somehow overlooked the simple fact that white can now recapture on d5, threatening b7 as well as c4. The pressure is kind of irritating in that position, but the game is certainly fully playable. After some thought, however, realizing that I was using too much time given the control, I reached out and played 9...exd5?? 10.Bxb4 when, of course, black is in a lot of trouble, down a piece for pawns. I think this blunder was sort of an inversion of moves problem, but still, a pretty significant disaster.
So, what can I learn from these two examples? I think that I was lacking a certain fluidity with my tactics. I wasn't necessarily seeing the board badly all the time, but I was not sufficiently comfortable with my visualizing of the relationships between the pieces to ensure that I would not occasionally blunder terribly. Obviously, blundering like this is a series cause of fast losses...
posted by Joshua at 1:20 PM
Name: Joshua
A Little Chess
Precision Moves
Playing Ugly
Finding My Form
One Foot in Front of the Other
Catching the Rebound!!
Another Loss
The Najdorf Problem

redpajama_set_name: RedPajamaCommonCrawl


Word or tag clouds are visualizations which help us to understand the meaning of an aggregate of text by correlating the size of the words with their prevalence in it. As the title suggests, the picture shown here describes the concept best. While the depictions are often correlated with blogs, twitter streams, and other social media, their utility extends beyond this area. In this post, we list several ways that life science companies can use word clouds to understand customers' needs and adapt marketing and communication strategies to meet them.
Analyzing Social Media Sentiment. For the life science marketer, comments made by life scientists on social media applications represent an 'amorphous' form of market research. Instead of direct questions being asked and answered, researchers give candid opinions about research areas, products, events, or anything else they want to talk about. As an example, check out the word cloud made from the Society for Neuroscience 2010 meeting tweets. From this cloud, you can see that important topics at the meeting were Glenn Close's talk, an article about spooky coloured auras (from a non-American author), and that the exhibit hall booths were well represented. The raw data must be aggregated and analyzed, these associations may not be clear just from the word cloud. However, it concisely shows the 'buzz' at the meeting without having to read a single tweet. As such, word clouds can be used effectively understand and communicate the sentiment from conferences, tweet streams, forums, blogs, etc.
Market Research. Although traditional surveys produce data that is more structured than social media sentiment, we've found that word clouds can be used to effectively capture important take home messages in market research. As an example, for our client 89 North we surveyed fluorescence researchers to determine the requirements for the fluorXchange, a web 2.0 resource for scientists. We got excellent answers to our open ended questions, and made a word cloud from all of the text. From the visualization, we confirmed that a major 'pain' for these researchers was related to improving the signal to noise in their experiments. As a result, we chose to include a wiki along with a forum which would allow them to upload experimental images and fully discuss signal to noise issues. For another example, see the word cloud from our poll of San Diego Biotechnology Network members we used to plan the 2010 meetings.
Internal Motivation. Word clouds based on customer needs can help life science marketing, sales, and technical service groups convey a common message in everyday conversations, marketing materials, and can even help with product development. Help your team to understand by being creative: post or distribute 'customer clouds' in sales guides, give easy-to-update framed clouds for desks, or post them in hallways. Do 'company clouds' match your intended message? If not, make your own to emphasize words which more closely match your desired voice and post or distribute them. With cool tools like Tagxedo, you can make them artistic and in any shape, as we did with the LIFE logo above.
Other tools to create tag clouds are Wordle (many artistic options) and TagCrowd (fewer artistic options, but word removal available). In addition, several Twitter and Blog tools will generate word clouds. We did this analysis for free, but it did require that we archive the information for 10 weeks, as the free tools rarely allow for this. At our Social Media for Life Science and Biotechnology Workshop 4 we discuss the paid and free tools, and ways to aggregate raw data from life science social media and analyze it.
If you think that this technology seems too simple, consider that the more complex sentiment analysis software designed for larger brands requires much more data. Try word clouds with the data you have in house, you may be surprised with the insights you will gain and the ability to communicate your message internally and externally.


We believe that while we enjoy observing marine life, we should be more responsible in interacting with them.
Snorkeling Php4,392. Scuba Diving (2dives) Php6,344 per person. Inclusive of lunch, drinks, snorkeling set, diving gear (for fun diving) boat with crew guid or instructor fee and government tax and service charge.
A small island on the west coast of Bohol, Cabilao Island is famous for its beautiful and healthy bright colored coral reefs and impressive walls. It is also a marine protected area. Here you can see various types of tropical reef fish, unique shrimps, sea anemones, frog fish and SEA TURTLE! Bigeye kingfish and barracuda can be seen at the drop off. One may be lucky to see a pod of DOLPHINS while on the way to Cabilao!
One can observe many rare and macro creatures here even if the reef is shallow and the bottom are muddy. The Blue Ribbon Goby, which is usually found in deep muddy slopes, can be seen at only 4 – 5 meter depth. We were really surprised that these creatures are staying in our house reef. We take pride that they chose Pulchra's shallow waters as their home, which is why we used the goby as the motif of our dive shop's logo. Other interesting creatures that can be seen here are the Robust Ribbon Goby, Blue Spot Shrimp Goby, Flagfin Prawn Goby, Singapore Prawn Goby, Dragon Sea Moth, Magnificent Anemone Shrimp, and Fingered Dragonet among others. Diving here is recommended only for licensed drivers with Open Water Course certification or higher. The house reef is shallow with visibility of 2-5 meters only and the reef bottom is muddy, thus neutral buoyancy is a must. Best season to dive is on summer when the sea condition is mostly calm, which is from March to May. Dive Pulchra's house reef and get a chance to explore our young underwater world! This activity is available depending on sea condition. Please contact our Guest Service or Marine Staff for more information.
Php6,832 per person Inclusive of lunch, drinks, snorkeling set, diving gier boat with crew, instructor fee and government tax and service charge. 2nd dive Php1,220 as additional.
Seek ADVENTURE in an underwater wonderland.
Hop on an exclusive tour to the islands with our banca charter and indulge in an adventure that is especially made for you. Get a chance to see a pod of dolphins as they playfully jump out of the water. Visit and take a dip in the crystal clear water of the serene island of Camingao, and watch sea gulls fly. Then experience the magnificence of one of Bohol's marine paradise – Cabilao Island. Get to see beautiful and healthy bright colored coral reefs and impressive walls, various types of tropical reef fish.
Explore the beauty and bounty of the Visayan sea with our banca charter.
Drift your way into experiencing the wonders of underwater world at our beach front as you learn the art of boat paddling. Put on a snorkel, take the plunge and savor the pleasure of interacting with the different and magnificent sea creatures. Wade above a Sardine "run" and observe the Silver Batfish as it glides beautifully along the corals. Swim with the fish and discover the adventure Pulchra's house reef can offer.
P732 per person (price is inclusive of government tax and service charge.) as usage of small banca boat with guid.
While away the dusk talking with your loved one on our banca boat, a large canoe with outriggers which is commonly seen in the Philippines. Watch the sun setting over the mountains of Cebu Island, and just luxuriously indulge yourself in the colorful gradation of the sky and the warmth of the sea breeze.Make your day special and unforgettable... hop on to our banca boat and enjoy a sunset cruise! it's Php2,196 per person (price is inclusive of government tax and service charge.).
Snorkeling Php4,392. Scuba Diving (2dives) Php6,344 per person. Inclusive of lunch, drinks, snorkeling set, diving gier (for fun diving) boat with crew guid or instructor fee and government tax and service charge.
The Hilutungan Marine Sanctuary is home to tens of thousands of fish. You will likely a school of large batfish and run of giant trevally!!
Minimum of 2 adults for reservation.
Cut off for reservation is until 9:00 p.m. only.
Island Snorkeling, Taiken Diving & Fun Diving are available daily subject to weather condition.
December to March, northeast monsoon. April to June is usually dry with warm days and little wind. July to November is the southwest monsoon.
We recommend wearing of long-sleeve rush guards, synthetic fiber Torenka and Leggings during snorkeling. It is effective prevention from sunburn and jellyfish and plankton stings.
Cancellation charge will be implemented after 10:00 p.m. up to 7:00 a.m. on the scheduled date is 50% and after 7:00 a.m on the scheduled date is 100%.
You are required to please follow the guidelines for safe scuba diving.
You will be asked to fill up the Medical statement / Medical questionnaire prior your diving. If you answer yes to any of them then you will need to get a clearance from a Doctor depending on the question.
Make all dives no decompression dives and allow a margin of safety.
Participants of scuba diver course & Taiken diving (intro scuba diving) who are over 60 years old, are required to present their health certificate prior reservation.
Pulchra FUN Loyalty Program Please click here to know more on how to accumulate and avail points.


The Russian, East European, and Eurasian Center at Illinois is pleased to announce that it recently was awarded a $225,000 grant from the State Department's Program for the Study of Eastern Europe and the Independent States of the Former Soviet Union (Title VIII).
The grant provides support for REEEC's innovative Summer Research Laboratory, and will provide 55 short-term fellowships for researchers who wish to come to Urbana, consult with our Slavic Reference Service, and work in our famous library collections. The Summer Research Laboratory also features training workshops, mini-conferences, and other scholarly programming.
The new grant will also support short term grants for researchers who wish to come to Urbana during the Fall and Spring semesters, in a new program called the Open Research Lab.
We owe a round of congratulations to our colleagues across campus–at REEEC, the Slavic Reference Service, and beyond–whose collaborative work on this grant led to such a well-deserved success. Thanks to their efforts, Illinois continues to serve the most basic mission of a public research university: to make advanced study in any field accessible to the largest possible pool of scholars.
Illinois Program for Research in the Humanities (IPRH) at the University of Illinois has awarded its annual Faculty and Graduate Student Fellowships to seven faculty members and seven graduate students for the 2017-2018 academic year, which will center on the theme of "Paradigm Shifts." IPRH also announced its first class of New Horizons Summer Research Fellows for 2017. New Horizons fellowships support faculty summer research and provide for the hire of an undergraduate research assistant. More information about the fellowships and a complete list of fellows can be found here. Please join REEEC in congratulating faculty members George Gasyna and Jessica Greenberg on their IPRH fellowships!
The Summer Research Laboratory (SRL) on Russia, Eastern Europe, and Eurasia is open to all scholars with research interests in the Russian, East European and Eurasian region for eight weeks during the summer months from June 12 until August 4. The SRL provides scholars access to the resources of the world renowned Slavic, East European, and Eurasian collection within a flexible time frame where scholars have the opportunity to receive one-on-one research assistance from the librarians of the Slavic Reference Service (SRS).
The deadline for grant funding is March 15 and is fast approaching! REEEC will continue to receive applications for the Summer Research Lab after the grant deadline, but housing and travel funds will not be guaranteed.
For graduate students, the SRL provides an opportunity to conduct research prior to going abroad and extra experience to refine research skills and strategies. Students will also have the opportunity of seeking guidance from specialized librarians in navigating resources pertaining to and originating from Russia, Eastern Europe, and Eurasia.
The SRS is an extensive service that provides access to a wide range of materials that center on and come from: Russia, the Former Soviet Union, Czech and Slovak Republics, Former Yugoslavia, Poland, Hungary, Bulgaria, Romania, Uzbekistan, Kazakhstan, and Kyrgyzstan. The International & Area Studies Library, where the Slavic, East European, and Eurasian reference collection is housed, contains work stations for readers, research technologies, a collection of authoritative reference works, and provides unlimited access to one of the largest collections for Russian, East European, and Eurasian Studies in North America.
Mark Steinberg, Director of Graduate Studies, Professor of History, Russian, East European & Eurasian Studies, and the Center for Global Studies, published a new book on February 1st of 2017, The Russian Revolution, 1905-1921, was released through Oxford University Press. Steinberg's book explores a different perspective of the historical period that ranges from the 1905 Bloody Sunday events to the end of the Civil War, all presented through the perspectives and experiences of those who lived through the period. Writing on the key characters of the revolution, including Vladimir Lenin, Lev Trotsky, and Alexandra Kollontai, Steinberg takes knowledge and information from the present and uses it to breath new air into the past. For more information on Dr. Steinberg's book, follow this link to Oxford University Press.
Marek Sroka, Librarian for Central European Studies and Associate Professor of Russian, East European & Eurasian Studies, published "American Books to the Rescue: The American Library Association (ALA) and the Postwar Restoration of Polish Libraries, 1944-1948," in the final issue of 2016's The Polish Review 61(4), and then published ""A Book Never Dies": the American Library Association and the Cultural Reconstruction of Czechoslovak and Polish Libraries, 1945-48," in Library and Information History 33 which was released in 2017.
Dr. Kristin Romberg, Assistant Professor of Art History and REEEC Affiliate, published an anthology, "Tektonika," in volume 1 of Formal'nyi metod. Antologiia rossiiskogo modernizma (The Formal Method: An Anthology of Russian Modernism), edited by Serguei Oushakine and published by Moscow and Ekaterinburg: Kabinetnyi uchenyi in the summer of 2016. Romberg also spoke at The Russian Avant-Garde: Scholars Respond panel at the Museum of Modern Art on February 8th, 2017. The panel was organized in tandem with the exhibition A Revolutionary Impulse: The Rise of the Russian Avant-Garde and discussed the how an art object could be revolutionary. Information about the panel is available here.
Description: Exploration of the effect of traumatic events, shifting cultural narratives, and social transformations on the construction of collective identities in Bosnia, Croatia and Serbia in the 20th and 21st centuries. Students will read historical and sociological works as well as fiction and poetry.
Description: An exploration of how filmmakers and actors, from the 1920s to the present, have portrayed, often in revolutionary ways, revolutions and revolutionaries—from the 1700s to the future and from the Soviet Union to China, Paris to Algiers, Poland to Cuba, Chicago to New York. Students will be able to influence the final selections of films. The course emphasizes the collective experience of watching and discussing films together each week and immediately interpreting, though inspired by selected written texts, mostly primary historical sources, read in advance of each screening. And we will constantly question the logic of the course: what is the relationship between films and history? Each week, students will write weekly analytical response essays of the films and readings.
Description: This readings seminar will examine key historical and historiographical issues of the 70-year history of the Soviet Union. Weekly discussions will be based on extensive common and supplemental readings, including both new work and "classics". We will consider substantive, methodological, and theoretical aspects of the field. Topics to be addressed may include: the 1917 revolution, Civil War, NEP, Soviet subjectivity, identity-formation, the Communist party, Stalinism, gender, collectivization and peasants, industrialization and labor, the terror, ethnicity and nationalism, war and Cold war, cultural revolution and popular culture, destalinization, and the everyday life of developed socialism. Four papers will be required, including a survey of one of the weekly discussion themes, one scholarly introduction to a particular primary source for Soviet history (novel, memoirs, reportage), one review essay of 2-3 novels or memoirs on a particular topic, and one brief scholarly book review. Ability to read in Russian is expected for those specializing in Russian history, but not necessary for others.
Description: Examines the evolution, structure, and functioning of post-Soviet governments. Prerequisite: PS 240 or PS 241, six hours of Political Science credit, or consent of instructor.
Description: We focus on three overarching questions to structure our exploration of Central Asia. In the first section, we focus on approaches to the question, "What is Central Asia?" Comparing and contrasting how we identify the area historically and by familiarizing ourselves with the basic geography of the region and key social, cultural, political and economic issues. In the second section we will focus on the question, "How can we analyze the region sociologically?" highlighting issues of basic social theory and comparative analysis. The third section of the course turns to the question, "Why does Central Asia matter?", providing participants with the opportunity to link what we have learned about the region and social theory into evaluating global issues concerning gender, human rights, citizenship, and civil society.
Description: The HIV/AIDS pandemic has drastically altered the global social, political, economic and demographic landscape. Delivering education concerning the virus, expanding prevention programs, monitoring the needs of countries and communities affected by HIV and AIDS, making treatment accessible and providing care continues to challenge the capacities of families, communities, countries and international organizations. While based within a socio-demographic tradition, this course draws on literatures from many disciplines to highlight the general contours, continuing debates, and ethical challenges related to the pandemic globally, nationally and within Illinois. As an introductory course, we will share strategies to enhance core academic skills focusing on effective approaches to college level reading, note taking strategies and formal writing skills. Participants will become more informed of the HIV/AIDS pandemic, learn core social science theories and develop a strong tool box of academic skills.
Description: This is an 8-week course in the Spring and uses a blended learning approach. In addition, students complete a service learning placement with a grassroots organization in Russia or an Eastern European country for two months during the summer. Students apply for these service experiences from within the Omprakash network of over 40 Partner Organizations in Russia/Eastern European countries. Alternatively, the student can work with existing department or university-level partnerships in the region. During their service learning experience, participants engage with local communities, document local perspectives, and work with the grassroots organization to promote social change. Each student develops this experience into a final Capstone Project.
Congratulations to Rebecca Mitchell (PhD in History, 2011) on receiving the W. Bruce Lincoln Prize from the Association for Slavic, East European, and Eurasian Studies (ASEEES)! The prize is awarded for an author's first published monograph or scholarly synthesis that is of exceptional merit and lasting significance for the understanding of Russia's past, published in the previous two years. Rebecca is Assistant Professor of History at Middlebury College, where she teaches courses on the Russian Empire, the Soviet Union, and the relationship between music and power in history. Her book is entitled Nietzsche's Orphans: Music, Metaphysics, and the Twilight of the Russian Empire (Yale University Press, 2016).
To view the original announcement from ASEEES, please see http://aseees.org/news-events/aseees-news-feed/aseees-announces-2016-prize-winners.


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Q: Continuously scrolling background I'm trying to make a 'Mario' Like game where the background is one image but continuously scrolls and moved position to give it a scroll affect. Currently the background image shows then shows a grey background followed by the background image again.

Could someone please help to see where I have gone wrong.
class GameScene: SKScene {

    let background = SKSpriteNode(texture:SKTexture(imageNamed: "background"))

    var lastFrameTime : TimeInterval = 0

    var deltaTime : TimeInterval = 0

    override func didMove(to view: SKView) {
        background.position = CGPoint(x: 0, y: 0)
    self.background.setScale(0.75)
    self.addChild(background)
    }

    override func update(_ currentTime: TimeInterval) {
        if lastFrameTime <= 0 {
            lastFrameTime = currentTime
        }

        deltaTime = currentTime - lastFrameTime
        lastFrameTime = currentTime

        self.moveSprite(sprite: background, nextSprite: background, speed:10)
    }

    func moveSprite(sprite : SKSpriteNode,
                    nextSprite : SKSpriteNode, speed : Float) -> Void {
        var newPosition = CGPoint.zero

        for spriteToMove in [sprite, nextSprite] {

            newPosition = spriteToMove.position
            newPosition.x -= CGFloat(speed * Float(deltaTime))
            spriteToMove.position = newPosition

            if spriteToMove.frame.maxX < self.frame.minX {

                spriteToMove.position = CGPoint(x: spriteToMove.position.x + spriteToMove.size.width * 2, y: spriteToMove.position.y)
            }
        }
    }

A: You need to add in another background image and set it next to the original background image.  After that, you basically play a game of leap frog when the background is off the screen.  Take a look at the class I posted to get an idea on how a scrolling background should work.
class GameScene: SKScene {

    let background = SKSpriteNode(texture:SKTexture(imageNamed: "background"))
    let background2 = SKSpriteNode(texture:SKTexture(imageNamed: "background"))

    var lastFrameTime : TimeInterval = 0

    var deltaTime : TimeInterval = 0

    override func didMove(to view: SKView) {
        background.position = CGPoint(x: 0, y: 0)
        background2.position = CGPoint(x: background.size.width, y: 0)
//    self.background.setScale(0.75)
        self.addChild(background)
        self.addChild(background2)
    }

    override func update(_ currentTime: TimeInterval) {
        if lastFrameTime <= 0 {
            lastFrameTime = currentTime
        }

        deltaTime = currentTime - lastFrameTime
        lastFrameTime = currentTime

        self.moveBackground(background,speed:10)
        self.moveBackground(background2,speed:10)
    }

    func moveBackground(_background:SKSprite,speed : Float) -> Void {
      background.position.x -= CGFloat(speed * Float(deltaTime))
      if background.position.x < -background.size.width{
          background.position.x += background.size.width * 2
      }
    }


text:
Medium Cruel:
Reflections on Videodrome
By Tim Lucas
In 1981, it seemed to me that a new era of fantastic cinema was upon us. With this in mind, I persuaded an editor at Heavy Metal to accept an essay I wanted to write about the new generation of horror specialists, which I planned to call "The Shape of Rage" (after a psychological manifesto that figures in the plot of David Cronenberg's 1979 film The Brood). It was a housebound project—with me interviewing George Romero, John Carpenter, Joe Dante, and makeup artist Tom Savini, all by telephone—until fate intervened and sent Cronenberg to Cincinnati on a promotional junket for his latest film, Scanners.
This interview was a galvanizing experience for me. In my personal life, I had never met anyone who shared my seemingly irreconcilable interests in art and literature and horror movies. Cronenberg and I talked not only about his own work but also about Vladimir Nabokov, William S. Burroughs, Thomas Pynchon, the structuralist theories of Claude Lévi-Strauss, and movies, from Don't Look Now to Ilsa, She Wolf of the SS. He was delighted when I told him that I considered such "Cronenbergian" archetypes as the Brood and the Scanners to be avatars of a new mythology—one that also included Carpenter's Shape and Romero's Living Dead.
The article was published later that year, and that was that—until Videodrome was announced in the fall. I phoned Frederick S. Clarke, the editor of Cinefantastique (which had already published a feature story on Cronenberg's career by Paul M. Sammon), to tell him about my inside track, and he asked me to get some quotes from Cronenberg for a news item. When I called David at his home in Toronto, he surprised me by inviting me up to observe the filming. Because the producers wanted to keep the script details a secret, it would be a closed set, and I would be the only film journalist present. It was my first set visit, my first trip out of the country, my first a lot of things. I was accompanied by my wife, Donna (acting as my photographer), on my first visit, from December 16 to 19, 1981 (supposedly the last week of filming), and by my friend Robert Uth during a return visit that lasted from March 7 to 13, 1982 (retakes and special-effects insert photography)—nine days in all.
The on-set observations presented below are excerpted from my book about the production, Videodrome, part of Millipede Press's Studies in the Horror Film series. Some of the material was originally presented in different form in Cinefantastique.
The Original Draft of the Screenplay
Cronenberg did not want to make any fragments of his first draft—titled Network of Blood—public (to quote his literary mentor, Nabokov, to do so would be like "passing around samples of one's sputum"), but its nature reveals a great deal about his creative process, so integral to an understanding of his art. While writing his rough drafts, Cronenberg accepts as a given that they will resemble the final product in only the most basic way, and he allows his mind to move in any direction it desires, pushing the limits of what it is possible to render on-screen until those limits are broken; it is at this point that he feels truly in touch with his imagination. When he grants his imaginative powers absolute free rein, they are able to explode, backfire, frighten him.
Some examples: In the first draft of Videodrome, Max Renn combats his hallucination by chopping his flesh gun off at the wrist, and from the stump there grows a fleshy, "potato masher"–style hand grenade, which explodes. There is a kissing scene in which Max and Nicki's faces melt together into a single object that dribbles down, crawls across the floor and up the leg of an onlooker, and melts him. And the most horrible murder featured in the finished film—the erupting cancer death of Barry Convex—originally was to happen to five other characters as well. "My early drafts tend to get extreme in all kinds of ways: sexually, violently, and just in terms of weirdness," Cronenberg explains. "But I have to balance this weirdness against what an audience will accept as reality. Even in the sound mix, when we're talking about what sort of sound effects we want for the hand moving around inside the stomach slit, for example; we could get really weird and use really loud, slurpy, gurgly effects, but I'm playing it realistically. That is to say, I'm giving it the sound it would really have, which is not much. I'm presenting something that is outrageous and impossible, but I'm trying to convey it realistically."
This is something Cronenberg's producers—Pierre David, Victor Solnicki, and Claude Héroux—apparently understood; Cronenberg's creative eccentricities, after all, were the cornerstone of their empire, of which Scanners was the greatest success. "The way Videodrome really started," Cronenberg remembers, "was Pierre saying that he wanted to do another picture with me, and me reciprocating. I met with him in Montreal and told him, in just a few words, the basic plot; it was only the first part of the movie I described to him, and it sounded more like a thriller than anything, in that limited description, and he liked what I said. But when I started writing it and all of these other things started to leap out at me, I really thought they would reject it. What I was writing was so much more extreme than my premise had suggested. To my surprise, all three of them loved it! I can't tell you how surprised I was, because I thought I'd been going nuts all alone in my little room. Claude, in fact, said that he liked it best of anything I'd written but that if we shot it as it was written, it'd get a triple X for sure. I told him I had written it in a more extreme fashion than I would want to see it on the screen myself."
The "wild" first draft of Videodrome was the script that got the production its major talent—actors James Woods and Deborah Harry, special makeup effects artist Rick Baker and his EFX Inc. crew, and many other essential players—but production began with a toned down (and unfinished) second draft. Throughout the production schedule, Cronenberg wrote new scenes and rewrote old ones, and new sheets were distributed to crew members regularly. The writing of Videodrome continued up until the very last day of shooting, December 19. Additional makeup effects photography was done in March 1982; the need to shoot a revised climax brought the crew back to Toronto for two days in May; and further changes were effected in the editing room. Rather miraculously, Videodrome doesn't hint at any such instability in its final cut; it was Cronenberg's most imaginative, stylized, satirical, and disturbing film to date.
Principal Photography Begins
Videodrome's first week of shooting—beginning October 19, 1981—was completely devoted to the videotaping of a variety of monitor inserts. These were the monologues of Professor Brian O'Blivion (Jack Creley); a number of brutal torture sequences for the "Videodrome" program; and Samurai Dreams and Apollo & Dionysus, two soft-porn programs that are pitched by salespersons to Max Renn's Civic TV and that were scripted to be shown in excerpt. Cronenberg had worked with video before, making two episodes of the television program Peep Show, "The Victim" and "The Lie Chair," in 1977 for the Canadian Broadcasting Company, but he felt some trepidation about working with it again. "I wasn't looking forward to those sessions, I must say," he admits. "I'd done it before, but on two-inch tape and with multiple cameras, so we could edit as we were shooting by going from camera to camera. There wasn't any of that on Videodrome. It's very strange; I never really felt I got those scenes, this time, until we reshot them off monitors. Both [director of photography] Mark [Irwin] and I are very fascinated by videotape; it has a whole other feel. But I was much happier when we were back to shooting film."
Samurai Dreams was photographed in a rented corner of Toronto's Global TV studios, on C-format one-inch tape, silent. On its own, outside Videodrome, it is a true curio: luxuriantly colorful and gracefully staged. "We shot it in half a day," Irwin remembers, "and that's where I came into the business—shooting porn [Ed Hunt's Diary of a Sinner, 1974]—so I felt right at home. I told David that I hadn't realized the Japanese were so raunchy, but he confessed that he'd made up all that Oriental ritualism surrounding the dildo. He'd had it carved the night before. The atmosphere on the set was very loose, very funny. The girl, who was French and spoke very little English, was very open to the whole thing, and there wasn't any tension around to scare her away." Asked about his striking ambience, Irwin says, "Well, to see it on the set, it looked a lot flatter than it does on a monitor. Had I shot Samurai Dreams on film, I would have had about six lights turned off to create that scene." Watching the short unreel on a handy VCR, Irwin refers to the misty exterior tracking camera move as "my Kurosawa shot."
The "Videodrome" spots—which include whippings, electrocutions, strangulations, and other commercial highlights, all staged on art director Carol Spier's unforgettably harsh set—look as if they were grim work indeed, especially as their shooting involved a couple of ten- to twelve-hour days. Special video effects supervisor Michael Lennick reports that the extremity of the material left him feeling "disoriented" at day's end, but Irwin offers a flip-side observation: "It was no different than anything else, because, again, we were working with special effects. If you listen to the soundtrack on the tapes, you can hear David all the time, shouting, 'Okay, now put her up against the wall! Okay, now shake around—you're being electrocuted! Okay, now hang him up on that hook there! Let's see some more energy in that whipping!' It was more funny than sick. Nobody really felt bad, as far as I know. Those victims were stunt experts, and two of the girls really got into it and wanted to do more!" The small amount of light, more "realistic" bloodletting that is glimpsed in the "Videodrome" footage was not contributed, as some might think, by Rick Baker but rather by the film's cosmetic makeup artist, Shonagh Jabour.
A petite, intensely shy woman who moves about lightly in ballet slippers, Jabour was one of many crew members carried over from The Brood (Cronenberg's previous Toronto production). With only a few exceptions and additions, the two films' crews were identical. "One of the maddening things about starting out with someone new is that everything's possible—and that's not necessarily good," Cronenberg explains. "It's the same with any relationship: you want to cut down the world of possibilities; you want the other person to know that you hate pizza, so don't even think about pizza. When you work or live with anyone for a long time, you narrow your range of possibilities in a positive, creative way."
The Cathode Ray Mission
The large building at the corner of Bathurst and Adelaide—dubbed the Cathode Ray Mission by Carol Spier's deceptively religious-looking outdoor marquee, and used as a home base and primary location for the majority of the production—was formerly a nursery school and originally a piano school. Entering through a side door, where snow and slush splattered with week-old dilutions of fake blood functioned as a welcome mat, one saw children's paintings still hanging immediately inside. The down-going stairs led to the gratingly red "Videodrome" arena in November and December, and to the rusty interior of a derelict ship in March. The up-going stairwell led to sustenance: a food table, a coffee tank, and Styrofoam cups. The next room, the building's largest (a former auditorium, complete with a proscenium that must have hosted scores of children's recitals and plays), housed the Cathode Ray Mission cubicles and the Spec Op stage on which Barry Convex corrupts to a howling heap of cancer tissues, and frequently offered the space of its corners for insert shots.
The second floor, made accessible by a number of flights of stairs, was composed of a room used in November and December as the EFX workshop (seen in the film as the room where the videotaped remains of Professor O'Blivion are archived), another used by the video effects crew, a lounge area, and a long, narrow room with huge windows overlooking the action of the auditorium, which doubles in the film as Bianca O'Blivion's office. There was no soundproofing; if a scene was being shot, Rick Baker's crew was unable to work, no one could talk, and no toilets could be flushed. Even when one is standing on a Carol Spier set, her skill deceives the eye. When I noticed the stained-glass trim on the windows in the O'Blivion Archive, I asked Carol if the building was ever used as a church—and she showed me that the colored glass was actually tinted gels applied to the edges of the extant windows. The illusion peeled right off.
The Cancer Gun
The cancer growths caused by Max's flesh gun are described in each draft of the script as being an external effect. ("Moses is hit first, but not by bullets: Max's handgun seems to fire little gobbets of flesh, which stick to Moses' face and throat, then immediately begin to grow, until Moses' face dissolves into an amorphous mass of veiny flesh within the space of a few seconds—like a cancerous growth seen to emerge in time-lapse photography.") It went through several tests before the right concept was struck upon. Baker had many different ideas about how to handle the effect and assigned each member of the group a different way of trying it.
Tom Hester tested a version in which he pumped various liquids and chemicals under the "skin" of a foam latex mask. Shawn McEnroe's test involved tendrils that sprouted out from the cancerous tissues like tiny roots, crisscrossing over the victim's face in a network of disease (in retrospect, Baker thinks this was the "most interesting" of the vetoed experiments). The group also tried swelling foam latex heads with solvents, which distorted them beyond recognition, but upon learning that his mentor, Dick Smith, had recently used the same procedure in another Canadian production, Spasms, Baker chose not to intrude on his work. There was also a last-resort investment in some stop-motion footage of the spreading cancer, which was "interesting, but it wasn't the way the thing read in the script."
Baker then reconceived the effect as an internal cancer that would grow until it burst in a clustery explosion of bloody tissues through the victim's body. "I explained to David that this was something we could do fairly simply: put people under a raised set who'd push the cancers up through a hollow dummy; and I asked if we could arrange it so that whenever this stuff happened, the actor would be up against a wall or on the floor."
By then, Cronenberg had cut the flesh-gun cancer casualties down from six to two: Max's partner, Moses (Reiner Schwarz), and Spectacular Optical impresario Barry Convex (Les Carlson). He agreed that Moses, whom Renn assassinates in the offices of Civic TV, could be slammed by the flesh gun's gobbets against the wall of the boardroom. Baker intended to fashion bubbly-looking cancers out of a pliant, translucent material called polyvinyl chloride (PVC), which would be worn on someone's hand like a puppet and be forced manually through a foam rubber face and fiberglass skull. A life mask of Schwarz was taken by Baker and Steve Johnson. "We took it without an expression," Baker reports, "because likenesses are so difficult and we wanted to do as little sculpting as possible. It turned out beautifully." (On the other hand, when it came to Carlson's turn to have his head cast, the actor endured the messy casting process five times, as each mold proved unacceptable—until, finally, a resculpted version of the first was used.) During production, Cronenberg made the decision to use the horrible, subjective cancer imagery for the death of his sleazy villain Convex alone, and that the killing of Moses, "since he's really a good guy, would be shown as it really happens, on the reality plane, using ordinary blood bags and squib charges." As finally filmed, the spectacular death of Barry Convex was primarily a showcase for the talents of EFX wunderkind Johnson.
A take of Moses' death was shot with Renn wearing the flesh gun—a foam latex glove with a zipper, lubricated with methocellulose (from a Baker design, molded and sculpted by Hester)—but the final cut depicts the killing objectively, with Renn carrying an ordinary handgun. An unfinished mold of Moses' head, cleft with a burden of cancer tissues, was on view in Baker's workshop throughout the filming, but it was never finished or shot.
The Breathing Television
Another thing on which the video and makeup effects teams worked side by side was the "breathing screen," a mechanical effect in which the televised lips of Nicki Brand pucker and blow against the glass of Max Renn's TeleRanger TV screen, making it billow forth from the console frame like a swelling breast, as her seductive voice invites Max to push himself into her waiting mouth: "Don't keep me waiting."
Baker experimented with various approaches to the effect. "I knew we would need a flexible material, and we tested with a weather balloon first, stretching it over a frame the size of a TV screen, and pushed a hand through it to see how far it stretched, and then we rear-projected on it." He eventually settled on dental dam—"a stronger, stretchier kind of rubber" used most commonly by dentists in the molding of bridgework—which functioned ideally when painted over with a highly reflective white paint.
When I told James Woods, after seeing "Videodrome," how amazingly sexy the scene was, he chuckled and said, "Really? I felt sort of stupid when I was doing it, to be honest with you."
Black Tuesday and Unused F/X
An additional intended use of the TeleRanger, which never materialized in the film, was its "skinning" on the "Videodrome" set. Cronenberg had initially scripted the scene in which Max whips the flesh TV so that the whip would peel the TeleRanger's black veneer away from a throbbing underlayer of vulnerably exposed flesh. "I wanted the black to split open and show the skin underneath and, as he whips it, show big black flakes falling off." Cronenberg eventually decided against this element of the whipping scene. Also for this unused sequence, Lennick invented a device he called a Videodromer, which used very low-voltage, high-amp magnetic field coils wrapped around the picture tube to distort the image on command.
For a variety of reasons, aesthetic and financial, Lennick's video crew was relieved of several pleasurably anticipated responsibilities two weeks prior to postproduction shooting. "It was David, the producers, the postproduction supervisor, and me at this outrageous meeting, which I've come to remember as Black Tuesday," Lennick says. "That's when we sat around and red-penciled everything." Cronenberg even scratched the scene for which Lennick had initially been contracted, and for which he had had a television set thoroughly waterproofed (the director now felt the scene would "constitute a false turning point" for Max Renn):
At the sink in his bathroom, Max splashes cold water onto his face, studies his eyes. His pupils are dilated, open, like portholes into some strange other world.
As he studies his dripping face in the mirror, the mirror becomes a TV screen for a few seconds, his own image in it going static-flecked video.
Behind him in the TV screen mirror, Max seems to see the "Videodrome" set, with some vaguely nasty things going on amongst a group of shadowy figures. Max whirls around. The room is back to normal . . .
. . He decides to forget the bath and reaches into the water to pull the plug.
Max's eyes suddenly go wide with fear, as though he has felt something alive in the tub. He pulls his hand out of the water and slams back against the sink. A metallic bubbling sound fills the room, echoes off the tiles.
As Max watches, disbelieving, the TV set rises up out of the water, out of the blue Algamarine foam like an electronic Venus on the half shell. The set is swelling, breathing, and snorkeling, as befits a marine creature of its substantial size. Masha's face is on the screen, an anguished expression wracking her features, a leather strap around her neck . . .
Also scratched that day were some additional effects related to the Accumicon helmet, a moment in which Max shakes "video dandruff" from his head and shoulders at the close of a hallucination (Lennick planned to sprinkle flakes of Scotchlite material on the actor and fire a modulating laser off them), and a number of scenes in which Nicki Brand's body and other objects would (in Cronenberg's scripted words) "twitch video." Lennick describes how the effect would have appeared: "In a flash, characters would be broken down from celluloid film's 4,000-line resolution to 525-line video resolution. Their body edges would become serrated, their coloring electric and almost neonlike."
"One of the main changes in tone for me," Cronenberg says, "was the decision to go almost nonexistent in terms of video twitches. They were present in every single draft of the script. But when we started to put the film together, I cut in some video things to give myself an idea of what they would look like, and I decided it looked too tricky."
Lennick and his associate Lee Wilson prepared a reel of assorted video twitches and glitches for Cronenberg—"Everything from a basic white-noise glitch to complex little flashes with flecks of subliminal material in them," Lennick says—which he did like. "It wasn't the quality of their effects, per se," Cronenberg explains, "but I didn't have to see the actual twitches in context to know that they would have disrupted the film's pacing. They didn't gel with the surrounding footage—that's the main reason they were cut. Michael was very disappointed, but it wouldn't be true to portray this as him and me being destroyed by budget restrictions. I've not regretted their loss either."
An Evolving Script
Since so few horror directors author their own scripts, watching Cronenberg navigate his way through the filming of his concept was fascinating, to say the least. During the two visits I paid to the set, in December and March, I observed as Cronenberg thought and rethought, wrote and rewrote several important scenes. (On the last day of filming, after a full working day that had collected only one usable take, Cronenberg announced to the crew that he had not yet written the film's ending to his satisfaction, that to film it as it was tentatively scripted would not be right, and, calling it a wrap, he proceeded to open—with considerable fearful wincing—a champagne bottle of Christmas cheer.) Among these was the scene of Max Renn stalking Bianca O'Blivion through the Cathode Ray Mission with his flesh gun (which actor James Woods affectionately dubbed "the pooperoo"). Bianca rushes behind a paper screen partition in one of the monitor cubicles, which Max rips away. Over a six-month period, Cronenberg inserted many things behind that screen—from Nicki Brand to a video image of Nicki Brand. The first Nicki Brand sequence was the culmination of a visual trick Cronenberg had initiated and ultimately discarded, in which Max's perceptions of Nicki and Bianca blur into interchangeable women; the two women were revealed, in this first sequence, to be business partners of a sort. Max tears the screen and finds Nicki, seated authoritatively beside a computer board, wearing an outfit of O'Blivion conservatism. Nicki explains:
We knew that you were "Videodrome"'s next target. We planned to intercept you, use you to dig deeper into "Videodrome." I came to Brian O'Blivion five years ago. I studied with him. And I saw what "Videodrome" did to him. I also saw what it could be. In the right hands . . . your right hand, Max. I can see what it's become. It may have started out as a hallucination, but now it's real. You're the new spring line. Isn't that exciting?
The scene, present as late as the script's third draft, continues as Max discovers the flesh TV broadcasting an image of Bianca O'Blivion, her tightly bound hair now loose and languidly tumbling over her shoulders, wearing Nicki's red dress (as seen on The Rena King Show), and baring one shoulder to reveal Nicki's own Swiss Army knife scars.
Asked about the symbiotic relationship between Bianca and Nicki in earlier drafts, Cronenberg says, "I was toying with that, yes, but it was not clear and not developed or anticipated enough to work. I don't mind ambivalence or ambiguity in a film—in fact, I think it's necessary—but confusion is never necessary."
In postproduction, Cronenberg rewrote the scene so that Max, tearing the screen, is confronted by the weeping tele-image of Masha; the videotaped footage was left over from the scrapped effects sequence in which the flesh TV was to rise, with Masha's image on it, out of the soapy waters of Max's bathtub. The desired effect was that Max would turn against Convex and his Spec Op goons to avenge Masha's death—"They killed me, Maxie," she cries. "I wasn't supposed to tell you about Brian O'Blivion"—but their relationship, in the final analysis, had not been developed beyond a casual business connection. It wasn't until Cronenberg screened a preview print to an audience in Boston in April 1982 that he saw the absolute necessity of bringing Nicki Brand (and Deborah Harry!) back into the picture, of resolving her character, at the relatively negligible cost of resolving Masha's; he photographed new video footage of Harry for the film's last scene and refilmed this scene to show Max (actually Woods's stand-in, Art Austin) tearing the screen away from the flesh TV, showing Nicki's death on "Videodrome." This explained her sudden disappearance after flying to Pittsburgh and elevated Max's sense of outrage, aloneness, and spirituality in the subsequent scenes, which saves his suicidal finale from feeling too defeatist. It was an extraordinarily elegant solution to Cronenberg's puzzle. "It felt so right that it felt inevitable," Cronenberg says, laughing, "but not so inevitable that I'd thought of it before!"
As for the shipboard suicide that ends the film, it was Cronenberg's original intention to continue the film briefly beyond it—into the "next phase," as Nicki's video image calls it. Before the decision was made to end the scene with the bang of Max's gun, Cronenberg described his vision: "After the suicide, he ends up on the 'Videodrome' set with Nicki, hugging and kissing and neat stuff like that. A happy ending? Well, it's my version of a happy ending—boy meets girl on the 'Videodrome' set, with the clay wall maybe covered in blood, but I'm not sure. Freudian rebirth imagery, pure and simple." In anticipation of shooting it, Mark Irwin outlined his visual intentions thusly: "He'll shoot himself in the head and go—boom!—out of frame, and we'll cut to his head hitting the clay wall, and the camera will track back, and there he is, happy in front of the fireplace with his pipe and slippers and Nicki hopping all over him! Another film for the whole family!"
These descriptions are euphemistic (to say the least) for a sexual crescendo the likes of which had not been seen in Cronenberg's work since the joyously and venereally infected finale of Shivers. Cronenberg preferred us not to excerpt from the sequence in question, which depicted Max and Nicki (and, in a separate draft, Bianca) on the "Videodrome" set, nude and making love. However, to paraphrase: Nicki reveals to Max a new abdominal slit of her own, and Bianca has one too, and the three of them probe one another's slits with their hands, which slip out bearing strange, mutated sexual organs emitting even stranger fluids, ending the film on a note of moist, exploratory, sensual feasting. Mutated-sex-organ appliances—both male and female—were required, and Rick Baker, too engulfed by other responsibilities to design and manufacture these, subcontracted the job to his friend Greg Cannom (The Sword and the Sorcerer). Cannom's foam latex appliances arrived from Los Angeles in late December and, after viewing an impromptu test of them breathing and spurting viscous fluids in the EFX workshop, Cronenberg vetoed the scene altogether. The quality of Cannom's work wasn't to blame; if anything was, it was the accumulation of circumstances. Deborah Harry had contracted the stomach flu that the whole crew had suffered from at one time or another during the shoot, the production was behind schedule and rapidly nearing its Christmas deadline, and Cronenberg felt he couldn't execute the scene to his own standards.
All the Way Through to the End
In revisiting these notes, it becomes very obvious to me that Videodrome was a film vastly ahead of its time, in terms not only of ideas but also of envisioning special-effects technologies some twenty years distant. In its scripted form, Videodrome is nothing less than a prophecy of the CGI era; concepts that it could not afford to realize on-screen in 1983 are now the stuff of rock videos and television commercials—the very wallpaper of twenty-first-century living. In the same way, Cronenberg's unique character writing has greatly extended the range and depth of dramatic possibilities available to actors; it is telling that, in accepting his best actor Academy Award for Reversal of Fortune (1990), Jeremy Irons thanked—in addition to that film's director, Barbet Schroeder—the director of Dead Ringers (1988). Sometimes called "prophetic" for the way his early "venereal horror" films prefigured the coming of AIDS, Cronenberg is more than this: he is one of the few figures to emerge in cinema's first century who are truly analogous to Leonardo da Vinci and Jules Verne, people whose fertile imaginations laid the foundations of our technological future and changed the way all people live and think. Likewise, in today's post-Videodrome cinema, anything is possible. But cinema without David Cronenberg is unimaginable.
Tim Lucas is a critic, screenwriter, and novelist, as well as the editor and copublisher of the award-winning Video Watchdog, a bimonthly consumer guide to cult and genre cinema on DVD. This piece originally appeared in the Criterion Collection's 2004 DVD edition of Videodrome.


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1 - CAMILLA SPARKSSS - BRUTAL - (CD)
ON THE CAMPER
ABOUT THE ALBUM (Track by track by the artist)One: Forget this is the first track of the album and sometimes things that have been given priority for such a long period are best left behind.Are You Ok? A question we never ask around enough.Womanized: this is a very special song, it represents the album marvellously: transformation.So What: never take it too seriously because it will never take you as seriously.Shes A Dream: theres nothing as mysterious or flattering as a gallant flirt.Psycho Lover: its awesome to fall in love, its horrific to loose love, both are equally dangerous yet everything in between is simply boring.Messing With You: crazy is the key, look into it - youll find yourself.Walt Deathney: craving for that happy ending.Nine: Sorry: this is the last track of the album serving closure, what better word to call upon the end?
TRACKLISTING: 01. Forget 02. Are You Ok? 03. Womanized 04. So What 05. Shes A Dream 06. Psycho Lover 07. Messing With You 08. Walt Deathney 09. Sorry
2 - CAMILLA SPARKSSS - BRUTAL - (LP)
3 - LONESOME SOUTHERN COMFORT COMPANY, THE - THE BIG HUNT - (CD)
The Lonesome Southern Comfort Company was founded in 2006 as solo-project of John Robbiani (guitar, vocals and history enthusiast). The solo part became less lonesome when John decided to rent a studio, gather some friends and label-mates (including Peter Kernel, Lake Nation and Far from the Madding Crowd) and hit rec. Giving birth to the first self-titled album "Lonesome Southern Comfort Company" (published in August 2008, On The Camper Records). A country-folk rush just in time for a political "outing" a couple of months before the 2008 U.S. elections. After-which, as all structures take form, LSCC completed itself with the arrival of Duke (drums), Abraham (guitar) and Boris (viola). In 2010 LSCC released "Charles The Bold" - a combination of alternative- americana- indie-rock and history. The album was inspired by Charles le Te'me'raire, duke of Burgundy and his battles against the Swiss in 1477 (sound cool? well it is.). With this album the band began touring Europe seriously and matured into an acid-psychedelic live performance. The new 9-track album is a combination of alternative-country folk with electronic influences. Loyal history traveling through the air with recorded memoirs and daring tales. RIYL : Micah P. Hinson, The Velvet Underground, The National, Lambchop, Son Volt, Magnolia Electric Co, South San Gabriel, Richmond Fontaine, Wilco, Sun Kil Moon and whatever...
TRACKLISTING: 01. When He's Down 02. 64 Warwick Way 03. Mary Anne 04. The Big Hunt 05. Retreat 06. That 2am Call 07. Ct Scan 08. Wall Street's Foreign Legion 09. Rent Song
4 - LONESOME SOUTHERN COMFORT COMPANY, THE - THE BIG HUNT - (LP)
5 - PETER KERNEL - THE SIZE OF THE NIGHT - (CD)
What is the size of the night? How can we measure the night? The night is a very personal moment. It can be majestic; spent indulged in love and joy or terribly frightening; filled with nightmares and fear. The size of this moment is hidden in the details that shake our bodies and keep our hearts beating. In this album we took off the darkest and most mysterious part of our persons and transformed it into songs. We don't have instructions to not make mistakes or not hurt people around us or to love in the most proper manner. We just live. We do good and bad. Sometimes we learn but often we dont, and simply go ahead doing mistakes. We're complex. We can act stupid and feel lost inside. We can miss each other yet not talk to each other when we're together. This album express this new consciousness we found ourselves exploring throughout these past months. There are some very serious songs and others seem surreal, but each one of these creations form The Size Of The Night in it's greatness and in its darkness. Through this album were trying to accept that we can be very sensitive people and at the same time we can be asshole. And that its alright. ARIS & BARBARA
TRACKLISTING: 01. Theres Nothing Like You 02. Pretty Perfect 03. The Secret Of Happiness 04. Terrible Luck 05. Drift To Death 06. Men Of The Women 07. The Revenge Of Teeth 08. The Shape Of Your Face In Space 09. This Storm Will Last 10. The Fatigue Of Passing The Night
6 - PETER KERNEL - THE SIZE OF THE NIGHT - (LP)
7 - PETER KERNEL - THRILL ADDICT - (CD)
The new Peter Kernel album is about taking risks in order to figure out how to shape ones life. Mistakes, bad moves and consequences. Its an album about speaking to ones deepest being, the one we often hide inside. Its about looking in the mirror; asking questions, giving suggestions and figuring out how to take care of the person you have in front of you and the people you have beside you."Thrill Addict" is about the space between humans, and all the complications involved.
TRACKLISTING: 01. Ecstasy 02. High Fever 03. Your Party Sucks 04. Leaving For The Moon 05. They Stole The Sun 06. Youre Flawless 07. Majestic Faya 08. Its Gonna Be Great 09. I Kinda Like It 10. Supernatural Powers 11. Keep It Slow 12. Tears Dont Fall In Space
People who bought this item also bought MONDKOPF, HARTS, DAWN WALL, ...


Rovers' manager Darrell Clarke today signed not one, but two goalkeepers, bringing Sam Slocombe and Adam Smith to the club.
It's been well documented, in the local media, that the club seemed likely to begin their pre- season programme without an experienced shot stopper…how wrong they were!
Sam told bristolrovers.co.uk ; "It's good to be here and to get everything signed.
"It's another good signing today with the arrival of Adam, so that will hopefully lead to good competition and a good goalkeepers union at the Club.
Meanwhile Adam said; "The deal has come about pretty quickly really and once the Manager spoke to me it was an obvious choice for me to make.
Darrell had this to say about his two new signings; "I am delighted to be signing two excellent goalkeepers who will provide us with competition for the number one spot next season.
"Both have experience of playing at this level and they have different attributes which means they will complement each other.
Former Scunthorpe United, Oxford United and Blackpool goalkeeper Sam Slocombe has appeared in 172 league games for his previous three clubs, while ex Northampton Town keeper Adam Smith has appeared in 86 league matches for Northampton Town.
29 year old Slocombe joined Scunthorpe United from non league Bottesford Town in August 2008 and made his first team debut for them in a League Cup tie against Port Vale in September 2009. His league debut came against his most recent employers, Blackpool, on 7th November that year.
One year ago he joined newly relegated Blackpool and appeared in 34 league games for them as they clinched a League Two play off spot and also appeared in the play off semi finals against Luton and the final at Wembley, where they beat Exeter City 2-1.
He has played against Rovers on four occasions and kept clean sheets at The Mem for both Scunthorpe United and Oxford United.
Adam Smith, who will be 25 in November, was born in Sunderland and began his career as a youngster with Middlesbrough. He joined Leicester City in 2010 and in five years at the club he spent loan spells at Chesterfield, Lincoln City, Nuneaton Town, Stevenage, Cambridge United and Mansfield Town.
In the summer of 2015 he joined Northampton Town and was an ever present in the side that clinched the League two title in 2015/16. At the end of that campaign he was selected in the PFA League Two Team of the Year.
Last season he appeared in 40 league games for The Cobblers as they finished 16th in League One.
He has played against Rovers on four occasions for Northampton and kept a clean sheet at The Mem in our first game of the 2015/16 campaign. The Cobblers won 1-0 on that occasion, but Rovers ended the season in style and were one of three clubs to accompany Northampton into League One.
Interviews with both players will appear on our website later this afternoon.


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008.2: Chris Shipman:: Bio	 008
The opening of Chris Shipman's poem "Bio" could be the opening of a novel or short story: "I come from a small town in a dry county." But something happens to the narrator as he goes in search of a liquor store. He hears something, and everything changes. The story falls away leaving us with words on a page unbuttressed by plot. What we are left with, all that we are really ever left with in a piece of writing, is that voice staggering through the woods. Periodically, like the narrator, we are lucky, and that voice reaches us.	Andrew Wessels
Chris Shipman
I come from a small town in a dry county. On a trip to the liquor store at the county line seven summers ago, I turned down the radio, rolled down my window, and heard a voice stagger through the pines. I'm still trying to listen. I used all the q-tips in the world and my ears fluffed full of cotton. I stuck my head in the river and fish swam through quick as silence. The only thing I could think about was that I didn't know the names of the birds that sang outside my window! I still don't. But I went back to town and got drunk and fell in love with the first girl I saw.
008.4: Nicky Schildkraut:: Third-Person & The Defector & Chigop Yosong: Fallen Woman
008.3: Brett Finlayson:: La Isla de los Alcatraces
008.1: Diana Delgado:: M-U-R-D-E-R


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The Grand by SkyCity
Ideally situated in the heart of Auckland's CBD, with many of the city's most impressive attractions and eateries literally on its doorstep, the Grand by SkyCity offers guests a truly five-star experience. Whether your stay is for business or pleasure, the friendly and attentive team is here to attend to your every need.
Newly refurbished, each room is spacious and airy with a large window allowing views and light. If you do like what you experience, you could take part of your stay with you. Some of the property's amenities and furniture are available for purchase – from the toiletries to the bed!
Most hotels talk about how big things are, like their pool, their dining rooms, gyms and car parks. But here at Grand by SkyCity, they like to take that as read. Instead, they'd like to draw your attention to some of the little things they think make the difference between a good stay and a Grand one.
Premium Luxury Rooms – City View or Harbour View
Newly refurbished the light and spacious Premium Luxury Harbour View King or Twin Room, with stunning harbor views of the Waitemata harbor, has been superbly decorated and sensitively designed to minimize clutter and maximize your comfort. Soft furnishings reflect the hues and textures of the Auckland landscape, and its connection with the hills and harbor.
Premium Luxury King Suite
Newly refurbished the very spacious and airy Premium Luxury King Suite, available in city or harbor view, has been superbly decorated and sensitively designed to minimize clutter and maximize your comfort.
Grand Presidential Suite
For the ultimate in luxury and style, the Grand Presidential Suites offer guests a truly VIP experience. The Suites provide spectacular panoramic views across Auckland's Waitemata Harbour.
Visit one of Grand by SkyCity's 25 restaurants and bars. Federal Street features a fabulous range of award winning dining options from internationally renowned chefs, including:
The Grill by Sean Connolly
Depot by Al Brown
Bellota by Peter Gordon
Federal Delicatessen by Al Brown
MASU by Nic Watt
Gusto by Sean Connolly
The Sugar Club by Peter Gordon
Sky Tower: The rush is unbeatable! Leap off the famous Auckland Sky Tower and fall more than 575 feet straight down. An unforgettable experience for true daredevils, base-jump by wire off the tallest man-made structure in New Zealand.
East Day Spa: Cocooned amongst flickering candles and the healing aromas of mystical lands, East Day Spa is a haven of calm where East meets West. They offer an alluring and seamless blend of ancient Eastern healing traditions and modern Western spa and beauty therapies.
Auckland, North Island, New Zealand
$ = Up to $100
$$ = $100 to $199
$$$ = $200 to $349
$$$$ = $350 to $599
$$$$$ = $600 +
Price per person, per night.


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Q: UICollectionViewLayout with dynamic heights - but NOT using a flow layout Say you have a UICollectionView with a normal custom UICollectionViewLayout.
So that is >>> NOT <<< a flow layout - it's a normal custom layout.
Custom layouts are trivial, in the prepare call you simply walk down the data and lay out each rectangle. So say it's a vertical scrolling collection...
override func prepare() {
    cache = []
    var y: CGFloat = 0
    let k = collectionView?.numberOfItems(inSection: 0) ?? 0
    // or indeed, just get that direct from your data

    for i in 0 ..< k {

        // say you have three cell types ...
        let h = ... depending on the cell type, say 100, 200 or 300

        let f = CGRect(
            origin: CGPoint(x: 0, y: y ),
            size: CGSize(width: screen width, height: h)
        )

        y += thatHeight
        y += your gap between cells

        cache.append( .. that one)
    }
}

In the example the cell height is just fixed for each of the say three cell types - all no problem.
Handling dynamic cell heights if you are using a flow layout is well-explored and indeed relatively simple. (Example, also see many explanations on the www.)
However, what if you want dynamic cell heights with a (NON-flow) completely normal everyday UICollectionViewLayout?
Where's the estimatedItemSize ?
As far as I can tell, there is NO estimatedItemSize concept in UICollectionViewLayout?
So what the heck do you do?
You could naively just - in the code above - simply calculate the final heights of each cell one way or the other (so for example calculating the height of any text blocks, etc). But that seems perfectly inefficient: nothing at all of the collection view, can be drawn, until the entire 100s  of cell sizes are calculated. You would not at all be using any of iOS's dynamic heights power and nothing would be just-in-time.
I guess, you could program an entire just-in-time system from scratch.  (So, something like .. make the table size actually only 1, calculate manually that height, send it along to the collection view; calculate item 2 height, send that along, and so on.)  But that's pretty lame.
Is there any way to achieve dynamic height cells with a custom UICollectionViewLayout - NOT a flow layout?
(Again, of course obviously you could just do it manually, so in the code above calculate all at once all 1000 heights, and you're done, but that would be pretty lame.)
Like I say above the first puzzle is, where the hell is the "estimated size" concept in (normal, non-flow) UICollectionViewLayout?

A: Just a warning: custom layouts are FAR from trivial, they may deserve a research paper on their own ;)
You can implement size estimation and dynamic sizing in your own layouts. Actually, estimated sizes are nothing special; rather, dynamic sizes are. Because custom layouts give you a total control of everything, however, this involves many steps. You will need to implement three methods in your layout subclass and one method in your cells.

*

*First, you need to implement preferredLayoutAttributesFitting(_:) in your cells (or, more generally, reusable views subclass). Here you can use whatever calculations you want. Chances are that you will use auto layout with your cells: if so, you will need to add all cell's subviews to its contentView, constrain them to the edges and then call systemLayoutSizeFitting(_:withHorizontalFittingPriority:verticalFittingPriority:) within this "preferred attributes" method. For example, if you want your cell to resize vertically, while being constrained horizontally, you would write:
override func preferredLayoutAttributesFitting(_ layoutAttributes: UICollectionViewLayoutAttributes) -> UICollectionViewLayoutAttributes {

            // Ensures that cell expands horizontally while adjusting itself vertically.
            let preferredSize = systemLayoutSizeFitting(layoutAttributes.size, withHorizontalFittingPriority: .required, verticalFittingPriority: .fittingSizeLevel)

            layoutAttributes.size = preferredSize
            return layoutAttributes
        }

*After the cell is asked for its preferred attributes, the shouldInvalidateLayout(forPreferredLayoutAttributes:withOriginalAttributes:) on the layout object will be called. What's important, you can't just simply type return true, since the system will reask the cell indefinitely. This is actually very clever, since many cells may react to each other's changes, so it's the layout who ultimately decides if it's done satisfying the cells' wishes. Usually, for resizing, you would write something like this:
override func shouldInvalidateLayout(forPreferredLayoutAttributes preferredAttributes: UICollectionViewLayoutAttributes, withOriginalAttributes originalAttributes: UICollectionViewLayoutAttributes) -> Bool {

            if preferredAttributes.size.height.rounded() != originalAttributes.size.height.rounded() {
                return true
            }
            return false
        }

*Just after that, invalidationContext(forPreferredLayoutAttributes:withOriginalAttributes:) will be called. You usually would want to customize the context class to store the information specific to your layout. One important, rather unintuitive, caveat though is that you should not call context.invalidateItems(at:) because this will cause the layout to invalidate only those items among the provided index paths that are actually visible. Just skip this method, so the layout will requery the visible rectangle.
However! You need to thoroughly think if you need to set contentOffsetAdjustment and contentSizeAdjustment: if something resizes, your collection view as a whole probably will shrink or expand. If you do not account for those, you will have jump-reloads when scrolling.

*Lastly, invalidateLayout(with:) will be called. This is the step that's intended for you to actually adjust your sections/rows heights, move something that's been affected by the resizing cell etc. If you override, you will need to call super.
PS: This is really a hard topic, I just scratched the surface. You can look here how complicated it gets (but this repo is also a very rich learning tool).


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11 Lesser-Known War Memorials | Mental Floss
History's wars are inherent contradictions. While no one can endorse a violent collision of warring philosophies, there's no question that the sacrifices made in these conflicts are deserving of posterity and the achievements of the soldiers recognition—if for no other reason than to remember the human cost of engagement.
While you're probably familiar with a lot of the major war memorials in the United States like the Tomb of the Unknown Soldier in Arlington, Virginia, or the Vietnam Veterans Memorial in Washington, D.C., there are a few lesser-known monuments and tributes that also serve to keep history alive. In honor of Veterans Day, these tributes should spend more time in the spotlight.
1. The African American Civil War Memorial // Washington, D.C.
The sacrifices Black soldiers made during the Civil War is the focus of this memorial, which honors the 175 regiments that made up the United States Colored Troops (USCT) that fought for the Union. Exactly 209,145 names are listed at the base of the sculpture. Titled The Spirit of Freedom, it stands 9 feet tall and depicts both Army and Navy service members. The site is opposite the African American Civil War Memorial Museum, where visitors can try on authentic uniforms.
2. The Seabees Memorial // Fort Myer, Virginia
The construction of military bases and paving of roadways falls to the Naval Construction Battalions, or CBs. Since World War II, their important work has allowed fighting forces to establish operations. The memorial, which depicts an absolute unit of a "Seabee" greeting a child, is located at the entrance of Arlington National Cemetery and is inscribed with their "Can Do" motto. It also bears the phrase "With willing hearts and skillful hands, the difficult we do at once, the impossible takes a bit longer."
3. Go for Broke Monument // Los Angeles, California
Located in Little Tokyo, the semicircular Go for Broke Monument pays tribute to the Japanese-Americans who served in World War II—not only a noble act, but one made harder by the fact that many American soldiers and civilians alike were openly hostile toward the Japanese; the U.S. government even forced them into internment camps. More than 16,000 names appear on the memorial. "Go for Broke" was the motto of the 442nd Regimental Combat Team, a unit made up primarily of Japanese-Americans that was among the most decorated of the war. The 18,000 men earned 4000 Purple Hearts, 4000 Bronze Stars, 560 Silver Star Medals, 21 Medals of Honor, and seven Presidential Unit Citations.
4. Vietnam Women's Memorial // Washington, D.C.
Located in the National Mall along with the Vietnam Veterans Memorial is the Vietnam Women's Memorial, which casts a spotlight on the women who played crucial roles in that conflict. An estimated 265,000 women served during the war, including 11,000 who were in Vietnam. These doctors, nurses, air traffic controllers, and intelligence and communications officers provided crucial aid under the threat of injury or death behind the lines. A total of eight women are known to have died during the war, including seven members of the Army. Their names appear here.
5. The Argonne Cross Memorial // Arlington, Virginia
This simple, elegant memorial located at Arlington National Cemetery stands as a reminder of the Meuse-Argonne Offensive (or Battle of the Argonne Forest) at the end of World War I, which resulted in 26,000 American casualties. A grove of 19 pine trees nearby symbolizes the site of the battle.
6. General William Jenkins Worth Monument // New York City, New York
Located in Manhattan's Worth Square, this monument stands out for being one of the few to be an actual place of rest for the subject it honors. General William Jenkins Worth (1794-1849) saw action during the War of 1812 as well as the Seminole War and the Mexican-American War. The obelisk features the names of battle sites notable during Worth's career.
7. East Coast Memorial // New York City, New York
In Battery Park and within sight of the Statue of Liberty sits the East Coast Memorial, which pays respects to the 4601 American servicemen declared missing in conflicts in the Atlantic during World War II. Near 19-foot-tall granite pylons sits an eagle, a wreath grasped in its talons. It was dedicated on May 23, 1963, by President John F. Kennedy.
8. Navy-Merchant Marine Memorial // Washington, D.C.
In Lady Bird Johnson Park sits the Navy-Merchant Marine Memorial, a strikingly different sculpture honoring those who perished during World War I and in other conflicts. A flock of seagulls ride the crest of a wave.
9. Dwight D. Eisenhower Memorial // Washington, D.C.
At the base of Capitol Hill is one of the most ambitious memorials in the city. General Dwight D. Eisenhower is captured in bronze at several key moments throughout his life. He's seen above addressing soldiers just before the invasion of Normandy for D-Day on June 6, 1944; a separate scene depicts Eisenhower as president addressing constituents; a third of a young Eisenhower is near the entrance.
10. National Native American Veterans Memorial // Washington, D.C.
Unveiled in November 2020, this stainless-steel circle over a drum honors the American Indians, Alaska Natives, and Native Hawaiians who served in every branch of the United States Military. (Native Americans have served in every major conflict since the Revolutionary War.) The design concept is by Harvey Pratt, a self-taught artist of the Cheyenne and Arapaho Tribes of Oklahoma whose work was selected by a group of jurors. Pratt is also a Vietnam veteran.
11. Paragould War Memorial // Paragould, Arkansas
You'll find plenty of replica Statue of Liberty figures around the country, but the first outside of New York is residing in Paragould. Introduced on November 11, 1924, this mini-Liberty (she's a comparatively tiny 7 feet tall) stands as a reminder of the 40 soldiers killed during World War I who hailed from Greene County.
Marvel's Eternals Shows Limitations of Theater Accessibility | Time – TIME
Jim Clyburn introduces bill that would insure African American World War II veterans get benefits of GI Bill | Local News
Fusion of Light Entertainment Hosts 'WINTER FASHION LAND' Jan 28
Texas Artist Finalist in Nationwide Competition – NBC 5 Dallas-Fort Worth
01/26/23: Disney makes "Extraordinary" decision
The myth of America's love affair with guns


text:
Firfire – gaun wikas samiti w zachodniej części Nepalu w strefie Gandaki w dystrykcie Tanahu. Według nepalskiego spisu powszechnego z 2001 roku liczył on 837 gospodarstw domowych i 4273 mieszkańców (2375 kobiet i 1898 mężczyzn).

Przypisy

Firfire

redpajama_set_name: RedPajamaWikipedia


An illustration of an exotic shore with beach showing many men at work; in the foreground a man is fishing, to the right a man on a raised platform before a group of people; behind him a smith and in the centre a cooper; on the left several exotic animals and in the middle a tree bearing the coats of arms of Zeeland, Amsterdam and Holland.
This illustration also shows the Mauritius roadstead.
However the caption accompanying another, comparable illustration (RP-P-OB-47-490) identifies this as St. Losie on Madagascar. Given that the original illustration comes from the travel journal of Jacob van Neck and Wijbrant van Warwijck, who stopped for refreshments on Mauritius, it is highly unlikely that Madagascar is pictured here.
The image Koninklijke Bibliotheek, inv. nr. 511 K 23 na p. 216 is the mirror image of another image held by the Koninklijke Bibliotheek, inv. nr.197 J 16 p. 251. The image held by the Koninklijke Bibliotheek, inv. nr. 197 J 16 p. 251, also shows the East Indiamen.


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