The Australian Institute of Tropical Health and Medicine (AITHM) at James Cook University welcomes the Federal Government's announcement of $15.4 million funding for tropical health research.
The announcement is an endorsement of the work led by JCU and confirms its national significance.
The Director of AITHM, Professor Louis Schofield said the institute's location in the tropics is an advantage for research collaborations to combat tropical diseases.
"This sector holds enormous potential for Australia's engagement with the emerging economies of Asia, and with the nations of the Pacific," said Professor Schofield.
The funding provides extraordinary opportunities for AITHM to further strengthen its commercialisation agenda and contribute to better health for people in the tropics world-wide.
AITHM intends to apply for the Federal Government's $8.5 million Australian Tropical Medicine Commercialisation Grants Programme to strengthen northern Australia's research capacity, as announced by the Trade and Investment Minister, Andrew Robb.
"By promoting commercialisation and the creation of science/industry networks, this funding initiative plays to Australia's scientific strengths in the future economy of the Pacific Rim," said Professor Schofield.
AITHM's research programs cover dengue, malaria, multi-drug resistant tuberculosis, indigenous health in rural and remote communities, and other diseases specific to the tropical region.


text:
Elidio Ramos Zárate, Mexico
Unidentified motorcyclists shot Elidio Ramos Zárate, who wrote under the pseudonym Guillermo Parie, in the neck on June 19, 2016 in Oaxaca in southern Mexico while he was photographing a robbery in progress at a convenience store. The journalist had been covering ongoing teachers' union protests, which turned deadly when police reportedly shot at protesters blockading a major highway, killing six civilians. The shooters also killed Raúl Cano López, brother of the owner of regional newspaper Punto Crítico, who was with Ramos at the time.
Authorities said that they could not identify a clear motive for Ramos' killing, but noted that he had connections to people who committed "illegal acts", an apparent insinuation that they thought his murder may not be related to his work. A crime reporter, Ramos had not reported having received threats in connection with his daily work. However, the day before his death, masked men threatened him and other reporters covering protests not to document acts of violence.
IPI-author2016-09-13T15:28:39+00:00

redpajama_set_name: RedPajamaCommonCrawl


text:
An Eye for an Eye: Not the Answer
By David Dieteman
Perhaps you remember that Osama bin Laden blew up the USS Cole in Aden harbor. Perhaps you have noticed that the US has not yet retaliated for this attack on a military target.
At the time, in an article entitled "Warmongering Defined," I wrote that there are those commentators who are too ready to beat the drums for war, and to send others to their deaths. Again, for the record, my brother-in-law was an officer on the Cole. He survived the attack and the ensuing ordeal.
The same was true over the incident between the US and China over the American spy plane; there were those calling for a war with China.
Now, with the World Trade Center destroyed, the Pentagon in flames, untold thousands dead and lives shattered, there are those who again see blood as the remedy for blood.
In that regard, John Derbyshire of National Review writes that he has a profound disagreement with classical liberals. Perhaps it is merely his love of British imperialism shining through when he writes that
even setting aside the lunatics, there was a sort of crabby, ill-mannered, claustrophobic atmosphere about the whole thing that started to grate on me after a while. No, I'm not a Paleo. Republic or Empire? Empire, please.
Kudos to Derbyshire for conceding that the United States is now an empire. Derbyshire, however, makes the standard attack on classical liberals, questioning their sanity because he does not share their views.
Here is Derbyshire's flawed analysis of American foreign policy:
however much Americans might wish to leave the world alone, the world will not leave America alone. Great wealth and great success generate great envy and great hatred. And America's high ideals, if clutched jealously to America's chest, while those abroad who believe them are hunted down and slaughtered without help, will whither and die. Idealism, like terrorism, has — can have — no borders. We know that our way of life is far superior to Islamic Fundamentalism, Chinese Communism, "Big Man" Kleptocracy and Bureaucratic Welfarism.
The paragraph quoted above makes numerous errors. The world will most certainly leave America alone if America leaves the world alone, much as bees will tend not to sting you unless you go around sticking your hand in their nests. Again, despite his dislike for such examples, Derbyshire can have no intelligent reply to the fact that Switzerland and Australia do not get bombed.
Although it may be true that wealth generates envy (envy, after all, is the root of collectivism), there is no indication that envy was behind the attack on the World Trade Center. Although it is true that Western civilization is superior to other ways of life, this is again beside the point (besides, query whether the US does not already suffer from what Derbyshire terms "Bureaucratic Welfarism").
There is no evidence that Osama bin Laden, or Saddam Hussein, have staged acts of terror against American targets in the name of envy, or out of fear that the millions living in the Arab world will suddenly rise up and demand a political system modeled on the United States. Evidence or no evidence, there is also no rational basis to believe that envy motivated the attacks of September 11.
Instead, the evidence is rather clear as to why various Arab terrorists have sought to kill Americans. The United States meddles in the affairs of their nations. In some cases, such as Serbia and Iraq, American troops have killed civilians, even if unintentionally, by large-scale bombing. This was known as "collateral damage." In other cases, as in Israel, American tax dollars are given to the Israeli government, and the United States give arms to the Israelis. These arms and dollars are used to kill Palestinians, including infants.
Importantly, it must be noted that the Vatican has condemned: 1) the American bombing and embargo of Iraq, and 2) the Israeli actions toward the Palestinians.
Why? Because civilians are unduly targeted, contrary to the Judeo-Christian and Aristotelian moral code which is at the heart of Western civilization.
And do not forget the United Nations Conference on Women, in Egypt, when the Arab nations aligned with the Vatican to block American and European efforts at granting UN recognition to abortion rights and other such abominations. The United States not only perpetrates and sponsors military attacks on Arabs, we attack their culture as well. Derbyshire's reference to "Islamic Fundamentalism" is also vexing. To characterize Muslims as "fundamentalists" is as inappropriate as characterizing Christians as "fundamentalists." (See the anthology Three Faiths, One God and Fazlur Rahman's Islam on these points).
To be blunt, Derbyshire ignores the facts in claiming that an envy of Western civilization fuels Arab terrorists. Worse, by encouraging terror in retaliation for terror, Derbyshire would throw away exactly that which makes Western civilization superior to other forms of civilization, namely, Judeo Christian and Aristotelian morality.
But of course, Derbyshire gave up morality long ago, if his own words are any evidence. As Derbyshire writes of his fawning preference for Empire,
I come from a nation that actually did practice Empire, very successfully, but eventually decided it was too much trouble and cost, and gave up on it.
"Too much trouble and cost." What a callous (and revealing) way to summarize the deaths and oppression of millions. Tell that to the Irish who died in rebellion against "Mother England," in the Great Famine, and to those Irishmen shot down like so many cattle over the ages by British troops. The Irish, and the other peoples of the world upon whom the British "very successfully" practiced Empire, have a very different view of things. But at least there can be no debate about the meaning of Empire: naked force, might makes right, without a pretense of morality. Three cheers for rule by the sword!
The Irish view of British imperialism is nicely summarized by a song known as "God Bless England" or "Whack Fol the Diddle" (I believe that the song landed its writer in jail; ah, the burdens of empire, having to police songwriters):
Oh, I'll tell you a tale of peace and love Whack fol the diddle o the die do day Of a land that reigns all lands above Whack fol the diddle o the die do day May peace and plenty be her share Who kept our homes from want and care Oh, God bless England is our prayer Whack fol the diddle o the die do day
Chorus: Whack fol the diddle o the die do day So we say "hip hooray" Come and listen while we pray Whack fol the diddle o the die do day
Now our fathers oft were naughty boys For pikes and guns are dangerous toys At Ballinahabwee and at Bunker's hill We made poor England cry her fill But old Brittania loves us still
God bless England so we pray (remaining choruses)
Now, when we were savage, fierce and wild She came as a mother to her child Gently raised us from the slime And kept our hands from hellish crime And she sent us to heaven in our own good time.
If Derbyshire wants the forces of terrorism to be hunted down and exterminated, what of Mrs. Thatcher, who suggested that the "Cromwell solution" should be used on Ireland? Cromwell, as in mass killing and driving people from their homes. How very Western. How very superior to Osama bin Laden.
What of Nobel Peace Prize winner David Trimble, accused in Sean McPhilemy's book (and Channel 4 documentary by the same name), The Committee, of membership on a committee which plotted the murders of Catholics in Northern Ireland? McPhilemy was paid a settlement by the Sunday Express, and won a verdict against Rupert Murdoch's Times, when the two papers claimed he had fabricated the account. Has there been an independent investigation of these charges, not conducted by the Royal Ulster Constabulary (who are also accused of complicity in crimes)? If not, why not?
Derbyshire wonders
Why are IRA terrorists, who have done the foulest and most beastly things — the kinds of things, though not on the kind of scale, we saw on Tuesday — walking around free in the streets of Belfast and Dublin, having been let out of jail in return for a few vague and empty promises from those who give them their orders?
Well, Mr. Derbyshire, what of the two Scots Guards who murdered Peter McBride? Why are two British soldiers, convicted of murdering an Irish youth, in the British Army, and not in prison?
And, since Derbyshire is so very eager to round up terrorists, what of those who killed the Irish attorneys, Rosemary Nelson and Pat Finucane, in car bomb attacks? Rosemary Nelson had helped McPhilemy investigate the murders of Catholics in the North, and for her troubles she received death threats and was killed. Pat Finucane also worked in the area of civil rights. Have the killers been brought to justice?
And what about the soldiers who fired on unarmed civilians on Bloody Sunday. Surely, Derbyshire foams at the mouth for justice to be done. Doesn't he?
So much for the rule of law.
Of course, it is precisely the end of the rule of law which Derbyshire counsels:
Justice must go by the board for a while, as it did when we firebombed German and Japanese cities, incinerating helpless babies and old folk who wished us no harm. Where was the justice in that?
He has come right out and said it: justice has nothing to do with his deliberations about bloodshed. Which puts him on the same moral plane as Gerry Adams. Ironic, that.
"Look, constitutions, law, and justice are fine, but just not right now." Mr. Derbyshire, that reasoning cannot be allowed to stand. In the film version of Robert Bolt's A Man for All Seasons, Thomas More's son-in-law declares that he would cut down all the laws in pursuit of the Devil. In reply, More asks "And when the Devil turns 'round on you, where will you hide, all the laws being flat?"
Justice and the rule of law are not optional elements of a civilization, they are civilization. They cannot be disregarded either in the name of grief or in the name of a frenzied call for blood. That quaint Catholic "doctrine" of a "just war" is probably optional, too, isn't it? Who cares if war is just, as long as it feels good.
Derbyshire is right in pointing out that the terror-bombing of German and Japanese cities was unjust. Nagasaki, for example, was the center of Catholicism and Christianity in Japan, and was packed with refugees when it was bombed. It had no military value. Last week, newly-released British documents revealed that certain German towns were bombed only because they would burn well. They had no strategic value, no military assets, but they had many old buildings made of wood — and bombing them would terrorize the German population into surrender.
A BBC TV program, Bombing Germany…records that on the night of March 16, 226 Lancaster bombers took off for Wuerzburg. The crews were told the town was an important communications centre. Yet it was clear to them that their mission was a fire attack on residential areas. In just 17 minutes they dropped nearly 1,000 tonnes of bombs on Wuerzburg; 82 per cent of the town was destroyed, and almost 5,000 people were killed.
This is what Derbyshire wants for you and your family. Not butter pecan ice cream, not a quiet retirement, not peacefully working at a job or planning a wedding, but death. Horrible, painful, suffering and death. For all the right reasons, you understand, the death of civilians is A-OK with John Derbyshire.
No nation which has done such acts should play the altar boy when the bombs come back to haunt them. This is not to justify the evil acts of terror perpetrated in America (by bin Laden, presumably) or in Derbyshire's native Britain (by the IRA). This is, however, a call for perspective. If we do not understand the reason for the attacks, we will never stop the attacks. Whether Derbyshire likes it or not, the reason for the attacks is the manic interventionist foreign policy pursued by the United States. Far from being isolationist, the United States is a global bully, in the guise of a "global supercop." A key difference between the American Empire and the British Empire is that the United States does not readily admit to running an empire.
No Paleo I know of has called for a surrender to Osama bin Laden. Instead, we have called for thought to precede action. And with good reason. As the great Marine general Smedley Butler wrote, "war is a racket." Another revered Marine general, Chesty Puller, said the same thing. (See the book Marine! The Life of Chesty Puller, by Burke Davis) Puller urged his own son not to follow him into the military, and his son ignored him. Lewis B. Puller, Jr. lost his legs in Vietnam, and later killed himself (see his autobiography, Fortunate Son: The Life of Lewis B. Puller, Jr.) His book won the Pulitzer Prize in 1992.
Sadly, Derbyshire is not an original thinker in calling for death and destruction. At the outset of All Quiet on the Western Front, there is a school teacher who incites his students to war with tales of glory and the need for sacrifice. Have we learned nothing from the horrors of war? Have we not learned from "the war to end all wars" that war does not end war?
Sadly, Derbyshire's piece resembles Mark Twain's "War Prayer" more than anything else, but not in a good way. As prayed by "the stranger" in Twain's piece,
O Lord our God, help us to tear their soldiers to bloody shreds with our shells; help us to cover their smiling fields with the pale forms of their patriot dead; help us to drown the thunder of the guns with the shrieks of their wounded, writhing in pain; help us to lay waste their humble homes with a hurricane of fire; help us to wring the hearts of their unoffending widows with unavailing grief; help us to turn them out roofless with their little children to wander unfriended the wastes of their desolated land in rags and hunger and thirst, sports of the sun flames of summer and the icy winds of winter, broken in spirit, worn with travail, imploring Thee for the refuge of the grave and denied it – for our sakes who adore Thee, Lord, blast their hopes, blight their lives, protract their bitter pilgrimage, make heavy their steps, water their way with their tears, stain the white snow with the blood of their wounded feet! We ask it, in the spirit of love, of Him Who is the Source of Love, and Who is ever-faithful refuge and friend of all that are sore beset and seek His aid with humble and contrite hearts. Amen.
Poor Mark Twain. If only he were British, he might not have written such a silly satire.
By the way, Derbyshire's beloved British Empire and its global meddling is largely responsible for the current mess in the Middle East.
As David Fromkin details in A Peace to End all Peace: The Fall of the Ottoman Empire and the Creation of the Modern Middle East, it was ill-conceived and ignorant British meddling in the Middle East which shaped the current map of that region, and which stoked the fires of hate. (Albert Hourani's A History of the Arab Peoples is also worth a look, as is The Arab World: Forty Years of Change by Elizabeth Warnock Fernea and Robert A. Fernea).
Shame on John Derbyshire. You go fly the planes, sir. You go kill the children.
The Best of David Dieteman
[user_login] => david-dieteman
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[user_nicename] => david-dieteman
[user_activation_key] =>
[display_name] => David Dieteman
[contributor] => 1
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$bio:
Previous article by David Dieteman: Pouring Gasoline on the Fire
Is It Really Just Good vs. Evil?
How To Attain Security


text:
es un exfutbolista japonés. Jugaba de delantero y su último club fue el Omiya Ardija de Japón.

Trayectoria

Clubes

Estadística de carrera

J. League

Referencias

Personas de Tokio Metrópoli
Futbolistas de Japón
Futbolistas del Omiya Ardija
Futbolistas del Tokyo Verdy

redpajama_set_name: RedPajamaWikipedia


Greenhouse Frame Construction – July 2013 How Does Our Garden Grow!
We planted potatoes May 18, 2013–maybe the earliest ever, thanks to early plowing by our friends at the university!
Two months and about 100 people-hours later, we caught up to the weeds and hilling.


text:
Elle King Tour Dates & Concert Tickets
Elle King Tour Dates and Concert Tickets
Billie Holiday meets Johnny Cash
As one reviewer wrote, "From the first moments of her first track, even those who hadn't come to see King seemed to understand they were encountering a singular talent." Born in Ohio and raised in Brooklyn, Elle King retains her roots in a style that blends those two worlds of both ... read more
More About Elle King
Recommendations Similar to Elle King
Elle King VIDEOS
MORE INFO ABOUT Elle King
As one reviewer wrote, "From the first moments of her first track, even those who hadn't come to see King seemed to understand they were encountering a singular talent."
Born in Ohio and raised in Brooklyn, Elle King retains her roots in a style that blends those two worlds of both grit and mid-western charm. Drawing comparisons to a wide range of greats such as Billie Holiday, Feist, Patsy Cline, and Duffy her voice booms over the strums of her all black guitar with a Johnny Cash swagger.
She recently moved to Los Angeles from NYC and is eager to perform for her West Coast fans and continue writing new songs. You can see more of her at the links below!
Categories: Music | Alternative | Folk | Pop
YouTube | Elle King's on Myspace | Facebook Fan Page | Elle King's Twitter


Exotic, fresh and warming! When it is stormy outside, and it is snowing, this syrup quickly warms up hands and feet. Ginger and lemon combine to explode this syrup with flavour. The exotic-fresh mixture tastes wonderful with wintery sweet dishes. Diluted with hot and cold water, it is a real treat. It is also suitable for sweetening tea.


text:
Scaphisoma agaricinum är en skalbaggsart som först beskrevs av Carl von Linné 1758.  Scaphisoma agaricinum ingår i släktet Scaphisoma, och familjen kortvingar. Arten är reproducerande i Sverige.

Källor

Externa länkar

Kortvingar
agaricinum


Who is Dale Midkiff? Wondering about Dale Midkiff Net Worth, biography & personal life? Learn about Height, Age, Measurements, Family & much more. Do you know how rich is Dale Midkiff? Curious about these celebrities bio and how much they worth? Or maybe you're curious about Dale Midkiff's Height, Weight, Age, Biography, Measurements, Net Worth, Family, Affairs, Marriage, Wiki & much more!
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text:
using System;
using System.ComponentModel;
using System.Windows.Automation;
using System.Windows.Automation.Provider;
using System.Windows;
using System.Runtime.InteropServices;
using MS.Win32;

namespace MS.Internal.AutomationProxies
{
    class ListViewItemCheckbox: ProxySimple, IToggleProvider
    {

        // ------------------------------------------------------
        //
        //  Constructors
        //
        //------------------------------------------------------

        #region Constructors

        internal ListViewItemCheckbox (IntPtr hwnd, ProxyFragment parent, int item, int checkbox) :
            base (hwnd, parent, checkbox)
        {
            _cControlType = ControlType.CheckBox;
            _listviewItem = item;
        }

        #endregion Constructors

        //------------------------------------------------------
        //
        //  Patterns Implementation
        //
        //------------------------------------------------------

        #region ProxySimple Interface

        // Returns a pattern interface if supported.
        internal override object GetPatternProvider (AutomationPattern iid)
        {
            if (iid == TogglePattern.Pattern)
            {
                return this;
            }

            return null;
        }

        // Gets the bounding rectangle for this element
        internal override Rect BoundingRectangle
        {
            get
            {
                // Don't need to normalize, ListViewCheckBoxRect returns absolute coordinates.
                return ListViewCheckBoxRect(_hwnd, _listviewItem).ToRect(false);
            }
        }

        // Process all the Element Properties
        internal override object GetElementProperty(AutomationProperty idProp)
        {
            if (idProp == AutomationElement.IsOffscreenProperty)
            {
                Rect parentRect = GetParent().BoundingRectangle;
                NativeMethods.Win32Rect itemRect = ListViewCheckBoxRect(_hwnd, _listviewItem);
                if (itemRect.IsEmpty || parentRect.IsEmpty)
                {
                    return true;
                }

                if (Misc.MapWindowPoints(_hwnd, IntPtr.Zero, ref itemRect, 2) && !Misc.IsItemVisible(ref parentRect, ref itemRect))
                {
                    return true;
                }
            }
            // EventManager.DispatchEvent() genericaly uses GetElementProperty()
            // to get properties during a property change event.  Proccess ToggleStateProperty
            // so the ToggleStateProperty Change Event can get the correct state.
            else if (idProp == TogglePattern.ToggleStateProperty)
            {
                return ((IToggleProvider)this).ToggleState;
            }

            return base.GetElementProperty(idProp);
        }

        //Gets the controls help text
        internal override string HelpText
        {
            get
            {
                return WindowsListView.GetItemToolTipText(_hwnd);
            }
        }

        //Gets the localized name
        internal override string LocalizedName
        {
            get
            {
                string name = ListViewItem.GetText(_hwnd, _listviewItem, 0);
                return name.Length < Misc.MaxLengthNameProperty ? name : name.Substring(0, Misc.MaxLengthNameProperty);

            }
        }

        #endregion ProxySimple Interface

        #region IToggleProvider

        void IToggleProvider.Toggle()
        {
            // check or uncheck the checkbox
            Toggle();
        }

        ToggleState IToggleProvider.ToggleState
        {
            get
            {
                return GetToggleState();
            }
        }

        #endregion IToggleProvider

        //------------------------------------------------------
        //
        //  Internal Methods
        //
        //------------------------------------------------------

        #region Internal Methods

        // retrieve bounding rectangle of the listview checkbox
        internal static NativeMethods.Win32Rect ListViewCheckBoxRect (IntPtr hwnd, int item)
        {
            //  Rare special case
            if (WindowsListView.FullRowSelect (hwnd) && WindowsListView.IsDetailMode (hwnd))
            {
                // Get listview window rect
                NativeMethods.Win32Rect controlRectangle = NativeMethods.Win32Rect.Empty;

                if (!Misc.GetWindowRect(hwnd, ref controlRectangle))
                {
                    return NativeMethods.Win32Rect.Empty;
                }

                // BOUNDS == SELECTBOUNDS, hence cannot rely on them
                // will rely on the ICON or LABEL
                // Try icon first since it is the closest to the checkbox
                NativeMethods.Win32Rect rc;

                if ((WindowsListView.GetItemRect(hwnd, item, NativeMethods.LVIR_ICON, out rc) && rc.left != rc.right) || (WindowsListView.GetItemRect(hwnd, item, NativeMethods.LVIR_LABEL, out rc) && rc.left != rc.right))
                {
                    int right = controlRectangle.left + (rc.left - controlRectangle.left);

                    return new NativeMethods.Win32Rect (controlRectangle.left, rc.top, right, rc.bottom);
                }
            }
            else
            {
                // Very common, simple case
                NativeMethods.Win32Rect wholeItem;

                if (!WindowsListView.GetItemRect(hwnd, item, NativeMethods.LVIR_BOUNDS, out wholeItem))
                {
                    return NativeMethods.Win32Rect.Empty;
                }

                NativeMethods.Win32Rect selectable;

                if (!WindowsListView.GetItemRect(hwnd, item, NativeMethods.LVIR_SELECTBOUNDS, out selectable))
                {
                    return NativeMethods.Win32Rect.Empty;
                }

                if(Misc.IsControlRTL(hwnd))
                {
                    return new NativeMethods.Win32Rect (selectable.right, wholeItem.top, wholeItem.right, wholeItem.bottom);
                }
                else
                {
                    return new NativeMethods.Win32Rect (wholeItem.left, wholeItem.top, selectable.left, wholeItem.bottom);
                }
            }

            return NativeMethods.Win32Rect.Empty;
        }

        #endregion Internal Methods

        //------------------------------------------------------
        //
        //  Private Methods
        //
        //------------------------------------------------------

        #region Private Methods

        // retrieve current ToggleState
        private ToggleState GetToggleState ()
        {
            ListViewItem.CheckState current = (ListViewItem.CheckState) WindowsListView.GetCheckedState (_hwnd, _listviewItem);

            switch (current)
            {
                case ListViewItem.CheckState.NoCheckbox :
                    {
                        throw new InvalidOperationException(SR.Get(SRID.OperationCannotBePerformed));
                    }

                case ListViewItem.CheckState.Checked :
                    {
                        return ToggleState.On;
                    }

                case ListViewItem.CheckState.Unchecked :
                    {
                        return ToggleState.Off;
                    }
            }

            // developer defined custom values which cannot be interpret outside of the app's scope
            return ToggleState.Indeterminate;
        }

        private void Toggle()
        {
            // Make sure that the control is enabled
            if (!SafeNativeMethods.IsWindowEnabled(_hwnd))
            {
                throw new ElementNotEnabledException();
            }

            Misc.SetFocus(_hwnd);

            NativeMethods.Win32Rect rc = ListViewCheckBoxRect(_hwnd, _listviewItem);
            NativeMethods.Win32Point pt = new NativeMethods.Win32Point((rc.left + rc.right) / 2, (rc.top + rc.bottom) / 2);

            if (Misc.MapWindowPoints(IntPtr.Zero, _hwnd, ref pt, 1))
            {
                // "click" on the checkbox
                Misc.ProxySendMessage(_hwnd, NativeMethods.WM_LBUTTONDOWN, (IntPtr)NativeMethods.MK_LBUTTON, NativeMethods.Util.MAKELPARAM(pt.x, pt.y));
                Misc.ProxySendMessage(_hwnd, NativeMethods.WM_LBUTTONUP, IntPtr.Zero, NativeMethods.Util.MAKELPARAM(pt.x, pt.y));
            }
        }

        #endregion Private Methods

        //------------------------------------------------------
        //
        //  Private Fields
        //
        //------------------------------------------------------

        #region Private Fields

        private int _listviewItem;

        #endregion Private Fields

    }
}

redpajama_set_name: RedPajamaGithub


text:
Stomp the Yard (2007)
9 mistakes
Directed by: Sylvain White
Starring: Columbus Short, Darrin Dewitt Henson, Meagan Good, Ne-Yo
Genres: Drama, Musical, Romance
All mistakes 9 continuity mistakes Order by popularity Order chronologically Add a plot summary Add the ending Titles starting with S
Continuity mistake: After April's father tells her about DJ's record, she goes to the frat house to see him. As she is walking up the sidewalk, she is empty handed and no purse is on either shoulder. Then, when she comes in the door she's holding a purse.
Continuity mistake: During April and DJ's first dinner date together, just as the slow song starts to play a couple in the background sits at a table, and in the next shot they are walking by again. (00:46:30)
Continuity mistake: During the Sunday dinner at DJ's Uncle's house and around the time DJ says "When are you going to teach me to make this fried chicken?" from the front shot his aunt is about to take a bite of food but from the back she is fluffing the napkin in her lap and then back to eating in the next shot from the front. (01:16:10)
Continuity mistake: When they're stepping in the empty pool and Sly tells everyone they're leaving, DJ stays behind to do some freestyle practice. In the time it takes him to put a CD in and hit play, everyone has managed to get out of the pool and be leaving the room. Doesn't quite add up. (01:01:35)
nfslpu
Continuity mistake: In the practice scene after the Sunday Dinner DJ's shirt goes from sweaty to soaked in the first and second shots of the scene and back to just sweaty by the end of the practice scene. (01:16:25)
Continuity mistake: After practicing in the empty pool and just before DJ shows the guys how to make steps fit their natural rhythm, there is a yellow bottle of sports drink beside the guy with the orange headband. And in the next shot there is a blue bottle and a yellow bottle of sports drink beside him. (01:05:25)
Continuity mistake: When DJ stops moving grass to talk to April the knot in his hat strap moves back and forth from one side of his neck to the other throughout the entire scene. (00:40:40)
Continuity mistake: When DJ goes for tutoring with April, he is wearing a black t-shirt as he enters the building, but then when he sits down next to April, all of his clothes are the same, except now he is wearing an orange t-shirt. (00:41:40)
Continuity mistake: During the final battle at the end, after Grant finishes his solo part, he is standing well in front of the rest of his team. After DJ does his own last move (just before the big one he does to win it), Grant has moved all the way back and is now in line with rest of his team and not in front of them at all.
demons_2413
More for Stomp the Yard
Rich Brown: Can I ask a stupid question?
Sylvester: Better than anyone I know.
Rich Brown: I just wanted to know why we're steppin in an empty pool.
Sylvester: Well, it was so we could keep our moves a secret.But who would want them?
More quotes from Stomp the Yard
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text:
The New World Was an Escape Hatch
May 03, 2019 / Steve Sandford
America offered more than a place to explore. France, Germany, and England lost thousands of civilians to terrorism by religious zealots. On top of that, overpopulation in some areas, degradation of farmland in others, and deep economic divisions between rich and poor caused misery, disease, and mass starvation. Europe needed an escape hatch.
May 03, 2019 / Steve Sandford/ Comment
What Freedom Meant to Our Ancestors
April 26, 2019 / Steve Sandford
Today, when we talk about America as a land of freedom, we tend to think about freedom (or the lack of it) from taxes and regulation, or we celebrate our Bill of Rights. The early settlers in America—those who came voluntarily—sought freedom of a more literal nature.
April 26, 2019 / Steve Sandford/ Comment
History, Gravity Well
Frederick Jackson Turner, Spaceman
In 1893, the historian Frederick Jackson Turner wrote an influential paper declaring that American-style democracy, a radical reinvention of the classically inspired republic envisioned by the Founding Fathers, had been created by the expanding frontier. Turner could not realize that, ten years after he wrote his thesis, the Wright brothers would enter a new frontier of an entirely different dimension: the air.
History's Greatest Thought Experiment
The idea that the best way to beat the Soviets wasn't with the military but by accomplishing a miracle was far from obvious. In fact, it was brilliant.
History, Apollo
We Were Supposed to Keep Going
August 03, 2018 / Steve Sandford
After we landed on the Moon, few people suspected that we wouldn't keep going.
August 03, 2018 / Steve Sandford/ Comment
Apollo, History
It's in Our DNA
Thousands of years ago, a man left the fire and risked all. Thousands of years later, a whole people crossed a bridge to an unknown land. What would happened if we ever stopped?
History, Story, Space, NASA, Stephen Sandford


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S. 3, Ep. 11: A Chat with Crime Fiction Author Vincent Zandri
by Debbi Mack | Nov 26, 2017 | Podcasts |
http://media.blubrry.com/crimecafe/p/content.blubrry.com/crimecafe/Crime_Cafe_with_Vincent_Zandri.mp3
Debbi Mack interviews crime fiction author Vincent Zandri.
The transcript is below, if you'd like to read it.
Or download the PDF copy and read it later.
Debbi: Hi everyone. This is the Crime Cafe. Your podcasting source of great crime, suspense and thriller writing. I'm your host, Debbi Mack. Before I bring on my guest, don't forget that you can buy the Crime Cafe Nine Book Set and the Crime Cafe Short Story Anthology for only $1.99 and $.99 each. Just go to my website, debbimack.com and click on "Crime Cafe" where you'll find the buy links. While you're there, please subscribe to the podcast on either iTunes or Stitcher, and if you're watching this, you know that we're on YouTube as well, so you can subscribe to that channel. Now having said that, it's my great pleasure to bring on best-selling author, Vincent Zandri. Vince, I am so thrilled to finally have you on my show and to meet you this way, so to speak, after so many years of our first contact online.
Vincent: I know it's been so long.
Debbi: So, thanks for coming on. It's been many years and I remember one time you saying that you would love to meet and even though we haven't gotten to meet in person, it's nice to be able to do this.
Vincent: Oh, Deb, I was probably just flirting with you at the time.
Debbi: [laughs] Well, that's very nice. That's very kind and I'm quite, I guess, what's the word…flattered.
Vincent: Oh you can't even think…you're speechless.
Debbi: I'm speechless [laughs].
Vincent: Well, truth be told, I was in awe of your first book and it did so well and you were like one of the groundbreakers who was one of the first people to like, "You know what? I'm not going the traditional route. I'm totally going to do this." And, boom, you hit the New York Times with a great, great, great noir novel. So that's why I was in awe of you, to be perfectly honest.
Debbi: Oh, well that's really nice of you to say. I am flattered Vincent. That's kind. Interesting that you bring up genre because how would you describe your writing in one sentence? Are you mainly a thriller writer, a noir writer, a mystery writer, adventure?
Vincent: If I had to sum it up in one sentence, I don't know, this might sound namby-pamby, but I like to write what I like to read.
Debbi: That sounds good.
Vincent: Simple…yeah, and it's as simple as that. You know, sometimes there's like the literary Vince, a book like When Shadows Come, which Thomas & Mercer did which…like my mother or even some of my best fans will be like, "Huh? What was that book about?" And then there'll be books like, The Shroud Key, for instance which I did under my own label which…and they'll be like, "Oh my god, you've got to go to the next page, you've got to go to the next page, gotta go to the next page, gotta go to the next page," and you eat it up like potato chips, right?
Debbi: [agrees]
Vincent: And then there's the Vince who writes like psychological suspense like, I don't know. Name one of my…The Remains for instance, which is like my big ass seller I guess and I even wrote that from a female perspective which is just sort of relentless. It's sort of a combination of like, it's got hardboiled in it. It's got romance in it. It's got adventure in it. It's got that Hitchcock, psychological suspense in it. So it's got all of it in there and now even more recently, I've ventured into (and I blame Richard Godwin for this) but I ventured into erotic noir a little bit.
Debbi: Wow.
Vincent: Yeah, which I wasn't sure if I could pull it off and I'm still not entirely sure if I've pulled it off.
Debbi: [laughs]
Vincent: But, the reviews have been good and to me it was like, well a lot of noir and hardboiled fiction has a lot of sex in it anyway so just take it a step further. But I think it's kind of working because and I think the plot is good. But anyway, the point being that I'm still experimenting.
Debbi: Yeah.
Vincent: And I've even ventured into…I have a young adult coming out in January as well.
Debbi: Very cool! I'm looking forward to that because I would love to read that one.
Vincent: Yeah, it's actually the Chase Baker Series again, but it's young Chase Baker.
Debbi: I love that idea because I was just thinking Chase Baker is such compulsively readable stuff.
Vincent: I appreciate that.
Debbi: It is very much so. I see from your blog that you were a photojournalist. How long did you do that and what did you cover?
Vincent: I was, I mean I started out as a reporter for like a stringer for the local paper in Albany, NY called, The Times Union, which is still there. And at a time in the early 90's, in the very early 90's when like it was still, you know, they still had stringers and they still hired freelancers and all that sort of stuff and it was pre-Internet and all that stuff.
Vincent: And you went and covered a story and…
Debbi: Yes.
Vincent: Went into the plant and wrote it and all that stuff and it was great and I was geared for the construction business, so I didn't know how to become a writer. I just knew I wanted to be and so I looked up all my heroes like Faulkner and Hemmingway and all these guys and I discovered like they just started at the newspapers.
Debbi: Right.
Vincent: And so I was like that's what I'm going to do and so I did that and then I ventured on to writing short stories for the literary journals and things like that and then I went to writing school and I wrote for magazines and I just worked my way up, you know. By the time I was in my late 20's, I went to writing school and the book I had to write for my creative thesis ended up being my first novel.
Vincent: The Innocent and that got picked up by Delacorte and you know. So I've been kind of doing it ever since. Oh and to answer your original question, this business being as cyclical as it is, there's good years and bad years, so I would always go back to journalism. Back in the mid 2000's, 2007, 8, 9, 10, I was working for some foreign news outlets.
Vincent: Like RT and some others and just really traveling all over the place and writing stories like in Africa and you know, China and Russia on any number of topics and kind of making my living that way for a while. You know because I had gone through my second divorce or whatever and it was sort of always on the road.
Debbi: Wow. For some people that would be a dream job.
Vincent: Oh, it was! And I actually ended up…I actually ended up using Florence as sort of my home base in like a 5th-floor guest house walk up, which is right down the road from me now (now I have an apartment). And it was like 20 Euros a night but I had my own bathroom, you know which was cool. And I remember like one of the biggest, one of the most profitable stories I sold, I remember I pitched it at like 6:00 in the evening here…
Vincent: To Moscow and they came back and it was all about how, at the time (I think it was 2010) the governor had said like New York state is going to be broke within 30 days. And so that's kind of a big deal being that New York City is the financial capital of the world.
Vincent: And so like I'm writing a story about Albany, NY really because it's the capital where I come from, from Florence, Italy for a Moscow newspaper or news outlet and it ended up being like the top story that night in Eastern Europe.
Debbi: Wow!
Vincent: So, it was super cool and they like, and they paid so well and I was like, I was like floored, it was great!
Debbi: Oh my god, that's fantastic! That's really fantastic!
Vincent: But back then it was more like, I was doing more journalism and I had been back to writing fiction was more, you know when I had the time I was writing fiction.
Vincent: But now I'm, back to almost, I'd say 99.9% all fiction unless somebody asks me to write an article for them, then I'll do it, but if the pay is good enough, but you know so. They'll probably come a time again maybe that I'll go back to journalism. I don't know.
Debbi: Well, you never know. But having that option is nice.
Vincent: Oh yeah.
Debbi: Would you say you generally write series novels or standalones?
Vincent: I do both.
Vincent: I do both and the standalones, it's a different…the series novels for me are like, that's like fun.
Vincent: You know like throwing my characters who I love, I just love throwing them into situations and they're funny and you know…
Debbi: You get to know their quirks and so on.
Vincent: Yeah, you know and what they're capable of and what they're not capable of and I know their back accounts, which are usually in the red and I know, you know their lost loves. But, you know like I always try to, I always try to portray a strong sense of morality with these guys or whatever. Some of them are more political than others and they like differ in their political views and they are not all the same. But the standalones, they take longer. They, you know, you have to create a whole new world for them as you know.
Vincent: It takes a lot longer. It takes much more of an emotional and physical investment. It's much more like writing a literary novel, you know. The language has got to be right and so I'm actually finishing one right now called The Girl Who Wasn't There and I think I'm like 40,000 words into another one that I don't have a title for. But it's a lot of work. That's one of the reasons I come to Italy still to write the novels because, look it if like the house burns down, I'm over here I can't do anything about it.
Debbi: [laughs] It's cool that you have a place in Italy. Very cool!
Vincent: Yeah, so.
Debbi: Well, it's funny you bringing up Hemingway and Faulkner as inspirations because I know that I was inspired by the likes of Hemingway and Faulkner and one of the things I thought I needed to do, when I first started writing, I mean when I was very young I have old handwritten stuff that I did about Vietnam vets because I thought based on Hemingway, I thought you had to be like a war correspondent to be a real writer. You know what I mean?
Vincent: Right, right, sure.
Debbi: So I tried getting into the head of a Vietnam vet and I look at it now and I kind of cringe of course, but at the same time I go, you know, I wasn't half bad [laughs]. There was something there that nobody pointed out to me. Nobody said, "Hey, you're the best writer ever" or you know. Actually that's not entirely true, I shouldn't say that. There were teachers who were very encouraging. But, I wish I'd been a little bit more encouraged earlier on. You know what I'm saying?
Vincent: Oh, sure. I mean, did you always want to be a writer?
Debbi: Oh, yeah. I've been wanting to be a writer all my life pretty much. From the first time I started watching television. I mean I knew there were people…I had this awareness that there were people who wrote it. Mainly from watching the Dick Van Dyke Show [laughs].
Vincent: No, you're so…oh my god, you're so right. You're absolutely right. I remember my parents…I remember my mother saying like, "Oh, that's not…you know like…Dick Van Dyke isn't so funny or Mary Tyler Moore isn't so funny." They would always say (because my father was a musician too, you know and he'd play for some of these people), and they'd say, "Oh my god the writers are so good."
Debbi: Yes, yes.
Vincent: The writers are so clever.
Debbi: And the fact that you had people doing creative work in your family is part of what goes into it I think because my Dad was a writer, he was a playwright.
Vincent: Oh really? No kidding?
Debbi: Yes and so when he found out that I really wanted to make a go of being a writer, he was so supportive. But that was years after high school and all that kind of stuff. Yeah, having that in your background I think makes a big difference. It makes you realize the possibilities.
Vincent: Oh, it definitely does.
Debbi: So I'm always, you know like encouraging younger people if they have any inclination toward writing. You know keep doing it, keep doing it.
Vincent: Right, right.
Debbi: You've done a lot of, I've noticed, Amazon digital shorts. Is that correct?
Vincent: Yeah, I think that's in my bio still and I don't know why it's in my bio.
Debbi: I noticed it from your bio, yeah.
Vincent: But, one of which I can't find. One of which I did through a publisher.
Vincent: And it's like, I'm sure it's pirated somewhere, because all my shit's pirated.
Vincent: But I can't find it. Like when I split from the publisher, he took it with him.
Vincent: But yeah, I do like…I mean this will probably segue to a whole other topic, but I'm a hybrid author. I have contracts with traditional publishers, but I put out so much material that I put out at least, at the very least a short story a month.
Debbi: That's cool.
Vincent: Sometimes I'll run those short stories through other magazines first and then when the rights revert to me upon publication, then I'll put them up on like Amazon or whatever.
Debbi: That's a great approach.
Vincent: Yeah, like my…plus it adds kind of legitimacy. Not for the reader, but for me.
Debbi: Exactly, exactly.
Vincent: You know what I mean? Like okay, this was accepted, so it must be okay. You know like, whatever. So, I think the most recent short story I did was Bingo Night, which was in Pulp Metal Magazine I think two months ago which just recently went up. And my short stories are long. They might be like 30 pages or something like that. And sometimes the magazines that publish them have to do it in two separate issues.
Vincent: Or whatever. But that story, like many of my other stories, just came out of the blue. These numbskulls in Albany, there was a blackout, and these numbskulls in Albany decided to like rob an elderly home, and of course it went bad, you know like totally. So, I was like, oh my god. I totally got to write that.
Debbi: Oh my gosh! Truth being stranger than fiction once again.
Vincent: Absolutely.
Debbi: Oh gosh. Well, I have to take a look for those, you know when I'm looking for things to consume from Amazon or wherever I get it from.
Vincent: Yeah, you know and I just like…it's one of those things, it's like I'm firmly of the belief that like the modern writer, it's all about like content, you know like if you're prolific, you're absolutely blessed because this can be a golden age for you (if you're prolific). But if you're not, it's just as hard as it's ever been, you know.
Debbi: I agree.
Vincent: Unless you have that one book that's making a cabillion bucks for you or something like that.
Debbi: I agree with you that the more you can write the better off you are and that's true regardless of what kind of writing you do. It's all about the content.
Vincent: Right.
Debbi: Let's see. Oh yeah, let's talk about Chase Baker, because like I said, I find it exciting reading. I mean, it's the kind of thing…I've been reading your stories as written by Ben Sobieck actually.
Vincent: Oh, do you like Ben?
Debbi: Ben does a nice job with those and I got to tell you…
Vincent: Oh yeah, he's great.
Debbi: It's like looking at kind of like those old matinee movie serials, you know where there'd be a cliffhanger at the end and you'd have to come back next week.
Vincent: That's what they're about.
Debbi: I'm like, oh my god this is like action adventure from the thirties or something. But it's modern…
Vincent: That's what they're all about.
Debbi: What inspired you to write Chase Baker? Was there a particular type of writing or movie even that inspired you to write these?
Vincent: Yeah, well, I was one of those nerds who (well, I was never a nerd), scratch that from the record. But, okay yeah, but I was one of those guys that like as a young teenager, I think I saw Indiana Jones and the Lost Ark or The Raiders of the Lost Ark, I think I saw it like a record like 15 times or something like that.
Debbi: Oh my gosh, yeah.
Vincent: I'm not kidding; I was like I love this. I love this.
Vincent: And so it did two things for me. It like gave me this sense of adventurism that still to this day I just can't get enough of.
Debbi: Absolutely.
Vincent: And number two, I was like, yeah I was like number two I gotta come up with a character or whatever and get into this action-adventure thing. And it took years, years because I wasn't going to be Clive Cussler, you know and I was like, who can I come up with? And I went down to (where'd I go), I went down to the Amazon and someone had spoken to me about this guy who was a guide down there and he was sort of based, or like, his hero was Hiram Bingham and there was a movie based on Hiram Bingham that came out in the 50's called, Secret of the Incas.
Debbi: Hmmm
Vincent: Look it up on Google, Secret of the Incas and starring Charlton Heston, a young Charlton Heston. It was made in 1954. Isn't it funny that in this movie, Secret of the Incas, Charlton Heston is wearing a fedora; he's got the leather jacket, the boots, the pants. He's a tough guy and it's actually even like, which is more true to Chase Baker, he's even like kind of a male prostitute, and I'm not kidding.
Debbi: [laughs]. Oh my gosh.
Vincent: But clearly, clearly the inspiration for Indiana Jones.
Vincent: And then I did a little research on it, and I found out that Stephen Spielberg had bought the rights to that movie for 30 years. Like it could not be shown anywhere.
Debbi: Oh, my gosh.
Vincent: And finally it had come out. So you know, when I saw Secret of the Incas, I was like, all right. Obviously I can't write a Dan Brown character because that to me is, I'm not that crazy about that character, but I can't write Indiana Jones it's already been done. But I can come up with a character who is sort of like this writer guy and has a background like myself, which is like a construction background. So, he's like a digger and he's got an apartment in Florence and he's got an apartment in New York and he's always unlucky with the ladies. But, he's just got this passion and he's got a daughter just like me and he's got this passion for like going after either lost treasures or lost people or whatever. And so like I was literally walking around Florence like five years ago and I came up with him and I was like trying to figure out a name and I came up with the first street I ever lived on, Baker Avenue and then I was like, I gotta have a good first name for him and it was Chase. And it turns out there's a Chase Baker who played for the New York Giants.
Vincent: Which, I've never heard from this guy or anything like that. And I love biblical themes and like controversy there and whatever.
Debbi: Yeah, yeah.
Vincent: And so I came up with The Shroud Key and like the mortal remains of Jesus and so of course, but the book is like panned by some people because they're like, oh even just the suggestion of the moral remains goes against the whole Christian doctrine, right? But, that's not the point of it. In fact, if anything he has like, you know maybe…there is no mortal remains or maybe there is. You have to read the book of course.
Vincent: But the book has taken me like, I mean I've almost died writing these books and I'm not kidding. I mean I've been all over the world writing these books. The most recent one was in Central America where I was caving and climbing and all this sort of stuff (this was back in June) and I caught such bad food poisoning, it was the first time ever, you know I should have been hospitalized…
Debbi: My gosh.
Vincent: But I wasn't about to, you know go to a hospital there or whatever. But part of the point of the books for me is like I want the readers to feel like okay, this guy's been to these places and he's done a lot of the things that are in these books, as opposed to he didn't just Google this stuff. You know what I mean?
Debbi: Yes, yes. They have that feel of authenticity to them. I have to say.
Vincent: I hope so.
Debbi: They do and they are so exciting to read.
Vincent: Thank you.
Debbi: Tell us about the latest book, The Shroud Key.
Vincent: Well The Shroud Key, actually that's the first one in the series.
Debbi: Oh, that's the first one, okay.
Vincent: That's the first one. That's the one that we're giving away I think actually.
Debbi: Yes, that's right. Tell us about The Shroud Key.
Vincent: The Shroud Key is the one, that's the one about the search for the mortal remains of Jesus.
Debbi: Oh, okay.
Vincent: Takes place, I mean it goes all over the place. It goes from like, it goes from Florence to Rome to I think maybe Jerusalem. Does it go to Jerusalem? I'm not sure. But I have been to Jerusalem to study some of these novels. It ends up actually goes back to New York and it's Chase Baker fighting like…oh, it goes to Egypt. I wrote the book so long ago I have to actually remember now. Actually went to Egypt during the Revolution.
Vincent: To do research on this and one funny story is there was no one, no tourists in Egypt at the time and I ended up going into like the third pyramid in Giza all by myself and I climb all the way down in and there's just nobody there and so you're all alone inside this pyramid. So I decide to like get into the sarcophagus and lie down inside it and I'm staring up at like, not only like you know 5 or 6,000 years of ancient history, but like tons upon tons upon tons of this granite and stone and like…so that was kind of a transfixing and transformative moment for me in the research for that book.
Vincent: But it's all about like, you know I trailed, I went on the hunt for like Jesus went to Egypt and then you know his travels and wherever he ended up and of course he ends up being crucified in Jerusalem and like is it possible that there's an ossuary with his bones in it because they have found the ossuaries of his brother James and they found the ossuaries (they claim) of Mary and Mary Magdalene and all this. So, is it possible that Jesus' bones were there as well? You have to read the book, but one of the big things, the map for him (the map for Chase Baker) is none other than the Shroud of Turin.
Vincent: And if you look at The Shroud of Turin (and this took a lot of research as well) there actually are maps on The Shroud of Turin. It's not just Christ's body, but there are actual maps and part of that map matches almost to the "T", the layout of the Pyramids of Giza and even the minor pyramids that are right beside it. And actually it's true, it does.
Debbi: That's fascinating.
Vincent: Which also mirrors the Belt of Orion.
Debbi: [laughs]. That's really fascinating.
Vincent: Yeah, so it's got all that in there. If you love that stuff, which I do, give it a read and it's a fast, fun read, you know.
Debbi: I have got to read this book.
Vincent: Yeah, it's a lot of fun.
Debbi: That's fantastic. Wow. Is there anything out now that you would like to talk about?
Vincent: The latest is Chase Baker and The Spear (here it is actually), Chase Baker and The Spear of Destiny.
Debbi: Cool.
Vincent: This is the latest. This actually takes place in Rome and it's all about the Spear of Longinus, the spear that pierced Christ's side when he was on the cross and it's all about a…and also based on fact again; based on a Nazi who wants to start the Fourth Reich and he was one of the originally guys who found this during the Third Reich and he's still alive and wants to start the Fourth Reich and so Chase has to go after the spear. But what happens in the…the spear is actually broken in two parts and the Pope has part of the spear around him and so what the Neo-Nazi's do is they kidnap the Pope and Chase has to, Chase has to get the Pope back.
Debbi: Does the bad guy's face melt at any point?
Vincent: Ha, oh all sorts of stuff like that happens.
Debbi: [laughs]. Fun! Let's see, oh yeah, if any of your work was adapted for the screen, who would you picture playing the main character?
Vincent: Oh boy! I'd make a good Chase Baker. No, I wouldn't actually. Actually I'm too short. Although, Chase is not that tall either. You know that's a good question actually. You might have to help me on this. I don't know. Who would be a good Chase Baker?
Debbi: Harrison is a little long in the tooth now I guess.
Vincent: Yeah, he's long in the tooth and he's Indiana Jones.
Debbi: How about Ryan Gosling? What do you think?
Vincent: No, he's too blonde.
Debbi: Too blonde.
Vincent: He's too blonde. It's gotta be more like…
Debbi: Let's see.
Vincent: How about Kevin Spacey. No he's done!
Debbi: [laughs]. Oh dear!
Vincent: Actually, he's probably available now. He'd probably be like, yeah I'll do that. I'll do it. I'll do it for $100 bucks!
Debbi: Poor Kevin. Sorry everybody, but really. I mean it's horrible.
Vincent: I'll do it for $100 bucks. I'll do it for $50 bucks.
Debbi: You can get him cheap, there you go.
Vincent: Yeah, you can get him cheap. I'm sure as soon as this interview is over, I'll totally think about it. I don't know who would be good. I'm not up on my like actors. Ooh, there are mosquitos. You know Florence was built on a swamp and there's mosquitos all over the place.
Debbi: Like Venice, built on all those wetlands.
Vincent: Yeah and the canals. There's a lot of bugs.
Debbi: A lot of bugs.
Vincent: Right. So who would be Chase Baker? You know, it would have to be a guy between around 50.
Debbi: Matthew McConaughey?
Vincent: Maybe. Johnnie Depp's too expensive. Brad Pitt is Brad Pitt. He's way beyond. He's too expensive, too.
Debbi: I was going to say Tom Cruise, but he's too expensive.
Vincent: Tom Cruise…yeah. You know, it would have to be kind of like, because like Harrison Ford for Indiana Jones, he wasn't the first pick. It was Tom Selleck was the first pick. So like I would prefer like somebody who's like you don't really know of them, you know.
Debbi: A newcomer.
Vincent: Sort of a newcomer, yeah!
Debbi: That'd be cool.
Vincent: And that's a good way for me to get out of this question.
Debbi: [laughs]. Well, it's a fair answer in my opinion.
Vincent: Can you tell I'm not like; I don't have my finger on the popular culture pulse?
Debbi: I understand. I know where you're coming from entirely. A lot of my favorite movies are really old movies.
Vincent: Me too, me too.
Debbi: What can I say? Is there anything else you'd like to add before we finish up?
Vincent: Nothing I mean I think if anyone wants to check out my books, and I would totally appreciate it, is just go to www.vincentzandri.com.
Debbi: And you have a really cool blog.
Vincent: And my blog is the Vincent Zandri Vox. It does very well. I try not to make it too political or anything like that. I'm not getting into politics but I write about all different types of topics. Everything from the writing life to traveling to whatever it just happens to be on my mind.
Debbi: I think that's great. That's cool.
Vincent: I appreciate it.
Debbi: Blogs like that really intrigue me. Those are the ones I like to read.
Vincent: Right, and you too. You have a nice blog. I love your website.
Debbi: Thank you very much.
Vincent: Your website is inspiring me. I need a new website.
Debbi: Thank you. Well you inspire me as a writer.
Vincent: Thank you, thank you. Thank you for having me.
Debbi: Oh, it was my pleasure, believe me. Thank you for being here.
Vincent: Thanks Debbi.
Debbi: Sure thing. And with that I will simply say, remember to check out The Crime Cafe Nine Book Set and Short Story Anthology. The buy links you can find on my website, debbimack.com. No 'e' after the 'i' in debbi.com. And go to "The Crime Cafe" link to find the buy links as well as the subscribe buttons to the podcast and you can find Crime Cafe merchandise there, too. Until next time, have fun reading and I'll see you in two weeks.
Download the PDF copy of the interview here.


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text:
News / The Look Book
Dior J'Adore Othoniel Auction For AWARE
Posted on November 26, 2012 by J Leave a comment
J'ADORE INHABITS A MYTHICAL LAND
Therein François Demachy and Jean-Michel Othoniel crossed paths, and encountered the intense beauty of this fragrance. The land-loving poet conversed with the flowers whilst the glass alchemist turned his mind to gold.
Each of them was on a quest for dazzling femininity.
The Dior perfume creator, "overcome by flowers," freely celebrated his demanding Absolute. The artist, who wanted to "re-enchant the world," appropriated the curves of its amphorabottle, which represents free sensuality.
The former created a daring composition, and a lavish absolute. The latter graced it with an evanescent and dazzling glass caress. J'Adore is a story that leads to the legendary island of Murano, where the quest for Magic follows its course.
Flowers rule over the fragrance, housed in a body of glass blended with gold, crafted by hand and by flame. Whether fragrance composition or bottle, each creation inspired by J'Adore is a powerful act.
The perfume creator and the artist's shared desire was to begin with a hint of something raw and sensual – whether velvet petal or soft molten glass – and to end with an ethereal, magical scent.
ONE MAN AND HIS FLOWERS
Giving someone J'Adore is like handing them a bouquet, says François Demachy. Composing J'Adore L'Absolu meant imagining the pinnacle of its floral sophistication.
It is a construction in which ingredients prevail, and in which, just as in a painting, its depth and its angles, its substance and its movement, its texture and its vibrations are revealed. Each flower is taken to the most authentic expression of itself, exhaling its most sensual facet.
The composition has the audacity of its eclectic equilibrium, in which each note reverberates within a coherent ensemble. This complex composition affirms the identity of each flower. It is an exercise in style, and an extreme harmony, to which its creator has committed his soul and keen strength.
J'Adore Absolute is the sum of a medley of absolutes brought together in a single floral symphony. In a complex procedure, the quintessential scent is extracted from the heart of each flower.
Obtaining an absolute is a long process. The first step is to obtain a concrete from each flower whilst preserving its fragrance. Then, Haute perfumery goes to work, delicately extracting the flower absolutes from the concretes through successive evaporations. Once again, raw material is the starting point that leads to precious intensity.
Seeking balance, and more expressive proportions, François Demachy inaugurated the reign of the "Perfect Ingredient," selected from across the world. Turkish Rosa Damascena, is spirited and smooth. Jasmine Sambuc is seductive and luminous. Indian Tuberose is potent and sensual. Together they create a sensual, striking, lavish perfume.
As its name indicates, this Absolute conceals an intense quest. Rigorous and yet free in his use of audacious accords, the Perfume Creator expects a perfect finish, like that of the most beautiful gowns.
It is beautiful from every angle – a manifesto for Haute Perfumery.
GLASS BLOWERS
A mysterious island and birthplace to glass, Murano is a living legend. Just next to Venice, the master glassmakers who officiate in their workshops are the keepers of an exceptional savoir-faire. It was here that Jean-Michel Othoniel encountered the magic of glass. The myriad hollow pearls from which he fashions dancing garlands and decorates the world, are blown by these maestros.
Working as closely as possible with them, he oversees the work, witnesses their secrets and feels the immediacy of a shape. He has been initiated into the searing intensity of glass, and the quest for the supreme moment.
His J'Adore l'Absolu amphora took shape in these expert workshops during a moment suspended from time – the glassblowing. Just as a flower is picked, so the levapallina collected the molten glass that was then blown, in a single breath, by the maestro. The servante then delicately positioned a golden thread, winding around the iconic amphora.
Lastly came the bead, adding the finishing touch to this marriage of molten glass and gold, and concluding this perfectly choreographed act.
OTHONIEL
From a single necklace that winds up and around into the air, Jean-Michel Othoniel made J'Adore his own.
The iconic silhouette of this mythical perfume becomes a fairy tale in which the Magical is embodied by a suggestively undone golden thread. The thread of a story or a vital theme, it is an invitation to follow the enchanting scent of J'Adore.
THE J'ADORE FAMILY
J'Adore L'Absolu: The intensity of a floral bouquet glorified by flower absolutes
J'Adore L'Or: The sensuality and harmony of floral and oriental notes
J'Adore Eau de Parfum: A unique bouquet of flowers, both rich and generous
J'Adore Eau de Toilette: The delicacy and radiance of a floral bouquet revealed through flower essences.
The House of Dior would like to thank the Salviati Master Glass Makers of Murano, who opened the doors of their workshops to us on the island of Murano, and who created the J'Adore bottle designed by Jean-Michel Othoniel.
J'Adore L'Absolu (50ml) S$174
J'Adore Othoniel (one piece available in Singapore) S$3900 (starting bid)
Bidding for J'Adore Othoniel ends end-December 2012.
This exclusive collaboration between Dior and Jean-Michel Othoniel, a contemporary artist to create J'Adore Othoniel released an ultra limited edition Amphora with Dior's newly relaunched fragrance.
Only one bottle will be available in Singapore and this will be auctioned at the new counter at TANGS Orchard from S$3,900. Dior is happy to announce that all proceeds from the sales of J'Adore Othoniel will go towards AWARE, to support women rights in Singapore.
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ChromaPure Professional/Display 3 PRO Bundle
Officially known as the i1 Display Pro III, by any definition X-Rite's new Display i1 Display Pro colorimeter is a disruptive technology. In many ways, it is not useful to think of the Display 3 as simply a successor to the Display 2, which has been the dominant affordable colorimeter on the market for several years. The Display 3 is based on a completely different design and offers a level of performance profoundly superior to the Display 2, indeed profoundly superior to any colorimeter at anywhere near the MSRP price of $269.
For a full review of the Display 3 colorimeter, see New Gear.
It is also one of the easiest devices to use because it requires no dark reading calibration.
Despite this, it is an affordable mass-market device whose tolerances fall short of professional color analyzers.
We have developed a version of the Display 3, which we have named the Display 3 PRO, that offers substantially enhanced accuracy across a wide range of displays.
What we have done is provide a software-based refinement to and expansion of the existing calibration tables in the individualized license file delivered with each unit. To understand how this works, it is important to first understand the source of errors in tristimulus colorimeters.
In an attempt to accurately model human color vision, in 1931 the CIE defined the standard observer, which is characterized by three color matching functions, shown below.
A filter-based colorimeter attempts to mimic human color perception by matching these curves. However, accurately matching these complex curves using any reasonably affordable filters requires correction with a reference spectroradiometer. Otherwise, you cannot achieve the desired accuracy with different display types. A spectroradiometer does not rely on filters as a way of mimicking human color vision, but rather measures the spectra of a display directly. Its accuracy depends only on the bandwidth, sensitivity, and resolution of the device.
The inaccuracies of a filter-based colorimeter arise from a variety of sources.
The standard modes that the factory Display 3 ships with are based on a generic correction from a reference device. The same correction is applied to all Display 3's.
There may be some unit-to-unit variation. This was certainly true of the Display 2. Only extended experience will reveal the degree of unit-to-unit stability that the stock Display 3 offers.
The instrument's accuracy may decline as it ages. However, because it is essentially a non-contact design whose newer generation filters are installed in a sealed environment, it will likely age more gracefully than previous models, such as the Display 2 and Chroma 5.
There is a natural variation in consumer displays—even displays of the same type!—so the operating modes of the colorimeter are no more accurate that these variations allow. The calibration tables of the factory Display 3 can only be derived from the general performance characteristics of the display type, not the specific display being calibrated.
Taken together, these four sources of inaccuracy—generic factory calibration, unit-to-unit variation, effects from aging, and a lack of consistency among displays—result in a device that, on average according to our tests, typically deviates from a reference spectroradiometer up to about 5-6 dE (CIELAB). Our PRO version of the meter will cut this source of error in half.
Of course, the best way to minimize these errors is to use your own reference spectroradiometer to correct the Display 3 for each calibration session on a single display. ChromaPure provides an Meter Correction module for just this purpose. However, the vast majority of consumers cannot afford a true reference device, which are very expensive. SMPTE requires a reference instrument to have a minimum accuracy of ±0.002 for the measurement of xy chromaticity coordinates at any luminance above 3 ft-L. The only instrument capable of this level of precision is a 5nm spectroradiometer. A tristimulus colorimeter will not offer this level of accuracy, nor will an 8nm or 10nm spectroradiometer.
The Display 3 PRO virtually eliminates 3 of the 4 sources of error and lessens the fourth for a small fraction of the cost of a true reference device.
First, we individually test each meter against a reference spectroradiometer on a CRT, several LCD flat panels, a plasma flat panel, and front projector with a standard UHP lamp and a LED lamp in both luminance and illuminance modes.
Second, we include correction figures in the individualized license file that align the standard Display 3's response to our reference device. These two steps alone greatly improve the built-in calibration tables for the Display 3 and completely eliminate any unit-to-unit variation.
Third, for a modest fee, we will periodically re calibrate your Display 3 PRO to ensure it retains its initial accuracy. This service eliminates the problems associated with exposure to the elements over time.
The Display 3's accuracy is reasonably consistent when reading CRTs, plasmas, and front projector screens. The biggest problem by far lies with LCDs. Using the Standard mode the Display 3 may read one LCD very accurately and yet be off on another. It bis difficult to achieve consistency when reading LCDs. Contrary to one widely-repeated myth, this is not an issue directly related to the difference between CCFL backlit and LED backlit displays. Some LED displays actually give the colorimeters less trouble than their CCFL counterparts. Also, the Display 3 can maintain considerably different levels of accuracy when comparing two CCFL displays. The problem isn't with LED backlighting. The problem is LCDs period. To address this problem, the Display 3 PRO ships with 5 different LCD modes. We may add additional LCD modes as needed.
Display 3 PRO Details
The result? The Display 3 PRO is a colorimeter that offers professional grade performance at a price affordable to the amateur hobbyist or enthusiast. Our tests show that the Display 3 PRO offers accuracy for color and the white point that in the majority of cases exceeds that of the i1Pro. Furthermore, its luminance readings are far superior to the i1Pro, both in terms of general accuracy and certainly in dynamic range.
Quite simply, we believe that this is the best sub-$1000 meter for video calibration on the market today. Is it a true reference device? No. But at this price it comes as close as any device we are aware of to this standard.
Generic LCD
Samsung Standard LCD
Sony Standard LCD
Sony LED
LG Standard LCD
LG LED
DLP Rear Projection
Front Projection LED-Screen
Front Projection LED-Lens
Front Projection-Screen
Front Projection-Lens
Quantum Dot
For best accuracy, we recommend calibrating front projectors by taking readings directly off the screen. However, for those who wish to take readings directly from a projector's lens, the Display 3 offers a built-in color neutral diffuser.
Display 3 PRO w/ChromaPure Professional software:
Display 3 PRO w/ChromaPure Professional software (competitive upgrade):
Instead of OEM version, substitute Retail version of Display 3 PRO
Add $29


There are numerous pay per click advertising advantages. The key to making pay per click marketing work for your business is by determining exactly which features and strategies to take advantage of.
It is possible to drive calls with pay per click advertising directly from the search engine results by setting up a Call-only campaign. A Call-only campaign allows you to show ads only on mobile search results and only gives the user the option to click-to-call from the ad. They cannot click-through to your website. This is a great option for businesses who do not have a mobile-friendly website or if calls are worth more.
Optimizing landing pages can also increase call conversion rates. On mobile devices businesses should prominently display click-to-call buttons with strong CTAs pushing the visitor to call. On computers and tablets the company phone number and CTAs pushing for calls should be visible in multiple places on the page.
Another pay per click benefit is the ability to control costs setting budgets. As a pay per click advertiser, you can decide how much you want to pay for clicks from specific keywords, devices, locations and more. You can spend more of your budget on what you know works and set up limited budget tests to try new strategies.
With pay per click you only pay when a potential customer clicks on your advertisement. There are no fees for placing an advertisement on the results page of a search engine. This means you will still be generating brand awareness when a person does not click on your ad, and you pay nothing for it. After a click on a pay per click advertisement, a customer may then save your site on their computer and come back to your site later. They might even forward the link to a friend, or better yet, they will fill out a contact form, call or purchase something from your site.
Pay per click advertising also allows you to target your advertisements so they only appear to qualified customers. Targeting options such as language targeting, location targeting, demographics targeting by gender and age, as well as time of the day and day of the week targeting, allow you to hone in on the audience that is most likely to turn a click into a conversion.
Pay per click also puts businesses on a level playing field. A small business has just as high a chance of winning at a keyword bid and placing high on a search engine results page as a large company when they choose keywords specific to their business goals, optimize their pay per click advertising campaigns, optimize their landing page, and take advantage of targeting tools.
While the concept and benefits of PPC may be simple, it doesn't undermine the importance of hiring a qualified pay per click management firm. The complexities around successfully managing a pay per click advertising campaign are best handled by a professional. For some examples of where pay per click can go very wrong, take a look at these pay per click disasters.
We have been managing pay per click for well over 13 years. We're so confident we can improve your pay per click advertising campaigns we offer a 60-day risk free trial! Don't wait, call us at 800-645-9521 or complete the contact form below to find out how we can help you take advantage of pay per click advertising.
Why is Link Building Essential to Google AdWords Pay Per Click?What Makes a Top Pay Per Click Manager?


text:
Chevelle SS 396
The 1970 Chevrolet Chevelle coupe was one of the baddest cars on the streets, and it's one of the most desired muscle cars today. So finding one that's less than 2,000 miles...
Cranberry Red
Chevelle 454
Chevelle Malibu
The 1970 Chevrolet Chevelle coupe was one of the baddest cars on the streets, and it's one of the most desired muscle cars today. So finding one that's less than 2,000 miles off of restoration with the right Super Sport look, upgraded overdrive transmission, A/C interior, and serious big block power seems to be the best way to rule the neighborhood. This coupe was professionally resprayed the 1970-correct shade of Cranberry Red for boldness. The legendary shape of the 1970 Chevelle looks like it was tailor-made for the black SS stripe package, and the black vinyl roof is a great premium touch in this very sporty package. It has an overall aggressive look that freshly re-dipped chrome bumpers can't even outshine. The power bulge of the cowl hood is a must-have on a Chevelle, and real muscle car fans know to look for the proper working induction flap. This one looks extra mean with the blacked-out grille, hood pins at the corners, and blacked-out rear panel. The final piece to this package are upgraded 17-inch American Racing Torq Thrust wheels. It fits in perfectly with this shining coupe, and it sends a message that this is an upgraded package that also respects classic muscle car history. Just like the exterior, the interior was given the right muscle car makeover. Black vinyl is what we all love to see, especially when it matches the exterior stripes. The seats, carpets, dash, gauges, console, and headliner are all freshly done as part of this recently restored package. So you know it's the kind of hardtop you'll show off with pride. It gets the details right with the Chevy three-spoke sports steering wheel, horseshoe shifter, and full U14 round gauge package with large speed and tach – even the clock works! The stereo is a retro-style unit with USB port, so you get upgraded tunes without jeopardizing the vintage atmosphere. And the air conditioning is blowing nice and cold, so feel free to go cruising with all the windows down even in the summertime. This is the kind of motor that will make you proud to lift the hood at car shows. The big block 396 cubic-inch V8 not only does the big stuff right like the orange block paint, air grabber w/callouts, and bright valve covers, but also it's presented exceptionally well. That's thanks to getting the details right like using fresh hoses, wires, and clamps. And of course, muscle car people love to point at the correct diaphragm that seals the air intake to the proper cowl induction hood. But when you look beyond the nice presentation you'll feel a meaner attitude. The big block inhales deeply through a Holley four-barrel carburetor and Edelbrock Performer intake. And it exhales with authority with long-tube headers feed the rumbling stainless dual exhaust. Plus, the total power package has better ratios thanks to the upgraded to a 700R4 four-speed automatic transmission that includes overdrive. A Bowler adjustable lockup controller is located under the dash. Control also stays well in hand thanks to power steering, power brakes w/discs up front, and grippy modern Falken tires. This is the big block Chevelle and SS tribute done right. After all it's the fresh build that leaves you wanting for nothing in both power and comfort. So don't let you ideal American muscle machine slip away. Call today!!!
Streetside Classics is accepting offers for this 1970 Chevrolet Chevelle SS 396. Send them your offer below!


Can I run these games in 1080p on i7 2600 + Radeon 7970 ?
that's a pretty old system, but some of them might run ok?
Set the graphics backend to Direct3D 11 because you're on AMD, use the latest development build and hope for the best.
If it isn't fullspeed then, then there is nothing you can do and your CPU is too old.
Or vulkan - the 7970 should support vulkan fine.
And this should have no problems with pretty much everything at 1080p. It's still pretty fast, comparatively.
(08-17-2018, 04:50 AM)JonnyH Wrote: Or vulkan - the 7970 should support vulkan fine.
He said the GPU could push it. No promises that your CPU won't choke you.
(08-17-2018, 08:29 AM)Helios Wrote: He said the GPU could push it. No promises that your CPU won't choke you.
A 2600 at full desktop TDP should be able to push pretty good clocks - and probably give a better experience than the latest ULV chips people seem OK with.
Could it be faster? Of course. But it should still be OK for many games.
I have ran SMG back in the pre- Dolphin 5.0 days way before some major optimisation on a i5 2500k @ stock speed. It ran at full speed most of the time with some levels slowing the game down to ~45-50 fps at certain moments (which an OC to 4.3 ghz resolved). With HLE audio being usable now in this game and the masive amounts of optimisation that happened on top of that wouldnt I be suprised if the game can run at full speed on a 2600.
(08-17-2018, 09:29 AM)JonnyH Wrote: A 2600 at full desktop TDP should be able to push pretty good clocks - and probably give a better experience than the latest ULV chips people seem OK with.
(08-17-2018, 01:50 PM)Skywolf Wrote: I have ran SMG back in the pre- Dolphin 5.0 days way before some major optimisation on a i5 2500k @ stock speed. It ran at full speed most of the time with some levels slowing the game down to ~45-50 fps at certain moments (which an OC to 4.3 ghz resolved). With HLE audio being usable now in this game and the masive amounts of optimisation that happened on top of that wouldnt I be suprised if the game can run at full speed on a 2600.
I only recently replaced my i7 2600x - though that did overclock very well, so it had a bit more headroom, it was still churning through AAA titles at good speed until this year.
Really, it shows how stagnant Intel have been in many respects. Only this year have they really added anything of note - finally moving past 4 cores.


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Reaching Out for New Stars, the Guild of Fine Food Launches Great Taste Portugal
posted by: Gomez in Front Page, News on Jun 2nd, 2016 | |
Having judged more than 100,000 entries from across the globe in the UK and Ireland over the past 22 years, Great Taste is now set to head overseas for the first time, launching Great Taste Portugal in association with ConsumerChoice – Centro de Avaliação da Satisfação do Consumidor, an organisation that champions Portuguese brands delivering exceptional quality to their customers.
With entry now open until the end of June, preparations are well underway for the many weeks of judging ahead. Top chefs, buyers, fine food retailers, restaurateurs, food critics and writers are being assembled to taste each and every entry, before the coveted Great Taste stars are awarded in October and the Supreme Champion is unveiled at the Festival Nacional de Gastronomia de Santarém later that month.
Valuing taste above all else, with no consideration for branding or packaging, the judges will be searching for the very finest food and drink in Portugal, using the same rigorous blind-tasting process and robust judging methods that have been honed by the Guild of Fine Food in the UK over the past two decades.
The winners will earn the right to display the unmistakable gold and black Great Taste logo on their products, helping them to increase sales and improve brand awareness, while all entries will benefit from comments given by the expert panel of judges, providing highly valuable feedback for market research and product refinement purposes. Those products deemed worthy of a 2- or 3-star accolade will also be listed on greattasteawards.co.uk.
John Farrand, Managing Director of the Guild of Fine Food, organisers of Great Taste, explains; "The Great Taste logo is an established seal of approval, reflecting the hard work and commitment of producers who are making outstanding food and drink, so we're very excited about extending its reach to the Portuguese marketplace in 2016. We've been delighted to see more and more international entries coming into Great Taste each year and feel that Great Taste Portugal will give the country's small artisan producers an even better opportunity to gain recognition for their efforts, raise their profile and jump off the nation's crowded shelves, as we direct Portugal's buyers towards the best of the bunch. With so many Portuguese products already awarded Great Taste stars in previous years, we know we'll be in for a treat when the judging takes place on home soil."
José Borralho, Managing Director of ConsumerChoice Ltd, creators of the Consumer Choice Awards, adds; "This is an important moment for Portuguese food and drink producers, especially small artisans and those who are looking to export. The Great Taste stamp of excellence is highly sought after throughout Europe and beyond, with buyers and retailers on the lookout for exceptional products using the list of stars as their guide. Great Taste Portugal will offer our artisan producers a unique opportunity to grow their businesses and reach new markets."
The judging process will take place throughout September and October, with the award-winning products due to be announced on Tuesday 18 October.
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She is collaborating with Morocco-based group Fnaire.
After grooving on the dancing number Dilbar, dancer-actress, Nora Fatehi is now all set to make her singing debut. She is collaborating with Morocco-based group Fnaire to re-create the official Arabic adaptation of "Dilbar".
She has made a huge fan following after this song and this is the reason why fans prefer to watch the new 'Dilbar' on Youtube instead of just listening to the track. Nora Fatehi became famous in the entertainment industry when she made her television debut with the famous reality show Bigg Boss.
"It is a huge deal for both Morocco and India because this is the first time we will be getting Indian culture and Moroccan culture together artistically and musically and this has been my goal as well, to bring them together," Nora said in a statement.
"As 'Dilbar' has become a huge hit internationally, including Middle East, we have taken the song and re-composed it, written Arabic and Moroccan lyrics and we recorded, with me singing with Fnaire.
The video and the song will be released in October.
"Dilbar" from the film "Satyameva Jayate" is the new version of the 1999 track "Dilbar".