with the unique and quite rare application of three handles.
The large bowl is a lovely shade of green and is heart-shaped.
All gold is hand finished and thickly applied.
in gold. The base has raised molding at both the foot and the rim.
Gold scrolling separates the lower green from the upper white of the bowl.
and graceful scrolling dividing the green; the lid is stunning.
A true treasure that was carefully stored and only used for cabinet display.
In immaculate condition with no issues.
And weighs approximately two pounds 14 ounces without packing materials.


Home» Daily Sprout » Agouti Mice Re-Visited – DNA Is Not Destiny!!
Agouti Mice Re-Visited – DNA Is Not Destiny!!
The Agouti mice that are shown here, are very different from one another. Different because though they come from the same genetics, the don't share the same genetic expression. Different because one carries significant risk of prematuer death, while the other does not, and it is all because of the pursuit of health.
The excerpts that I am going to pull for this article, were publishd online for Discover magazine, November 22, 2006. I remember we had the full article sitting in our office that December, and we were getting pulled deeper and deeper into the understanding of how genes work. These are the underlying reasons why I feel someone stands a 90% better chance against cancer or heart disease with us leading the way.
I trust that God has given me this purpose, and that we are on purpose right now. Take a look at the amazing changes that took place because of a diet change! Imagine coupling that with all of the Five Essentials of health (wondering what those are… stay tuned more often and you will see all five covered), how amazing the changes could be!
student Robert Waterland designed a groundbreaking genetic experiment that was simplicity itself.
the unfortunate genetic legacy of these little creatures.
Such an amazing change, and look at how they helped to inspire that change.
The power of your genetic code is amazing, but it depends on health. Do you know if you are eating right? I mean do you know it so well you could defend it and stand by your choices?
The Body By God Challenge is perhaps the absolute best challenge we teach to get all components right, and it starts today! Get on board, and be blessed!


I've just returned from the Great American Beer Festival (GABF) in Denver, Colorado, where my flabber was well and truly gasted.
While nearly all US craft beers can trace their origins to European roots, the artesian brewers currently transforming the landscape of US beer are crafting brews that are bigger, brasher and boast bigger balls than anything being produced in Europe.
Previous Post« Previous Got Beer?


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Galloping Coroners (Hungarian: Vágtázó Halottkémek,  , also known as VHK and Rasende Leichenbeschauer) was a Hungarian rock band active from 1975–2001, and briefly reformed in 2009 and 2013. The band established a unique "shaman punk" or "psychedelic hardcore" sound, and is regarded as one of the most important alternative bands of the 1980s from the Eastern European block. Permanent restrictions by Hungarian authorities made worldwide tours difficult for the band, but its ecstatic concerts garnered surprising success across Western Europe. Though relatively obscure and commercially limited outside of Eastern Europe, Maximumrocknroll described the band as "equal in spirit and grit to faves like Sonic Youth or Big Black but with an identity all its own". VHK has been praised as a highly important band by Iggy Pop, Henry Rollins, Jello Biafra and Einstürzende Neubauten.

The band played repetitive, wild, yet melodic music, combining tribal shamanic music with rock guitars and drumming to form a uniquely pulsating and obsessive sound. Songs regularly feature ritualistic improvisation, and live shows were often accompanied by ecstatic on-stage actions. The New York Times described their music as "basic and elemental and filled with obsessive, galvanizing passion."

The band's musical philosophy was shaped and influenced by its frontman, Attila Grandpierre. Beginning in 2005, Grandpierre continued VHK's concept with Vágtázó Csodaszarvas on solely acoustic instruments.

History
Galloping Coroners (VHK) was formed in Budapest in 1975 by Atilla Grandpierre (singer) and his friends independently from Western world's punk movement that started 1–2 years later. Initial lineup: Atilla Grandpierre (vocal), Sándor Czakó (guitar), László Ipacs (drums), Tamás Pócs (bass guitar), Molnár György (solo guitar). More of them were graduated professionals: The group's leader and main theoretician, Atilla Grandpierre is also astrophysicist, a candidate of physical sciences, employed by the Hungarian Mathematics Institute. Guitarist Sándor Czakó is nuclear physicist, later worked on safety system of Paks Nuclear Power Plant, László Ipacs is a physicists, Lajos Soós teacher.

Formation
In early 70's, Budapest youngsters were talking stories about a mysterious, eccentric teenage boy, Attila Grandpierre, who was doing scandalous actions with his friends e.g. creating home-made rockets etc. As a physicstudent Grandpierre gave private lessons to the 5 year younger high-school student, László Ipacs. Grandpierre and Ipacs's mates become friends, and formed a subcultural creative community mainly driven by Grandpierres inconvenient visions of life and music. When Ipacs and his friend Sándor Czakó the only educated musician, formed an amateur band, Grandpierre first just helped the band with musical ideas as an external consultant. Surprisingly they won army's countrywide amateur rock contest. By that time Grandpierre as a well-known personality of Budapest underground life was invited to be singer by several amateur bands. But he was only impressed enough by the Ipacs-Czakó formation, so he joined the band in 1975. The band started to use Vágtázó Halottkémek (abbr.: VHK, Eng.: Galloping Coroners) name suggested by Grandpierre. As Grandpierre remembers, he wanted a name that express their musical and life philosophy regarding that "people should find their way to the basic, elemental natural power of the Universe and being charged with this power should live a more perfect and active life." He felt it must be a two word band name. First, 'Galloping' tag was to express the activity, energy. The second tag took longer to find out, finally they found that Coroners' express greatly their feeling that people on the Earth live on a very basic level, almost like 'living deads', and the band is like the Coroners who say the diagnosis of this state.

 Underground years in late Hungarian communist era
In 1975 the band recorded their first songs. They aroused their first public acclaim among Budapest teenagers when bandmates walked along Váci Street playing VHK on cassette recorder demonstratively. VHK gave the first concert at a high-school event in 1976. The concert was stopped after 20 minutes by event supervisor singing-teacher finding the band and the audience too excited and scandalous. Fans had to wait 2 years for next concert. In 1978 the concert again was stopped because the organizers were afraid about the allegedly 'violent consequences'. Next 6 concerts were also interrupted by the authorities. In Soviet-block, Goulash-communist Hungary Galloping Coroners' ecstatic music was extremely scandalous sound vs. state controlled music scene. Though VHK didn't play political songs, authorities were afraid of a band that seemed to have 'subversive effect on youths'. VHK soon became the No.1 banned rock band and had been officially banished within Hungary for 11 years. Members were harassed by the police, observed by the secret agent net and not allowed to release an LP and make concerts legally. So in the seventies VHK had only few concerts, still the band continuously found ways to play underground concerts at various scenes. Vágtázó Halottkémek was helped to the stage by the fans of other bands, or there were concert-organizers taking the risk to be kicked out because of allowing them play. They used fake names, played as guest musicians of other bands without revelealing themselves as VHK at the concert. Due to this concerts and fan-made cassette recordings VHK's fame spread rapidly among youth communities in Budapest. By the end of 70's VHK gained countrywide reputation among youths regarded as "the wildest band in Hungary". Experimental film director Gábor Bódy recognised VHK for his 1983 film  "Dog's Night Song" featuring the band and lead howler Attila Grandpierre as an actor.

International success from 1980s
VHK had no LP and forbidden to concert within Hungary, but by the 80's the band's fame reached Western Europe, first Germany through personal channels. In Gábor Bódy movie "Nachtlied des Hundes" (1983) the West-Berlin artist, author and philosopher Wolfgang Müller from the cult-band Die Tödliche Doris discover the band and invited them to West-Berlin, where they were totally unknown. The band played 1984 in Berlin-Kreuzberg Frontkino, which was already a famous underground space. Now they started to build a growing fan-base in Germany. In 1981 the first VHK song was published on a German Ata Tak's Fix Planet compilation LP. From 1984 VHK played regularly in Western-Europe, despite Hungarian authorities tried to obstruct administratively, not giving passport to VHK's members to get concerts in Western-Europe. In 1986 VHK was invited to Amsterdam, that was "Cultural Capital of Europe" in that year. Dutch Queen, Beatrix should have personally pressure Hungarian authorities to give passports and allow band's performance. In 1987 Austrian chancellor, Fred Sinowatz also had to make diplomatic steps toward the Hungarian Ministry of Culture to leave VHK play in Austria. In 1982 Kristen Dehlholm avantgarde theatre director and VHK-related artists founded 'VHK's Ritual Theatre' accompanying concerts with movement and sound theatre elements. Thanks to this 1988 VHK played in the Mythen, Monstren and Mutationen festival in Berlin. In 1988 Einstürzende Neubauten, Henry Rollins, Jello Biafra and Iggy Pop met VHK and all of them were impressed by VHK's obsessive performance. In the last years before the collapse of Hungarian communist soft regime, VHK played with Rollins Band in Hungary. Rollins Band invited VHK for a tour in England in 1989. In 1992 they released their 3'rd LP "Hammering on the Gates of Nothingness" both in Europe and the US. LP's title song reached 2nd position on the top-list of a Belgian music radio station, and VHK were played in numerous US college radios.

First international manager of the band was Dietmar Lupfer. VHK released with him their first 3 records, Teach Death a Lesson (1988), Jump Out the World-Instinct (1990), Hammering on the Gates of Nothingness (1992) at Sonic Boom Records for Europe, while this LP's were released by Alternative Tentacles in the US. Despite Jello Biafra's offer to manage the band in the US, the band decided to leave Alternative Tentacles and produce next LP in US themselves, but VHK's self-promotion has failed.

 2001 and beyond
Between 2001-2009 VHK didn't give concerts. From 2005 band leader Atilla Grandpierre continued VHK's musical concept in neotraditional Vágtázó Csodaszarvas ("Galloping Wonder Stag"), changing electronic instruments into traditional Hungarian acoustic folk instruments, developed a clear, modern still ancient style.

In 2009 Grandpierre renewed VHK, releasing Forgószél! ("Tornado!") LP, under "Galloping Life Power" band name. The "Coroners" tag was changed to "Life Power" to express more directly Grandpierre's fully positive life attitude, as he said. Later they started to use Galloping Coroners band name again and released Bite the Stars! LP in 2012.

Atilla Grandpierre is still active nowadays, occasionally touring with Galloping Wonder Stag playing acoustic repertoire and with Galloping Coroners performing the rock-instrumental line.

 Musical style
In 1975 Galloping Coroners started with basic rock instruments, 3 electronic guitars and drum, enriched with a kettle drum to enhance roaming tribal sound. By the 90's VHK kept their psychedelic-shaman-punk musical ideology while their music developed to a more complex instrumentation. On 1997 Requenquering The Eden I LP they used tablas, kettle drums, roto, earthen drum, acoustic guitar, reed pipe, whistle, percussion, bass, electric guitar, vocals with guests adding violin, flute, double bass, hurdy gurdy and vocals. This trend got its peak point with full acoustic performances of Galloping Wonder Stag, Grandpierre's later formation from 2005. Galloping Coroners, including their international career have sung exclusively Hungarian lyrics.

Galloping Coroners' music may best describe as "shaman punk" or "psychedelic hardcore" - new categories created by western critics in the '80s to define the original sound of the band. Historically Galloping Coroners started 1–2 years before punk movement in 1975, from independent roots. Galloping Coroners' music was mainly determined by band founder Atilla Grandpierre's vision of music and the Universe. He said, he was not interested in music like western punk bands, Iggy & The Stooges and others. He was impressed by psychedelic, progressive rock music: "I liked very much early Pink Floyd, especially See Emily Play and the first Blue Cheer album, Vincebus Eruptum. The most important song for me was Out of Focus." He was also influenced by German progressive rock, especially krautrock (early Amon Düül, Popol Vuh, Ash Ra Tempel).

As Grandpierre remembers the first years "We had no idea that our music had any connection with shamanism. [...] We didn't know what had bursted out from us, our friends just said, 'it's total craziness'. [...] Our definite goal was to become the world's best band [...] we talked along many nights how to make a world revolution [...]. In the morning we started the day with bright eyes and feeling huge forces lit in us. [...] We felt, we are able to change course of the world, and there must be a music that can move deeper powers any social movement can."

Later, when punk movement developed Galloping Coroners recognised common points with punk and hardcore, as Grandpierre expressed in his manifesto Punk As a Rebirth of Shamanist Folk Music in 1984, and VHK built connections and toured with punk and hardcore bands like Rollins Band. Some critics regarding tribal shamanic music as an ancient form of folk music suggest to use ethno punk definition and regard VHK's shaman punk as a subgenre of folk punk. But while folk punk groups include national folk elements in their punk music, VHK's repetitive, extatic sound with distorted guitars and inarticulated howls in vocal is much closer to hardcore or even industrial rock. In contrast with aggressive, angry, anti-establishment, direct protest features of punk and hardcore, VHK's unrestrained dynamism is rather a positive, extatic, sublimed and transcendent often with harmonious tones in lead vocals over the repetitive base rhythm their mission to express "world instinct".

"The VHK is definitively the best from the East. The Coroners are a musical excess, a 50 minutes trance. They are insane drums, overmodulated guitars, screaming Shamans." - NMI Messitsch (Germany), 08/92

Vágtázó Halottkémek themselves describe their music as "an instinctive primeval music liberating the elementary powers of nature creating ourselves and revolting to its high completion in a free spontaneity and overwhelming energy." VHK played pre-written songs as a basis, exposed with improvisations and instinctive physical performances on stage, with an open end to a total ecstatic state "liberating the deepest musical creative power". Grandpierre said "Improvisation is not the correct word to describe our music. At our best, we are in touch with life-completing, primordial powers and our attempt is to hand over the control of our musical activities to these powers." VHK's music referred to by many as shamanistic ethno or psychedelic hardcore, Band leader Attila Grandpierre explains this as "an unrestricted outburst of life energy" that is not only a music but an attitude to grasp the essence of life with our deepest nature and let it grow by its own laws. The group says: "it is a magical folk-music, a cosmic vision about the role of earthly life on the destination of the Universe." This approach is expressed in LP titles like Jump Out the World-Instinct (1990) or Hammering on the Gates of Nothingness (1992)."The songs of VHK are growing towards a dreamlike ecstasy coming from the heart, the usual song-structure and singing style are completely missing, the magic dance-rhythm captures and raptures the audience, which you can not find in the today's stylised neon-coolness only at the natural tribes living in other era. Permanent rhythm-accelerations, abrupt speeding-up of the almost brutal-ancient drums, amorphous collage of the head-voices, animal voice playbacks and volcanically exploding guitar riffs - all these things are completed with an unconsciousness jungle of sounds in which you get lost and cannot come back easily, since the perception of time and space is changing into completely new forms." - Zitty Berlin, fanzine, 1988, Nr. 14"Each time I hear a new VHK record I relive this atavistic reverie - it's like reentering the womb. VHK are so improbable, so wonderful and yet so seemingly necessary (were they not to exist they would have to be invented), that they function for me like my favourite fairy tales used to when I was a kid. When I first discovered their 1988 LP "Teach Death a Lesson", I was bowled over by its combination of monastic psychedelia, rock 'n roll codpiece swagger and sheer alien abduction logical completeness, this wondering is with me yet. VHK sound like they 're from another world and another time." - Bananafish, San Francisco fanzine, 1995, No. 10 Live performances
Galloping Coroners concerts were well-known for trance-fuelled ecstatic performances also involving the audience. Concerts during the first Hungarian underground period in the 70's usually ended up scandalously finally interrupted by authorities. In the 80's, VHK continued their impulsive, high-energy live performances in Western Europe:

"As the singer spins around inside the band's mesmeric voodoo howl like whirling dervish the effect is almost hypnotizing. Incredible. Watching them play in Cologne, I was fascinated, not just by the band's performance (which was amazing) but by the frenzied reaction of the crowd. Seeing VHK, I realized just what a dangerous proposition rock'n roll can be." - Melody Maker (U. K.), September 26, 1992'''In concert, they regularly danced in ancient, tribal, shamanic costumes of leather and feathers, using backdrops like an Inuit design they copied from Siberian art. VHK's concerts often contained ecstatic physical performances, e.g. band members tumbled in honey and feather in an ecstatic state playing feather-covered in a frenzy during the entire concert, or hanging fishes on their bodies and jumping into a fishing net fastened on the stage. Frontman Grandpierre recalls a concert when he had been injured on stage in an ecstatic state where he continued to perform bleeding, with significant blood loss by the end of the concert.

In 2021, he will appear on the show Akusztik.

 Legacy
Due to the band's East-European geopolitical situation, the banned, underground status of the first 9-10 years in Hungary, the late and obstructed getting out to the Western European music market, VHK haven't reached a worldwide, global international band status. As explained in Forced Exposure "Had this [VHK] LP come in '73 in a tiny enough press run, it would be one of the most legendary 'lost' record of that decade." Critics and fellow musicians celebrated Galloping Coroners as a highly important brand of the time. Maximum Rock'N Roll (US) told the band "equal in spirit and grit to faves like Sonic Youth or Big Black but with an identity all its own". VHK is admired as highly important band by Iggy Pop, Henry Rollins, Jello Biafra (Dead Kennedys) and Einstürzende Neubauten. Danish fanzine, Moshable summarised in 1995: "This band have been around for many years now and have played almost everywhere in Europe but still they remain one of Europe's best kept secret. This is one of the most interesting bands you're likely to come across this year."

 Discography

 Teach Death a Lesson - LP, MC, Sonic Boom (1988), Germany, Hungary; also released by Alternative Tentacles, US, 1990 (LP, CD)
 Jumping Out The World-Instinct - live LP, MC, Sonic Boom (1990), Germany; released also by Alternative Tentacles, US, 1990 (LP, CD)
 Hammering On The Gates Of Nothingness - Sonic Boom and Alternative Tentacles, CD, LP, MC, 1992, US, Great-Britain, Germany, Hungary
 Giant Space! - live CD, MC, VHK - Rockland, Hungary, 1994Reconquering Eden - 1st attack, 1997 March, VHK-MCD, HungaryReconquering Eden - 2nd attack, 1998 August, VHK-Periferic Records, HungaryDancing with the Sun - 1999 December, Hungary/2000 /May, US, Europe, VHK-Neurot RecordingsWhirlwind! (Forgószél!) - under 'Galloping Life Power' band name, 2009, VHKBite the Stars! (Veled haraptat csillagot) – 2012, VHK, Ektro Records
At the very Depth of the Soul (A Lélek Mélyén) Author's edition, 2016
Lifecascade (Életzuhatag) Author's edition, 2019

 Compilations, demos Fix Planet - A track on a compilation LP,  An international record. ATATAK, Düsseldorf, 1981Galloping Coroners - demo tape, 1985, BudapestSiberian Shamans/Galloping Coroners - cassette tape, Center for Shamanic Studies, 1987, Mill Valley, California, USMind-deepening, poem with musical action, published on tape, Solidart-Minifest, Talentum, Szkárosy Endre &ÚHF, Budapest, 1990Garage III, Magyar Rock (Hungarian Rock) - compilation tape, No. MK 014, Rockland, Hungary, 1992The Futility of a Well Ordered Life - A Catalogue Sampler. Virus 147CD, US.

References

Bibliography
 Contemplating the Heavens with VHK's Atilla Grandpierre, by Jordan N. Mamone, at www.vice.com, 2013.
 Rock Music of Eastern Europe: So Western, So Familiar, So Old, by Jon Pareles, New York Times, February 28, 1990.
 Short Biography, VÁGTÁZÓ HALOTTKÉMEK/VHK (cca. Galloping Coroners, Rasende Leichenbeschauer), Neurot Recordings, US pdf >>
 Attila Grandpierre: Punk As a Rebirth of Shamanist Folk Music
 Documentary film: VHK - The Ones Who Taught Death a Lesson, 2012
 Documentary film: VHK - The Ones Who Taught Death a Lesson, 2012 imdb.com
 Archie Patterson: Interview with Attila Grandpierre, Eurock.com
 Anna Szemere: Up from the Underground: The Culture of Rock Music in Postsocialist Hungary, The Pennsylvania State University Press, University Park, 2001.
 Edwin Pouncy: VHK: Hammering On The Gates Of Nothingness (Alternative Tentacles) The New Musical Express, 22 August 1992
 Kathryn Milun: Rock Music and National Identity in Hungary, Surface, 24 pp, 1992, internet: www.pum.umontreal.ca
 A Punkrock Összefüggései a Sámán-zenével Mint Népzenével: A Művészet Mágikus Erőinek Hatásmechanizmusa, (1984) in Jó Világ ed. Beke and Szöke, Bölcsész Index, Budapest, Elte Btk pp. 91–97.
 Documentary film: Private Rock History / 47. - Vágtázó Halottkémek - VHK, ed. Gábor Gellért, 2009
ed. Reebee Garofalo: Rockin' the Boat: Mass Music and Mass Movements, chapter: Anna Szemere: Hungarian protest rock'', South End Press, 1991

External links
 Official Website

Hungarian hardcore punk groups
Folk rock groups
Folk punk groups
Hungarian folk rock musicians
Shaman punk

redpajama_set_name: RedPajamaWikipedia


Is there any Risk of my Data being Switched from the UK Server to the US Server?
No. There is no risk that an account can be swapped from UK to US accidentally as a full Clio to Clio migration is required to move the data.


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to include in delivery the certificates, documents as well as other documentation stated in the contract which are necessary for the use of the goods according to the contractual purpose or the necessity of which arises from the contractual purpose of use;
to take care that goods or services conform to the statutory provisions of the Federal Republic of Germany, especially to safety provisions, as well as other relevant provisions relating to accident prevention, protection of the environment and occupational safety, and to the recognised technical regulations;
to take care that goods or services do not infringe third party commercial property rights and are also not encumbered with other third party rights. In the case of liability, AN shall release COG from third party claims which are brought against COG for breach of commercial property rights on the basis of the goods or service of AN. The obligation to release shall extend in particular to all costs incurred by COG necessary for legal defence as well as to payments of damages it has to make. In the event that claims are brought by third parties, COG shall be entitled to require from AN an appropriate security up to the expected amount of the loss.
If the above-mentioned obligations are culpably breached, COG shall be furthermore entitled to require a contractual penalty from AN amounting to 5% of the net contractual amount. The contractual penalty shall be counted against damages which AN is due to pay.
5.3. Deinstallation of the defective product and re-installation at COG or one of its customers shall form part of subsequent fulfilment provided that the product was installed in another object according to its intended purpose. Costs incurred by AN for the purposes of examination and subsequent fulfilment (including any deinstallation and installation costs) shall be borne by the same if it turns out that no defect actually exists. The liability of COG for damages due to unjustified claims to rectify defects shall remain unaffected; COG shall, however, only be liable if it has recognised or did not recognise with gross negligence that no defect existed.
5.4. If AN does not fulfil its obligation to subsequent fulfilment (either by rectifying the defect (subsequent rectification) or by supplying an article without defect (substitute delivery) at the discretion of COG) within an appropriate period as set by COG, COG may rectify the defect itself and request from AN damages for the necessary expenses incurred or require a commensurate advance payment. If subsequent fulfilment by AN fails or if it is not reasonable with respect to COG (e.g., due to particular urgency, risk to the safety of operations or the imminent occurrence of disproportionate loss or damage), no deadline need be set; COG will notify AN without delay of such circumstances, beforehand if possible.
5.5. Claims of COG for damages shall not be limited to the interests of fulfilment. The obligation to pay damages shall also include all costs, fees and expenses in particular.
5.6. In case of liability, AN shall release COG from all third party claims based on defective goods or services of AN.
5.7. If AN is responsible for loss or damage to products, it shall release COG from third party claims to the extent that the cause originates in its sphere of control and organisation and that it is itself liable to third parties.
5.8. AN shall undertake to take out and maintain appropriate third party and product liability insurance to the extent of its activities for COG. Proof of insurance shall be furnished to COG upon request – including after the contract has been fulfilled. If such insurance policies are not concluded, COG shall be entitled to require that AN should take out and provide evidence of such insurance policies by a deadline. If this does not occur within the set deadline, COG shall be entitled to withdraw from the contract and to require damages in lieu of and/or in addition to performance. Notwithstanding this, COG shall be entitled to require a contractual penalty from AN amounting to 5% of the net contractual amount if AN does not furnish proof within an appropriate deadline set by COG, unless AN is not responsible for the failure to furnish proof.
5.9. Warranty claims of COG against AN shall expire as follows:
Warranty claims due to material defects shall expire in three [3] years after complete performance, handover or acceptance at the place of performance. The expiry period of three years shall also apply to claims arising out of legal defects; the statute of limitations for third party real rights to return (Sec. 438(1) No.1 of the German Civil Code [BGB]) shall remain unaffected; claims arising out of legal defects shall not expire in any case as long as the third party is still able to assert the right against COG (particularly if it has not yet expired).
Notwithstanding Sec. 438(1) Nr.2 BGB, warranty claims due to material defects based on defects to buildings and things which have been used for a building according to their typical purpose of use and which have caused its defectiveness shall expire in six [6] years from acceptance or handover.
Any other longer statutes of limitation shall remain unaffected.
The expiration of warranty claims is blocked once written notification of the defect by COG is received by AN. When substitute delivery is made or defects are rectified, the expiry period for substitute and subsequently rectified parts shall begin again unless COG had to conclude from the conduct of AN that the latter was not obliged to do so but only undertook substitute delivery or rectified the defects out of goodwill or for similar reasons.
5.11. If the law provides for a postponed beginning to the expiry period, the law shall apply, particularly if claims for damages based on an injury to life, the body, health or liberty are concerned.
6. Recourse of suppliers
6.1 COG is entitled to the statutory claims to recourse within delivery chains without restriction (Secs. 445a, 445b, 478 of the BGB), in addition to the claims due to defects. In particular, COG is entitled to require exactly the kind of substitute fulfilment (subsequent rectification or substitute delivery) which it owes its customer in any individual case. The statutory right of COG to selection (Sec. 439(1) of the BGB) shall remain unaffected.
6.2. Before COG recognises or fulfils a claim for defects (including restitution of expenses pursuant to Secs. 445a(1), 439(2),(3) of the BGB) asserted by a customer, COG shall notify AN, briefly describe the matter and request a written response. If a substantiated response is not made within an appropriate period and if a mutually agreeable solution is not achieved, the claim for defects actually granted by COG shall count as owed to its customer. In this case, proof to the contrary shall be incumbent upon AN.
6.3. Claims of COG arising out of the recourse of suppliers shall also apply if the product was processed further (e.g. by installation in another object) before it was sold by COG or one of its customers.
7. Invoicing, payment, offsets and retention
7.1. Invoices are to be generated stating the order number, order items, date of order and amounts with individual and item prices according to the billing address stated in the contract. They must conform to the provisions of tax law, especially VAT tax law. Invoices for partial deliveries are to be designated as such. Invoices which deviate from the first or second sentences shall lead to COG gaining a right of retention.
7.2. Payments shall be made by COG 30 days after complete delivery/provision of service by AN, or, if COG only receives an invoice or equivalent payment schedule after the delivery or service of AN has been received, 30 days after receipt by COG of this invoice or payment schedule. If AN performs before the agreed time, this shall not lead to its claim for payment becoming due earlier. In the absence of other agreements, partial invoices shall only be settled after the contract has been completely fulfilled. If payment is made within 21 days of complete execution of the contract and receipt of the invoice, COG shall be entitled to deduct a three percent discount from the claim for payment of AN.
7.3. COG shall not owe interest on maturity.
7.4. AN shall not be entitled to offsets or rights of retention as long these have not been established as being effective in law or are uncontested.
8. Further processing and retention of ownership
8.1. Processing, mixture or combination (further processing) by AN of supplied objects shall be undertaken on behalf of COG. The same shall apply when COG further processes supplied goods so that COG shall be deemed the manufacturer and shall acquire ownership of the product according to the statutory provisions upon further processing at the latest.
8.2. Transfer of ownership of the goods to COG shall occur without conditions or regard to payment of the price. If, however, on a case-by-case basis COG accepts an offer of AN to transfer ownership which is contingent upon payment of the purchase price, the right of AN to retention of ownership of the supplied goods shall lapse upon payment of the purchase price at the latest. Even before payment of the purchase price, COG shall remain entitled to sell the goods on in the regular course of business if the claims which arise out of this are assigned beforehand. All other forms of retention of ownership are hereby absolutely excluded, in particular extended and transferred retention of ownership, and that extended to further processing.
9. Export control law
9.1. The Parties shall recognise that undertaking contractually obliged performance may be subject to the export control laws of the European Union and the Federal Republic of Germany (collectively "export control law").
9.2. Each Party shall recognise the mutual obligation to conform to applicable export control law that may apply as part of executing the contract. As part of this obligation, AN shall render assurance that it will observe applicable export control law when undertaking the contractually obliged performance in favour of COG.
9.3. Before undertaking contractually obliged performance, AN shall inform COG of the correct export classification of the goods utilised for performance and shall make all the information necessary for this available to COG. Upon request AN shall assist COG as appropriate in order to ensure export control law is observed. As part of this assistance, AN shall inform COG whether undertaking a particular contractually required performance requires an export licence pursuant to the applicable export control law and whether COG has to make particular documents available in order to procure the export licence.
9.4. For every undertaking of contractually required performance for which an export licence is required by export control law, AN shall provide COG with the appropriate licence free of charge within the agreed performance period.
10. Licencing
If AN undertakes paid research and development on behalf of COG pursuant to a contract, by concluding the contract it shall transfer to COG all rights to the results gained, including the rights to any discoveries and copyrightable works, and shall be obliged to undertake everything necessary to enable this transfer of rights. Inasmuch as a complete transfer of rights is not possible, AN shall concede to COG in respect of these results exclusive, irrevocable, world-wide, transferable and sub-licenceable rights of use and sale, which shall be valid for the entire duration of copyright, for every kind of purpose and possible use in the field of business of COG.
11. Compliance
11.1. AN shall guarantee that
contracts concluded with COG and business relations entered into on the basis of these, as well as activities undertaken by AN in this regard, do not and will not violate any laws in connection with bribery and/or corruption, particularly the OECD Convention on Combating Bribery of Foreign Public Officials in International Business Transactions and its related provisions for implementation, or cause COG to break such laws, and furthermore, that AN will observe the applicable laws and the provisions of this Contract in connection with performing its services at all times during the term of the contract,
neither AN nor another person with the knowledge of AN, in particular members of staff or sub-contractors of AN, has offered or will offer, either directly or indirectly, payment in money or in kind, loans, gifts, donations or any other kind of payment of value to the benefit of a responsible person or employee of a state authority, state agency, state enterprise, state international organisation, a political candidate, political party or functionary of such or a person acting in an official capacity for the above (collectively "public officials") or any other person, in order to obtain an illegal benefit.
11.2. Notwithstanding other rights, COG shall be entitled to terminate this Contract and all appendices as well as any other contractual relations without prior notice completely or partially if COG becomes aware or the suspicion arises that AN is in breach of the obligations of this clause and/or the information supplied in the suppliers' questionnaire is inaccurate.
12. Corporate social responsibility and duties to staff
12.1 AN shall be obliged to observe the 10 principles of the UN Global Compact as well as the 4 Core Labour Standards of the International Labour Organisation (ILO) as a substantial contractual obligation. COG expects AN to request the same from its suppliers.
12.2 AN shall be obliged to observe the statutory provisions on combating illicit labour, the Employee Secondment Act [AEntG], the Provision of Temporary Employees Act [AÜG], the Minimum Wage Act [MiLoG], and the provisions of social security law, and only to engage sub-contractors and other third parties that also commit themselves to this.
12.3 AN shall be obliged to release COG from all third party claims, particularly those of employees, civil authorities, social insurance agencies, trade associations, professional organisations and federations, which are made in connection with failure to observe the obligations of Clause 12.3. If AN violates the stated statutory duties, this shall also entitle COG to terminate the contract for good cause without the requirement of a caution or warning of termination. The same shall apply if a sub-contractor of AN repeatedly violates these obligations. COG expressly reserves to right to further claims for damages.
13. Confidentiality, supplied materials and assignment
13.1. Contractual relations and all information disclosed by COG to AN in the course of their initiation and execution are to be treated by AN confidentially and may not be made public or made accessible to third parties without the prior written consent of COG. AN shall be obliged to use this information only for the purposes of the contract. This shall not apply to the extent that the contract or the stated information
was already known to AN before disclosure or was publicly known, or
becomes publicly known after disclosure without AN breaching the terms of the contract, or
AN is obliged by law or the authorities to disclose the information to third parties.
13.2. COG shall retain the right of ownership to and copyright of all illustrations, plans, designs, calculations, instructions, product descriptions and other documentation. Such documentation is to be used solely for the contractual services and is to be returned upon request of COG once the contract has been fulfilled. Conditions of the order as well as all information and documentation made available for this purpose shall be kept secret from third parties, even after the contract has ended. This duty to confidentiality shall only lapse if and to the extent that the knowledge contained in the disclosed documentation is generally known.
13.3. The previous provision shall apply correspondingly to substances and materials as well as to tools, templates, patterns and other objects which COG supplies to AN for manufacturing. As long as they are not processed, such objects are to be kept separate at AN's expense, and to be secured against destruction and loss to an appropriate extent.
13.4. AN may not refer to business connections on advertising material, brochures, etc. or exhibit objects fabricated for COG without the prior written consent of COG. AN shall inform the sub-contractors it engages accordingly.
13.5. AN shall not be entitled to assign its claims arising out of these contractual relations to third parties. This shall not apply to the extent that monetary claims are concerned.
14. Confidentiality and data protection
14.1 In the absence of other express written agreements, information made available to COG in connection with an order shall not be treated as confidential unless confidentiality is obvious.
14.2 COG hereby points out that COG stores data (including personal data) arising out of contractual relations according to the GDPR (Art. 6(1b)) for the purposes of data processing and reserves the right to transfer data to third parties (e.g. insurance companies) to the extent this is necessary for the execution of the contract. Under no circumstances will COG use, sell or transfer this data to other third parties outside of the company.
14.3 With regard to data protection, COG otherwise refers to the following:
Contact details: C. Otto Gehrckens GmbH & Co. KG is responsible for data protection (see below for address and contact details). Our Data Protection Officer can be contacted using the contact details above and at the email address: dsb-cog(at)cod.LÖSCHEN.de.
Purpose of processing and legal basis: Deliveries may contractually require that AN transfers personal data (hereinafter "data") to COG. COG processes this data for the purpose of concluding and executing the contract (including legal prosecution and debt collection) on the basis of the provisions of data protection law according to Art. 6(1b) of the GDPR. Furthermore, COG processes data on the basis of the provisions of data protection law to protect our justified interests (particularly Art. 6(1f) of the GDPR). A justified interest exists (according to the following regulations) in avoiding bad debt losses to third parties or ourselves and in the transfer of company and product information to AN.
Data categories: COG processes the following categories of data: customer data, communication data, contract information and information on consumption, information on receivables, and any payment and default information.
Third party recipients: Data may be transferred to credit agencies e.g., Bürgel or SCHUFA, in accordance with relevant regulations (even prior to conclusion of the contract), in order to prevent bad debt losses to third parties or us, e.g. to collect probability information on bad debt loss or to transfer uncontested or legally effective claims of suppliers, with whom AN is in default. Credit agencies also store the data transferred to them in order to be able to make them available to their associated contractual partners as part of assessment of the risk of bad debt loss. These data are, however, only made available if the contractual partner associated with the credit agency could have a justified interest in the transfer of the data. The credit agency may transfer address information in order to evaluate the creditworthiness of debtors. AN may receive information from the credit agency on the data saved about it. In the event of debt collection, data may be transferred to the following categories of recipients provided that this is necessary to collect the claim: assignees, credit agencies, debt collection agencies, third-party debtors, residents' registration offices, courts, bailiffs and lawyers.
Company and product information: Based on the provisions of data protection law (particularly Art. 6(1f) of the GDPR), COG uses data to send information about our company, our products and our other services to AN by post or electronically in accordance with Sec. 7(3) of the Unfair Competition Act [UWG].
Length of data storage: COG erases the data immediately if COG is obliged to do so, in particular if COG no longer requires the data for the purposes for which it was collected, and if erasing does not conflict with any duties to store them. Regardless of this, a check to see whether data can be erased is carried out every three years.
Rights of AN to revoke: AN can revoke the processing of data by COG for the purpose specified in "Company and product information" at any time, with effect for the future. Regardless of this, AN is entitled to a right of revocation according to Art. 14(2c) in conjunction with Art. 21 of the GDPR against the processing according to Art. 6(1f) of the GDPR. Revocation can be addressed to the COG Data Protection Officer (see above for contact details) or to COG (see end for contact details).
Other rights of AN: If the statutory regulations apply (those of the GDPR in particular), AN is entitled to the following rights: the right to information, correction, deletion, restriction of processing and data portability. In addition, AN can also lodge a complaint with the supervisory authority about the processing of its data. The address of the supervisory authority responsible for COG (at the time these GCP were formulated) is: Unabhängiges Landeszentrum für Datenschutz [Independent State Centre for Data Protection] Schleswig-Holstein, Holstenstraße 98, 24103 Kiel, tel. +49 (0) 431 988 1200, fax +49 (0)431 988 1223, email: mail(at)datenschutzzentrum.LÖSCHEN.de, website: www.datenschutzzentrum.de.
Further details of our data protection policy can be found on our website at: www.cog.de/datenschutz/.
15. Place of jurisdiction, selection of jurisdiction, salvatory clause and contractual language
15.1. If AN is a merchant as defined by the German Commercial Code [HGB], a juridical person of public law or a special fund in public law, the sole (including international) place of jurisdiction shall be the registered address of COG for all disputes arising out of the contract or in connection with it. COG shall, however, also be entitled in any circumstances to litigate at the place where the supply or service is being fulfilled or at the place of an overriding individual agreement or at the general place of jurisdiction of AN. Overriding statutory provisions, particularly those on exclusive competences, shall remain unaffected.
15.2. The law of the Federal Republic of Germany shall apply solely to these GCP and all legal relations between COG and AN to the exclusion of the provisions of international private law. The UN Sales Convention (CISG) shall be excluded.
15.3. Should individual provisions of the contract or these GCP or parts of it be or become ineffective, this shall not affect the effectiveness of the remaining provisions or those of the contract.
15.4. In case of conflicts between the English and German versions of these GCP, the German version shall take precedence.
Pinneberg, August 2019
Tel. +49 4101/ 5002 – 0 www.cog.de
Fax: +49 4101 - 5002 83 info(at)cog.LÖSCHEN.de
You can download the General Conditions of Purchase as a PDF file.
D-25421 Pinneberg
Tel. (+49) 0 4101/5002-0
Fax (+49) 04101/5002-83
info(at)cog.LÖSCHEN.de
Condiciones generales de distribución y entrega (CGDE)
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redpajama_set_name: RedPajamaCommonCrawl


text:
Laneman Named 2019 Outstanding Teacher in College of Engineering
May 8, 2019 NINA WELDING
William Butler Yeats said, "Education is not the filling of a pail but the lighting of a fire." Faculty members across the College of Engineering at the University of Notre Dame know this to be true as they work to nurture the educational and career aspirations of our undergraduates.
Each engineering faculty member is committed to providing an undergraduate education that is rich in technical content and relevant to the needs of the 21st century while fostering the growth of technical leadership, moral character, and a spirit of service among our students.
As the college acknowledges all of the faculty members who make this possible, we want to recognize special faculty who go above and beyond. For this reason, the College of Engineering awards the Outstanding Teacher of the Year Award annually.
Congratulations to J. Nicholas Laneman, the 2019 recipient of the Outstanding Teacher Award in the College of Engineering.
Laneman, a professor of electrical engineering and co-director of the Wireless Institute at Notre Dame, joined the University in 2002. His research interests span communications system engineering — blending information theory, signal processing for communications and prototyping and experimental validation — with emphasis on wireless systems.
Students selected Laneman for this honor in recognition of his knowledge, passion, and personable attitude in the classroom. Many commented on his engaging lectures and the way in which he promotes an understanding of intellectually challenging material, effectively connecting it to practical applications. In this way, he continues to make a lasting impact on his students.
Notre Dame donates 3D printed face shields to medical outlets in need
As RadioHound Gets Smaller, It's Becoming More Visible
Notre Dame announces significant growth in research funding
Are You Interested in Participating in Next Level, Ground Breaking Research Like This?


This pleasing pendant is made with a focus on lustrous luxury as it features 9ct white gold and a round cut 0.25ct diamond. The glistening 9ct white gold takes on a curved appearance and is crafted with a mirror-like finish. This highly reflective element serves as the stunning backdrop with which the dazzling diamond is positioned in front of and due to this design, it allows the diamond to reflect a ravishing radiance and decadent level of sparkle. Destined to delight the stylish and sophisticated lady, this mirror setting pendant is poised and primed to court a copious amount of compliments.


Whiteleaf Cross has stood above Princes Risborough for several centuries dominating the local landscape, becoming a cultural focus associated with many aspects of local life.
Nash was fascinated by the ancient symbolism and the layers of history represented by the cross. Whiteleaf was a place to which Paul and his wife Margaret returned on many occasions. This watercolour captures much of his poetic and personal attachment to the landscape.
Redfern Gallery, London; private collection, 1930s; Christie's, 2007.


text:
Source Of Gas Leak That Led To Dallas Duplex Explosion: Open Valve In Living Room
Filed Under:Atmos Energy, Dallas, Dallas Fire Rescue, Gas leak, home explosion, Local TV, Spring Avenue
DALLAS (CBSDFW.COM) – Dallas Fire-Rescue said Thursday night, the source of a gas leak that led to a duplex explosion Monday, was an open gas valve in the living room.
In a statement, Dallas Fire-Rescue explained:
Through pressure testing that was done on the home's gas lines (on Wednesday, April 4th, by the Texas Railroad Commission in the presence of DFR, Atmos and the homeowner), the source of the leak was determined to be an open valve in the living room. Despite this finding, the ignition source has not yet been determined; and as a result, the exact cause is still undetermined.
Emergency crews in responded to the explosion around 1:00 a.m. Monday in the 3700 block of Spring Avenue, near the Fair Park area.
Dallas home explosion (credit: CBSDFW.COM)
Firefighters arrived at the single-story duplex and noticed that the building had sustained damage during the explosion. There was also some debris on fire in the home's front yard.
Four people were inside of the building when the explosion took place, two on each side of the duplex.
"The two individuals who were in the side where the actual incident took place have suffered unspecified burn injuries," said Jason Evans with Dallas Fire-Rescue. "First responders said that they were up walking around and talking whenever they arrived, so we do believe they'll be okay."
Those two victims were taken to a nearby hospital for evaluation.
The two people in the other side of the duplex were not injured.


text:
Augustus and Suetonius
Historians?
After reading Augustus' Res Gestae Divi Augusti (The Achievements of the Divine Augustus), it seems that Augustus actually is a god. His actions are all perfect, flawless. Then, upon reading Suetonius' aptly-titled Life of Gaius Caligula, we encounter the exact opposite: the devil. These two documents both are listed under the heading "The Historians of Ancient Rome" and both describe the life and career of a Roman ruler. But they are so incredibly different. What makes them different, and what historical insights can be gained from comparing the two?
The biggest difference between Augustus' work and Suetonius' work is the point of view. Augustus wrote about himself, Suetonius wrote about someone other than himself. Suetonius wrote a biography, Augustus an autobiography. Something would be amiss, of course, if no mention was made of the fact that Res Gestae is not Augustus' official autobiography. That document "did not survive." Which brings up another related key difference: the authors had completely different motives for writing their respective documents. The source describes Res Gestae as a "rose-colored glorification of the reign from the perspective of his 77th (and final) year." Caligula, on the other hand, is described as a "particularly valuable biography." But what about a history makes it "valuable"? What makes a history useful to historians? The differences in Augustus' and Suetonius' writings illustrate by example what makes a successful history.
In Res Gestae, Augustus writes about himself, and consequently includes nothing that would reflect negatively on him or his reign. He somehow manages to fill up eight small-print pages by rambling on and on about his humility, his generosity, his honors and positions, and his excellent improvement of Rome. After all, he has no reason to point out that he stole chariot hubcaps as a child (not that he did); his point in writing Res Gestae was to commemorate his most excellent reign, as a sort of honor to himself.
He mentions his tremendous humility many times. He turned down honors right and left throughout the paper. He declined many of the positions offered him, either because they were already filled or because it was not honorable according to his family's customs. He takes great pains to point out that many of his honorable exploits, particularly buildings and donations, were not done in his name alone. He "rebuilt the Capitol and the theater of Pompey -- both at great expense -- without inscribing [his] own name"! Other buildings he built in the names of his sons. He conquered Greater Armenia but "preferred...to give that province to Tigranes." When people put up some eighty-odd statues of him, he took them down and used the profit to honor the gods.
Augustus also calls attention to his generosity. Over the course of his lengthy reign, he gave bonuses to "the Roman plebs" rather frequently. First, it was from his father's will, but after that, it was entirely from his own pockets, which were fortunately quite deep. He "gave them 400 [sesterces] each." Twice. In 5 B.C. he "gave 240 sesterces apiece to 320,000 members of the urban plebs." To every colonist drawn from his soldiers he gave 1000 sesterces. Then another 240 sesterces per man. He also gave huge sums to the treasury, and spent 400 million on cash bonuses for settling soldiers in their home towns. All this cost him a whopping 2.4 billion sesterces, and he didn't have to spend any of it. His listed improvements to Rome are almost too many to mention, but he did spend other huge, inestimable amounts on buildings.
The Roman people certainly must have loved dear Augustus. According to Augustus, the people offered him a consulship, then a dictatorship, then another consulship, then the custom-made position of "sole guardian of laws and morals with supreme power," then the High Priesthood. Of all these positions he mentions, he refused all of them initially except the first one. Augustus points out the honors the people bestow on him: they name a day after him, stuck his name in the Salian hymn, named him Augustus, and finally even named him "Father of the Country."
We come away from this work under the distinct impression that Augustus is a divine creature with an innate nature to do perfect, good, and excellent things. Unless we have brains. That's only the picture he shows us. No one is perfect. Did he steal chariot hubcaps as a child? He does not address that issue. He may very well have, but he was still popular -- in his own eyes. That's exactly the problem with an autobiography, particularly one such as this in which the author is commemorating himself: it will always be biased. No man would care to have his flaws proclaimed in public, and certainly not engraved in columns.
The very idea of someone honoring his own humility reminds one of the story about a man who received a pin for being humble. But when he wore the pin, it was taken away.
Suetonius' history is much less biased. Although we are not sure whether it is true, Suetonius frequently refers to the general opinion, beginning sentences and paragraphs with catch phrases like "Now the belief was that...", "It is the general opinion that...", and "The public thinks that..." This adds authority to his paper. He needs to add authority, because he is not the source personally as is Augustus. He is not writing about himself, and he probably wouldn't care if someone else's flaws were proclaimed in public, engraved in columns, or even written in the clouds. Although there is a definite similarity between his and Augustus' during the first section. They both describe their subject's rise to power, popularity, and good deeds. But then, with a "So much for Caligula as emperor," he charges into describing Caligula's "career as a monster."
Caligula was apparently well-suited to the task of being a monster. Suetonius presents him as a psychological mystery -- an incestuous, murderous, irrational spoiled brat. He sold his sisters out as whores to make money, except for Drusilla, whom he eventually married. The scores of stories of murder are too numerous to list here. Let us suffice it to say that Caligula had absolutely no respect for human life, and would readily end one or more of them with the slightest provocation, no matter how innocent. Looking at him from above, for example, was a capital offense, as was mentioning goats.
The reader comes away with a distinct sense of gratitude that he did not live under the reign of Caligula. One would be constantly worried that one might accidentally meet him. Two knights happened to be passing as Caligula wanted money, and he had all their possessions taken from them. The history of Caligula portrays acute injustice.
Suetonius is not extremely biased in the opposite way, however. He does not portray an evil man as the devil himself, just as an evil man. He uses argumentative rhetoric like "Pliny has erred in his chronology." He brings other scholars' ideas and claims into his paper and agrees with them or refutes them, much like the modern research paper. Basically, Suetonius is much more analytical, presenting an objective view complete with the many views of others. Sometimes he will introduce the idea to shoot it down, other times he just states, "So-and so says this."
What historical insights can we learn from the comparison of these histories? To answer that question, we should answer this one: Which is better? Suetonius' history is the superior one, because it gives us a more complete picture.
Really the only stark facts a historian has when he discovers a document are the author and what they said. It may not be true; a historian must first take his source at face value. Then, if it seems for a certain reason the author was being sarcastic, or had no clue what he was talking about, or conflicts with other sources, the paper may be reevaluated. The problem with Augustus' history is that it does not seem to present a complete picture. It states one viewpoint (namely "I am a god") with no arguments, simply a matter-of-fact declaration of things. At face value, yes, Augustus is a god. But then one notices the incongruencies: if he really is so humble, why is he taking such great measures to show us he is? Also, regardless of the veracity of his statements, the paper seems so heavily biased that it must be leaving out half of the truth, the side it didn't want us to see.
Suetonius, safe in his third-person point of view, makes an effort to avoid bias. His use of other sources really helps verify what he is saying, showing that his conclusions are not just products of a wandering mind, but they are agreed upon by others. The notes describe him as seeming "a modern researcher with a card index," and that is exactly what he seems. He pulls ideas and arguments from a variety of places.
Further evidence can be found in Suetonius' structure. Up until the "So much for..." phrase, the reader sees Caligula in much the same way they saw Augustus. Ah, the reader thinks. Another excellent Roman ruler doing beneficent things for all. If one were reading only this portion, one would possibly claim that it is biased favorably toward him, regardless of whether they knew about the second portion or not.
But then the second half seems biased the other way. Is this the same person? Suetonius separates the formative years during which Caligula was a popular, law-abiding good-doer and the "mad" years of murder and chicanery. It's almost as though, had he written Res Gestae, he would have included a second part, the part that seemed to be missing from the history. Adding such a second part, while it would definitely add scholarly authority to the paper and make it more beneficial to historians, would certainly not serve Augustus' purpose, however.
Looking beyond the face value is what makes history at all substantive. For example, archaeology is a form of history. If archaeologists were merely unearthing fossils and saying "There was a fernlike plant here" or "This is a leg bone" then it is highly improbable any archaeologists would remain today. The fun about archaeology is in looking beyond face value, estimating the age of the plant, or what specific animal the bone belonged to.
© 1998-2022 Zach Bardon
Last modified 7.19.2019
Flangitize it!


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Preliminary designs and a record...
Preliminary design and finished...
Hackwood Park, Hampshire: unexecuted designs for a cottage and a lodge for the 6th Duke of Bolton, 1777 (5)
Hackwood Park was built for the 1st Duke of Bolton (1603-87), probably by William Talman (1650-1719). It retains its original composition with a hipped roof and wings at right angles, but the south front was remodelled in the eighteenth century by John Vardy, and there were further alterations in the early nineteenth century by Samuel and Lewis Wyatt. Robert Adam was engaged by the 6th Duke of Bolton (1720-94), and he made designs for two small buildings in the park, a lodge and a cottage. Neither was executed.
The five drawings for the Duke's unexecuted cottage and lodge at Sir John Soane's Museum are the only known Adam designs for Hackwood Park. There is, however, a design for a rustic building at the V&A, which Rowan has identified as characteristic of rustic Adam buildings of the 1770s, other examples are for the Earl of Harborough, Lord Wemyss, Mr Dalzell and Samuel Smith.
See also: Bolton House, London
A.T. Bolton, The architecture of Robert and James Adam, 1922, Volume II, Index p. 15; M. Bullen, J. Crook, R. Hubbuck, and N. Pevsner, The buildings of England: Hampshire: Winchester and the north, 2010, pp. 304-309; R. White, 'John Vardy, 1718-1765: Palladian into Rococo', in R. Brown (ed.)., The architectural outsiders, 1985, pp. 75-76; A. Rowan, Robert Adam: catalogues of architectural drawings in the Victoria and Albert Museum, 1988, p. 42; D. King, The complete works of Robert & James Adam and unbuilt Adam, 2001, Volume II, pp. 218, 253
Frances Sands, 2011
Preliminary designs and a record drawing for a cottage, 1773, (3)
[1] Preliminary design for a cottage, 1777
datable to c1777
James Adam
SM Adam volume 21/110
SM Adam volume 1/279
[3] Record drawing for a cottage, 1777
Adelphi / June 8 1777
Preliminary design and finished drawing for a lodge, c1777 (2)
[4] Preliminary design for a lodge, c1777
[5] Finished drawing for a lodge, c1777
Adam office hand, possibly Joseph Bonomi, and inscribed by Robert Adam


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Undaunted: Normandy review – an elegant, entertaining hybrid
It's a tile game - no, a card-driven game - no, a campaign wargame... whatever it is, it's a simple, superb two-player WW2 staple
Joe Fonseca
Undaunted: Normandy
I'll admit I didn't give Undaunted: Normandy a second glance when it first popped up on my radar. The artwork had a distinctive 'cartoon' aesthetic that I wasn't initially on board with, and the idea of an abstracted, deck-building take on WWII squad combat seemed to be an odd pairing. I'm not a fan of the deck builder grand patriarch Dominion so I tend to avoid those games.
But after being exposed to several amazing deck-builders over the last year and hearing the constant praise wargamers and board gamers alike lavish on Undaunted's unique mechanics and simplicity, I thought I should reconsider and check it out. I'm delighted to say I was 100% incorrect in my initial passing assessment.
Undaunted: Normandy is an exceptional take on the deck building genre, and an elegant and easy-to-understand tactical combat game, wrapped up in a beautiful package that has quickly become one of my go-to games for WWII squad engagements, especially when playing with more casual players. For those unaware of what a 'deck-building' game entails, allow me to explain.
Both players begin with a similar or equal deck of cards, usually quite small. Over the course of the game, players will both play their cards into a discard pile and add new cards to that discard pile from a face up selection of cards that form a 'supply'.
When a player's deck is empty, the discard pile is shuffled and flipped over, creating a new deck. Players are therefore constantly altering the composition of their decks and managing this is a central tenant to Deck Builders. While many games use this mechanic as the primary function (see Star Realms for one of my favourites) Undaunted: Normandy uses this to excellently abstract the command and control issues facing platoon leaders on the ground. In Undaunted, players command an American Army Rifle Platoon or a mirror image Wehrmacht Rifle Platoon (abstracted to represent the myriad composition of German Forces in '44, and more importantly, for gameplay's sake).
Over 12 scenarios, playable individually or as a complete campaign, players will follow in the footsteps of the US Army's 30th Infantry Division (The designer's grandfather's unit, as noted in the Campaign book) from the beginning of their struggle in Normandy until the crucial Battle for Mortain that ended August 12th. The campaign adds a bit of tension and replayability to running through each scenario, but I'm happy to say the final scenario acts as a standard 'competitive' layout with access to all cards and a virtually identical beginning for the two sides. You can imagine Undaunted: Normandy tournaments where players sit down to that last scenario over and over again.
Allow me to lay out the beautiful simplicity of Undaunted's overall structure. A modular, easy to read map is set up per the scenario instructions. Each tile has a cover bonus written on it and not much else. Each player's starting deck and their supply, from which they buy new cards, is then set out. Objective tokens and the in-play unit tokens are laid out on the map. Then off you go! Set up took us less than five minutes for each scenario beyond the first.
Each turn, players draw four cards, one of which must be bid for initiative. The remaining three will be played during a player's turn. Once both turns are done, players draw four cards again and repeat until one is victorious. Anyone can learn to play Undaunted in five minutes, but the fact that my wife and I were still trying new techniques into the final scenario speaks volumes for the longevity of the system. It's a near flawless combination of sub systems.
Let's start with initiative. Each card has an initiative value that corresponds to its utility. The junk Fog of War cards that only exist to clutter your deck have an initiative rating of 1, for example, while the Platoon sergeants who allow you to draw or purchase more cards have an initiative rating of 9.
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One of your four cards will be simultaneously revealed and then discarded for initiative, and when choice is limited, you'll be spending some time thinking about which card to lose. Added tension comes from the fact that the current initiative holder wins ties, incentivizing players to bid higher. Initiative not only allows you to play your hand first, it also protects it. If one of your tokens takes a hit, a corresponding card must be permanently removed from the game.
The order in which you remove that card begins with your hand, then your discard pile, then your deck. If you play second, and take hits, you could end up with only one or two cards to play on your turn. Every turn begins with a battle of wits while you eye your opponent and the board state wondering whether or not it's worth giving up your valuable scout card for a better chance at going first.
Deck Management is also elegant and, dare I say, thematic. The small number of cards you begin a scenario with probably won't see you through, so you'll be using your squad leaders and platoon sergeant to acquire more cards from the supply to bolster the chances of drawing a particular token's cards, or else protect them against taking hits.
The problem is, as with every deck builder, that the more cards you take from the supply, the chance of drawing each one decreases. Managing what to pick up from the supply and when is as important as positioning your squads well on the map.
There is only one useless card – the fog of war – and it is only acquired when your scouts move into and 'scouts' an unknown map tile (or by an opponent's own scout's special action), something that is required before other units can advance there themselves. By broadening your movement options, you are also filling your deck with useless cards that can only be removed by a special action of the scouts themselves. Your deck's cohesion is directly tied to how widely your platoon is dispersed on the map and how long you take to shore up lines of communication. If only your opponent would sit still and let you, right? It's a brilliant mechanic for keeping deck management an important part of player strategy while covering issues of command and control out in the field.
As for the actual wargame itself, Undaunted is not as detailed nor as 'accurate' as some of the more simulation oriented boardgames out there. This is not Advanced Squad Leader or Combat Commander. That doesn't mean, however, that the setting is pure window dressing.
Undaunted encourages players to use their machine gun elements to suppress the enemy while riflemen move to take and hold valuable positions. Officers are entirely abstracted by their deck and hand management abilities. Attached mortar teams can only lay down fire on a previously declared tile but they work to force enemies out of position or remove cards before you launch your own assaults.
Undaunted makes these roles clear from the limited actions of each card. Players don't need to be knowledgeable about WWII American squad tactics, the game will nudge them in the correct direction through its mechanics. I found trying to follow sound tactics was rewarded well enough.
To level a criticism, attrition can become a factor as both players build their decks. Feeding troops into meat grinders to capture or deny a victory point or else sitting a tile or two away and blasting at each other for a few turns occasionally became the name of the game, but this happened infrequently and we found ourselves often better suited to steering away from this and instead engaging in a bit of a dancing around the map. The artwork on that map, on the cards and the scenarios themselves help to situate players as well. Scenarios cover some interesting engagements and map layouts, introducing new mechanics at a steady rate and providing a narrative background for those interested in the struggles of the 30th.
Also, as an interesting thematic note, each card in a set is visually similar but distinct. All riflemen are in the same pose, for example, but each card in that set has a unique name and face. When your riflemen token takes a hit, and you remove a card permanently, you're always looking at an individual. It's a nice touch.
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I'm incredibly happy with Undaunted: Normandy. I realize there is almost no criticism here, and really, I think that's fine. It is a simple, elegant, and entertaining hybrid wargame/deck builder. The only thing I can do is ask for more and it seems that is what I'll be getting when the sequel – Undaunted: North Africa -comes around and adds vehicles. Do yourself a favour and give this unique tactical WWII game a shot.
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Studying a PhD in East Asian military history, Joe is one half of the 'Let's talk about Wargames' podcast. He's also written for ScreenRant and Meeple Mountain.
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Whoops, My Mistake(s)
Sports Fans, Then & Now
Published August 23, 2009 | By Kate Quinn
One of the most disturbing images from the film "Gladiator" is the image of all those thousands of fans baying in excitement as the gladiators in the arena struggle, fight, and die. "How horrendous," we shudder. "I would never do that." But we are watching the gladiators too, aren't we? Of course, the actors aren't really dying . . . but we are still getting a kick out of the fight.
The debate of bloodshed vs. excitement is not a new one. In fact, it's been raging since ancient Rome. A young patrician in first century Rome wrote a thoughtful essay about his disgust for the games, his denouncement of the waste and bloodshed–and then his subsequent unease when he went to the games for the first time and found himself getting sucked into the violence and excitement of it. We may no longer have duels to the death in modern sports, but we do still have both violence and excitement. I am a die-hard Red Sox fan, and every time I watch a game I catch parallels to times past.
The first inning rituals of lineup calling and the National Anthem? Replace with an ox sacrificed to Jupiter and an official prayer of thanks to whichever Emperor might be sponsoring the day's current feast of bloodshed.
The brawl in the second inning when a batter charges the mound after getting hit by a fastball? Replace with the brisk main battle of Trident Men versus Swordsmen.
The batter who stands with bat on shoulder and narrowed eyes, waiting for his at-bat? Replace with the gladiator waiting in the shadows with a sword on his shoulder, waiting for his bout.
The pitcher who exits in the sixth inning after giving up a home run, but pitched so gallantly he still gets a standing ovation? Replace with the gladiator who got speared through the shoulder with a trident, but fought so bravely the crowd gave a thumb's up and spared his life.
The seventh inning "America the Beautiful" during which the crowd laughs, chats, and gets refills on their beers? Replace with the midday executions where the Colosseum kicks back, snacks, ignores anything in the arena, and waits for the big spectacle.
The steroid scandal about the designated hitter? Replace with the gladiators who tied little bags of pig blood to their chests and bellies, in the hopes of being able to fake a mortal wound and escape the arena alive.
The roar that goes up when a player hits a walkoff home run out of the ballpark? Replace with the roar that goes up when a favorite gladiator wins out against the latest enemy and walks out alive yet again.
Above all . . . the crowd. I have seen baseball crowds roar their appreciation for half an hour straight after a tight victory. I have seen them scream for a much-loved player as if he were a god. I have seen them rain abuse on rivals with genuine hatred. Emotions run high, and hey, it's part of the fun of baseball. But is it that different from a Colosseum crowd? If you suggested to a crowd of Red Sox fans that their chances of winning the World Series might be improved by sacrificing a Yankee fan on home plate before each game, you'd be running at about 70% approval rate. 80% if the Sox were more than two games back in the wild card.
When I wrote a book about ancient Rome which had a gladiator for a hero, I found I didn't have to work very hard in depicting the Colosseum. I figured it probably sounded a lot like Fenway Park in full throat after an extra-inning victory. And as much as I like baseball, I like to think I wouldn't have liked the gladiatorial games if I'd lived in ancient Rome.
But as deplorable as they were, I can see why people did like them.
Tagged baseball, colosseum, gladiators, Red Sox
The Alice Network
In an enthralling new historical novel from national bestselling author Kate Quinn, two women—a female spy recruited to the real-life Alice Network in France during World War I and an unconventional American socialite searching for her cousin in 1947—are brought together in a mesmerizing story of courage and redemption.
Trailers for THE HUNTRESS & THE ALICE NETWORK!
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