GRAND RAPIDS, Mich.– Investigators are still looking into the case against Kent County commissioner, Gary Rolls. He's accused of sexually assaulting a woman when she was a child.
Since the investigation, which came to light in September, Rolls had been known to miss a meeting, or several. His attendance history has been pretty spotty the past seven months.
FOX 17 discovered he'd missed six meetings dating back to last September 27th through January 3rd of this year. It was back in September when a 28-year-old woman requested a protection order against Rolls for abuse she claims began when she was 12 years old.
In a previous interview, Kent County commissioner Jim Saalfeld told FOX 17 he believed Rolls' absences might have been due to his legal issues.
"I think the citizens have the right to understand what that means and I think they also have the right to expect their elected commissioner to be at a meeting," said Saalfeld.
At Thursday's Kent County Commissioners meeting, Rolls was there, but he showed up late after roll call. He actively listened to discussions from fellow commissioners, but remained quiet, not saying a word. And, as soon as the meeting wrapped up, he split, without a chance for FOX 17 to speak to him.
The Kent County Board of Commissioners office confirmed Rolls has been at every meeting, including the sub committee he sits on, which is the Legislative & Human Resources board, since our investigation, except for that January 3rd session.
Michigan State Police is continuing their investigation into the sexual assault.


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text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package com.facebook.presto.spi;

import com.fasterxml.jackson.annotation.JsonCreator;
import com.fasterxml.jackson.annotation.JsonValue;

import java.math.BigDecimal;
import java.util.Collection;
import java.util.function.Function;

import static java.lang.Math.addExact;
import static java.lang.Math.multiplyExact;

public final class SplitWeight
{
    private static final long UNIT_VALUE = 100;
    private static final int UNIT_SCALE = 2; // Decimal scale such that (10 ^ UNIT_SCALE) == UNIT_VALUE
    private static final SplitWeight STANDARD_WEIGHT = new SplitWeight(UNIT_VALUE);

    private final long value;

    private SplitWeight(long value)
    {
        if (value <= 0) {
            throw new IllegalArgumentException("value must be > 0, found: " + value);
        }
        this.value = value;
    }

    /**
     * @return The internal integer representation for this weight value
     */
    @JsonValue
    public long getRawValue()
    {
        return value;
    }

    @Override
    public boolean equals(Object other)
    {
        if (!(other instanceof SplitWeight)) {
            return false;
        }
        return this.value == ((SplitWeight) other).value;
    }

    @Override
    public int hashCode()
    {
        return Long.hashCode(value);
    }

    @Override
    public String toString()
    {
        if (value == UNIT_VALUE) {
            return "1";
        }
        return BigDecimal.valueOf(value, -UNIT_SCALE).stripTrailingZeros().toPlainString();
    }

    @JsonCreator
    public static SplitWeight fromRawValue(long value)
    {
        return value == UNIT_VALUE ? STANDARD_WEIGHT : new SplitWeight(value);
    }

    public static SplitWeight standard()
    {
        return STANDARD_WEIGHT;
    }

    public static SplitWeight fromProportion(double weight)
    {
        if (weight <= 0 || !Double.isFinite(weight)) {
            throw new IllegalArgumentException("Invalid weight: " + weight);
        }
        // Must round up to avoid small weights rounding to 0
        return fromRawValue((long) Math.ceil(weight * UNIT_VALUE));
    }

    public static long rawValueForStandardSplitCount(int splitCount)
    {
        if (splitCount < 0) {
            throw new IllegalArgumentException("splitCount must be >= 0, found: " + splitCount);
        }
        return multiplyExact(splitCount, UNIT_VALUE);
    }

    public static <T> long rawValueSum(Collection<T> collection, Function<T, SplitWeight> getter)
    {
        long sum = 0;
        for (T item : collection) {
            long value = getter.apply(item).getRawValue();
            sum = addExact(sum, value);
        }
        return sum;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Robert Mitchell
Robert Mitchell, 83 years old of Portland, New York passed away on Monday afternoon, April 8, 2019 at his home after a long illness. He was born in Newark, New York on August 14, 1935 and was the son of the late Elton and Edna Stebbins Mitchell. After completion of High School, he enlisted with the
United States Navy in August of 1954 and served his Country actively in the Korea and the Vietnam
conflicts and continued after his active duty in the Naval Reserves until February of 1974. He received many awards for his service among which were the Navy Unit Commendation Medal, the Good Conduct Award five times, National Defense Service Award with the Bronze Star, the Republic of Vietnam Campaign with the Bronze Star, the Navy Expeditionary Award, three awards for expert riflemen-ship and three awards for expert pistolmenship. Lastly, Robert was aboard the United
States Forest all during the the historic fire on July 29, 1967, where he saved several Midshipman's lives. He was also in the Civil Air Patrol. After leaving active service he worked as a Fork Lift Operator for Red Wing Co. of Fredonia, New York until his retirement. Robert was a past member of the Brocton and Portland Fire Departments, a member of the The American Legion John W Dill Post 434 of Brocton, New York, a member of several Fish and Game Clubs and a member of the amateur Trap Shooting Assn. Robert also enjoyed hunting, fishing, shooting skeet and gardening. He is survived by one daughter, Phoebe (Jonathon) Long of Sheridan, New York, one son; Jay Mitchell of Stockton,
New York, five grandchildren; Summer Marie Mitchell, Anthony Thomas Mitchell, Lyle Michael Mitchell, Marah Elizabeth Long and Jonathon Matthew Long. In addition to his parents, he was predeceased by his wife Mickey Eileen Mitchell who passed away February 10, 2019 and one son Jed Elton Mitchell who passed away September 30, 1986. A graveside service will take place on Monday April 15, 2019 at 11 a.m. at the Portland Evergreen Cemetery where Full Military Honors will be accorded to Robert by the
members of the American Legion John W. Dill Post 434 of Brocton, New York and where the American
Flag will be presented to his son Jay by Chaplin Fran Lus. There will be no prior visitation.
In lieu of flowers, the family requests Memorials in his honor be made to the Brocton Fire Dept., Lake Ave., Brocton, New York 14716 or the Portland Fire Dept., West Main Rd. Rt 20. Portland, New York 14769. To leave a message of remembrance or condolence for Roberts family please logon to themorsefuneral home.com. Funeral arrangements have been provided by the Morse Funeral Home of Brocton, New York.

redpajama_set_name: RedPajamaCommonCrawl


text:
If You're Game, You Can Watch A Film In The Nude At Lido Cinemas This Saturday
Secret Melbourne • April 21, 2021
Immerse yourself in the spirit of the film Patrick by baring your bottom.
As part of the Fantastic Film Festival Australia, film buffs will be able to take it all off to watch Patrick—the Shakespearean tragi-comedy set in a nudist colony.
The Belgian film, written and directed by Tim Mielants (director of Peaky Blinders' third season among other series), centres on the socially awkward titular character as he searches for his missing hammer. While his quest takes place, the community in the nudist colony is thrown into turmoil as some members seek to take control.
Aside from winning Best Director at the 54th Karlovy Vary International Film Festival where the film premiered, Patrick has also gone on to pick up seven awards at the Ensor Flemish Film Awards and Best Film at the Magritte Awards with Mielants showing a "real flair for combining comedy and tragedy" (Hollywood Reporter).
Patrick premieres in Australia thanks to FFFA who are dedicated to showcasing the world's most daring, thought-provoking and innovative films. With the characters in Patrick baring pretty much everything all the time, FFFA are given cinema-goers the chance to join in with the onscreen nudity with a very special screening of the film.
Before the intrigue and deceit play out, movie buffs will strip down in the cinema to expose their own peculiarities and begin the journey of self-discovery that the film's stars embark on. Thankfully, this all takes place in a movie theatre at Lido Cinemas, so the lights will be dimmed and you'll already be in your seats. Regardless, the nude screening on Saturday provides a unique opportunity to view the film and envelop yourself in its world. It's just one more immersive experience if you ask us.
Since the safety of everyone in attendance is of the utmost importance, photography is banned and attendees are asked to respect other patrons' personal space. No lude or antisocial behaviour will be tolerated and all patrons must be eighteen years or older to attend. They must also bring along a towel to sit on because, you know, hygienee. To hit up the candy bar or the toilets, you'll also need to put your clothes back on.
For those keen on seeing the movie but not keen on taking off their clothes, Lido Cinemas will be showing Patrick for a fully-clothed audience at the same time but in a different cinema (Screen 5). Patrick, the nude screening, takes place in Screen 8 at 7:30pm. Get your tickets here.
The FFFA is on now and will finish on 1 May. You can browse the full FFFA program here.
Pentridge Prison Is Palace Cinemas Newest Home
Tags: film festival


This is the first of a series of posts describing my recent trip to England, Ireland, the Netherlands and Wales, from writing course to school reunion and more.
When you make a sandwich and you have a bit of filling left over, what do you do with it?
Well, if you're me, and especially if it's my favourite – egg mayonnaise – you'll eat it up first.
My extra filling formed my first two-and-a-half days, starting with an evening with my friend, M1. I've known her and her husband since our university days, and they're both lovely and easy to get on with.
The bus ride to their house was a bit less pleasant. I understand it's not usual to have air conditioning everywhere in Britain. I understand it's not usually hot and, as everyone told me, I brought the heat with me. But right next to the seat I happened to sit on in the bus was a grid exuding HOT AIR! And all the other passengers sat there without a care in the world while I, used to heat outside but cool buses, felt sweat pouring off me in bucket loads. Or so it seemed. Never mind. I got there and the rest was fine.
The next morning, I left M1, but would be returning to her later. Leaving my suitcase at Waterloo, I went to meet the first of several people I'd never met before this trip – Rachael (Honest) and her two-year-old son, "Mushroom".
Two-year-olds don't make the best adult conversation companions, but we managed to talk a bit. In fact we said quite a lot as Rachael's account shows, much more than I would have remembered the next day and certainly now that so much time has passed. I was surprised to read about Rachael's embarrassment over two little episodes during the morning, as I didn't notice it. I tend to think that only I could get embarrassed over such things. All-in-all, we both enjoyed our time together and I'm sure we'll meet again in the future.
Isn't it wonderful how suitcases have wheels these days. I don't know how we ever managed without them. But what they need to invent now is a suitcase that can be wheeled up and down stairs. One thing I learned as I dragged my suitcase to my next temporary home is not to wear a skirt when you have to take a suitcase on the underground. You see, it gets windy in those tunnels. I was holding on to my skirt as I wheeled my case when I reached some stairs. I wanted to hold on to the handrail to pull myself and the case up. But I needed to stop my skirt from flying up and revealing too much, and I only have two hands.
"I'd love a hand," I replied. Never have I been more grateful for a hand.
Family members had kindly let me stay in their house while they were away, but I didn't have much time alone. Just enough to do some washing, because the hot weather meant that I had to keep dipping into the skirts, shorts and tee-shirts section of my suitcase.
The next morning, I met M2, another friend from uni, and we went for a long walk on Hampstead Heath, while catching up on news, and enjoyed lunch at the café at Kenwood and a tour of the grounds.
I returned in time to see the last set of Andy Murray making tennis history. Good for him!
So that was my pre-sandwich experience. In my next post, I'll be eating the top layer.
Glad you enjoyed our time together, as did I! Do let me know when you are next coming over for a visit. It sounds like the start of your trip went well and I am looking forward to reading more about the rest of your sandwich!
The whole trip went well. I'll be in touch….
That weather was a bit much. We do have a portable air conditioner at home but this summer was the first time we've used it for 6 years. I was mighty glad I hadn't got rid of it as I had been planning to do!
It did get rather hot here at the end of June. You should be here now. It's dull, cool and threatening rain.


The 80° is a traditional bourbon, handcrafted with old-fashioned methods, using the finest natural ingredients, including at least 51% corn, along with barley and rye. Jimmy Russell states that 80° is an unpretentious, yet finely crafted bourbon. It's ideal on the rocks in a smoky bar, and perfect for those who enjoy bourbon with a mixer. Wild Turkey 80° has a deep, but soft aroma with classic bourbon characteristics of sweetness and corn. The excellent bourbon taste balances traditional caramel and vanilla flavors.


text:
The Seekers est un groupe de musique australien aux influences folk, constitué en 1962 à Melbourne, en Australie. Il fut le premier groupe australien de musique populaire à parvenir au hit-parade et à atteindre le classement des ventes au Royaume-Uni et aux États-Unis.

En 1964, ce groupe semi-amateur, alors inconnu, décrocha, grâce aux contacts d'Athol Guy dans le milieu publicitaire, un contrat pour l'animation des soirées à bord du MV Fairsky, un paquebot de la compagnie anglo-italienne SITMAR Lines assurant une ligne régulière entre l'Australie et la Grande-Bretagne (à cette époque, le transport aérien était réservé aux privilégiés, et le voyage via Suez par bateau durait plusieurs semaines). Le Fairsky opérait selon un contrat subventionné par le gouvernement britannique pour assurer l'émigration vers le dominion australien, un régime qui dura jusqu'au début des années 1970.

Ils auraient dû renter en Australie par le voyage retour, mais se virent proposer un contrat pour jouer sur les scènes de music-halls londoniens par un imprésario nommé Lewis Winogradski (plus connu sous le nom de Lew Grade), qui fut également à l'origine de nombreuses productions à succès pour la chaîne de télévision britannique privée ITV, en particulier la série Le Prisonnier.

Histoire

Leur configuration la plus célèbre est :
 Judith Durham : chanteuse, tambourin
 Athol Guy : contrebasse, chant
 Keith Potger : guitare à douze cordes, banjo, chant
 Bruce Woodley : guitare, mandoline, banjo, chant

Ils firent neuf tournées en Grande-Bretagne et en Australie dans les années 1960, et chantèrent :
 I'll Never Find Another You (n° 1 au hit-parade britannique de )
 A World of Our Own
 The Carnival Is Over (interprétée lors de diverses cérémonies de clôture en Australie, notamment lors de l'Expo de 1988 et des Jeux paralympiques de 2000), reprise par Nick Cave mais surtout inspirée d'un chant populaire russe, Stenka Razin
 Someday One Day
 Walk With Me
 Morningtown Ride
 Georgy Girl (la chanson-titre du film du même nom)
 When Will the Good Apples Fall
 Emerald City

Outre leurs créations contemporaines, ce groupe de folk-music s'est intéressé aux shanties (les chants de marins anglosaxons), comme le très célèbre Blow the man down dont il existe de nombreuses versions (on peut comparer la version chantée par les Seekers  à celle, tout aussi célèbre, interprétée par le fameux folk-singer américain Woody Guthrie ).

Le groupe The Seekers se sépare en 1968, mais retrouve en 1992 sa configuration initiale aux succès internationaux. S'ensuivent trois tournées en 1993 : l'Australie d'abord, puis la Nouvelle-Zélande et le Royaume-Uni. Leur retour sur scène ensemble, célébré sous l'angle d'un vingt-cinquième anniversaire, revêt le vocable officiel de « Jubilé d'Argent ». Aussi, The Seekers se produisent-ils plus de cent fois lors de cet événement-phare. Ils ajoutent de nouvelles chansons issues de leurs propres compositions à leur répertoire légendaire et discographie. Ainsi One World Love, de Judith Durham (coécrite en partenariat extérieur, avec John Young), You're My Spirit, d'Athol Guy et Keith Potger, de même que Keep A Dream In Your Pocket et Time And Again de Bruce Woodley, sont-elles enregistrées pour ponctuer leurs retrouvailles, précisément.

Cette volonté d'inscrire leurs inventions personnelles de chansons se poursuit sur le CD Future Road de 1997. It's Hard To Leave de Durham, Guardian Angel / Guiding Light de Potger, ou encore The Bush Girl de Woodley (sur un poème de Henry Lawson) y trouvent une place de marque.

La chanson I Am Australian de Bruce Woodley et Dobe Newton, enregistrée par The Seekers et la chanteuse Judith Durham avec Russell Hitchcock et Mandawuy Yunupingu, est devenue l'hymne officieux australien.

The Seekers enregistrèrent la chanson Massachusetts des Bee Gees pour leur CD de 2003 « The Ultimate Collection ». Massachusetts avait été écrite par The Bee Gees au milieu des années 1960 en pensant aux Seekers, ce avec l'intention de la leur proposer ensuite.

En 2013, The Seekers sillonnèrent l'Australie et la Tasmanie dans le cadre de leur tournée officielle du « Jubilé d'Or », avant de parcourir le Royaume-Uni au printemps 2014. Le Royal Albert Hall de Londres fut l'ultime étape de la série de concerts couronnant leur cinquante ans de carrière.

En raison de leur contribution artistique d'excellence, Durham, Woodley, Potger et Guy sont récipiendaires du titre d'Officier dans l'Ordre d'Australie (AO) depuis le .

Dès leurs débuts, les Seekers transmettaient à leur manière, dans le style singulier d'expression musicale leur appartenant, les grands titres de chansons de leur temps, comme The Times They Are a-Changin' et Blowin' in the Wind de Bob Dylan ou Yesterday de Paul McCartney des Beatles. Aujourd'hui, ils sont des témoins au sens propre du terme, c'est-à-dire ces précieux « passeurs », non seulement capables mais désireux de partager sur scène, et d'ainsi transmettre, des anecdotes de coulisses touchant des pairs d'un passé glorieux en commun, tel John Lennon...

Discographie

Notes et références

Liens externes

Groupe musical des années 1960
Groupe musical de Melbourne
Groupe musical formé en 1962
Artiste de Capitol Records
Lauréat d'un ARIA Music Award
Membre de l'ARIA Hall of Fame
Groupe musical séparé en 1968
Groupe musical reformé en 1992
Groupe musical ayant au moins cinquante ans de carrière

redpajama_set_name: RedPajamaWikipedia


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Chinese Manufacturer Vivo In India Has Launched Its New Smartphone Vivo Y55 L. Cost of this phone is 11,980 and this phone will be soon Available on Flipkart and Snapdeal.
This device comes with two variant Gold and Space Grey in stores or you can buy it online.
According to Vivo this Smartphone comes with Unique Eye Protection Features And Split Screen Mode that ensures comfortable screen brightness by reducing blue light that causes strain on the eyes.
Vivo Y55 L Comes with 5.2 Inches full HD Display(1280 × 720 Pixels). 2.5D curved glass display, is powered by an OQualcomm Snapdragon 430 64-Bit processor clocked at 1.4 GHz along with the Adreno 505 GPU, runs on Android 6.0 (Marshmallow) with Funtouch OS 2.6 on top, has a 8-megapixel rear camera with LED flash and a 5-megapixel front-facing camera for screen flash.
This device comes with 2 GB RAM. It also Includes 16 GB Inbuilt Storage Is And It Can Be Upgraded Up To 128 GB Via MicroSD Card.
This Device is 4G VOLTE enabled which means you can enjoy high speed internet on Reliance Jio 4G and Voice call over 4G.
The Vivo Y55L comes in Gold and Space Grey colors and is priced at Rs. 11,980. It will be available across India from October 15th.
At Vivo, we always aim to offer new and exciting features for our valued customers. I would like to express my heartfelt pleasure to be appointed as CEO, for a market which is dynamic with a robust smartphone user base. My vision is to further the brand promise, articulate and realise the intrinsic brand value for the next stage of our growth in the coming months.
India is a very important market for us because of the maximum smartphone penetration. We want to cater to every price point with our innovative products. And, through Y55L we want to tap the users that are looking for a smartphone that not just looks great but also delivers the desired results with its overall package.
Best mobile within this price range.
Did u test the phone camera?
Vivo y55l had some issue could you tell me please?
Good phones is this phone available in us ?
I m using this phone bettery parfomance is very good and no hanging probelam. Samsung compere any from vivo.


These big crystal stud earrings of cubic zirconia add the perfect touch of refined sparkle to any bridal look. These art deco-inspired stud earrings of crystal are mounted on platinum plated copper alloy earring posts.
I love these earrings!! They are so fun and add the right amount of sparkle! They are very lightweight and are comfortable to wear, The size is perfect, not too big but not too small!


text:
Sharks acquire Polak, Spaling in trade with…
Sharks acquire Polak, Spaling in trade with Maple Leafs
By Josh Dubow and The Associated Press |
PUBLISHED: February 22, 2016 at 10:01 a.m. | UPDATED: July 27, 2018 at 10:55 a.m.
SAN JOSE, Calif. (AP) — The San Jose Sharks acquired defenseman Roman Polak and forward Nick Spaling from the Toronto Maple Leafs on Monday to add veteran depth to help boost the team on a possible playoff run.
The Sharks gave up 2017 and 2018 second-round picks and forward Raffi Torres in the deal they hope fills any holes before next week's trade deadline. After missing the playoffs for the first time since 2003 last season, San Jose entered Monday in third place in the Pacific Division and in striking distance of California rivals Los Angeles and Anaheim for the top spot.
"We wanted to give this group the ability to compete and they deserve it. They have really worked hard," general manager Doug Wilson said. "We've put ourselves in a really good position and you make the determination on this team now with these added ingredients. It feels like they can compete. That's important in the room."
Polak and Spaling both can become unrestricted free agents after the season but Wilson believes they add needed ingredients to his roster.
Polak is a physical defenseman who has spent most of his career in the Western Conference. He had one goal and 12 assists in 55 games with Toronto this season but is a capable penalty killer and could replace rookie Dylan DeMelo on San Jose's third pair.
"Roman, there's no question what his characteristics are," Toronto general manager Lou Lamoriello said. "He's a man. He's a player's player. He competes each and every night. He's somebody that you go into a foxhole with at any given time. … I just can't say enough about him."
Spaling also has experience playing in the Western Conference, having spent his first five seasons in Nashville. He also played junior hockey for Sharks coach Peter DeBoer with the Kitchener Rangers and gives San Jose another option for its bottom two forward lines.
Spaling has one goal and six assists in 35 games this season and has played extensively on the penalty kill.
The Sharks hope Polak and Spaling will join the team in Colorado for a game Wednesday night. They are leaving a team tied for the fewest points in the NHL for one in the thick of the playoff race.
"It's always good to play the games that actually mean something," Polak said. "If you have games that don't mean anything, you're just playing because you're playing. It's always good to go to a team that has a good chance in the playoffs so you can play for something and every game means something."
Wilson wanted to make upgrades without giving up a player in the lineup or one of the young players in the system that the team is counting on to help in the near future. He also did not want to give up a pick in this year's draft if possible after previously trading San Jose's first-rounder to Boston for goalie Martin Jones and third-rounder to Dallas in the deal that brought defenseman Brenden Dillon to the Sharks.
Torres hasn't played this season because of suspension and injury and will be eligible for free agency this summer. Torres played just 12 regular-season and playoff games combined in his final three seasons with the Sharks.
The Sharks needed to include his contract to make the deal work under the salary cap.
"Raff is a good man," Wilson said. "He's been on a tough journey. He just needs more time to go get healthy and go on with his career. This was a necessary part of this deal to make it work cap wise and financially."
Torres was suspended six playoff games in 2013 for a hit to the head of Los Angeles' Jarret Stoll and 41 games this season for an illegal hit to the head against Anaheim's Jakob Silfverberg in the preseason. Torres also missed significant time because of various knee injuries and had spent time this season in the AHL after his suspension ended last month.
Torres will remain with the Sharks' AHL affiliate in San Jose even after the trade.
The second-round picks are in keeping with the Maple Leafs' trend of stockpiling for the future. The Leafs had previously added draft picks this season by trading forward Shawn Matthias to Colorado and defenseman Dion Phaneuf to Ottawa.
AP Sports Writer Stephen Whyno contributed to this report
Josh Dubow


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Discounts will only be made available if you show your Averett ID.
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Obituary for Patricia Leigh Norris | Gaschs Funeral Home, P.A.
It is with great sadness to announce that Patricia Leigh Norris of Bowie, Maryland, passed away peacefully surrounded by family on January 25, 2019. Beloved wife of 54 years to Henry George Norris Jr.
Patricia was born on July 8, 1943 to the late Edward and Eva (Burnett) Anderson. Along with her parents, she was preceded in death by her sister Barbara Richards. Patricia is survived by two sisters, Dorothy Fratturelli and Mary Cardello, her five sons, Henry George III (Josie), Donald (Tracy), Steven, William (Melissa), and Michael (Shannon), grandsons, Blake & Ryan, great grandson, Dylan and many nieces and nephews.
Pat was a loving wife, mother, mamaw, and friend to all who knew her. She opened her home to all, enjoyed cooking and sharing stories about her family. Pat's greatest success was being dedicated to her family as she was a loving caregiver to so many. She will be greatly missed. Please keep the Norris family in your thoughts and prayers.
A memorial service will be held at Landover Hills Baptist Church, 4420 73rd Avenue, Landover Hills, MD 20784 on Saturday, February 9, 2019 at 11:00 a.m.


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text:
In Focus: Seditious and Subversive: Theater of War
DOREEN G. FERNANDEZ
Do wars breed theater? Does theater rise out of wars? Is theater a result of war, or is it a weapon, even a battlefield? Is one of the vestiges of war a theater of war? The Philippine experience provides insights.
War against Spain and the United States
The events of the late nineteenth century in the Philippines are fairly well known. The revolutionary secret society called the Katipunan was founded, then discovered in August 1896. By the end of the year revolution had spread throughout the country.
Between August 29, 1896, when Filipino revolutionaries first attacked Spanish soldiers, and the declaration of Philippine Independence on June 12, 1898 by General Emilio Aguinaldo, Filipinos waged war for the first time in their history. It was a hit-and-run, faction-troubled war, but eventually led to the first revolution in Asia against a colonial power, and the proclamation of the Philippine Republic at Malolos, Bulacan.
That ending was neither glorious nor permanent, however, for while the Filipinos carried on their war against Spain, Admiral George Dewey destroyed the Spanish fleet in Manila Bay, Spanish authorities secretly negotiated the bloodless surrender of Manila, and in December the Treaty of Paris was signed, ceding the Philippines to the United States for a few thousand dollars.
The Philippine-American War, identified in American documents of the time as the Philippine Insurrection, broke out on February 4, 1899. From then until April 6, 1902, when Miguel Malvar, the last Filipino general in the field, surrendered, there was continued guerrilla warfare.
In two years, therefore, the Filipinos fought both the Spaniards and the Americans, and here began the theater born of war.
In the period between 1902 (when Theodore Roosevelt declared general amnesty and officially ended the war) and 1906 (when Macario Sakay surrendered, and armed resistance officially ended), the "seditious" plays came to be. Playwrights spoke up on stage, disguising their anti-Spanish and anti-American sentiments in the costumes, manners and scenography of traditional theater, and when discovered, were arrested—sometimes along with cast and crew, and in one case, reportedly with the entire audience.
These plays constituted a form of guerrilla warfare directly contrary to Act No. 292, the "Sedition Act" passed on November 4,1901, which made advocacy of Philippine independence a crime since such advocacy fanned the embers of resistance to American rule. Section 10 which provides that
[u]ntil it has been officially proclaimed that a state of war or insurrection against the authority or sovereignty of the United States no longer exists in the Philippine Islands, it shall be unlawful for any person to advance orally or by writing or printing or like methods, the independence of the Philippine Islands or their separation from the United States, whether by peaceable or forcible means, or to print, publish or circulate any handbill, newspaper or publication, advocating such independence or separation was later to be invoked in the arrest of the anti-American dramatists.
Juan Abad's Tanikalang Guinto (Golden Chain) is about Ligaya (light; the spirit of independence), daughter of Dalita (extreme poverty and suffering; the Mother Country), who is forbidden to see Kaulayaw (sweetheart; Filipino hero) by her uncle Maimbot (greedy; the American insular government). Ligaya receives a golden bracelet from Maimbot that becomes a chain to bind her to his control.
The play was first staged at the Teatro Libertad on July 7, 1902, and subsequently in other theaters in Manila, Laguna and Cavite, where it was enthusiastically applauded and obviously understood. On May 10, 1903, provincial authorities shut down its Batangas, Batangas performance and incited the author for sedition. The Court of First Instance of Batangas, presided over by Judge Paul W. Linebarger, found the drama "seditious," and sentenced the author to two years imprisonment and a fine of $2000.
The decision of the lower court was reversed by the Supreme Court on August 9, 1906. While this case was pending decision, Abad, out under bail, wrote Isang Punlo ng Kaaway (An Enemy Bullet). This was produced at the Teatro Rizal in Malabon on May 8, 1904, and resulted Abad's second arrest.
Hindi Aco Patay (I Am Not Dead), by Juan Matapang Cruz, may have been written and produced earlier, but was presented at the Teatro Nueva Luna in Malabon on the night of May 8, 1903. In the play, Karangalan (honor) loves Tangulan (defender, patriot), and resists Macamcam (one who usurps power; the American insular government). Tangulan is thought killed in a duel with Macamcam, but he springs up and declares, "I am not dead!" The red sun on a Katipunan flag rises behind the stage, representing freedom won, and the loyal Filipinos take the villains and traitors captive.
At this point, a drunken American soldier hurled an empty beer bottle at the Katipunan flag, then climbed the stage with some others and tore the scenery apart. The riot caused the arrest of the theater manager, the banning of the play, and the confiscation of "seditious" props, among them Katipunan flags and revolutionary emblems. Ten of the actors were arrested a month later, and the author, who had been in hiding, was arrested by the secret service on July 5 during "a big Americano fiesta" (The Manila Times, July 6, 1903).
The trial was made especially interesting by questions about Cruz's identity. He seemed an unlikely author, and at one point claimed that his wife had written the play. The authorities surmised that Dominador Gomez, a labor leader, may have written the play. Despite the questions, Cruz was sentenced to two years' imprisonment, and apparently served them in full.
Aurelio Tolentino's revolutionary activities started long before his writing of Kahapon, Ngayon at Bukas(Yesterday, Today and Tomorrow). He had helped in the distribution of La Solidaridad and other propaganda literature, and had been one of the original members of the Katipunan, assisting Emilio Jacinto and others in the printing of Katipunan forms and certificates of membership. He was with Jacinto, Andres Bonifacio and others at Pamitinan Cave in Montalban, where the first cry for independence was heard on April 10, 1895. Shortly after the start of the revolution, he was imprisoned for nine months in Bilibid, and tortured.
He joined General Aguinaldo in Cavite, and was one of the signers of the Declaration of Philippine Independence at Kawit on June 12, 1898. He wrote for various nationalist papers: La Independencia, La Patria, El Liberal, and his own Filipinas. In August 1900 he headed a secret society called Junta de Amigos, "with authority from Aguinaldo to form and organize guerrillas" (T.M. Kalaw, quoted in Manuel 1970, 374). When General Artemio Ricarte attempted to organize a new revolutionary force in 1903, Tolentino joined him, and was arrested and charged with conspiracy. In his lifetime, Tolentino suffered nine imprisonments.
One of these was for theater. Kahapon, Ngayon at Bukas was about attempts to subjugate the Philippines in the past (by the Chinese), in the present (the Spanish officials and friars) and the future (the Americans), and how Inangbayan (Mother Country) and her son Tagailog (Tagalog; the Filipino) win over them. This drama played to a packed house on May 14, 1903 at the Teatro Libertad in Manila.
At a certain point of the play, the script called for the actor playing Tagailog (the Tagalog provinces) to haul down the American flag and to trample on it as a sign of victory. Since the actor was reluctant to do this in full view of the Americans in the audience, Tolentino reportedly took over the role himself. The gestures… angered the Americans in the audience, who then proceeded to cause a riot. As a result, Tolentino and several other members of the company were arrested (Manlapaz 1975, 2).
Tolentino was charged with sedition, and at the trial (he was defended by a young lawyer, Manuel Quezon), was sentenced to two years of imprisonment and a fine of $2000 gold. Rafael Palma and two American lawyers appealed the sentence, but on March 6, 1906, the Supreme Court upheld the decision and found Tolentino guilty as charged. The Court ruled that the drama
directly and necessarily tended to instigate others to cabal and meet together for unlawful purposes, and to suggest and incite rebellious conspiracy and riots and to stir the people against the lawful authorities and to disturb the peace of the community and the safety and order of the Government. (Philippine Reports 1903, 10)
Other plays suppressed for these same reasons were: Ang Kalayaan Hindi Natupad (The Unattained Freedom) by an anonymous playwright, presented in Obando, Bulacan on May 15, 1903, cast and crew arrested; Pulong Pinaglahuan (Subjugated Island), raided in Navotas, Rizal, the night of January 23, 1904, author Mariano Martinez and 20 performers arrested; Dahas na Pilak (Silver Force), at the Teatro Nueva Luna in Malabon, Rizal, May 1, 1904, the author, manager and eleven actors arrested; Ang Katipunan (The Katipunan) by Gabriel Beato Francisco, staged on February 21, 1905 in Laoag, Ilocos Norte, the entire audience reportedly arrested (Hernandez 1976, 132-36).
The plays called "seditious" by the American authorities were actually the first nationalist plays of the Philippines, their concern not merely personal or regional, but national. In stories disguised by meaningful names (Inang Bayan/Mother Country; Liwanag/Light; Karangalan/Honor; Halimaw/Monster; Dahumpalay/Snake), and hiding behind the love themes and filial relationships of traditional theater (Liwanag and Kaulayaw; Karangalan and Tangulan; Taga-ilog and Inang Bayan), the playwrights wrote about the desire for freedom and independence, about the oppression of the motherland, the treachery of fellow Filipinos, American betrayal and imperialist designs.
Using traditional dramaturgy, they inserted bits of subversive stage business: girls on stage suddenly forming, through their costume colors, the Philippine flag (the display of which was forbidden by law); the unscheduled singing of the National Anthem (also forbidden by law); the surprise appearance on stage of an underground hero, like General Artemio Ricarte, code-named El Vibor (The Viper); or new stage business, like the trampling of the American flag, or the replacement of the friar-villain in Walang Sugat (Unwounded) by Uncle Sam.
This made theater as fresh and unexpected as the day's newspaper—all because of the realization that the Americans had come not as friends, as averred, but as colonial masters to replace the Spaniards and anyone else in the past who had had imperialist designs on the country (e.g. Haring Bata, the Chinese emperor, inKahapon, Ngayon at Bukas).
Arthur S. Riggs, an American military man and correspondent, wrote in 1905 of this valiant theater with grudging admiration. Stage managers with no machinery, lights, tools, money or credit mounted play after play. Long runs and crowded houses testified to the audience reception despite the danger of arrest. He ends:
It is difficult for Americans to conceive of dramas to see [for] which they would risk arrest, jeopardize their personal safety from bodily harm, and which, when seen, would stir them to such a pitch of indignation and enthusiasm that they could leave the theatre full of purpose against the government and its emissaries. It is also difficult to conceive of our own feelings were we placed as the Filipinos are (Riggs 1981 [1905], 349).
All this ended in 1907, when the first Philippine Assembly was inaugurated, and the Philippine fight for independence moved from the battlefields and battle-stages to the halls of negotiation and legislation. Plays eventually began to deal instead with elections, families and their conflicts, love in all its colors.
Interestingly, Aurelio Tolentino, a member of the Katipunan and nationalist playwright, was among those named by General Emilio Aguinaldo to the Filipino Commission to confer with the Schurman Commission on peace. The clear connection between war and the stage is most visible in him.
More than data about banned plays, and about the dramaturgy used to deliver their messages, the nationalist/"seditious" plays left behind a tradition that was the base of political theater, of theater involved in the national cause, committed to the country. This is quite possibly the earliest political theater in Asia, and certainly earlier than any in the United States. The plays—sometimes called drama simbolico (symbolic drama)—also left behind texts that have been revived again and again in recent times, and techniques of indirection that served their heirs well (plays about the revolution against Spain to suggest the growing revolution in the countryside; plays about lovers and families, set against poverty and military oppression; plays about victims and oppressors) in the later war that was the Marcos Martial Law era.
The 1902-1907 plays called "seditious" by the American Insular Government were not only vestiges of war but its fruit, significant weapons and parts of the combat. This theater left its own vestiges too, a heritage of political theater that in later years was to be called "subversive," a theater of protest.
The Japanese Occupation
The three years of the Japanese Occupation are noted for a lively theater life. The venues were the movie theaters (e.g. Avenue, Capitol, Life, Dalisay in Manila), which were allowed to show only Filipino and Japanese, and not American films, and whose stages were available for live performances.
Plays from Spanish and English/American theater were translated and/or adapted, and gave inspiration (e.g.Martir sa Golgota), laughter (e.g. Cyrano de Bergerac), and hope. These were usually accompanied by what were called "stage shows" as the Japanese authorities ordered, to distinguish them from the vaudeville that had preceded them, and was clearly American in origin and orientation. Actually, they were similar in method and spirit, both being composed of variegated musical and comedy acts—songs, dances, stand-up comics, magic and acrobatics—and by way of drama, little skits. These became the venue for subversive, anti-Japanese theater.
Famous examples were the comedy routines of the fat-and-thin comic pair, Tugo and Pugo. They would make fun of the Japanese non-verbally, by pulling up their cuffs and revealing rows of wristwatches, which the Japanese had taken to confiscating and wearing simultaneously. Especially remembered is the skit in which a sorrowing daughter is consoled by her father with the assurance that "Mang Arturo will return," an obvious reference to General Douglas MacArthur and his promise "I shall return."
Theaters became message centers, since guerrillas would come in not only to be entertained, but to receive word from friends and supporters. If the Kempeitai (military police) appeared in the audience, tenor Cecile Lloyd—or someone else—would suddenly appear on stage (during a love scene, a dance, intermission), singing the signal song, "Bakit Ka Hindi Dumarating" (Why Haven't You Returned?), which told the guerrillas it was time to slip out and away (Avellana 1967, 681).
Stage icon Leopoldo Salcedo's roles always reminded the audience of the courage of the Filipino. When he played the guerrilla fighter, the audience cheered. When the Japanese authorities demanded that he play the Japanese general instead, the trick did not produce allegiance to Japan, but more applause for the guerrilla, and hope for the liberation of the Filipino.
These bits and pieces of theater may pale beside the "seditious" plays. The Japanese Shimbunsha was strict and efficient, censoring scripts, issuing guidelines, and closely watching implementation. These theater devices were all that could be managed, and they were caught by the audience, passed on, remembered as among the most effective ways of keeping up the peoples' hope and courage through three dark years.
The Marcos Years
One could say that the content, staging and clever indirection of the protest plays of the Marcos era was theater itself at war, finding its weapons along the way, depending on the state and strength of its enemies (Marcos and the military). One could also say, however, that it was made possible because of the tradition of political theater left behind by both the "seditious" plays and the Japanese era stage shows. One could claim further that the Filipinos had by then grown comfortable with using theater as weapon and battle field, and indeed used it with devastating effectiveness in an internal war.
Almost all the theater after the declaration of Martial Law in September 1972 was protest theater. To the playwrights and theater groups, it seemed self-indulgent to write and stage plays about emotions, personal journeys and social interactions. Theater had to stand beside the people, against the enemy.
And so it did.
In the pre-martial law years of nationalist resurgence (rallies, marches, demonstrations against imperialism, bureaucrat capitalism, government corruption), theater responded with plays focusing directly on national problems—among them Huwelga! (Strike!), Hukumang Tuwad (Kangaroo Court), Barikada (Barricade), Tunggalian (Conflict), Pakikibaka (Struggle). These were staged on streets and plazas and in front of factories, by nationalist groups like the Kamanyang Players, Kalinangang Anak-Pawis, Panday-Sining, Gintong Silahis and Tanghalang Bayan, as well as by the semi-professional Philippine Educational Theater Association (PETA) and the school-based U.P. Repertory Company. The plays were brief, urgent, and directly, confrontationally political, often advocating revolution.
Martial law stopped all that. Although there was no direct censorship, play scripts had to be submitted to the Office of Civil Relations for approval. After the depths of New Society waters had been tested, however, theater returned to battle, staging more plays between 1972 (the declaration of Martial Law) and 1986 (the EDSA revolution) than had gone onstage in the 35 years preceding.
Theater people had to exercise great subtlety and craft, since they were not allowed to confront the issues directly, or use clenched fists and waving red banners. Historical plays were staged. Ang Walang Kamatayang Buhay ni Juan de la Cruz Alyas… (The Deathless Life of Juan de la Cruz alias… ), set in the first decade of the American era, when people were driven from their homes into zones of control; Sigaw ng Bayan (The Nation's Cry), about the Katipunan and revolution against an oppressive state; and many others brought home to the audiences the lessons of history, inviting comparisons, although nothing was said about the martial-law present. The audience needed no telling, but themselves drew conclusions about unchanging oppression. Artistically, the implied and unsaid strengthened the plays, giving them power beyond what they would have had in other times and climes.
Other plays were written about social, newspaper-front-page realities: Alipato (Sparks), on thieves, prostitutes and drifters; Buhay Batilyo, Hindi Kami Susuko (Batilyo Life, We Will Not Yield), on the maltreated casual workers in fish ports; Higaang Marmol (Marble Bed), about the colony of homeless denizens who inhabited cemeteries and slept on the marble graves; Anak ni Bonifacio (Son of Bonifacio), about a land-greedy landowner and the urban poor. Inevitably the audience asked themselves: Who is to blame? Why do these problems exist? Who can make changes? Who should? Who must?
Folklore and folk theater were especially effective, because of the instant recognition. Sinakulo ng Bayan (The Nation's Passion Play), based on the Lenten Passion play, had Christ as worker, plow on his shoulder, and Annas, Caiphas and Herod costumed as American Imperialism, the Dictatorship and the Bureaucracy. The Christmas play Panunuluyan (The Search for an Inn) took Joseph and Mary to commercial centers, landlords, factory owners, and finally to the urban poor, to find a birthing place for Christ.
After the assassination of Ninoy Aquino in 1983, the theater became bolder, more direct. "If people are marching in the streets again," said director Behn Cervantes, "the theater, which was always ahead of them, must go even further." Thus came plays like Ilokula, ang Ilokanong Drakula (Ilokula, the Ilocano Dracula), about Marcos drinking the blood of the Filipino people; and Pagsambang Bayan (The People's Worship), in which the congregation at Mass is composed of farmers, the urban poor, underground revolutionaries, students, and ethnic minorities. The priest comes down from the altar to join the people, changing his vestments to peasant clothes, and tying on a bolo.
In 1984 came the play Oratoryo ng Bayan (The Nation's Oratorio), which made theater out of the Declaration of Human Rights; in 1985 Buwan at Baril (Moon and Gun) focused on eight individual lives and reached insights on communities, society and the nation. After 1986 and the end of the Marcos era, came Panata sa Kalayaan (Oath to Freedom), which fused three legends to make a "new legend about the people," and to integrate the experience of immediate past and present.
In the provinces the theater experience was often more direct and more intimate. Mindanao has more than 120 theater groups in three provinces, many of which have experienced confrontation with the military. In Samar and Leyte audiences have been driven away by gunfire. A master's thesis has documented the theater training in the hills of Negros Occidental that went alongside military preparations of the New People's Army.
Today the activist theater groups are gone, but PETA, university and college groups, and community- or church-based provincial troupes remain. Their plays no longer focus on oppressors, but on the problems and issues that persist: poverty, corruption, oppression, especially of the lumad (the native owners of ancestral lands), injustice, the trampling of human rights.
If the "seditious" plays of the American colonial era were protest theater reflecting a people's discovery of themselves as nation victimized by foreign aggression, the Marcos/martial law era was a laboratory for political theater of many strategies. Theater was born of war, entered the battlefield, shed blood (actors and directors arrested; plays closed or banned), and triumphed. When the era ended, theater was acknowledged as both warrior and weapon, having effectively conscienticized the people, roused them into action, and made a difference.
The vestiges of war found in Philippine drama and theater, therefore, are: a definite commitment to the country by a good number of theater groups; an ease in the use of theater to deliver political messages; a repertory of plays political but using indirect (symbolic, allegorical, suggestive) expression; a squadron of veteran playwrights, directors and actors; a toolbox of theater techniques, strategies, designs and devices; thus definitely a theater that derives not from fad and fashion, but from urgency and involvement. Philippine theater has, through three eras of political struggle—Filipino-American, Japanese, anti-Marcos—never hesitated to go to war.
Avellana, Daisy. 1967. "Philippine Drama: A Social Protest." Brown Heritage. Quezon City: Ateneo de Manila University Press.
Fernandez, Doreen G. 1994. "Drama Simboliko." CCP Encyclopedia of Philippine Art. Vol. VII: Theater. Manila: The Cultural Center of the Philippines.
Fernandez, Doreen G. 1996. Palabas: Essays on Philippine Theater History. Quezon City: Ateneo de Manila University Press.
Guerrero, Milagros C. 1998. "The Katipunan Revolution"; "Surrender at Biak-na-Bato"; "The Malolos Republic"; "Aguinaldo's Government"; "The Filipino-American War." Reform and Revolution, Vol. V, Kasaysayan: The Story of the Filipino People. Manila: Asia Publishing Company Limited (Reader's Digest and A-Z Direct Marketing, Inc.
Hernandez, Tomas C. 1976. The Emergence of Modern Drama in the Philippines (1898-1912). Honolulu: University of Hawaii.
Lapena-Bonifacio, Amelia. 1972. The "Seditious" Tagalog Playwrights: Early American Occupation. Manila: Zarzuela Foundation of the Philipipnes, Inc.
Lumbera, Bienvenido. 1984. "The Nationalist Literary Tradition." Revaluation: Essays on Philippine Literature, Cinema and Popular Culture. Manila: Index Press.
Manlapaz, Edna Z., ed. 1975. Selected Writings of Aurelio Tolentino. Quezon City: University of the Philippines Library.
Manuel, E. Arsenio. 1970. Dictionary of Philippine Biography, Vol. 2. Quezon City: Filipinas Publications.
Riggs, Arthur Stanley. 1981. The Filipino Drama [1905]. Manila: Intramuros Administration.


Despite the fact that Azerbaijan is a small country, it is able to influence international processes, Novruz Mammadov, deputy head of Azerbaijani presidential administration, chief of the administration's foreign relations department, told reporters March 11.
"Having invited over 300 world leaders, who have great merits to Baku, we try to express our attitude to processes taking place in the world and join our efforts," Mammadov said.
Mammadov went on to add that organization of the IV Global Baku Forum by Azerbaijan is a very important event.


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Home » Titan » Making Tholins
Making Tholins
Categories: Titan
Tholin formation in Titan's upper atmosphere.
Credit: Southwest Research Institute
Cassini Spacecraft Reveals Evidence of Tholin Formation at High Altitudes in Titan's Atmosphere
Scientists have long known that the lower atmosphere of Saturn's moon Titan contains organic aerosols, or tholins, formed from simple organic molecules, such as methane and nitrogen. Researchers had assumed these tholins formed at altitudes of several hundred kilometers, but new information gathered by three particle spectrometers aboard the Cassini spacecraft shows tholin formation happens in Titan's atmosphere at altitudes greater than 1,000 kilometers. The results also show tholins form differently than previously thought.
Scientists at Southwest Research Institute (SwRI), the University of Kansas, University College London and The University of Texas at San Antonio report results of the observations in the paper "The Process of Tholin Formation in Titan's Upper Atmosphere," published in the May 11 issue of Science.
"Tholins are very large, complex organic molecules thought to include chemical precursors to life," said Dr. Hunter Waite, an Institute scientist in SwRI's Space Science and Engineering Division, and leader of Cassini's Ion Neutral Mass Spectrometer (INMS) team. "Understanding how they form could provide valuable insight into the origin of life in the solar system."
With its thick, distended atmosphere, Titan's orange globe shines softly, encircled by a thin halo of purple light-scattering haze.
During Cassini's first encounters with Titan, the INMS revealed an atmosphere dominated by nitrogen and methane. Of significance from measurements taken in later flybys, however, was the detection of benzene, a critical component in the formation of aromatic hydrocarbon compounds. At the same time, two other Cassini sensors that are part of the Cassini Plasma Spectrometer (CAPS) investigation, the Ion Beam Spectrometer (IBS) and Electron Spectrometer (ELS), measured large positive and negative ions.
The negative ions were a complete surprise," said Dr. David Young, also an SwRI Institute scientist, and leader of the CAPS investigation. "This suggests they may play an unexpected role in making tholins from carbon-nitrogen precursors."
"An additional surprising point is the large numbers of negative ions we see during Cassini's lowest flybys above the surface," said Dr. Andrew Coates, a researcher at the Mullard Space Science Laboratory, University College London. "This newly discovered, and important, population represents a highly significant proportion of the whole ionosphere at these locations."
"Our analysis suggests that the organic compounds are formed through ion-neutral chemical processes, which then give rise to the complex negative ions found by the ELS," Waite added.
Seeing Titan's Seas
The Earth's Hazy Past
Titan's Winter Storm
Titanic Smog
Titan versus Earth
New Models Suggest Titan Lakes Are Explosion Craters
NASA's Dragonfly Will Fly Around Titan Looking for Origins, Signs…
The Habitability of Titan and its Ocean
'Titans in a jar' could answer key questions ahead of…
Publication of press-releases or other out-sourced content does not signify endorsement or affiliation of any kind.
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Based on a Southwest Research Institute news release.


I wish to use the percentage earned on each assignment and not the total points when calculating total score.
(90 + 50 + 25 + 75 + 20)/(100 + 50 + 75 + 100 + 20) = 260/345 = 75.36%.
(90/100 + 50/50 + 25/75 + 75/100 + 20/20)/5 = 3.98/5 = 79.67%.
As can be seen, the two schemes for calculating totals arrive at two significantly different values. Unfortunately, I can not seem to figure out how to have canvas use my desired approach to calculating total scores without having originally had scores entered in as percentages in the first place.
Obviously, this difference leads to confusion on the student's part when they are trying to calculate their final grade in the class. Canvas has one score while my calculated final score can be significantly different from what is posted on Canvas.
Dustin, unfortunately right now in Canvas there is no way to calculate grades based on the way you'd like them to be done. There is a feature idea that is similar to what you are wanting - Assignments within weighted groups treated with equal value regardless of points. My recommendation is to vote and comment on this and why this would be helpful/useful for you.
Dustin, as you've discovered, the Canvas Gradebook calculates assignment grades on the basis of points for each assignment. Even if you choose to display the grade as a percentage, the calculation within the assignment group will be based on the points possible for each assignment. If you want to have assignments--and quizzes--equally weighted within their respective assignment groups, each assignment or quiz needs to be worth the same number of points (I always make mine worth 100 points so they mimic percentages).
Your interim alternative, now that we're approaching the end of the semester, is to place each assignment in its own weighted assignment group, each contributing the same percentage to the total.
A popular feature idea for the ability to assign weights to assignments within assignment groups is still open for voting and is in the Product Radar stage: Assignments within weighted groups treated with equal value regardless of points And, you might want to have a look at the Gradebook improvements that are in the works. Here's the link to the video from the InstructureCon 2016 presentation: Gradebook Futures: Kill All the Clicks!
Dustin, Kona Jones beat me to it! She's more concise; I tend to get long-winded about these things. But we arrived at the same end-point, namely: give your feedback and vote to the feature idea.


The Confucius Institute at USM is now helping Maine high school students with an interest in China and basic Chinese proficiency attend a summer camp in China through the Chinese Bridge program.
The Chinese Bridge Summer Camp for Secondary School Students is an annual Chinese language and culture experience sponsored by Hanban with the cooperation of the Confucius Institutes around the world. The program aims at enhancing Sino-foreign youth exchanges, deepening secondary school students' understanding of and personal experience with Chinese language and culture, and stimulating their passion for learning Chinese.
The trip is typically held in mid-late July, and provides students with Chinese language classes as well as a visit to the Cultural Experience Center housed at Confucius Institute Headquarters. Students will also engage with Chinese society through exchanges with Chinese students, home-stay experiences, and sightseeing. The trip will begin and end in Beijing, the capital of China, and will include visits to the Great Wall, the Forbidden City, and Tiananmen Square. Between the welcoming and send-off ceremonies in Beijing, students will travel to a second city in China, selected by the group.
There will be one chaperone accompanying every 10 students. Chaperones will be experienced teaching K-12 students, and at least one of them will be proficient in Chinese and have familiarity with China and Chinese culture. Click here for more information on chaperones, or if you are interested in being a chaperone.
High school students who are US citizens in good health between the ages of 14 and 18 are eligible for the summer camp. Additionally, they must possess a basic level of Chinese proficiency (less than 3 years of instruction). There must be at least 15 students participating in order for the trip to happen.
While in China, all food, lodging, domestic transportation, and group activities will be covered for all students and chaperones. Participants may be housed in hotels or local school dormitories.
The above cost does not include a passport fee for students who do not have a valid passport. Some extra spending money for China is also recommended.
Interested students should submit their names and contact information to the Confucius Institute at usm.confucius@maine.edu.
Applications are accepted all year round, but the cutoff for the current year's trip is February 15th. Schools with several interested students may also apply as a group. Applicants who are registered Confucius Institute students will have priority if there are more than 20 applicants.
After the deadline, the Confucius Institute will contact all interested students with details on how to apply. The application process will include submission of an application form, application letter, letter of recommendation from the school or a teacher, and a $300.00 non-refundable deposit, which will be applied to the total cost. Deposits will be returned if the student is not admitted into the program.


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British Airways to Sell Art Collection to Raise Funds Amid Virus Impact
July 14, 2020 by Angelica Villa
Installation view of Bridget Riley's Cool Edge. Artwise 2011.
On Tuesday, Sotheby's announced it will auction a group of works consigned from the collection of strapped airline British Airways. The collection sale, comprising paintings and prints, is meant to raise funds in excess of $1 million (€878,000).
In a statement, Sotheby's confirmed that 17 works will be offered across two auctions expected together to net between £920,000 (€1 million) to £1.4 million.
The highest estimated lot of those on offer is a striped abstract painting by British artist Bridget Riley, from 1982, titled Cool Edge. The work is expected to fetch £800,000 to £1.2 million. The works will go up for sale on July 28 in Sotheby's multi-category London evening sale alongside masterworks by Rembrandt, Matisse, Francis Bacon, and Gerhard Richter. The remaining lots will be offered to bidders in an online auction scheduled to take place July 20–30.
The company is liquidating a portion of its art holdings in the wake of a crisis for global carriers amid the Covid-19 pandemic that has halted international and domestic travel. According to the International Air Transport Association's May report, the sector is expecting a total annual loss of $84 billion.
The sale also marks the first major corporate collection to come to the secondary market as the fight to quell the economic impact of the global pandemic continues. As offices remain closed throughout the U.S. and abroad, and industry-leading businesses reevaluate overhead costs—corporate art holdings are a prime target for the resale market in securing upcoming consignments.
The airline's collection was amassed by curatorial firm Artwise over a period of 12 years. According to the firm's website, the carrier's collection comprises more than 1,500 works representing a host of artists including Chris Ofili, Janet Cardiff, Anish Kapoor, Donald Judd, Berndt and Hilla Becher, and Tracey Emin.
Included in the auction along with Riley's are works by British contemporary staples such as George Shaw, and editions by Damien Hirst, Marc Quinn, Julian Opie, and Peter Doig.
More from Art Market Monitor
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About Angelica Villa
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Keith Haring's 1989 Retrospect Comes to Sotheby's London Prints Sale
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Tracey Emin Neon Lights Up Sotheby's 'Contemporary Showcase' Pop-Up
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We would like to share our success with you and use our expertise to help your organization achieve its recruitment goals.


SPONSORSHIP - We are providing sponsorship and a donation for the raffle at Circa Nocturna. So make sure you get your ticket to Australia's premier alternative fashion show that brings glamour and the avant-garde to Melbourne on Saturday March 12th, 2011. For more information on how to purchase your ticket visit here: Circa Nocturna 2011.
We also sponsor Whiplash 'Australia's Newest Alternative Club... with a Difference.' Whiplash is currently running a competition for the NEW face of Whiplash, if you would like to apply or vote simply visit the following link: www.facebook.com/deadsetspromotions.
Head down to VAMP on the 5th March 2011, here you'll find Melbourne's finest alternative lady DJs pumping all your favorite rock, goth, indie, electro, alt.pop, punk and retro. Special prizes include a voucher from us and drink specials PLUS a special guest performance from the uber-talented Miss Nic, for more information on the event check out the VAMP 05|03|11 event page.
We always appreciate your feedback, if you would like to help improve the site and service please fill out the Neo-Geisha X Customer Satisfaction Survey or if you would like to review the service you recieved please head to our Facebook page. This will help us make any further improvements that need to be made.
POSTAGE - Cheap postage rates within Australia & Internationally, more information can be viewed HERE!


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words published
Illegitimately yours, Michael and Me
The story of two siblings, two 'illegitimate' children bonded with love, ambiguous origins and a destiny determined to keep them apart.
Author Catherine Taylor takes time out from writing erotic fiction to relate her true-life story of growing up as an adopted child with her foster brother Michael. This often harrowing tale reveals their lives in the sixties and seventies, and through to Mother's Day 1985 when Michael suddenly becomes a 'missing person.'
In 2017, Catherine set out to resolve the facts surrounding her adoption by taking a DNA test. The results are not what she expects. An ambitious undertaking follows using genealogy records, DNA-matched relatives and the construction of a family tree of over three thousand people. As pieces began to fall into place, her search takes an unexpected turn.
While seeking an elusive parent, Catherine is vastly unprepared to receive news of Michael. The closed door of an unsolved mystery is suddenly thrown wide open and Catherine is faced with the aftermath affecting many more lives than her own.
Mrs Terrell's Letters
The Master Files
We first met Dylan Tyler in A Line Crossed, the second book of THE LINE TRILOGY
He returned in A LINE DRAWN
Now by reader demand, his story is revealed in...
Book Two of THE MASTER FILES
Book 3 of THE MASTER FILES
For nineteen years, Dylan Tyler hid within his empire of sex, wealth and power, Master to those who served him, but when he became exposed to the world, a Pandora's Box was opened. Now he has nowhere to hide, but for the woman he loves, Dylan is prepared to give it all up if only the past will release him.
Nineteen years ago, Lena Petrenko fell in love with a cage fighter who claimed her as a trophy. When he walked away, she was left with just a memory to sustain a broken heart. Now he wants to marry her, but Lena fears she isn't enough for the person he's become. Her daughter is opposed to her union with a man considered controlling and dangerous.
Before they can say 'until death we do part,' Dylan and Lena must overcome every obstacle which threatens to tear them asunder. Earning the respect of Lena's daughter is only one bridge they will have to cross. A sadistic serial killer has emerged from his past and left Dylan a gruesome calling card. For all his understanding of the opposite sex, he's about to learn, Hell hath no fury like a woman abused
The Line Trilogy


National Geographic Endeavour is based in Galapagos year-round; a luxurious change for a hard-working expedition ship that used to cut through ice at both poles.
An expansive ship, and a graceful one for an expedition ship, the Endeavour enjoys extensive open deck space, ideal for whale watching and sunset cocktails, and a capacious lounge for convivial gatherings. Life onboard is informal, fun and endlessly interesting, with lectures and photography talks, and visits to the ship's bridge encouraged. A small swimming pool on the aft deck is perfect for cooling off, and of course the beautiful deep blue provides plenty of scope for snorkelling.
At some stop off points, a floating glass-bottom platform is anchored for the ultimate combination of a massage while viewing calming underwater life, which sums up what the Endeavour delivers so well, a fine balance between adventure and comfort. And of course, as the Endeavour is equipped with all the necessary tools for close-up exploration, including Zodiac landing craft and kayaks, guests can enjoy getting as close as possible to the island habitats and inhabitants from blue-footed boobies to sea lions and giant tortoises.
The dining room is big enough to allow for a single seating of all guests, with many tables accommodating an odd number of people, so mingling is easy if desired, and expedition leaders, naturalists and speakers join guests for meals. Breakfast is served buffet-style, with hot dishes made to order. Lunch is often a buffet too, and a light version is served on deck, where the occasional evening barbeque is also held. Meals often reflect the local region, and are based on fresh ingredients sourced from sustainable suppliers whenever possible.
Cocktail hour in the lounge takes place at the same time as the daily Recap, when naturalists and expedition leaders take questions about the day's events and share plans for the next day. This is also where lectures, guest speaker presentations and photography talks are held – a photographer from National Geographic is usually present on all cruises.
Relaxing massages and body treatments are available in the LEXSpa, and there is a small pool on deck. A fitness centre provides a range of exercise equipment as well as a sauna.
A fleet of zodiacs, kayaks and a glass-bottom boat provide multiple options for exploring. Guests are fitted with wetsuits and snorkelling gear on the first day of an expedition, for use for the duration of the cruise.


The Study Lounge is located right in the middle of St Lucia, one of Brisbane's loveliest suburbs.
There's no doubt, the biggest drawcard of The Study Lounge is our proximity to UQ – we're just 850 metres away!
The Study Lounge has a bus stop 50 metres from the front door (Stop 19). From there, you can hop onto the Route 412 bus to get to Toowong Village shopping centre, Brisbane city and Southbank. Buses run continuously through St Lucia and its surrounding neighbourhoods.


For Mount Morgan year 12 student Zandalee Anderson, July 2 2011 will be remembered as the evening when she was crowned Rockhampton's 2011 Miss NAIDOC. The first Mount Morgan resident to win the Miss NAIDOC title, Zandalee was crowned in front of a 450-strong crowd at the 2011 NAIDOC Ball held at the Rockhampton show grounds.
No stranger to the spotlight, at the age of 12 she performed in front of 30,000 people during the Down Under Spirit Dance and Cheerleading competition on the Gold Coast.
In the sporting arena Zandalee was selected to represent Central Queensland at the 2007 Secondary School Athletics Track and Field State Championships.
She represented Rockhampton at the 2009 state netball championships and in the same year was awarded Runaways Netball Club's Junior Netballer of the Year.
In February 2011, Zandalee was selected to perform in an upcoming National Indigenous Television (NITV) program called Move it Mob Style.
The program's director, crew and choreographer were so impressed with Zandalee's talent that they elected to stay with the teen's own choreography for two out of four dance routines.
The NITV Group is travelling across 18 communities within regional Australia to discover and promote new talent. The program is due to air on NITV, Foxtel, and possibly the ABC, towards the end of 2011.
Zandalee works part-time in clothing store Supre and is also called upon by youth workers to MC local dance competitions and Blue Light Discos in the Rockhampton area.
Zandalee is passionate about her love of dance and hopes to follow in the footsteps of her Uncle, Vivian Anderson. Vivian is a graduate of NAISDA in Sydney and has worked and travelled around the world.
After graduating from high school, Zandalee hopes to pursue her dream of dancing while travelling the world with an Australian-based company.


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Black & White 2 és la segona entrega de Black & White, un videojoc d'estratègia en temps real realitzat per Lionhead Studios i publicat per Electronic Arts. Va sortir a l'agost de 2005.

Objectiu del joc
La característica principal de Black & White 2 és que el jugador pot jugar a ser Déu. El joc comença en una illa, on el jugador pot controlar una civilització i el seu entorn. Per a fer-ho, cal situar els ciutadans en el lloc adequat perquè facin una acció: construir edificis, atacar als enemics, recol·lectar recursos... O moure els objectes de l'entorn, arrencar arbres, roques, llançar o trencar...

Si el jugador ajuda als ciutadans, sumarà punts de bondat i es convertirà en un déu bondadós amb molts seguidors, les accions contràries convertiran al jugador en un déu malvat.

La criatura
La criatura és una mascota que tria el jugador abans de començar la partida, i que va creixent durant la partida. Es pot escollir entre: el mico, el lleó, el llop o la vaca.

El jugador pot educar i interaccionar amb la criatura durant la partida, i aquesta es comportarà segons els ensenyaments rebuts, ajudant o atemoritzant els habitants.

Enllaços externs
 Pàgina oficial en diversos idiomes
 Pàgina oficial en anglès

Videojocs d'estratègia en temps real
Videojocs d'Electronic Arts


Authentication services, including format, creation and storage in the Directory and use of authentication information by applications. Simple authentication (password protected) and strong authentication (encrypted) are described.
The Directory makes use of both Public-key and Attribute Certificates and provides a framework for their use. Extensible specifications and a set of standard extensions schema are provided for: issuing, managing, using and revoking these certificates.
Corrected by Corrigenda ISO/IEC 9594-8: 2005. Full text available for purchase from ISO.
The website of the X.500 Directory standard explains how the whole X.500 family of standards work together.