Took advantage of a gloomy rainy day to put the finishing touches on a Sd.Kfz. 251/1 Ausf. C for my Afrika Korps. This is the Warlord plastic kit that I received for my birthday a few years ago. Markings are from Archer and Warlord.
A few weeks ago we started our Mediterranean Bolt Action League at Huzzah. Instead of being smart and playing Americans, an army I can field with zero work, I decided to run DAK, an army I hadn't even started.
Here are the first group of vehicles I completed. A motorcycle/sidecar combo from Warlord, a Panzer III from Rubicon and Rommel's 250/3 Greif from Perry. The markings on the 250/3 are from Company B.
Last weekend I put the finishing touches on this die-cast German Staff Car that had been sitting around for several months in a partially finished state. It was a toy that I bought years ago when Walmart was carrying a small line of 1/48 WWII vehicles. It may be from 21st Century Toys.
I unscrewed the body from the chassis, removed the clear plastic windows, and gave it a fresh paint job as it was gray with green camouflage. I then added some new markings from Archer and Peddinghaus, and finished it of with Vallejo Premium Matt Varnish.
Last weekend also saw me sneak in another session of The Game of Kings – Chain of Command. The German support list has a nifty 4 man recon group with a 250. I wanted to field it, but didn't have a 250 that I was particularly fond of. I did however have a 250 Neu from Blitzkrieg that was unfinished. In record turn-around time (for me) I finished this thing in about two hours, not counting drying time. Markings are from Rubicon and Archer.
This month my FLGS is starting an Eastern Front campaign for Bolt Action. I decided to loosely base my force on the 7th SS Volunteer Mountain Division Prinz Eugen. Most of the vehicles in their OOB were repurposed captured equipment, so I chose an FAI Russian armored car and a Flammpanzer B2(f) – a converted French Char B1 bis – for my list. Both of these kits are from Warlord.
So this is a decent way to wrap up the year – I now have no unpainted 28mm US infantry, crew, guns or vehicles. That doesn't mean I'm actually finished. I'd like to add in some additional vehicles, but it's still a good personal milestone. Here's the tally: 2 guns, 9 vehicles, 180 infantry/crew.


text:
package ru.otus.l71.creational.singleton;

/**
 * Created by tully.
 * <p>
 * Singleton pattern
 */
public class Singleton {
    private static Singleton singleton;
    private String message;

    private Singleton() {
    }

    public static Singleton instance() {
        if (singleton == null) {
            singleton = new Singleton();
        }
        return singleton;
    }

    public String getMessage() {
        return message;
    }

    public void setMessage(String message) {
        this.message = message;
    }
}

redpajama_set_name: RedPajamaGithub


NationWide Solutions is a provider of information technology solutions. We specialise in leading edge technologies with a focus on products and services that offer the best value. We believe that happy clients are loyal clients.
We have a simple philosophy: we treat our clients the way we would like to be treated, and we like being treated well.
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NationWide Solutions is an international network of informed people who love technology, and who enjoy using their knowledge to improve the lives of people around them. Our work is our hobby.


In a walk audit, community members go for a walk together, noting what makes their streets feel comfortable for walking and what's missing. But what to do with this information? In this webinar, we'll hear from community partners in Oregon & Washington who have completed walk audits, and explore next steps for turning their vision into reality.


Find Cat Marking Territory on DealsNow.com. Explore Now! 1000+ Topics. Trending Results.
Check Cat marking territory on AnswerSite.
The song, Head, Shoulders, Knees and Toes just sprang up in my mind.When they rub on things, they are marking, when they paw at things, marking, peeing or pooping-marking. The cat has marking glands on the face, feet, the back of the front legs, the bottom and even the tail.
Continued Treating Urine Marking in Intact Cats. Here are a few things you can do to remedy the urine marking behavior of an intact cat: Neuter or spay your cat Although marking isn't limited to advertisement for a mate, advertisement is one reason that cats mark. Neutering or spaying is a proven treatment for cats who mark as a reproductive advertisement.
Some cats, usually the top cats of the neighbourhood, may also mark the boundaries of their territory with faeces, a behaviour known as middening. Just because our cats now live a pampered life alongside humans, does not exclude them from retaining their primitive feline habits.
Marking may have evolved to minimize contact with other cats. Experts believe that cats developed marking behaviors to minimize contact with other cats, thus enhancing their odds of survival. Marking their territory is their primary means of communicating with other cats and letting them know another cat is in the area.
Dori loves to scratch out imaginary boundaries around her food-and-drink station and sometimes even makes use of nearby objects to help her protect it.


text:
Power Book II: Ghost spoilers: Meet Mary J. Blige's character Monet
Power January 23, 2020
We've waited a really long time to get a good sense of Mary J. Blige's main character on Power Book II: Ghost, and with that, we're excited to share some news now!
According to Entertainment Weekly, Blige is going to be playing the part of Monet on the series. We knew previously that she was incredibly smart and has some connections to the criminal world, but why not check out a few more details as well? She works out of Queens, rules her business with an "iron fist," and also has a daughter named Diana. Here is some of what Power creator / showrunner Courtney Kemp had to say to the aforementioned website:
"Power obviously is a masculine show but has very strong female characters … For Mary's character, we use all the power and presence of the actress to communicate how this is a woman who is remarkable and unique in her abilities. She's as smart, savvy, and strategic as Ghost ever was, but her learning doesn't come from books. We always said Ghost was a bookish kid who read all the time. This woman's acumen comes from the street."
For some additional information on Power in video form, remember to check out some of the latest below! Once you check that out, be sure to subscribe to CarterMatt on YouTube and then also view our show playlist.
Book II is meant to feature some people from the established Power world, but also a number of new characters as well. That will include the already-announced role of an attorney with questionable ethical boundaries, played by Method Man. We feel like there are some other details about Book II that are being kept under wraps until after Power concludes its run in February. We would imagine that Blige is meant to be the primary lead, mostly because this is a show that is meant to have a little bit of a different feel. Yet, a lot of the themes and ideas of the series are still the same. It's still going to be about what happens when people battle their way to the top, and also the complications that can come from defeating others along the way.
Related News – Be sure to get some more news on Power now, including other details on what lies ahead
What do you want to see from Mary J. Blige on Power Book II: Ghost?
Be sure to share right now in the comments! Also, remember here to stick around for some other news. (Photo: Starz.)

redpajama_set_name: RedPajamaCommonCrawl


Today I visited 80 Hertz in Manchester to get four new songs mastered. Yes, I've finished a The Star Fighter Pilot new EP as the fruit of my month off.
The full EP will be out in early March. I want to release it after I've published a story on TNW about human versus automated mastering – are the 'robots' coming for super-niche, skilled jobs yet?
For now, here's a taster. This track is called Bed. I hope you like it. You can listen to my older songs on SoundCloud.


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"We don't have a great record against the Blades and they're in great form at the moment but you never know.
We're lacking in the talent that the other teams have but we use a system that makes us hard to beat and even when we fall behind we stay in games and try and pinch something late on.
"I've a feeling we will not so much be deliberately parking the bus, more not been able to get out of our own half.
"The worst thing we can do is sit back. They play a similar style to us, but clearly have more quality.
"Tough fixture this but as we all know our team are very good at home and dont give in until the whistles gone.
"must admit though we're going to need to play really well to compete.
"Will it be the coldest match so far in the way of temperature? Could be quite tasty on the pitch though.
"I personally can't remember a classic game between the two sides, nothing really stands out.
The league 1 encounter at NYS in 2013/2014 stands out for me because it was the first time I'd seen us beat them in a league match. It is also the game which set our current highest attendance at NYS. Due to segregation it will probably remain the highest for, well, forever. Unless we ever expand the stadium.
It was part of the 'deedar double' that season, after we beat Wednesday in the league cup earlier in the season.
Anyway, they came here, spent most of the first half passing the ball around in their own 18 yard box to show us how superior they were. At some point they went forward and scored a goal. Clumsy Claude Davis was also very lucky not to have conceded at least one penalty.
We went in at half time a goal down having barely had a touch of the ball.
Legend has it that manager Steve Evans actually apologised to his players for getting his tactics all wrong, and sent them back out with some fire in their bellies and sure enough we were a different team in the second half, putting in a proper Rotherham United display of gritty determination coupled with a touch of class here and there. Kieren Agard, almost anonymous up to this point, smashed in an equaliser from somewhere up on Sheffield Road. Clumsy Claude almost gave away a stonewaller (again) at the other end, before we were awarded what I remember being a really soft penalty, one even I wouldn't have given us, which was converted by Daniel Nardiello. Recent world cup hero Harry Maguire was in the Blades lineup that day too.


2019-04-05 an upstream network issue is affecting some nodes in our Zurich, Switzerland PoP.
2019-03-19 We have changed the IP addresses on our US-NY Wireguard PoP.
2019-03-13 03:00 to 04:00 EST Upstream network maintenance may affect connectivity to our New Jersey, NJ PoP.


text:
Leuchtenburg ist ein Ortsteil der Gemeinde Schwanewede im niedersächsischen Landkreis Osterholz. Zum Ortsteil gehört die Ortschaft Holthorst.

Geschichte
In alten Urkunden heißt es, der Ortsteil sei bekannt als "Lichtung auf dem Berg". Gemeint ist der Ortsteil Luchtenborch – heute Leuchtenburg genannt.

Die Besiedlung von Leuchtenburg war im 17. Jahrhundert eng mit der Herrschaft der Herren von der Borch verknüpft, die die sogenannte "Meierpolitik" betrieben und die Entwicklung des Dorfes erheblich förderte. 1677 zählte Leuchtenburg 18 Meier, die hauptsächlich in Werften arbeiteten oder zum Walfang gingen. Sie waren es auch, die die ersten strohgedeckten Fachwerkhäuser bauten. 1762 zählte Leuchtenburg 28 Familien und 1824 waren es bereits 32 Familien. Leuchtenburg war zu dieser Zeit ein Katendorf mit Seefahrerbevölkerung und ohne ein stabiles Bauerntum. Dennoch wurden 1824 acht Bauernschaften in Holthorst vermerkt. Zuvor waren die ersten Unterhörigen und Leibeigenen von ihren Gutsherren abhängig und hatten schwere Dienstleistungen zu erfüllen. Durch das später eingeführte Meierwesen änderten sich die Verhältnisse. In einem Meierbrief wurde festgehalten, dass verfallene Baulichkeiten des Meiers oder der Meierstellen zum Besitz des Gutsherrn werden würden. 1832 folgte das hannoversche Ablösegesetz. Die Meierstellen wurden im Verlauf des Jahrzehntes zu dessen Eigentum. Das Gesetz gilt als Befreiung der Meier und die Zahl der Bevölkerung in Leuchtenburg stieg weiter an.

In den 1960er Jahren hieß es in einem Landschaftsrahmenplan, Leuchtenburg sei die "Erholungslandschaft Bremer Schweiz". Das Ziel, eine eigenständige Gemeinde zu werden, geschah aufgrund der zu niedrigen Einwohnerzahl nie. Am 1. März 1974 wurde der Ortsteil Leuchtenburg zu Schwanewede angeschlossen. Eine Schule gibt es nicht, die Kinder müssen nach Schwanewede zur Schule fahren. Geprägt hat Leuchtenburg die Landwirtschaft, die heute von noch 4 Vollbauern aufrechterhalten wird. Aufgrund der idyllischen, aber auch zentralen Lage gilt Leuchtenburg als attraktive Wohngegend und beliebtes Ausflugsziel für Bremen und Umzu.

Sehenswürdigkeiten

Herrenhaus Leuchtenburg
Der Kaufmann Hermann Gerhard Hegeler errichtete ein prachtvolles Gebäude, nachdem er 1863 einen benachbarten Teil des Hashagenschen Hofes kaufte. Seiner englischen Frau Annie Maria Rhodes zuliebe errichtete er das Gebäude nach dem nordirländischen Lowther Castle. Zu diesen Grundstück gehörten 170 Morgen, in denen Korn, Heu und Kartoffeln lagerten. 1904 brannte dieses Gebäude ab. 1865 ließ Hegeler den Gemeindeweg, der zwischen seinem Haus und seinem Teich verlief, verlegen. Der Gemeinderat genehmigte das Vorhaben im April 1865. 1873 verstarb Hermann Hegeler im Alter von 48 Jahren. Seine Frau heiratete Oskar Lenz, den Privatsekretär ihres Mannes. Sie verstarb jedoch 1877 auf der Hochzeitsreise im Alter von 39 Jahren. Lenz bewirtschaftete nun das Anwesen, wodurch es seinen Namen des "weit leuchtenden Lenz´sche Landgut" erhielt. 1905 ging das Anwesen in den Besitz der Familie Albrecht. Erster Besitzer der Familie war Friedrich Carl. Danach gehörte es dem Arzt Dr. Carl Albrecht und nach dessen Tod fiel es in den Besitz seines Sohnes Carl, dem Bruder des ehemaligen niedersächsischen Ministerpräsidenten Ernst Albrecht.

1971 kaufte die Deutsche Lufthansa das Gebäude und brachte dort die Flugschüler für die Pilotenausbildung unter. Heutiger Besitzer des Parks von ca. 19000m² ist Werner Wienberg, der das Herrenhaus für Veranstaltungen wie Hochzeiten, Weihnachtsfeiern oder Workshops zur Verfügung stellt. Dennoch hat das Objekt die Atmosphäre aus Mitte des 19. Jahrhunderts. Fließen, Tapeten und Dekoration sind aus alten Zeiten erhalten geblieben und schaffen einen atemberaubenden Anblick.

Denkmal
Das Denkmal steht auf dem Grundstück der Freiwilligen Feuerwehr und ist zum Gedenken der Kriegstoten. Auf dem großen Findling, auf dem in der Mitte die Gedenktafel aus Metall angebracht wurde, stehen folgende Inschriften:
1914    1939
1918    1945

DEN KRIEGSTOTEN
DER GEMEINDE
LEUCHTENBURG
ZUM GEDENKEN

UNS ZUR MAHNUNG

Brands Mühle
Am Mühlenweg in Leuchtenburg kann man heute nur noch das Mauerwerk des Sockels der Mühle bestaunen. Früher wurde die Mühle auch "Hahnhorster Mühle" genannt und scheint eine der ältesten in ganz Schwanewede zu sein. Entstanden ist die Mühle zwischen 1808 und 1812. Früher gehörten auch eine kleine Backstube und eine Gastwirtschaft zum Bild der Mühle. Der Besitzer Johann Hinrich Brand starb 1908 als er die Mühlenflügel in den Wind drehen wollte und dabei von der Galerie fiel. Sein Sohn musste die Mühle 1924 wegen Unrentabilität stilllegen, obwohl die Mühle nicht mehr ausschließlich mit Wind, sondern mit einem Motor betrieben wurde. 1935 brannte dann der obere Teil der Mühle wegen eines Blitzeinschlages ab. Nach dem Tod von Johann Brand übernahm dessen Sohn und späterer Vater von Karl Gerd Brand, dem heutigen Ortsbürgermeister von Leuchtenburg, den Hof. Heute dient Brands Mühle als Lager- und Geräteschuppen.

Gastronomie

Waldgaststätte Brunnenhof
1949 kaufte Friedrich Flemke das alte Bauernhaus und nutze es zuerst als Hühnerfarm. Der gelernte Bäcker und Schlachter eröffnete zwei Jahre später den Gasthof "Brunnenhof" und bewirtete seine Gäste mit Produkten aus eigener Schlachtung. Aus persönlichem Interesse entstand auf demselben Grundstück ein Kleintierzoo. Affen, Waschbären, Greifvögel und Ziegen waren eine große Attraktion. Friedrich Flemke starb 1972 und hinterließ seinem Sohn die Gaststätte. 1974 erweiterte sich das Gasthaus mit einem großen Saal und einer Kegelbahn. Der Zoo musste für dieses Vorhaben weichen. Bis heute kann man in der Waldgaststätte Brunnenhof leckere Hausmannskost genießen.

Bruns Garten
Bruns Sommergarten entwickelte sich von der Ausschenkwirtschaft zum Ausflugslokal, sodass viele Feste und Bälle dort veranstaltet wurden. 1798 heiratete Hinrich Bruns seine Frau Katharina Bätjer und erwarb 1857 die Konzession zum Ausschank. Um den Zoll zu sparen, so heißt es, soll Hinrich Bruns persönlich bis nach Vegesack gelaufen sein, um Bier und andere Getränke für die Gaststätte einzukaufen. 1862 ließ er eine Kegelbahn und 1886 einen Saal mit einer damals noch offenen Veranda errichten. Der Hof wurde später bis in die vierte Generation weitergegeben. Heute ist das schöne Bauernhaus noch als ein gemütliches Café hergerichtet worden, ist aber nicht mehr im Besitz der Familie Bruns.

Politik

Ortsrat
Der Ortsrat, der den Ortsteil Leuchtenburg vertritt, setzt sich aus sieben Mitgliedern zusammen. Die Ratsmitglieder werden durch eine Kommunalwahl für jeweils fünf Jahre gewählt.

Bei der Kommunalwahl 2021 ergab sich folgende Sitzverteilung:

Ortsbürgermeister
Von 1936 bis 1964 war Hermann Krudop aus Holthorst der Bürgermeister der Gemeinde Leuchtenburg. 1964 löste ihn Werner Dreesen ab und war bis 1976 im Amt des Bürgermeisters tätig. Seitdem ist Karl Gerd Brand Ortsbürgermeister von Leuchtenburg. Der stellvertretende Ortsbürgermeister ist Arendt Voller.

Geografie
Die Ortschaft liegt südöstlich des Kernbereichs von Schwanewede direkt an der südlich verlaufenden Landesgrenze zu Bremen. Im östlichen Bereich fließt die Schönebecker Aue. Die in die Weser mündende Lesum fließt südlich.

Verkehr
Leuchtenburg liegt zwischen der nördlich verlaufenden Bundesautobahn 27 und der Bundesautobahn 270.

Zugverbindung
Die NordWestBahn fährt vom Hauptbahnhof Bremen nach Farge und Vegesack und hält auf dem Weg unter anderem am Bahnhof Bremen Lesum, St. Magnus und Schönebeck. Diese drei Haltestationen sind dem Ortsteil Leuchtenburg am nächsten und mit dem Auto oder mit dem Fahrrad gut zu erreichen.

Busverbindung
Das Busliniennetz in der Gemeinde wird vom Verkehrsverbund Bremen/Niedersachsen (VBN) betrieben. Anbindungen bestehen in die Kreisstadt Osterholz-Scharmbeck und nach Bremen-Nord.

Literatur
 LEUCHTENBURG. Villa Hegeler-Albrecht. In: Georg Dehio: Handbuch der Deutschen Kunstdenkmäler. Bremen Niedersachsen. Deutscher Kunstverlag, München / Berlin 1992, ISBN 3-422-03022-0, Seite 846

Weblinks
 Leuchtenburg auf der Website der Gemeinde Schwanewede

Einzelnachweise

Ort im Landkreis Osterholz
Geographie (Schwanewede)
Ehemalige Gemeinde (Landkreis Osterholz)
Gemeindeauflösung 1974

redpajama_set_name: RedPajamaWikipedia


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There are currently 10 countries with blue, red and yellow national flags: Armenia, Chad, Colombia, Congo DR, Mongolia, Romania, Andorra, Equador and Moldova.
There are currently 12 countries with blue and white national flags: Finland, Greece, Honduras, Israel, Micronesia, Somalia, Argentina, El Salvador, Guatemala, Nicaragua, San Marino and Uruguay
There are currently 3 countries with green and white national flags: Nigeria, Pakistan and Saudi Arabia.
18 countries with red and white flags (Colors, Symbols, Facts)
There are currently 18 countries with red and white national flags: Austria, Indonesia, Latvia, Peru, Monaco, Malta, Poland, Singapore, Canada, Denmark, Bahrain, Georgia, Japan Switzerland, Tonga, Tunisia, Turkey and Qatar.
16 Countries With Green Yellow Red Flags
There are currently 16 nations worldwide being represented by flags embodying green, yellow and orange: Ethiopia, Mali, Senegal, Lithuania, Benin, Togo, Guinea, Cameroon, Ghana, Guinea-Bissau, Burkina Faso, Sao Tome and Príncipe, Republic of the Congo, Bolivia, Myanmar, and Saint Kitts and Nevis.
Latvian flag vs Austrian flag
The Latvian and the Austrian flags are among the oldest flags in the world. At the same time, their designs look very similar, to the point that, for some, they are indistinguishable. But what lies beneath those similar patterns?
Romanian flag vs Chad flag
Even for a seasoned vexillologist, the flags of Romania (a country in Central / Southeastern Europe) and Chad (a landlocked country in Central Africa) can prove to be a particularly irksome pair to distinguish. So, let's examine these extremely similar flags and delve into their subtle differences while also bringing to light some really intriguing facts which contributed to their practically identical looks.
Indonesia flag vs Monaco flag
Going through the list of countries with extremely similar flag colors and configurations, one can come across a seemingly bizarre duo: the flags of Indonesia, the largest country in Southeast Asia, with more than 270 million people as well as 6,000 inhabited islands, and Monaco, a small sovereign city state located on the French Riviera in Europe. Anyway, let's dig into the flags' similarities, the differences as well as their historical background.
Jordan flag vs Palestine flag
The flags of Jordan and Palestine have been a source of confusion for many flag aficionados, let alone the mere observer. But why do those flags look alike, what do they stand for and how can someone distinguish them?
Australian flag vs New Zealand's flag
Being in close proximity, the nations of Australia and New Zealand also seem to be using identical flags: both banners have the British Union Jack and the Southern Cross constellation displayed in the canton and on the hoist side respectively. Yet, closer inspection does reveal significant differences. Let's have a more thorough look at them.
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Middle Eastern Countries' Flags
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text:
Serenity Now: Beach Seclusion Off Cambodia's Southern Coast
Words by Kristi Eaton
I was in need of a digital detox (aren't we all nowadays?), but instead of heading to a swanky resort that simply locked my phone away for the duration of the stay, I headed to an undeveloped island off the southern coast of Cambodia.
Koh Rong island has lush jungle and unspoiled white-sand beaches – but no roads. It takes about an hour to get there by high-speed ferry from Cambodia's southern beach town of Sihanoukville.
Once docked, I bypassed the throng of backpacker-friendly hostels known for cheap dining and wild parties to celebrate full moons, and headed to a secluded resort called Pura Vita. Hotel staff welcomed me at the dock, where I joined an older French couple in hopping in a rickety fishing boat to make the 15-minute journey to Sonaya Beach.
While the term resort might suggest luxury, this one, while restorative, was pretty simple. Made up of about 20 bungalows, it was so remote that electricity was only available by generator for four hours each night. And forget about logging on to Facebook, Instagram or Twitter. Internet access was virtually non-existent in this off-the-beaten-path locale.
Instead, I spent my days lazily eating breakfast at the onsite restaurant before walking the few feet to the pristine white-sand beach and crystal-clear water. I'd dip in and out of the water and stroll along the stretch of land before taking a late afternoon nap or spend hours reading a book as the waves splashed before me.
Diving and snorkelling as well as jungle trekking is available for visitors looking for an adrenaline rush.
A full moon party one night along the rows of hostels near the island's pier interrupted my quiet retreat – even from miles away – but otherwise the resort offered the tranquillity I needed.
It's "Thailand 30 years ago," Pura Vita owner Vanny Ea said of her isolated oasis. The resort has slowly grown over the years from just one bungalow and restaurant, but Ea said she wants to make sure both the resort and the island remains a calm and serene experience for her guests.
But word is getting out. Local media reported in February that American reality show "Survivor" is filming future seasons on the island.
Koh Rong, Cambodia: About one hour via high-speed ferry from Sihanoukville. Sihanoukville is about a five-hour bus ride or three-hour taxi ride from Cambodia's capital of Phnom Penh. Pura Vita is an isolated resort located on Koh Rong's southeast coast.
Pura Vita resort: Bungalows run approximately $65 to $75 ($93 - $108 AUD) per night and include breakfast.
Copyright (2015) Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
This article was written by Kristi Eaton from The Associated Press and was legally licensed through the NewsCred publisher network.
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Andre van der Kerkhoff: Dancing with Dragonflies
by Diane Root
Andre van der Kerkhoff can rightly be described as an agent of change. Short of taking up residence on another planet, he has changed just about everything one person can: his name (from Heinz Krautberger); his country (from his native Austria to his present home in Australia); his professions: (from graphic artist/set designer to bonsai cultivator; from writer/poet to photographer to painter); and from styles to subject matter. He is nothing, if not versatile. He is also a self-taught artist—no thanks to a dismissive and disapproving father. He had his first "real" exhibition at age 14. Clearly, he was not one to follow the beaten path, and he still doesn't. "I always have rebelled against norms, and I was easily bored by uninspired teaching formulas," he says. "I think I have always created work that is my own, containing references interpreted by my search for something new."
This man on the move with a chameleon-like life is endowed with a porous personality able to absorb, adapt and recreate the world around him, sharply observed and keenly felt. His poetic/prose/photographic portrayals of New York City, during which he roomed at the Carlton Arms, a hotel located in the city's then grungy, ungentrified Lower East Side, is a case in point. (It still exists, now adorned by van der Kerkhoff's murals.) It is also where he launched into taking a big bite out of the Big Apple.
His camera depicted the city without a glimmer of glitz or glamour. Van der Kerkhoff is fresh out of city slickers, debutante damsels or Chanel-clad courtesans of the upper crust. It is dressed down to the nitty-gritty of its streets and its darker denizens, unvarnished portraits populated by the fringes of a society from which we often avert our gaze. His moon shone on the misbegotten, the wayward and the woebegone, the forlorn and the godforsaken. If there is a cutting edge of veracity, it is not without compassion illuminated by a silvery sheen.
His photographic works are streetwise, peopled by the likes of pin-ups and prostitutes, flashers and fast-moving passers-by, seemingly insensate and oblivious to the surreal of the city, the solitary figure, and the erotically charged– from bimbos to buildings, from femmes fatales to faceted façades–a devastating picture of the stricken post-September 11th city in a striking social commentary.
Don't just look, he told us, see. He is still telling us that. His surroundings permeate him as readily as rain beneath his peripatetic feet. His latest move to Australia, where he has resided since 1986, has spawned his latest permutation after a ten-year hiatus during which he cultivated bonsai trees. "Sometimes," he says, "one needs time out…the art of bonsai is a great occupation to find peace and ideas for an artistic renewal. I am a funny man. I can't do two things at once: when I write, I can't paint; when I paint, I don't bonsai; when I bonsai, I don't write."
"Where Dragonflies Tango"
He returned to art with an astonishing vigor; 95 paintings created in eleven months is no small feat. "I just painted and painted and painted until my studio was full to the breaking point." Ranging in sizes from 24″x24″ to 70″x70″, they often layer mixed media on Belgian linen– oil, acrylic, inks and enamel—sometimes up to seven options on the same canvas.
Enter aboriginal art, stage right. Despite not exploring it and having had only a minimal contact via art galleries or art magazines, as he professes, it must have left an impression upon him, however subconsciously or unintentional. "When I did this series, 'Where Dragonflies Tango,' I didn't set out to produce anything aboriginal…. I do my art," he explains, "and unconsciously it contains a spiritual language that is visually linked to the Indigenous Interpretation of this Continent's Landscape. Aboriginal people might feel a connection within my visual expression, but would not call it Aboriginal painting….It isn't traditional or native art!"
That said, aboriginal art does appear to be a fertile ground upon which van der Kerkhoff has sown his cerebral seed, weaving a tapestry all his own—a homage of sorts–an echo of a culture not his, but now internalized.
The dragonfly and the butterfly are among the myriad of shapes that conjure up insects, turtles, lizards and snakes, flight paths and trajectories; floral-type patterns recall the woven millefeuilles backgrounds of medieval wall hangings; circles string coiled pearls in a nebula of another universe.
There is a mystery encased in these images–a hidden tale told in still another poetic language tinted by other landscapes. Landscapes he has made uniquely his own, rendered in earth tones, a "palette [that] reflects the pigments of the Australian Continent," he writes.
A quasi-musicality and a rhythm inhabit these latest works, a near- repetitive refrain, somewhat reminiscent of some "outsider art." But van der Kerkhof is no outsider. His is a reconstruction of an Australian fabric emanating from a melody within, heard by a stranger in a strange land. He is a stranger no longer.
"It would be rather strange," he states, "to live in one of Earth's oldest landscapes and not be interested in it and its unexplainable power and magic. There is a culture present, which has understood this landscape for thousands of years and become one of the most remarkable interpreters of it….For me landscape is life, and I try to find a compromise between the two different landscapes which have so far dominated my life." In so doing, he has enriched and embellished our own landscapes, with a perspective that we had not suspected, through a window we did not know was there.
Like many who wrote about him, the word "dream" is one that recurs, even when he describes himself—a wanderer with "half a globe between dreams." Dreams are the seams, it would seem—beautiful veins on the leaves of a life well lived, tracing the artist, resurrected and reinvented.
A man of many voices, he has created a magical mosaic–an inner territory crafted from multiple far-flung "landscapes" where we wander and where we, too, are drawn to dream. For someone adverse to the all-but-sacrosanct Artist's Statement, Andre van der Kerkhoff is nonetheless outspoken. His art is his statement. For once, words, other than his own, seem almost superfluous.
He may be half a globe away from some of us, but Art, thank God, knows no distance. —Diane Root
"Voyage Through My Window" is a survey of Andre van der Kerkhoff's journey through the Australian Landscape from 1997 to 2017. The exhibition is brought to you by the CARPORT CAFE GALLERY and SMART ART BASTARTZ. Opens September 9, 2017. http://www.andrevanderkerkhoff.com
Uncategorized • Visual Arts
Hear Me Roar: Women Photographers at Lehigh
by Linda Ganus Albulescu
Profiles • Uncategorized
Remembering Peter G. Pereira (1962-2021)
by Jeannie McCormack
In Memory of Neil Zukerman (1939-2021)
Calendar Competition • Uncategorized


Sclater (1857) was the first one to give concepts of zoogeography and divided the continental masses into six Realms based on his studies on the bird fauna under two Creatio or centres of Creation, namely, Palaeogeana (Old world) and Neogeana (New world).
INDIAN (Middle Paleotropic). Tropical Asia.
AUSTRALIAN 9East Paleotropic). Australia, New Guinea, Tasmania.
Realms NEARCTIC (North America). Greenland, North America up to Mexico.
NEOTROPICAL (South America). South America south of Mexico.
ARCTOGEA (Rest of the Word).
A.R.Wallace (1876), who is considered father of modern zoogeography agreed with Sclater's classification but proposed the name ORIENTAL instead of INDIAN and AFRICAN instead of ETHIOPIAN regions because the earlier names represented countries and not the zoogeographical regions.
The widely accepted modern classification of land masses into regions is given below which is based on Wallace (1876) and Darlington (1957).
1. Region PALEARCTIC (Europe, Russia, Mediterranean).
2. NEARCTIC (North America up to the middle of Mexico).
3. AFRICAN (=ETHIOPIAN) (Africa south of Sahara).
4. ORIENTAL (Tropical Asia south of 30o latitude).
5. Region NEOTROPICAL (South America, tropical Mexico and Caribbean Islands).
6. Region AUSTRALIAN (Australia, Tasmania, New Guinea and New Zealand).


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Artworks Collected by Governor Rockefeller's Son En Route to New York
Jan. 30, 1962 - Objects of primitive art collected by Michael Rockefeller (pictured center) before he was lost off the southern coast of New Guinea are en route to New York for exhibition. The collection consists of about 400 items — spears, shields, drums, spirit masks, paddles, and bowls. All the pieces are intricately carved wood. Dr. Rene Wassing, the Dutch anthropologist who was the last man to see the 23-year-old son of New York's Governor Rockefeller alive, said he considered the quality of the jungle collection very high. Mr. Rockefeller and Dr. Wassing had been out on an expedition in the south of Dutch New Guinea when their native boat capsized in the mouth of the Eilanden River Nov. 18. Dr. Wassing clung to the overturned craft and was rescued. Mr. Rockefeller set out swimming for shore and was never seen again.
#art #death #newguinea #primitiveart
© 2022 by Joe Rubenstein


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package net.loomchild.maligna.filter.meta;

import java.util.List;

import net.loomchild.maligna.coretypes.Alignment;
import net.loomchild.maligna.filter.Filter;

/**
 * Represents a pipeline consisting of many filters but behaving as single
 * filter.
 * Transforms the input by executing all filters in sequence.
 * Basically implements composite design pattern.
 *
 * @author Jarek Lipski (loomchild)
 */
public class CompositeFilter implements Filter {

	private List<Filter> filterList;

	/**
	 * Creates composite filter.
	 * @param filterList filter list; filters will be applied in the same order
	 * 		as they appear on this list
	 */
	public CompositeFilter(List<Filter> filterList) {
		this.filterList = filterList;
	}

	/**
	 * Applies the composite filter by executing all the configured filters
	 * is sequence, where output of previous filter is input of the next
	 * filter.
	 * @param alignmentList input alignment list
	 * @return transformed alignment list
	 */
	public List<Alignment> apply(List<Alignment> alignmentList) {
		for (Filter filter : filterList) {
			alignmentList = filter.apply(alignmentList);
		}
		return alignmentList;
	}

}


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Throwback Tech: Vintage Stipa-Caproni flying barrel plane
Posted on May 9, 2014 by Breezy Smoak
This plane did not quite measure up to governmental standards in the 1930s
Luigi Stipa was highly skilled in mathematics and aeronautical engineering, honed his talent at the Engineering Division of the Italian Air Ministry. When he was commissioned by the Italian government to create a state-of-the-art plane, he applied his skillset to develop a strangely shaped flying barrel plane.
Stipa thoroughly researched Bernoulli's concepts of fluid dynamics to determine how to shape the plane's components. He found that for the propeller to work optimally, the ratio between the tube and the propeller had to be precise for the propeller to rotate. Stipa developed a tapered Venturi tube to integrate into the fuselage. For maximum efficiency, the internal surface of the Venturi tube had to be molded like an airfoil. The barrel-shaped fuselage contained the propeller, engine, and single ducted fan. This design was most definitely a step toward catapulting the concept and research of jet propulsion used when passing other jets while in motion.
The result of this endeavor was a monoplane made of wood with two open cockpits. Its length was 19 ft. 4 in. with a wingspan of 46 ft. 10 in. It weighed 1,760 lbs. and had a Thermojet system encompassing a 90-kW de Havilland Gipsy III inline piston engine. While in flight, this plane could go up to 81 mph with a landing speed of 42 mph. Instead of having a propeller, the plane used a fan compressor that moved air into an ignition chamber where it was combined with fuel at levels of high pressure. To generate thrust, it was ignited. This concept can almost be compared to the general concept of a ducted fan or a pulse jet.
Stipa-Caproni's first test flight occurred in 1932. A large aerodynamic drag was noted from its intubed propeller as it flew in the sky. Unfortunately, this plane's performance capabilities did not surpass the functionality of conventional aircraft already in existence. The lack of Stipa-Caproni's speed and movement flexibility were the main reasons why the design was not considered for military operations where speed was crucial.
Story via Fly.historicwings.com
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Home September Features
ABC 2012 Show Review
SP Richards plays the patriotic card at its annual ABC event.
Andy Braithwaite
The final-night gala dinner at the SP Richards' 2012 ABC in Washington was an unashamedly American-style celebration that tied in with the 'Independent's Day' theme of the whole event.
Delegates rose as the evening's entertainment began with a presentation of the US standard and a rendition of The Star-Spangled Banner. This was followed by a musical journey that honoured American values and ideals. While the theme had been planned well in advance, given the tough state of the economy it did send a rallying message to SPR's dealers: "Our forebears overcame obstacles in order to succeed, and so can we"
The gala dinner rounded off a packed three-day event at the magnificent Gaylord National Hotel and Conference Center on the shore of the Potomac river that included a vendor expo, a wide variety of seminars and meetings, numerous networking opportunities and, of course, the North American Office Products Awards.
The final day included key seminars on a new SPR marketing programme and on the Your Business Source (YBS) initiative which had been introduced at last year's ABC.
Director of Marketing Larry Goodman's excellent presentation announced the new CampaignAdvantage integrated marketing programme which will officially be launched in October following a series of training webinars.
CampaignAdvantage combines online and print marketing collateral that will help independent dealers to implement weekly campaigns that rival those of the big-spending big boxes. Features of the initial offering include automated and triggered emails, automated social media integration, digital asset management and analytics, all available from an on-demand web portal.
YBS gaining traction
It is also hoped that the new programme will be a key driver for SPR's YBS dealers. To recap, YBS is the wholesaler's initiative to develop a national brand for independent dealers and it attracted a lot of interest at a packed seminar.
While the programme probably hasn't been moving as fast as SPR would have liked, around 400 dealers have signed up and SVP of Marketing Jim O'Brien said YBS was gaining traction, not only with resellers but also with vendors who were warming to the Business Source private label brand.
Dealers attending the seminar were pleased with the product line-up of Business Source – now over 800 SKUs – and many are using it as their 'fighter brand'. Another important factor is that Business Source purchases form part of buy direct programmes with certain vendors.
Taking the next step to sign up to the YBS programme is more of a challenge; despite O'Brien's assurances to the contrary, there appear to be concerns amongst some dealers about a loss of identity and individuality by buying into the YBS concept.
O'Brien said that the YBS promise was to recognise the individual brand of dealers, yet to make them all feel part of something bigger. It's an ambitious plan, but, as the EVP said, it is a long-term project that will constantly be evolving.
Going to town
Another highlight of the show was the Town Hall Meeting – the second time that SPR has held this type of open question-and-answer session – which attracted a large turnout of dealer principals.
SPR CEO Wayne Beacham told the audience that the wholesaler was not supplying sister company and MRO reseller Motion Industries with branded or private label products, nor were there any strategic-level discussions between the two Genuine Parts group entities. Other topics which were tackled included pricing, MRO supplies and succeeding in ultra-competitive markets against aggressive players such as WB Mason.
All in all, it was a very positive meeting conducted in a relaxed yet business-like manner. The concept is clearly appreciated by the dealers, and the SPR senior management team certainly looked as though they enjoyed connecting in this way with their customers.
Details of the 2013 ABC were revealed at the end of Saturday's gala dinner, with the news of a return to the Marriott World Center Resort in Orlando, Florida, from 26-30 June being greeted with thunderous applause and cheers. If it's anything like the 2012 event, it's sure to be a great success!
ABC show
office products wholesaler
Special Anniversary Feature: Onwards and upwards
Special Anniversary Spotlight: Leaders of the future
Special Anniversary Feature: The products we sell


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Knowing What Works and Doing the Work: The Relationship between Research and Clinical Practice
By Jeffrey C. Sandler, Kieran F. McCartan, & David S. Prescott.
Sometimes in life, we hear something so often that it starts to lose its meaning. A word or phrase whose presence once conveyed important information becomes background noise. We may notice when that word or phrase isn't there, but we no longer process what it means when the word is there. For example, in the social sciences, we know that if something is described as "evidence-based practice," then that's a good thing. It means that particular practice is desirable, that it's based on sound reason and an existing body of research/data. But do we ever really stop to think about what "evidence-based practice" means?
These days, the term "evidence-based practice" is everywhere in the social sciences, it's constantly discussed. You can't escape it! It's integral to the social sciences in general and it's at the heart of everything ATSA does (see, for example, ATSA's mission statement). Has familiarity of the term bred contempt, however, or possibly even lead to a lack of understanding? For instance, we often discuss that there is a lack of professional, public, and policy connection between the language that is used in our field, such as the terms "pedophilia", "psychopath" and "child porn", but we often use them anyway! Is evidence-based practice another example?
With that in mind, let's look at the term "evidence-based practice." Let's really think about what evidence-based practice means in general, as well as what it specifically means for researchers and clinicians that evidence-based practice is at the core of ATSA's mission. Although it has been defined in different ways by different organizations (such as the American Psychological Association), it is worth exploring further as it has become applied.
The first part of the term, "evidence-based," obviously means based on evidence. The key to understanding what the term means to ATSA (and the social sciences more broadly), however, is what exactly is meant by the word "evidence." In this particular context, what we mean is research. Rigorous, empirical research. Not a few case studies or anecdotal data, but multiple studies with appropriate analyses and large enough samples to be able to draw conclusions about whether an intervention worked. Or, more specifically, enough rigorous studies for us to believe not just that a particular intervention worked in the samples in which it was used, but also that the intervention will work in different samples in which it has not yet been used. Reaching such a high level of evidence takes a lot of work and a lot of time, with the research process often starting with case studies, moving to small-sample pilot studies, and eventually reaching inferential analyses several years later. Each step in the process is important, however, and the slow, deliberate nature of the process is what eventually gives us confidence in the results generated by the process.
The second part of the term, "practice," can best be thought of as an umbrella term meaning application. It essentially specifies that the research evidence is being used, with the manner of use different for different people. For clinicians specifically, practice means the elements of clinical work, such as risk assessment, treatment, and aftercare. And not just to the act of conducting a risk assessment or guiding treatment. Practice also refers to all the steps leading up to the risk assessment and to the treatment, such as the process of selecting which risk/need assessment methods are best suited to a clinician's particular clients (e.g., adult, juvenile, male, female, developmentally delayed) and setting (e.g., inpatient, outpatient).
These two parts together make up evidence-based clinical practice. And just to be clear, both parts are needed. By definition, there's no such thing as good, evidence-based clinical practice without good evidence, which is to say research. The history of clinical work in the field of sexual offending is littered with examples of this. For example, empirical research-led clinical practice away from unguided (and inaccurate) clinical assessments of risk and toward accurate empirically-identified risk factors and instruments. Research also helped treatment in the field move away from older, ineffective models (e.g., shaming) and toward models shown to result in better treatment outcomes (e.g., cognitive behavioral methods).
On the other side, the most well-designed, rigorous research study on treatment or risk assessment is a waste if it isn't useful to front-line clinicians. And to be useful, the research needs to address a meaningful topic, to be structured in a way that applies to treatment or assessment in practice (not some idealized version of treatment or assessment that can't be achieved in the field), and to be conveyed in a manner that's accessible to clinicians. It needs to bear in mind the challenges clinicians face in the field, such as limited time and resources.
The fact of the matter is that good research and good clinical practice are inextricably entwined. For both to be optimally effective, each has to inform the other. Research is at its best when it's guided by the needs and realities of clinical work. Clinical work is at its best when it's guided by empirical research that has identified effective techniques. Trying to separate research and clinical practice, or researchers from clinicians, merely weakens both. It's like separating a musician from her instrument. The former runs the risk of losing her playing ability, the latter runs the risk of becoming merely decorative. There is also the question of who conducts the research that defines evidence-based practice, is it research practitioners, policy researchers, or academics? Each brings a different perspective to the table, and potentially, a different threshold of evidence. This is not to be critical or dismissive, rather to say we need to guarantee consistency in criticality, reliability, and validity.
So, what does "evidence-based practice" mean? It means researchers and clinicians (and policy-makers and supervision agents and everyone else working in the field of sexual abuse prevention) working in true collaboration with each other at each stage of the process, from knowledge generation all the way through to knowledge application. Each side must be open to the input and feedback from the other, which can only result in a stronger system and better outcomes. Only when research and clinical practice are combined are we optimally working toward our common goal of reducing sexual abuse.
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The Justine Henin Academy and St John's International School are proud to announce the launch of the School for Pro Tennis, aimed at attracting the world's best tennis talents age 11 and over to Belgium. It will combine the high level academic programmes of St John's International School with the Justine Henin Academy programme, renowned for turning young tennis talents into professional players.
The Justine Henin Tennis Academy, based in Limelette, provides training programmes adapted to all ages and levels, from the first contact with the racket until the performance at the highest level. The Justine Henin Tennis Academy philosophy is based on the fact that the performance should not be seen as an end in itself. The result of an activity is essentially the result from a state of mind.


Sterling comes with a complete set of Instructional Training Videos. These Videos walk you through every single aspect of using your awesome new theme. We spent weeks planning, developing and testing the back-end interface and user flow of this theme to ensure that it's quite possibly the most easy-to-use WordPress Theme you've ever experienced. Whether you're a WordPress pro or only a beginner, this videos will absolutely ensure that you'll have no problem at all setting up and using this amazing new WordPress theme.


text:
کد خبر: 252549تاریخ: 1398/2/19 05:46
Iran envoy calls for bolstering ties with Pakistan
Ambassador of Iran to Pakistan Mehdi Honardoost stressed on the need for stronger ties between Iran and Pakistan, adding that the two countries had no choice but to come together.
Speaking at a seminar on 'Pakistan-Iran relations: Challenges and Future Prospects' organized by Islamabad Policy Institute (IPI), he said convergence in the region is the key element for overcoming the conflicts and responding to common concerns, IRNA reported.
He said true success of Pakistan's Prime Minister Imran Khan's visit could be judged by keeping in view the fact that third party has been active to drive a wedge between the two countries.
Honardoost added that visit was full of emotions. 'You cannot find any two countries in the world like Iran and Pakistan that have so many commonalities,' the envoy said.
He said there was no conflict of interest between Pakistan and Iran, which provided a good basis for working for developing the relationship to its full potential.
Honardoost said that ties between Iran and Pakistan are natural, adding that terrorists and other groups are active in the region under a written scenario.
He noted that Iran and Pakistan are working on IP gas pipeline project, power lines and road connectivity projects.
"But our hands are tied because of the lack of direct banking channel," said the ambassador.
He strongly believed that IP gas pipeline can change the face of Pakistan's economy. He added that the project can help Pakistan to overcome its energy crisis and would create more jobs in the country.
In his view Pakistan's import of gas from Iran would not be affected by US sanctions, which he said, were unilateral and illegal.
Honardoost went on to say that disunity in the Muslim world is the real problem faced by the Muslims. "We are in the worst time of the Muslim world.'
He said some powers do not want to see the potential of Muslim world coming together. "They are sitting in a shadow and laughing at us," Honardoost added.
'Our common enemies have no mercy on us,' the ambassador pointed out.
He said Pakistan and Iran had no choice, but to come together. "They cannot turn their back on each other despite the pressures," Honardoost stressed.
The Iranian envoy insisted there is no rivalry between the Gwadar Port and Chabahar port of Iran. "In fact both the ports can complement each other."
'We have lots of opportunities in the region and one of them is Chabahar,' he pointed out.
The ambassador categorically dismissed allegations against Iran regarding security incidents, and said that Iran can never think about destabilizing Pakistan or working against its interest.
He added that Iran and Pakistan can also cooperate on bringing back peace and stability to Afghanistan.
Honardoost was of the view that Muslims must not play in the hands of western powers.
لینک مطلب: http://www.iran-daily.com/News/252549.html
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Scott Cawthon
The creation of a #1 New York Times bestselling series — over a million copies sold
When video game developer Scott Cawthon reached out to Kevin Anderson & Associates in March 2014, it was to explore the potential development of a young adult fiction series based on his massively popular game, Five Nights at Freddy's.
Scott was in search of a ghostwriter to help him shape the voice and tone of the books and interviewed several writers to find the best fit. He was looking for someone with a deep understanding of both YA and horror fiction.
KAA Meeting with Scholastic, 2017
KAA provided several ghostwriter candidates–including multiple bestselling authors in the YA fiction genre–each presented with a personalized statement of interest and writing samples for Scott to review. Based on that information and one-on-one interviews, he hired Kira Breed-Wrisley to take the lead on the project. Although Kira was not a well-known author or ghostwriter, Scott felt the greatest connection to her and her writing.
Kira traveled to Las Vegas to meet with Scott in person. During that time, they plotted the storyline based on the characters in the game. She then wrote the first book, The Silver Eyes, in less than six months.
Scholastic bought the book, which debuted in 2015, and it hit #1 on the New York Times bestseller list the week it was released. It stayed there for 18 weeks. More than five years later, it is still listed in the top 10 bestselling YA fiction books.
Scott's vision wasn't just for one bestselling title, however; he wanted a bestselling series. As soon as the first title was finished, he began mapping out follow-up books. Kira was again the lead ghostwriter on the next few books, all of which became bestsellers.
As the franchise took off, Scott hoped to launch multiple projects, including short stories, graphic novels, and other iterations. To support the growing demand, KAA supplied Scott with additional writers for the Five Nights at Freddy's team, including Andrea Waggener, Elley Cooper, and Kelly Parra. Each writer researched the existing content and then worked closely with Scott to understand his vision for the storyline and characters, ultimately producing drafts that matched his expectations.
To date, the Five Nights at Freddy's series consists of eight bestselling books and has sold over a million copies, with KAA handling multiple side projects in support of the series.
Subsequent titles, all published by Scholastic, have included The Twisted Ones, The Fourth Closet, Into the Pit, Fetch, 1:35 am, Fazbear Frights, and Bunny Call, among others.
What makes this partnership so successful is the combination of Scott's incredible stories and creative genius with KAA's talented ghostwriters, who continue to work alongside him to flesh out ideas, develop characters, and bring scenes to life, crafting stories that YA readers can't get enough of.
List, New York Times Bestseller:
https://www.nytimes.com/books/best-sellers/2016/10/30/young-adult-paperback/
Features, our website:
https://www.ka-writing.com/new-york-times-1-bestseller-five-nights-at-freddys/
https://www.ka-writing.com/ghostwriter-kira-breed-wrisley-attains-amazon-1-bestseller-status/
https://www.ka-writing.com/kaa-congratulates-ghostwriter-kira-breed-wrisley-on-her-third-book-reaching-1-bestseller-status-on-amazon/
Review, Venturebeat:
https://venturebeat.com/2015/12/18/five-nights-at-freddys-has-a-tie-in-novel-and-its-getting-mostly-good-reviews/
Review, Sci-Fi & Scary:
https://www.scifiandscary.com/five-nights-at-freddys-silver-eyes-review/
Feature, Entertainment Weekly:
https://ew.com/books/2017/06/26/scott-cawthon-second-five-nights-at-freddys-novel-excerpt/
Review, Kirkus, The Silver Eyes:
https://www.kirkusreviews.com/book-reviews/scott-cawthon/the-silver-eyes/
Interview, Dawko (video game):
https://www.youtube.com/watch?v=03E_hZdXqBE
Interview, Geeks under Grace (video game):
https://geeksundergrace.com/gaming/developer-spotlight-scott-cawthon/
Interview, Indie Game (video game):
https://www.indiegamemag.com/igm-interviews-scott-cawthon-five-nights-at-freddys/


Necklace measures approximately 21-1/4" inside circumference, allowing the side links to measure approximately 1-5/8" long and 7/8" at widest point. The center link measures approximately 1-1/8" long and 3-1/8" at widest point. Post earrings measure approximately 1-1/8" long and 5/8" at widest point. The links are finished off with a hand crafted box clasp, while a safety spring ring chain is added for extra security.


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"I've never been so scared to get a part": Hugh Jackman Reveals His One Role That He Wanted More Than Wolverine, Forced Director to Cut Contacts With Other Actors and Hire Him Instead
Mishkaat Khan December 1, 2022, 10:19 am
Directed by Florian Zeller, The Son is a 2022 drama film based on a play of the same name, starring actor Hugh Jackman. The movie revolves around his character's struggles with parenting while dealing with his own generational trauma. According to early reviews, the movie wasn't well received by the critics, earning a Rotten Tomatoes score of an underwhelming 40%.
Hugh Jackman in The Son
Even though the prequel to The Father received some questionable looks, Hugh Jackman's performance was considered to be the silver lining of the film. Recently, Hugh Jackman revealed why he was so hell-bent on getting the role in The Son. He also talked about how the movie affected his parenting in real life.
Also Read: 'He's constantly asking me about it': Hugh Jackman Reveals Ryan Reynolds Pestered Him Day and Night, Wouldn't Leave Him Alone Till He Agreed To Return as Wolverine in Deadpool 3
How Hugh Jackman Got the Role in The Son
Florian Zelle's The Son
Also Read: "Distance between cast and crew is wrong. Everyone's to be treated equally": Logan Star Dafne Keen Reveals Hugh Jackman Knew Every Crew Member By Name, Bought Them Lottery Tickets Every Week
In a recent interview with Deadline, Hugh Jackman revealed how he got his role in The Son. Jackman stated that he was well versed with Florian Zeller's work and had almost worked with him on one of his plays about a few years ago. He talked about how he had watched and loved every frame of The Father and when his agent told him Zeller was making The Son, he just had to be in it.
After reading up the play, Jackman called her agent back, however, she told him that a few other actors were in conversation to play the part in the movie. Jackman wasn't giving up so easily though. He stated that he had "felt an immediate urgency to play the role" or at least let the director know he was interested.
Jackman ended up emailing Zeller and letting him know that if he was in talks with other actors for the role of Peter, he wouldn't cut in but if he wasn't, he would "love to play the part." Jackman being so upfront and interested in the role might have caught Zeller's attention as he emailed back stating that no other actor was in consideration, just yet. The two ended up zoom calling the next day and Jackman became Peter in just a matter of seven minutes.
"But he was not planning to offer me the part, he just thought I'd meet him, and he said he just had an instinct in his gut seven minutes in and he just said, "Can we stop talking?" And I said, "Yeah." He said, "I want you to play the part." And I was completely surprised. I had no idea."
Hugh Jackman's resilience is known throughout Hollywood. The actor does not kid around when it comes to his roles. He had his heart set on playing Peter and that's exactly what he did.
Also Read: "I was a little drunk, she was a little tipsy": Hugh Jackman Reveals How He Confessed His Love to Deborra After Thinking it Was Stupid to Reveal the Truth to Her Best Friend, Stopped Talking to Her For a Week
Hugh Jackman Just Had to Play the Part!
A scene from The Son
The Prisoners actor stated that he was quite nervous before the zoom call as he had never been more scared for a part before. He knew what the role demanded and had the "urgency" to be a part of the story. Looks like Jackman followed his gut feeling on this one, which ended up working in his favor!
"And I remember being terrified making the Zoom call because I said to my wife, 'I've never been so scared to get a part or to not get a part. Both things at once.' I knew what it would be to play the part, to play the role, but I also really felt an urgency to do it and to be part of the story."
Jackman stated that Zeller described Peter to him as a "good man under a lot of pressure" who felt it was his responsibility to fix things and make them right. The actor stated that playing the character opened up his eyes about parenting. He recalled an incident where the look on his son's face showed that he was worried his father was disappointed with him. He then went to his son and had a heart-to-heart with him.
Jackman stated that prior to doing The Son, he wouldn't have thought or reacted the way he did. The movie made him realize conversations and discussions are important when it comes to parenting. Apart from good words for his acting, it seems like Jackman walked off with a lot more.
The Son will release in theatres on January 20, 2023.
Florian ZellerHugh JackmanThe Fatherthe son


The Eastern Region Specialist Operations Unit is currently investigating over 100 reports of fraudulent activity relating to the Universal group of companies which includes Universal Tax Solutions, Universal Wealth Preservation Ltd, Universal Asset Protection Ltd and Universal Trustees Ltd. The Universal Group companies' directors, Steven and Melanie Long, were arrested as inquiries continue.
The Universal Group ran seminars entitled 'Keep It in the Family', in which they made promises to protect investors' assets from future inheritance tax and/or care home fees by the use of wills, whereby they appointed themselves as executors, and trust arrangements where they were named as trustees with the ability to charge for their ongoing services.
Since the collapse of the Universal Group (at least one of the companies is in liquidation and the business premises have all been closed and the company website taken down), their clients have found it increasingly difficult to get responses to emails, letters or phone calls.
Instead they are left in an untenable situation as their homes are registered in the names of the trustees of these questionable trusts (or in some instances Mr and Mrs Long themselves), and the only evidence they have of their cash investments is the scant paperwork which the Universal Group provided them with at the outset, and their wills (and in some cases LPA's) are missing.
In the face of a dawning reality that their affairs are not in the order they were given to believe they were in, we are receiving increasing numbers of enquiries by the victims of the Universal Group asking what they can do to remedy the situation.
In the meantime this case highlights the dangers of having an unregulated inheritance tax planning industry. Unfortunately, anyone can set themselves up as estate planner or will writer with, as this case bears out, devastating results.


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By Sharr White
Abrams Books
!ndigo
Imprint: Abrams Press
Publication Date: June 4, 2014
Trim Size: 5.4 x 8.3
Now hearing he's in dire straits, she tracks him down in the wilds ofColorado to a filthy trailer, where he's hooked to an oxygen tank and cooking sausage in the buff. Their reunion, charged by rage and compassion, brings back the worst and best of their former bond. Annapurna received its world premiere at the Magic Theatre in San Francisco, its Los Angeles premiere at the Odyssey Theatre in 2013 and its NYC off-Broadway premiere in 2014, the latter two productions starring real-life couple Megan Mullally and Nick Offerman.


It was one lazy sunny vacation afternoon when I searching the World Wide Web for some potential additions to my TBR pile. I am aware that my TBR pile does not need any more additions, but that's the whole point – the never-ending list makes us all feel so good; so much to read and so little time and all that! Somehow or the other at some indefinite point of time trawling from one bookish blog to another and clicking through some historical and some fiction and some historical fiction sites, I tumbled on to this – Historical Tapestry!! It a blogging site about historical fiction and till yesterday, I had no idea it existed! From the pages and lists, I can see the site is popular and it talks so many lovely and innumerable nuances of historical fiction and I had no idea the site existed – some historical fiction fan I turned out to be! Jeez!
One however cannot continue crying over spilt milk and an error like this needs immediate correction; so I subscribe now to the blog and to complete my devotions to all things holy in the genre of historical fiction, I participate in the 2014 Historical Fiction Reading Challenge! Woohoo and drum roll please!
So I who never settle for anything mediocre should have straightway signed up for the Prehistoric levels; but I have learnt from my November sojourn and I take due care – only so much! I instead sign up for the Medieval levels – 15 Historical Fiction books should be a cake walk (Or so I think!) If I end up reading more, well so much the better and if I do not, at least I will not fall into a complete looser category; though going over my 2013 reading list, seriously, 15 should be easy.
I know I said 15, but having double the number of options is so much more fun; besides there will be some books which I will pick up and never finish and others that are not included in the list. Anyway as I sail forth, I wonder how I will fare at the end of 2014; for now I sail away with War of Roses by Conn Iggulden and Wine of Violence by Priscilla Royal! Bon Voyage, I say!!
So I picked this book while browsing randomly through Goodreads listopia and am I glad I got my hands on this one!
Daphne Kalotay's Russian Winter is beautiful, historically rich, and lyrical with one of the most unusual characters in modern fiction – Nina! The book begins with the auction of the jewels including some famous amber's of the world-renowned ballerina Nina Revskaya. Now extremely ill and crippled, Nina is selling the jewels she had gathered all her life in an effort to close a chapter in her life that began in Stalinist Russia more than half a century ago. However, her past cannot be buried, as her life, love and its eventual betray reverberate in modern-day Boston, where she now resides and into the life of Grigori Solodin, a professor, who believes that the jewels that Nina is selling holds the key to his own past.
By pinprick stars. Faces under moonlight.
Faint echoes float atop the river.
Our reckless splashes toss them here and there.
How very young we were, one floating year ago.
Wet tresses draped our ears.
Apologies we could not, did not, hear.
Between the deep black water and the sky.
The story initially does test your attention, but from page 70+ or so, the pace picks up and you are hooked. It blends smoothly out of 1950's Moscow and modern-day Boston, without jarring the reader. The end is unusual and after a long time, I have read something that goes beyond the obvious and ordinary.
There are some flaws in the tale as well – the character of Drew Brooke. The only thing I can say is why? I mean why did we have to create her at all; at least as a principal character….Cynthia could have served the purpose of bridging and there would have been less confusion in the reader's mind about why this poor little rich girl is the way she is!!! Even the story of her grandparents kind of hangs in the air and somehow I could not find closure to that tale. Then there are the obvious clichés – the brutal and lecherous Russian Secret Police, the blessings of capitalism versus socialism etc. Having said this, the cliché's are minimal and she does have some of the principal make some original and interesting observations about Socialist Russia.
I would strongly recommend getting a copy if you want a good yarn which can also be called literature, without going round and round in surreal literary jargon! Compliments to Daphne Kalotay for writing such a wonderful book!


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text:
Jennifer Lawrence and Leonardo DiCaprio Cut Through the Furious Mess of Don't Look Up
Otherwise, Adam McKay's new satire isn't sharp enough to hit bone.
By Richard Lawson
NIKO TAVERNISE/NETFLIX
Having had his fill of past disasters—the 2008 financial crisis and the bloody reign of Dick Cheney—director Adam McKay has turned his attention to a current catastrophe. Don't Look Up (in theaters December 10, Netflix December 24) is an allegory for climate change, a man-made mess that those same men seem hellbent on denying. The film is a long, overweeningly arch satire of government negligence and intransigence; of the media's complicity in allowing that to be the political norm; and of a widespread American ethos that refuses to recognize the waters lapping at our feet, the fires tearing through our neighbors' homes, for what they are.
As subject matter, it's entirely necessary. There has been a curious dearth of movies that look intently at climate change, so McKay's intentions are noble. But as he did with The Big Short and Vice, McKay lacquers Don't Look Up with an impenetrable layer of smugness. Whatever broadly worthy message the movie has is drowned out by a parade of movie-star mugging and stale pop culture jokes.
The tricky thing about satire is that it's really tricky. The skewering has to be surgically precise to work, and precision is not a mode McKay seems capable of.
Almost every gag in Don't Look Up is off the mark by a crucial degree. The cable-news morning chat show presented in the film isn't quite Fox and Friends, not quite Morning Joe, and certainly not The View—it's somewhere in the mushy in-between, which renders the joke limp instead of biting. There's a famous pop star in the movie who sings a song full of hokey, platitudinous lyrics meant to signify the noxious, enduring phenomenon of empty celebrity gesture. But to play the part, McKay hired Ariana Grande, a pop star sometimes described as a, let's say, creative enunciator. We don't hear what we're supposed to, because the movie is too busy preening over its stunt casting.
What the pop star is singing about is a massive comet that's hurtling toward Earth, while the feckless ninnies in Washington try to dismiss the disaster or, later, monetize it. The masses won't accept what's happening, even when credible and credentialed scientists cry from the mountaintops that they're doomed. It's easy to see the metaphor here, though there's a problem in the design. A comet strike is a random event born of the universe's chaos—quite unlike climate change, which has obvious causal agents. (Namely, us.) While there are certainly comparisons to be drawn between how McKay's characters react to their imminent doom and how we in the real world are responding to ours, Don't Look Up's act of God sort of lets us off the hook, blame wise.
Much time is spent in the film attempting to address that imbalance: the point is not the comet itself, but rather the thwarted, vain, too-late efforts to stop it. The joke, I suppose, is that even when something isn't our fault, we will still fail to embrace whatever tactics might exist to stop its happening. But there's less instructive value in that observation than McKay seems to think there is. His film needn't have offered some actionable strategy for combating climate change apathy, but it could have been more daring or nuanced in its targeting of that indifference. Simply making fun of pop stars and pundits and Trumpism is easy and ineffectual, as either parody or polemic.
Where Don't Look Up finds its strength is in its lead performances, which can't be undone even by the film's exhausting, rapid-fire editing and McKay's aggressive indicating toward his own punchlines. As the two scientists who discover the comet, Jennifer Lawrence and Leonardo DiCaprio palpably communicate alarm and frustration, maintaining their characters' bedrock humanity even as the film casts them ever further into the absurd. The rest of the starry ensemble cast—which includes Cate Blanchett, Timothée Chalamet, Jonah Hill, Rob Morgan, Tyler Perry, Mark Rylance, and Meryl Streep—work their darndest, but it's tough to do much with McKay's thin creations. These talented actors are forced to play the joke rather than any sort of truth.
The truth is pretty grim, something that Don't Look Up finally acknowledges toward the end, when it slows its antic pace and considers the inevitable. Probably the most chilling satire in the film comes in the form of Rylance's character, a showboating, oddball tech zillionaire to whom the American government turns to solve their problem. This is a clever reflection of our own increasingly sinister reliance on overly powerful technocrats, even if Rylance seems stuck in shtick. Of course the megalomaniac captain of industry doesn't have the solution, a realization that comes to Streep's predictably MAGA-esque president all too late.
It's here that the movie allows itself to be somber, contemplative, and dark, which feels like something of a respite from the rest of its frenetic energy. Don't Look Up is most persuasive in this tone, when it removes all the wigs and false teeth and just tells it to us straight. That's where the film's catharsis lies—not in the relief of laughter, but in a jolt of starkest reality.
More Great Stories From Vanity Fair
— "Who the Fuck Cares About Adam McKay?" (We Do, and With Good Reason)
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— The Goldbergs Actor Jeff Garlin Responds to Talk of Misbehavior on Set
— We Still Love 30 Rock, but Its Foundation Is Shaky
— Our TV Critic's Favorite Shows of the Year
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— From the Archive: Inside the Crazy Ride of Producing The Producers
— Sign up for the "HWD Daily" newsletter for must-read industry and awards coverage—plus a special weekly edition of "Awards Insider."
Richard Lawson is Vanity Fair's chief critic.


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Excavating Canadian soil science history
By: Peter Anderson
Guest Writer, Queen's University
Canada Science and Technology Museum Archives GF-574
Soil surveyors mapped the potential for agriculture in Canada through the twentieth century.
In honour of World Soil Day, this blog post reports on a collaborative research project that explores the history of soil science in Canada. Launched in June 2018, the project documents the history of Canadian soil scientists and their research programs, as well as their documentary and artefactual heritage. This project was generously funded by the Canadian Soil Information Service at Agriculture and Agri-Food Canada.
From the permafrost cryosols in the north to the productive loams in the south, the soils of Canada have developed over millenia. It was only in the first decades of the twentieth century, however, that Canadian scientists began to better understand and map these soils (1).
Soil Monoliths overlooking my workstation in the CanSIS offices.
Soil science in Canada did not develop in isolation. Canadian scientists, many of whom were trained in the United States, collaborated with American counterparts to survey soils in the border region and learned new techniques. During one such survey in the 1920s, Manitoba Agricultural College professor J.H. Ellis (who earned his PhD at the University of Minnesota) crossed paths with Constantin Nikiforoff, a Russian soil scientist and refugee from the revolution who had emigrated to the United States in 1921 (2).
J.H. Ellis's adaptation of the Nikiforoff soil-survey method, presented in 1932.
This connection was fortuitous and helped spread Russian soil science expertise in Canada. Russian soil scientist K.D. Glinka toured western Canada with Ellis and Curtis Marbut (who translated Glinka's work into English) in 1927, after the First International Congress of Soil Science held in Washington, D.C. (3) Ellis later recommended adopting the modified Nikiforoff method of soil survey. According to Ellis, this system was not only "simple, effective and satisfactory" but would help "unify the survey projects … and facilitate the correlation of soils throughout the Dominion." (4)
Later, soil science was advanced when federal funding became available through the Prairie Farm Rehabilitation Administration (PFRA) in 1935. This federal initiative provided funding for scientists in provincial agriculture departments and agricultural colleges to conduct soil research(2). It also led to the National Soil Survey Committee, established in 1940. The Central Experimental Farm's Peter C. Stobbe and A. Leahey spearheaded this committee and worked closely with scientists such as Ellis to create a standardized system of soil classification in Canada (5).
Later projects, such as the Canada Land Inventory (CLI) begun in 1961, emerged from this collaboration. The CLI, drawing on soil surveys already conducted, centralized and mapped this knowledge, shaping expectations and decisions about optimizing land use. Initially focused on agricultural concerns, the CLI expanded to other land and water uses including forestry, recreation, hunting, and sports fishing (6).
At the same time, more geographic data was being produced than could be expressed using manual-mapping techniques. Shannon Studen-Bower has recently shown how new computer and digital technologies enabled the CLI's ambitions and led to the creation of the Canadian geographic information system — a precursor to modern GIS software — as well as a suite of hardware, standardized field note forms, and survey techniques (7).
While the CLI and its land-capability classification scheme still influences decision makers today, the work of soil scientists has continued to change to meet new challenges. Writing as he approached retirement in 1995, federal scientist Alex McKeague argued that preserving soil — especially arable soils — requires a "healthy national soil survey organization" (8). McKeague had witnessed how priorities for soil science had shifted in agriculture science, but remained confident that soil scientists would continue to provide direction in the future (9).
This historical narrative provides the backdrop for my work this summer. My task was to begin excavating the documentary and material culture of late twentieth-century soil science, while placing it in wider context. As a historical research consultant for Agriculture and Agri-Food Canada's Canadian Soil Information Service (CanSIS), and in partnership with the Canada Agriculture and Food Museum and Nipissing University's Centre for Understanding Semi-Peripheries, I had three main deliverables.
Peter Stobbe's 1945 hand-coloured soil map of the Central Experimental Farm scanned this past summer. The Neatby Building is located at the top-centre of the map.
First, I created an inventory of material stored at the Central Experimental Farm. The storage areas on the farm proved to be a trove of historical materials. I found and logged the papers of retired scientists, old maps (including a 1945 pencil crayon-coloured soil map of the Farm by Peter Stobbe), scientific instruments, assorted publications, soil monoliths, and thousands of slides dating as far back as the 1940s.
I also began a series of oral history interviews with retired scientists, which will continue through the fall. The goal of these interviews is to explore the goals, assumptions, and evolution of soil science over the last 50 years. Both the interviews and their transcripts will be digitized and made available for future researchers.
Now in process are a number of public history deliverables describing both the research process (such as this post) and my findings. Building on inventory and oral histories, my goal is to tell the rich story of Canadian soil science using narratives, historical geographic information systems, and other online tools. Documents and other materials scanned during this project, along with interview transcripts, will be made available online.
Agriculture & Agri-food Canada
This slide, found during the research project, shows Canadian and American soil scientists collaborating during the Ontario-Michigan correlation soil survey.
Just as Canadian soil science has been a collaborative effort, so too is my excavation of its history. This project was undertaken in partnership with public historians (William Knight and Cristina Woods), historical geographers (Kirsten Greer and yours truly), and soil scientists (Dave Howlett and Xiaoyuan Geng). Each group brings their own expertise, interests, and funding opportunities to the project. Our common goals include developing a historical narrative of Canadian soil science for public and academic audiences.
My hope is that the work undertaken this summer will serve as a proof of concept for interaction between experts in the arts, social sciences, and agricultural (including soil) sciences. Our goal is to continue the project beyond our current funding horizon and to dig deeper into the history of soil science in Canada by examining the interaction between federal and provincial scientists, the influence of international expertise, and the enlistment of expert knowledge in shifting political goals from agricultural settlement to environmental sustainability.
(1) J.H. Ellis, "History and Development of the Soils Department in the Faculty of Agriculture at M.A.C. and the University of Manitoba, 1906-1955," Unpublished report (Winnipeg: 1955).
(2) P.C. Stobbe and J.A. McKeague, History of Soil Survey in Canada, 1914-1975 Historical Series No. 11 (Ottawa: Department of Agriculture: 1978): 6-15.
(3) Stobbe and McKeague, 10; "C.C. Nikiforoff, 92, Retired Scientist with USDA," Washington Post 14 April 1979, available online: https://www.washingtonpost.com/archive/local/1979/04/14/c-c-nikiforoff-92-retired-soil-scientist-with-usda/5ba822c0-a72a-43c7-b97f-cc123f499a0b/?noredirect=on&utm_term=.00aaa2fc901d
(4) J.H. Ellis, "A Field Classification of Soils for use in the Soil Survey," Scientific Agriculture 12.6 (1932): 338-345.
(5) J.A. McKeague, "Soil survey and genesis and classification research in Canada," Canadian Journal of Soil Science, 75 (1995): 3-9.
(6) Shannon Studen-Bower, "Tools for Rational Development: The Canada Land Inventory and the Canada Geographic Information System in Mid-twentieth century Canada," Scientia Canadensis 40.1 (2018): 44-75.
(7) Studen-Bower, "Tools for Rational Development"; see also: "ARDA: The Canada Land Inventory: Objectives, Scope and Organization" Report No 1 (Ottawa: Department of Forestry, 1965).
(9) See for example: D.F. Acton and L.J. Gregorich (editors), The Health of Our Soils: Toward sustainable agriculture in Canada Publication 1906/E (Ottawa: Agriculture and Agri-Food Canada, 1995); "The Importance of Soils," Video (Ottawa: Agriculture Canada, 2015). Online: http://www.agr.gc.ca/eng/news/scientific-achievements-in-agriculture/agro-ecosystem-productivity-and-health/the-importance-of-soils/?id=1429280876604
World Soil Day, soil science, Agriculture and Agri-Food Canada, history
Peter Anderson is an environmental historian and historical geographer of science whose work explores the relationship between how we learn about the world and how we live in it. He recently completed a project on the early history of the Central Experimental Farm. His current project "Excavating Canadian soil science history" is undertaken collaboratively with historians, geographers, and soil scientists.
3 things you should know — December edition
Historic barns bring architecture to life for students
Virtual tour: Explore a Dairy Farm
Hand-built bicycle tells a historical story of a colourful, Ontario teen
Margarine: The complex story of a simple spread
Practising science communication at the Canada Agriculture and Food Museum
Many voices: Oral histories of Canada's grain elevators
3 things you should know — September edition
Recovering the lost artifacts of ethnologist Marius Barbeau
3 things you should know — August edition