text:
Kaple Nejsvětější Trojice ( nebo ) je barokní sakrální stavba stojící v horních Mikulášovicích. V roce 1742 ji postavil lipovský stavitel Zacharias Hoffmann (1678–1754) na místě starší, patrně dřevěné, stavby. Výstavbu objednal lipovský starohrabě Leopold Antonín Salm-Reifferscheidt (1699–1769). Kaple byla udržovaná až do roku 1967, kdy byla vykradena a následně opakovaně poničena. Od roku 1966 je zapsaná jako nemovitá kulturní památka. Kapli vlastní město Mikulášovice. Poutní mše svatá se koná zpravidla jednou v roce na svátek Nejsvětější Trojice. Kaple stojí na trojúhelníkovém půdorysu s konkávně vykrojenými rohy. Zvonovitou střechu zakončenou lucernou pokrývá břidlice. V poničeném interiéru bývaly umístěné tři oltáře s obrazy Nejsvětější Trojice, Navštívení Panny Marie a dřevěný krucifix.

Historie
Původní kaple Nejsvětější Trojice byla postavena na konci 17. nebo na počátku 18. století na místě zvaném U pěti lip () na horním okraji katastrálního území Mikulášovic. Rok výstavby a podoba původní stavby nejsou známé, byla však patrně dřevěná a krytá šindelovou střechou. Prvně ji zachycuje Müllerova mapa Čech z roku 1723.

Stavbu nové zděné kaple si objednal lipovský starohrabě Leopold Antonín Salm-Reifferscheidt (1699–1769). Sám navrhl podobu budoucí stavby a 4. září 1736 uzavřel smlouvu se svým dvorním stavitelem Zachariasem Hoffmannem (1678–1754). Rozpočet na stavební práce měl činit 333 tolarů a 3 groše, většina měla být hrazena z příspěvků od dobrovolných dárců a od místního Bratrstva Bolestné Matky Boží pod černým škapulířem. K výstavbě kaple na základě této smlouvy však nakonec nedošlo, protože starohrabě byl zaměstnán vojenskými povinnostmi a stavitel výstavbou nového zámku v Lipové. Nový rozpočet ve výši 660 tolarů a čtvrtky piva předložil Zacharias Hoffmann starohraběti Leopoldovi Antonínovi Salm-Reifferscheidtovi 30. srpna 1742. Téhož roku byla stavba zděné barokní kaple, odlišné od původního plánu z roku 1736, dokončena. Na základě kroniky rychtáře Johanna Endlera (ve funkci 1835–1850) byla do vlastivědné literatury převzata mylná informace, že autorem stavby byl údajný zemský stavitel a mikulášovický rodák z čp. 193 Hans Jacob Wähner, který měl na kapli předvést své dovednosti, aby mu mohla být svěřena výstavba nového mikulášovického kostela.

Kaple nebyla v dalších letech přestavována, procházela však průběžnými opravami. Celková renovace a výměna střešní krytiny přišla v roce 1894 a významně se na ní podílel místní Spolek velikonočních jezdců. Na kamenech tvořících vnější fasády se nachází řada letopočtů dokládajících opravy, a to 1791, 1813, 1830, 1840 a 1859. V minulosti byla kaple hojně využívaná a hlavní svátek spojený s poutí se konal na slavnost Nejsvětější Trojice. Od mikulášovického kostela svatého Mikuláše a brtnického kostela svatého Martina sem putovala procesí, která se setkala u kaple. Na prostranství před ní se pak konala slavnostní bohoslužba, na které se sešlo i několik tisíc věřících. Výjimečné procesí se vypravilo 16. června 1855, kdy byly neseny od kaple do kostela ostatky svaté Gaudencie věnované abatyší kláštera Sankt Marienthal Agnes Theresií Heinovou (1792–1856). Poslední procesí ke kapli se vypravilo 27. května 1945, kdy věřící pod vedením místního faráře Josefa Klause (ve službě 1937–1946) společně děkovali Bohu za odvrácení zkázy města.

Poslední procesí se konalo již po skončení druhé světové války, kdy probíhalo vysídlování původních obyvatel. V této době se v kapli a jejím okolí začasté skrývali vysídlení původní obyvatelé. Kaple Nejsvětější Trojice byla ušetřena rabování a vydržela nezničená až do druhé poloviny 60. let 20. století, a to především zásluhou Adolfa Lumpeho, obyvatele horních Mikulášovic, který o ni pečoval. Roku 1967 došlo k vloupání do kaple a začalo tak její postupné chátrání. Když v roce 1974 stavbu zkoumali památkáři, měla již vylomené dveře i kamenné zárubně a z inventáře zbyly jen trosky. Poškozenou břidlicovou střechou do kaple zatékalo. V již tak dost poničené stavbě někdo v roce 1980 zapálil oheň a stavbu ještě více poničil. Oprava zničené střechy přišla v roce 1990. Na jaře roku 1993 došlo v kapli k tragické události. Před bouřkou se zde ukryli dva mladíci z německého města Sebnitz, do měděné střechy však udeřil blesk a jednoho z nich na místě usmrtil. Dne 28. října 1994 zde administrátor místní farnosti Štefan Bednár (ve službě 1992–1994) odsloužil mši svatou na připomenutí této tragické události a zároveň na obnovení poutní tradice (první mše po 49 letech). V 90. letech 20. století a v první dekádě 21. století se kaple stala opakovaně terčem zlodějů, kteří několikrát ukradli měděný plech ze střechy a v roce 2005 dokonce pískovcové dlažební kameny. Zloděje dlažby se však podařilo vypátrat a kameny se vrátily na původní místo. Roku 2008 získala kaple novou břidlicovou střechu. Dne 25. května 2019 došlo v bezprostřední blízkosti kaple k další tragické události. Ve vysoké rychlosti na silnici u kaple havarovala mikulášovická motorkářka, která na místě zemřela. Místo nehody připomíná pomníček.

Kaple je ve vlastnictví města Mikulášovice a od 4. dubna 1966 je zapsána jako nemovitá kulturní památka. Pravidelné bohoslužby se v ní nekonají, poutní mše svatá se koná zpravidla na svátek Nejsvětější Trojice.

Popis

Exteriér
Barokní, centrálně uspořádaná kaple, stojí na trojúhelníkovém půdorysu (symbolika trojjedinosti Boha), přičemž rohy má konkávně vykrojené. Vnější stěny jsou bez oken, celé obložené pískovcem s lizénovými rámci. Kaple má tři vysoké portály zakončené půlkruhovým obloukem, od konce 60. let prázdné, bez dveří a zárubní. Původně byly shodně řešené: zárubně byly zhotovené z místního granodioritu a osazené obdélníkovými dvoukřídlými dveřmi, na které navazoval rovným překladem oddělený světlík. Zvoncovou střechu pokrývá břidlice, původně v ní byly umístěny tři drobné vikýře. Zakončuje ji prázdná trojboká kamenná lucerna bez zvonu s dvojitým křížem.

Interiér
Interiér kaple byl plochostropý, strop však chybí a je tak odhalená kamenná klenba. Podlahu pokrývají velké pískovcové kvádry. Vnitřní fasády jsou značně poničené. V rozích mezi vchody se nacházejí tři prázdné niky vyzděné převážně z pálených cihel, ve kterých byly původně umístěné oltáře s obrazy. Hlavní oltář nesl obraz Nejsvětější Trojice, vedlejší pak obraz Navštívení Panny Marie a dřevěný krucifix. Oltáře s obrazy zmizely po roce 1967.

Okolí kaple
Kaple Nejsvětější Trojice je postavená v nadmořské výšce 490 metrů na svahu vrchu Plešný, od jehož vrcholu (593 m) je vzdálená přibližně jeden kilometr západním směrem. Kolem kaple prochází krajská silnice třetí třídy III/26510, která východně od kaple končí napojením na krajskou silnici druhé třídy II/265. Jižně od kaple prochází od roku 1902 železniční trať 083 Rumburk – Panský – Mikulášovice, přičemž nejbližší zastávka je Mikulášovice horní nádraží ve vzdálenosti 1,3 kilometru. Nejbližší sakrální stavbou je mikulášovická kaple Matky Boží vzdálená asi 800 metrů západním směrem. Farní kostel svatého Mikuláše leží 3,5 kilometru severozápadně. Kolem kaple prochází modře značená turistická trasa číslo 1677 směřující východně k Zelenému kříži u Kunratic a jižně k Hraničnímu vrchu u Mikulášovic.

Galerie

Odkazy

Reference

Literatura

Externí odkazy

 Památkový katalog
 Pořad bohoslužeb v kapli Nejsvětější Trojice, Mikulášovice (katalog biskupství litoměřického)
 Bohoslužby v kapli Nejsvětější Trojice, Mikulášovice na webu církev.cz/bohoslužby

 Římskokatolická farnost Dolní Poustevna

Nejsvětější Trojice
Mikulášovice
Nejsvětější Trojice Mikulášovice
Nejsvětější Trojice Mikulášovice
Kulturní památky v Mikulášovicích
Stavby Zachariase Hoffmanna
Postaveno 1742


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May 1944: Captain Billy Boyle is convicted on spurious charges of black market dealings—stripped of his officer's rank, reduced to private, and sentenced to three months' hard labor. But Billy is given an opportunity: if he takes on the incredibly dangerous mission of investigating a set of murders at the Allies' safe house in the French town of Chaumont, he can avoid his punishment. Parachuted in as part of a three-man team the night before the Normandy invasion, he has very little time to find the killer's identity and lead a group escape back to England, with a whole army of foes nipping at his heels.


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Sparked from the now infamous Heeey thread.
And i wondered if this is because people are seeing and copying it, the birth stage of the average meme.
So i thought i would push my own laugh stack with facepalm plug in just to see if i can create my own meme.
my first ..called simply "OWNED"


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The daily traffic flow at your place of business results in the inevitable degrading of your asphalt paving in both parking lots and the drives up to your business.
Asphalt is our recommended paving surface for parking lots and drives due to its durability and longevity. After your preliminary paving investment, it is central to prolonging the life of your asphalt to get your business on a regular preventative maintenance program.
Capital Paving & Sealcoating offers all types of cost-effective preventative services to help our clients maintain and maximize the life of their asphalt.
Before we begin any preventative maintenance or repair one of our trained professionals will visit you on site to assess the surface of your pavement. From there they will determine the best solution and course of action to take within the budget that is best for you.
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When you notice potholes forming in areas of your parking lot or areas where the surface of the asphalt has loosened and is crumbling. It is time to contact a professional contractor to address these issues before they become bigger problems.
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If patchwork is determined to be the best solution for your issues, we will schedule a time to come out that is best for you and your business patrons to begin work. We strive to complete all projects within a timely manner with as little interruption to your business as possible.
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text:
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redpajama_set_name: RedPajamaGithub


text:
Watch the Rock, Jack Black, Kevin Hart in 'Jumanji' Trailer
Four teenagers become video game avatars in preview of adventure-comedy sequel
Dwayne "The Rock" Johnson, Jack Black, Kevin Hart and Karen Gillan star in the new, punchline-heavy trailer for Jumanji: Welcome to the Jungle, director Jake Kasdan's upcoming sequel of the 1995 fantasy-adventure film.
The clip opens by setting up the basic plot: Over two decades after the events of the first, Robin Williams-starring film, four teenagers stuck in high school detention discover an old video game named Jumanji while cleaning out the building's basement. After firing up the vintage title, they're sucked into Jumanji's jungle landscape, where they inhabit the bodies of their game avatars – each with its own distinct superpowers and weaknesses.
While the nerdy Spencer (Alex Wolff) is psyched to learn he's become the muscular badass archeologist Dr. Smolder Bravestone (Johnson), not all of the characters are happy with their physical shifts. In particular, the superficial Bethany (Madison Iseman) is horrified to discover she's transformed into cartographer/cryptographer Professor Shelly Oberon. "I'm an overweight, middle-aged man!" she exclaims after glimpsing her new Jack Black visage. "Wait a second – where's my phone?"
The trailer veers from ramped-up action scenes (vicious cobras, motorcycle chases, helicopters) to several comedic moments, many featuring sharp banter between Johnson and Hart. In the final scene, the comedian (as zoologist Franklin "Moose" Finbar) encounters his personal kryptonite – a slice of cake – at a street market. "Am I shaking? Am I still black?" he asks. "OK, I'm fine! Everything's fine! It's all good." Moments later, he explodes – wasting one of his three lives.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Video: CEQA lawsuit puts brakes on Sacramento Railyards project
https://cafwd.org/wp-content/themes/osmosis/images/empty/thumbnail.jpg 150 150 Cheryl Getuiza Cheryl Getuiza https://secure.gravatar.com/avatar/54277a599a9581e1b3d83073d89bf8ff?s=96&d=mm&r=g March 7, 2013 October 29, 2020
Cheryl Getuiza
"Sometimes CEQA is used for the wrong reasons. This was not an environmental issue at all."
Attorney Jeffrey Dorso is talking about the Sacramento Railyards Plan which is a 240 acre infill project that was approved by the Sacramento City Council six years ago. It still hasn't been built.
The idea was to build thousands of residential units, have big commercial space, open space and create an area that could absorb some of the significant growth that Sacramento expects in the coming years.
But two challengers to the project came forward and used the California Environmental Quality Act plus 155,000 documents to put a halt on the project. What's the holdup?
California Forward's Cheryl Getuiza explains.
Platform near the Railyards development site. (Photo Credit: Angel Cardenas)
CEQA in the 21st Century — a series of news stories and individual perspectives designed to educate and spark dialogue on CEQA as the California Legislature revisits the role the environmental law will play in the future of our economy.
CEQA
All stories by: Cheryl Getuiza


text:
Q: Storing elements into a grid How to shuffle and store each character of the string inside the table such that 1st letter of the pair is in random row position and 2nd letter of the pair is in random column position so that the 2 characters do not conflict in same row or column?
this is my code for creating a 7x7 grid

<% for(int row=1; row <= 7; row++) { %>

<%      for(int col=1; col<=7; col++) { %>

    <% } %>

<% } %>

And this is my code for shuffling of a string

Now I want this shuffled string to get split up and get stored into each cell of the table.

A: Why are you troubling your jsp to do this? Let your scripting (jQuery) do this. In your HTML add id attribute to your table like this,

And in your scripting use the shuffled string you can create table like this,
$(document).ready(function() {

     var myWord = "hello";  //Use any shuffled string
     var length = myWord.length;
     var createTable = '
';
     for ( var i=0; i < length; i++) {   //Iterate through each character
       if (myWord.charAt(i) != " ") {
           // Create as table cell
           createTable = createTable+''+myWord.charAt(i)+'	';
       }
     };
     createTable = createTable+'
';
     $("#myTable").append(createTable);
});

Check the working sample.
Update :
Hope this is you're asking, how to find specific table definition.
$('#mytable tr').each(function() {
     $(this).find("td:eq(0)").html("Your Shuffled Character maybe h"); // First cell
});

redpajama_set_name: RedPajamaStackExchange


text:
Jul 7 Industrial strength: Latest numbers show a return to speculative development
Chris Gary
Strengthening conditions in the industrial market have brought a return to speculative development. The return of spec is something the industrial real estate community—brokers and developers alike—all postulated and predicted, and now it has become reality.
Currently, according to statistics developed by Colliers International for the Association of Industrial Real Estate Brokers (AIRE), in the Chicago metropolitan area there are 27 projects totaling 6.3 million square feet of construction underway.
This represents the greatest amount of speculative construction since before the Great Recession.
Yet of the space being developed, only 11 percent is pre-leased, leaving some 5.6 million square feet to be absorbed. So the question is—a year or more into the recovery—how is the return of spec doing?
The general consensus among AIRE board members, individuals who are experts in industrial real estate, is the current statistics are more reflective of a snapshot of a specific window in time. They don't mandate cause for concern that, overall, the real estate market has fallen out of recovery mode and that businesses are not as optimistic as most have indicated.
"It is fact, 5.6 million square feet is a significant amount," said AIRE board member and Podolsky|Circle CORFAC International Principal Adam Tarantur. "But think of the years when there was no new development or only negligible amounts."
During that time, Tarantur suggests, businesses that use industrial space did more with less space, delaying expansion decisions until the timing would be more appropriate. That time is now, and developers are responding with increased development to meet their needs.
Robin Stolberg, an AIRE Board Member and a Managing Director with Jones Lang LaSalle, said, "It (the lack right now of immediate pre-leasing) is not of concern. You need to look at supply and demand factors in each specific market area."
AIRE board members also agreed that presently there is great discipline being exhibited by developers and investors/capital sources.
"Developers are not developing 'commodity' buildings," Tarantur said. "They are developing properties where there is a constrained supply.
While there is a lot of product going vertical, no one should think that developers abandoned the cautious and pragmatic modes necessary to weather a recession and emerge strong."
The Immediate Past President of AIRE, Tom Boyle a Principal with Transwestern, said, "The development and investment communities have been very responsible. Their investments and developments are only in markets that will be primary growth areas."
He said spec development is predominant in markets and locations where there is low vacancy and barriers to access are present. Boyle noted that while there have been many projects announced in the I-55 Corridor area, that is a market where there is great demand and a lot of space is absorbed each year.
Stolberg pointed to other markets, including the north markets, from northern Cook County all the way across the border into Kenosha County, where the forces of supply and demand are increasing the amount of development and ultimately will lead to leasing of these spaces.
What is telling about the statistics produced by Colliers for AIRE is that this increased inventory of speculative construction means greater options for users. While many buildings are suited for large users, those requiring spaces greater than 100,000 square feet, others are filling a niche for smaller space users. Those buildings may total 150,000 square feet or less, but are divisible perhaps as low as 10-25,000 square feet of space.
Of the 27 projects currently in varying degree of completion, 14 of the buildings offer a total building footprint of approximately 150,000 square feet. The remaining 13 buildings range from 180,000 to 672,000 square feet.
Tarantur and many of his AIRE counterparts are bullish on the market, expecting a strong lease-up market. "While many of these buildings are going up without any leasing in place, by the time construction is completed, they'll be leased."
Boyle agreed in characterizing the market as strong, but was a little bit more cautious and said, "In most submarkets, absorption of space will be rapid, within 6-9 months of buildings being completed. Again," Boyle added, "it's all about supply and demand. In those markets where spec construction is occurring, there is a lack of competitive product—buildings that offer newer features and are priced competitively."
According to Stolberg, users in the market are starting to feel upward pressure on overall rental rate structures. Generally, these upward pressures first are reducing the concession packages and tenant improvement allowances. He said eventually this could lead to increased rental rates.
"This has less to do with the state of the spec construction market and more to do with the overall tightening of space across many suburban markets," Stolberg said.
Source: Daily Herald Business Ledger
Industrial, Speculative development, Chicago market, AIRE
Jul 9 Aubrey Van Reken represents DuPage Senior Citizens Council in new office lease
Jul 3 Second Quarter 2014 Market Peek
Mar 8 New supply and absorption gap to tighten in 2017 for industrial properties
Sep 11 NAI Hiffman's Karlson: Never Losing Sight of His Priorities
Jul 3 Joe Bronson: The industrial market is covered with new developments


Microsoft Learning has extended its Second Chance program, where you get to retake an exam if you don't pass it the first time. There is some qualification and you need to register for the second shot before you take the exam the first time. Find out more at http://www.microsoft.com/learning/mcp/offers/2ndshot/. Better hurry–the offer is only good until Aug 31!
As long as you're taking the exams, get your Microsoft Discount Exam Voucher and Practice Exam Bundle. The voucher is $106 from Amazon, saving you $19 on the test itself, plus you get a free practice exam. The vouchers are only good at Pearson VUE centers, so make sure you're near one before buying the voucher.
Best of luck on your exams!


text:
Writing Is Mining- featuring Beth Anderson
July 18, 2020 July 16, 2020 tina shepardson
I hope this blog post finds you all having a great summer in our new normal. Today I am thrilled to have Beth Anderson as our featured guest. As you know, she is an accomplished writer focusing on narrative nonfiction and historical fiction picture books. Her quote "Writing is Mining" holds such truth. She describes writing in these genres as digging for those special memories, emotions, and meaning. Beth has wonderful strategies for showing in these areas.
TS: Beth, thank you so much for being our guest today and congratulations on your October release of "Smelly" Kelly and His Super Senses: How James Kelly's Nose Saved the New York City Subway. Whether drafting or revising, how do you know when it is necessary to show action, scene and sensory elements?
BA: Thank you so much for inviting me to share some thoughts on the essential "show vs. tell."
I believe in action wherever it makes sense – the more the better. Keeping the characters active keeps the reader turning pages. Actions reveal character so it's a huge part of the emotional arc. But there also has to be the flow in and out, along with weaving in needed context. Constant action for the sake of action is exhausting!
Scenes carry the emotional arc of the main character as well as the plot. They move the story forward, stepping-stones in the character's transformation that build to the story's end. If a scene doesn't serve that purpose, then it needs to go or be revised to carry a piece of the emotional arc. Sometimes, even "internal" scenes can be active. Here's an example from Lizzie Demands a Seat with the additional challenge of required context:
She eyed empty seats. Despite being born a "free black" in a "free state," she'd never been treated as equal. She'd been rejected, restricted, and refused by schools, restaurants, and theaters. Suddenly late-for-church wasn't as important as late-for-equality. Lizzie stood firm.
Passengers murmured.
Horses snorted.
Pedestrians gathered.
Finally, the driver held up the reins. "We need to go."
Scenes play out best with action, and if you can use action to transition between scenes, do that, too. "Smelly" Kelly and His Super Senses, releasing Oct. 13, was a huge challenge regarding transitions between scenes. There was so little information on James Kelly's days in the NYC subway, all I had were anecdotes with the potential to be priceless scenes. I had to find a way to organize them with a special "heart" thread and effectively transition between scenes to avoid an "episodic" feel. Here's an example of an active transition that lets us pause with the character and progress to the next scene:
"Exhausted, he paused and peered through the crowd gathered at the movie poster. Even superheroes needed help."
And here's an example from An Inconvenient Alphabet where I used imagery to actively transition. Instead of saying that Noah Webster wanted to reform American English spelling, it became:
"Armed with the twenty-six letters of the English alphabet everyone knew and loved, Noah launched a spelling revolution—ready to turn "rong" spelling into "rite.""
Sensory elements enrich the reading experience by inviting readers into the moment, immersing them in the setting, and connecting readers to characters on multiple levels. As you will see in "Smelly" Kelly's story, I use sensory elements liberally!
TS: Are there specific strategies, tools or resources you use to incorporate more showing/descriptive language?
I use the online thesaurus a lot. If you can find just the right word, it can make an illustration note or other words unnecessary. For instance, recently I replaced "took" with "claimed." It made a huge difference—adding attitude.
I can't resist onomatopoeia. But besides sounds, I also ask myself – What would that look like? In "Smelly" Kelly, there are lots of stinks. Instead of trying to describe the stink in the New Yorker Hotel, it was more fun to show the reaction to the smell.
"Maids pinched their noses. Guests fled. Engineers analyzed and pondered, but they couldn't figure out where the leak was coming from."
I also try to "show" emotions, especially what cannot be shown easily by an illustrator. When Kelly realizes he's not doing enough, I tried to show that feeling of inadequacy:
A broken steam line blasted water pipes.
Kelly shook his head. Someone could've been burned. Sniffing wasn't enough. He needed to listen, to hear sounds no one else heard.
There's some physical movement there, but mostly I take you inside Kelly's head. And that's another powerful way to achieve more showing. Many writers call it psychic distance. Once I learned about it, my writing changed and became more immediate. The example above doesn't say "he thought" or "he scolded himself" or "he realized." Cutting the "head verbs" eliminates that filter between the reader and the character. It's like the difference between indirect speech (He told me to stop.) and direct speech (STOP!). If you go straight to the words or realization or thought, the reader feels it as the character, and it eliminates the "telling."
TS: Would you like to share an example of a before and after where you needed to show more and found the right words to paint the image for the reader?
BA: Sure! I looked back at an early version of "Smelly" Kelly and His Super Senses. Here's one line that was very "telling":
"He settled into an apartment and took a job with the subway."
Because that involved an action (took a job in the subway) that set off the whole story, I needed to show motivation and the emotion behind that decision. It evolved into a scene with "showing" and delightful illustrations:
James set out to find a job, but, as always, his incredible nose proved troublesome.
Fish market—no!
Sanitation—no!
Meat packing—NO!
He felt a rumble below the sidewalk and peered through the grate. The damp air bristled with mystery.
TS: Writing is about balance. How do you know you've got it just right? What tips or suggestions do you have for writers in terms of striving for that balance of showing versus telling?
BA: Generally, I think showing appears in scenes and telling in transitions. Emotion and important action pieces require showing. That's what keeps your story alive, where you want the reader to connect. Telling can speed up the narrative to get to the good stuff, but too much can bog it down. Showing and telling are intertwined with pacing, characterization, and point of view. It's truly a complicated dance. When I researched to prepare a presentation on point of view and really examined how it works in a picture book, I found that the "camera" goes in and out—and that in and out is achieved with showing and telling, and also involves "proximity." Just another reason to read and analyze LOTS of books!
TS: Wow, Beth! You have given so much to think about. Your knowledge and command over the elements are so strong and comes through your writing vividly. Thank you!
Beth Anderson, author of Lizzie Demands a Seat, An Inconvenient Alphabet, and "Smelly" Kelly and His Super Senses, is drawn to stories that open minds, touch hearts, and inspire questions. A former educator who has always marveled at the power of books, she hopes that voices from the past will help children discover their own. Beth has more historical gems on the way!
Learn more about Beth and her amazing books at:
Website: bethandersonwriter.com
Pinterest, Twitter, Instagram: @Bandersonwriter
Facebook: https://www.facebook.com/beth.anderson.33671748
signed copies of books available from Old Firehouse Books
Tagged Candice Marley Conner, Gabrielle Schoeffield, Katharine Derrick, Picture books, Sandra Sutter, Tina Shepardson, Wonder of Words, Yvona Fast
Published by tina shepardson
View all posts by tina shepardson
Previous postBook Review – The Bridge Home
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8 thoughts on "Writing Is Mining- featuring Beth Anderson"
Melissa Stoller says:
Thanks for a great post – so many excellent examples of showing versus telling. Can't wait for "Smelly" Kelly – congratulations, Beth!
Beth Anderson says:
Thanks so much, Melissa!
Sandra Sutter says:
Incredibly informative! Thanks, Beth, for sharing your knowledge with us!
Thanks for inviting me! I appreciate the kid lit community so much for all they've shared with me in my journey!
Donna Gwinnell Lambo-Weidner says:
I love Beth's books! And what a treasure trove of info and advice! Thank you both, for an inspiring interview.
Thanks, Donna! These kinds of interviews make me look back at the evolution of a manuscript which is informative for me too!
Pamela Harrison says:
What a wonderful interview! These tips are priceless! Thank you Tina and Beth!
Tina Cho says:
Great wisdom in this poem, Beth. Thanks for sharing your expertise. I like your summary especially, "showing & telling are intertwined with pacing, characterization, and point of view."


text:
/*
 * @ngdoc module
 * @name material.services.interimElement
 * @description InterimElement
 */

angular.module('material.services.interimElement', [
  'material.services.compiler',
  'material.services.theming'
])
.factory('$$interimElement', [
  '$q',
  '$rootScope',
  '$timeout',
  '$rootElement',
  '$animate',
  '$mdCompiler',
  '$mdTheming',
  InterimElementFactory
]);

/*
 * @ngdoc service
 * @name $$interimElement
 *
 * @description
 *
 * Factory that contructs `$$interimElement.$service` services.
 * Used internally in material design for elements that appear on screen temporarily.
 * The service provides a promise-like API for interacting with the temporary
 * elements.
 *
 * ```js
 * app.service('$mdToast', function($$interimElement) {
 *   var $mdToast = $$interimElement(toastDefaultOptions);
 *   return $mdToast;
 * });
 * ```
 * @param {object=} defaultOptions Options used by default for the `show` method on the service.
 *
 * @returns {$$interimElement.$service}
 *
 */

function InterimElementFactory($q, $rootScope, $timeout, $rootElement, $animate, $mdCompiler, $mdTheming) {

  return function createInterimElementService(defaults) {

    /*
     * @ngdoc service
     * @name $$interimElement.$service
     *
     * @description
     * A service used to control inserting and removing an element into the DOM.
     *
     */

    var stack = [];

    defaults = angular.extend({
      onShow: function(scope, $el, options) {
        return $animate.enter($el, options.parent);
      },
      onRemove: function(scope, $el, options) {
        return $animate.leave($el);
      },
    }, defaults || {});

    var service;
    return service = {
      show: show,
      hide: hide,
      cancel: cancel
    };

    /*
     * @ngdoc method
     * @name $$interimElement.$service#show
     * @kind function
     *
     * @description
     * Compiles and inserts an element into the DOM.
     *
     * @param {Object} options Options object to compile with.
     *
     * @returns {Promise} Promise that will resolve when the service
     * has `#close()` or `#cancel()` called.
     *
     */
    function show(options) {
      if (stack.length) {
        service.hide();
      }

      var interimElement = new InterimElement(options);
      stack.push(interimElement);
      return interimElement.show().then(function() {
        return interimElement.deferred.promise;
      });
    }

    /*
     * @ngdoc method
     * @name $$interimElement.$service#hide
     * @kind function
     *
     * @description
     * Removes the `$interimElement` from the DOM and resolves the promise returned from `show`
     *
     * @param {*} resolveParam Data to resolve the promise with
     *
     * @returns undefined data that resolves after the element has been removed.
     *
     */
    function hide(success) {
      var interimElement = stack.shift();
      interimElement && interimElement.remove().then(function() {
        interimElement.deferred.resolve(success);
      });
    }

    /*
     * @ngdoc method
     * @name $$interimElement.$service#cancel
     * @kind function
     *
     * @description
     * Removes the `$interimElement` from the DOM and rejects the promise returned from `show`
     *
     * @param {*} reason Data to reject the promise with
     *
     * @returns undefined
     *
     */
    function cancel(reason) {
      var interimElement = stack.shift();
      interimElement && interimElement.remove().then(function() {
        interimElement.deferred.reject(reason);
      });
    }

    /*
     * Internal Interim Element Object
     * Used internally to manage the DOM element and related data
     */
    function InterimElement(options) {
      var self;
      var hideTimeout, element;

      options = options || {};

      options = angular.extend({
        scope: options.scope || $rootScope.$new(options.isolateScope)
      }, defaults, options);

      return self = {
        options: options,
        deferred: $q.defer(),
        show: function() {
          return $mdCompiler.compile(options).then(function(compiledData) {
            // Search for parent at insertion time, if not specified
            if (!options.parent) {
              options.parent = $rootElement.find('body');
              if (!options.parent.length) options.parent = $rootElement;
            }
            element = compiledData.link(options.scope);
            if (options.themable) $mdTheming(element);
            var ret = options.onShow(options.scope, element, options);
            return $q.when(ret)
              .then(function(){
                  // Issue onComplete callback when the `show()` finishes
                  var notify = options.onComplete || angular.noop;
                  notify.apply(null, [options.scope, element, options]);
              })
              .then(startHideTimeout);

            function startHideTimeout() {
              if (options.hideDelay) {
                hideTimeout = $timeout(service.hide, options.hideDelay) ;
              }
            }
          });
        },
        cancelTimeout: function() {
          if (hideTimeout) {
            $timeout.cancel(hideTimeout);
            hideTimeout = undefined;
          }
        },
        remove: function() {
          self.cancelTimeout();
          var ret = options.onRemove(options.scope, element, options);
          return $q.when(ret).then(function() {
            options.scope.$destroy();
          });
        }
      };
    }
  };
}


text:
BENEDICT YU
EXHIBITION & EVENT
ARTWORK & PROJECT
CONTEMPORARY 2D
2019, acrylic on printed 4D Cinema work
84cm x 35cm, 33 x 14inch
This work consists of the writings of soldiers' last words before they died. These soldiers are the ones that have complex nationality problems. Some of them are adopted by foreign family in another foreign country. There are issues of displacement and a sense of not belonging to anywhere. The work raised the awareness of these displaced army boys, where do they belong?
Packaging and Delivery Fee is excluded. Fee will apply on top of the purchased price.
The work comes with the wooden frame.
exhibited at Flag Ginza Gallery, "When You Fall Asleep On That One Beautiful Afternoon, We Shall Meet Again"
exhibited at Senso Art Gallery, "He Serves the Army Twice"
exhibited at Singapore, SPRMRKT, "Are You Coming Home?"
NT$17,000.00Price
If you would like to request for cancellation of delivery or return of the artwork purchased, please email us at benios.art.design@gmail.com within 7 days of receiving your artwork or before the work has arrived your destination, stating your reason for wishing to return the artwork as well as the collection date and address. Our team will look through the request and discuss with the artist.
Once the artist has agreed to the resolution, please print out this email and include it with the artwork being returned. We will refund your purchase after the artist has received and checked the artwork undamanged. We will do everything we can to process refunds quickly, but please allow up to 10 working days. Thank you for your consideration.
All Right Reserved. Every piece of art in this page may not be reproduced in whole or in part, In any form. Without Permission From Benedict Yu
2020 © Benedict Yu


text:
Q: C# "Anonymous" type of List stored inside a Dictionary I'm coming to the conclusion this may be impossible, but I figured I'd ask here before giving up entirely.  What I am looking for is something similar to this:
Dictionary<string, List<T>> FilterLists { get; set; }

I want to be able to store any amount of lists that may be needed and then be able to find them by a string Key 'index'.
The reason I need it like this is because of where this has to be stored due to certain constraints, and it would be impossible to type the List as anything specific because it can't see the object type that I want to put in there.  Even if I could see the object type, that reduces its re-usability in other projects where what someone might want to put in there could be constructed differently anyway and I am trying to make this as reusable as possible.
I had found this post: Declaration of Anonymous types List, but this doesn't quite work with what I'm trying to do.
Also, this has to go in an Interface class, so it's simply a definition.
Usage Explanation:
This is specifically for use in paginating results in an MVC5 application.  The result list is returned, but I also want dropdown filters in certain header columns (like you would see in Excel filtering of columns).
I am trying to avoid the use of the ViewBag as much as possible for a few reasons.  I don't like using it.
My "Pagination" code is in a project known as Common at a level to make it accessible to both my Web project and my Service project (Business Logic layer).  The Models and ViewModels I am using are stored in Service, so I can't have Common referencing Service because Service already references Common for the custom IPagedList construct used to define a list of objects that will be paginated.  IPagedData contains a bunch of properties for filtering, sorting and paginating the result set.  A LINQ extension (.ToPageList) was created to facilitate these operations on the data.  There are several objects involved with this process, but I will at least post the IPagedData (where I want this dictionary to go).
using System.Collections.Generic;

namespace GameKeyExchange.Common.Pagination
{
    public interface IPagedData
    {
        Dictionary<string, List<T>> FilterLists { get; set; }

        /// <summary>
        /// Stores pagination and sort information.
        /// </summary>
        PageSortCriteria Criteria { get; set; }

        /// <summary>
        /// Total number of subsets within the superset.
        /// </summary>
        int PageCount { get; }

        /// <summary>
        /// Total number of objects contained within the superset.
        /// </summary>
        int TotalItemCount { get; }

        /// <summary>
        /// Zero-based index of this subset within the superset.
        /// </summary>
        int PageIndex { get; }

        /// <summary>
        /// One-based index of this subset within the superset.
        /// </summary>
        int PageNumber { get; }

        /// <summary>
        /// Maximum size any individual subset.
        /// </summary>
        int PageSize { get; }

        /// <summary>
        /// Returns true if this is NOT the first subset within the superset.
        /// </summary>
        bool HasPreviousPage { get; }

        /// <summary>
        /// Returns true if this is NOT the last subset within the superset.
        /// </summary>
        bool HasNextPage { get; }

        /// <summary>
        /// Returns true if this is the first subset within the superset.
        /// </summary>
        bool IsFirstPage { get; }

        /// <summary>
        /// Returns true if this is the last subset within the superset.
        /// </summary>
        bool IsLastPage { get; }
    }
}

The code implementation would ideally look like this in my Service:
var list = data.ClaimedKeys.Where(m => m.UserId == UserId).Select(m => new ClaimedKeysViewModel()
{
    KeyTypeId = m.GameKey.GameKeyGroup.KeyTypeId,
    PlatformId = m.GameKey.GameKeyGroup.PlatformId,

    Value = m.GameKey.Value,
    KeyType = m.GameKey.GameKeyGroup.KeyType.Name,
    Game = m.GameKey.GameKeyGroup.Game.Name,
    Platform = m.GameKey.GameKeyGroup.Platform.Name,
    Expiration = m.GameKey.GameKeyGroup.Expiration
})

list.FilterLists.Add("KeyTypeFilter", list.Select(m => new List<SelectListModel>()
{
    Value = m.KeyTypeId,
    Text = m.KeyType
});

list.FilterLists.Add("PlatformFilter", list.Select(m => new List<SelectListModel>()
{
    Value = m.PlatformId,
    Text = m.Platform
});

list.OrderBy(string.Format("{0} {1}", sort, order))
    .ToPagedList<ClaimedKeysViewModel>(pageNumber, pageSize);

This way, I can get the list of data to paginate in the service, build my pagination, and also include any number of Filter Lists which gets sent back to the controller.  The controller receives this: IPageList which is the list of data, including these extra properties for sorting and filtering.  The reason they are passed down with the list of data is so that when resorting by clicking a header or changing the page, you know exactly which page you are on and the current status of your sorting for when it fetches each page or resorts.
Otherwise, I have to make a secondary call to the database to build my Filters and send them down as ViewBag objects.  Also, because the initial View and the Refresh Method (which is used after the initial load for resorting or navigating pages) I have to have the same code in both Methods to build the lists.  If I can have it in the service method that generates the list, it only has to be done there; the same method that is already being called in both controller methods anyway.
Hopefully that clarifies the use case better.

A: If you don't know the type T at compile time, then why do you need generics in the first place ?
If you only mean to re-use it in different projects, then add a generic constraint to your interface :
public interface IFilters<T>
{
    Dictionary<string, List<T>> FilterLists { get; set; }
}

A: Apart from using a List<object>, it might help to make your interface generic:
public interface MyInterface<T>
{
  Dictionary<string, List<T>> FilterLists { get; set; }
}


text:
Reappointment of Darnell Hunt as Dean of Social Sciences at the UCLA College
Following the customary five-year administrative review, Chancellor Block and I have asked Darnell Hunt to continue to serve as the dean of social sciences at the UCLA College. I am pleased to announce that he has accepted the reappointment.
Dean Hunt oversees UCLA's largest division and is known widely as a capable leader with a steady hand. The review committee praised him as supportive, transparent, level-headed, fair, collaborative and strongly committed to diversity.
On his watch, the social sciences division developed a strategic plan that articulates a clear vision and priorities for the years ahead. Dean Hunt says the plan is built upon existing excellence, reinforces core values, strengthens existing initiatives, and fosters new ones.
Reflected in both the plan and in Dean Hunt's broader leadership is a commitment to engaged scholarship, or research that can be directly applied to social issues faced by people and communities. Several of the new centers in his division, including the Bedari Kindness Institute, established in 2019, and the Barbra Streisand Center, established in 2021 and affiliated with the Center for the Study of Women, reflect this philosophy. In addition, Dean Hunt oversaw the recent renaming of the Downtown Labor Center after UCLA professor and activist Rev. James Lawson, Jr. — a clear indicator of the ties between scholarship and action that lie at the heart of the social sciences division.
In other ways, Dean Hunt has brought his division's resources to bear on the pressing issues of our time. In 2020, with the U.S. grappling with racial justice issues as well as historical and contemporary inequities, he announced new means of support for graduate students examining critical social justice issues by establishing the Dean's Fund for the Study of Diversity and Racial Inequality.
In 2017, Dean Hunt launched LA Social Science, an e-forum which highlights cutting-edge research in the division, ranging from studies of the impact of COVID-19 upon communities of color to the publication of the Hollywood Diversity Report. This campaign encourages engagement with alumni, students, policymakers, the Los Angeles community and the wider community beyond the city's borders. The campaign was also a successful fundraising and promotional effort, raising the division's profile locally and nationally.
Other new programs Dean Hunt has spearheaded include the division's Big Data Initiative and Big Data Social Science, a series of measures initiated in 2017 to advance and improve data science research in the division.
In particularly difficult times, Dean Hunt has proven his strength, diligence and a commitment to not only enhancing and elevating his division, but also to addressing society's most important struggles.
Please join me in congratulating Dean Hunt on his achievements thus far and wishing him well on what lies ahead.
Interim Executive Vice Chancellor and Provost


If you were arrested for an evading arrest under these circumstances, it is very important that you contact the law firm of James G. Sullivan and Associates. Our experienced Brazoria County criminal defense attorneys may be able to persuade the grand jury or prosecutor to dismiss the felony charges because the police misunderstood your intentions or exaggerated what actually occurred.
The law firm of James G. Sullivan and Associates has extensive criminal defense experience, which is necessary in defending evading arrest charges. Contact our Brazoria County criminal attorneys at 281-546-6428 for a free initial consultation.


I recently coordinated a writer's workshop and many of the folks who attended were new writers. Oh, how I love new writers! They're so excited and eager and hopeful!
But I worry about new writers, too.
Our workshops always include first page critiques, and writers love them. But I'm always reminded of one of my first critiques, a story I entered for a contest. The judge chewed me out for all kinds of mistakes—technical mistakes—and honestly, I was pretty ticked off. Until I did my homework and realized how many errors I'd made. I was mortified, and a bit crushed. There was so much to learn!
It's easy to gloss over mistakes when reading aloud a manuscript for those who are critiquing. But an editor or agent with eyes on your manuscript will see every glaring error: the run-on sentence, improper indentation, incorrect capitalization, the wrong formatting for dialogue.
Your story might be amazing, but if your errors are egregious, an editor will stop reading. Getting into a critique group and reading manuscripts, as well as allowing others to read your work, will help you put an end to manuscript mistakes. And if you can't find a critique group, go online for help.
Almost as common as the misplaced comma is the essay or story or book with a slapped-on, boring title. And that's a shame because the title is the first text a person reads.
A good title is golden. It can be ironic or subtle or intriguing, but it should never be wasted. And before you think I'm being too harsh, I want you to think about the last time you were in a library, browsing the stacks. Or the other day when you were thumbing through an anthology, trying to choose a story. Or even the last time you zipped over here to The Muffin to check out a post.
Yep, it was a title that caught your eye. Put a little effort and imagination into your title and you'll catch an editor's eye.
Gone are the days when writers could start a story with a Faulknerian opening meandering eloquently for several pages. Unless, of course, you are Faulkner's ghost. Then you might be able to get away with it.
For the rest of us mere mortals—and new writers, especially—get the story moving from the beginning.
Take, for example, the picture book manuscript. In today's market, 500 words is the norm. But if you take 250 words just to describe Uncle Henry's farm, you're going to run out of words before you ever get to the purple unicorn in the barn. Fortunately, a slow beginning is easy to fix. Write your story, your essay, or your blog post. And then go back and cut, cut, cut. You'll tighten your manuscript and hook your reader from the get-go.
We all—old and new writers, alike—make plenty of mistakes. But the writers who succeed fix the mistakes.
Cathy--What a great (and spot-on) post. This old dog could certainly learn new tricks, along with being reminded of old ones that I've forgotten.
Hi great post. It was a great help as I am now trying to get the technical side right. It's not my strongest suit. Ah, the trials and tribulations of a writer.
Thanks for the tips, Cathy. They're helpful for writers of any age--or writers at any stage in their writing journey.
Yes, yes, and yes. I'm finally past the point of making too many technical errors, but I have a TERRIBLE time with titles, and I always worry that my beginnings are too slow. Those things don't sound like they would be tough to do well, but they are, and I still have a long way to go.
Agree! I taught a workshop once about titles, and an elderly gentleman told me I was sensationalizing. Well, um, yeah, if your story is sensational, you need a sensational title.


The temperatures here in Malta are soaring. I'm scared to look at the thermometer because it's almost too hot to cope. At least it seems to have calmed the MMM down a bit – she behaved impeccably when we met to do the weekly housekeeping in Zebbug. Mind you, she's off to the Costa Brava next week, so is no doubt revving up to hurl herself at the Spanish men.
1) BEASTWAGON – which is all but complete to my satisfaction (which it damn well should be since I started it twenty years ago, not to mention selling the film rights a decade later) – needs some tweaking at the beginning. I've engineered a new prologue (actually, it's prologue number 4) and at the moment it's at no.19 on YOUWRITEON.
2) WALKING ON EGGSHELLS (London Legends 3) – notes accumulating by the day. I'll really get going on it once I've got BW done & dusted.
3) WILDE – Emilia Wilde's character is taking shape, but there's still a lot of planning & development to do before I can really get going.
In addition, CHASING YOUR TAIL (tv pilot) is finished. Still no word. Should I send it somewhere else? There's also THE GRASS IS ALWAYS GREENER (series of 4 radio plays), for which all the research is done and characters developed – in fact, 2 plays are almost completed.


Shadow series (Orson Scott Card) volume 1.
New York : Audio Renaissance, p2005.
The novel that launched the bestselling Ender's Shadow series-available for the first time on unabridged cd The human race is at War with the "Buggers," an insect-like alien race. As Earth prepares to defend itself from total destruction at the hands of an inscrutable enemy, all focus is on the development of military geniuses who can fight such a war, and win. The long distances of interstellar space have given hope to the defenders of Earth - they have time to train these future commanders up from childhood, forging them into an irresistible force in the high orbital facility called the Battle School. Andrew "Ender" Wiggin was not the only child in the Battle School; he was just the best of the best. In Ender's Shadow , Card tells the story of another of those precocious generals, the one they called Bean - the one who became Ender's right hand, part of his team, in the final battle against the Buggers. Bean's past was a battle just to survive. His success brought him to the attention of the Battle School's recruiters, those people scouring the planet for leaders, tacticians, and generals to save Earth from the threat of alien invasion. Bean was sent into orbit, to the Battle School. And there he met Ender. .
An unabridged recording of the book read by by Scott Brick, Gabrielle de Cuir, and other participants.
Andrew "Ender" Wiggin was not the only child in the Battle School; he was just the best of the best. Card tells the story of another of those precocious generals, the one they called Bean who became Ender's right hand, in the final battle against the Buggers.
Card, O. S., Brick, S., & De Cuir, G. (2005). Ender's shadow. New York: Audio Renaissance.
Card, Orson Scott, Scott. Brick and Gabrielle. De Cuir. 2005. Ender's Shadow. New York: Audio Renaissance.
Card, Orson Scott, Scott. Brick and Gabrielle. De Cuir, Ender's Shadow. New York: Audio Renaissance, 2005.
Card, Orson Scott., Scott Brick, and Gabrielle De Cuir. Ender's Shadow. New York: Audio Renaissance, 2005.
|a Ender's shadow |h [sound recording] / |c Orson Scott Card.
|a New York : |b Audio Renaissance, |c p2005.
|a 13 sound discs (16 hr.) : |b digital ; |c 4 3/4 in.
|a An unabridged recording of the book read by by Scott Brick, Gabrielle de Cuir, and other participants.
|a Andrew "Ender" Wiggin was not the only child in the Battle School; he was just the best of the best. Card tells the story of another of those precocious generals, the one they called Bean who became Ender's right hand, in the final battle against the Buggers.
|a Child soldiers |v Fiction.
|a Exceptional children |v Fiction.


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Our clients have come to appreciate our unique, customer-focused, transparent methods of carrying our our mission. From start to end, clients are kept up to date, using both conventional communications and our industry-unique client dashboard.
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Data visualisation for epidemiologists in R and Python.


As a follow-on to my last entry, Setting up CFBuilder to process htm files with the ColdFusion editor, I wanted to offer more info for those who may want to know more about this--or ensure that more is shared with any who would consider doing this.
If you're looking for how to configure CFBuilder to open htm files with the CFML editor, see that other entry. This one instead is about the related idea of having CF (the server) process htm (or other) file extensions. There are certainly pros and cons.
Since I suspect some of the first people to come look at this will be those who want to do it, for any reason, the good news is that yes, you can do it, and it's been documented by many. I won't rehash the details, but instead will point you at any of several resources that do. It's not heard, though it does require a restart of CF (and perhaps your web server) to take effect.
Update for CF10: I wrote this entry in 2011, and since then CF10 has come out and things are indeed different. Michael Sprague has documented how to do it in CF10. (Thanks for sharing that as a comment, Michael!) We now need to edit the uriworkermap.properties file for any web connectors we have setup with CF. See the aforementioned blog post for details. Beyond those differences detailed there, some of the other info I share below may still be of interest to those on CF10 and beyond.
First, Adobe documented it long ago. It's a pretty old and barebones article. It makes only a passing reference to the need to also change the configuration in your web server. To be clear, you do need to make the needed changes to the web.xml file if using an external web server like IIS or Apache, but the point is that you also then therefore need to also make changes in that external web server.
Fortunately, a more modern Adobe technote does address that additional detail. And this solution works for CF 6, 7, 8, and 9. (With Zeus being built on Tomcat, it may well be quite different then.) Do be careful to look closely at the values, as some may change from release to release ("macromedia_mapping" vs "coldfusion_mapping").
Other writers also addressed the issue over the years. For instance, Steven Erat blogged more about it, as did Peter Bell, Brian Anderson of Hostek, Steve Cross, and Tony Weeg, to pick just a few.
My point is, clearly many do find this an intriguing idea, for whatever reason. So why might one want to?
There can be several reasons why people want to do this, some reasonable and some questionable.
I suspect that many delight in (or are compelled to explore) the idea of "hiding" their server implementation. By using htm files rather than cfm ones, no one need know they use CF (by the URLs of their page requests).
Of course, they could use still some other extension, whether some new one not used by anyone else, or perhaps one that others do know, and the solution above works for that as well.
For instance, I've known people who have configured things so that files with the php extension were handed to CF: not because they wanted CF to process PHP code, of course, but rather just because they did NOT use PHP and therefore just wanted to make it seem to the world that they did.
They may hope to throw hackers off the trail, or may want to avoid having to explain to folks that/why they use ColdFusion (sad that this should be the case, but some have felt the need).
For all those who like the idea, there are probably more who spurn it, again for a number of reasons.
For one thing, those who do not like the idea would point out that having htm files processed by CF runs the risk that now EVERY htm file will be processed by CF, even if it has no CFML in it at all, which of course would add overhead for the page execution time and would also add useless overhead to CF.
A counter some may propose is that one could set things up to use *.html extensions for "real" html pages and *.htm for "html/cfml hybrid pages, so that hopefully at least you only have CF process what you really think should have CFML.
Still others would note that they could also control whether and when they do this in the web server, so that perhaps it's only some website or some directories for which this configuration change (htm files being handed to CF) is made.
I noted above that some might use this approach simply to define not htm files but instead some other extension to be processed by CF. There's no real performance impact to doing that.
Might there be other solutions, though?
Even with these concerns and their counters, some might want to propose still other solutions to achieve the goal of obfuscation (hiding the fact that you're running cfm files, if that's the main goal of the above). Let's take a look at a couple.
For one thing, some could just set things up so as not to use a file extension in their URLs at all, relying for isntance on the web server support of default documents (like index.cfm) to point to one file in the directory. No, it won't work for everyone, but I in fact do that frequently on my own site, such as for http://carehart.org/presentations/, http://carehart.org/articles/, or http://carehart.org/consulting/. I never bother with the index.cfm, as the web server figures it out for me.
Again, though, that approach only works when you can have one file per directory.
But someone has shown using a variation of the technique above (changing the extensions handled by CF) to have CF process requests for files that have extension at all. It's "out of the box" thinking, but I share it if it may interest someone.
I'm sure some have been champing at the bit the whole time they've been reading this article, because they know something that perhaps others do not. Another solution for all this trickery above would be to use URL rewriting instead, so that you don't change the file extensions but instead you just don't use any at all in the URL.
With that approach, you configure things on your server (often via an extension to your web server) so that when people ask for one file, they're really sent to another. So if someone asks for url abc (whatever that is, in terms of domain, path, file, path_info), they are instead shown the result of processing file xyz (whatever that may be, to suit your interests), but the browser URL still shows the url as abc.
URL Rewriting can completely hide the underlying server implementation, or whatever level of it you choose, such as hiding what extensions you use, your use of query string/URL variables within code, your use of deep directory structures, and so much more.
This is not the place to discuss and debate all the pros/cons and even alternatives for URL rewriting, but I'll note that I do have a category for them with several alternatives (free and commercial, for Windows and Linux) at my CF411 site's category for URL Rewriting Tools .
BTW, the URLs for my cf411 site are themselves processed by a rewrite rule, though slightly different from what was just discussed. Note that that url I just shared, http://www.cf411.com/urlrewrite, ends up as http://carehart.org/cf411/#urlrewrite. You'll see that in the browser. Not only does the domain change (I wanted to people to get to it as cf411.com), but you also end up within a given subdirectory of my carehart.org site (the cf411 site is really just a subset of that main site).
And finally the URL ends up showing use of a page anchor (the #) to jump down in the very long page to the section chosen.
Of course, I could have implemented the rewrite to keep that "new" url hidden. I just didn't bother. But if you're new to url rewriting, do remember that you CAN have the "resulting" url hidden from the user.
So, there you have it. A problem, some solutions, some concerns, some counters to those, and still other alternatives. I'm sure some are thinking "man, I never thought there could be so much to consider for this simple idea". But as always, there are just lots of things to consider, and as a troubleshooting consultant, it's my job to find, understand, and offer solutions to such problems.
But I do recognize that there is often more to a problem than seems to most at first, and I wanted to share the observations with any who may appreciate it. That's how I roll. Let me know what you think.
In case anyone is interested, the process for setting this up changed slightly for ColdFusion 10.
1. One reason for processing HTM files as CFM files is if you are converting a website to CFM from HTM you may not want to change all of the links to the converted pages to have the new CFM extension.
2. Doesn't URL rewrite confuse and annoy search engines?
Can someone share how to do this on CF10? The link to the CF10 is no longer working. Thanks in advance.
Indeed, I see that the post (from 2011) had a few such now-broken links. I have updated those not working as of today with links to the web archive (archive.org) version of the pages as captured at some time in the past.
That's something you should take note of, in case you ever come across any other such broken links. Some people just don't keep their sites going for years and so many old links do break , so the archive.org service is a wonderful one to take advantage of.
And I'm sure I have other posts here from years gone by which could benefit from such checks and updates, but with almost 500 posts I probably will only correct those that people point out have issues. :-) So again, thanks.
Is modifying the uriworkermap.properties the only thing in this process? Do you not modify the web.xml or isapi setting in IIS? This alone isn't working for me. I'm completely stumped moving from CF9 to 2016.
I found that I had to add to the C:\ColdFusion2016\cfusion\wwwroot\WEB-INF\web.xml a servlet mapping for my custom extenstion. I choose an unused id number (in my case 32 and 33) see example below.. Restarted CF and my *.do file that didn't work before worked.
Hi, guys (Tim and Tony). Yes, you still need to do the web.xml changes in CF10 and above. That was indicated in the blog post from Michael Sprague that I pointed to (and whose link I updated when Jack complained it was no longer working.) Note that he had said in his post, "In CF10, there is now an *additional step* that is required due to TomCat" (emphasis mine).


text:
MEXICO-MARIACHIS Mariachis mark the Feast of Saint Cecilia, the patron saint of musicians
Title: MEXICO-MARIACHIS Mariachis mark the Feast of Saint Cecilia, the patron saint of musicians
Date: 23rd November 2014
Summary: MEXICO CITY, MEXICO (NOVEMBER 22, 2014) (REUTERS) WOMEN CARRYING FLAGS AND PEOPLE MARCHING IN PARADE FOR SAINT CECILIA, PATRON OF MUSICIANS VIOLINISTS PLAYING AND WALKING SAINT CECILIA BANNER PEOPLE WALKING IN PARADE STATUE OF SAINT CECILIA
Embargoed: 8th December 2014 12:00
Topics: General
Reuters ID: LVA202UMWBT2RD4SHKK9YW3JRX11
Story Text: Filling the streets of Mexico City with music, mariachis marked their national day on Saturday (November 22) with a festival of music and serenades.
Clad in their traditional garb of cropped jackets and wide sombreros, the mariachi musicians banded together to march in procession to the Basilica of Our Lady of Guadalupe.
For years, Mexico City's mariachis have gathered on November 22 to honour their patron saint, Cecilia.
Musician Miguel Angel Calderon said he was thankful to the saint for being able to enjoy his profession.
"First, I want to congratulate our patron who all year and not just this past year but always protects us, fills us with blessings and, at the same time, to petition her over our work, that she send us her protection because this work is beautiful," he said.
In the Catholic tradition, Cecilia was an early Roman martyr who is often represented in art by a harp.
How she came to be the patron saint of musicians is a bit unclear, said priest Marco Marelli.
"Saint Cecilia was always traditionally considered the patron of musicians, simply because she was a very pretty young lady and music speaks of beauty," he explained.
Mariachis originated in the 19th century in the western state of Jalisco where they performed at festivals and weddings. Their instruments include guitars, violins and harps but many modern day mariachi groups have eliminated the harp in favour of the trumpet.
The name "mariachi" came from French soldiers who arrived in Mexico in the 1800s and called the musicians "marriage," the French word for wedding.
But today mariachis don't only perform at nuptials, but at any occasion that's worth celebrating.


K2BTools provides several options on how to generate the application's UI. The developer can choose if the application should be generated using Responsive Web Design or not, and then choose the colors that should be used.To simplify these choices, the "Change K2BTools UI" action was introduced in K2BTools 8.1.
This action can be used at any point in the development process to change the UI.
Important: Before using this tool, at least one instance of a K2BTools pattern or a Web Panel created with Web Panel Designer must exist in the KB.
This action is available inside the "K2BTools" menu in the GeneXus IDE, as shown in the following image.
When this option is executed, a wizard will appear to help choose the best option. In its first step, it will prompt the developer for the desired Web Form Generator: Responsive vs. Previous Version Compatible.
After a generator is selected, the final step will be displayed to the user. In this step the developer can choose among variants of the themes included with K2BTools.
When the Orion design system is selected a dialog will appear, allowing the developer to customize the theme.
After confirming this step, the KB's configuration will be updated to reflect this change.


text:
Where Is Macaronesia?
Santiago is Cape Verde's largest island by both area and population.
Located in the North Atlantic, the Macaronesia is a group of islands with a rich geological and economic importance to both Europe and Africa. In Europe, some of the Macaronesian islands belong to Spain and Portugal, both Iberian countries, while in Africa, they belong to Cape Verde, a former Portuguese colony. The Portuguese language is spoken in almost all islands while Spanish is spoken in the Canary Islands. Macaronesia is often confused with the Micronesia, which is the name given to the islands in Oceania.
The Macaronesian Islands
The region of Macaronesia consists of the following islands: Canary, Cape Verde, Madeira, and the Azores.
The Canary Islands belong to the Kingdom of Spain, and it is an important tourist destination for holiday goers. The sub-tropical climate and wildlife in the islands pull tourists from mainland Spin and other European countries. Historically, the Canary Islands were a useful docking point for Spanish ships sailing to the Americas where the Spanish had colonies. As of 2011, the Canary Islands had a population of more than two million people of which it also comprises of multinationals from other countries.
Cape Verde, a former Portuguese colony, covers an area of 4,033 square kilometers and is located off the coast of West Africa in the Atlantic Ocean. As an independent nation, it is a member of the African Union and enjoys diplomatic relations with international countries which have embassies situated in the capital. Due to the Portuguese historical connection, the official language in Cape Verde is Portuguese, and it is used in the media, education system and Government affairs. Cape Verde Islands are divided into two groups, Sotavento Islands and Barlavento Islands. Praia, which is the capital, belongs to Santiago Island of the Sotavento Islands.
Madeira is an autonomous territory of Portugal which is located south-west of mainland Portugal. Funchal is the capital of Madeira, and a population of about 200,000 people lives in the archipelago that also includes the islands of Porto Santro, Desertas, and Selvagenes. Since the Portuguese discovered the islands, they have been used as an important stopover for the Portuguese ships heading out for the Portuguese colonies. Today, the port of Funchal plays a similar role as cruiser ships dock here with tourists and commercial ships while going to other destinations around the world. Madeira is an important tourist destination since it brings business to the local population.
The Azores is the second of an autonomous archipelago that belongs to Portugal. The largest city in the Azores archipelago is called Ponte Delgada. There are nine islands in the archipelago which possess natural beauty. Like other Macaronesian islands, the climate varies from island to island since the Portuguese Islands have a cooler climate while the Spanish and Cape Verde archipelago have a warmer climate. Home to unique species of animals and trees, conservation is being done to conserve the forests from extinction. The efforts include a ban on logging of trees and hunting of animals categorized as endangered species.
Jane Gips May 25 2018 in World Facts
Leaders Throughout The History Of The Soviet Union


text:
Tesla Among Small List Of Automakers Meeting Automatic Braking Goals
Jan 02, 2018 at 7:06am ET
Though standard crash avoidance tech isn't mandated and won't be for many years, Tesla is already substantially ahead of most other automakers.
Back in 2015, ten automakers committed to voluntarily add standard automatic emergency braking (AEB) to all vehicles by September 1, 2022 (likely planned for the 2023 model year). The automakers included Audi, BMW, Ford, General Motors, Mazda, Mercedes-Benz, Tesla, Toyota, Volkswagen, and Volvo. Within a year of the initial announcement, ten other automakers joined the initiative.
Tesla Model S Automatic Emergency Braking Test
According to Consumer Reports, only 19 percent of all U.S. vehicles for the 2017 model year include standard forward collision warning and automatic emergency braking.
The National Highway Traffic Safety Administration (NHTSA) and the Insurance Institute for Highway Safety (IIHS) just released its yearly joint report regarding AEB. For the 2017 model year, four automakers have already implemented standard AEB on 50 percent or more vehicles while six brands include it as standard on 30 percent of its vehicles. Tesla tops the list with 99.8% of its vehicles providing the tech as standard.
Mercedes-Benz is the only other automaker near 100 percent (96). Volvo and Toyota are next in line with 68 and 56, respectively. Executive vice president and chief research officer of IIHS, David Zuby shared:
"IIHS is pleased to see that automakers are steadily moving toward the shared goal of putting standard AEB into every new car they sell. This is a big win for safety on our nation's roads, which will see fewer crashes and injuries because of this commitment."
Automakers also submitted their first yearly progress reports to the IIHS-NHTSA group. The reported included all U.S. vehicles manufactured from September 1, 2016- August 31, 2017. Tesla only built a few vehicles that didn't have both forward collision warning and automatic emergency braking as standard. The fact that the automaker had the feature turned off temporarily for validation doesn't impact the results since it was successfully reinstated. Since then, another update has added high-speed AEB to Tesla's entire global fleet.
Source: IIHS via Teslarati
national highway traffic safety administration nhtsa iihs insurance institute for highway safety automatic emergency braking
Tesla Model S Tesla Model X
Sedan SUV/Crossover


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text:
module BlackjackServer where

import BlackjackData

import Network.NetSpec
import Network.NetSpec.Json
import Control.Monad

-- cabal install random-shuffle
import System.Random.Shuffle (shuffleM)

shuffle :: [a] -> IO [a]
shuffle = shuffleM -- TODO: not depend on random-shuffle

newGame :: BlackjackState
newGame = BJ [[],[]] fullDeck
  where fullDeck = [Card s v | s <- [minBound .. maxBound]
                             , v <- [minBound .. maxBound]]

deal :: Monad m => Int -> StateT BlackjackState m ()
deal 0 = stateT $ \(BJ [h1,h2] (c:cs)) -> ((), BJ [c:h1, h2] cs)
deal 1 = stateT $ \(BJ [h1,h2] (c:cs)) -> ((), BJ [h1, c:h2] cs)
deal _ = stateT $ \s -> ((), s)

bustOrStands :: [BlackjackClientMessage] -> BlackjackState -> Bool
bustOrStands cs s = any isBust (hands s) || all isStand cs

whoWins :: BlackjackState -> Handle -> Handle -> (Handle, Handle)
whoWins (BJ [h0, h1] _) p0 p1
  | isBust h1               = (p0, p1)
  | isBust h0               = (p1, p0)
  | bestVal h1 > bestVal h0 = (p1, p0)
  | otherwise               = (p0, p1)
whoWins _ _ _ = error "Unexpected BlackjackState format"

bjSpec :: NetSpec [] BlackjackState
bjSpec = ServerSpec {
    _ports = map PortNumber [5001, 5002]
  , _begin = \[h0, h1] -> flip execStateT newGame $ do
       h0 ! YouAre 0
       h1 ! YouAre 1
       s <- get
       deck' <- liftIO $ shuffle $ deck s
       put $ s { deck = deck' }
       replicateM_ 2 (deal 0 >> deal 1)
  , _loop = \hs -> stopIf bustOrStands .: runStateT $
       forM (zip hs [0..]) $ \(h, n) -> do
         curHand <- ((!! n) . hands) <$> get
         opponentHand <- ((!! rem (n+1) 2) . hands) <$> get
         h ! YourTurn curHand (last opponentHand) (length opponentHand)
         Just choice <- receive h
         when (isHit choice) (deal n)
         return choice
  , _end = \[h0, h1] s -> do
       let (winner, loser) = whoWins s h0 h1
       winner ! YouWin s
       loser ! YouLose s
  }

main :: IO ()
main = runSpec bjSpec


text:
Home › News › Lola Álvarez Bravo (1903-93)
Lola Álvarez Bravo (1903-93)
News, Photo Exhibitions	 12 May 2018 0
Lola Álvarez Bravo (1903-1993) belongs to the generation of female photographers who took advantage of a wind of artistic freedom to unfold after the revolution in 1910 to 20 in Mexico. Along with her husband Manuel Álvarez Bravo belonged to her circle around Diego Rivera, Frida Kahlo and Edward Weston.
Lola Alvarez Bravo (1903-1993) is a key figure in the history of modern Mexican art. Like many artists of her generation, including José Clemente Orozco and Luis Barragán, she was born in the state of Jalisco during the regime of Porfirio Díaz. But her parents separated when she was still a child, and Lola—as she was always known—moved with her father to Mexico City. As it happened, she ended up living in the same building in the congested colonial center as Manuel Álvarez Bravo. The two married in 1925.
Through Manuel, Lola gained entry to Mexico City's bohemian art world and learned the basics of photography. The late 1920s were a time of rapid change in the field, as pictorialism and studio practice were increasingly overshadowed by avant-garde strategies. Mexican photographers, including Lola, were deeply inspired by the so-called "new vision" introduced by Edward Weston, who lived in Mexico City from 1923 to 1926. Photography also emerged as a political weapon, particularly as deployed by Weston's erstwhile partner, Tina Modotti.
After Modotti was deported in 1930, Lola inherited her camera and her job photographing the great frescoes of the post-Revolutionary years. Until the 1970s, Lola was the leading woman photographer in the country, working side by side with competitive male photojournalists, documenting land reform and social programs of the Ministry of Public Education and other government agencies, creating portraits of the nation's artists, writers, and intellectuals, but always finding time for her personal work, what she called "mis fotos, mi arte."
Although the work of any photographer is hard to summarize, Lola focused on daily life in the streets, whether in Mexico City or in the provinces. Her finest images feature urban types and rural peasants, captured at work, at play, and at rest. She was interested in moments of great tenderness, but also addressed violence and pain, though with a sympathetic distance. Her artistic credo was signaled in a 1982 interview:
I don't have great artistic pretensions, but if something useful results from my photographs, it will be as a chronicle of my country, my times, my people, how Mexico has changed. [I captured] images that affected me deeply, like electricity, and made me press the shutter; and not only with a great artistic sense, or great beauty and light and all, but also with a sense of humor, with that sort of play fulness that is so Mexican… and then also the terrible things, those that strike you with great pain, the misery and the suffering.
Lola's photographs sometimes have poetic titles, but for the most part she rejected the strange ambiguities that mark the photographs of Manuel. Although primarily a seeker of truth, like Paul Strand, and of perfect moments, like Henri Cartier-Bresson — to name two artists she knew well — Lola also experimented with photomontage. It was not until rather late in her life, however, that scholars discovered the richness of her vast archive. Lola Álvarez Bravo died in Mexico City in 1993, months after attending the opening of the first major retrospective of her work.
The exhibition is a collaboration between the Preus Museum and the Mexican Embassy in Norway and the 77 images belong to the Fundación Cultural Televisia collection. The exhibition is curated by James Oles.
18 March – 2 September 2018
Preus fotomuseum
Kommandørkaptein Klincks vei 7
3183 Horten
www.preusmuseum.no
Lola Álvarez Bravo, Unos suben y otros bajan, Ciudad de México, México, 1940 Courtesy of the Fondo Fundación Televisa Collection.
Lola Álvarez Bravo, Niño Bizantino, Acapulco, Guerrero, México, 1950 Courtesy of the Fondo Fundación Televisa Collection.
Lola Álvarez Bravo, Las Golondrinas, 1955. Courtesy of the Fondo Fundación Televisa Collection.
Lola Álvarez Bravo, Diego Rivera, Veracruz, 1945. Courtesy of the Fondo Fundación Televisa Collection.
Lola Álvarez Bravo, Frida Kahlo, Ciudad de México, México, 1950 Courtesy of the Fondo Fundación Televisa Collection.
Exhibition, Featured, Lola Álvarez Bravo, Preus fotomuseum
Interview with Lucie Nechanicka
Cowboys Don't Do Lunch: The Photographs of Herb Cohen


text:
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Entries from November 24, 2019 - November 30, 2019
Van Helsing (2004) [Widescreen] - DVD
½*/**** Image B+ Sound A Extras C+
starring Hugh Jackman, Kate Beckinsale, Richard Roxburgh, David Wenham
written and directed by Stephen Sommers
by Walter Chaw There are times now and again over the course of Stephen Sommers's unspeakable Van Helsing when the film is so brazenly bad that it threatens to be satirical--so bad that one is left to scramble to pull some sort of gestalt sense from the carnage. But it's just a mess, a cesspool of half-formed ideas and images ripped off whole from The Empire Strikes Back, Return of the Jedi, and Raiders of the Lost Ark, with Hugh Jackman reprising Wolverine from X-Men and Kate Beckinsale essentially reprising her role from Underworld. All of it's wrapped up in a cacophonous jumble of dour mattes, really (really) bad CGI, and an Alan Silvestri score that is itself a rip-off of everything that made John Williams famous (that is, Holst's "The Planets"). Way too long at just over two hours with no story to speak of justifying its length, the piece is stolen by David Wenham as a deadpan 19th century Q, Friar Carl, and grinds to a dead standstill whenever Jackman delivers one of his twenty lines, Beckinsale chimes in with a jarring non sequitur ("There's a bright side to death in Transylvania"), Shuler Hensley as Frankenstein's monster threatens to cry out "Puttin' on the Riiiitz," or Richard Roxburgh as Count Dracula vamps around like a diva in a John Waters film. If only Van Helsing were campy.
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Posted in 2000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Czech Republic, DVD, Romania, Vampire | Permalink
12 Angry Men (1957) [Collector's Edition] - DVD
***½/**** Image A- Sound B Extras B
starring Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall
screenplay by Reginald Rose
directed by Sidney Lumet
by Alex Jackson SPOILER WARNING IN EFFECT. Sidney Lumet's 12 Angry Men is centred around the notion that the guilt of an accused man must be established beyond a reasonable doubt if he is to be punished through the legal system. It's a notion that most educated adults in this country have already accepted as a basic moral principle, yet 12 Angry Men manages to come off as surprisingly edgy for arguing sincerely in favour of it. The film never answers the fundamental question of whether or not the accused is indeed guilty. (We as an audience are never shown what actually happened on that fateful night, nor do we ever meet another potential suspect.) The possibility that he could have committed the murder and gotten away with it is left smugly unaddressed. Because it could not be proven in court, it simply doesn't matter.
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Posted in 1950s, Authors: Alex Jackson, Drama, DVD | Permalink
Tinker Bell and the Great Fairy Rescue (2010) - Blu-ray + DVD
**/**** Image A- Sound B- Extras C
screenplay by Joe Ansolabehere, Paul Germain, Bob Hilgenberg, Rob Muir
directed by Bradley Raymond
by Jefferson Robbins There's this thing in children's fiction I call the Curious George effect. A character transgresses, and in the context of that character's world it's a big hairy deal, potentially life-threatening. But the repercussions are so nifty-neato that the initial sin is shrugged off, perhaps never mentioned again, perhaps not explicitly identified as an error in the first place. The consequences for the guilty character are as follows: anxiety, cool adventure, reset to status quo.
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Posted in 2000s, Adventure, Animated, Authors: Jefferson Robbins, Blu-ray Disc, Disney, Family, Fantasy | Permalink
Treasure Planet (2002) - DVD
**½/**** Image A Sound A- Extras B-
screenplay by Ron Clements & John Musker and Rob Edwards, based on the novel Treasure Island by Robert Louis Stevenson
directed by John Musker & Ron Clements
by Walter Chaw Beginning as a clever updating of Robert Louis Stevenson's kiddie adventure classic Treasure Island, by its end Disney's Treasure Planet washes out as another bombastic familial reconciliation fable that marks the flat trajectory of most Disney "boy" animations. Released just a few months removed from Hayao Miyazaki's Spirited Away in North America, Treasure Planet's narrative and character shortfalls are all the more glaring for their studied lack of depth and the picture's general overreliance on excess, broad comic relief, and all of the stale portfolio of hackneyed Disneyisms. Treasure Planet even comes complete with that most irritating of cutesy crutches: an anthropomorphic globular whatzit created with what appears to be more of a concern for ease of holiday season polymer mass-reproduction than narrative foundation. The existence of one slapstick comic relief gag not enough, enter Martin Short as homosexual robot B.E.N.--an animated caricature of Short's Ed Grimley character whose appearance mid-film is as handy a signal as any that Treasure Planet, for all serious intents and aesthetic purposes, is over.
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Posted in 2000s, Adventure, Animated, Authors: Bill Chambers, Authors: Walter Chaw, Disney, DVD, Family, Sci-Fi | Permalink
Universal Soldier (1992) - 4K Ultra HD + Blu-ray + Digital
Note: all framegrabs were sourced from the 4K UHD disc
**½/**** Image A- Sound B+ Extras B
starring Jean-Claude Van Damme, Dolph Lundgren, Ally Walker, Jerry Orbach
screenplay by Richard Rothstein & Christopher Leitch and Dean Devlin
directed by Roland Emmerich
by Bryant Frazer You might expect an early-1990s T2 knock-off starring Jean-Claude Van Damme and Dolph Lundgren to be a bit of a romp, but Universal Soldier is pretty dark from the get-go. It opens with a cut-rate Vietnam War-movie pastiche that has Sergeant Andrew Scott (Lundgren) going on a My Lai-style rampage, stitching human ears into a necklace, executing innocent civilians, and decrying the horrified American soldiers around him as traitors before shooting them, too. Private Luc Devreux (Van Damme) manages to jam his bayonet into Scott's gut, ending his murderous spree but earning a lethal volley of return fire in the bargain. Both men end up bleeding out in the mud before the U.S. military spirits their bodies away and declares them AWOL. Fast-forward 20 years or so, and the government has figured out a way to revive and power up dead soldiers and repurpose them as an unbeatable tactical force. We see these so-called "universal soldiers," including Scott and Deveraux, working as a unit to take out a group of terrorists in an action set-piece that was, impressively, shot at the Hoover Dam. All goes well for a while, until both Scott and Deveraux start recalling their former lives--and remembering they don't like each other very much.
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Posted in 1990s, 2019, 4K Ultra HD, Action, Authors: Bryant Frazer, Blu-ray Disc, Sci-Fi | Permalink
Strangers in Strange Lands: FFC Interviews Andrew Ahn
One goal for minority filmmakers is to no longer be considered minority filmmakers. Failing that, it would be keen to be asked about craft rather than minority identity. As an Asian-American born in the United States of immigrant parents, I'm still trying to sort all that out for myself. There's an Ani DiFranco lyric that's stuck with me from those halcyon grad-school days where she was a constant point of reference for me (and now you know just enough about me). It goes, "Every time I move, I make a woman's movement." Yeah, preach it. Who the fuck knows what we represent to the ruling culture? I'm just over here making shit.
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Posted in 2019, Authors: Walter Chaw, Film Festivals, Interviews, San Diego Asian Film Festival | Permalink


und macht die Leute zufrieden ?
Doktor, kann ich andere Tableten nehmen?
Biography Elsye Suquilanda Elsye Suquilanda Jaramillo was born in the city of Quito in the maternity hospital of Isidro Ayora on the 27th of June in 1979… Her first cry of life, the first pull of her tender neurons. Since 6 years of age she started to discover the existential madness and the metaphorical in her writings, stories and poetry which, after some years, turned into her passion and lead her to the magic of cinema and video. This resulted in studying director of cinema and television at the Columbia College, Chicago, USA and the Institute Cuest TV, Quito, Ecuador.
He, I met you guys recently in the Kingkong Club. You already know when you have the next concert?