text:
Coronaviruses: Molecular and Cellular Biology | Book
Edited by: Volker Thiel
Kantonal Hospital St. Gallen, Research Department, Rorschacher str. 95, St. Gallen 9007, Switzerland
Influenza Virology
Alpha Herpesviruses
Segmented Double-stranded RNA Viruses
Coronaviruses are positive-strand, enveloped RNA viruses that are important pathogens of mammals and birds. This group of viruses cause enteric or respiratory tract infections in a variety of animals including humans, livestock and pets. The important discovery in 2003 that the causative agent of severe acute respiratory syndrome (SARS) was a new, potentially lethal coronavirus named SARS-CoV provided major impetus to coronavirus research. SARS-CoV spread within months to more than 30 countries causing the first epidemic of the new millennium and becoming a public health nightmare in the countries affected.
In this timely book, internationally renowned experts review literally every aspect of cutting edge coronavirus research providing the first coherent picture of the molecular and cellular biology since the outbreak of SARS in 2003. The book is divided into two sections: Part I focuses on the molecular biology of the virus itself and includes topics such as coronavirus binding and entry, replicase gene function, cis-acting RNA elements, coronavirus discontinuous transcription, reverse genetics, genome packaging and molecular evolution. In Part II of the book, the focus is on molecular and cellular pathogenesis and infection control. This section includes reviews of the three prototype viruses, namely avian infectious bronchitis virus, feline coronavirus and mouse hepatitis virus. Other topics include SARS-CoV virus pathogenesis, SARS-CoV interaction with the host INF and antiviral cytokines, the newly recognized bat coronaviruses and human coronavirus NL63, and strategies for coronavirus vaccine development and the development of novel antiviral coronavirus agents.
Essential reading for all coronavirologists as well as scientists working on other viruses of the respiratory and/or gastrointestinal tract.
"a review of every aspect of research" from SciTech Book News (December 2007) pp. 69
"an excellent series of chapters ... I would certainly recommend the book for new and established people in the field." from Microbiology Today (2008)
"a comprehensive review of the field of coronavirus virology. The contributors to the book are many of the experts in coronavirus virology ... recommended for those who want to quickly be brought up to date on coronavirus research or who want to know what research questions remain to be answered in the field of coronavirus virology." from Future Virol. (2008) 3(2): 119-123.
"The text is also highly readable and provides an indispensable update on this important group of viruses." from ACM News (2008) 1: 14-15.
1. Coronavirus Binding and Entry
David E. Wentworth and Kathryn V. Holmes
Coronaviruses are a diverse family of viruses that bind to host cells primarily through interactions between viral spike glycoproteins and specific host cell surface glycoproteins. Some coronaviruses also bind to sialic acids on glycoproteins and glycolipids via their spike and/or hemagglutinin esterase glycoproteins. The interactions between coronaviruses and host cell receptors are critical determinants of species-specificity, tissue tropism, and virulence. This chapter summarizes how coronaviruses bind to host cells and how the viral envelope fuses with host cell membranes to initiate infection. It will focus on the viral spike and hemagglutinin esterase glycoproteins and their interactions with known host cell receptor proteins, sialyloligosaccharides, and lectins. The functions of the other coronavirus structural proteins, non-structural and accessory proteins, as well as the fascinating replication strategy of coronaviruses will be discussed in later chapters.
2. The Coronavirus Replicase Gene: Special Enzymes for Special Viruses
John Ziebuhr and Eric J. Snijder
Coronaviruses have single-stranded, positive-sense RNA genomes of about 30 kilobases, by far the largest non-segmented RNA virus genomes currently known. The key functions required for coronavirus RNA synthesis are encoded by the viral replicase gene. The gene comprises more than 20,000 nucleotides and encodes two replicase polyproteins, pp1a and pp1ab, that are proteolytically processed by viral proteases. Over the past years, it has become clear that the unique size of the coronavirus genome and the special mechanism that coronaviruses (and several other nidoviruses) have evolved to produce an extensive set of subgenome-length RNAs is linked to the production of a number of nonstructural proteins (nsps) that is unprecedented among RNA viruses. Many of these replicase cleavage products in fact are multidomain proteins themselves, thus further increasing the complexity of protein functions and interactions. Structural studies suggest that several nsps, following their release from larger precursor molecules, form dimers or even multimers. The various pp1a/pp1ab precursors and processing products are thought to assemble into large, membrane-associated complexes that, in a temporally coordinated manner, catalyze the reactions involved in RNA replication and transcription and, most probably, serve yet other functions in the viral life cycle. This article reviews the expression, maturation and the functional and structural properties and peculiarities of coronavirus replicase gene-encoded enzymic and other functions, including protease, polymerase, helicase, ADP-ribose 1"-phosphatase and RNase activities.
3. Genomic Cis-Acting Elements in Coronavirus RNA Replication
Paul S. Masters
In common with the genomes of all other RNA viruses, coronavirus genomes contain cis-acting RNA elements that ensure the specific replication of viral RNA by a virally encoded RNA-dependent RNA polymerase. The embedded cis-acting elements devoted to coronavirus replication constitute a surprisingly small fraction of the total genome, but this is probably a reflection of the fact that coronaviruses have the largest genomes of all RNA viruses. The boundaries of cis-acting elements essential to replication are fairly well-defined, and an increasingly well resolved picture of the RNA secondary structures of these regions is emerging. However, we are only in the early stages of understanding how these cis-acting structures and sequences interact with the viral replicase and host cell components, and much remains to be done before we understand the precise mechanistic roles of such elements in RNA synthesis.
4. Coronavirus RNA Synthesis: Transcription
Luis Enjuanes, Isabel Sola, Sonia Zuñiga, and J. L. Moreno
Coronavirus replication involves both viral and cellular proteins, and takes place in the cytoplasm in a membrane-protected microenvironment. Coronaviruses may control the cell machinery by locating some of their proteins in the host cell nucleus, and their replication and transcription possibly require cross-talk between the 5' and 3' ends. Coronavirus transcription involves a discontinuous RNA synthesis (template switch) during the extension of a negative copy of the subgenomic (sg) mRNAs, a process that is controlled by transcription-regulating sequences (TRSs) preceding each gene. The requirement for base pairing during transcription has been formally demonstrated in arteriviruses and coronaviruses. The template switch requires base pairing between the nascent minus RNA strand and the leader TRS with minimum free energy (DG). Coronavirus N proteins have RNA chaperone activity that may help to overcome the energy barrier threshold associated with template switch. The potential role in transcription of selected proteins will be addressed.
5. Reverse Genetic Analysis of Coronavirus Replication
Coronavirus reverse genetics has greatly contributed to our current understanding of coronavirus molecular biology and diseases. Starting in the early 1990's reverse genetic techniques have been applied to the modification of the 3'-third of coronavirus genomes by targeted recombination. In 2000, reverse genetic systems based on full-length cDNAs made the entire coronavirus genome amenable to mutagenesis. Coronavirus reverse genetic techniques have been applied to the analysis of all aspects of coronavirus infections. These include studies on the tropism, pathogenesis, virus entry, virion formation and RNA synthesis of coronaviruses. In addition to the generation of recombinant coronaviruses, reverse genetic approaches have also been used for the development of coronavirus replicon RNAs and novel vectors designed for heterologous gene expression.
6. Coronavirus Genome Packaging
Krishna Narayanan and Shinji Makino
The assembly of infectious coronavirus particles requires the selection of viral genomic RNA from a cellular pool that contains an abundant excess of non-viral and viral RNAs. Among the seven to ten specific viral mRNAs synthesized in virus-infected cells, only the full length genomic RNA is packaged efficiently into coronavirus particles. Studies have revealed cis-acting elements and trans-acting viral factors involved in coronavirus genome encapsidation and packaging. Understanding the molecular mechanisms of genome selection and packaging is critical for developing antiviral strategies and viral expression vectors based on the coronavirus genome. In this review, we have compiled these collective findings to provide some insights into the initial stages of infectious coronavirus particle assembly.
7. Molecular Evolution of Group 2 Coronaviruses
Leen Vijgen, Els Keyaerts, and Marc Van Ranst
Coronaviruses are well-equipped to adapt rapidly to changing ecological niches based on two major forces that drive their viral evolution: mutation and recombination. Based on the available nucleotide and amino acid sequence information, the evolutionary relationships among coronaviruses can be inferred by using molecular phylogenetic approaches. The calculation of an evolutionary rate provides an indication of the rate at which mutations become fixed in the coronavirus population. The divergence of ancestral strains of existing coronaviruses with a different host-specificity can be dated back in history, thereby estimating the time in which potential interspecies transmission events occurred. A similar cross-species jumping led to the emergence of the SARS coronavirus, that has been proposed to be an early split-off from group 2 coronaviruses. Within group 2 a subdivision into murine hepatitis virus-related and bovine coronavirus-related coronaviruses has been suggested. The remarkably high genetic similarity among the bovine coronavirus-related coronaviruses indicates a relatively recent common evolutionary history. In this chapter, we discuss the molecular evolution of these closely related group 2 coronaviruses.
8. Avian Coronavirus Diseases and Infectious Bronchitis Vaccine Development
Paul Britton and Dave Cavanagh
Infectious bronchitis virus (IBV), a Group 3 coronavirus, is responsible for economic losses and welfare problems with chickens (the domestic fowl) globally. In addition to all respiratory epithelial surfaces it replicates throughout the alimentary tract, kidneys and gonads. Despite live and inactivated vaccines, it continues to be a major problem due to extensive antigenic variation; there is poor cross-protection. Susceptibility to the outcome of IBV infection is genetically determined.
Coronaviruses that are genetically and antigenically similar to IBV cause enteric disease in turkeys, and respiratory and kidney disease in pheasants. IBV-like viruses have recently been reported in several other gallinaceous (fowl-like, order Galliformes) birds, - peafowl, partridge, guinea fowl - and in a duck (teal); some of these isolates may be IBVs that have crossed into other species. Group 3 coronaviruses with additional open reading frames have been detected in greylag goose, pigeon and mallard duck. A group 2 coronavirus has been reportedly isolated from a Manx shearwater (Puffinus puffinus), and a coronavirus of an undetermined Group has been isolated from a parrot.
Inactivated vaccines are ineffective unless preceded by live attenuated vaccines to prime the protective immune response. The S1 spike protein subunit is necessary and sufficient to induce protective immunity. Differences in as few as 5% of the amino acids in S1 can decrease cross-protection. Genetic manipulation of the IBV genome is underway for the rational attenuation of IBV, and for the development of IB vaccines that can be applied in ovo.
9. Feline Coronaviruses: A Tale of Two-Faced Types
Bert Jan Haijema, Peter J.M. Rottier, and Raoul J. de Groot
Feline coronaviruses (FCoVs) are common pathogens of cats. Two serotypes (I and II) have been recognized and, to add further spice, each serotype occurs in two markedly different pathotypes. The most common pathotype, enteric FCoV (eFCoV) causes a mild, often unapparent enteritis, the other one, feline infectious peritonitis virus (FIPV), a devastating, highly lethal systemic infection. During the last ten years, our knowledge of the pathogenesis of feline infectious peritonitis (FIP) and of the relationships between the different FCoV sero- and pathotypes has increased considerably. In this Chapter, we will focus on (i) the pathogenesis and natural history of FCoV infections, (ii) the molecular biology and molecular genetics of FCoVs, and (iii) the development of new and effective vaccines.
10. Control of Neurotropic MHV by Multifactorial Mechanisms
Cornelia C. Bergmann and Stephen A. Stohlman
Infection of the central nervous system (CNS) by mouse hepatitis virus (MHV) can result in fatal encephalitis. Rapid viral growth especially in neurons leads to death prior to effective immunity. Alternatively, MHV can induce an acute encephalomyelitis that resolves into a persistent infection under immune pressure. During both infections there is a coordinated innate immune response which, although unable to control virus, facilitates adaptive immunity during non-fatal infections. During non-lethal infection, virus is controlled by CD8+ T cells which use both perforin mediated cytolysis and IFN-g, depending upon the specific type of cell infected. In contrast to innate and anti-viral cellular mechanisms evident during acute infection, persistence is maintained via virus neutralizing antibody. CD8+ T cells loose anti-viral function as virus is controlled prior to complete virus elimination. Even memory T cells are insufficient to control persisting virus in the absence of antibody. Retention of virus specific antibody secreting within the CNS, despite their delayed appearance relative to T cells, implies local antibody production in providing protection throughout persistence.
11. SARS Coronavirus - Pathogenesis and Correlation With Clinical Disease
John M. Nicholls and Joseph S.M. Peiris
Human infection by SARS coronavirus appears to be limited to the respiratory tract where infection of susceptible cells leads to damage to the pneumocytes resulting in a histological picture of diffuse alveolar damage and a clinical picture of adult respiratory distress syndrome. Diarrhoea is also present but there is limited evidence of damage to the intestinal epithelium. The damage to the respiratory tree appears limited to the lower respiratory tract and there is evidence that the immune response plays a part in the outcome of patients with SARS.
12. SARS-Coronavirus and the Antiviral Cytokine Response
Martin Spiegel and Friedemann Weber
Intracellular pathogens such as SARS-Coronavirus (SARS-CoV) have to cope intensively with the innate immune system. Type I interferons (IFN-a/b) represent an important part of this host defense. IFNs are potent, antivirally active cytokines which can be produced by all nucleated cells in response to infection. Moreover, professional IFN producer cells such as dendritic cells are able to secrete immense amounts of IFNs within short time. IFNs trigger the synthesis of antivirally active proteins and shape adaptive immunity. Thus, in order to establish infection, viruses were forced to evolve efficient anti-IFN strategies. There is growing evidence that SARS-CoV is no exception to that rule. Here, we attempt to summarize the current state of knowledge regarding the interaction SARS-CoV with components of the IFN system, its connection to the induction of other cytokines, and the consequences for the pathogenesis of SARS.
13. Grand Challenges in Human Coronavirus Vaccine Development
Barry Rockx and Ralph S. Baric
The emergence and identification of several common and rare human coronaviruses that cause severe lower respiratory tract infection argues for the judicious development of robust coronavirus vaccines and vector platforms.
Currently, limited information is available on the correlates of protection against SARS-CoV and other severe lower respiratory tract human coronavirus infections, a clear priority for future research. Passive immunization has been successful in establishing protection from SARS-CoV in animal models suggesting an important role for neutralizing antibodies. One important property of future vaccine candidates is the ability to confer protection against multiple variant strains of SARS-CoV, especially in senescent populations that are most at risk for severe disease.
Many vaccine candidates are capable of inducing humoral and cellular responses and protection from subsequent homologous challenge has been reported in animal models. The development of infectious clones for coronaviruses has facilitated the identification of attenuating mutations, deletions and recombinations which could ultimately result in live attenuated vaccine candidates. Stable vaccine platforms should be developed that allow for rapid intervention strategies against any future emergence coronaviruses.
Vaccine correlates that enhance disease after challenge should be thoroughly investigated and mechanisms devised to circumvent vaccine-associated complications.
14. SARS and Other 'New' Coronaviruses
Leo L.M. Poon
SARS coronavirus is a novel human pathogen identified in 2003. Its emergence caused severe impacts on human health. This chapter will summarize the commonly used diagnostic methods for SARS. The origin of this novel virus will be discussed. Besides, other novel coronaviruses found in the post-SARS era will also be reviewed.
15. Human Coronavirus NL63, a Long Lost Brother
Krzysztof Pyrc and Lia van der Hoek
Over the last decade a number of novel human respiratory viruses have emerged or have been recognized. A novel group I coronavirus, human coronavirus NL63 (HCoV-NL63) was identified in 2004 in the Netherlands in children and adults with acute respiratory illness. Worldwide analysis of clinical specimen indicated that this virus has widely spread within the human population. It is observed mostly in young children, elderly people and immunocompromised patients with upper and lower acute respiratory tract disease (1-10% of all respiratory infections). This chapter will discuss current knowledge on HCoV-NL63 replication, pathogenesis, disease burden and advances in treatment strategies.
16. Current Status of Antiviral Severe Acute Respiratory Syndrome Coronavirus Research
Els Keyaerts, Leen Vijgen, and Marc Van Ranst
Before the emergence of the severe acute respiratory syndrome associated coronavirus (SARS-CoV), no efforts were put into the search for antivirals against coronaviruses. The rapid transmission and high mortality rate made SARS a global threat for which no efficacious therapy was available and empirical strategies had to be used to treat the patients. New insights into the field of the SARS-CoV genome structure and pathogenesis revealed novel potential anti-coronavirus targets. Several proteins encoded by the SARS-CoV could be considered as targets for therapeutic intervention: the spike protein, the main protease, the NTPase/helicase, the RNA dependent RNA polymerase and different other viral protein-mediated processes. Different animal models have now been established to enable the evaluation of potential anti-SARS-CoV drugs in vivo. The development of effective drugs against SARS-CoV may also provide new strategies for the prevention or treatment of other coronavirus diseases in animals or humans. In this chapter, we review and discuss experimental and clinical data about possible coronavirus antivirals.
(EAN: 9781904455165 9781912530342 Subjects: [virology] [microbiology] [medical microbiology] [molecular microbiology] [genomics] )


Graeme worked in Central Hawke's Bay for accountancy firm Watson Blampied and Partners before moving to Napier and establishing Gardiner Knobloch in 1975, with colleague Ewan Gardiner.
Graeme retired as a Director of Gardiner Knobloch in 2018, however he continues to work with our clients in a consultancy role.
Although the firm has expanded significantly over the past four decades, Graeme remains passionate about personal service and helping his clients and community organisations to attain their goals.
Graeme lives on Bluff Hill with wife Cathy. A "broken down tennis player", he enjoys going to the gym and cycling, regularly competing in events including the Lake Taupo Cycle Challenge. Graeme takes an interest in most sports and is a particularly enthusiastic tennis spectator. In his downtime, he also enjoys travel, wine and catching up with his four children and two grandchildren.
"I really enjoy the team culture we have developed at Gardiner Knobloch, which benefits our clients with knowledge and experience built up over four decades."


text:
Owners sell their stake in Portland's Little Giant restaurant
Andrew and Briana Volk have sold their shares in the Portland restaurant to their business partners to leave more time for their children, new projects and political activism.
The bar area reflected in a mirror at Little Giant in Portland's West End. Brianna Soukup/staff photographer
Andrew and Briana Volk have sold their share in the Portland restaurant Little Giant to their business partners.
Ian and Kate Malin of Portland now have full ownership of the West End restaurant that opened in July 2017, Briana Volk said. Nothing else is changing, and the staff will remain the same, she said.
Volk said she and her husband, who also own the Portland Hunt + Alpine Club on Market Street, decided to sell Little Giant to spend more time with their two small children, focus on new projects, and become more politically active. Andrew Volk ran for a seat on the Portland City Council, but wasn't elected Tuesday.
"It really came down to there are some other kinds of things we want to do," Briana Volk said. "When we brought it to our partners, they offered to buy us out."
One of Briana Volk's upcoming projects is a new cookbook she is writing. The Volks previously co-wrote "Northern Hospitality with the Portland Hunt + Alpine Club" (Voyageur Press 2018).
Reopening Saddleback will bring more than skiing back to Rangeley area
Sears to close 96 more stores, none in Maine
food, Maine business, maine food, maine restaurants, portland maine
Browse more in Business
Maine Commercial Real Estate
Subscribe for news about Maine's marijuana industry

redpajama_set_name: RedPajamaCommonCrawl


The International Religious Freedom Report assesses religious freedom around the world. The state of religious freedom is dire, says Ambassador Brownback.
Freedom of religion is a key value to Americans and is enshrined in the U.S. Constitution. Learn more about it.
An attack on student protesters in July was among the incidents prompting President Trump's executive order pressuring Nicaragua to restore the rule of law.
The latest U.S. sanctions show the consequences for anyone shipping oil to Syria, or trying to evade U.S. sanctions on Iran and its terrorist activities.
Thousands of Cubans are detained every year for political reasons. More than 100 of them are currently imprisoned.
Religious freedom is a founding principle of the U.S. A group of international visitors traveled the U.S. for an up-close look at religion in American life.
Among the winners in the 2018 election are the first female Native American representatives to Congress. See some of the other history makers elected to office.


The best method to appreciate the use of show commands is to display sample output from a Cisco IOS router.
Example 4-6 displays a list of truncated show commands available from the CLI on a Cisco router in PRIV EXEC mode.
Example 4-7 displays three IP routing entries. The more specific command, show ip route ospf, only displays remote OSPF entries. Every IOS command can be used with the ? character to display more options. In this case, the network administer used it to identify the ospf option and then typed show ip route ospf to view only remote OSPF entries.
Example 4-8 enables the network administrator to quickly verify any defined access lists. Example 4-8 includes two access lists numbered 1 and 100.
Use the show debugging command to display any debug commands in use. This verifies if any debugging is currently enabled.
Currently, the router in Example 4-9 is enabled for debugging IP routing. To turn off the debugging, apply the undebug all command, as shown in Example 4-9. This command ensures all debug options are disabled. You can specify the exact debug option you want to disable with the no options; for example, to disable the IP packet option, the IOS command is no debug ip packet.
To display the hardware interfaces on the router, use the show interfaces command to explore the physical and statistical state.
Ethernet0/1 is up, line protocol is up—The Ethernet Interface is active, sending and receiving Ethernet frames.
Ethernet0/1 is up, line protocol is down—The Ethernet Interface is cabled but no keepalives are received, and no Ethernet frames are sent or received (possible cable fault).
Ethernet0/1 is administratively down, line protocol is down—Ethernet Interface is not enabled administratively; typically an interface not configured as yet.
Ethernet 0/1 is down, line protocol is up—A physical condition is not possible, for example.
To display the system log (syslog), use the show logging command. Example 4-11 displays a sample output taken from a router name R1.
Two messages have also been displayed on the terminal: the first message is a configuration change, and the second appears when a PRIV EXEC user cleared the counters on all the interfaces.
The show route-map command displays any policy route maps configured. Policy route maps override routing decisions on Cisco routers. Route maps basically allow an administrator to access the route manipulation.
The show version command displays the system's hardware configuration, the software version, the names and sources of configuration files, and the boot images. Issue the show version EXEC command to accomplish this.
Example 4-12 displays a sample output.
System image file is "flash:c2600-ik8o3s-mz.122-2.T.bin"
Example 4-12 displays a number of key hardware data about the router. For example, the IOS software version is 12.2T, the router's uptime is 2 days, 20 hours, 15 minutes, and the memory installed on the router is 64 MB. There is 16 MB of System Flash, and the current configuration register is 0x2102.


text:
Memorials: Stones, Benches and More
By mausoleum
In General Information
Memorials are one of the most important elements of the funeral process for family members and the deceased alike. Family members use memorial stones, plaques, benches, and other memorial objects as focal points for grieving. They visit memorials when they want to feel close to the deceased family member, or to show their respect and love on significant days, like birthdays, wedding anniversaries, or anniversaries of death. Planned in advance, memorial objects also provide the subject of the memorial the comfort of knowing he or she will be remembered long after passing. What kind of memorial is right for you or your lost loved one?
Memorial Stones, Headstones and Markers
Memorial Benches and Garden Stones
Memorial Statues and Monuments
Memorial stones, memorial headstones, and memorial markers are the most common types of memorials. Memorial headstones and markers serve the same function as gravestones; they record personal information, such as name, date of birth, and date of death. Memorial stones sometimes bear inscriptions with inspiring or descriptive text about the deceased, such as "Beloved Mother" or "An Inspiration to All." Memorial markers are placed where the remains have been laid to rest, somewhere that was significant to the deceased, or somewhere the family enjoys.
Memorial benches are slightly less traditional but growing in popularity. They provide a place for family members and friends to sit and contemplate the life of the deceased. Memorial benches are often placed at a location the deceased loved, or as part of a memorial garden to give the family a place to grieve. Memorial garden stones offer another way to remember the deceased, and are frequently placed in the family garden, making it easy for the family to visit and mourn. Some individuals prefer a memorial rock that can hold a cremation urn, providing a natural way to blend with the environment and record personal details about the deceased.
Memorial statues and memorial monuments offer more elaborate ways to commemorate the deceased. Hand-carved or custom memorial statues and monuments typically cost more than other memorial styles, but you can buy smaller, less elaborate memorial statues that aren't personalized for as little as $30. Memorial monument designs often come in the form of an angel, or religious-themed statues such as Jesus and Mary. With a custom memorial statue or monument, though, you could choose a design of your lost loved one's face, an important hobby, or something else of significance to the deceased, or to the family who will remember him or her.
Memorial plaques are simple memorials that list the name of the deceased, and, sometimes, the dates of birth and death. Memorial plaques are placed at home, at a community mausoleum or private mausoleum, or even at a place of significance to the deceased. It is not uncommon, for example, to remember someone with a significant donation to "buy" a memorial plaque at a museum or other historical site.
Ultimately, the question of memorials is highly personal. Some families choose more than one type of memorial; a memorial to mark the remains, and a memorial to keep at home, or in a special place where the deceased is remembered and celebrated. The type of memorial that is right for you depends largely on where and how you want to use it, but it's extremely subjective; there is no right or wrong way to memorialize a lost loved one.


text:
This Wetherspoons pub has just flushed competition to win Loo of the Year 2017
But are the new 'Groovy Toilets' in Exeter's Chevalier Inn better?
Alex RichardsHead of Content
Daniel MumbyLocal Democracy Reporter
Get the pick of the week's stories and fascinating Devon history features direct to your inbox every Saturday morning in our exclusive Weekend Report newsletter
A Wetherspoon pub just across the border in Chard has just bowled over judges to win Loo of the Year 2017.
Based in a former cinema, The Cerdic was given a platinum star rating by inspectors, only awarded to outlets which offer "exceptional toilets."
The awards, which are celebrating their 30th anniversary this year, are aimed at highlighting and improving standards of 'away from home' toilet provision across the UK.
A Wetherspoon pub just across the border in Chard has just bowled over judges to win Loo of the Year 2017
Loo of the Year Awards inspectors make unannounced visits to thousands of toilets at sites across the UK in order to judge them.
All of the toilets are graded from bronze to platinum, with unacceptable toilets not graded at all.
One of Devon's best chip shops is giving away a free portion of fish today
The toilets are judged against numerous criteria, including décor and maintenance, cleanliness, accessibility, hand washing and drying equipment, and overall management.
Awards managing director Mike Bone said: "The toilets at The Cerdic have been designed and fitted out to a very high standard, and are both clean and well-maintained.
Trendy restaurant chain Bill's to open up in Plymouth next week
"The pub richly deserves its platinum award – the highest individual award the judges can deliver."
Pub manager Michael Mackriell added: "We are delighted with the award.
"Staff at the pub ensure the toilets are in first-class condition at all times and it is great that this has been recognised by the inspectors."


Do you know The President of The United States uses his own two amazing planes and they are usually called "Air Force One"? I am going to tell you several MIND BLOWING FACTS about this technologically advanced Presidential Airplane also with a little bit of its history and its future.
Z.Simon Added 1 year ago I like It!
Mulugeta Added 3 years ago all your programs are informative and educative. Keep it up!!!
Awel seid Added 3 years ago Beprinting endetnew eka lisera yemichilew? Bedenb giletslgn.


Fremont, CA – September 12, 2018 – Blackmagic Design today announced that the online series "More Than Just Parks" is captured with an URSA Mini 4.6K digital film camera and graded with DaVinci Resolve Studio.
Founded by brothers Will and Jim Pattiz, "More Than Just Parks" is an online short film series designed to encourage the exploration and conservation of the United States' national parks by making their stunning landscapes, coastlines and forests come to life. With each short film centering on a different park, "More Than Just Parks" features a combination of familiar visual landmarks, as well as never before seen compositions and landscapes, such as Redwood National Park's mammoth namesake trees. To make the film series as eye catching as possible, the Pattiz brothers shoot anywhere from 150 to 300 time lapses per park, ranging from as short as ten minutes to as long as an entire day.
The Pattiz brothers chose to shoot the series with an URSA Mini 4.6K so they could capture and deliver hyperrealistic images of the parks, to help foster an emotional connection between their audience and the parks, and successfully execute their mission to preserve them. The brothers equipped the camera with an URSA Viewfinder, which allows the duo to achieve incredibly accurate focus and eliminate guesswork when focusing in on a shot.
So far, the brothers have covered 14 of the 60 U.S. national parks, including the latest, Hawaii's Haleakala National Park. Unlike the other national parks that the brothers have covered, they wanted to convey a laid back look for Haleakala, since it's one of three U.S. national parks located in a tropical climate. To achieve this, they relied on the URSA Mini 4.6K for all live action shots, leveraging the camera's ability to film at 60 fps. They then slowed the footage down to 24 fps in post, to achieve an easy paced, island time feel without compromising the quality and look of the shot.
The URSA Mini 4.6K's lightweight, magnesium alloy build came in handy during the Pattiz's shoots, as they trek around the park capturing waves breaking along the shore, clouds rolling over mountain tops, and tropical waterfalls.
"Since we're hiking with the camera throughout the parks, we need something lightweight and durable. Despite extreme conditions, the URSA Mini 4.6K has never faltered. When we were filming in Arizona's Saguaro National Park on a 120 degree day, the camera continued to run all day without overheating. At Haleakala, we started down at sea level where it was 80 degrees and humid, and then drove up to 10,000 feet above the clouds where it was 40 degrees, but we never doubted that the camera would stand up to the conditions," explained Pattiz.
The Pattiz brothers rely on the URSA Mini 4.6K's 15 stops of dynamic range to keep the footage as real to life as possible. "We want the footage to replicate what we saw with our own eyes. For example, in the time lapse of the clouds moving over the mountain tops, it was critical to pull back on the exposure and draw out the shadows to really make the texture of the clouds pop. With the camera's dynamic range, we can bring it as close to real life as possible," said Pattiz.
The brothers then use DaVinci Resolve Studio in post to further develop the series' vivid look. "We love that DaVinci Resolve Studio is node based, so you can keep stacking different effects on top of each other during the grading process. For example, when we were grading the footage of the turtle swimming in Haleakala, we wanted to isolate specific colors on its shell and manipulate them one at a time, without affecting the whole turtle. In the footage, the turtle had really dark colors in its shell and on its face, so we used DaVinci Resolve Studio to isolate the dark spots and give them more of the brownish hues they have in person. Then, we used a different node to pull the yellows in its shell and make them a bit softer and greener. The result was a shot that perfectly mirrored what we saw in real life. DaVinci Resolve Studio helped us bring the image to that level of hyperrealism," Pattiz concluded.
The Pattiz brothers will continue using the URSA Mini 4.6K and DaVinci Resolve Studio on their ongoing exploration of the remaining 46 U.S. national parks. For the Haleakala National Park and more, visit: www.morethanjustparks.com/haleakala.


Moving on a budget? Below is a list of affordable Dearborn movers that provide quality moving services at low rates. Select the 'Get Quotes' button to fill out a quote form. You will receive up to seven free estimates from professional moving companies in Dearborn, MI.
We are an independent, professional company centrally located in the metropolitan Detroit area. We are proud of the reputation that we have established for providing quality services at an affordable price and without a complicated pricing structure.
Read real customer reviews and compare moving estimates from our pre-screened and fully-insured Dearborn moving companies. We also provide moving company profiles with photos, services offered, license numbers and contact information. Determine which Dearborn mover best suits your needs and save on your next move.
I would recommend the movers but not the company.
They were profissional, fast, did a good job. If I ever want to move to another place again .. I will call them again.
Submit information, such as move date and size of the move, on our easy online form. We will help you locate the best moving companies near Dearborn, MI.
Get FREE, no obligation moving quotes from professional movers in our network. All Dearborn moving companies are pre-screened, licensed and insured.


text:
Q: Cannot inject transpostBuilder I was trying to send by email following to this blog, where they inject transportBuilder object .
public function __construct(
       \Magento\Framework\App\Action\Context $context,
        \Magento\Framework\Mail\Template\TransportBuilder $transportBuilder,
        \Magento\Framework\Translate\Inline\StateInterface $inlineTranslation,
        \Magento\Framework\App\Config\ScopeConfigInterface $scopeConfig,
        \Magento\Store\Model\StoreManagerInterface $storeManager,
        \Magento\Framework\Escaper $escaper
        ) {
    parent::__construct($context);
    $this->_transportBuilder = $transportBuilder;
    $this->inlineTranslation = $inlineTranslation;
    $this->scopeConfig = $scopeConfig;
    $this->storeManager = $storeManager;
    $this->_escaper = $escaper;
}

but when i try to do the same it says:
Exception #0 (Exception): Recoverable Error: Argument 2 passed to Company\Module\Controller\Index\Index::__construct() must be an instance of Magento\Framework\Mail\Template\TransportBuilder, instance of Magento\Framework\View\Result\PageFactory given

Not sure where im doing wrong .

A: Your controller action class looks like:
app/code/Vendor/Module/Controller/Index/Sendmail.php

namespace Vendor\Module\Controller\Index;

class Sendmail extends \Magento\Framework\App\Action\Action
{
    /**
     * Recipient email config path
     */
    const XML_PATH_EMAIL_RECIPIENT = 'test/email/send_email';
    /**
     * @var \Magento\Framework\Mail\Template\TransportBuilder
     */
    protected $_transportBuilder;

    /**
     * @var \Magento\Framework\Translate\Inline\StateInterface
     */
    protected $inlineTranslation;

    /**
     * @var \Magento\Framework\App\Config\ScopeConfigInterface
     */
    protected $scopeConfig;

    /**
     * @var \Magento\Store\Model\StoreManagerInterface
     */
    protected $storeManager;
    /**
     * @var \Magento\Framework\Escaper
     */
    protected $_escaper;
    /**
     * @param \Magento\Framework\App\Action\Context $context
     * @param \Magento\Framework\Mail\Template\TransportBuilder $transportBuilder
     * @param \Magento\Framework\Translate\Inline\StateInterface $inlineTranslation
     * @param \Magento\Framework\App\Config\ScopeConfigInterface $scopeConfig
     * @param \Magento\Store\Model\StoreManagerInterface $storeManager
     */
    public function __construct(
        \Magento\Framework\App\Action\Context $context,
        \Magento\Framework\Mail\Template\TransportBuilder $transportBuilder,
        \Magento\Framework\Translate\Inline\StateInterface $inlineTranslation,
        \Magento\Framework\App\Config\ScopeConfigInterface $scopeConfig,
        \Magento\Store\Model\StoreManagerInterface $storeManager,
        \Magento\Framework\Escaper $escaper
    ) {
        parent::__construct($context);
        $this->_transportBuilder = $transportBuilder;
        $this->inlineTranslation = $inlineTranslation;
        $this->scopeConfig = $scopeConfig;
        $this->storeManager = $storeManager;
        $this->_escaper = $escaper;
    }

    /**
     * Post user question
     *
     * @return void
     * @throws \Exception
     */
    public function execute()
    {
        $post = $this->getRequest()->getPostValue();
        if (!$post) {
            $this->_redirect('*/*/');
            return;
        }

        $this->inlineTranslation->suspend();
        try {
            $postObject = new \Magento\Framework\DataObject();
            $postObject->setData($post);

            $error = false;

            $sender = [
                'name' => $this->_escaper->escapeHtml($post['name']),
                'email' => $this->_escaper->escapeHtml($post['email']),
            ];

            $storeScope = \Magento\Store\Model\ScopeInterface::SCOPE_STORE;
            $transport = $this->_transportBuilder
                ->setTemplateIdentifier('send_email_email_template') // this code we have mentioned in the email_templates.xml
                ->setTemplateOptions(
                    [
                        'area' => \Magento\Framework\App\Area::AREA_FRONTEND, // this is using frontend area to get the template file
                        'store' => \Magento\Store\Model\Store::DEFAULT_STORE_ID,
                    ]
                )
                ->setTemplateVars(['data' => $postObject])
                ->setFrom($sender)
                ->addTo($this->scopeConfig->getValue(self::XML_PATH_EMAIL_RECIPIENT, $storeScope))
                ->getTransport();

            $transport->sendMessage(); ;
            $this->inlineTranslation->resume();
            $this->messageManager->addSuccess(
                __('Thanks for contacting us with your comments and questions. We\'ll respond to you very soon.')
            );
            $this->_redirect('*/*/');
            return;
        } catch (\Exception $e) {
            $this->inlineTranslation->resume();
            $this->messageManager->addError(
                __('We can\'t process your request right now. Sorry, that\'s all we know.'.$e->getMessage())
            );
            $this->_redirect('*/*/');
            return;
        }
    }
}

Delete 'var/generation/*'

A: If you're following that blog to the letter then they have their name spaces set up like Magento 1.  They're using app/code/local/Company/Module instead of just app/code/Company/Module.  Try moving it all to app/code/Company/Module, run bin/magento setup:upgrade, clear your cache and var/generation/ folders and see if that helps.

redpajama_set_name: RedPajamaStackExchange


Associated Species: Juniperus, Juniperus deppeana, Quercus emoryi, Quercus turbinella, Pinus edulis, Arctostaphylos, Opuntia phaeacantha, Opuntia engelmannii, Agave parryi, Agave cf. chrysantha, Acacia angustissima, Hilaria belangeri.
Description: Locally frequent, plant cloning, with large packrat nest, stalk ca 8-3/4 m tall, 51 mm in diameter at 1-3/4 m high, lateral branches ca 18, down 2/5 of stalk, perpendicular-ascending, longest branch ca 30 cm long; ovary, neck chartreuse green, tube lighter chartreuse-green, tepal lobes, filaments, style cream-yellow/light chartreuse, outer tepals brown-tipped, anthers yellow; ovary not angled, tepal lobes somewhat clasping, very erect; flower measurements after Gentry (1982) in mm, beginning anthesis: tl=50, o=24x8, n=3, tu=17x11, outer tep=9x7(base), 5(mid), inner tep=8x6(base), 5(mid), fil ins=8, 7.5, fil=43, a=16, sty=48; tl=49, o=22x7, n=2, tu=17(h) x 10(w), outer tep=9x6(base), 4.75(mid), inner tep=7.5x5.5(base), 5(mid), fil ins=9, 8, fil=40, a=17, sty=50.


I'm Keiran Deck and I run a sports live streaming company called Echo Sports Network (ESN).
ESN is live streaming the finals of the AVL (Australian Volleyball League) in Melbourne this weekend, and we need a commentator!
I'm looking for someone who has confidence, a little bit of experience commentating (can be local level) and a willingness to learn.
The commentator doesn't need to be a volleyball expert, but they will need to have some knowledge of the game. They will lead the 'play by play' coverage, and will be accompanied by a volleyball expert.
The commentator will cover one game per day, while I step away for a break.
I can offer a stipend to the successful candidate, plus lunch on both days.


> > Mac OS X: both are Unix.  Mac OS 9 would be a lot harder.
> > for Mac OS X.  I don't think there is one yet.
> I think GTK for OS X exists though, so you could consider redoing your GUI in lablgtk if it isn't too complex.  lablgtk is a nice API.


Through the NY Rising Housing Recovery Program, the State assists property owners who have been impacted by Superstorm Sandy, Hurricane Irene and Tropical Storm Lee.
This program facilitates repairs, rehabilitation, mitigation and elevation for the owners of single-family homes.
This program provides assistance to owners of condo and co-op housing units, while serving to replenish housing stock and increase the State's resiliency.
Visit this page to access relevant forms, eligibility information and program documents for all subsets of the Housing Recovery Program.
This program assists owners of storm-impacted rental properties, utilized on a full-time, year-round basis.
This program addresses areas that experience repeated instances of flooding by purchasing the homes of interested New Yorkers in coastal communities.
Locate the Housing Recovery Intake Center nearest to you.
This program works to produce and preserve affordable multi-family rental housing.


text:
PopEntertainment.com > Feature Interviews - Actresses > Feature Interviews - Actors > Feature Interviews A to E > Feature Interviews F to J > Claire Danes, Hugh Dancy and Mamie Gummer
Claire Danes, Hugh Dancy & Mamie Gummer
Copyright �2007 PopEntertainment.com. All rights reserved. Posted: June 29, 2007.
Susan Minot�s novel Evening was embraced by a huge readership upon being released. The novel is about the choices people make and how they are formed by them. A woman at the end of her life is reliving (and revealing to her grown daughters) the story of a great love that got away � one that the daughters were not aware of. The daughters don't understand how much of the story is true and how much is the dementia of illness and approaching mortality. It is a poignant reminder that no matter how close you are to someone in your life, you never truly know all of his or her secrets.
Novelist and screenwriter Michael Cunningham (The Hours, A Home at the End of the World) was uniquely qualified to change a beloved piece of literature to the film. However, it was not a job he took lightly.
�I almost said no because I didn�t want to be the guy who messes up a book as beautiful and as accomplished as Evening,� Cunningham recalled recently. �When they called me up and asked me to do it the first thing I did was call Susan, who I knew slightly, and said look I don�t know what I have to do working with you, but I know I�m going to have to push for real changes. There are dozens of characters in this novel, each of them beautiful and richly drawn, and I�m not going to have room for them. I�m going to have to mess around with it in all kinds of ways and if that�s a problem for you tell me right now and I won�t do it. My first loyalty is always to the novelist. Susan, to her huge credit, said, �Well, no, that�s why they called you, because clearly we need another pair of eyes on this. Of course it needs to be altered to fit another form. Go.��
The main character of Ann Lord is played in flashbacks by Claire Danes, who has carved out an unique career for herself in the years since first capturing our attention in the cult-favorite TV series My So-Called Life. Since then, she has proven to be an unusually versatile actress, equally comfortable in drama (The Hours and Brokedown Palace), splashy melodrama (Romeo and Juliet), romantic comedy (Shopgirl and The Family Stone) and big-budget action (Terminator 3: The Rise of the Machines and The Mod Squad). Evening marks Danes� reunion with screenwriter Cunningham, who also was behind The Hours.
British actor Hugh Dancy plays Buddy, a tragic character from the past (and one who was not in the novel.) Dancy has been acting professionally for less than a decade, but he has put together a consistently interesting body of work with films like Blackhawk Down, Blood and Chocolate, Ella Enchanted and Beyond the Gates. (No one is perfect, though, he was also in Basic Instinct II.) Dancy is currently finishing up a successful Broadway run in the World War I drama Journey�s End.
Also from theatrical roots is Mamie Gummer, who has appeared in several plays. Evening is her first major film role, though she has done small parts in a few other films, most recently The Hoax. If Gummer looks familiar to you, perhaps that is because she is a near-spitting image of her mother when she was young. That mother just happens to be probably the best actress of her generation � Meryl Streep. Now before you get any ideas of nepotism, Gummer is the real deal as an actress. In fact, when she was hired for the role of young Lila Wittenborn, director Lajos Koltai did not even know of the relationship.
Only later did Streep come on board the cast of Evening � playing the same character as her daughter grown old � and then it was not due to Gummer�s actions. Streep was given the script by her long-time make-up artist J. Roy Helland and was so taken by the script that she decided to do a cameo role. Streep and Gummer were not the only mother/daughter team in this production, either. Famed British actress Vanessa Redgrave played the main character of Ann as a dying old woman in modern times and Ann�s older daughter was played by Redgrave�s own flesh and blood, Natasha Richardson.
�It was a unique, very special opportunity to play mother and daughter on the screen,� Richardson said. �Not only to be playing these characters, but bring all our history, all our baggage, all our love, all our painful times to serve these characters in the film. It was great to be able to do that. It was also very painful because it was evocative of a lot of things and seeing her lying there on that bed, very convincingly, looking very seriously ill, it of course makes you project the future and the past, like when my father was dying. So, it was a very special experience.�
A few weeks before Evening was due to debut, we met up with Danes, Gummer and Dancy at the Regency Hotel in New York to discuss the film.
What was it like to work on certain scenes that seemed intense � like that rain scene with Claire and Patrick [Wilson]?
Claire Danes: They were so exquisitely written that I didn't have to work too hard to analyze them or refine them. They just kind of play themselves. We read them a couple of times in rehearsal, and it just worked. I think it was so clear of what it was asking of us, that we had very little resistance, so we were really fortunate. I love that scene. I love that scene to act and I love the scene with Mamie in bed, because it was so�
Mamie Gummer: Inventive�
Claire Danes: �exciting to play because they have so many shifts and turns. They have a great rhythm. A great integrity.
Hugh, did you find in playing this role with the tension between you and Claire that it heightened your ability to connect with her?
Hugh Dancy: No, no, no. When you work with another person as an actor, nuances of character in a relationship are a result of close understanding of the script you�ve got and then the ability to realize it. I really do believe that. I�m not just trying to avoid your question. I�ve worked with actors before that I�ve liked very much and felt the results were not so wonderful. And I�ve worked with actors and actresses that I really didn�t feel that much for and felt like we achieved some kind of so-called chemistry. I think it�s acting. That�s what it comes down to.
Mamie, what was you favorite scene?
Mamie Gummer: The bedroom scene was my favorite. The writing was just so beautiful. I loved it from the minute I read the script. I just fell in love with that character and that scene. I really didn�t have to do anything. You just say the words, and how could your heart not break?
Claire Danes: The onus was really on you in that scene and I was just having the best time watching. (laughs from both) You didn't know.
Mamie Gummer: I have sisters. I felt that the intimacy between girlfriends was lovely that that was represented. Because you don't see that a lot in movies, laughing and crying at the same time.
For this movie there are a lot of really strong roles for women � though of course, Hugh, your role and Patrick�s were strong male roles. What was it like working on a film that had so many big female roles from an actor�s point of view?
Hugh Dancy: It wasn�t so notable� I�m trying to think of how to formulate this� It was great working with these great actresses. That�s a given. Working with Claire and Mamie and Glenn and so on. And being aware that these other actresses are also going to populate the other side of the story. But that�s not to say that the experience was 100% estrogen. It didn�t particularly feel like that in the moment � partially because I was there and Patrick was there, but also because we were surrounded by crew. You know how it is. Even more exceptional to me than just the presence of that many females in the movie was the quality of the writing. The questions it tackled. Then the way that � in my mind � it succeeded attacking these big questions. That felt very clear, even when we were doing it. I felt it was something unusual.
Is there an underlying message here in choosing a mate? Is it okay to pass over the true love and go with someone else � is that a regret your whole life?
Mamie Gummer: That's the big question. What's right? Lila seems to have compromised herself, which is weak. But at the end, who's to say really?
Would that have happened today?
Claire Danes: Sure. It still does happen today.
Mamie Gummer: It's the pragmatic thinking.
Claire Danes: It�s very hard to predict these things. But I think it's easy for Ann to romanticize that affair because it was never fully realized. So it was always perfect in her mind. I'm not even all that confident that it would have lasted. They might not be true-life partners. But it served a purpose for her. She enjoyed escaping into [it].
Mamie Gummer: Nothing is perfect. The idea is just to be hopefully happy at the end of the day.
Claire Danes: Happy enough�
How do you feel about the threesome in this film? Did they ever have a fighting chance?
Claire Danes: The threesome?
You and Hugh Dancy's character and Pat's character�
Claire Danes: I don't really see them as a threesome. I think they all loved each other. The shades of those loves are very different. I don't think of them like that.
Hugh, did you have any specific idea as far as backstory about Buddy�s sexual orientation?
Hugh Dancy: Yeah, sexual orientation, I thought was secondary. I don�t think it�s the root of his confusions. In my imagination, my guess would be that he�s never had any kind of homosexual experience. I mean, I don�t know this. (laughs) I mean Michael Cunningham might have a different idea. Lajos might have an idea. And they�re all right. But my theory is that he�s been at college with Ann and probably gets very drunk and occasionally has kind of gotten lucky with young girls who think that he is exotic and glamorous. It�s always a bit tawdry. Every so often he gets really drunk and he tries it on with Ann. I think that probably happens regularly in their relationship. Every time she just pushes him away and he falls on the floor. The one thing I do think is that Buddy has never been capable of really maintaining any kind of substantial relationship, because he�s not grounded in any way as a person. Man, woman, it doesn�t matter. His identity is to him totally confused. That�s at the center of why he is in love with Ann, in love with Harris. Because he just is drawn to towards� I think he wants to be them, in a way. He sees Harris� strength and his independence and thinks that�s who I want to be. He sees Ann living the life of an artist in New York. That�s what I want. He just grabs onto them.
I think personally it�s always unique to the individual. There are certain social truths. But, Buddy, for example, is living in a very interesting period. Where he is when we see him in the movie in Newport is where he is still living in a kind of throwback to the thirties or the twenties. Kind of wild Gatsby-esque times. The rules are still the same. At the same time, three hours away in New York, the beat poets are kicking in. Bohemian � the Village is coming up. And he is a crossover. He has one leg in each world. He doesn�t really know where he wants to be. That�s very specific to him and his particular background.
So I do think you�ve kind of addressed the issues of masculinity in doing these roles (in Evening and the play Journey�s End.) Do you have any insights into that, in terms of how it�s changed now? Since you�re a modern guy today�
Hugh Dancy: Yes, supposedly. (long pause) I mean, I suppose there is a less rigid definition of what a man should be and should live up to. But, again, I would resist making any broad statements about the world now. Because I think it�s different from street to street. You could look at some cultures, some backgrounds � it�s part ethnic and it�s part just family, whatever. In Manhattan, where there would be an incredibly strong sense of masculinity � you�ve got to be like this and like this � then of course there are other areas of Manhattan where there�s just the opposite. And that�s just in Manhattan. It so happens that in this movie and in this play there are very, very strong rules applied. The guy in the play is living in the trenches. He�s got a very ingrained sense of honor and duty, which was pounded into these young men. You left your country. Just please run towards that machine gun. Equally, Buddy is coming from a very rarified, atypical background. So I don�t think they� well maybe my character in the play does, but Buddy I don�t think is necessarily typical of that era. He is unusual.
But he�s grappling with the issues�
Hugh Dancy: He�s grappling with the issues of the era, yeah. But, you can see, I�m trying to resist presenting myself as any kind of expert. What I would say is that you don�t think about it in those terms when you�re doing this. You just try and focus in on that guy and his family and his past and his existence. And hope that the strength of the writing comes through. In turn, that may be as you�re saying, some quality of the period comes through as well.
Mamie, did you have fun having an alternative mom (Glenn Close)? You looked kind of like her, so it made sense.
Mamie Gummer: It�s funny. Roy Helland did the hair and makeup on this film. He's been my mother's makeup and hair man for 25 years. He felt I looked more like Glenn (laughs) than I did {my own mother].
Mamie, do you have your own Roy or did you kind of borrow Roy?
Mamie Gummer: I borrowed. I just asked really nicely.
Are you in the market for a Roy?
Mamie Gummer: I'm not quite there yet. (chuckles)
Claire Danes: I don't know that there are many Roy's to be had.
Mamie Gummer: He�s one of a kind.
Claire Danes: He really is unique.
Did you tease your mom at all about that?
Mamie Gummer: No, but he was certainly her eyes and ears on the set.
Do you think your mom is going to keep piggybacking off your roles from now on?
Mamie Gummer: Who knows? (laughs) Maybe she'll leave me alone.
Buddy�s entire family is very repressed. They all show it in different ways, but do you think that would be a hard lifestyle to grow up in?
Hugh Dancy: Maybe. For Buddy, yeah, but not for everybody. Some people love that. (chuckles) Some people love rules. They want to know what to wear. I know if I go to walk down the Kings Road in London, I�m going to see guys wearing that uniform of the button down shirt and the red jeans and the loafers and colored sports socks and a blazer. Did you never stop to think maybe I�ll wear something else? They�re happy that way. I�m not saying that�s repression, but there are a lot of different cultures that don�t reward looking outside. I don�t think that has to be a bad thing.
Mamie Gummer: But, I don't know that I would like [Glenn Close�s] character as a mother. She kept this girl on a pretty tight leash.
Well certainly in many of the films you�ve been in, Hugh � and the play � you�ve dealt with that kind of repression. Maybe because of the British experience, but also coming into that society. Also in the Rwandan film (Shooting Dogs a.k.a. Beyond the Gates)�
Hugh Dancy: Yeah. I mean, again I�m so wary of making sweeping statements�
Don�t worry, you�re not treated as an expert, but you�re treated as an observer�I won�t elevate you to expert status.
Hugh Dancy: That�s right. Expert Hugh Dancy embarrasses himself with sweeping generalizations. (laughs) I suppose that may be true. I�ve never selected anything with that in mind. It is feasible that unbeknownst to yourself a trend emerges in the work that you do. You suddenly think, God, I seem to have some access to the mindset of the outsider or whatever. I really don�t know whether that�s true, or if it is why, but it may be the case. I think usually it�s more interesting to see a character that is set apart in some way. Eventually in fact every character has to be that way. That�s what you�re looking for in every character. It�s the grain. Even if the guy is 99% conventional, it�s the one extra percent that�s going to make him worthy of having a story told about him. Usually that 1% if it�s a good story is going to blossom and grow. So your job as an actor is to scrape away and scratch away and find that strength. There�s an infinity of variety. It can be anything.
Some people think playing a drunk is easy, but I don�t think it would be�
Hugh Dancy: I don�t know I�ve met anybody who thinks that. I�ve been very gratified by people telling me how hard it must be. It�s not. It�s not easy, because the risk is you just really veer far too far.
But you have to do a lot of your own bringing the role out, right?
Hugh Dancy: Well, you know, it�s difficult because you are trying to show who somebody is, but through this extra layer of alcohol. Alcohol in some ways conceals a person and in other ways it amplifies them. Eventually if you�re drinking to repress some kind of aggression then somewhere down the line that evening that aggression is going to resurface � maybe in a different light. So you have to think it through very carefully. There is a character arc, despite that. You also have to remember that a drunk is always fighting for control. They�re not just stumbling around until they become uncontrollable. Like Buddy, in the scene where he gives the speech at the wedding dinner, he is trying to be a sober person. Speak like a sober person. So there is a lot to think about.
Was there any improv?
Hugh Dancy: There was no improv. I mean, there is always certain amount of invention, but in terms of the script, no. Particularly playing a drunk character, the last thing you want to do is start making up drunk dialogue. So no real improvisation. In terms of director, it is very important, because it is my belief that you can take a movie like this with one of the best scripts I�ve ever read, an amazing cast, a beautiful setting and you can still screw it up. There�s no guarantee. At the end of the day, it comes down to the one guy who is going to put it all together.
Claire, what was it like to sing on film? You haven't done it before right?
Claire Danes: No, I hadn't� and I wasn't teaming with confidence. But I had a great teacher. Deborah Lapidus, who teaches at Juilliard and Tisch. She gave a quick-but-thorough education on how to go about doing it. I didn't realize what a physical undertaking it is to sing. I was very surprised by the volume that I ended up producing. Like, �we can really make big noises!� (laughs) It was spooky. But it was great. Great fun. I still take lessons from her now just because I enjoyed it so much.
But you have established in your career a variety of other arts like dancing. Do you hope to expand on that more?
Claire Danes: Sure�
Mamie Gummer: Juggling�
Claire Danes: Juggling. (laughs) I'm a mean juggler. And I can't whistle, at all, which is just crushing.
It�s easy� There's a long, storied history of it in music.
Claire Danes: So people say! I'm not going to join in that history, sadly. I would like to. But yes, I obviously want to be as dynamite and dexterous a performer as possible so these opportunities are so welcomed. After I'm done taking advantage of them, they are daunting but I feel kind of bigger now as a performer and grateful.
Do you hope to use your dancing skills in more of your films?
Claire Danes: That would be wonderful. I love dancing and I think my dancing did serve me in my singing because I have a sense of rhythm and timing. As I said before singing is really physical. So I could organize it better, thinking in those terms. I'm singing out of the back of my head and using my lower abdomen. So bring it on.
Are there any personal processes as a UK actor of soaking up the idea of Newport. It seems like to be in such opposition with the British experience�
Hugh Dancy: Well, we invented elitism. (laughs)
Well, the British seaside seems much more about chips and throwing up on one another�
Hugh Dancy: Yeah, the British seaside is a different kettle of fish all together. That�s true. So to speak. I mean, actually, the British would be me, Vanessa, Eileen [and Natasha]. I was the only British actor who really had to be really steeped in it, because Ann was not of that background and Eileen�s character was from another planet. She is, she�s this kind of ethereal being. So, yeah, the process was, we arrived on Labor Day weekend for the weekend. Me, Patrick, Mamie, Claire, Lajos � and just hung out. Read some of the scenes. Not all of them. Listened to a bit of music and talked. Got to know each other and went to dinner and so on. Then they all went away and I stayed there for the rest of the week. Which was great. I got to wander. I think the idea was, he�s British, let him osmose. (laughs) So I did what everybody else does in Newport and ate lobster and kind of got drunk. (laughs again) It was strangely familiar. There is� it is such a bizarre and unusual corner of the world. But there are qualities that are not unique to Newport. That sense of propriety or rules as we were saying � underneath what seems to be a very raucous group, a raucous society, are these very strict rules. I can recognize that.
Do you guys have have the kind of bond you had with each other in the film at that age and will it last as these did?
Mamie Gummer: Ho's before bro's!
Claire Danes: Well, as God, I feel� (laughs) I do have very different friendships with women than I have with men. I hope that they will last.
I think women struggle more to keep those friendships going�
Claire Danes: Yeah. In some ways, they do. They are unpredictable. One of my oldest friends � it still surprises me that we have so much in common. Like really? We are compatible? I never would have picked that necessarily. But life did. It�s a combination. It's a funny thing, because there's never a formal ceremony. You don't sign anything where you say I will always through thick and thin, through the good times�
Mamie Gummer: But there is that moment when you look at each other and say, okay we're�
Claire Danes: (big laughs) Sometimes there is a handshake involved.
So did you guys establish a rapport to work together again?
Claire Danes: We had our moments, but I'd love to work with Mamie again.
Mamie Gummer: We all got along together. But it's not necessary to be someone�s best friend to play their best friend. That�s sort of an acting thing�
What are you doing next?
Claire Danes: I have Stardust and a movie I did a while ago � The Flock � coming in September.
Mamie Gummer: I have Stop Loss coming out in September and John Adams.
What was it like working with Kim Pierce?
Mamie Gummer: Great! She's brilliant. A little nutty, but great. She's wonderful.
Hugh, how are you approaching The Jane Austen Book Club?
Hugh Dancy: Well, he stands out in the context of that movie in the beginning because he has never read any Jane Austen. He�s the only guy in there. He gets almost accidentally invited into this book club, because one on the women thinks one of the other women who has just gotten a divorce might like him. He misunderstands the situation and thinks the first woman wants him. He�s just a kind of schlub and a computer nerd who reads science fiction sitting in a room full of women who are Jane Austen experts. I didn�t really need to work on the outsider status on that one.
Might we be seeing you on stage?
Mamie Gummer: I'm doing a play in August in Williamstown. It's a Lillian Hellmann play.
(Screenwriter) Michael (Cunningham)�s writing seems to have a theatrical quality � as if it were set for a play. Did you find that to be the case? It�s very dialogue driven.
Hugh Dancy: To put it another way, it�s true that there are movies that don�t rely on dialogue so much. But usually that�s simply because the writing�s bad. (laughs) I think in general dialogue ought to always form the characters. It�s just that they don�t always achieve that. It�s amazing to me to read writing that is supple and fluid and rooted in the moment and the situation and yet gives such a strong sense of character. I agree that there�s a kind of heightened drama to it. But I think that�s in the situation. And particularly a wedding, which is inherently theatrical � like a court case or something. There is always a kind of theater involved. But what I liked about it, particularly with Buddy, is he�s wrestling away with the same questions but in a much more dramatic way. I couldn�t have done it and I wouldn�t have felt comfortable going to those excesses if it hadn�t to me tied down in reality and rooted in honesty. If it was just grandiose, all written in a dramatic way, I would have been very uncomfortable.
What did Michael do on the set? Was he involved in the filming or there as more of a producer?
Mamie Gummer: He was sort of Jack-of-all-trades. He did it all from Scrabble�
Claire Danes: Scrabble partner�
Mamie Gummer: �to consultant of the story � having written the thing.
Hugh Dancy: Michael was on the set a lot, yeah.
Did you discuss with him his sexuality? I know it was kind of a pre-gay period�
Hugh Dancy: (laughs) Pre-gay period. I don�t know if that period ever existed. But I know what you mean. Certainly, it�s not like we could imagine that, oh, maybe if there had been a future for Buddy beyond this movie he could have suddenly jumped up at the wedding and come out. No. No. But, I�ve got to say. Michael was there. We didn�t talk about that issue in particular. I don�t think we ever talked about this. I mean we may have flippantly, but I don�t think we ever sat down and talked about his sexual orientation. I think we may have had one or two more or less inebriated discussions about Buddy as a guy. That�s partially because I was doing a lot of work on my own, just trying to think it all through. Like I got the work done. When you do all that work on your own and you feel like you�ve gotten somewhere you want to rush off and share it with somebody. When you�ve got the dude that wrote the script it�s great. You�ve just got to bore him for a half hour. If he�s polite � and Michael is � he just nods and agrees and lets you get on with it. When I read the book and realized he didn�t exist in the book � and I was fascinated by Buddy anyway � I thought I�m going to ring Michael and kind of get the inside line. And I just put it off and put it off. I eventually arrived in Rhode Island and met him and I was very glad I had. By that time I realized I didn�t need to. I felt comfortable pursuing it myself. I still haven�t really had that conversation with Michael. I doubt I ever will.
Mamie, at your point in your career, with your mom � does she give you pointers or is she hands off?
Mamie Gummer: We weren't on the set at the same time, because we were the same person and due to space and time limitation we didn�t have any scenes.
I knew that, I just thought you may have been there for some of each others� scenes.
Mamie Gummer: If I have a question or problem I'll usually ask her, but on this project I had a handle on it.
Claire did you have an opportunity to talk with Vanessa about her being you in latter years?
Claire Danes: We had a conversation that didn't last very long. It digressed pretty quickly into talk of [other things]. I think it was really obvious after a certain point that we were afforded a lot of liberties in forming our characters. Because the gap in age was so massive, it was impossible to carefully design that arc. Also Ann is so sick, and weaving in and out of consciousness and is behaving uncharacteristically. It was pretty freeing.
How did you feel having your mother play a later version of you? How was that to see it evolve? Was there a connection between the young version and the old one?
Mamie Gummer: I was very happy with her work. She did an adequate job playing me. We didn't have a formal sit down conversation about continuity or character choices. You're introduced to this character at a very young age of 24. Even though she thinks she�s an old maid, she�s just 24. And then [you don�t see her] again until she's 70. So, she�s lived a full life that we couldn't really start to imagine.
When you see the movie finished, I kept expecting for Buddy to disintegrate. But his fate seems so much more random. When you saw it, even though you knew it in the script, when you saw it on the screen did it have a different impact on you?
Hugh Dancy: I think it�s just a brilliant piece of writing. It�s so well set up. I don�t want to give away the end of the movie. I don�t want you to give away the end of the movie, either. But, yeah, you know, Buddy from the minute he arrives you pretty much think you are going to figure out where he�s going. And the movie, like any good movie, defies your expectations. So, yes, even though I knew that, I was still taken by how successful that was when I went to the movie.
Features Return to the features page.
#1 � 2007 Gene Page. Courtesy of Focus Features. All rights reserved.
#10 � 2007 Gene Page. Courtesy of Focus Features. All rights reserved.


text:
Home Basketball
ESPN Analyst Suspects Tampering with Oscar Tshiebwe
Morgantown, West Virginia – ESPN college basketball analyst Fran Fraschilla thinks that some shady business has gone down surrounding former West Virginia forward Oscar Tshiebwe.
Fraschilla, who was a former head coach at St. John's, Manhattan and New Mexico, posted a message on social media moments ago, saying, "I liked Oscar Tshiebwe as a kid at West Virginia. I am reasonably sure there was tampering going on but that would just make it a Tuesday in college basketball."
I liked Oscar Tshiebwe as a kid at @WVUhoops. I am reasonably sure there was tampering going on but that would just make it a Tuesday in college basketball. Simply put, with Derek Culver's dramatic improvement there was little space inside. Skill level must improve at next stop.
— Fran Fraschilla (@franfraschilla) January 5, 2021
Since Tshiebwe left Morgantown, there have been constant rumors of him being influenced by corrupt individuals affiliated with the shoe company Adidas. According to reports, Tshiebwe has been convinced that he would have a better chance at a professional career by transferring to another university..namely a school sponsored by Adidas.
It has been confirmed that Tshiebwe has been in Miami since leaving Morgantown and is expected to transfer to play for the Hurricanes in the very near future. Miami, of course, is an Adidas school.
This is not something new in the world of college basketball. The 2017-2018 college basketball pay-for-play scheme rocked the sport. In 2019, three men were convicted to multiple months in prison for attempting to steer high-profile recruits to Adidas-sponsored college basketball programs.
The schools implicated in the scandal were Arizona, Auburn, Kansas, Louisville, Miami, Oklahoma State, South Carolina and Southern California.
Oscar Tshiebwe was a naive, hard-working kid before coming to Morgantown, and it now appears that he's gotten himself involved with some very shady, corrupt individuals who will only hurt his chances of playing professionally.
Oscar Tshiebwe Breaks All-Time Record for Rebounds in a Game
West Virginia, the Best/Worst 10-1 Team in America
West Virginia Ranked Highly in Latest Power Rankings
Guaranteed Rate Bowl Game Halftime Observations


"MySQL Manual still have many details missing and is not fixed fast enough.
Moreover, it is not open source..."
Any other use, such as any dissemination of printed copies or use of this documentation, in whole or in part, in another publication, requires the prior written consent from an authorized representative of Oracle. Oracle and/or its affiliates reserve any and all rights to this documentation not expressly granted above."
It was NOT Oracle who closed the source (as far as I remember, the manual was not GPL even in 2004, when I started to care about MySQL in general). But Oracle had a chance to change the license and set up some better contribution process for MySQL Community users, with many good writers among them. They decided not do this, so creators of forks and derived software have to duplicate efforts and rewrite everything themselves, and the only real way to help make the manual better is to report bugs.
Bug #91955 - "8.0 broke plugin API for C". According to the comment from Oracle developer in this bug reported by Laurynas Biveinis, writing plugins in C is not supported any more... But this change is NOT properly documented.
Bug #91781 - "Add version matrix in "Chapter 2 Keywords and Reserved Words". Good idea in the manual is not consistently implemented.
Bug #91743 - "performance_schema.data_locks not working correctly". Nice feature was added to Performance Schema (now we can check and study InnoDB locks with SQL!), but it is still not completely and properly documented.
Bug #91648 - "Numeric literals must be a number between 0 and 9999". Surely ports with numbers larger than 9999 can be used.
Bug #91642 - "Document how protocol version 4.0 and 4.1 differ on how strings are terminated". As noted by Rene' Cannao', comments in the code are still sometimes more useful than documentation.
Bug #91549 - "MDL lock queue order seems to depend on table names". Make sure to read last comment in this nice request by Shane Bester. Dmitry Lenev provides some details on priorities of MDL locks in it. There are still cases when bugs and documentation requests document some details better than fine MySQL Manual!
Bug #90997 - "Handling an Unexpected Halt of a Replication Slave" manual page is wrong". Sveta Smirnova highlighted a totally misleading statement in the manual.
Bug #90935 - "Modify relay_log_recovery Documentation". Simple documentation request stays "Open" for 3 months. Definitely processing documentation requests is not a highest priority for Oracle engineers.
You can make your own conclusions from the above. But I do not see any good trends in the way new documentation is created or documentation requests are processed recently. Same problems as 4 years ago (see more on that in a side note below).
"...document in the manual what locks this kind of DELETE sets when it encountered a record already marked as deleted, and why"
This still had NOT happened. Moreover, eventually both MySQL and MariaDB engineers decided that current implementation of locking for this case is wrong and can be improved, so this report ended up as InnoDB bug. Check related MDEV-11215 for more details.
Bug #73413 - "Manual does not explain MTS implementation in details". This is one of my favorite documentation requests. I've got a suggestion to explain what I want to see documented, in details. I tried my best, but if you want to get more details, read this blog.
"Per Marc Alff, the Performance Schema is simply reporting what it gets from runtime. If runtime is reporting nonexistent filenames, that's a server issue.
Recategorizing this as a server bug."
There are more problems with MySQL documentation (not only reference manual), but at the moment I consider 3 highlighted and illustrated above the most serious.
Regent's Canal is nice. If I only knew how to operate the locks there... MySQL Manual also misses some information about locks.
"What's wrong with MySQL Manual". In 2014, after spending few weeks reporting up to 5 documentation bugs per day, I thought that, essentially, there is nothing much wrong with it - it's fine, well indexed by Google and has meaningful human-readable URLs. Few problems listed were lack of careful readers (I tried my best to fix that), limited attention to old documentation requests, some pages with not so much useful content and lack of "How to" documents. The later I also tried to fix to some small extent in this blog, see howto tagged posts. The real fix came mostly from Percona's blog, though.
I have a special "missing manual" tag for blog posts that mention at least one bug in the manual.
I tried to use "missing_manual" tag consistently for my own documentation requests. Last year I shared a detailed enough review of the bugs with that tag that were still active.
That said, I also wanted to join MySQL's documentation team in the past, but this was not possible at least because I am not a native speaker. If anything changed in this regard, I am still open to a job offer of this kind. My conditions for an acceptable offer from Oracle are known to all interested parties and they include (but are not limited to) at least 4 times the salary I had before I quit (it was almost 6 years ago) and working for Oracle's office in Paris (because in Oracle office you ere employed by formally matters a lot for your happiness and success as employee).
Another example of documentation bug that is verified for a long time: Bug#85977 - he doc. of slave-parallel-type=LOGICAL_CLOCK wrongly reference Group Commit ().
This is probably somehow related to your Bug#73413 Valeriy.
And another: Bug#75393 - Clarify the way the table mysql.gtid_executed is updated (). But this one is still only opened.
Another: Bug#75394 - Improve documentation of binlog_order_commits ().
Even though we have many example where documentation bugs are not treated in a satisfactory way, I want to point-out my recent very satisfactory interaction about a documentation bug: Bug#92012 - Wrong default for thread_cache_size in "How MySQL Uses Threads for Client Cnx".(). This documentation bug was verified in less than 18 hours and fixed in less than 30 hours. Great job by Umesh Shastry and Paul Dubois.
Another older documentation bug where everything went well is the following: Bug#73038 - Better document (or fix) relay_log_recovery ().
Documentation bugs are usually verified really fast, and Umesh just rocks in his role, no doubts.
But proper and fast fixing of some bugs does not make cases like https://bugs.mysql.com/bug.php?id=68097 better.
While I tend to agree with the points made above and a couple of other recent posts you've made I wonder if the way you are getting your message across well have the desired affect. Oracle is a big, slow moving secret animal that doesn't like being poked. Or so it seems. I wonder ifif how should not be trying to entice them in the direction we want them to go by asking them to describe what they can about their processes and thinking, point out the issues we see and the direction we'd like to see things go and ask how as an individual or the community we can help to achieve these 'better' objectives. Forcing them in the direction we want won't work. However, one to one conversions have lead me to believe that they are aware of these issues, so we just need to see how we can help them internally move to make things happen. This may be a slow process but I'd guess that if pursued by many of us in the community it may take us where we want to go.
I know from my own experience (recall 5.6 GA early days in 2013) that regular poking about mishandled bugs used to work and help, immediately. It lasted for a long time and made MySQL 5.6 and newer versions much better.
This approach may not work that well any more (maybe because I was forced to stop applying it in 2013 and they got relaxed after that), but it worked. There are plenty of people in MySQL Community who tried and are still trying other approaches, and I wish them good luck. But I'll continue to highlight problems with bugs processing in public whenever I notice them.