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Tag: Keswick Launch Company
'Swallows and Amazons' at the Alhambra Cinema in Keswick
The 45th Anniversary of filming the original film 'Swallows and Amazons' on Derwentwater, when Ronald Fraser was obliged to walk the plank in a solar topi in July 1973, was marked by a special screening of the film at the Alhambra in Keswick.
Kerry Derbyshire, who played Vicky's nurse came on stage and we demonstrated how one of the visual effects was achieved.
I brought one of the original arrows that the Amazon pirates fired over my head. It looks so dangerous on film that the shot was cut from the television version but is included in the re-mastered cinemascope edition that we are now able to watch on the big screen. You might be able to spot a few other things that went wrong while we were filming, such as the time I inadvertently slipped up to my waist in water.
Nick Newby from Nicole End Marine came along to tell us how the elegant Lakeland steamer, the Lady Derwentwater, had been converted for her starring role as Captain Flint's houseboat. She was appropriately dressed for the part by the award-winning set designer Ian Whittaker, who went on to receive an Oscar for Best Art Direction on 'Howards End' starring Sir Anthony Hopkins and Emma Thompson. His astonishing list of nominations can been seen here.
Swallow, the 1930s sailing dinghy used in the original film, was at the lakeside for Arthur Ransome enthusiasts to admire. She is looked after by Rob Boden, from Kendal, who is happy to take people for a sail by prior arrangement via the SailRansome website here.
Signed copies of 'The Making of Swallows and Amazons' were available after a Q&A.
Author Sophie NevillePosted on July 18, 2018 July 29, 2021 Categories 1973, Acting, Arthur Ransome, Autobiography, British Film, Cinema, Claude Whatham, Cumbria, Dinghy sailing, Emi film, Entertainment news, family Entertainment, Family Film, Film, Film Cast, Film History, Film production, Filmaking, Lake District, Memoir, Movie, Movie disasters, Movie stories, questions about filmmaking, sailing film, Sophie Neville, Suzanna Hamilton, Swallows & Amazons, Swallows and Amazons, Titty in Swallows and Amazons, truelife story, Uncategorized, Vintage Film, Virginia McKenna, Zanna HamiltonTags 1973, Alhambra cinema Keswick, arthur ransome, Captain Flint's houseboat, childhood memories, Claude Whatham, Cumbria, Filmmaking, Keswick, Keswick Launch Co., Keswick Launch Company, lake district, outdoor pursuits, Ronald Fraser, Simon West, sophie neville, Stephen Grendon, Suzanna Hamilton, swallows and amazons, The Lady Derwentwater in 1973, Titty Walker, tv and film, Virginia McKenna, Walking the plank, Westmorland, Wet shirt6 Comments on 'Swallows and Amazons' at the Alhambra Cinema in Keswick
Great pushings in ~ filming in the Lake District on 2nd July 1973
Sophie Neville with Terry Needham and the unit radio at Derwentwater ~ photo: Daphne Neville
I am often asked about my career in acting. I was even asked about it by the crew of Swallows and Amazons as we climbed in and out of boats on Derwentwater back in 1973.
'Are you going to be another Bette Davis?' (I gathered I looked vaguely like her but didn't really know who she was.)
'Will you get stuck as a child actress like Shirley Temple?' (I didn't really know who she was either.)
There was much speculation. The truth was that I was always really more interested in what was happening behind the camera, and how the story was told, than I was in our performances. I had an empathy for the men who had to keep changing carefully made arrangements when the clouds rolled in. Whilst I was always interested in set dressing I loved aiding and abetting Terry Needham, the second assistant director, with whom we naturally spent a great deal of time. The 2nd July 1973 must have been a busy day for him. A maddening day really.
Whilst I was in front of the camera, delivering the line that fore-shadows the adventurous section of Arthur Ransome's story, Terry Needham would have been busy planning who would go out in which boat and when. Just as important really.
Producer Richard Pilbrow and Director Claude Whatham discussing the script in the Capri on Derwentwater. Molly Pilbrow is in the boat with them ~ photo: Daphne Neville
Whilst filming out on the lakes 'Swallows and Amazons' was far more complicated than most movies to stage manage. Terry needed to have what Claude Whatham called his 'Artistes standing-by, ready on set' when the set in question was a boat moored out in a lake. In reality this meant that the film actor Ronald Fraser had to wait around on the houseboat with Costume, Make-up and Props, whilst the sun tried to decide whether to come out.
Ronald Fraser playing Captain Flint with Peter Robb-King and Ian Whittaker waiting on the houseboat moored on Derwentwater ~ photo: Daphne Neville
Terry Needham, ever straight forward and prosaic, also had to make provision for a number of extra people who wanted to try and watch the action, notably Albert Clarke, the stills photographer, and the Producer, Richard Pilbrow who was often looking after journalists from major newspapers and magazines. We were making a movie that needed to be well publicised if it was to succeed.
Claude Whatham discussing plans with sailing director David Blagden (in white hat) and Richard Pilbrow with Molly Pilbrow in checked jacket, on the aft deck of the houseboat played by The Lady Derwentwater ~ photo: Daphne Neville
What made Terry's job even more demanding than usual was that since we were all under the age of sixteen we still had to complete at least three hours schooling a day. I was only meant to spend three hours a day in front of the camera and leave at 5.00pm. This meant that, unlike Ronnie Fraser, we had to be collected from our red bus and taken over the water to our set at the last possible moment when the camera and crew were ready to roll.
As Swallow, our clinker-built dinghy, was wired to a floating pontoon, the job of our loyal Lakeland boatmen was particularly important. Can anyone tell me the name of this chap, in the photo below?
Chaperone Jane Grendon on Derwentwater in a Dory with a local boatman
Terry Needham also had to take into consideration the numbers of people licensed to be in each support boat. Although a period film, our clothes were simple, so we didn't need the contingent of dressers and make-up artists typically demanded by costume dramas. However life-jackets were a must and wherever we went one of our licensed chaperones had to come too. Since Mum stayed at our guesthouse in Ambleside with Kit Seymour who was ill with 'flu that day, it was Jane Grendon came out on the lake with us. It was her son Sten, playing the Boy Roger, who walked off the jetty into the water. Poor Jane was pushed in fully clothed. Suzanna Hamilton also fell in – or so she claims. What a nightmare for Terry Needham.
Terry Needham with the crew on the Houseboat moored on Derwentwater, Cumbria ~ photo: Daphne Neville
Terry survived to have the most prestigious career in film. Whilst he worked as an assistant director for Stanley Kubrick on The Shining (would Jack Nicholson have been easier to manage than us lot?) Terry was unit manager on Empire of the Sun for Stephen Speilberg and the first assistant director on such classic movies as Full Metal Jacket, Rambo III, A Man for All Seasons, The Field, The Golden Compass and Clash of the Titans. I only list a few of his many credits. He worked for Ridley Scott as Associate Producer and First Assistant on White Squall, G.I.Jane, Gladiator, Hannibal and Black Hawk Down – all gigantium tasks – and was Executive Producer of Red Dragon, and Kingdom of Heaven, again for Ridely Scott. He is still working on movies. What changes he must have seen. I wonder if he can remember that far distant summer spent in the Lake District?
I would not have had the physical strength to follow in Terry's footsteps. It was his job – plus a bit of work with action props and set dressing – that I found myself busy doing at the BBC when I was an Assistant Floor Manager on big costume dramas. I was exhausted after about four years. The walky-talky I found so attractive aged twelve became rather heavy on my hip. I have a Polaroid photograph of myself looking tired out when working as a Location Manager in Bayswater, kept to remind myself not to accept such work again. Perhaps I should have taken the Bette Davis route after all. I might have had Terry looking after me again.
You can see Terry Needham with his portable radio at the end of this short 16mm film clip that was shot a couple of days later on Coniston Water. The pushings-in were still all the rage.
If you enjoyed this post, do think of getting a copy of 'The Making of Swallows and Amazons' available from libraries, online retailers and Amazon here
Author Sophie NevillePosted on July 31, 2012 January 15, 2022 Categories 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, Cumbria, Diary, Film, Film Cast, Film crew, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Richard Pilbrow, Sophie Neville, Suzanna Hamilton, Swallows and Amazons, truelife storyTags 1973, Ambleside, arthur ransome, Claude Whatham, Cumbria, Daphne Neville, David Bracknell, Derwent Water, EMI, film crew, Filmmaking, first assistant director, Ian Whittaker, Keswick Launch Company, lake district, Richard Pilbrow, Ronald Fraser, Second assistant director, sophie neville, Stephen Grendon, Suzanna Hamilton, swallows and amazons, Terry Needham, The Lady Derwentwater in 1973, Titty Walker, tv and film, walky-talky, Westmorland11 Comments on Great pushings in ~ filming in the Lake District on 2nd July 1973
Ronald Fraser and the Houseboat
Ronald Fraser with Wardrobe Master Terry Smith being transported to the Houseboat played by The Lady Derwentwater
Ronald Fraser with wardrobe master Terry Smith being transported to Captain Flint's Houseboat played by The Lady Derwentwater. Richard Pilbrow sits amid geraniums on the aft deck in his white hat. ~ photo: Daphne Neville
My diary entry for 24th June 1973 is not exactly revealing. As it was raining steadily in the Lake District, I was given a second day off. 'We had a quirte morning,' I wrote. I am sure I needed one. After a heavy week's filming I'd spent the official 'Unit Day Off' writing five end-of-year exam papers, answering correspondence from school friends and going to Kit Seymour's thirteenth Birthday party. I must have been exhausted. Legally I was meant to have two days off a week. This was the first time it had been possible.
Suzanna Hamilton's diary adds little more, but my mother was on set, as was a journalist from The Guardian, so I can tell you what happened. I can even tell you what the location caterers from Pinewood cooked that day: Melon, followed by roast beef with Yorkshire pudding, boiled or roast potatoes, peas and carrots with apple crumble or tinned peaches served with custard or evaporated milk. It was a Sunday. Suzanna noted that we had 'salad for super', her favorite food.
Set dresser Ian Whittaker, Ronald Fraser and one of the Prop Men on the houseboat ~ photo: Daphne Neville
"The houseboat has been converted from a pleasure steamer," wrote Michael McNay in the Features section of The Guardian, "the whole of the superstructure fore faked up by props, the cabin aft converted into a retired colonist's sittingroom – African rug, flowery curtains, assegais on the walls, an ebony elephant with silver howdah and trappings, a walnut wireless cabinet, tall brass oil lamps, a pile of 78rpm records, a silver mounted cricket ball (presented to G.Gumbleton, 1899, for the highest individual score of the season), a chest, a writing desk and an ancient upright Imperial." I have typed this up exactly as it was published on 7th July 1973.
By props, I don't think Michael McNay meant pit-props. He was talking about the work of the design team headed by Simon Holland. Ian Whittaker, who later won an Oscar for set dressing, helped Simon to create Captain Flint's cabin with one of the Prop men who is photographed here. Does anyone know his name? I think it might be Terry Wells. I expect the cane chairs and side table were being temporally stored on the roof when this snap shot was taken so as to make space for camera and lights. The gaffer and camera crew would have been in the process of setting up inside the cabin. Sound would not have settled in yet. How do I know that after all these years? I can see the recordist's arm at the left of the photograph. I still remember his coat.
"Ronald Fraser, alias Uncle Jim, is tapping away at a book." Michael continues. "Last minute panic: who can type out quickly a folio of copy to leave nonchantly in the roller?" That would have been Sue Merry, the continuity girl. The first scene was probably the one in which Uncle Jim is typing with the green parrot on his shoulder when a firework goes off on his cabin roof. I wonder if Arthur Ransome had ever been disturbed by the Altounyan children in such a way. Did he use an Imperial typewriter?
The film crew were on location on Derwentwater. "By now, the houseboat has been moved and moored to the western shore just off a promontory that is being faked up as one end of Wild Cat Island." The houseboat, really one of the stars of the movie, was being played by a long-time resident of Cumbria, The Lady Derwentwater. A 56 foot motor launch, owned by the Keswick Launch Company since 1935, she returned to real life after the filming, rather like I did. She still carries up to 90 passengers. You can go out on her today.
Was this the houseboat Arthur Ransome had in mind? The photograph was taken by Martin Neville in 1973
My father, who is keen on steamboats, had been off to find the real houseboat that Arthur Ransome had in mind. Am I right in thinking this must have been the original Gondola? I expect she was too un-seaworthy for the production team to contemplate using in 1973. A reliable, water-tight boat that could be towed into the location used for Houseboat Bay was needed. Last year we went to see TSSY Esperance at the Windermere Steamboat Museum in Cumbria, which is another Victorian steam yacht invisaged by Ransome as a possible model for Captain Flint's houseboat. It is a beauty but we did get a better view of the lake from of the cabin windows in the Lady Derwentwater.
TSSY Esperance, the 1869 Steam Yacht, at the Windermere Steamboat Museum, Cumbria in Apirl 2011
"The rain has stopped, the mist is lifting from the 1,500 foot ridge of Cat Bells. Fraser climbs gingerly aboard, awkward in co-respondent's brown and white shoes, rosy make-up and moves into the aft cabin." McNay continues. He is describing the main scene to be shot that day. "John, alias Simon West, is in a rowing boat 15 feet away… The problem this time is that the rowing boat has to remain anchored but look as though Simon is pulling steadily in towards the houseboat and the anchor rope has to remain hidden." This must have been so that Swallow could be lined up acurately and remain in focus for the camera. It is one of the secrets of making the film that I have been asked about directly.
"Simon shows Claude Whatham how he'll manage it. Quick rehearsal inside the cabin. Ronald Fraser on his knees by the chest folding a white pullover, catches sight of approaching boat, mimes angry surprise. Told not to jerk head so far back. Instead jerks eyebrows up. The cabin is no more than eight foot by ten and contains besides Fraser and the props, four men on a camera, one on lights, and the continuity girl." McNay had not included Claude the director, who I know would have squeezed in since these were the days before monitors from the camera feed. And he was small. The sound recordist was bigger but may have just planted a microphone on the desk.
"On the small aft deck Pilbrow is for the next few minutes going to be redundant." This is Richard Pilbrow, who now lives in Conneticut and I am sure will read this post. "He is a mild, inoffensive looking man producing his first film. He is 40… looks like your friendly local antiques dealer. He and Whatham are a good team: Whatham is slight, energetic and calm. He has time, even as a sequence is being set up, to ask the Press if they can see enough of what's going on from the crampt aft deck of the housebaot. It's a cheerful crew, (Denis Lewiston the DOP) watching clouds overhead with benign suspicion, taking light meter readings inside and out-side the cabin every 30 seconds.
'Stand-by Simon.'
'Action,' said quietly into the cabin.
'ACTION,' across the lake to Simon. The clapperboard shows 461 take 1. Fraser folds the pullover, looks up, jerks eyebrows in angry surprise, camera swings round to follow Fraser's gaze through the window, Simon pulls on left oar, keeps the rope hidden.
'CUT.'
'Stand by. Quiet everybody. Action. ACTION (461 take 2) … CUT.'
'Once more please. Stand by. Action. ACTION (461 take 3) …. CUT.'
There's a consensus that the third take was best. Ten minute break while the suceeding sequence is prepared: Fraser rushes out on deck and tells Simon to clear off. That too is filmed in triplicate. The time is 12.45. They started work at 6.30, began filming at 12.25 and they've got maybe 45 seconds in the can. Everybody seems pleased."
The Gondola on Coniston Water today, re-built and restored by the National Trust, powered by steam and taking passengers down the lake from April to November.
Author Sophie NevillePosted on July 6, 2012 February 5, 2013 Categories 1973, Acting, Arthur Ransome, Autobiography, Biography, Cinema, Claude Whatham, Cumbria, Diary, Film, Film Cast, Film Catering, Film crew, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Richard Pilbrow, Sophie Neville, Suzanna Hamilton, Swallows and Amazons, truelife story, UncategorizedTags 1973, arthur ransome, Captain Flint, Cat Bells, Cumbria, Daphne Neville, Denis Lewiston, Derwent Water, Derwentwater, Esperance, film crew, Filmmaking, G.Gumbleton 1899, Gondola, Housebaot, Ian Whittaker, Imperial typewriter, Keswick Launch Company, Kit Seymour, lake district, Michael McNay, Richard Pilbrow, Ronald Fraser, Simon Holland, Simon West, sophie neville, Steam yacht, Steam yacht Gondola, Sue Merry, Suzanna Hamilton, Swallow, swallows and amazons, Terry Smith, Terry Wells, The Lady Derwentwater, The Waterhead Hotel Ambleside, tv and film, Westmorland, Wild Cat Island, Windermere Steamboat Museum15 Comments on Ronald Fraser and the Houseboat


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About Pamina
Opera Quest: A Journey of Discovery
"Les Misérables" Writings
Librarianship Studies
Libr 200: Librarian Stereotypes Meme
1 Bravos & Boos (Comments)
4th Nov 14
Each of the first five images I chose represents a classic stereotype about librarians: the "old maid," the "enforcer," the "sex object," the nerdy, pathetic male librarian, and the "walking encyclopedia." The last image shows information professionals as they really are: ordinary people. Men and women of all ages, ethnicities, backgrounds and personalities, who happen to have chosen a career in information.
Libr 200: Ethical Issues in Information-Seeking Behavior Studies
In a music library, or any library for that matter, it's essential for librarians to know exactly what patrons want and how they use the available resources. They need that knowledge to improve their services, and as Hursh and Avenarius (2012) write, "Improving services is what librarians are all about" (p. 84). But how should they acquire that knowledge? Attempts to answer that question can lead to ethical issues rearing their heads.
Privacy is always an important issue in library ethics. When conducting studies to determine patron wants and information-seeking patterns, librarians need to take utmost care to respect the participants' privacy, which can be difficult. For example, when a music library publishes the results of a survey about patrons' use of online reserves, the interviewees' answers should be anonymous, with no "personally identifying information," yet still with "enough specificity to determine whether the reserve recordings were accessed from on campus or off campus" and other important details (Phinney, 2005, p. 12). Ideally, participation in the study should also be "strictly voluntary," with "no incentives" to make reluctant patrons participate (Phinney, 2005, p. 12). But ideal though that approach may be from an ethical standpoint, it may keep librarians from acquiring all the needed information.
A study of only a select few patrons who choose to be surveyed will offer a less complete portrait of mass information-seeking behaviors than a compulsory study of all patrons would. Furthermore, face-to-face interviews and surveys "can be misleading, because people often say one thing but do another" (Hursh & Avenarius, 2012, p. 85). Some librarians argue that an ethnographic study, combining interviews or surveys with periods of secretly observing everyday patron behavior, "results in a more complete and accurate picture" (Hursh & Avenarius, 2012 p. 85). But this presents an ethical dilemma: is it right for librarians to "spy" on patrons and record their behaviors for a published survey without their knowledge? Hursh and Avenarius (2012) have no qualms with this approach, because "no information [is] recorded that could later be used to identify specific individuals, and there [is] no manipulation of the subjects to get them to act in certain ways" (p. 90), but still, ethical concerns remain.
Librarians who conduct patron studies have a difficult balance to strike: giving maximum respect to patrons' privacy vs. gaining the most complete and accurate study results. Ultimately the nature of the study, the needed information, and the library itself will have to determine what type of study methods should be used. Librarians will need to observe every factor at stake and determine which side of the dilemma – privacy vs. completeness – should be emphasized to give patrons maximum benefit in the long term.
Hursh, D. W. & Avenarius, C. B. (2013). What do patrons really do in music libraries?: an ethnographic approach to improving library services. Music Reference Service Quarterly, 16(2), 84-108. doi: 10.1080/10588167.2013.787522
Phinney, S. (2005). Can't I just listen to that online? Music Reference Service Quarterly, 9(2), 1-33. doi: 10.1300/J116v09n02_01
"The Magic Flute (Impempe Yomlingo)" at the Broad Stage (October 11, 2014)
21st Oct 14
Noluthando Boquana, Mandisi Dyantyis, Thobile Dyasi, Ayanda Eleki, Zamile Gantana, Nontsusa Louw, Sifiso Lupuzi, Pauline Malefane, Bongiwe Mapassa, Zanele Mbatha, Siyasanga Mbuyazwe, Sinethemba Mdena, Zebulon Mmusi, Mhlekazi (WhaWha) Mosiea, Zoleka Mpotsha, Siyanda Ncobo, Cikizwa Ndamase, Busisiwe Ngejane, Zolina Ngejane, Sonwabo Ntshata, Tukela Pepeteka, Luvo Rasemeni, Masakane Sotayisi, Ayanda Tikolo Read the rest of this entry »
Libr 200: User Experience at the UCLA Music Library
For this week's blog post, I interviewed two faculty members from UCLA's Herb Alpert School of Music. I'll refer to them as Interviewees #1 and #2. I offered them a survey of five questions regarding their user experience with UCLA's Music Library. In writing the survey, I kept in mind the emphasis that the lecture and readings place on the importance in libraries of organization, inviting aesthetics, innovation, and understanding of user needs. My goal was to learn whether the UCLA Music Library fully meets those requirements and offers a positive user experience or not, and whether its target community embraces it or prefers other information sources.
I asked the interviewees the following questions:
How frequently do you use the Music Library for your information needs?
Interviewee #1 uses the Library several times a week, while Interviewee #2 uses it only once every few weeks, but uses its website more frequently.
What other information sources do you use? How frequently do you use them compared to the Music Library?
Interviewee #1 uses online sources such as Wikipedia or Oxford Music Online when he needs to look up information quickly, but the Library is still his primary source. Interviewee #2, on the other hand, uses online sources and her personal book collection daily, more often than she uses the Library.
Does the Music Library have any shortcomings – not just in content, but in terms of organization, aesthetics, etc. – that keep you from using it more frequently than you do?
Interviewee #1 has no complaints, while Interviewee #2 dislikes the Library's current website design.
Do you find any aspects of the Music Library outdated? Do you prefer other information sources for being more "contemporary"?
Neither interviewee considered anything outdated.
What improvements would you suggest that the Music Library make?
Interviewee #1 said only "Find more money and buy more things!" Interviewee #2 wishes the Library would display the current issues of journals at the entrance, so that anyone who needs them knows instantly when they arrive.
If these two interviews are all indicative of the faculty's general opinions, then the Music Library's user experience seems to be essentially positive. The faculty uses it often, finds it "in touch with the times," and doesn't have many improvements to suggest. True, there are some areas that the Library may need to rethink, i.e. the website design and the organization of its journal collection. But for the most part, its seems to know its users needs and deliver them.
LIBR 200: Interview with a Community Member
13 Bravos & Boos (Comments)
29th Sep 14
Until I started taking LIS courses, my knowledge of music libraries was based exclusively on my experience with the UCLA Music Library as a student. In my mind, music libraries revolved around the study of music, not the performance of it. I never saw them as having a purpose beyond supplying professors and students with materials to help them better understand various musical works.
But now, thanks to Dr. Patrick Lo's 2013 article A Conversation with Robert Sutherland, Chief Librarian at the Metropolitan Opera Library, I know more. In this interview, Sutherland discusses his chief duty: providing the musicians with the scores they need for performance. This is no simple task. Many opera scores exist in multiple editions and many singers need certain passages of music to be transposed. For each opera production, Sutherland needs to confer with the conductor, the stage director, and the singers to decide which edition of the score (or amalgam of editions) and which keys will be used. Sometimes those decisions can be altered at the last possible moment for various reasons.
Sutherland and his fellow librarians also proof-read the scores intensively to insure that they're free of errors, preserve the markings written in the scores by various conductors, and ensure that when those conductors perform, those markings are copied onto the parts for all the orchestra members. They also have the job of repairing damaged sheet music (a necessity when a library has materials dating all the way back to 1883) or replacing damaged material that's beyond repair. Although Sutherland loves his job and describes it as "like winning the lottery (Lo & Sutherland, 2013, p. 90), he also describes it "relentless" (Lo & Sutherland, 2013, p. 86) – the librarians need to be constantly busy to ensure the best quality performances. He also claims that his background as an orchestra musician helped prepare him for his current career, because it helps him view each score from the performers' point of view. One of the keys to his job, he says, is to know which scores are the best for performing, not just reading or displaying.
Of course the study of music is essential to all of this. Sutherland's duties sometimes include such scholarly business as analyzing a composer's handwriting to determine the exact meaning of the score's markings. But it's never study just for the sake of study. The ultimate goal of everything he does is excellence on the opera stage.
Even though the Met is a performance library, not an academic library, I'm sure that academic music librarians have similar responsibilities. Colleges offer music performances, too. UCLA's Herb Alpert School of Music offers plenty of concerts every year, as well as the occasional opera and Broadway-style musical. Not only that, most music students are actively studying to be musicians (it's all too easy to forget this sometimes, but people like me who only study Music History are the exception, not the rule). Who supplies the materials that they need to give the best performances possible? The library! Academic music librarianship may not be identical to Sutherland's job, but I doubt it's drastically different either.
Thanks to this interview, I know now that music libraries do more than just teach people about music. They also play an essential role in helping musicians bring music to life.
Lo, P. & Sutherland, R. (2013). A conversation with Robert Sutherland, chief librarian at the Metropolitan Opera library. Fontes Artis Musicae, 60(2), 76-91. Retrieved from eb.b.ebscohost.com.libaccess.sjlibrary.org/ehost/detail/detail?vid=3&sid=356cd544-71ca-40ce-9afd-9050d454290a%40sessionmgr111&hid=103&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=llf&AN=89990716
An Open Letter About Ingmar Bergman's "Magic Flute"
To all directors planning to stage Die Zauberflöte, or make a new film version of Die Zauberflöte, or write a novel, or stage a ballet, or create any other new work based on Die Zauberflöte:
Hello from one Flute lover to another! I'm thrilled that you've decided to stage/make a new adaptation of Mozart's final masterpiece and I wish you the very best of luck with it. I'm in the process of writing my own, novel-length, gender-bent retelling – I'm tentatively calling it An Eternal Crown after the last words of the libretto, though I might change the title later.
I'd just like to say one little thing, though. Read the rest of this entry »
LIBR 200: My Information Community of Choice
The information community I've chosen to study this semester is the community of music libraries in academic settings. As I wrote in my first blog post, the Music Library at UCLA's Herb Alpert School of Music was vital to my work as I was earning my BA. That particular library offers a wide variety of communication forms to distribute information:
Books (scores, opera librettos, dictionaries, volumes on music history, composer biographies, analyses of various works, and technical guides for beginning musicians and composers).
Periodicals (magazines, newspapers and music society journals).
Audiovisual recordings (CD, LP, cassette, DVD, Blu-Ray, VHS and Laserdisc).
The Internet (the collection catalogue, digital audio and video reserves, e-books, online articles and journals, encyclopedias, research guides, and The Music Blog, which offers advertisements and in-depth discussions of various events and items in the collection).
Special events (concerts, exhibits).
Teaching services (courses, tours, research workshops and teaching workshops).
The library provides all the professors in the School of Music with the materials they need for their courses, as well as students with any music-related materials they could want, either for research or for fun. And like any good information community, they reach out to many different groups of people. Their tagline is "All the Musics of the World" and one of their most important missions is advancing the field of Ethnomusicology, as evidenced by their Ethnomusicology Archive with its collection of music from every country and every culture. Its walls and website regularly contain advertisements for concerts and exhibits devoted to the music of far-flung times, places and ethnic groups, as well as the familiar Western "canon" of art music.
I wouldn't say that the Music Library breaks any economic barriers, since it's only accessible to professors, students and alumni. But it certainly does all it can to break geographical and cultural barriers by exposing people to music and music-related materials that they otherwise might never have known existed. And since it's open to all the university's students, teachers and lovers of music, it definitely fosters a sense of connectedness among like-minded people. If I find a job either with that library or with another music library like it, I think I'll be happy, and I know I'll be proud.
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Amazon Issued Patent To Make Mobile Purchases Anonymous
When Amazon (NASDAQ:AMZN) was awarded a patent this week to allow for anonymous online purchases—anonymous from shopper to shopper, not anonymous to Amazon—it could be the world's largest e-tailer taking its next step into payments. The actual money part of the payments are still to be handled through the same means Amazon does today—payment card, bank account debits, gift cards, Amazon Store Card, etc.—so it's not about Amazon becoming a processor.
What it does, though, is add a layer on top to allow consumer-to-consumer transactions to be done without sharing private information with strangers. (Or, much worse than strangers, relatives.)
When this approach would make sense depends on the nature of the transaction. If the purchase involves the seller sending a physical product to the recipient, the recipient has little choice but to reveal name and street address. But for digital purposes, it could work well. And it might even work with physical shipments, assuming the recipient uses a post office box or some similar alternative.
In theory, this is how it would work, assuming Amazon ever chooses to use it. First, both of the parties have to sign up with Amazon, which acts as the broker. The system would issue temporary tokens, which would be charged against the Amazon shopper's account. Once set up, a shopper could make a $20 payment by texting Amazon "PAY 20." A response would include a customer-specific code. The code might have a portion of the shopper's phone number and it might either have an expiration date (for a single transaction) or the code could be setup differently so that it could cover multiple payments.
The patent envisions support for both short message service (SMS) and multimedia message service (MMS).
The patent's text does the usual patent thing, which is to throw out every possible way the idea could theoretically be used.
Some thought was given to security process, with a mechanism to deal with the payment to be disabled for a "predetermined time" whenever an incorrect redemption code is received. It also mentions the ability to add a standard PIN or password.
"The code may act as an unrestricted payment that may be redeemed by anyone who obtains the code because the payment is transferred via the code. In some embodiments, the code may not be redeemable by some parties, such as the provider or by other designated entities. For example, the provider may add a portion of the recipient's identification information (e.g., 2 digits from the telephone number, etc.), which could be verified upon the registration operation. By receiving the confirmation, the recipient may know that the funds have been successfully transferred from the provider to the recipient; however, further processing (e.g., registration, etc.) may be necessary for the recipient to receive the funds (e.g., registration at the operation)."
The patent also offered a practical example of how the text commands might work. "The provider may send a SMS text message to the host such as 'pay 50 temp_ID' where 'pay' is a command to make a payment, '50' is the amount of the payment (e.g., dollars, credits, etc.), and 'temp_ID' is the temporary ID that was sent to the recipient."
The shopper-owned hardware wouldn't necessarily have to be a smartphone, the patent said, listing terminology that reflects that the patent was filed back in April 2009: "a wireless telephone, a portable digital assistant (PDA) and a personal computer." It also listed devices that are still applicable today: "a television set-top box, a game console, a portable gaming device, a digital video recorder, a portable computer, electronic book readers, netbooks, and other electronic or entertainment devices."
Amazon's idea is to expand this functionality to support more of the standard financial commands—including payments, redemptions, transfers and cash reserves—as well as the ability to send money to multiple people, with different permissions given to each. "Multiple uses may be convenient for a provider to use to make reoccurring payments (e.g., allowance for kids, phone bill, etc.), for promotions (e.g., first five people to redeem a promotion, etc.), and so forth."


It seems to be a thorough study of Astronomy. This year we did Harcourt Science which is a general science that dances around the subjects and just barely introduces each one.
This is a full curriculum including teacher's guide, student book, test pack, and even CD's. It is from Creation to the time of Christ. It is seeing history parallel to the Bible. I think it would be neat, but am weighing my choices carefully. This one's a little pricier for me.
Info from website: What was happening in China as the Israelites crossed the Red Sea? Who lived in North America at the time that Jeremiah wrote Lamentations? This Bible-centered curriculum interweaves Bible and Old World history to teach your students about God's sovereignty. Features user-friendly format, lively text, week-by-week lessons, quizzes and tests, cumulative review, projects and activities, timeline and mapping assignments, teaching tips, answer key, reproducible student pages, and more. It's classical in approach, chronological in order, and complete in scope! Grades 4 to 8. 471 pages, softcover from Bright Ideas.
Info from Website: Word searches, mazes, maps and more…clues, puzzles, and animals galore! What an enchanting way to learn geography – a unit study/discovery learning resource entitled Galloping The Globe. This geography based curriculum is geared towards the K – 4th grade children. It can be used from 1 – 3 years and covers all 7 continents. Incorporating the student notebook approach, Galloping The Globe integrates 8 categories of learning activities:Basic Geography, People/History, Literature, Science Activities, Internet Sources, and Bible.
Info from website: Geography is more than maps---and the world is more than continents and countries. These multi-grade projects provide an in-depth look at the world around us from a Christian perspective. Whether creating their own country notebook or studying about missionaries, your students will learn how geography affects economics, politics, science, religion, and cultures. Includes resource lists and reproducible work sheets and maps. 142 pages, softcover.
36 lessons that cover spelling and phonics.
Info from website: This delightful introduction to art for ages 8 to 13 covers color theory, drawing, anatomy, perspective, nature studies, portraits, cartooning, lettering, creative writing, and more in a one year curriculum. Each lesson is clearly explained, with illustrations showing each step, comprehension questions, and room to practice and explore! Each chapter's work can be done directly in the book, which includes a sketchbook in back of the text. Newly revised, minor changes have been made throughout the book, and five new marker cards with instructions are included as well. 87 Lessons, Ages 8 and up. Reproducible for "in home" use only. Softcover, revised edition.
Just a cool website with lots of interesting homeschool items!


A post-Ballardian reverie on cars and modernity.
Specially commissioned by Manchester's new cultural centre HOME to accompany the release of Ben Wheatley's Ballard adaptation High Rise, Jason Wood and Simon Barker's short film Always (crashing) is an abstract contemplation of the modern artefacts that fascinated the writer, infused with a dose of Chris Petit alienation. A car endlessly, obsessively circles around a car park to an inhumanly soothing ambient track, intercut with extracts from Ballard's short story 'Report on an unidentified space station'. In a way, this metal and concrete reverie is more post-Ballardian than Ballardian: the film eschews the collision between man and modern machine favoured by the writer; instead it loops around a world strangely devoid of people, the driver of the car a mere silhouette glimpsed through the window, framed by the lines and pillars of the car park, as if modernity had finally eliminated the human.
Always (crashing) screens with selected showings of High-Rise between 25 – 31 March 2016 only.
Andrzej Żuławski's striking directorial debut is a fascinating journey into a shadowy world where the nightmare of history blends with personal nightmares.
Set during the German occupation of Poland in World War II, Andrzej Żuławski's striking directorial debut opens as Michal, recovering from an illness in the countryside, witnesses the murder of his wife Helena and son Lukasz by soldiers on horseback. Back in the city, he joins the resistance and is wounded when a secret meeting is ambushed by the Gestapo. He is saved when his pursuers mistake a man wearing a similar trench coat and hat for him, shooting him before taking him away. In the captured man's apartment, Michal finds his distraught, heavily pregnant wife Marta. She suddenly goes into labour, and Michal has no choice but to assist her. Struck by her resemblance to his deceased wife, and seeing this as a second chance, he supports her and the baby by returning to his former employment as a lice feeder at a medical institute working to produce a typhus vaccine. But he is riddled by guilt and attempts to mount a rescue operation to save Marta's husband from the Gestapo.
The film was inspired by the wartime experiences of Żuławski's father Miroslaw, who co-wrote the script after collaborating with his son on two literary adaptations for Polish television. Central to the story is Rudolf Weigl's Institute in Lvov (where Żuławski was born), which fabricated a typhus vaccine for the Wehrmacht. Like many Polish intellectuals, Miroslaw was employed there during the war, and involved in a project whereby cages of lice would be attached to the legs to feed on a person's blood. The insects would then be infected with typhus and their intestines dissected to prepare the vaccine. Many intellectuals and underground resistance fighters worked at this institution on this particular form of research and development because lice feeders were given identity papers, and fear of infection kept the occupying Germans away.
From the opening of The Third Part of the Night, a reading from the Book of Revelations heard over shots of desolate rural landscapes, it is clear that this is not a straightforward war film. The Polish underground is evoked through a few elliptical snapshots, but no significant actions: the gunning down of a man, a pursuit by the Gestapo, and the existential musings of the movement's blind leader. The dominant dark blue colours bathe the film in an oppressive, eerie glow, and the hand-held camera limits the field of vision and heightens the impression of ominous dread and disorientation. The lice-feeding is both a symbol for the apocalyptic times and an astonishing historical reality, signalling that the world has descended into a surreal nightmare in which people are physically and figuratively drained – one character, for example, is said to have collapsed mentally after being fed on in this manner, as though his very identity had been taken away along with his blood.
The swarming insects represent not just the bewildering horrors of wartime, but also its ambiguities. Lice-feeding is 'loathsome' in Michal's words, yet it also offers protection from the Germans. It is a powerful image for a world where everything has become ambivalent, where certainties, moral but also perceptual, are denied. The idea that the old world has collapsed is expressed by Michal's father, and it is paralleled by the dissolving of Michal's grasp on reality, as he is alone in seeing a resemblance between Helena and Marta. And where Helena appeared ruthless and cruel, Marta seems gentle and vulnerable, as if the double incarnation of his lover expressed Michal's ambivalence towards her, as well as the unreliability of his perceptions.
This loss of moral and perceptual certainty is triggered both by the collective trauma of the German occupation and by Michal's personal struggle to adjust to fatherhood. His sense of shock is made evident by the scene of Marta's labour: Żuławski cut footage of a real childbirth into the film, splicing reality and fiction, which, as with the lice-feeding, highlights the unsettling strangeness of life, the weirdness of the real. And while this duplication of the family is seen by Michal as a chance to be a better father, the motif of the double has a fatal circularity. Michal and Marta repeat Michal and Helena's actions, and in the final sequence Michal faces himself in a dead end prefigured in the earlier escape scene. Michal's flight from the Gestapo up the spiral staircase in Marta's building in fact offered no issue – except maybe a passage to another dimension of reality, or death.
Żuławski would replicate this scene 10 years later in the notorious Possession, a film that strongly echoes his debut, similarly charting the disintegration of a couple against a historically charged background – in this case, a divided Berlin – using a central doppelganger motif. In Possession, Żuławski fully embraced his tendency to excess, literally materialising the monstrous, grotesque side of reality more obliquely evoked in The Third Part of the Night, but both films offer a fascinating journey into a shadowy world where the nightmare of history blends with personal nightmares.
Andrzej Żuławski will be the focus of a retrospective at the Kinoteka festival, which runs from 7 to 28 April 2016. Read more about Żuławski's work in our theme section.
Takashi Miike's tale of a businessman's quest for the perfect bride retains its horrifying power.
Along with Hideo Nakata's Ring and Kinji Fukasaku's Battle Royale, Takashi Miike's Audition was one of the main films that introduced audiences in the UK (and subsequently the world) to the 'delights' of what would become known as 'extreme Asian cinema', thanks to Tartan Films, who released all three as part of their 'Asia Extreme' line. Prior to Audition, Miike was best known as a director of low-budget yakuza thrillers that were frequently violent and occasionally bizarre, making him an unusual choice to handle a deliberately paced and cinematically restrained film, but he showed himself to be fully equal to the task. Audition is based on the novel of the same name by Ryɼ Murakami, and was scripted by Daisuke Tengan, the son of Shōhei Imamura, one of Japan's most respected directors. Prior to his own career, Takashi Miike had spent several years working under Imamura as assistant director.
Ever since the death of his wife seven years earlier, middle-aged businessman Aoyama (Ryé Ishibashii) has divided his time between caring for their son and work. At the prompting of his now-teenage son, he decides to marry again, but has little patience with (or experience of) the protracted dating and mating rituals of today's youth. Instead, Aoyama and his colleague Yoshikawa in the media industry (Jun Kinimura) decide on a different method of meeting a woman that meets his modest standards (intelligent, artistic, refined, demure etc). They put out a casting call on the radio, asking for new would-be actresses, ostensibly to star in a forthcoming TV drama. Aoyama will read through the applications and pick the ones he's interested in, while Yoshikawa looks for potential stars. Their selections will be invited to an audition. If all goes according to plan, Yoshikawa will find himself a new star while Aoyama can get a step closer to finding an ideal wife.
At this point first-time viewers will no doubt be wondering how Audition came to be categorized as 'extreme', and how Miike earned a reputation as a controversial, transgressive director. Certainly the comic audition montage (complete with the jaunty pop accompaniment) gives you the impression you're watching yet another romantic comedy about a man going to ridiculous lengths to find love. There's even a stock character from such films: Aoyama's secretary, who clearly has feelings for her boss. True to type, he is completely unaware of this, immersed in his absurd quest for the perfect woman. There is no doubt therefore that Miike and Tengan intended us to feel that we are indeed watching a light-hearted romantic drama, for the first third of the film at least.
Once the character of Asami Yamasaki (Eihi Shiina) is introduced, things begin to change. On the surface Asami is everything Aoyama is looking for, but we are slowly given glimpses and snippets of information that suggest something may be very wrong with this young woman. The man she gave as a reference on her application form disappeared mysteriously, while a previous employer was brutally murdered. None of this fazes Aoyama at all, since he's already decided she is the woman he wants to marry. Against the advice of his friends, Aoyama continues his courtship of the beautiful, strange Asami.
In its final third Audition takes a turn into horror territory, with scenes that retain their power to shock even in our desensitized era. How much of what we see is actually real is not entirely clear, since certain scenes do appear to take place in Aoyama's head. It has been suggested that it's all a hallucination, brought on by guilt over his disloyalty to his dead wife. This is not supported by the rest of the film, however; the final scenes are clearly real. Audition has also been interpreted as a criticism of Japanese male chauvinism, as represented by Aoyama's rigidly old-fashioned and objectifying view of women. Unfortunately, any serious points Miike and Tengan might have been making about Japanese masculinity and patriarchy are heavily undermined by the fact that in no way, shape or form does Aoyama deserve his fate. He's certainly guilty of deceit and manipulation, but his comeuppance firmly outweighs his crimes. It doesn't help that Asami is a two-dimensional character. Her difficult past and Aoyama's schemes would certainly leave her with a right to be deeply hurt and angry. But the real source of Asami's anger is an utterly unreasonable demand that makes it impossible to sympathise with her, unlike the used-and-discarded women of Fatal Attraction and Play Misty for Me. Having carefully manipulated the audience throughout, Miike provides an extremely memorable crescendo calculated to shock and horrify, something that few films manage to do quite as well as Audition. It might not be a noble ambition, but on its own terms Audition can only be considered a great success, as well as an essential Japanese horror film.


text:
omgitsaray translations
translating chinese novels at the speed of a snail
9 Heavenly Thunder Manual TOC
Undefeatable TOC
How To Get Bonus Chapters
Undefeatable – Ch303
Chapter 303 – That Person Is An Idiot
"Fuuu~…"
"We finally made it."
"Uncle Chen, Uncle Wang, this is a small gesture of my goodwill so you two must accept it." Luo Tian was standing at the entrance of the auction house. His forehead was covered in sweat and he was gasping for air. They had rushed over like crazy maintaining their top speed so it was very exhausting.
As he was saying this, Luo Tian brought out two small vials.
Inside were his improved Profound Burst Pills and each person got five of them.
When Chen Donglai and Wang Jinke received them, they glanced at it and both became stunned. Four eyeballs stared at Luo Tian and one of them asked: "This is the improved Profound Burst Pills?"
"Kid, didn't you auction them off already? How come you still have so many left?"
"How can we take this when you've given us so many? These five Profound Burst Pills most likely have a value of over a hundred million!"
Those two were truly shocked.
Luo Tian suddenly gave them five Profound Burst Pills each so it was rather hard for them to accept such a large gift.
Luo Tian smiled faintly and said: "I can concoct as many of these pills as I want, so you two can be at ease when accepting them. If it weren't for your help the entire night, there would be no way for me to breakthrough into the Profound King 5th rank. And I wouldn't be able to complete…"
Luo Tian didn't continue saying the rest of the sentence.
He was grateful inside. If it weren't for those two experts at the Profound Ancestor realm not holding back any strength, it would be impossible to finish collecting the souls of the deceased devil race in a single night. And that naturally meant he wouldn't be able to get the rewards of Becoming A Devil.
Hearing those words from Luo Tian, Wang Jinke directly stuffed the medicinal pills away. He then grinned: "Since this kid is a perverted existence, we might as well just accept them. Kid, the auction is going to start soon so if you don't enter now, you'll be late for it."
Luo Tian then seriously said: "Uncle Chen, Uncle Wang, thank you for looking after me during this time. I can enter the auction house by myself. You two should return back to Ninth brother since he might have matters for you guys to take care of."
Luo Tian really didn't know what would happen inside the auction house.
He really didn't want the government officials of the Great Tang to participate in it. If any problems arise in a country's finances, the country itself would fall into a monetary crisis. The Dao Shang Alliance controlled one-third of the continent's wealth and trade. If they happen to fully commit their financial strength to deal with the Great Tang Dynasty, most likely the country would fall into a crisis in less than a month. That's why no matter what, Luo Tian didn't want anyone belonging to the Great Tang's government to get caught in his plans.
Both Chen and Wang didn't detect the subterfuge. When they heard Luo Tian's words, they too felt it was time to return to the side of the Ninth Prince.
Immediately after…
Those two didn't continue staying and quickly left towards the imperial palace.
Luo Tian turned around to look at the huge structure that was similar to his previous life's sports stadium. He then took a deep breath and asked: "Are you guys prepared? The moment we step into this place, there's a 90 percent chance of death and only 10 percent chance of survival."
"Boss, I'm prepared for this already."
"Same with me."
Luo Tian laughed excitedly before saying: "Good. If we encounter danger and the opponent is too strong, you guys quickly escape. There's no need to fear wasting the Profound Burst Pills if we get into any fights. It's not an issue if you keep consuming them one after another. If we encounter a hopeless situation, you can escape by consuming the Stealth Pill I gave you."
"En!"
Feng Lei and Xuan Yuanyi nodded heavily. They were both thinking the same thing: "I won't leave boss behind no matter what. I still won't do it even if I have to die."
Luo Tian saw a ticket scalper in the front and faintly smiled. "You two wait for me here, I'll be back real soon."
Not long after…
Luo Tian brought three normal tickets and entered the auction house.
"We still haven't seen them."
"Could it be that they aren't going to show up?"
"Impossible. Cheng Danian gave them a gold card for a VIP room so they should show up." Qi Fu was a bit confused as his brows formed a frown. "Was there a leak in my plans?"
"Impossible!"
Qi Fu immediately rejected his thoughts.
At this time…
One of the staff members of the auction house came over and respectfully said: "General Manager Qi, some people have entered VIP room number five."
Qi Fu started smiling in a smug and excited manner. His expression was cold and evil as he said: "They've finally come!"
Li Wenzong received the same news. He was worried Luo Tian wouldn't show up but now that he had appeared, he felt like something heavy had been lifted from his heart. He then ordered: "Tell Number 18 from Skynet to kill everyone inside room number five and leave no survivors!"
"Understood!"
Advisor Bai hurriedly withdrew.
There was a sea of people everywhere inside the auction house. Luo Tian had only seen over ten thousand viewers on the television back then but he was now experiencing it personally. He couldn't help start feeling excited and worry at the same time. He then said to himself: "I hope everything will go smoothly today."
"I have three tickets; the three of us will sit in separate areas and not expose ourselves unless necessary."
"Yes, boss!"
Xuan Yuanyi and Feng Lei took their tickets and sat down in inconspicuous spots in the south and west sections.
Luo Tian didn't sit down immediately and went to the restroom to make some slight changes to his appearance. He made himself unrecognizable at first glance.
Only after finishing his preparations did he head for his seat.
At this time, the host of the auction had just about finished rambling and praising their own organization.
"Let's start off our Dao Shang Alliance's annual auction with our first item."
As the host's words faded, two women wearing seductive uniforms pushed out a small cart that was covered by a red cloth.
Luo Tian wasn't paying attention the cart but at the two women in seductive uniforms. He then shouted internally: "Shit! Those two came here which means Blindman Liu wasn't able to block them!"
"Look at those pretty girls!"
"This Dao Shang Alliance is truly one of the biggest three commercial powerhouses – even their staff workers are so pretty. At the level these beauties are at, just auctioning them off would reach at least a hundred million!"
"Do you guys see the chest on that woman? It's really big! I'm actually getting excited just from looking at them!
If those two didn't put on thick makeup, most likely they could charm even more people.
They deliberately put on such thick makeup so that people couldn't recognize their identity at a glance.
The host was somewhat surprised as he said to himself: "When did we change the staff? But these two women are much more prettier than the previous two. General Manager Qi is truly attentive when it comes to things like this."
The host walked up to the small cart and excitedly said: "The first item is a spatial ring found in an ancient tomb. The space inside the spatial ring is a hundred times larger than your typical ring. Whether you are training in the mountain ranges, mining for ores, searching for spiritual herbs, or commercial transportation, it will all be very easy with this spatial ring."
The host continued rambling on praises for the ring.
"The starting price will be 100,000. Each bid cannot be less than 10,000. And we will start the auction now."
The host had just finished his words when…
A person in the audience stood up and raised his sign. "One million."
Almost everyone turned their heads to look at him while thinking inside their heads: "That person must be an idiot!"
2 Responses to Undefeatable – Ch303
Dan McQueen says:
yeah, even i figured the scalper tickets trick out b4 he did it. but i 4got he knew disguise arts:P
$57.05/$50
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text:
Title: Hydroxocobalamin
CAS Name: Cobinamide hydroxide dihydrogen phosphate (ester) inner salt 3¢-ester with 5,6-dimethyl-1-a-D-ribofuranosyl-1H-benzimidazole
Additional Names: a-(5,6-dimethylbenzimidazolyl)hydroxocobamide; vitamin B12a; hydroxocobemine; OHB12
Trademarks: Cobalin-H (Link); Dodécavit (Serb); Duradoce (Atlantis); Neo-Cytamen (Medeva); Redisol H (Merck & Co.)
Molecular Formula: C62H89CoN13O15P
Molecular Weight: 1346.36
Percent Composition: C 55.31%, H 6.66%, Co 4.38%, N 13.52%, O 17.83%, P 2.30%
Literature References: Physiological analog of vitamin B12 where the CN group is replaced with OH. Exists in aq soln as an equilibrium mixture of the hydroxy isomer and the ionic aqua isomer (aquacobalamin). Precursor of the coenzymes methylcobalamin and cobamamide, q.q.v. Prepn: E. A. Kaczka et al., J. Am. Chem. Soc. 71, 1514 (1949); eidem, ibid. 73, 335 (1951); eidem, US 2738301 (1956 to Merck & Co.). Acids replace the hydroxo group with the anion of the acid: eidem, Science 112, 354 (1950). Prepn from cyanocobalamin: R. Bieganowski, G. Klar, Chem. Ztg. 106, 235 (1982). Clinical evaluation as antidote to cyanide: J. C. Forsyth et al., Clin. Toxicol. 31, 277 (1993). Review: "Vitamin B12" in Vitamins, W. Friedrich, Ed. (de Gruyter, Berlin, 1988) pp 837-928.
Properties: Dark red, orthorhombic needles or platelets from water + acetone. Darkens at 200°, but not melted at 300°. Absorption max (H2O): 279, 325, 359, 516, 537 nm (e 19000, 11400, 20600, 8900, 9500). Moderately sol in water and in the lower aliphatic alcohols. Practically insol in acetone, ether, petr ether, halogenated hydrocarbons, benzene.
Absorption maximum: Absorption max (H2O): 279, 325, 359, 516, 537 nm (e 19000, 11400, 20600, 8900, 9500)
Derivative Type: Aquacobalamin
CAS Name: Cobinamide hydroxide monohydrate dihydrogen phosphate (ester) inner salt 3¢-ester with 5,6-dimethyl-1-a-D-ribofuranosyl-1H-benzimidazole
Additional Names: aquocobalamin; vitamin B12b; vitamin B12d
Molecular Formula: C62H90CoN13O15P.OH
Properties: Absorption max (H2O): 274, 317, 351, 499, 527 nm (e 20600, 6100, 26500, 8100, 8500).
Absorption maximum: Absorption max (H2O): 274, 317, 351, 499, 527 nm (e 20600, 6100, 26500, 8100, 8500)
Derivative Type: Acetatocobalamin
Additional Names: Cobinamide acetate (salt) dihydrogen phosphate (ester) inner salt 3¢-ester with 5,6-dimethyl-1-a-D-ribofuranosyl-1H-benzimidazole
Trademarks: Depogamma (Woerwag); Docelan (Aventis); Novidroxin (Fatol)
Literature References: Prepn of stable solns: Marcus et al., FR 1336671 (1963 to Merck & Co.), C.A. 60, 380a (1964).
Derivative Type: Nitrocobalamin
CAS Name: Cobinamide nitrite (salt) dihydrogen phosphate (ester) inner salt 3¢-ester with 5,6-dimethyl-1-a-D-ribofuranosyl-1H-benzimidazole
Additional Names: nitritocobalamin; vitamin B12c
Literature References: Prepn: E. A. Kaczka et al., J. Am. Chem. Soc. 73, 3569 (1951).
Properties: Red crystalline solid. Absorption max in water: 352, 527.5 nm (E1%1cm 153.2, 59.5); in 0.01N NaOH: 357, 535 nm (E1%1cm 139, 62.5).
Absorption maximum: Absorption max in water: 352, 527.5 nm (E1%1cm 153.2, 59.5); in 0.01N NaOH: 357, 535 nm (E1%1cm 139, 62.5)
Derivative Type: Sulfitocobalamin
CAS Name: Cobinamide sulfite (1:1) (salt) dihydrogen phosphate (ester) inner salt 3¢-ester with 5,6-dimethyl-1-a-D-ribofuranosyl-1H-benzimidazole
Additional Names: cobalaminsulfonic acid
Molecular Formula: C62H89CoN13O17PS
Percent Composition: C 52.80%, H 6.36%, Co 4.18%, N 12.91%, O 19.28%, P 2.20%, S 2.27%
Literature References: Prepn: Fricke, US 2721162 (1955 to Abbott).
Properties: Absorption max: 275, 365, 418, 516 nm (E1%1cm 328, 130, 49, 61).
Absorption maximum: Absorption max: 275, 365, 418, 516 nm (E1%1cm 328, 130, 49, 61)
Therap-Cat: Vitamin (hematopoietic).
Therap-Cat-Vet: Vitamin (hematopoietic).
Keywords: Vitamin/Vitamin Source; Vitamin B12.
Others monographs:
Aspidium Infusorial Earth Sinapultide Satumomab
Senecialdehyde Isoascorbic Acid m-Tyrosine Keratinase
Furfurylmethylamphetamine Esparto Wax 3-Ethyl-4-picoline Prednisolone 21-Diethylaminoacetate
Amitraz Diosgenin Polonium Molybdenum
©2016 DrugLead US FDA&EMEA


text:
Join CSTA
CSTA-Arizona
CSTA National
Join CSTA-Arizona
President - Janice Mak
Janice is co-chair of CSforAZ, a Code.org affiliate, and serves on the K-12 Executive Council for NCWIT, the Arizona State Board of Education, and the Arizona K12 Center Board. Follow her on twitter @jmakaz
Vice-President - Brian Nelson
Brian is a professor and associate director of Learning and Innovation in the Mary Lou Fulton Teachers College at Arizona State University. He is co-chair of CSforAZ. At ASU, he teaches in the Learning, Literacies, and Technologies PhD program and designs computer science education courses for K12 teachers.
Treasurer - Michelle Cannon
Michelle is a High School Computer Science teacher at CREST in Phoenix AZ with 8 years teaching experience. She has taught everything from middle school science and computer science to AP CSP, Python and senior CS capstone. She is passionate about CS for all and providing a classroom where all students can be successful.
She has worked with Code.org and Paradise Valley Unified school district to facilitate workshops that provide educators with the skills and resources to bring Computer Science into both the core science class and as a stand alone elective. This along with serving as the CSTA-AZ treasurer help her spread her enthusiasm for Computer Science while reaching under privileged districts and minorities.
Secretary - Daniel Schneider
Daniel is a high school Computer Science teacher at Amphitheater High School in Tucson, AZ. He is a facilitator for Code.org and has worked with Upperline Code leading student summer programs and teacher professional development workshops. He co-organizes monthly community CSTA-AZ meetups in Tucson. You can find him on twitter at @MathyMcMatherso
© 2019 Arizona Computer Science Teachers Association
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Imagine after a long day of study or work, and you feel like having a massage immediately but don't want the hassle of going out? Then you need to get this Full Body Heated Recliner Massage Chair! This chair brings together the best technologies in the art of relaxation. Great for the young professional, as a Father's/Mother's day present, or for the most stressed of individuals that only settle for the best. Get yours today and begin living a happier stress free life.
High quality upholstery, soft and comfortable.
*Note: this products comes with a 3 year warranty.


How arbitrary are the marks, analog and digital, used to express language, and where do they begin to muck it all up? This first book from Tauba Auerbach, Yes and Not Yes features over 20 new paintings and drawings that spring from those questions. They offer an excellent if roundabout answer: while letters are largely arbitrary, they are rich with abstract beauty and conceptual depth. In razor-sharp execution–which reveals her training as a sign painter–Auerbach's works on panel and paper update the abstract conceptual tradition, while retaining its intellectual rigor. Uppercase Insides and Numeral Insides recall Russian Suprematism, and, upon further contemplation, turn out to be just what their titles call them. Works based on signal flags and the Ugaritic Alphabet–an extinct language from Syria, 1300 B.C.–confirm that puzzlement is part of the desired effect here. Where direct exchange between sign and meaning is impossible, the beauty of the symbol comes to the fore.
cm 22×26; pp. 112; 50 COL; Publisher: Deitch Projects, New York, 2007.


About the history of the Paralympic movement in Australia, to contribute to Australia's Paralympic history project or to make a donation to support Australia's Paralympians.
Thank you for contacting Paralympics Australia through the Australian Paralympic History e-history. We have received your email and will respond to you as soon as possible.
Please accept the terms and conditions I affirm that I am the owner of any items, physical or digital, that I donate to the APC and that the APC may use them as it sees fit.
Thank you for contacting Paralympics Australia through the Australian Paralympic History e-history about the donation of digital items. We have received your email and will respond to you as soon as possible.
This website is possible because of the donation of photos and videos from the personal collections of many generous people. Please contact us here if you have material to share.
Thank you for contacting Paralympics Australia through the Australian Paralympic History e-history about the donation of physical items. We have received your email and will respond to you as soon as possible.
In addition to photos, videos and stories, Paralympics Australia collects physical items of significance to the development of Paralympic sport in Australia. If you have an item or items you would like to donate, please use this form to contact us about it.


text:
Q: In TDD, is it bad practice to pass a test with code that would pass more than one test? When using TDD, is it bad practice to pass a newly written test with code that could also pass another test? For example, take the following test (in PHP)
public function WhenSomethingIsNull_ThrowsException()
{
    $input = null;
    $this->module->someMethod($input);
}

This could be made to pass with the following code
public function someMethod($input)
{
    if(!$input)
        throw new Exception()
}

This would also pass the test WhenSomethingIsZero_ThrowsException. In these cases, should I fix what I know is wrong with this test in the refactoring step? Or only write code which passes this and only this test?

A: No, it isn't bad practice.
The point of TDD is to make sure that all your code is covered by tests. The rule that every test should test one thing only is to promote readability of tests, and is in general reasonable.
But the idea that every possible defect in your code base should trip exactly one test is overkill, and in real-life projects you'll almost never be able to manage such a precise fine-tuning. That's no problem as long as every possible defect raises at least one error in your test suite. Since the point of having a test suite is to make sure it passes all tests at all times, this guarantees the necessary coverage well enough.

redpajama_set_name: RedPajamaStackExchange


Transaction Communications: He advises companies on the communications in both friendly and unsolicited M&A transactions. Assignments include assisting Apollo Management's Momentive with its announced sale to an investor group comprised of KCC Corporation, Wonik QnC and SLJ Partners; Tianqi Lithium with its minority investment in SQM; Knauf with its announced acquisition of USG Corporation; Shire in its sale to Takeda; S&P Global in its acquisition of Kensho Technologies, Newell Brands with the sale of The Waddington Group to The Carlyle Group's Novolex, and the sale of Rawlings Sporting Goods Company to Seidler Equity Partners and MLB; CB&I in its combination with McDermott; LivaNova with the sale of its Cardiac Rhythm Management business to MicroPort Scientific Corporation; Potlach with its combination with Deltic Timber; EnCap Investments with its JV's sale of EagleClaw Midstream Ventures to Blackstone Energy Partners; VCA in its announced sale to Mars; Danone with its proposed acquisition of WhiteWave Foods; Gannett with its offer to acquire Tribune Publishing; Lone Star Funds' Foundation Building Materials with its acquisition of the construction products distribution business of Superior Plus; Warburg Pincus with its investment in Vernari Resources and sale of a 5% stake of the firm to Groupe Marc de Lacharriere; Interactive Data in its sale to Intercontinental Exchange Group; Coyote Logistics in its sale to UPS; Calpine's defense against an unsolicited proposal from NRG Energy; the Lerner Family investor group in its acquisition of the Washington Nationals from Major League Baseball; Kerzner International's proposed acquisition of Wembley; Enbridge Energy Partners in its roll-down of assets from its Canadian parent, Enbridge, and Lornamead in its U.S. asset acquisition from Unilever.
Shareholder Activism, Short Attacks & Corporate Governance: His experience includes counseling clients on engagement with and defense against activist hedge funds, dissident shareholders and short attacks including Sina (Aristeia Capital), Newell Brands (Carl Icahn and Starboard), Samsonite (Blue Orca), Burlington Stores (Spruce Point Capital), Endurance International (Gotham Research) and MBIA (Pershing Square).
Crisis Communications & Special Situations: He has considerable crisis and issues management experience, which includes counseling public and private companies, municipalities and non-profits on a wide variety of matters including data breaches, earnings misses and restatements, ethics violations, government investigations, litigation, layoffs and management changes.
Restructuring & Bankruptcy: He has advised companies in connection with both court-supervised and out-of-court restructurings. Assignments include American Tire Distributors, Accredited Home Lenders, BI-LO, Bruno's, Rural/Metro, Taco Bueno, Titan Petrochemicals, and United Subcontractors.
Ed served as a managing director and then a partner at Joele Frank from 2007 to 2011 and rejoined the firm in 2016. From 2011 to 2016, he served as the chief communications officer of Warburg Pincus. In this role, he led the private equity firm's global communications strategy and team as well as the firm's service offering to its portfolio companies in the Americas, Europe, Middle East and Asia. He was also a member of the firm's environmental, social and governance committee. Earlier in his career, Ed was a founding principal at Vistance Group, a corporate and financial communications advisory, and held senior roles at the international public relations firms including Hill & Knowlton and Ketchum. He is a member of the Arthur W. Page Society. Ed has lectured on communications topics at a wide variety of academic and industry functions. He received a bachelor of journalism degree from The University of Texas at Austin.


text:
'use strict'

// Mongodb dependency
const ObjectId = require('mongodb').ObjectId;
require('mongodb-toolkit');
// Internal dependency
const BateeqModels = require('bateeq-models');
const map = BateeqModels.map;
// External dependency
const BaseManager = require('module-toolkit').BaseManager;
const moment = require('moment');

module.exports = class MonthlyStockManager extends BaseManager {
    constructor(db, user) {
        super(db, user);
        this.collection = this.db.use(map.inventory.InventoryMovement);
    }

    // GET START AND END YEAR BASED ON INVENTORY MOVEMENT
    _getFirstInventoryMovement() {
        return this.collection.find().sort({ date: 1 }).limit(1).toArray();
    }

    _getYearMonthsList(firstYear, lastYear, firstMonth, lastMonth) {
        let yearMonths = [];
        for (let i = firstYear; i <= lastYear; i++) {
            let each = this.__pushMonthBasedOnYear(i, firstYear, lastYear, firstMonth, lastMonth);
            yearMonths.push(each);
        }
        yearMonths.sort(function (a, b) { return b.year - a.year });
        return yearMonths;
    }

    __pushMonthBasedOnYear(currentYear, firstYear, lastYear, firstMonth, lastMonth) {
        let currentYearList = { year: currentYear, months: [] };
        if (currentYear === firstYear) {
            if (currentYear === lastYear) {
                for (let j = firstMonth; j <= lastMonth; j++) {
                    let currentMonth = this.__getMonthName(j);
                    currentYearList.months.push(currentMonth);
                }
            }
            else {
                for (let j = firstMonth; j <= 11; j++) {
                    let currentMonth = this.__getMonthName(j);
                    currentYearList.months.push(currentMonth);
                }
            }
        }
        else {
            if (currentYear === lastYear) {
                for (let j = 0; j <= lastMonth; j++) {
                    let currentMonth = this.__getMonthName(j);
                    currentYearList.months.push(currentMonth);
                }
            }
            else {
                for (let j = 0; j <= 11; j++) {
                    let currentMonth = this.__getMonthName(j);
                    currentYearList.months.push(currentMonth);
                }
            }

        }
        return currentYearList;
    }

    __getMonthName(monthNumber) {
        switch (monthNumber) {
            case 0:
                return { id: 0, name: "Januari" };
            case 1:
                return { id: 1, name: "Februari" };
            case 2:
                return { id: 2, name: "Maret" };
            case 3:
                return { id: 3, name: "April" };
            case 4:
                return { id: 4, name: "Mei" };
            case 5:
                return { id: 5, name: "Juni" };
            case 6:
                return { id: 6, name: "Juli" };
            case 7:
                return { id: 7, name: "Agustus" };
            case 8:
                return { id: 8, name: "September" };
            case 9:
                return { id: 9, name: "Oktober" };
            case 10:
                return { id: 10, name: "November" };
            case 11:
                return { id: 11, name: "Desember" };
        }
    }

    getYearMonthList() {
        let firstIM = this._getFirstInventoryMovement();
        let now = moment();
        return new Promise((resolve, reject) => {
            firstIM
                .then(results => {
                    let firstYear = results[0].date.getFullYear();
                    let firstMonth = results[0].date.getMonth();
                    let lastYear = parseInt(now.format('YYYY'));
                    let lastMonth = parseInt(now.format('MM')) - 1;
                    let yearMonthList = this._getYearMonthsList(firstYear, lastYear, firstMonth, lastMonth);
                    resolve(yearMonthList);
                })
        })
    }
    //

    // GET LOCALE TIME IN JAKARTA
    __getLocaleDateOfMonth(year, month, isStartOf) {
        let locale = isStartOf ? moment().month(month).year(year).startOf('month') : moment().month(month).year(year).endOf('month');
        return locale;
    }

    _setDateOfMonth(month, year) {
        let firstDay = this.__getLocaleDateOfMonth(year, month, true).format();
        let lastDay = this.__getLocaleDateOfMonth(year, month, false).format();
        return {
            firstDay: new Date(firstDay),
            lastDay: new Date(lastDay)
        }
    }
    //

    // GET INVENTORY ON PARTICULAR MONTH -> INVENTORY WITH MOVEMENT (END OF THE MONTH AND BEFORE EARLY OF THE MONTH)
    _getCurrentStocks(day) {
        let currentStocks = [
            { $match: { date: { $lte: day } } },
            { $sort: { date: -1 } },
            {
                $group: {
                    _id: { storageCode: "$storage.code", itemCode: "$item.code" },
                    storageName: { $first: "$storage.name" },
                    quantity: { $first: "$after" },
                    hpp: { $first: { $cond: { if: { $ne: ["$item.domesticCOGS", 0] }, then: "$item.domesticCOGS", else: "$item.internationalCOGS" } } },
                    sale: { $first: { $cond: { if: { $ne: ["$item.domesticSale", 0] }, then: "$item.domesticSale", else: "$item.internationalSale" } } }
                }
            },
            {
                $project: {
                    _id: 1,
                    storageName: "$storageName",
                    quantity: "$quantity",
                    hpp: { $multiply: ["$quantity", "$hpp"] },
                    sale: { $multiply: ["$quantity", "$sale"] }
                }
            },
            {
                $group: {
                    _id: { storageCode: "$_id.storageCode" },
                    storageName: { $first: "$storageName" },
                    quantity: { $sum: "$quantity" },
                    hpp: { $sum: "$hpp" },
                    sale: { $sum: "$sale" }
                }
            }
        ]
        let query = this.collection.aggregate(currentStocks, { allowDiskUse: true }).toArray();
        return query;
    }

    _combineStocks(earliest, latest) {
        let allStocks = [];
        console.log(earliest);
        console.log(latest);
        latest.forEach(ls => {
            let stock = {
                code: ls._id.storageCode,
                name: ls.storageName,
                latestQuantity: ls.quantity,
                latestHPP: ls.hpp,
                latestSale: ls.sale
            };
            let found = earliest.find(es => { return es._id.storageCode === ls._id.storageCode });
            if (found) {
                stock.earliestQuantity = found.quantity;
                stock.earliestHPP = found.hpp;
                stock.earliestSale = found.sale;
            }
            else {
                stock.earliestQuantity = 0;
                stock.earliestHPP = 0;
                stock.earliestSale = 0;
            }
            allStocks.push(stock);
        })
        return allStocks;
    }

    getOverallStock(month, year) {
        let date = this._setDateOfMonth(month, year);
        let earliestStocksQuery = this._getCurrentStocks(date.firstDay);
        let latestStocksQuery = this._getCurrentStocks(date.lastDay);
        return new Promise((resolve, reject) => {
            return Promise.all([earliestStocksQuery, latestStocksQuery])
                .then(results => {
                    let earliestStocks = results[0];
                    let latestStocks = results[1];
                    let finalStocks = this._combineStocks(earliestStocks, latestStocks);
                    resolve(finalStocks);
                })
        })
    }
    //

    // GET LATEST ITEM WITH PARTICULAR MONTH AND STORAGE CODE
    _getCurrentItems(code, day) {
        let currentItems = [
            {
                $match: {
                    date: { $lte: day },
                    "storage.code": code
                }
            },
            { $sort: { date: -1 } },
            {
                $group: {
                    _id: { itemCode: "$item.code" },
                    itemName: { $first: "$item.name" },
                    quantity: { $first: "$after" },
                    hpp: { $first: { $cond: { if: { $ne: ["$item.domesticCOGS", 0] }, then: "$item.domesticCOGS", else: "$item.internationalCOGS" } } },
                    sale: { $first: { $cond: { if: { $ne: ["$item.domesticSale", 0] }, then: "$item.domesticSale", else: "$item.internationalSale" } } }
                }
            },
            {
                $project: {
                    itemCode: "$_id.itemCode",
                    itemName: "$itemName",
                    quantity: "$quantity",
                    totalHPP: { $multiply: ["$quantity", "$hpp"] },
                    totalSale: { $multiply: ["$quantity", "$sale"] }
                }
            },
            { $match: { quantity: { $ne: 0 } } }
        ]
        let query = this.collection.aggregate(currentItems, { allowDiskUse: true }).toArray();
        return query;
    }

    getStockInStorage(storageCode, month, year) {
        let date = this._setDateOfMonth(month, year);
        let latestItemsQuery = this._getCurrentItems(storageCode, date.lastDay);
        return new Promise((resolve, reject) => {
            return latestItemsQuery
                .then(latestItems => {
                    resolve(latestItems);
                })
        })
    }
    //
}

redpajama_set_name: RedPajamaGithub


As we age, we can expect gradual changes in our bodies. Older Australians are generally quite healthy and enjoy good quality of life but the data shows that as we age, we are more likely to experience musculoskeletal issues. It is not uncommon to experience aches and pains but it is important to distinguish between natural changes in the body resulting from old age and pain that is not natural and could be prevented.
The spine changes as we get older. It can lose thickness and elasticity, meaning that we are less able to withstand normal day-to-day strain and can become more vulnerable to both chronic and acute injuries.
It is never too late to start living an active lifestyle and enjoying the benefits. Here are some tips that may help you achieve a healthier, stronger body that can withstand old age.
Regardless of age, a sedentary lifestyle can be harmful to musculoskeletal health and overall well-being. Staying active and incorporating exercise into your daily routine can help increase flexibility and mobility. In addition to the physical benefits, exercising can also have a profound impact on mental health and general outlook on life.
Only one in three older Australians report being sufficiently active and 72% are overweight or obese. This shows the need for older Australians to be more active and to assess their nutrition.
Low-impact exercises such as walking or swimming may be a good way to get started. Regular exercise offers great benefits including better stability, reduced inflammation, improved mobility and much more. Joining group-based activities are also a great option – they offer a chance to socialise, provide motivation and it's also more fun to exercise with a group!
Before beginning any kind of exercise routine, it is important to seek advice from an ACA chiropractoror other healthcare professional to devise an exercise plan suited to your ability.
Whether it's a short stroll, a long walk or an exercise program approved by a healthcare professional, staying active can help you stay healthier for longer.
Don't disregard the importance of good posture – it keeps the body aligned and helps avoid excessive strain on ligaments and muscles. Good posture can help improve mobility, spinal health and quality of life.
It is never too late to correct poor posture habits. Make it a priority to assess and correct your posture as you go about your day. Rather than slouching or hunching, try your best to keep your spine in a neutral position. It is also advisable to avoid sitting or standing in the same position for long periods.
It can be difficult to be mindful of your posture all the time so it may be a good idea to set alarms on your mobile phone to remind you. You can also use the Straighten Up (Australia) app to set posture reminders and receive notifications about sitting right, stretching, taking breaks, drinking water and improving your posture.
Regular stretching can help maintain joint flexibility, improve stability and may also help relieve stiff muscles. It can also help with increasing range of motion but it is important to perform stretches correctly. Consult a healthcare professional to gain a better understanding of how to perform stretches correctly and to find out which stretches are best for you.
Take extra care when doing stretches that may require balancing and be sure to modify stretches to suit your ability level.
If you suffer from chronic back pain, spinal health issues, come in and ask Andrew or Veronika about exercise programs or preventative measures that may help you with your spinal health. Get your spine in line and feeling fine.
'Positive Ageing' is the theme for the ACA Annual Conference this year. It is going to be held in Hobart, Tasmania on 20th – 21st October, 2018.


text:
Mamatoyz Mini Bike
This isn't coming back 😢
Mamatoyz
by Sylina feat. Eesa (14m)
"It's smaller than I expected, but a perfect size for Eesa. The workmanship is beautiful. Eesa's face lit up when he saw it, it's a brilliant toy that will last and help with his balance."
"It doesn't come with a back to the seat. Instead the felt seat is brilliant for keeping Eesa from slipping off."
"I love that it's wooden, and not too bulky. I can't wait for him to push himself! It's easy to move around and transport around the house. The chunky wheels are fab."
"We love the subtle felt animal face at the front of this bike. It gives a unique, stylish take on a toddler bike."
Verity, Buyer
Encourages balancing skills
Can be used as walker
Wood and felt
Encourage toddler balancing skills with the Mamatoyz Mini Bike. Featuring four wheels and made of study wood, it's been designed to help kids with their mobility skills and develop their sense of direction. Use it as a walker, and when they get older, a bike. Easy.
1 x Mamatoyz Mini Bike
About Mamatoyz
Mamatoyz makes wooden toys to help develop a range of skills. All their toys are produced in their own wood factory, with water based paints and adhesives. Bonus. Shop Mamatoyz


text:
Available Mar 21, 2013 — Mar 28, 2013
Marvin's Mittens
Dawnstar
Oddworld: Abe's Oddysee & Oddworld: Abe's Exoddus
Nethergate: Resurrection
Spellforce
Tobe's Vertical Adventure
Geneforge 1, 2, 3, 4, and 5
The Build a Bundle 5 was the twentieth multiple-game bundle from Groupees. It was the sixth to allow each purchaser to choose which games should be included in the bundle, so no need to buy extra copies of games already owned.
The minimum depended on how many games the purchaser chose. A minimum of two games at $1.50 had to be chosen ranging up to a $5.25 minimum for all ten games. During the sale, the minimum purchase was temporarily reduced to $0.75 for one game. If the purchaser elected to donate to charity, 20% of each purchase went to Child's Play. Oddworld: Abe's Oddysee & Oddworld: Abe's Exoddus were bundled and counted as one game.
The bundle could include any combination of at least 2 up to all 9 of the following games: Storm in a Teacup, Manhunter, Marvin's Mittens, Dawnstar, Oddworld: Abe's Oddysee / Oddworld: Abe's Exoddus, Nethergate: Resurrection, Spellforce, Lume, and Dawning. Once 2500, 5500, and 6500 bundles were sold, Millennium 2: Take Me Higher, Tobe's Vertical Adventure and Geneforge 1, 2, 3, 4, and 5 were added for all purchasers.
Individual Steam keys were included for Storm in a Teacup, Oddworld: Abe's Oddysee & Oddworld: Abe's Exoddus, Nethergate: Resurrection, Spellforce (Platinum Edition), Lume, and Tobe's Vertical Adventure. Geneforge 1, 2, 3, 4, and 5 were included in a single Geneforge Saga key.
Individual Desura keys were included for Manhunter, Marvin's Mittens, Dawnstar, Dawning, and Millennium 2: Take Me Higher.
Storm in a Teacup, Manhunter, Marvin's Mittens, Dawnstar, Oddworld: Abe's Oddysee & Oddworld: Abe's Exoddus, Nethergate: Resurrection, Lume, Dawning, Millennium 2: Take Me Higher, Tobe's Vertical Adventure, and Geneforge 1, 2, 3, 4, and 5 can be downloaded DRM-free for Windows.
Storm in a Teacup, Dawnstar, Nethergate: Resurrection, Lume, Dawning, and Geneforge 1, 2, 3, 4, and 5 can be downloaded DRM-free for Mac.
Lume, and Dawning can be downloaded DRM-free for Linux.


text:
Thursday | 02 Oct 2014
Latvala fastest at France shakedown
Jari-Matti Latvala began his quest for a maiden WRC asphalt victory in perfect style when he was fastest in shakedown at Rallye de France-Alsace on Thursday morning (2 October).
The Finn was quickest through the 3.80km Hautepierre Parc des Sports test next to the Strasbourg service park by 1.2sec in a Volkswagen Polo R.
Kris Meeke was second in a Citroen DS3, with championship leader Sébastien Ogier's Polo R and Dani Sordo's Hyundai i20 tying for third, a further 0.5sec behind.
Latvala set the pace throughout the morning and posted the fastest time on his fourth and final run over the tight and twisty service roads around the sports and leisure complex.
Kris Meeke - second fastest at shakedown
"I struggled a little in the test with understeer and was a bit worried how the car would be in shakedown, but on the first run it felt really good," said Latvala. "We made a couple of changes to the set-up and I felt it was getting even better so now I have a good feeling."
The Finn has made no secret of his desire to win on asphalt but missed out at August's ADAC Rallye Deutschland when he crashed out of the lead on the final morning.
"My dream is to win an asphalt rally and I was so close at Rallye Deutschland. But I was against myself and didn't do it, so we'll try to carry on and work on that over here.
"If we can win, the victory would help in the drivers' championship but I'm not thinking about that so much anymore. My chances are not the greatest and Seb, with a smart drive, doesn't need to take risks," he added.
The top 10 shakedown times were:
1. Jari-Matti Latvala 2min 36.0sec
2. Kris Meeke 2min 37.2sec
3= Sebastien Ogier 2min 37.7sec
3= Dani Sordo 2min 37.7sec
5. Andreas Mikkelsen 2min 39.1sec
6. Thierry Neuville 2min 39.3sec
7. Mads Ostberg 2min 39.5sec
8. Robert Kubica 2min 39.6sec
9. Yuriy Protasov 2min 42.0sec
10. Elfyn Evans 2min 42.1sec
Capito 'relaxed' about Ogier speculation
Volkswagen Motorsport boss brushes off rumours linking Ogier with other teams
Home town win for Neuville
Hyundai driver prepares for Rallye de France with a win in Belgium
Rally rewind: France 2013
Here's our quick recap of the 2013 Rallye de France - Alsace