In 2008, the Internet surpassed newspapers as an outlet for people seeking news. Yet analysts estimate that newspaper circulation is still about 40 million. That means that there are a lot of people willing to pay a fee—usually between $10 and $15 per month—to get the daily newspaper. Since the news is readily available elsewhere for free, newspaper readers must value the tangible product. In other words, they value the paper part of their newspaper (I know because I'm one of them).
If you are paying for the paper, I recommend you get the most out of your investment. Following are eight ways to extend the usefulness of the paper in your newspaper. As a bonus, many of them can save you money!
Wash windows. Use newspapers instead of paper towels to get sparkling windows. Check out these step-by-step instructions from re-nest.com.
Pamper pets. Newspaper can be used to line bird cages and potty train puppies. Shredded newspaper is also a great substitute for kitty litter. As your veterinarian before using newspaper as bedding for pets such as hamsters or mice.
Prevent messes. Newspapers are perfect for soaking up stuff. Put newspapers on the floor of your garage to catch your car's drips, line a dining room table before messy meals, and protect your floors from paint spills. You can even use newspaper to drain grease from oily foods like French fries.
Wrap gifts. My mom never used to buy wrapping paper, so why would I? The Sunday comics make fun and festive gift wrap that comes with a sweet sense of nostalgia.
Protect packages. Everyone knows that newspapers are great for protecting things during a move, but they're also great for storing fragile things around your house, such as holiday ornaments. And next time you ship a package, use crumpled up newspapers instead of packing peanuts.
Get crafty. Newspapers are great for kids' crafts. In fact, all they need is a balloon, glue, newspaper and paint to make a paper mache masterpiece. Newspapers are also good for making homemade pom-poms, hats, airplanes, and confetti.
Help your garden grow. Diane from the Big Green Purse recommends using newspapers as a natural weed barrier. Ground newspapers can also be used as mulch, but experts recommend that you avoid glossy color supplements.
Finally, if you can't use them, recycle them. Instead of letting old piles of newspaper turn into a fire hazard, recycle them. According to LoveToKnow.com, recycling all newspapers read in the U.S. each day could save 41,000 trees a day and reduce 6 million tons of waste in the landfills.


text:
USRC Rush  was a revenue cutter named for Richard Rush, eighth Secretary of the Treasury. She was a replacement for  and was much larger, but re-used the engine from the first Rush. She was completed in November 1885. In January 1886, soon after commissioning, she was assigned to search for the whaler Amethyst, last seen in the Bering Sea the previous October.

Rush spent her entire career on the Pacific ranging from the Bering Sea to Hawaii and San Diego, California performing customs duties, search and rescue, and law enforcement, including hosting judicial functions in furtherance of her enforcement of revenue and conservation laws. During the Spanish–American War in 1898 she was detached for duty with the United States Navy in the defense of the west coast, but returned to her duties with the Revenue Service later that year.

In 1899 she towed the newly commissioned river cutter  to Alaska. She was decommissioned on 30 September 1912 and sold on 22 January 1913 to the Alaska Junk Company for $8,500.

References

Sources
 Canney, Donald L. (1885), U.S. Coast Guard and Revenue Cutters, 1790–1935, Naval Institute Press

External links
 Teacher's Resource for U.S. Coast Guard History pp. 20–21

Ships of the United States Revenue Cutter Service
1885 ships

redpajama_set_name: RedPajamaWikipedia


The IOGEAR GCE500U USB VGA KVM Console Extender allows access to a PC with USB or USB KVM switch from a remote USB VGA console (VGA monitor, USB keyboard, and USB mouse) via CAT5e/6 cable up to 500 feet away.
This unit is perfect for moving the console away from the computer or the KVM switch. Your console can be moved out of the server room to a location that may be more comfortable and quieter. It is also useful for security and monitoring purposes; you can place the unit in a secure area at the same time that you put the console in the most convenient location for user access and monitoring.


The graphic below visually compares differences in flight patterns between the 10 most active aircraft models being monitored by the FAA on August 12, 2008 over a 24-hour period. Check out the difference in range between the Boeing 738, capable of traveling 3,060 nautical miles in a flight, and the Canadair Regional Jet (CRJ2), which at 980 nautical miles is a puddle jumper.
Using real-time travel data provided by FlightView, artist Aaron Koblin illustrates flight patterns of specific aircraft. Use the navigation at the right to toggle between models, see a merged view of the top 10 or look at a stunning weave of all the aircraft patterns.
This project was a collaboration between Koblin, FlightView and Wired Magazine.


"Randy's just gone off Turn 2," the walkie-talkie barks. I look up from my laptop. What happened? Our Jaguar I-Pace is most definitely in the wrong place and has come to a stop amid drifting dust.
Today is just getting weirder and weirder—Randy Franklin Pobst never goes off a racetrack. For all the tire marks that spaghetti away from the Streets of Willow's racing line and loopily disappear at its broken edges, they're never the graffiti of our resident championship racing driver. Randy is a model of consistency.
A walkie-talkie hisses for a moment, and then … "The Jag suddenly put on its emergency brakes and sent me off the track." Wait, what? The Motor Trend testing staffers eyeball each other. For the past two hours, Randy had been chasing software curveballs. Even through the metallic fidelity of our Motorolas, the terseness in his voice says he's getting a little weary of it.
"At least it wasn't just us," mutters a Tesla-hatted voice behind me. Earlier, the Tesla Model 3 Performance with Track mode didn't exactly stop as planned approaching Turn 10, going straight off at 90 mph, then bouncing through the bumpy desert terrain and sagebrush before re-entering the front straight and rolling into the pits, with a blown left rear tire courtesy of its off-road excursion.
We expected some surprises today. Bringing together two trackable battery-electric vehicles to challenge the best classical internal combustion sport sedan in the world right now—the Alfa Romeo Giulia Quadrifoglio—would be the beginning of a battle for the ages. Who knew it would also wind up a battle in the sages?
Let's rewind the clouds of dust to earlier this morning.
It's 8 a.m. in the California high desert, and already the sun has our asphalt stage brightly lit. To our left is "Big Willow" with its white-knuckle turns and village of backstage garages and paddocks needed for Willow Springs International Raceway's blockbuster, high-speed productions. This, though, is "Streets," its more intimate second stage. A more technical setting for our trio of performers.
Amid the hiss of tire pressures being adjusted by co-evaluators Alan Lau and Derek Powell—and the rattle-grrrrrrrrr of photo czar Brian Vance's incessant coffee bean grinding—I'm staring at the cars and unable to piece together a good argument for why the Alfa beats the Tesla around the track or the other way around.
It's easy to pencil out why the Jag is going to lag behind: Compared to the Alfa, its motors' combined 394 horsepower falls 22 percent shy of the Giulia's output, while its 4,946-pound mass renders it 31 percent porkier. Those SEMA-ready 255/40R22 Pirelli P Zeros the Jag is wearing won't erase the high-heeled physics of its crossover height. The Jag seems a preordained but not dishonorable third place around Streets. But the tea leaves from our real-world testing of the Giulia and Model 3 point in contradictory directions.
0.95. Leaf Three, pick 'em: The Tesla stops shorter—but fractionally so. Leaf Four, mox nix: Their figure-eight lap times are identical at 24.2 seconds. Time to ditch the tea and grab some of Vance's coffee.
The cars are prepped, and Randy is good to go. The Model 3's cooling system is screaming as it pre-chills the battery and dual motors. Belted in, attired in his black helmet, black racing suit, and ever-bright mood, Randy asks the Tesla engineer leaning into the cockpit, "What do I do to set the handling?" The guy taps the do-everything center screen's icon with the words "Track Mode." That's it. Randy raises his eyebrows. The guy climbs out; I lean in to check that our Vboxes are powered up and SD cards clicked in, then give the passenger door a good slam.
The Model 3 whirs away. A minute later it reappears, slaloming past the apexes of the last four corners of Streets. Its tail is drifting dramatically, left, right, left, then it pitchy-hops midway around the last "skidpad" corner and tail-wags onto the straight. Everybody is watching—nobody has ever seen a Tesla handle like this.
Five minutes later, Randy climbs out, I grab the data cards, and Angus MacKenzie starts readying to try it himself.
The fastest EV ever at Streets was the Randy-driven Mitsubishi MiEV at a 1:10.90 … no, not the goofy Google-car you're picturing but a sleek slicks-and-wings, Pikes Peak racing car we tested in 2014. The Model 3's time appears on my screen—1:23.90. A production-car EV record. A blink quicker (0.07 second) than the Mustang GT Performance Pack 1. Process that. The Mustang GT PP1.
However, Randy needs to chime in: "It's very easy to get understeer, the car's handling is sometimes inconsistent, and there's something weird happening when I lift off the brake."
What Randy is feeling is a lingering deceleration after he releases the brake (before he's moved his foot to the accelerator)—it's the undepressed accelerator pedal's heavy regenerative braking setting that's confusing him during the transition. Compared to the car's normal "heavy" rate of 0.2 g (matching that of the Jag), Track mode applies a more noticeable 0.3 g's.
Angus rolls in from his hot laps: "It turns in quickly, especially with throttle lift, but there's not a ton of feel from the front end. Get to the power too early, and the handling just devolves into massive understeer. The good news is a big lift off the accelerator will get the car to rotate. Roll on the power, and the Model 3 nicely drifts out of the corner. There's never any sense it's going to spin. Drive it like a rally car, and it's fun. But for a traditional race driver, where smooth is fast, I can imagine it all feels a little discombobulating."
The tall Jaguar goes out next and returns seven minutes' worth of laps later. I pop out the SD cards from the Vboxes and open the file—a 1:27.00. No MiEV, but not bad for a 5,000-pound, five-passenger crossover that's quicker than the Golf R and WRX STi. Geez.
"There's a lot of understeer, and the brakes could be inconsistent," Randy notes. Those two words—inconsistent and unpredictable—keep coming up during his Jaguar download.
Finally, it's the big-dog Alfa's moment to break the EV silence. We hear the Giulia's bark and baritone as Randy warms the tires. Judgment time. Which will win? Twenty-one thousand gasoline combustions per lap, or software code swarming through silicon chips? The Alfa moves dartlike through the same corners the Tesla just drifted through. Randy pulls in wearing a smile we haven't seen yet today. Mr. Consistency just laid down a 1:22.78. That's 1.12 seconds quicker than the Tesla. "It just does exactly what you expect," he says. "No surprises. Always predictable. Rear-wheel drive just gives me the control that I want."
Then somebody notices the Alfa's Pirelli P Zero Corsa AR Asimmetrico front tires. They're asimmetrico, all right: Half of each tread block's rubber is gone after two sets of three hard laps. The Tesla engineer points to his car's Michelin Pilot Sport 4Ss that are at worst scuffed. "We could do that time if we were willing to destroy our tires," he says. The Tesla's rubber contains complex compounding across its tread for minimal rolling resistance but stickiness for corners (with foam glued into its interior to reduce noise). The technical investment in this tire—which can generate 0.95 g's of cornering grip from a 4,078-pound car without significantly damaging the rubber and still deliver 310 miles on a charge—is remarkable.
Nevertheless, the conversation drifts toward imagining sliders on the Tesla touchscreen to fine-tune Track mode or tapping the names of tires you bring along to have their performance characteristics loaded. One idea I like: "Randy mode." Ludicrous for the road racing set.
Four years ago, I drove our long-term Tesla Model S P85+ to Laguna Seca for a similar lapping day. When I arrived, I unloaded 17 bags of ice from a 7-Eleven along Route 68, plus a dusty roll of bubble wrap I found at Home Depot. We shoved the ice bags under the car until they were stacked up against the battery, then I encircled the car with bubble wrap like a floor-length insulating skirt, taped it to the bodywork, and waited for the car to charge. We had tried to lap the Tesla a few months before, but it couldn't get to the hilly track's Turn 11 before it self-limited its power output, due to heat buildup. This time it would start refrigerated.
Thermodynamic experimentation be damned, the Tesla power-limited at just about the same spot anyway. And our photo of the wrapped car touched a nerve with Tesla. The "Teslas can't lap" rap has remained a thorny issue with Elon's crew, so a month ago Tesla invited me up to Marina Airport after Monterey Car Week to finally sample its solution.
Rather than a vender-sourced patchwork of stability- and traction-control systems, Track mode is a holistic solution to enthusiast EV driving. It begins with a unified piece of clean-screen, Tesla-written software. Rather than look up tables of approximated data to pick a prerecorded response to steering and chassis angle, the system simulates each tire's available grip in real time (it estimates the force on each contact patch from the car's acceleration, braking, or cornering rate). The result is a higher-resolution picture of those patches, exploitable by each axle's precisely controlled, fast-reacting electric motors; laterally, it's vectored by individual brake dabs (the differentials are open). Track mode's agility is like a cat with espresso in its water bowl—but it's also alert to nervous-looking inputs and decreases the chassis' cornering angles until they cease.
As to the heat problem that limited our early Model S lapping at Laguna, Tesla has a solution. Before the car heads out, setting Track mode tempers the overheating issue by launching into a (loud) coolant-chilling frenzy of both the low-temperature battery system and the high-temperature motors. Unlike in the Models S and X, both of the Model 3's cooling circuits can be merged, allowing the hotter motors to briefly use the giant battery as a heat sink. For how long? Maybe four or five continuous laps. Weekend warrior Derek Powell makes a face. "Track sessions are normally 20 to 25 minutes," he says, "and there are four or five sessions per day." I don't think he's impressed.
We've figure-eighted the Model 3 Performance with and without Track mode. I did a 24.3-second lap sans assistance but a 24.2 with it. A teensy time difference, but to moi at the helm, the car's cornering attitude suddenly became open to playful interpretation—almost to distraction. As Angus noted during our lapping at Streets, big, drifty angles are more about fun than fast.
If there were a book simply titled The History of the Sport Sedan, you'd find a dramatic picture of this exact blue Alfa Romeo Giulia Quadrifoglio on its last page. The story line building up to it would ping-pong between Turin and Munich, and with every turned page there'd be episodes of engineers finding new ways to polish the sport sedan's ingredients to a perfect gloss. Like this car's twin-turbo V-6 engine, eight-speed paddle-shift transmission, multilink rear suspension, and 505 horsepower laser-beamed to two rear tires.
Tesla nods, closes the book, and places it on the shelf with the rest of automotive history. Park the Giulia next to the Model 3, and Leonardo da Vinci beside Robert Oppenheimer. The ultimate artist-engineer meets the calculating disrupter of worlds.
The other day, I read Bob Lutz espouse that "Tesla has no tech advantage, no software advantage, no battery advantage. No advantages whatsoever." With all due respect, Bob, that's bull. As I sat in the plugged-in Model 3 at the Supercharger station in a Valencia, California, parking lot, I watched a number grow on the car's multitouch screen. That's so cool. Just by plugging the charger in, the Supercharger network recognizes the car, charges your credit card, and displays the cost while you're sitting there. No credit card swipe needed. Totally seamless.
Recently I drove a Model 3 for 350 miles using its Trip Planner. Set a destination, and it routes you to Supercharger waypoints, calculates the optimum time to spend at each one to quicken the entire trip, and notifies you via its app when it's time to return from sipping coffee nearby. Already have a Model 3 Performance with the $5,000 Performance Upgrade? Track mode will be over-the-aired to you. Walk up to the car with your phone in your pocket, and the dashboard's bladelike air vents automatically angle down toward the seats, blowing cool air so you're more comfortable on a hot day. The car is rife with clever moments like this.
Derek counters that the I-Pace is the most modern car here. Or rather, its recipe is: an electric, AWD crossover configuration (with 3 inches of adjustable ride height, great for snow) that somehow drives wonderfully, too. Tech treats: Its nav system will account for topography and your driving style to better estimate range; its twin motors and reduction gears are concentric with the axles for compact packaging; its panoramic glass roof increases headroom.
But the Jag's EPA-estimated 234-mile range—from a nominal battery size of 90 kW-hr—brings a sigh compared to the Model 3's 310 miles from 75 kW-hr. Our own internal, real-world test by Emissions Analytics computed 225 for the Jag. What's up? Undoubtedly its large tires and 0.29 Cd aren't helping. There's a reason the Tesla Model X's roofline slopes like that. Another curiosity is that the I-Pace's front motor is permanent-magnet, which makes it impossible to be depowered during light-load cruising; the Model 3's front motor is an induction type for this very reason.
We pull into the Canyon Crosswinds RC Flying Field on a plateau above Lake Hughes Road, where we're met by two model airplane pilots getting ready to fly.
"Hi, we're with Motor Trend. Would it be OK to take a few pictures here? It's a beautiful spot." It is. They size us up, see the mild desperation in our eyes (the sun is rising fast), and say heck, why not.
One of them eyes the Tesla and says, "That electricity has to come from somewhere, you know. By burning things. Wind is too unpredictable." I nod, but I don't add that about 30 percent of California's 2017 retail electricity was produced by renewable sources.
Down below is Lake Hughes Road, where we are soon taking turns looping a road filled with blind corners, drop-offs, and no room to exit at 90 mph. As we start, the Alfa predictably picks up where it left off at Streets of Willow.
Its grip, torque, brakes, and overall unflappable coherence make it the hero of the trio. It's amazing how swiftly the Giulia can thread through even the kinkiest sections. To be honest, it took me a few minutes to calibrate to its quickish steering, the brake pedal's deadness, and its tires' considerable limits. But once you're synched and moving to the Alfa's rhythm, it's balanced, positionable with throttle, moves as a piece, and, as Alan notes, carries "an eagerness to turn in that makes me forget it's a sedan." Dislikes? The V-6 lacks the Italian terror scream, and neither Derek nor Alan understands stationary shifter paddles that are out of reach when turning the wheel on tight corners.
Angus describes the Jaguar as being "more organic in terms of driver inputs and vehicle outputs than Teslas and other BEVs, which tend toward a digital feel. There's a pleasant fluidity to the way the Jaguar goes down the road." And fluidly is how it went down Lake Hughes Road for us, too. "It's astonishing how well it rides on 22-inch wheels," Derek adds.
But Derek's warm thoughts cool as he nears the Jaguar's performance limits: "The ride height and blocky shape make me feel like I'm piloting a rogue subway car on rubber wheels." About those brakes: "There's a fair amount of travel before the pads bite. Letting up then reapplying pressure yields a different response than the initial stab. I found myself braking earlier because I didn't know how the system would respond." And then there's its ambient sound: "Depress the throttle, and a simulated spaceshiplike warble emanates from the speakers, amplified further in Dynamic mode. Make it stop!" My displeasure fixated on how ridiculously slow the infotainment system responds—you can count one or two Mississippis before the next screen appears. But let's pause a moment, Visine our road-weary eyes, and take another look at the I-Pace.
As Angus points out, "There are few crossovers of any sort capable of lapping Streets as coherently as the Jaguar that are also so capable in the dirt." And the I-Pace is great-looking. All Tesla drivers in the carpool lane snapped their heads to the right as they passed me last week on the snarled 405 (I didn't have HOV-access stickers). To me it's the best-looking of all current Jaguars, in large part because of its honest EV proportions (stubby front motor equals stubby hood). "If the Tesla represents the future of performance sedans," Derek opines, "then the Jag demonstrates the actual shape of the future's electric car."
But at 80 percent of its limit, the Tesla is an Oculus Rift headset in a CXC full-motion driving simulator. Even down to the chubby, rubbery, simple-looking steering wheel in your hands. Threading down a twisty road at night—that big screen to one side, darting through corners with laserlike steering, the warp-drive whir-shrieks of its twin motors the soundtrack, and nothing but the headlight-lit road ahead—you're Luke Skywalker attacking the Death Star.
Some might suggest a battery-electric vehicle cannot be a real driver's car. I disagree. The powertrain is different, with a new set of challenges to master in terms of torque delivery and powerband and braking. Not having to worry about shifting doesn't reduce the challenge of finding the absolute limits of adhesion or the right chassis balance. To the contrary, it demands even greater sensitivity in terms of finding the very edge of the envelope. The world's most gifted F1 drivers—Senna, Schumacher, Hamilton—all honed their otherworldly car control in sprint karts, which lack a transmission. The Model 3's Track mode may be a work in progress, but it's a helluva baseline.
At this moment, in the first battle in the BEV versus ICE war to come, the romantic, beautiful, turbocharged V-6-powered Alfa is still a blink or two quicker than its electric rivals. But think of the Tesla's Track mode as version 1.0.
*Mechanically identical 2017 model test vehicle with 2019 pricing. ** Individual front- and rear-motor peak power ratings (which occur at different rpm and hence are not additive), miles-per-gallon equivalent (mpg-e), and predicted range are sourced from EPA results. The combined horsepower and torque ratings are provided by the manufacturer.


Squad friends are the best right?! You go through the ups and downs of football together and regardless of whether you win or lose - you have each other! Only football friends understand the pain of a 4G slide tackle burn, losing your shin pad sock, or having to show your bruised legs off at a party. Show your support for your fellow teamies with the MissKick Squad Tee.


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Jonathan Gregory Brandis (ur. 13 kwietnia 1976 w Danbury, zm. 12 listopada 2003 w Los Angeles) – amerykański aktor i reżyser telewizyjny i filmowy, scenarzysta.

Życiorys
Występował w roli młodego informatyka Lucasa Wolenczaka w futurystycznym serialu NBC SeaQuest i jako Barry Gabrewski w filmie sensacyjnym Aarona Norrisa Kumple (Sidekicks, 1992) u boku Chucka Norrisa.

Swoją pierwszą odznaczającą się rolę otrzymał w Niekończącej się opowieści II. Zagrał również 'Jąkającego Billa' Denbrough w miniserialu To z 1990, nakręconego na podstawie powieści Stephena Kinga, oraz w komedii Drużyna biedronek – grał chłopca, który przebrał się za dziewczynkę aby zagrać w dziewczęcej drużynie.

W 1994 roku został wyróżniony nagrodą Young Artist Award dla najlepszego młodego aktora za rolę Lucasa Wolenczeka w serialu telewizyjnym SeaQuest.

12 listopada 2003 roku Brandis zmarł na skutek obrażeń, spowodowanych podjętą dzień wcześniej próbą samobójczą. Miał 27 lat. Według relacji jego matki, Brandis wybrał się z przyjaciółmi na kolację, po której wszyscy wrócili do jego mieszkania. Przyjaciele zeznali, że wyglądał na sfrustrowanego, rozglądał się dookoła. Gdy opuścił pokój, jeden z przyjaciół po ok. 15 minutach wyszedł go poszukać. Znalazł go na korytarzu drugiego piętra – wiszącego na nylonowej linie.

Filmografia

Filmy fabularne
 1987: Fatalne zauroczenie (Fatal Attraction) jako gość na przyjęciu
 1988: Niewłaściwi faceci (The Wrong Guys) jako Kid Tim
 1988: Oliver i spółka (Oliver & Company) – różne głosy (niewymieniony w napisach i w czołówce)
 1989: Smętarz dla zwierzaków – różne głosy
 1989: Ojczym 2 (Stepfather II) jako Todd Grayland
 1990: Tata duch (Ghost Dad) – głos
 1990: Niekończąca się opowieść II: Następny rozdział (The NeverEnding Story II: The Next Chapter) jako Bastian
 1991: Our Shining Moment (TV) jako Michael 'Scooter' McGuire
 1992: Drużyna biedronek (Ladybugs) jako Matthew/Martha
 1992: Kumple (Sidekicks) jako Barry Gabrewski
 1994: Dobry król (Good King Wenceslas, TV) jako książę Wenceslas
 1994: Głupi i głupszy (Dumb and Dumber) jako Nick
 1996: Her Last Chance (TV) jako Preston Altherton
 1996: Elza z afrykańskiego buszu – nowa przygoda (Born Free: A New Adventure, TV) jako Randolph 'Rand' Thompson
 1996: Skok w ciemność (Fall into the Darkness, TV) jako Chad
 1997: Tragiczny rejs (Two Came Back, TV) jako Jason
 1998: Aladdin's Arabian Adventures: Magic Makers jako Mozenrath (głos)
 1999: Prawa młodości (Outside Providence) jako Mousy
 1999: Przejażdżka z diabłem (Ride with the Devil) jako Cave Wyatt
 2002: Rok, który nas zmienił (The Year That Trembled) jako Casey Pedersen
 2002: Wojna Harta (Hart's War) jako Lewis P. Wakely
 2003: Kochankowie mimo woli (Between the Sheets) jako Robert Avacado
 2004: Puerto Vallarta (Puerto Vallarta Squeeze) jako agent Neil Weatherford
 2005: Bad Girls from Valley High jako Drew

Seriale TV
 1982: Tylko jedno życie (One Life to Live) jako młody Kevin Riley Buchanan
 1984: Kate i Allie (Kate & Allie) jako przyjaciel Chipa
 1986: Sledge Hammer! jako młody Sledge
 1986: Mystery Magical Special w roli samego siebie
 1987: Dzień dobry, panno Bliss (Good Morning, Miss Bliss) jako Michael Thompson
 1987: Prawnicy z Miasta Aniołów (L.A. Law) jako Kevin Talbot
 1987: Dzień dobry, panno Bliss (Good Morning, Miss Bliss) jako Michael Thompson
 1987: Biedna mała bogata dziewczynka (Poor Little Rich Girl: The Barbara Hutton Story) jako 11-letni Lance Reventlow
 1988: Webster jako Bobby
 1989: Pełna chata (Full House) jako Michael
 1989: Who's the Boss? jako Paul
 1990: To (It) jako William 'Stuttering Bill' Denbrough
 1990: Napisała: Morderstwo (Murder, She Wrote) jako Kevin Bryce
 1990: Alien Nation jako Andron
 1990: The Munsters Today jako Matt Glover
 1990: Flash (The Flash) jako Terry Cohan
 1991: Gabriel's Fire jako Matthew Fixx
 1991: Cudowne lata (The Wonder Years) jako Steve
 1991: Blossom jako Stevie
 1991: Pros and Cons jako dzieciak
 1992: Crossroads jako Michael Stahl
 1993–96: SeaQuest jako Lucas Wolenczak
 1993: Byle do dzwonka: Lata w college'u (Saved by the Bell: The College Years) w roli samego siebie
 1994-95: Aladyn (Aladdin) jako Mozenrath (głos)
 2003: Gramercy Park 111 (111 Gramercy Park) jako Will Karnegian

Przypisy

Linki zewnętrzne

Amerykańscy aktorzy filmowi
Amerykańscy aktorzy dziecięcy
Amerykańscy aktorzy telewizyjni
Amerykańscy reżyserzy telewizyjni
Amerykańscy samobójcy
Urodzeni w 1976
Zmarli w 2003
Amerykańscy scenarzyści
Amerykańscy reżyserzy filmowi
Amerykańscy aktorzy głosowi


text:
with Kelly MacLean
'Dying to Know' with Gay Dillingham: A Documentary on Timothy Leary & Ram Dass
Gay Dillingham, producer/director of 'Dying to Know' the documentary that chronicles Tim Leary and Ram Das's friendship in the final days of Leary's life shares her own tale of pouring her own loss and grief into the award-winning film.
To know more about the documentary Dying to Know on Timothy Leary & Ram Dass, visit the official website.
Dying to Know Podcast Transcription
Kelly MacLean: It's the when you die podcast, I'm Kelly MacLean, your host.
I'm very excited to tell you about today's guest, her name is Gay Dillingham
Gay started making documentary films out of college in the late 80s. Her first The WIPP Trail cast a critical eye on the first, and still world's only underground nuclear waste repository. It became a community organizing tool and aired on PBS nationally.
My Body Belongs to Me, a children's proactive educational program on sexual abuse, earned the American Film Fest award for "Guidance & Values Education." Her company co-produced Dr. Andrew Weil's first show in the mid 90s long before he was a twinkle in Oprahs eye.
Today she frequents film festivals with her award-winning film, Dying to Know, a project she's worked on for nearly 2 decades. The film features footage that Gay recorded of Timothy Leary in the final months of his life. During that time his fellow national treasure and former fellow professor at Harvard, longtime friend Ram Das, came down to spend time with Timothy at the end of his life, and can you imagine? Gay was there. The film is not only an intimate portrait of these two great minds and their fascinating connection but an intimate and stunning reflection on what it means to die.
Kelly MacLean: I just had the pleasure of watching your film and the very first screen is of a quote, a Carl Jung quote about death, which is …
Gay Dillingham: "Behold death for it teaches me how to live."
Kelly MacLean: Exactly.
Gay Dillingham: And that was from the Red Book, his Red Book.
Kelly MacLean: So beautiful, and I just thought … I wondered if that resonated with you particularly because at such a young age you lost your brother and you kind of had to behold death at a very young age.
Gay Dillingham: Yes, I did. Yeah, a tragedy that really brought me to my knees. And it did … it helped me. It forced me to grow up and awaken a little earlier than I would have otherwise. Really start that process. So, yeah it was also a door opening. And a way to see in our culture how we have the denial of something that we're all going to eventually go through and how many problems that cause reverberating in all parts of our life and our culture, by the denial of this very natural process. So, yeah that's when I began to see that and became fascinated also with just the deeper process. The death re-birth psychological process, not just the loss of the body but all of these little mini-deaths, these ego-deaths, these things that we need to go through to live more fully.
Kelly MacLean: Right. It seems …
Gay Dillingham: And these two guys happened to teach me a lot about that.
Kelly MacLean: Yeah. Was your brother's death at all … did that get you on that trajectory to this project, in particular?
Gay Dillingham: It did. It did. I look back through the threads and the first time I ever heard Timothy Leary's name … my brother Matt, I was probably fourteen at the time, he might have been seventeen, he died at 20, but he had risked, you know, on a school night he drove to the city, to Oklahoma City, you know, two and a half hours, two hours, to see Timothy Leary. This was after he had gotten out of prison and he was giving a talk and I had never … I didn't know who that was so my first question was, "Who is Timothy Leary?" and "Why does Matt need to go … really want to go see him?"
Kelly MacLean: Yeah.
Gay Dillingham: And then fast-forward to … I was in college then in the 80's and Timothy was doing a college circuit talking about LSD, which at that time was Leary's software design because we were in the height of the drug war at that point.
Kelly MacLean: Mmmhmm.
Gay Dillingham: And you know it was interesting because who I saw at that moment was more the showman. I didn't really see the man, and I wasn't that attracted. So then fast forward to mid-90's when he announces he's dying in the media and I'm having dinner with a few friends that were also in the film business and you know, we said, "What could we do that would be interesting? Because this is a historical moment." And came up with the idea to bring Ram Dass down from the Bay area to put him together with Tim, and Andrew had that idea but you know, I didn't understand their relationship at that point and I was the youngest one at the table, which was ironic that you know, we decided that I would direct it.
Gay Dillingham: It's also something that really held my attention. I mean I did that early filming and then set it down for a lot of years because I needed to. I was starting other environmental companies and did a lot of other work but I kept coming back to it because there was something very seminal in this conversation between the two of them that we filmed in December of 1995.
Kelly MacLean: So you got to be privy to it. This really tender time of … this deathbed time.
Gay Dillingham: Yeah. Right. And then having more interviews with Tim before he died in May of '96 and then a very, very narrow window with Ram Dass …
Kelly MacLean: Right.
Gay Dillingham: … Prior to his stroke, which was February '97, and then he ended up with a 10% chance of survival, and thank god he's still alive because he's still teaching and affecting a lot of people's lives for the better [5:00 MINUTES], and certainly my life. And yes so Timothy was an unusual character and he'd been so glorified and so demonized …
Gay Dillingham: Mostly demonized and misunderstood. So part of my real discovery was taking the caricature my media had handed me and really finding the human story in how interesting he was and vulnerable and witty, but to see him through the lens, which was Ram Dass' love, was the most important thing for me.
Kelly MacLean: Yeah that's what really comes through in the film.
Gay Dillingham: Yeah. It's a portrait of a relationship.
Kelly MacLean: When also it was his deathbed, so you know, what better moment to meet someone's mind, right? You really got the tender exposed part, not the showman as you were saying earlier, at all.
Gay Dillingham: Absolutely – The vulnerable Timothy.
Kelly MacLean: Yeah. Did you feel like his own experience of embracing death and coming close to death was like the capstone of his teachings or sort of the real evolution of the quest that he started – studying psychology and then getting into psychedelic drugs?
Gay Dillingham: Well, you know, as a psychologist he and Ram Dass, Richard Alpert, also wrote the Tibetan Book of the Dead, which was … I'm sorry. Excuse me. The Psychedelic Experience, which was based on the Tibetan Book of the Dead, and they'd always be … You know, his mind and his intellect was always fascinated with this, but I think his own death he hadn't planned for. He, you know, really promoted certain ideas but the real part of it for him was … I think he went through a lot of stages, you know, a lot of … he wanted to do cryonics, which was freezing the brain. He did end up letting that go in the end but that was in some ways … I took that as a two-fold thing, you know, partly a last kind of stab at immortality …
Gay Dillingham: … But the other side was he truly was a scientist and he always said, "You know, the first boats were row boats, so I owe it to science to do this."
Gay Dillingham: But it really kind of got in the way of the actual experience in the end and that's why he gave it up.
Kelly MacLean: Interesting. Yeah, because he was such a futurist that of course he would want to embrace that leap way into the future but it ended up on a personal level getting in the way, you think?
Gay Dillingham: Yeah. You know, he wanted to be with his loved ones. He didn't want to have to go through what needed to happen because you know, the moment you die you have to get [DRILLING IN BACKGROUND] … certain technical things have to happen. So I think his last words were also very revealing, which is … he said a number of things kind of in a … because he was going back and forth, almost kind of in a chant of sorts, but he kept asking the question, "Why?" "Why?" In a lot of different intonations and then shortly before he died he apparently said, "Why not?" "Why not?" So I think for someone who didn't have the faith or … that Ram Dass, Richard Alpert, has in terms of you know, he really believes that something goes on, your soul goes on …
Gay Dillingham: … And Tim didn't have that. But I think that there was a lot of possibility there at the end of his life, and in this film I felt strongly … I'm not certainly trying to tell anybody what to believe because the truth is, I don't know. It's a mystery …
Gay Dillingham: And … but it's all very personal … and what I liked about these two men, these two individuals – they had a love affair. It was a very soulful love affair. It wasn't a physical one, but they approached this question of death very differently, and yet they loved each other. So the viewer gets this …
Kelly MacLean: Can I pause you for one second? So I was very…
Gay Dillingham: Testing … 1, 2, 3.
Kelly MacLean: Here we are again … Looks good. So I was very curious about what you were about to say about Ram Dass and Timothy Leary having very different approaches.
Gay Dillingham: Yeah. I think what attracted me about their relationship was they were so different in how they approached death and so I really believe it's a mystery and a conversation and it kind of allows everybody into the film instead of telling them what to believe or think.
Gay Dillingham: Because the truth is, I don't know. You know, you see all of the stages and phases Tim went through in his reckoning, if you will, and also with Ram Dass because he has this stroke and he was feeling pretty on top of the world prior to that, right?
Kelly MacLean: Yeah. They have such a weird parallel that they both started out just as intellectuals and then took a spiritual leap at a similar time and became kind of leaders of their own spiritual movements in their own rights but from our own culture.
Gay Dillingham: Yeah.
Kelly MacLean: And then they both ended up taking this turn around a similar time, Timothy toward death and Ram Dass toward sickness, basically, or stroke.
Gay Dillingham: Uh-huh. And they both started with this fascination – research with psychedelics or entheogens …
Gay Dillingham: And they ended up expressing that very differently throughout their life. Even though they were the two Harvard psychologists that started these experiments in the early 60's. Ram Dass went to India, started that path and became a spiritual teacher, and still is, and Timothy was still the social revolutionary and ended up in prison.
Gay Dillingham: Which, we cover in the film. Most people don't realize he spent almost four years in prison, two and a half in …
Kelly MacLean: For a joint, right?
Gay Dillingham: Yeah. Less than half an ounce.
Kelly MacLean: Wow.
Gay Dillingham: And two and a half in solitary confinement.
Kelly MacLean: Wow. That's … I mean that drives you crazy.
Gay Dillingham: Right. And I really feel he was the first, if not one of the first casualties of this drug war …
Gay Dillingham: … That we're finally starting to make some changes around, which is good.
Kelly MacLean: Right. So long later, now here we are in California where marijuana is now legal. It almost seems like they each, in going to jail and to India, they each kind of sped up their path a little bit. Can you say something about what you felt Tim's approach to death was and also what Ram Dass' approach was?
Gay Dillingham: Well, Tim was the consummate, as Ram Dass called him, 'philosophical materialist scientist.' You know, "You're dead when you're dead."
Gay Dillingham: And Ram Dass was always surprised, like, "How could he believe that when he's taken all of the acid he's taken?"
Gay Dillingham: "Didn't you see?"
Kelly MacLean: … And still remained conventional. Clearly he needed the acid if he was still conventional after that.
Gay Dillingham: And Ram Dass, you know, because he went to India and studied Hinduism, you know, had a guru and a teacher named Karoli Baba or Maharaj-ji, you know, he feels strongly that he does go on.
Gay Dillingham: Now, who knows, maybe on his death bed he may have some other thoughts or choices or whatever and I think it's a very dynamic process, probably for each individual differently, but … And so this film captures this very honest lively discussion about all of this between the two of them. You know, "What is death?" "Does anything go on?" "What happens after the brain is eaten by worms?"
Gay Dillingham: And then how do we as a society practice death and rebirth? Meaning the ego-deaths that help us live more fully. And we don't really have … Other cultures have more consciousness or ritual around that awareness and I really believe when we don't, when we're not conscious of it, it becomes unconscious, and I would say our lack of rites of passage really cause a lot of trouble as well. And I think I lost my brother because of that. He, you know, twenty years old, going too fast in a car off a mountain road, that's to me, you know, flirting with his mortality …
Kelly MacLean: Yes.
Gay Dillingham: … The edges. As any young person would, and didn't have a container for it. And … Or a girl with anorexia or vice versa, you know? There's an unconscious rites of passage – trying to find identity. And so to me are in many ways as a culture we don't hold ourselves in the circle of life
Kelly MacLean: Mmmhmm. That's so well said.
Gay Dillingham: Which is where nature lives. It's life and death.
Gay Dillingham: We don't see ourselves in that circle so therefore we can't deal with climate change very well. We can't deal with nuclear weapons. These things that really are existential threats.
Gay Dillingham: So my little sneaky intervention was, well, on a very personal level, let's just go there and get more naturalized with the fact that we're all going to let go of this space suit at some point.
Kelly MacLean: Right. And I love the title, 'Dying to Know,' which is sort of a double entendre. It works on different levels. It really speaks to that fact that maybe we're all craving this awareness of death, right? Like, you're saying, "It's a circle. It's not a straight line of infinity." Like, it's the circle of life, and what happens when we abandon one side of it? It's kind of like the experiment we're in, because I do feel like a lot of our world is built around sort of avoiding death. Yeah. Did you feel that completing this film actually was some sort of completion of a cycle that started when your brother passed away suddenly?
Gay Dillingham: Yeah. It was very much a healing for me.
Gay Dillingham: And you know, it's been almost two years and I've been going to different cities, 80 cities, with this film …
Gay Dillingham: … And it's just now going on digital platforms. But holding conversations, facilitating these really deep interesting interactions with audiences, with 18 year olds next to 80 year olds, and that's what was meaningful to me.
Gay Dillingham: And so I would also like to ask you, where did the film leave you, both in how did you feel, what did you think?
Kelly MacLean: Yeah. I mean … Well, like you, my brother passed away in a car accident a little less than a year and a half ago …
Gay Dillingham: Oh, I'm so sorry.
Kelly MacLean: … So anytime I kind of go there, kind of brings that up, which I like because it's something that you don't always have in the forefront to get through your day, you know? But it was just sort of profoundly touching to see how these two men had so much love for each other in the end and how much more conscious we could all be if we had that through every day, you know? Yeah. Has the response from people been … What has the response been like?
Gay Dillingham: It's interesting. I think that the through thread for an emotion is people say that they're inspired, which is unusual that a film about death is inspiring.
Kelly MacLean: Yeah. Like there's a wind in the sails quality to it.
Gay Dillingham: So that's been… and one eighteen year old girl, who was even from Spain so she didn't have the American hippy culture, you know, as a context, but she said, "This film makes me want to live more and love more," which truly made me happy.
Kelly MacLean: Yeah. It all harkens back to the first thing that you open the film with, which is that quote about …
Kelly MacLean: Yeah, and it kind of reminds us that maybe we're robbing ourselves of life in avoiding a big part of it, you know, which is death. But you were saying, what was this lovely eighteen-year-old Spanish girl …
Gay Dillingham: She said, "This film makes me want to live more and love more." So it opened her. And it also helps kind of re-look at a time in history because you know the mass media did a great job of, you know, marginalizing Tim
Kelly MacLean: As the "most dangerous man in America."
Gay Dillingham: Yeah. And he played into that, certainly. It's also a cautionary tale for me, in terms of how I saw his life, but we're all human doing the best we can and our lives are big arcs, you know? We're not just one thing. And he and Ram Dass together contributed a lot to what you and I as younger generations have gotten to benefit from …
Kelly MacLean: Absolutely.
Gay Dillingham: … Having the Eastern sensibilities – yoga, consciousness …
Kelly MacLean: Right. Well you have a line … Someone in your film says that like yanked us right out of the fifties, like a full stop, right?
Gay Dillingham: Yeah. And the entheogens, the psychedelics that are now being used more thoughtfully with research. And how do we treat alcohol addiction? And how do we deal with end of life anxiety with [Inaudible – psilocybin?] mushrooms? Over at NYU, they're working on that. A lot of important research is coming out again.
Kelly MacLean: Right. Yeah. It's amazing. Even with ecstasy and that sort of thing. Do you feel that psychedelics can be practiced for death or maybe a bardo experience?
Gay Dillingham: Well, I do because … Both for healing and for dying. I mean if used consciously they can be a helpful tool for almost anything. I mean that medicine helped me get through the devastation of my brother's death, helped me come back to life in some ways, and I've never over done it. It's always been a very, you know …
Kelly MacLean: Right. Like medicinal, not recreational?
Gay Dillingham: Yeah. In my earlier life it was an important thing to help me remember who I was in my heart and I never treated it recreationally.
Kelly MacLean: Yeah. That's probably the key. Although they can also be self-limiting.
Gay Dillingham: [Inaudible] As we know, anything can be of use.
Kelly MacLean: Right. Of course. Have you had any other personal loss since your brother and since making this film?
Gay Dilingham: I dedicated the film to my brother and my father.
Kelly MacLean: Oh, right.
Gay Dillingham: Because my father also died.
Kelly MacLean: How was the loss of your father different after having … Had you done work on this film when your father passed away?
Gay Dillingham: That's a good question. Actually he died in '97 and I'd filmed. I had that original filming done, but I hadn't started really editing yet, but I'm sure that was a large influence in why I kept coming back to the material. But I also went and launched a couple of environmental technology companies. I worked for eight years in New Mexico under Governor Richardson, in charge of environmental management and consumer protection. Went to North Korea and dealt with nuclear weapons issues. And I did keep coming back to this particular story and footage because what I said earlier – so much of our inability to come to real solutions for sustainable successful human experience comes down to that we've taken ourselves out of that circle, that place where nature lives, the circle of life and death …
Gay Dillingham: … And so a lot of people knew me as something very different and here I am doing a film about two guys and psychedelics.
Kelly MacLean: Right. That's so interesting. What do you feel like was the most important thing that you've learned from making that film? I almost feel like it's amazing that it took so long. You can kind of feel … It feels like a bottle of wine. It has many layers to it, you know? It's not just one story with one arc. It really … You get a real hit of the time and then maybe how it's affected now, as well.
Gay Dillingham: Well it's a labor of love and I think that this film made me as much as I made it. And so I was fortunate enough that I was able to do this without a studio, you know, telling me when I had to be done or, you know, money partners that were demanding certain things. It really was a gift and that's why all of the layers are there because I had the time to go in and work with my own dream life to figure out what to do with the next part. And for me to sift through and feel all of those layers … Their relationship is also like a man and woman, you know? In terms of how often we subjugate ourselves. And there just was so many entry points. Dying to know … What are we dying to know? And do we die in order to know? Who knows? And we're dying to know more about these two people that were a big part of history that, you know, we only seem to know the media caricatures that were handed to us versus … So I have a particular beef with a lot of mainstream media because, you know, I'm more interested in the real human story – humanity.
Gay Dillingham: And like I say, said earlier, about Ram, to see Timothy through the lens of Ram Dass' love instead of judgment because we're very good at just judging,
Gay Dillingham: And then we chew up and spit out and we lose so much in that process. So yeah … And the film and the story kept feeding me. I kept attracting really great helpers and allies and, you know?
Kelly MacLean: Do you think the film just wanted to happen?
Gay Dillingham: It did. It wanted to happen. And then along comes a master storyteller like Robert Redford …
Gay Dillingham: … Who generously, you know, not only narrated the film but sat with me with his notes towards the end of the edit and …
Kelly MacLean: Oh, wow.
Gay Dillingham: … And really helped me.
Kelly MacLean: Oh, well, that helps. Get a little free Sundance advice.
Gay Dillingham: Yeah. I'd gotten kind of stuck and he helped me, graciously, get some material out, about six minutes, and restructured the end. And just getting to know him – I have so much respect for him. I mean I had no idea. I did but I didn't …
Kelly MacLean: Yeah. Can I touch you since you've touched Robert Redford? He's amazing.
Gay Dillingham: Oh, he's so wonderful and humble and approachable and just … I was so lucky to get his time and attention and help.
Kelly MacLean: Yeah. Absolutely. Well, I'm aware that we're lucky to get your time and attention so we'll wrap up soon because we're nearing three but what do you feel like is the most important message in your film? Like, what's affecting people the most?
Gay Dillingham: Well, maybe I'll answer that more than one way, but I just made this little image over here and I'll give you one …
Kelly MacLean: Oh, goodie.
Gay Dillingham: Which is … It's so hard to take these, you know, big personalities and their wisdom and life experience and boil it all down. But if I boil it down, and they were good at boiling it down to bumper stickers, if you will, and then if I mash the two of them together, I came up with: "Be here now and think for yourself with unconditional love." So I'm trying to practice that …
Kelly MacLean: That's great.
Gay Dillingham: … Because that seems to be pretty good.
Kelly MacLean: That's a nutshell. If you could just practice that you'd get a long way.
Kelly MacLean: Was there anything in particular you thought Ram Dass taught Timothy in the end on the deathbed as a companion that was there with him?
Gay Dillingham: What he taught I think also was all the people that were around Timothy, a lot of young people were around him and living in the house …
Gay Dillingham: … And uploading him onto the Internet. Ram Dass was there helping coach them and guide them through how to be with a dying person, you know, "Don't demand linearity. Really speak positively about their life and their stories. And float with their consciousness. Just be present with them." And it not only taught everyone around him but it helped steward or midwife that death out so that he had peace. And it seemed like a pretty good death in the end, you know? He had cancer and he was in pain but he managed his pain, ironically. Timothy Leary, Mr. Drug or Acid King, managed his pain, and tried to hold onto as much consciousness as he was going out.
Kelly MacLean: Interesting.
Gay Dillingham: And at one point they were putting all … Every drug he took they were listing it and putting it on the Internet. He got 'Website of the Year' the year he died, which was leary.com.
Gay Dillingham: So he was trying to be transparent. And he was, you know, Tim was a public person, which most of us aren't and don't want to be. So he kind of put it all out there, his warts and all. And so it was nice to have more of this vulnerability that he allowed me in on at the very end of his life.
Gay Dillingham: And then Zach, his son, his adopted son, but son, I mean lived with him longer than anybody, has been a very important part of this project. Since we finished it he and I have been doing the social media really kind of engaging audiences all over the country and just trying to have these deeper conversations that we're all dying to have.
Kelly MacLean: Yeah, absolutely.
Gay Dillingham: It's hard to have, right? Drugs, death.
Kelly MacLean: Yeah. I feel like you and Zach are creating a really nice setting for the jewel of his teachings and also their evolving through the two of you, which is very cool to see. So when you die …
Gay Dillingham: Oh, yeah. Well, I don't want to talk about that. I'm not going to die.
Kelly MacLean: What's your greatest personal wish for when you die?
Gay Dillingham: That's a very good question. That I've practiced so much love and my heart is so full and at such peace and those around me are in the same space that … Like, I've watched Ram Dass practice unconditional love now for long enough that I think he's actually living in that place now. Nothing comes over night. So I'm just hoping that I can be even close to that, you know, and be prepared at any moment, which means really living in a place of love …
Gay Dillingham: … And that kind of sounds so trite or so simple but it's really not.
Kelly MacLean: It's not.
Gay Dillingham: It's not.
Kelly MacLean: It's not if you mean it.
Gay Dillingham: Even to 'be here now' is so hard in this day and age.
Gay Dillingham: I didn't realize the 'be here now' part of the message was going to be such an important part of the film …
Gay Dillingham: … Because here we are on all of our devices all of the time being distracted and [Inaudible] from ourselves.
So there's a lot going on upstairs, isn't there? They're having a fun time.
Kelly MacLean: They're alive. But what better thing to jolt you out of the auto-pilot of life that can happen – the greyness of feeling a little bit invincible – than death, right?
Gay Dillingham: Right. Right. Yeah. So love while you can because you don't know how long that person or that is going to be in your world.
Kelly MacLean: Yeah. Well I'm very grateful that you spoke with us today and also that you made this film because obviously it's the purpose of our site – to try and proliferate the same message. And yeah … At the heart basically same message. Totally different story line, yet same message of bringing, welcoming death back into the fabric of our culture and re-highlighting the whole circle of life, as you said. And this film feels like a really powerful way that its being done, so thank you.
Gay Dillingham: Well thank you for being a wise young woman who's interested in these things and skillfully telling stories and talking to people and doing this service for all of us.
Kelly MacLean: Yeah. Well, like you, I had death sort of jump in my tracks, you know, and I would give anything to have my brother back but I wouldn't give anything to not be so kind of shaken to the core by the reality of death at the same time so …
Gay Dillingham: What was your brother's name?
Kelly MacLean: His name was Andrew.
Gay Dillingham: Andrew.
Gay Dillingham: My brother's name was Matt.
Kelly MacLean: Matt.
Gay Dillingham: And I married an Andrew.
Kelly MacLean: Oh, you did?
Gay Dillingham: So to Andrew and Matt.
Kelly MacLean: To Andrew and Matt. Thank you.
Tags death and dying, Death Conversations, Death Culture, Death Documentary, Gay Dillingham
Kelly MacLean
Kelly MacLean is a humorist, writer and host of The Tao of Comedy podcast where she tricks comedians into waxing poetic about the nature of reality. She's a proud member of the When You Die team and hosts WYD podcast.
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Wemark – Blockchain Based Stock Photography Marketplace
March 13, 2021 June 21, 2021 Rohit Sharma
What is Wemark?
Wemark is a platform that aims to connect the distributed marketplace across all types of content in a decentralized network. It makes use of Blockchain technology and hence eliminates intermediaries by creating an alternative distribution system. Wemark is the first decentralized marketplace that works for the benefit of photographers all around the world. It provides a platform to all photographers to connect with global customers without the involvement of any third party.
All the interested photographers control all the charges which are involved in distributing their content. The Wemark Token (WMK) on the platform aims to create a direct economy for digital content which will further act as a native payment system for the network.
Features of Wemark
Wemark offers certain features to their customers that include:
Maintaining control: Creators directly deals with the customer through this platform. This is done by licensing the content of the creators to the customers without any intermediaries. This helps the creators to maintain the rights and the price of their content.
Transparency: Maximum transparency is ensured for all the users within the blockchain network. It is made possible because the payments are made through the blockchain network which can be easily monitored or audited by all the parties who are involved in the transaction.
Incentives: Users can earn more and extra money by referring Wemark to more people and by promoting the products on the platform.
Favorable terms: There is no scope to alter or change the agreed terms as a distribution contract registered available on the blockchain is signed between the creator and the platform.
Curation & modern collection: Searching the perfect photo is quite easy as this platform curate modern and relevant photos only. This, in turn, removes all the unwanted and outdated photos.
Better prices: There is a defined budget for photo licensing but here by eliminating the mediator it is believed that the photo licensing price will decrease up to 50% or even more. This will increase the pay of the photographers. Also, customers searching for photos don't have to increase their budget in order to get more exclusive, higher quality photos.
Flexibility: Wemark eliminates the need for credits and subscription. Customers can sell the tokens or use them as per their need and want.
Why is Wemark important?
The creators of photos are in the loss as they are not earning enough amounts as per the worth of the content. This shows that the system at present is broken which need to be fixed. Thus to rectify the system, Wemark is using a distributed approach for the trading of digital content in which all the rights of the content is under the control of creator.
The Wemark platform also saves the customers from all the unwanted fee charges by establishing a standard royalty fee which is in full control of the creator and can be changed only with his consent. Apart from this, Wemark runs various referral schemes where reward has been given to the community members who share the content and add new people to Wemark platform.
How does Wemark Work?
Wemark protocol is used while distributing digital content from creators. This protocol is basically a series of intellectual contracts. All the transactions within the platform are organized with the help of protocol which might include authorizations, access, payments and revenues for creators, markets, and links. The distribution agreement is exchanged between creator and market. This agreement allows creator and marketers to adopt cost-effective solutions that will benefit everyone. The digital signature is done on the agreement. After doing the signature on the chain of blocks all the parties are able to see the contract and its terms which clearly state the license price, license insurance, distribution payment etc. No one at any cost can alter or reject the agreement. After this, the Ethereum smart agreement can undoubtedly distribute revenues, receive payments and issue licenses.
How token will be distributed among different end users?
Percentage of Wemark token distributed during the Token Sale is 38%.
Percentage of Wemark token reserved for Community Rewards & Economy Scaling is 37.5%.
Percentage of Wemark token distributed to Advisors & Partnerships is 12%.
Percentage of Wemark token distributed to Founding Team & Employees is 11%.
Percentage of Wemark token distributed to Bounty Program is 1.5%.
Pros of Wemark
Wemark allows photographers to hold the rights to their content. Wemark has rights to distribute the content as all the licenses are directly issued via Wemark protocol. But, Wemark cannot sell or license the content without the authority of protocol. This eliminates the mediator in trading.
The price of the content is controlled by the photographers. Although Wemark has different options of pricing and tiers it cannot license the content without the approval of photographer on price and tier.
Through Wemark, the photographers earn 85% of royalty payments. This new scheme is far more than the conventional industry scheme which limits the payment to 15-20%.
Wemark provides a guarantee to the creators by ensuring them full transparency with respect to the payments, licenses and revenue distribution. This blockchain also ensures the privacy of their customers while providing photographers an idea to identify copyright infringement, license overuse or any license violations if included.
Wemark is a blockchain based protocol system which is immutable and autonomous. In order to make this system transparent and trustworthy among creators and users, the code of the system which is responsible for its operations is open source.
Cons of Wemark
Wemark has its own token. It does not integrate with any other cryptocurrency token like BTC.
Wemark is not the fully decentralized platform as the decision of accepting and rejecting the photos for selling is completely in the company's hand.
Final Words: Wemark is an innovative platform which has worked to solve the issue regarding the current centralized approach for digital content contribution. The platform benefits both creators and consumers by shifting the digital content marketplace to the decentralized world. With the elimination of the mediator, the creator earns more royalty which in turn also benefits the consumers as the creator will tag prices of their photos in a decent way. In short, it's a great platform which allows creators to works as an entrepreneur. It will benefit musicians, composers, and advertisers in an endless way by introducing new forms of multimedia and token which will be integrated into the ecosystem.
Website https://www.snappyedu.com/
XYO Network – Decentralized Cryptographic Network
Bad News For WazirX Users: No Bank Transfers, Use WazirX P2P To Buy And Sell Crypto Coins
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Zebpay Review: India's Fastest Way to Buy, Sell and Trade Cryptocurrency!
Tagged Zebpay, Zebpay Wallet
March 12, 2021 June 21, 2021 Gurmandeep Singh


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How You Can Help Put a Stop to Relationship Violence
By by Liz Welch
"Women need to have someone who will listen," says Katie Ray-Jones, director of the National Domestic Violence Hotline. "We know that for about 85 percent of our callers, it's their first time ever telling their story." But in 2010, 83,027 calls went unanswered due to lack of funding—that's more than 1,590 calls per week. We can change that. Glamour, the Avon Foundation for Women and the Avon Speak Out Against Domestic Violence program—an initiative that has donated more than $30 million globally to reduce domestic violence since 2004—are working to make sure that no call goes unanswered from now through October, which is Domestic Violence Awareness Month. Text TELLNOW to 85944 to make a $10 donation, and the Avon Foundation will match every dollar you donate up to $200,000. "It takes so much courage for a woman to pick up the phone and make that call," Vice President Joe Biden told Glamour. Let's make sure someone is there for her.
Topicsrelationship violencetell somebodyhealth risks for womenwomen healthcharitydonate to charity
Elaine Welteroth on the Black Maternal Mortality Crisis and Why She Chose a Home Birth
7 New Sex Trends to Try Tonight, From 'Outercourse' to 'Praise Kinks'
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Adam Levine and Behati Prinsloo Have Welcomed Their Third Baby


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Terrifying video shows great white smashing through 'shark-proof' cage with diver inside
Diver somehow escapes unharmed after incident off the Mexican coast
By Ewan Palmer
October 14, 2016 09:50 BST
Footage has emerged of a great white shark bursting through a cage with a diver inside. The video, shot by Brian Forester on a trip to the Guadalupe Island off the coast of Mexico, shows the huge shark approaching the cage after being enticed with food as part of a tourist attraction.
After taking the bait, the predator can be seen thrashing about wildly in the sea before appearing to break right through the supposedly shark-proof cage.
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Several workers on the boat are visibly shaken and rush to open the top of the cage. After several seconds, the giant shark launches itself out of the water and swims away.
Stunned witnesses even ask "was there anybody in there?" after the shark escaped, before the diver emerges from the cage shaken but seemingly unharmed.
Describing the event on his YouTube channel on which he posted the video, Forester explains: "What might appear to be an aggressive great white shark trying to attack the cage, this is not the case.
"These awesome sharks are biting at large chunks of tuna tied to a rope. When a great white shark lunges and bites something, it is temporarily blinded. They also cannot swim backwards. So this shark lunged at the bait, accidentally hit the side of the cage, was most likely confused and not able to swim backwards, it thrust forward and broke the metal rail of the cage.
"There was a single diver inside the cage. He ended up outside the bottom of the cage, looking down on two great white sharks. The diver is a very experienced dive instructor, remained calm, and when the shark thrashed back outside the cage, the diver calmly swam back up and climbed out completely uninjured.
"The boat crew did an outstanding job, lifting the top of the cage, analysing the frenzied situation, and the shark was out after a few long seconds."


text:
Watch The Chilling New Trailer For 'Rings'
Samara's reign of terror is back.
Stephanie Long
The Ring horror franchise returns to theaters on October 28, and the curse of Samara has evolved with the times.
From Paramount Pictures:
"A young woman becomes worried about her boyfriend when he explores a dark subculture surrounding a mysterious videotape said to kill the watcher seven days after he has viewed it. She sacrifices herself to save her boyfriend and in doing so makes a horrifying discovery: there is a 'movie within the movie' that no one has ever seen before."
From the looks of the trailer, the infamous VHS tape from 2002 has been transferred to the Internet and is being passed via email. The film stars Matilda Lutz and Alex Roe as the latest to fall victims to Samara's curse, and things don't look too pretty.
Watch the trailer above.
Visit the official movie site here.
SOURCE: YouTube, Paramount Pictures | PHOTO CREDIT: Getty
Watch The Chilling New Trailer For 'Rings' was originally published on globalgrind.com
Movie Trailer	, Movies	, Rings	, the ring


Species description: : Large 11 ton herbivore with frill around 6.5 ft head and 1 nose horn with 2 Brow Horns off frill.
Species Description: It was closely related to Gray wolf in many features but it is not direct ancestor of any species today . IT became extinct 10,000 years ago with wooly mammoth . IT was larger than Gray Wolf averaging 5 ft in length and weighing 150-175 lbs . Legs of Dire Wolf was shorter and sturdier than those of gray wolf and the brain case was smaller to than the gray wolf. These were only found in California and Florida.
Description and Rating: (1-10) **10** SPECTACULAR AMAZING LA BREA TAR PITS HIGHLY ORIGINAL HUGE DIRE WOLF 13.75" Skull . I would say this is one of a kind but I have two of them . I haven't seen a La Brea Dire Wolf in years until I saw one this year that was 50% real and never saw one this good except the other one I have .. This is so wonderful I can't find the words to express my amazement at the quality of this specimen. It is highly original and would estimate conservatively 80-85% teeth plus most of upper skull bone original .. The skull is amazing. It has only restore at small amount in back above condyles on sagittal crest, one zygo, little on back of lower jaws ,fill between pieces , and that's it . The condyles are real. The teeth are amazing .Words just can't describe this piece . It was so difficult to prep because normal air compression work would have caused the color to change as it was so fragile and the most difficult prep job a top prepper ever did . It took one year to complete. It is just spectacular . Even the zygos are mostly original on this animal. It has repair but teeth except incisors original , and little need repair on these . They are wonderful . This was of course from an old collection and was laying around for probably over 50 years before the government took over ownership . I'm so pleased to own this and regard it as in a league of its own.LaBrea just isn't available anymore , and if anyone does have one they don't sell it . Notice the patented dark brown color. This is the original color in an area of high concentration of oil as some are lighter. Well I can't say more on this as words are not adequate to do this justice so maybe the pictures will. This is darker than my other one.
em Rating and Description : 1-10 10 21" Long Unknown Cretaceous Tyrannosaurid 80 Million Years -This is a new species never seen before and no time to do papers so its so valuable . Foot is a Middle Metatarsal from One of World's most terrifying creatures just before REX . Its REX like as I had 2 and sold for over 55,000. It looks almost exactly as REX but less price but probablu worth more as unknown species. It's 100% original from the ultimate hunter with metal stand . This foot bone is the first I've had of an unknown Tyrannosaurud (Tyrannosaur) and is amazing . It was broken but glued back well with no resto plus a great display. It has great detail from a different area than some of my other material. This is so great and all present without restore, just crack fills. The location Texas is very rare for Cretaceous and usual for the area. This is a top piece and a must for a serious collector of the world most famous and awesome creature who ever lived. THis piece n one has so for people doing a tyrannosaur or meateater collection this is a must . This is a treat for anyone -especially a large collector . This was an adult large tyrannosaur -just as big as REX but just earlier.THis is just like a TREX metatarsal except a little earlier .and much rarer .My TREX this size sold for 5999 . THis is way rarer and same size . Imagine how big this meat eater was .huge with this only one foot bone -the rarest of rare middle metatarsal. This creature had 3 foot sets like TREX . This piece is priceless and any number can be put on as one-of-a-kind . No one in the world has this so its for tyrannosaur nuts who want everything this is a must .
Rating and description1- 10 9.9 Only due to partial but most Ive ever seen whole . Exceptional Beautiful 100% Original Megalceros Deer Upper Skull with Large Part of Antlers. Nothing in the world except my American Lion is more special than this piece. This is a huge male. Its 4.4 ft wide and skull is 22" long plus an extra 22 inches with an add on . WOW I've wanted one for many years, and this is the most complete and best I ever saw . This has no restoration and the only repair was the horns placed on the skull. Sure you could wait for 20 years to see if one comes and then pay 50,000 at auction plus 20% so $60,000 as the last full one went for or buy this at way better cost and get the easy parts later cheaper as parts to add. You see the upper skull and large rack is in place and only the ends and the lower jaw-the two easiest to find are not there. These would and could be bought over the years as they do come. Anyway it is perfect on what is there and so beautiful found in a gravel pit in Germany recently this year. This is the first I ever had-in fact the best ever saw. It is a treasure for you herbivore fans and deer lovers, plus the deer hunters to show a huge rack. It is 100% original as I can't stress that enough .I can't get any more of these so better buy this one. No restore at all on this animal. At all Anyway this is a must if you want a full collection and a hard one to get. The person I bought this from is the largest dealer in Europe and have bought many fine items , and he said in 30 years on the business this is the finest specimen he ever had including only 1 full one in 30 years as that had lots of restore and sold for 40,000 20 years ago. So even if one was found this is the best you will ever have a chance to buy . I added a 22 " left side of deer at end so all you need for a complete one is animal right side from back to have a complete one I also can get a lower for $2000 more YOu get a great price now for almost all and I can get all .


First time buyers & investors don't miss this rare chance to get something truly special!
The sense of space that runs throughout this fabulous home greets you the moment you step into this light yet warm and welcoming lounge.
Light floods into the room from the large Manchester window that helps create an open and airy dining or second lounge space.
Modern fitted kitchen with space for a host of freestanding and integrated appliances.
Fabulous size double bedroom with views to the front of the property.
Great size double bedroom with views over the rear of the property.
Modern bathroom with shower over the bath, washbasin and w/c.
Walled and gated rear courtyard providing the perfect spot to relax or entertain.
If we find new offers or listing price updates in category Houses For Sale Grantham Street Billsborrow Road Crofton Street Carlton Avenue Letchworth Street Lindum Street Yew Tree Road Dunworth Street Carnforth Street Kippax Street Newport Street Blue Moon Way Santiago Street Claremont Road Rawcliffe Street Arnside Street Manchester Greater Manchester North West England England you will receive an email alert.


NYIRÁD, HUNGARY (June 4, 2012) — Rockstar Energy Drink driver Tanner Foust scored another podium this weekend, earning a second-place finish in Hungary at the fourth round of the 2012 European Rallycross Championship.
From the practice sessions through to the final, Foust put in an impressive performance at his first visit to the Nyirádi Motorsport track. He consistently set top times, even as his team worked through an issue with the car's transmission that cost him time early in the two-day event.
By the final race of the contest the car was performing flawlessly, and Foust logged the fastest time on his last lap. It was a nail-biter of a race that had the 10,000-strong capacity crowd on their feet as Foust battled back from a hard, first-corner hit by a rival driver that knocked him back in the field. He crossed the line in second place, just tenths of a second out of first.
It was the American's first visit to the Hungarian track, which tested drivers' technical skills and bravery with a mixed-surface challenge that included a flat-out, fifth-gear jump, elevation changes and technical turns. "It's possibly the coolest rallycross track in the world," said Foust.
The American driver has become a favorite since making his debut on the European series in 2010. Fans, including many enthusiastic kids, braved long line-ups for photographs with Foust during autograph sessions at the track.
The Hungarian event was the driver's second stop in an intense five-week stretch of European and American rallycross competition that will culminate with X Games in downtown Los Angeles on July 1. Foust is racking up plenty of frequent flyer miles as he races on opposite sides of the Atlantic Ocean every weekend between now and then.
His next stop is the second round of the Global Rallycross Championship, "Hoon Kaboom," slated to take place at Texas Motor Speedway June 9.
Visit www.TannerFoust.com. To arrange interviews or find out more, contact fred@beyondmg.com.


text:
A 856 Backlunda (ideiglenes jelöléssel 1916 S30) a Naprendszer kisbolygóövében található aszteroida. Szergej Beljavszkij fedezte fel 1916. április 3-án.

Kapcsolódó szócikkek
 Kisbolygók listája

Jegyzetek

A Naprendszer kisbolygói


text:
fengsutravel
Schizophrenia and the Impact of Psychological Disorders
Marion WeeksJenks High School
Description and symptoms of schizophrenia
Schizophrenia is a group of severe disorders characterized by the breakdown of personality functioning, withdrawal from reality, distorted emotions, and disturbed thought.Originally, the vague, general description of the disorder led to its over diagnosis. Bipolar disorder, for example, was mistaken for schizophrenia.
TheDiagnostic and Statistical Manual, 4th Edition (DSM-IV), tightens the standards to be used for positive diagnosis. Organic and affective disorders are ruled out as possible causes.DSM-IV indicates that the following symptoms must be manifested:1.Delusions (false beliefs inconsistent with evidence or logic, e.g., "I am Queen Elizabeth")2.Auditory hallucinations (false or distorted perceptions of hearing that seem vividly real to the person experiencing them)3.Marked disturbance of speech, affect, or thinking4.Deterioration from former functioning level5.Symptoms that last at least six months and are currently present for one month
1.Positive symptoms (meaning an excess or distortion of normal functioning)a.Delusionsb.Hallucinationsc.Severely disorganized thought processes, speech, and behaviord.Disturbances involving extremely high or low activity levels of motor activity or odd movements and gestures.
2.Negative symptoms (meaning restriction or reduction of normal functioning)a.Flat affect, showing little emotionb.Inability to feel pleasurec.Lack of motivationd.Lack of meaningful speeche.Cessation of personalhygiene
Types of Schizophrenia
A.Paranoid schizophrenia involves strongly held delusions of persecution or grandeur.1.The onset of symptoms tends to occur later in life (in the 30s) than in other types of schizophrenia.2.The individual rarely displays obviously disorganized behavior, but may act upon the delusions. This may result in behavior which seems reasonable to the individual, but not to others.B.Disorganized schizophrenia involves inappropriate behavior and affect including odd movements and disconnected emotional states. It also involves incoherent language which may be "word salad" (words and ideas that jump from one subject to another with little coherence).
C.Catatonic schizophrenia involves frozen, rigid or excitable motor behavior. For example, patients can maintain postures with their arms raised for hours.D.Undifferentiated schizophrenia has a mixed (undifferentiated) set of symptoms. It involves thought disorders and features from other types of schizophrenia.E. Residual - withdrawalafter hallucinations and delusions have disappeared
TheCourseofSchizophrenia
A.Onset1.The disorder typically occurs in men younger than 25 and in women between 25 and 45 years of age.a.Men and women are equally affected.b.Schizophrenia occurs in approximately one percent of the world's populations and is seen in all cultures.2.Gradual onseta.Some changes in previous behavior may be noted by others, especially social withdrawal.b.The promodal phase (preceding the active phase) involves increased withdrawal with peculiar actions or talk.
The Course of Schizophrenia
c.During the active phase, full-blown symptoms arepresent.d.Residual phase(1)The symptoms are no longer prominent.(2)There is some remaining impairment in functioninge.Generally, one third of patients recover, one third are helped with medication, but retain some symptoms, and one third are not helped by drug therapy. This is sometimes referred to as the "Rule of Thirds."3.Sudden onset in a previously symptom-free individual usually occurs early in life (in the 20s) and presents a better prognosis for recovery with norecurrence.This is not true for gradual onset schizophrenia.
Explaining schizophrenia
Biopsychological perspectiveA.Studies of families, twins, and adopted individuals have firmly established that genetic factors play a role in many cases.B.Abnormal brain chemistry1.One theory implicates an excess of the neurotransmitter dopamine.2.Dopamine blocking drugs often reduce symptoms of schizophrenia, particularly positive ones.C.In some patients there is evidence of a prenatal viral infection-based cause.
D.Abnormalities in brain structures and functioning are present in some patients with schizophrenia.1.MRI studies have found abnormalities in the frontal lobes, temporal lobes, and basal ganglia.2.The fluid-filled ventricles are enlarged in some brains of schizophrenic patients.E.Schizophrenia may be viewed as a complex, chronic medical illness, similar to diabetes or cancer, affecting different people in different ways.F.Researchers have been unable to find a single psychological factor which emerges consistently as causingschizophrenia.Rather, it seems that those who are genetically predisposed to developing schizophrenia may be more vulnerable to such factors as disturbed family environments and stress.
Causes of schizophrenia
A VIRUS?Prenatalproblems (possible virus during gestation?): low birth weight and birth complications are risk factors for diseaseStudies show:Increasedrisk of schizophrenia if country experienced a flu epidemic during fetal developmentIncreasedrisk of schizophrenia is more densely populated areas (where viruses spread more readily)Decline in infectious disease rates correlates with decline in incidence of schizophreniaIncreased rates of schizophrenia in people born in winter and spring (after flu season)
GENETICS?Higherrates of schizophrenia for people with sibling or parent with disease (1 in 100 in general population, 1 in 10 if sibling or parent has disease, 1 in 2 if identical twin has disease – regardless of whether or not they were raised together or apart)Twins who shared placenta are more likely than twins who didn't to both get disease; this supports prenatal virus hypothesisAdopted children more likely to get disease if biological parents had it
OTHERnutritional deprivation, oxygen deprivation at birthPSYCHOLOGICAL FACTORS?Probably exist, as genetics can't account for allcases.However, no specific causes have been found.Morelikely, we inherit a biological predisposition to react to particular experiences by developing schizophrenia


The Custom Style Sheet Object Model - CSSOM - is tree structure consisting of nodes representing the CSS styling for an (X)HTML or XML document.
It is used to create the styling for a document, typically by a web browser.
Each node is an object that can be accessed separately and manipulated to change the visual representation.
The CSSOM is used together with the DOM to display web pages.


Viasat needed a flexible soultion for their new studio backdrop. Sixty created a Viz Engine driven dynamic setup, where the TV producers could drop anything into the screen and use it interactively in the show.
Our talented studio design partner Anders Tomren had set up this 20 x 2 meters big LED screen in a 90 degrees angle, and created the circular set and table for Viasat's new studio in Oslo. Sixty used the screen to create a stadium theme, with fully animated audience at the seat rows.
Using the LED wall as a display for maps, live video feed, player stats etc. During or prior to each show the TV producers can place any element anywhere, in any order they like on the backdrop. This soultion was set up by Sixty with Vizrt software.
For more than fifteen years I've been working with some of the greatest brands in the TV industry in Norway. My team delivers everything from intros to on-air graphics and studio designs. In Sixty we truly believe in personal service and we want to help you every step of the way.
Please do contact me with any questions, or if you would like to request an offer.


To kick off the summer of 2016, 64 Audio is releasing our brand new A1 Custom In-Ear Monitor (IEM). This new product is the most affordable Custom IEM with ADEL Technology on the market today, sold for only $499. The A1 is perfect for emerging artists or bands, houses of worship, and anyone looking to purchase a high-value custom product at a reasonable price. This is a low-profile, low driver-count, low cost IEM with a big sound and a big value.
Like all 64 Audio A-series in-ear monitors, the A1 is a hand-crafted product made to fit the unique shape of your ears. Due to the custom fit, they are inherently noise-cancelling. The A1s are designed to work with a wide range of personal audio devices and monitor systems (hard-wired and wireless).
Housed in the 3D-printed custom shell, the A1 packs a dual armature unit – two drivers in a single package. This means a low-profile appearance and an extremely comfortable feel. The A1 hosts the revolutionary ADEL Technology, created through 64 Audio's partnership with Stephen Ambrose and Asius Technologies. The ADEL Technology not only provides hearing protection, but also creates a spacious listening experience with a lot of clarity – qualities that can only be found in more expensive IEMs.
In order to offer them at such an affordable price, the A1s will sport a single design configuration. All A1s will have Translucent Charcoal shells and faceplates with silver 64 Audio logos and a silver cable.
Check out the new A1 IEMs with ADEL Technology here!


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Melville and His Influences
A fascinating read:
IN THE GENERAL RARE BOOKS COLLECTION at Princeton University Library sits a stunning two-volume edition of John Milton that once belonged to Herman Melville. Melville's tremendous debt to Milton — and to Homer, Virgil, the Bible, and Shakespeare — might be evident to anyone who has wrestled with the moral and intellectual complexity that lends Moby Dick its immortal heft, but to see Melville's marginalia in his 1836 Poetical Works of John Milton is to understand just how intimately the author of the great American novel engaged with the author of the greatest poem in English. Checkmarks, underscores, annotations, and Xs reveal the passages in Paradise Lost and other poems that would have such a determining effect on Melville's own work.
Captain Ahab, that vengeful seeker puffed with "fatal pride," simply could not have been imagined without Milton's Satan, paragon of seditiousness and the heroic sublime. Both tragic heroes are solipsists and madmen who believe that God is an ill-mannered lunatic undeserving of his reign, and yet both evoke our best sympathy in their epic struggles. Ahab knows he is as "proud as Lucifer" and "damned in the midst of Paradise," and he shares Satan's mytho-maniacal poeticism: "I leave a white and turbid wake; pale waters, paler cheeks, where'er I sail. The envious billows sidelong swell to whelm my track; let them; but first I pass."
Like Shelley and Blake, Melville was charmed by the individualism and heroic striving of Milton's Satan, and he imbued Ahab with the same sense of outsized self-mythologizing. His rereading of Paradise Lost during the composition of Moby Dick significantly altered the novel's meaning and mythic scope. The extraordinary fact is that as late as 1849 (Moby Dick was published in 1851), Melville had yet to conceive of Captain Ahab and was focused instead on the non-epic bildungsroman of a shipmate called Ishmael. Take Milton's Satan away from Melville and you can forget about the earthshaking achievement of Moby Dick.
In his biography of Melville, Andrew Delbanco contends that Melville's "immersion" in great writers at this time "lifted him to a new level of epic ambition." Delbanco gives particular attention not only to Mary Shelley's Frankenstein but to Dryden's seminal translation of Virgil's Aeneid, which Melville also reread during the writing of Moby Dick. After that "encounter" with the Aeneid, Delbanco writes, Melville "found himself recapitulating Virgil's story of a haunted mariner voyaging out to avenge a grievous loss." In other words: a vigorous rereading of epics vivified his creation of the most compelling quester in the American canon.
Tags Herman Melville, Moby Dick, John Milton, Paradise Lost, Captain Ahab, Satan, Mary Shelley, Frankenstein, John Dryden, Virgil, Aeneid, Books, Reading, Literature
← Quote of the DayPaul Krugman Accused of Plagiarism →


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Standard Chartered aims to assist SMEs in Myanmar
By Khine Kyaw
Myanmar Eleven
Standard Chartered, a bank based in the United Kingdom, yesterday launched a financial education programme for micro, small and medium enterprises in Myanmar.
The programme, Education for Entrepreneurs, was developed by Standard Chartered in collaboration with PricewaterhouseCoopers and the British Council Myanmar. The programme aims to help enhance the financial and business knowledge of local SMEs so that they will be better equipped to manage the growth of their companies.
The programme kicked off with a workshop on Tuesday in Yangon in which experts from the bank started training nine British Council trainers. The bank will also provide education materials. The trainees will then begin delivering the education sessions to local entrepreneurs in October.
Tina Singhsacha, Standard Chartered Bank Myanmar's chief representative, told a press conference held at the British Ambassador's Residence late yesterday that about 300 small businesses from Mandalay, Mawlyamyine, Taunggyi, and Monywa will receive training in the first phase this year.
"We chose these four cities as they are the cities outside Yangon and the next big economic cities in Myanmar. We think it is very important to reach out beyond Yangon," said Singhsacha, adding that the programme will cover a wide range of topics including cash flow management, budgeting, accounting, and business planning.
She added that the bank has yet to select 300 small businesses, and the selection criteria will be decided by the British Council.
"We hope to complete this by year-end. I just want to stress that 300 is only the first phase and we hope to do more. We are also committed to this programme in the long run," she said.
"We are fully aware that there are about 127,000 SMEs in Myanmar. Through the first phase, we believe trainees will train other people in their community. Actually, 300 is part of the 5,000 that we have committed to train as entrepreneurs in Asia, Africa, and the Middle East within five years."
On the selection process, the bank's country head said, "Basically, we will see the interest of the entrepreneurs to fill in the survey about the size of the company, the challenges, what they want from us. Interestingly, when I went to Mawlamyaing last week to introduce the programme together with the British Council, some entrepreneurs proposed the criteria because they did not want to miss out. I think we need to learn anything new in Myanmar. We will take it step by step."
When asked if the bank has planned to provide loans to local SMEs, Singhsacha said, "As the Standard Chartered in Myanmar is still a representative office, we are not allowed to do banking onshore yet. Yet, we want to contribute to the community in many ways."
The bank has launched such programmes in many countries, including Uganda, Malaysia, Singapore, Nigeria, since last year. During the press conference, Singhsacha expressed her belief that providing access to financial services education can boost job creation, raise income, and reduce financial vulnerability.
Kevin Mackenzie, British Council Myanmar's director and cultural attache, said that the project would help to create better conditions for enterprise, innovation and growth through professional input into SMEs and the creation of networks of business practitioners.
"Engaging with business communities in provincial areas of Myanmar builds on our work with social entrepreneurs. We are providing our trainers for this programme. Our trainers will be receiving trainings from master trainers. As our trainers are Myanmar people, training will be in the local language," he said.
Standard Chartered bank. Yangon British Myanmar SME


First shown at the Blizzard Worldwide Invitational in Paris, France in 2008, this cinematic served as the announcement for Diablo 3. As such, it was the first pre-rendered content released for Diablo 3. However, much of the art, including the model for Leah, was later remade for The First Sign and the rest of the cinematics.
© 2019 Behind the Cinematic. All rights reserved.
Works appearing on Behind the Cinematic are the property of their respective owners.