 Of the parks we saw today, at least the habitable ones, they are all irrefutably successful for one reason or another. What each of them had in common was a ground plane that responded to their respective urban context. It would seem that fluctuation in ground plane, no matter how subtle or how dynamic, plays a significant role in the language that each park conveys.
The East River Waterfront, although mostly flat throughout its length except for the planters and 'dunes' does in fact raise off the ground at the portion of the pier. On the ground level, the pier lowers at the end so that occupants lounging on the deck have an unobstructed view of the water, meanwhile, on the upper deck, the occupiable roof is quite dynamic and allows visitors to view onto the top deck of ported ships. Furthermore, the occupiable grassy areas on the roof of the structure provide a space for picnicking and lounging that feels much further from the street than it actually is.
The High Line displays great fluctuations in elevation change. Not only is it already raised about thirty feet from street level, which innately provides an escape from traffic, but it also utilizes its own false ground plane to create a dynamic mile-long experience that could otherwise be quite monotonous. At portions with interesting street conditions, it might dip down and allow visitors to watch traffic drive by, and at other times, it raises up off of the typical plane of foot traffic to become somewhat of a land-bridge. This formal move offers an altered perspective as pedestrians walk above the vegetation instead of beside it. Exactly why this alteration occurs is unclear—perhaps it relates to specific vegetation or adjacent buildings or views—but at the very least it activates the pathway in a manner which offers pecific identifiable portions of the path.
Bryant Park's elevational changes were done much more subtly, however that is all that is necessary for such a large field of a park such as this one. The paved portion around the grass field is simply raised off of street level just a few feet, and then dropped another few feet in the middle grassy area. What this offers is a deviation from the street, that is, someone laying on the grass does not have clear-cut views of automobile traffic.
Paley Park makes a similar formal move to elevate itself from the street just a few feet, however, what is more interesting about Paley than its sectional height is its width. It pours out into the street, and the entrance therefore becomes ambiguous, while the subtle change in height informs one's definitive occupancy of the park.
Roosevelt Park utilizes ground plane as an effective way of surprising the viewer. Upon arrival, visitors are only aware of a large granite staircase, however, a pleasantly unexpected surprise awaits once the threshold of that staircase is broken. At the top, visitors are suddenly fully aware of the large triangular field flanked by two rows of trees on each side. The field ever so gradually slopes downward towards the southern tip of the island and aims viewers directly at the monument and the waterfront.
It appears that the grade and elevation of the park has a much greater effect on the park than any other factor, and much more than I had expected. Surely it commands much thought and attention during a projects design phase. The ground plane of the park can certainly make or break a landscape design project, and I suspect that the main reason why each park we visited today is so successful as a public space is because the ground planes were handled quite critically.
my feet are definitely feeling that ground plane right now! good discussion.


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text:
Mark Selby suffers shock China Open exit
Posted by Joshua Lewis on April 1, 2019
Defending champion Mark Selby suffered a shock 6-3 defeat to Craig Steadman in qualifying for the China Open on Monday.
World number two Selby has won the event in Beijing in three of the last four years, including his 11-3 demolition of Barry Hawkins in the final 12 months ago, but he was never at the races during his clash with fellow Englishman Steadman, who sits 90 places below him in the world rankings.
The 'Jester from Leicester', who was recently deposed at the top of the world rankings by Ronnie O'Sullivan, had been leading Steadman 3-2, but he then proceeded to lose three frames on the spin.
That put the 35-year-old on the brink of elimination and fortune deserted him during the final frame after an unlucky foul, that saw the white ball leave the table, handed Steadman the initiative he required to close out the victory.
It is only the third time that Steadman has made it through to the main draw of the China Open and his reward will be a clash with the experienced Dominic Dale in the first round on Tuesday.
Selby, however, will have to dust himself down, particularly as the 2019 World Championship is set to get underway in less than three weeks' time.
The three-time world champion was beaten in the first round at the Crucible last year. He is priced at 8.50 to claim overall glory this time around.
Jonny Bairstow revels in David Warner partnership
Wilfred Ndidi enjoying life under Brendan Rodgers

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text:
Route 66 centennial measure approved by Congress
By Kimberly Barker
Joplin Globe
A bill celebrating the 100-year anniversary of Route 66 awaits the president's signature after it was passed by Congress, paving the way for future preservation efforts to commemorate the iconic roadway.
The bipartisan legislation was passed by the House of Representatives last week. Rep. Rodney Davis, R-Ill., initially introduced the centennial bill. It passed out of the House in 2018.
Route 66 was designated in 1926 after the Bureau of Public Roads launched the nation's first federal highway system, joining together existing local and state roads from Chicago through St. Louis to Los Angeles. Though Route 66 was decommissioned in 1985, the road continues to be a popular tourist destination for both domestic and international travelers.
The eight states through which Route 66 stretched are Illinois, Missouri, Kansas, Oklahoma, Texas, New Mexico, Arizona and California.
The Route 66 Centennial Commission Act establishes a 15-member commission from each of the eight states along the highway to honor the route's 100th birthday in 2026. The president will appoint commissioners based on the recommendation of the secretary of transportation, Senate and House majority leaders, and governors of the eight Route 66 states.
Commissioners will have exhibited both a dedication to educating others about the importance of historical figures and events, and a substantial knowledge and appreciation of Route 66.
The Route 66 Road Ahead Partnership, an advocacy group formed to support the route, lauded the actions by Congress last week. Chairman Bill Thomas said the commission will be responsible for planning celebrations, commemorations and activities that appropriately recognize the historic milestone of Route 66 turning 100 years old.
"The commission will identify ways to honor Route 66, including the possible issuance of a postage stamp, commemorative coins, official proclamations and festivals across the nation," he said. "The Road Ahead is taking a leadership role in planning the commission's work, including developing a visionary fund to support Route 66 through preservation, economic development, promotion and research/education projects."
The bill was introduced by Sens. Jim Inhofe, R-Okla., Tammy Duckworth, D-Ill., and Dick Durbin, D-Ill. Reps. Davis and Grace Napolitano, D-Calif., introduced the companion legislation in the House of Representatives.
"Route 66 is iconic in Oklahoma," Inhofe said in a statement. "Reaching more than 400 miles through Tulsa, Oklahoma City and countless other towns in between, our state is home to the longest drivable stretch of Route 66, also known as the Will Rogers Highway. I am proud to see our bipartisan legislation pass the Senate and now the House. Together, we can continue efforts to establish a commission that will help us best celebrate 2026 as the centennial anniversary of America's first all-weather highway."
The Road Ahead Partnership will help plan the centennial by conducting five years' worth of events starting next year.
"We are very pleased with the passage of the bill to establish a Route 66 Centennial Commission," said Thomas. "Since early this fall, we had been receiving strong signals the bill would pass by or before the end of this year, so we were pretty confident of that outcome — even given all the challenges of COVID-19."
After the bill is signed into law, the Road Ahead Partnership will continue to work with the states as they pass legislation to set up state-based Route 66 Centennial commissions.
"Passage of the Route 66 Centennial bill is significant because it acknowledges and recognizes the important role Route 66 has played in America's history," said Thomas. "Over time, it has become a symbol of American freedom, individuality and adventure. Arguably, it is the most famous road in American history — and the significance of its 100th birthday warrants national attention."
Although Kansas has the smallest stretch of the route at 13 miles, the communities it runs through take enormous pride in the roadway and have kept it well preserved with freshly painted shields, signs and tourist destinations.
"I think it's great because that road has survived for nearly 100 years, as well as many businesses," said Renee Charles, president of the Kansas Historic Route 66 Association. "There's been so many hotels handed down or gas stations that have been renovated into something else. We're going to party like there's no tomorrow, but we can't say there will be a celebration in Kansas until the governor gets on board, and I'm sure she will."
© 2021 www.columbiatribune.com. All rights reserved.


Money Talk :: - TRade car for a car - do you pay tax?
My son owns a Mazda, that was grand total $16K with repairs and such.
He wants to trade it for a Honda Civic to a private party. They are considering trade value for his Mazda of $13K; the other vehicle is valued at $8.5K and the other vehicle owner is willing to add cash on top of that.
Basically, it's $13K Mazda traded for $8.5K Civic with $4.5K cash add on.
Question is, does my son pay sales tax anywhere in this deal?
Also, we live in WA state, which is one of the 12 states that does not honor exempt on trade ins. But that's on trade ins, not trades like this.
So they can run those cars trade as gifts and pay no tax, as far as tax was previously paid on each or one of the cars is more than 7 yo, which is the case for that Civic.
Use tax is a tax on items used in Washington when sales tax hasn�t been paid. When you purchase a vehicle or vessel from a private party, you�re required by law to pay use tax when the vehicle or vessel title is transferred.
Use tax is calculated at the same rate as the sales tax at the purchaser�s address. In addition to the general use tax rate, vehicles are charged an additional 0.3% motor vehicle sales/use tax.
If you can provide proof that the person who gave you the vehicle or vessel paid sales or use tax on the vehicle or vessel, no use tax is due.
If the person who gave you the gift owned the vehicle for 7 years or more and is from a state or province with sales tax, it will be assumed that tax was paid and no proof is needed.
If the vehicle or vessel is coming from a state or province without sales or use tax, use tax is due.
What�s the difference between sales tax and use tax?
Unlike sales tax, use tax is based on the average fair market value of the vehicle or vessel rather than the purchase price.
Why use average fair market value and not actual sale price?
Fair market value reflects the value of a vehicle according to the retail selling price at the place of use, compared to similar vehicles of like quality or character. The actual selling price may or may not be the same as the average fair market value in cases when an individual sells a used vehicle or vessel.
We get average fair market values from Price Digests, an industry standard source.
What if a vehicle or vessel is worth less than the average fair market value?
An estimate of repairs prepared by a registered mechanic.
An appraisal prepared by a registered dealer.
Documentation from another value source, such as National Auto Dealers Association (NADA) or Kelley Blue Book that cites a lower average fair market value for the vehicle or vessel. The purchase price will be accepted if it is within $2,000 of the value cited by the alternate source. Either photocopies of printed materials or a printout from the Internet are acceptable.
A completed Department of Revenue Declaration of Buyer and Seller Regarding Value of Use Vehicle Sold form stating the selling price and condition of the vehicle. Both the buyer and the seller must sign the form. These are subject to review.
Reminds me of one vehicle I sold privately. The buyer was offering to pay cash (an attractive offer when there's always the risk of a buyer passing a bad check), but he wanted me to lie about the selling price on the paperwork so he'd have to pay less sales tax. I didn't want to lie, and I didn't want to lose a cash sale, so we agreed to split the difference: I reduced the price by one-half of the sales tax, and reported the correct price; what he did after that was his own business.


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Home Actors & Actresses Hedy Lamarr: Q&A with Author Patrick Agan
Actors & ActressesClassic MoviesInterviewsMovie News
Hedy Lamarr: Q&A with Author Patrick Agan
Andre S. 12 years ago
Hedy Lamarr.
Author Patrick Agan, among whose books are Clint Eastwood: The Man Behind the Myth and The Decline and Fall of the Love Goddesses, has been working on a biography of MGM star Hedy Lamarr, at one point considered one of the most beautiful women this side of Orion.
The Austrian-born "exotic" import was brought to the studio in the late 1930s, and would remain at MGM well into the following decade. Though hardly one of the greatest actresses to come out of either Europe or Hollywood, Lamarr possessed an undeniable charisma that made her thoroughly watchable in both biblical and modern tales, whether well cast or totally miscast, whether fully clothed or fully naked (as in Gustav Machatý's scandalous 1933 Czech drama Ecstasy).
A temptress with a heart, Hedy Lamarr was a young adulteress in Ecstasy; an unwitting Angel of Death in Algiers; the Other Woman in H.M. Pulham, Esq.; a Russian agent who discovers democracy, Clark Gable, and baseball in Comrade X; a Spanish-Californian in Tortilla Flat; swarthy siren Tondelayo in White Cargo; Joan of Arc (!) in The Story of Mankind; and most famously, a perfectly coiffed Delilah in Cecil B. DeMille's highly entertaining atrocity Samson and Delilah.
What does your Hedy Lamarr manuscript cover – Lamarr's films, her private life, both? – and how did you become interested in Lamarr as a book subject?
My book is an unauthorized biography even though it contains many quotes given me by Lamarr when we were talking over many hours about doing a book entitled "Beyond Ecstasy." My book covers everything, including the movies, the woman, and the myth.
Personally, I always thought of Hedy as being an available, an accessible love goddess, unlike the aloof images of Greta Garbo and Marlene Dietrich, who were both still huge stars when she got to Hollywood in the fall of 1937 – even though their gloss had been tarnished when they'd both been recently labeled "box-office poison." Hedy had her work cut out for her.
Aloofness was something Hedy didn't – couldn't — project after the publicity surrounding her running around naked for ten minutes in Ecstasy. That picture made her a sensation long before she sailed past Ellis Island on the Normandie. In fact, she was barely off the ship before reporters surrounded her with questions about it. She must have thought she was getting away from it, as she was so upset she had to take refuge at the Plaza until her train left for California.
As a kid from a town in Upstate New York, I didn't know from Ecstasy but I sure knew from Hedy when I saw her on The Late Show in Boom Town and The Conspirators. Frankly, I'd never seen anything like her, and when Samson and Delilah was re-released in 1959 I stayed in the theater for three shows.
I could say she was underrated, but what I really think is that she was underappreciated, most likely because of her beauty. Surprisingly modest in person, Hedy nonetheless had a great sense of humor which I think came across best in My Favorite Spy. [MGM head Louis B.] Mayer briefly pushed her as a new Garbo but it was quickly apparent that she had more to offer than copycat glamour. She had her own brand of style and, when she had the chance, of acting. When she got to Hollywood and made Algiers, everybody was copying her. [Joan Bennett, in fact, went from cutesy blonde to Lamarr-ish brunette at that time.]
As an European star during World War II she had a lot stacked against her, but she became a big star and a household name nonetheless. She deserves to be remembered.
Hedy Lamarr, William Powell in The Heavenly Body
What would you say was Hedy Lamarr's forte as an actress?
As an actress, I think Hedy's forte was surprise. True, the reason she got butts into seats was her beauty, but once they were there she let them know there was more to her than the languid beauty of Algiers, much more than just soulful eyes and a hairdo.
After all, this woman had studied with Max Reinhardt and had starred on the Viennese stage in Sissi, giving a remarkable performance. Hollywood just looked at the face and thought that anyone who looked that good couldn't possibly have talent, but when she needed it it was there. Her pal Clark Gable first helped show it off in Comrade X [right].
Though it's endlessly dismissed as a Ninotchka rip-off, the movie is a hilarious take-off on wartime prejudices and sensibilities, and Hedy surprised everyone with her comic sense. Stripped of glamour, she exuded a slap-on-the-shoulder charm she rarely got to exercise. She wasn't funny again until the much calmer The Heavenly Body three years later.
Hedy Lamarr in Tortilla Flat
Do you have a favorite Hedy Lamarr film and/or performance?
As for a favorite Lamarr performance, I would have to say Tortilla Flat is right up there. Her performance as the Mexican girl, Dolores, was amazing in its simplicity and clarity, and Karl Freund's cinematography brought out an earthiness that she'd never shown before. This was a girl who knew she was beautiful, but she also knew there was much more to life than that and wasn't ready to settle for anything less than a faithful husband with a job. Hedy had to go to the front office to get that part. The chemistry between her and John Garfield is great. It was strong between her and Spencer Tracy, too, but for the wrong reason as she disliked him intensely. Whether Hedy and Garfield's characters lived happily ever after remains to be seen, but we can easily visualize Tracy's Pilon carrying on as usual, looking for a bottle of wine and a free place to drink it in.
Personally, I like Hedy as The Strange Woman where she chews up the scenery as she's chewing up co-stars Louis Hayward and George Sanders. She produced it, hired her co-stars, helped design her costumes, and even oversaw the musical score, generally running herself ragged trying to make this a hit. She learned the hard way that putting your own money on the line wasn't a good idea. Not being a major studio release [United Artists handled the distribution in the U.S.], it didn't have the theater spread that would have made it a moneymaker.
And then there are two of the movies' most famous temptresses, Tondelayo and Delilah. Hedy knew White Cargo [right] for what it was, and enjoyed her romp in the jungle. [Director] Richard Thorpe just stood back and let her go to town. Hedy's biggest complaint was that she practiced her sexy dance all summer long and then it was mostly cut out by the censors.
Samson and Delilah was Hedy's high water mark, giving her the superstardom she'd long deserved, plus [it was] in Technicolor. Mayer was nuts not to have put her in a color picture, although he did have one planned, Quo Vadis, which was cancelled by the war. Hedy was to play the slave girl Eunice, which was later played by Marina Berti [in the 1951 MGM release, starring Robert Taylor and Deborah Kerr. Samson and Delilah was made at Paramount. By that time, Lamarr was no longer under contract to MGM.] It would have been a revelation for Hedy, as she exploded in color, but it took [director Cecil B.] DeMille to make that happen. The results were a breathtaking success as we all know, even out-grossing Gone with the Wind for a time. Hedy knew it was crucial for her and devoted herself to it. DeMille understood pampered beauties, since he'd practically invented them so he knew just how to tease, cajole, and encourage a terrific performance out of her.
I also think she was equally matched with Bob Hope in 1951's My Favorite Spy. She combined sex appeal and slapstick in what was, oddly, her last major movie. DeMille wanted her for The Greatest Show on Earth, but Betty Hutton got that part as Hedy decided it was just too physical for her, and, she'd laugh, "all that dirt and noise and exercise. I said no." Hutton claims she was the only one ever considered for the part, but I have proof to the contrary. In a strange way, Betty's lucky. As the only survivor she gets to rewrite history any way she wants to.
And finally, I think she's terrific in 1957's The Female Animal, bringing a perfect poignancy at age 44 to aging movie star [Vanessa Windsor]. Like many an actress of her age, Hedy's Vanessa had a habit of falling for the wrong man, in this case movie extra George Nader. Throw in Jane Powell as her adopted daughter and you have quite a stew of emotions. Hedy limned the responsibilities of the forties-into-fifties star perfectly, especially in the scene where she wants to announce her engagement to Nader and has to decide who to give it to, [gossip columnist] Hedda Hopper or Louella Parsons. Like Scarlett at the barbecue choosing who's to get her dessert, she pauses and says "this
story, I think this should go to … Hedda" – odd, considering that Hedda, unlike Parsons, had never been much of a Lamarr supporter. Sadly, Universal chopped it up and Hedy disowned [The Female Animal]. A flop but, seen today, a fascinating one.
Hedy Lamarr, Judy Garland, Lana Turner in Ziegfeld Girl
What was Hedy Lamarr's relationship with MGM mogul Louis B. Mayer like? Mayer was the one who brought her into the MGM stable, but once Lamarr was in, Mayer didn't seem to know what to do with her.
First of all, L. B. Mayer had never met a lady like Hedy. Though notorious for her ten minutes of on-screen nudity [in Ecstasy], she was nonetheless from the Jewish aristocracy of Vienna and, despite her conversion to Catholicism, was a woman well out of his class. He was used to fashioning stars out of chorus girls and shopkeeper's daughters – and the occasional Swedish shampoo girl – but he rarely got his hands on an opinionated upper-class lady. He loved the idea he was getting an international star for only $500 a week, but once he got home he was at a loss.
(By the way, Hedy [whose real name was Hedwig Kiesler] always took credit for her new last name, Lamarr, "la mer, the sea." It was on a list that Mayer and his brain trust came up with on the Normandie, but she said she made the final decision.) [Mayer was a huge fan of exotic, dark-haired, silent-screen siren Barbara La Marr. La Marr, who led an unhappy life, died at age 29 in 1926.]
Hollywood was a comedown for Hedy after the life she'd lived in Europe, and Mayer was intimidated by that. He didn't know how to handle her either personally or professionally, especially when she began haunting his office demanding a script. After meeting her fellow female stars, and her initial walk down the length of Mayer's imperial office, she was sent home with little more than promises. L. B.'s secretary, Ida Koverman, became both her supporter and friend, probably because Hedy was bombarding her bosses' office with phone calls and Ida recognized there was something to Hedy that her boss had yet to recognize.
At the same time Hedy was looking for a part, the [censor at the] Hays Office was declaiming Ecstasy [above] as a "story of illicit love and frustrated sex" whose only purpose was to "arouse lustful feelings in those who see it." What a quandary Mayer was in! Stashing her away in Beverly Hills with [Budapest-born] Ilona Massey so they could learn English together proved a bad idea. Ilona quickly got [a supporting role in the 1937 Eleanor Powell vehicle] Rosalie, while Hedy fumed.
I think part of Mayer's problem about Hedy was that she was out of place in the climate of 1938. European sex symbols were box office poison and here he was trying to launch one, renaming her after a tragic silent movie star to boot. Plus, he was very interested in her but she wasn't about to play the doting daughter as other women did.
After a number of screen tests, L. B. loaned her to Walter Wanger for Algiers and the rest is history. Mayer not only shut her up, but he made money on the deal as well. She came back to the MGM lot as the most publicized movie star in the world, but he still didn't know what to do with her. An American Cinderella was his answer – and that was a disaster despite Mayer's obsessive interest in it.
He hired Josef von Sternberg, Dietrich's Svengali, to direct Cinderella, now called I Take This Woman, but that quickly proved to be a mistake. Mayer's movie factory was not a place where von Sternberg could leisurely shine, plus Mayer was insistent on advising von Sternberg on his "Hedy Lamarr picture" and this made the whole thing a disaster. Also, Mayer had assigned Spencer Tracy as Hedy's co-star and their lack of chemistry was immediately apparent. After two weeks there were only a couple of Hedy's close-ups that were salvageable. Von Sternberg was fired and Frank Borzage took over, but after a long and expensive production the picture was shut down to the tune of $800,000.
Before I Take This Woman was resumed, Hedy was in Lady of the Tropics but as good as it was, it didn't match Mayer's expectations and he thought of putting her in the ensemble cast of The Women, most likely in the Paulette Goddard part. Perhaps that would have been a good idea, as Hedy's sense of on-screen humor could have been exposed before Comrade X.
Hedy LamarrJosef von SternbergLouis B. Mayer
'Blonde Venus': Marlene Dietrich & Cary Grant Racy Drama
Hedy Lamarr Movies: 'Ecstasy' & 'Algiers' + 'Tortilla Flat'
Act Like a Woman Think Like a Man: Female-Centered Blockbuster + African-American Sleeper Hit
Gail Russell & John Wayne + Risqué Cecil B. DeMille Classic + Jean Renoir South...
Calling Hedy Lamarr: Phone-Addicted Hollywood Star & the American Cult of Celebrity
MGM Files for Bankruptcy + the History of Hollywood & 'The Bridge on the River...
Howard Karr -
Hope your book is available soon. I have read everything that there is on the life of Hedy Lamarr and STILL come out confused. There are so many comments that may or may not have been attributed to her. Her reponse to Merv Griffin about a glamrous, rich image and her answer of "I never lived that way", is not true as we all know. she lived in a castle and had servants, maids, jewels etc. Even her short time in Hollywood was a life filled with glamour and riches. At times I see her as a victim and feel bad for her and at times I dislike her very much. I just wish, once and for all, a demonstrative , comprehensive, truthful book will come out based on fact that sets the record straight. Thank you.
Roy Norris -
Will your book on Hedy Lamarr ever be published? There is no detailed biography that tells her story truthfully or deals with the real woman. Do it for her and her memory. There are thousands of us waiting and time is running out for both you and us!
Best regards -
keshav -
Hedy is one of the most beautiful lady we never might have seen. But when it comes to her personal life people used her like anything. if you still have any other information and photos or movies. please help me.
RENA SCHARLOW -
I HAVE A FRIEND THAT COULD BE HER TWIN,SHE HAS AN EXCITING BACK GROUND,I AM 84yrs,I HAVE SEEN ALL HER MOVIES,I HAVE THEM IN TAPE'S,DVD'S,IS THERE ANY DVD'S MADE OF HER LIFE? THANK YOU,RENA
Susan Taft -
Can anyone direct me to a photograph that Heddy Lamarr and Joan Bennett were merged half faces, cut down the middle for their likeness to be noted?
Don Pippin -
Hedy Lamarr is missed. She was an original. Many have tried to copy her magic. None have had success. May her history always be read. May her films be viewed Her memory lingers on and on and rightfully should, Long live the magic of Lamarr. Thank you Hedy Lamarr.
Michael Sweeney -
What is the current status on the book? I tried sending you a few emails but they came back, what gives?
cst -
Oops… You have to click on "CST"…
THE FILMS OF HEDY LAMARR: Since this title is out of print for a loooong time, unavailable and Lamarr and Christopher Young (who wrote it) are both deceased, I've decided to scan & OCR the first pages of this very interesting book about this fascinating woman… Enjoy!
william French -
I 'fell' in love with Hedy Lamarr at age 10 when I saw her play Delilah. A more beautiful woman I have yet to see to this day.At my age I was not fully aware of acting abilities but just knocked out by her beauty. I became a fan but sadly she did little work after deMille's masterpiece. I started a scrap book on her and featuring 'Delilah.' I still collect and read anything about her. I am now 69 years and can't get enough. So amongst Lamarr fans I am certainly happy to read this interview, agree with your comments and most importantly learn that you are doing a book. I encourage you to finish it so I can enjoy more of what you will have to tell us. It will take pride of place amongst my collection and very much look forward to doing so.
William French
Monique K. -
I can't tell you how much I enjoyed this interview! Finally someone is out to tell the truth about the Lovely Ms. Lamarr! Mr. Agan sounds like he truly has Ms. Lamarr's best interest at heart and isn't out to spread idle gossip. When telling someone's life story you must include the good with the bad and I really feel that Mr. Agan will tell the Truth, the Whole Truth and Nothing but the Truth! I am highly anticipating the book!
Allan Jirikovec -
ANXIOUSLY WAITING FOR HEDY'S BIOGRAPHY. . .HOW LONG WILL WE HAVE TO WAIT???
Clement Concodora -
Wonderful article. Has the book been published yet?
Mr. Agan may be the last important writer to have known Miss Lamarr and thus his work may have the greatest value. Is there any way of knowing the status of the book. Hedy was as great a Myth as well as a true flesh and blood legend in her own time as Flynn, Garbo and even Brooks…but like everything else about her work…she is underrated and thus undervalued. I hope Mr Agan can change that for the rest of the world.
I have followd Patrick's career since I met the man in West Hollywood and he gave me a signed copy of "The Decline & Fall of the Love Godesses" His biography on Dustin Hoffman was frist rate!
Anthony Bruno -
Looking foreward to your book on HL. When will it be available. Surprised you mentioned nothing in your interview about her co- invention? I guess it would be in the book. Also, do you know if the german movie documentary with Mickey Rooney ever be available to be seen in USA?
Fascinating. Based upon what I read here, this promises to be a splendid book on one of the more misunderstood actresses of the Golden Age.
George Gharibians -
I'm very happy that Mr. Agan finally decided to do his book on The Legendary Hedy Lamarr. I have read some of his articles on Miss Lamarr years ago, and I've always enjoyed it. I'm sure that we (Hedy Lamarr fans) will finally get the chance to read the true Hedy Lamarr Story. Thank you Mr. Agan.
At long last, we will be able to hear the real story of "the fairest of them all!" We look forward to Patrick Agan's biography of Hedy, and just know it will be a best seller.
David Shelton -
Great interview! Can't wait to read the whole book on Hedy Lamarr!


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James Fallows, "When George Meets John"; Joshua Green, "Dumb and Dumber"; Mark Bowden, "Pompadour With a Monkey Wrench"; Joshua Micah Marshall, "Kerry Faces the World"; Robert D. Kaplan, "Five Days in Fallujah"; Benjamin Wittes, "Enemy Americans"; William F. Buckley, Jr., "Aweigh"; P. J. O'Rourke, "I Agree With Me"; fiction by Robert Olen Butler; and much more. View Magazine
When George Meets John
Pompadour With a Monkey Wrench
Kerry Faces the World
Five Days in Fallujah
In the Line of Fire
Sage Stossel
I Agree With Me
When was the last time a conservative talk show changed a mind?
By P. J. O'Rourke
Last year, on a long car trip, I was listening to Rush Limbaugh shout. I usually agree with Rush Limbaugh; therefore I usually don't listen to him. I listen to NPR: "World to end—poor and minorities hardest hit." I like to argue with the radio. Of course, if I had kept listening to Limbaugh, whose OxyContin addiction was about to be revealed, I could have argued with him about drugs. I don't think drugs are bad. I used to be a hippie. I think drugs are fun. Now I'm a conservative. I think fun is bad. I would agree all the more with Limbaugh if, after he returned from rehab, he'd shouted (as most Americans ought to), "I'm sorry I had fun! I promise not to have any more!"
Anyway, I couldn't get NPR on the car radio, so I was listening to Rush Limbaugh shout about Wesley Clark, who had just entered the Democratic presidential-primary race. Was Clark a stalking horse for Hillary Clinton?! Was Clark a DNC-sponsored Howard Dean spoiler?! "He's somebody's sock puppet!" Limbaugh bellowed. I agreed; but a thought began to form. Limbaugh wasn't shouting at Clark, who I doubt tunes in to AM talk radio the way I tune in to NPR. And "Shari Lewis and Lamb Chop!" was not a call calculated to lure Democratic voters to the Bush camp. Rush Limbaugh was shouting at me.
Me. I am a little to the right of ... Why is the Attila comparison used? Fifth-century Hunnish depredations on the Roman Empire were the work of an overpowerful executive pursuing a policy of economic redistribution in an atmosphere of permissive social mores. I am a little to the right of Rush Limbaugh. I'm so conservative that I approve of San Francisco City Hall marriages, adoption by same-sex couples, and New Hampshire's recently ordained Episcopal bishop. Gays want to get married, have children, and go to church. Next they'll be advocating school vouchers, boycotting HBO, and voting Republican.
I suppose I should be arguing with my fellow right-wingers about that, and drugs, and many other things. But I won't be. Arguing, in the sense of attempting to convince others, has gone out of fashion with conservatives. The formats of their radio and television programs allow for little measured debate, and to the extent that evidence is marshaled to support conservative ideas, the tone is less trial of Socrates than Johnnie Cochran summation to the O.J. jury. Except the jury—with a clever marketing strategy—has been rigged. I wonder, when was the last time a conservative talk show changed a mind?
This is an argument I have with my father-in-law, an avid fan of such programs. Although again, I don't actually argue, because I usually agree with my father-in-law. Also, he's a retired FBI agent, and at seventy-eight is still a licensed private investigator with a concealed-weapon permit. But I say to him, "What do you get out of these shows? You already agree with everything they say."
"They bring up some good points," he says.
"That you're going to use on whom? Do some of your retired-FBI-agent golf buddies feel shocked by the absence of WMDs in Iraq and want to give Saddam Hussein a mulligan and let him take his tee shot over?"
And he looks at me with an FBI-agent look, and I shut up. But the number and popularity of conservative talk shows have grown apace since the Reagan Administration. The effect, as best I can measure it, is nil. In 1988 George Bush won the presidency with 53.4 percent of the popular vote. In 2000 Bush's arguably more conservative son won the presidency with a Supreme Court ruling.
A generation ago there wasn't much conservatism on the airwaves. For the most part it was lonely Bill Buckley moderating Firing Line. But from 1964 to 1980 we went from Barry Goldwater's defeat with 38.5 percent of the popular vote to Ronald Reagan's victory with 50.8 percent of the popular vote. Perhaps there was something efficacious in Buckley's—if he'll pardon the word—moderation.
I tried watching The O'Reilly Factor. I tried watching Hannity shout about Colmes. I tried listening to conservative talk radio. But my frustration at concurrence would build, mounting from exasperation with like-mindedness to a fury of accord, and I'd hit the OFF button.
I resorted to books. You can slam a book shut in irritation and then go back to the irritant without having to plumb the mysteries of TiVo.
My selection method was unscientific. Ann Coulter, on the cover of Treason, has the look of a soon-to-be-ex wife who has just finished shouting. And Bill O'Reilly is wearing a loud shirt on the cover of Who's Looking Out for You?
Coulter begins her book thus:
Liberals have a preternatural gift for striking a position on the side of treason. You could be talking about Scrabble and they would instantly leap to the anti-American position. Everyone says liberals love America, too. No they don't. Whenever the nation is under attack, from within or without, liberals side with the enemy.
Now, there's a certain truth in what she says. But it's what's called a "poetic truth." And it's the kind of poetic truth best conveyed late in the evening after six or eight drinks while pounding the bar. I wasn't in a bar. I was in my office. It was the middle of the day. And I was getting a headache.
Who's Looking Out for You? is not as loud as Treason. But there's something of the halftime harangue at the team just in the use of the second-person pronoun.
The answer to O'Reilly's title question could be condensed in the following manner: "Nobody, that's who. The fat cats aren't. The bigwigs aren't. The politicos aren't. Nobody's looking out for you except me, and I can't be everywhere. You've got to look out for yourself. How do you do that? You look out for your friends and family. That's how. And they look out for you. And that's the truth, Bud."
We've all backed away from this fellow while vigorously nodding our heads in agreement. Often the fellow we were backing away from was our own dad.
O'Reilly casts his net wide in search of a nodding, agreeing audience. He embraces people driving poky economy cars ("not imposing gas mileage standards hurts every single American except those making and driving SUVs") and people with romantic memories of the liberalism of yore ("the gold standard for public service was the tenure of Robert Kennedy as attorney general"). He positions himself as a populist worried about illegal aliens' getting across the border and taking our jobs. (I'm worried about illegal aliens' not getting across the border and leaving us with jobs, such as mowing the lawn and painting the house.) And O'Reilly reaches out to the young by prefacing each chapter with lyrics from pop music groups that are, as far as I know, very up-to-date, such as Spandau Ballet. But the person that O'Reilly's shouting at is still, basically, me: "If President Hillary becomes a reality, the United States will be a polarized, thief-ridden nanny state ..."
Does the left have this problem? Do some liberals feel as if they're guarding the net while their teammates make a furious rush at their own goal? NPR seems more whiny than hectoring, except at fundraising time. There's supposed to be a lot of liberal advocacy on TV. I looked for things that debased freedom, promoted license, ridiculed responsibility, and denigrated man and God—but that was all of TV. How do you tell the liberal parts from the car ads? Once more I resorted to books.
To answer my question I didn't even have to open Al Franken's Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right. But having done so, I found these chapter headings: "Ann Coulter: Nutcase," "You Know Who I Don't Like? Ann Coulter," and "Bill O'Reilly: Lying Splotchy Bully."
Michael Moore's previous book was Stupid White Men, titled in a spirit of gentle persuasion unmatched since Martin Luther, that original Antinomian, wrote Against the Murderous and Thieving Hordes of Peasants. Moore's new book, Dude, Where's My Country?, contains ten chapters of fulminations convincing the convinced. However, Moore does include one chapter on how to argue with a conservative. As if. Approached by someone like Michael Moore, a conservative would drop a quarter in Moore's Starbucks cup and hurriedly walk away. Also, Moore makes this suggestion: "Tell him how dependable conservatives are. When you need something fixed, you call your redneck brother-in-law, don't you?"
Arguing, in the sense of attempting to convince others, seems to have gone out of fashion with everyone. I'm reduced to arguing with the radio. The distaste for political argument certainly hasn't made politics friendlier—or quieter, given the amount of shouting being done by people who think one thing at people who think the same thing.
But I believe I know why this shouting is popular. Today's Americans are working harder than ever, trying to balance increasing personal, family, and career demands. We just don't have time to make ourselves obnoxious. We need professional help.


text:
Q: Load ApplicationController from One Rails Engine into Another Rails Engine Is there a way I can take my User MyAccounts::ApplicationController and include it into another Engine as if it's in the MyOtherEngine::ActionController. I was able to load Helpers from other engines but like to keep things in ApplicationController for this project.
I'm also open to other ways but the Accounts engine uses the def and would like other engines to use it without pasting and repeating definition, also consider the loading helpers are repeating in both engines.
module Phcaccounts
      class ApplicationController < ActionController::Base

        # Devise Filter
        before_action :phc_devise_permitted_parameters, if: :devise_controller?

        # Filter and Security
        protect_from_forgery with: :exception

        protected

        # Whitelist Additional Fields
        def phc_devise_permitted_parameters
          added_attrs = [:username, :firstname, :lastname, :email, :password, :password_confirmation, :remember_me]
          devise_parameter_sanitizer.permit :sign_up, keys: added_attrs
          devise_parameter_sanitizer.permit :account_update, keys: added_attrs
        end

        # Load Helpers & Load Helpers to Mainapp
        helper Phctitleseo::Engine.helpers
        helper Phcnotifi::Engine.helpers

        # Redirect User to Welcome Screen After Signin
        def after_sign_in_path_for(resource)
          welcome_status_page_path
        end

        # Auth Filter for Admin
        def phcaccounts_authentication_filter!
          if admin_signed_in?
            true
          else
            authenticate_user!
          end
        end

      end
    end

    require "???/???"

    module Phcpress
      class ApplicationController < ActionController::Base

        # Security
        ?????include Phcaccounts::ApplicationController?????
        protect_from_forgery with: :exception

        # Load Helpers
        helper Phctitleseo::Engine.helpers
        helper Phcnotifi::Engine.helpers

      end
    end

A: There might be other ways, but this works for anybody building Rails Engines and wants some sort of solution. Based on Fabio comment I created a helper engine (example MyCoreHelperEngine) add it as a dependency to my other engines, put the logic in helper files. Views were alright but in the controllers, you have to include the engine helper files.
 module Phcpress
   class ApplicationController < ActionController::Base

     include MyCoreHelperEngine::MyHelperFile

   end
 end

redpajama_set_name: RedPajamaStackExchange


text:
Marquis de Lafayette and Baron de Kalb: The Lives of the Legendary Foreign Soldiers Who Sailed to America Together to Fight in the Revolutionary War
By: Charles River Editors
Narrated by: Ken Teutsch
Categories: Biographies & Memoirs, Military & War
By the time the Revolutionary War started, military confrontations between the world powers had become so common that combat was raised to the status of a fine art, consuming a large portion of time for adolescent males in training and comprising a sizable component of the economy. Weaponry was developed to a degree of quality not accessible to most North Americans, and European aristocrats were reared in the mastery of swordsmanship with an emphasis on the saber for military use. Likewise, the cavalry, buoyed by a tradition of expert horsemanship and saddle-based combat, was a fighting force largely beyond reach for colonists, which meant that fighting on horses was an undeveloped practice in the fledgling Continental Army, and the American military did not yet fully comprehend the value of cavalry units.
German participation in the Revolution is historically noted for the Hessians, mercenary soldiers recruited in whole companies by Britain, whose standing army featured relatively low numbers when the American Revolution began. However, other Germans noted for their mastery of the science of war sided with the colonies, and one of them was Baron Johann von de Kalb, a mentor and elder colleague of the legendary Lafayette. Considered by some to be far too old for one attempting to rejuvenate the career of a soldier, de Kalb was a keen student of war with a steady mind and hand. Once able to prove his worth to the Continental Congress, he rose immediately to the rank of brigadier general under George Washington, served with distinction, and died heroically in the Battle of Camden, a battle in the South that foretold the eventual surrender of Lord Cornwallis at Yorktown.
By the time of his participation in the American theater, de Kalb was in his 50s, but given that he was still physically strong and well-trained in combat, he took up the fight against Britain as a matter of personal rejuvenation, on both a political and emotional level. In his efforts on behalf of the colonies, he proved himself to possess extraordinary vitality, regardless of age, and his legacy, much like that of his protége, remains a strong one.
©2019 Charles River Editors (P)2019 Charles River Editors
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What listeners say about Marquis de Lafayette and Baron de Kalb: The Lives of the Legendary Foreign Soldiers Who Sailed to America Together to Fight in the Revolutionary War


text:
Декартелизация — законодательное ограничение со стороны государства концентрации экономического потенциала в виде картелей, синдикатов, трестов и других видов монополистических объединений.

Современным примером декартелизации является реструктуризация экономики Германии после падения нацистской Германии в 1945 году.

Картелью является официальное соглашение между компаниями. Картели обычно происходят в олигополистической отрасли, где существует небольшое количество продавцов и обычно они связаны выпуском однородной продукции. Члены картеля могут договориться по таким вопросам как установление цен, общий объем производства отрасли, доля рынка, распределение клиентов, распределение территорий, фальсификации результатов тендеров, создание общих учреждений продаж  и разделение прибыли, или их комбинации. Цель такого сговора состоит в повышении доходов отдельных членов путём снижения конкуренции. Законы о конкуренции запрещают картели. Выявление и уничтожение картелей является важной составной частью политики в области конкуренции в большинстве стран, хотя доказать существование картеля редко бывает легко, поскольку фирмы, как правило, не настолько небрежны, чтобы фиксировать соглашения о сговоре на бумаге.

См. также
 Картель
 Картельный сговор

Монополия

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We also have an Arcade, with foosball and shuffleboard for the kids, and the kids at heart, along with a full bar and outdoor dining. See you soon.


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text:
Star Wars sparked composer, John Williams fangirl's music career
When she was 6 years old, Christy Carew heard the legendary strains of the Star Wars theme blaring from a neighbor's house. Her life would never be the same.
Christy's first viewing of A New Hope would spark a lifelong love of Star Wars, but especially the iconic music of composer John William. This self-described "John Williams fangirl's" Heroine's Journey began with piano and musical theory lessons and continued at New York University's Steinhardt School where she earned her master of arts in film scoring/composition.
She's now a media and concert composer who's scored music for dozens of films, TV shows, and multimedia projects, including the science-fiction short "Virtually," which has earned several awards for best original score.
Christy has also carved out a space in the Star Wars fan community. She's in post-production on the score for the six-part docuseries Looking for Leia, which celebrates women in the Star Wars fandom, and she's composed themes for and made guest appearances on several Star Wars podcasts and YouTube series.
In 2018, her Lucasfilm geek dreams came true when she became one of eight people chosen to participate in the prestigious Sundance Institute/BMI Film Music & Sound Design Lab at Skywalker Ranch. She's also had the pleasure of meeting The Last Jedi director Rian Johnson and none other than her hero, John Williams.
I can't wait to hear Christy's score for Looking for Leia and for the day when Lucasfilm hopefully hires her to make some Star Wars music. Until then, I'll make do with this chat about music composition as a form of storytelling, her (incredibly rousing) thoughts on Reylo and the upcoming Rise of Skywalker, and her work on film and TV projects like The Purge and The Blacklist. She's got stories!
Christy Carew. Photo by Niles Gregory.
You're a media and concert composer who has scored music for dozens of films, TV shows, and multimedia projects, including the documentary series Looking for Leia. It was Star Wars that first sparked your interest in becoming a composer. Tell me about how that happened.
It was in 1988 in my hometown of Vancouver, British Columbia — age 6. I was playing outside on our front lawn and suddenly heard the main theme fanfare blasting from my neighbor's house. I was already really interested in film music, as the movies I tended to watch over and over again were the ones with the scores I loved, but this sparked some different emotion in me.
I ran over to their house where my teenage neighbor was about to watch A New Hope on VHS. He let me sit and watch it with him — I have really vivid memories of that first time seeing the movie and how obsessed I became with John Williams' themes, and especially the character of Leia. When I went home later that afternoon I told my parents THAT was what I wanted to be when I grew up — at first my Dad thought I meant Princess Leia, but I insisted "NO, the music!"
It would take me many more years to understand that actually becoming a film music composer was something I could really and truly accomplish, but I never forgot that feeling, and I started taking piano and musical theory lessons two years later at the age of 8.
You describe yourself as a "John Williams fangirl," which I love. What is it about John Williams that inspires you?
No other composer will EVER compare to John Williams; he is responsible for inspiring entire generations of composers, and his music is probably more well-known at this point, to more people, than any other composer in history.
Thinking about all the iconic scores and themes he has composed — Star Wars, Indiana Jones, E.T., Jurassic Park, Hook, Schindler's List — it's not so much that I aspire to have a career like his (impossible); it's more that I'm inspired to understand storytelling, character and narrative the way he does.
I'm inspired to have relationships with directors like he does, so they return over and over to work with me. And I'm inspired to touch lives, bring joy and happiness to people, and inspire new generations of composers.
As a kid, I owned cassette tapes of Williams' scores for Star Wars and Indiana Jones and the Last Crusade, and I would play them and visualize each scene in the movies. Did you ever do something similar and have you amassed a large collection of his scores over the years?
TOTALLY! I had tapes/cassettes (moved on to CDs as the mediums changed) and I started collecting piano scores of his work, then eventually full orchestral scores. Before I had actual albums released on tape, I had my Barbie tape recorder that I used to record the actual sound of the movie while I was watching it on VHS so I could listen over and over again! I don't own quite as many of his scores as some of my colleagues, but I've definitely got a great collection at this point!
Christy with Kylo Ren.
Star Wars first made an impression on you when you were 6. What is it about the saga that has stayed with you through adulthood and how has your passion for the films evolved over the years?
I have grown up with the saga. The Original Trilogy was my companion through childhood and early adolescence; the Prequel Trilogy for my late teen, college and grad school years; and then now the Sequel Trilogy for my life as an adult, a professional, a wife and a mother.
Threaded throughout my entire experience was my love for the EU novels (owned them all and read until they were dog-eared!) and my participation in the fandom. The music is the main element that drew me in and helped shape my experience of life, but other things about the saga have also had massive influence.
For example, as a kid, I used to sit under a tree in winter, with no coat on, literally trying to use the Force to warm myself up. I had notebooks where I furiously scribbled the lessons and codes of the Jedi, and one day in grad school I was having a particularly intense Star Wars discussion with a fellow composition student who said, "You know, the Force sounds like chi, and Jedi Knights sound like Shaolin monks."
The more I talked with him about this, as he was a black belt student at the Shaolin Temple in NYC where we were studying at NYU, the more I studied the influence of eastern mythology, religions and traditions on Star Wars as well as the Campbellian and Jungian influences.
It also inspired me to actually go learn kung fu with hopes of tapping into chi and becoming a Knight/Monk of sorts. It was through this training that I met my husband, as he was one of the senior students at the school and was teaching the highest level classes at that point. Never had I been more motivated to train hard and rise through the ranks so I could get into his class!
Luckily my interest in him was reciprocated, and now I have a wonderful husband and children, directly through this interest that developed through my love of Star Wars. Now during the Sequel Trilogy-era of my fandom, the most important thing that stays with me is the friendships.
Over the past four years since The Force Awakens came out, I have been lucky enough to meet the most brilliant, educated, wise, compassionate and creative women in the fandom, who have brought me so much joy and taught me more about Star Wars than I ever could have imagined — and some of these women only just recently really got into Star Wars with the release of The Force Awakens or The Last Jedi. There is very little gatekeeping in the fem-gaze, Heroine's Journey corner of the fandom!
Christy at the Skywalker Sound mixing board. Photo by Rasmus Zwicki.
You've said you consider yourself "first and foremost a storyteller." Can you elaborate on how you tell a story through the music you compose?
For me, composing music to picture IS filmmaking. It is storytelling. It is not just writing complex notes, melodies and harmonies and showing off what a good composer you are. It's not just delivering exactly what the director wants and moving on to the next cue or the next project. It's being a full, participatory and plugged-in member of the team of creatives delivering the narrative.
I need to understand each character and their motivations inside and out. I don't just need to know how to score and highlight action; I need to know how to score and bring out emotions happening underneath the surface within an actor's performance. A flash in the eyes, a moment of decision, a consequence coming to fruition from an earlier action — I need to understand everything on a cellular level.
The best composers are amazing communicators. They know how to translate not only what the director is telling them as they sit and spot the movie, or review cues, but also to view the entire story as a holistic organism and understand exactly how powerful a role music really plays. Even when I'm writing music that is not to picture — concert music, passion projects, etc. — I am always writing to a story in my head, to visuals I am creating and characters I live with in my mind.
How did you become involved with director Annalise Ophelian's six-part docuseries, Looking for Leia, which is a love letter, of sorts, to women and nonbinary fans of Star Wars?
I originally heard of Looking for Leia on the amazing Facebook page for female Star Wars fans, Galactic Fempire. I went to the website and noticed that the project didn't have anyone listed yet as the composer in the "team" section. I immediately wrote to Annalise and explained how much the project meant to me and how much I would love to be involved.
It was very much a "right time, right place" situation, where Annalise was just starting to conceptualize what she wanted to do for the original score and who she wanted to hire, so after a bit of talking back and forth and sharing some of my work, I got the gig!
What stage of composing are you currently in? Can you give me a hint as to what the score is going to sound like?
As I am writing to you now, we are actually in the final stages of post-production. It's amazing! It's been a long journey. The score of the film utilizes a lot of piano, marimba and female vocals; it's got some very poignant moments and some very funny ones too. There are also some stunning re-arrangements of John Williams' original themes.
Can you give me a glimpse into your process as a composer? What sort of inspirations and influences come into play when you're working on a project?
I'm very lucky that a lot of the projects I work on now get me involved at the script level. I get to live with the story and really let it soak into my bones, and build relationships with my directors that give me a lot of insight into how I want to approach the score even before the movie is shot.
I always start with themes, most of the time at the piano with sheet music and pencil, then move to the sequencer, build a template and start fleshing the score out scene by scene once I have final cut. If there is budget for live players, that is my happiest situation; nothing compares to having real human musicians, especially our brilliant Los Angeles studio players, interpreting your music and bringing it to life.
My favorite part of the process is having the director and producer present at those scoring sessions so they can experience the magic too! My influences vary from project to project, as some films and directors want more textural scores that don't focus as much on themes or leitmotifs in the traditional John Williams style.
In 2018, you were one of eight people chosen to participate in the prestigious Sundance Institute/BMI Film Music & Sound Design Lab at Skywalker Sound. What was that experience like?
It. Was. Amazing. I don't even have words to describe what a magical two weeks this was for me. Skywalker Ranch is heaven on earth. It's isolated away from the rest of the world and feels like another planet, especially coming from the busy streets of Los Angeles. Just walking from the Inn to the Tech Building each morning, smelling the air and listening to the birds, I drew so much inspiration from the physical beauty of the surroundings and the incredible creative people working each day around me.
Not only was I basically at intense composer summer camp, learning so much about filmmaking, storytelling and music, I was also surrounded by the creatives that worked on my favorite films, from the very beginning of the saga. The food was gourmet-level for each meal; the accommodations incredibly luxurious; I was pinching myself constantly!
What was the most important thing you learned during your time in the program?
The most important thing I learned was what I described above; how important it TRULY is to view yourself as a filmmaker and storyteller in addition to a composer. I didn't fully and truly understand this down to my bones before the Sundance Lab. That is something that the Sundance Institute truly values and instills in a composer as they become a member of this wonderful family of alumni of the program; and they stay committed to developing your career and giving you opportunities to grow. I'm super grateful to my performing rights organization, BMI, for supporting the Lab for so many years and choosing me as a 2018 fellow.
I felt so supported by the other composer fellows (all of whom I still keep in close contact with and will be lifelong friends), Peter Golub, the head of the program, the other Sundance staff and the fantastic mentors they brought in to work with us, as well as the independent filmmaker I was paired up with.
Daniel Hymanson, the director of "Queen of the Battling Butterfly Brigade," was a different sort of director than I had ever worked with before, and I so valued the insights he gave me over our weeklong partnership. It was a magical bubble of time and place to take risks, explore, stretch and try new things.
As a Star Wars fan, were you just constantly geeking out during your stay at Skywalker Ranch?
Oh, yes. I was very lucky that Josh, the wonderful head of Skywalker Sound, instantly "got" how big of a fan I was. He introduced me to all the guys I wanted to sit and have long chats with — and I got those chats! They were gracious enough to not only meet with me and tell stories/anecdotes, but give me tours, show me props and answer questions.
I got time with Ben Burtt, John Roesch, Ren Klyce, Gary Rydstrom, Tom Myers, Richard Gould, Dave Acord and so many other fantastic legends who have worked on the OT, the PT and the ST. The whole campus is full of interesting props, and especially getting to take the tour of the Main House was delightful. I will never forget everyone who gave me a piece of their time and stories, and I cannot wait to be back to visit them all!
This year, you were one of 12 participants in the American Society of Composers, Authors, and Publishers Film Scoring Workshop. Tell me about that experience and what you learned from it.
WOW, this was such an incredible workshop and something I will never forget! The workshop is a month-long experience in Los Angeles that chooses 12 emerging composers from all around the world to fly in and have nightly meetings — with professional composers, alumni of the workshop, studio players, lawyers, heads of music at studios, orchestrators, music contractors, agents — learning all about the reality of being a working composer in LA on the biggest films in the world.
You spend about 10 days re-scoring a cue from a film and, at the end of the month, record that cue live with a 64-piece orchestra of LA's finest players on the legendary Newman Scoring Stage on the Fox Lot. For me this was really special as well because at the time, a lot of the same players who played on our cues were playing on John Williams' score The Rise of Skywalker the day before!
The workshop gives you the mentorship and resources at the highest level to help you experience what it's like to be at the top of your game as an in-demand Hollywood film composer. Once again I met the most amazing people through the process, lifelong friends and people I can go to for any questions, advice or help I need.
Photo by Niles Gregory.
You're the music director and in-house composer for 5 Alarm Music, one of the largest production music libraries in the world. Your music and arrangements have been featured in tons of movies and TV series that will make fans' ears perk up. If you don't mind, I'll mention a title and you tell me something interesting about that project or your work that's featured in it.
What about The Purge and your creepy arrangement of America the Beautiful?
This was super fun! We were brought on to do a creepy, haunting gospel arrangement of America the Beautiful for the Purge trailer and accompanying advertising campaign. I did the choral arrangement and we brought a group of singers together at the now-defunct Firehouse Recording Studios in Pasadena, a space I loved to record at and often did!
We put all kinds of creepy reverb and haunting effects on it — the studio and creatives loved it, and that arrangement has subsequently been used in all of the major trailers of the Purge franchise, and even part of the end credits of The Purge: Anarchy movie.
The Blacklist?
The music supervisor on The Blacklist is a friend and frequent collaborator with 5 Alarm, and he asked me to put together a cue for an episode that the composer didn't have time to take care of. (The delivery schedule for network TV is really fast-paced and intense!)
I needed to do an "Uzbek tango" — and whatever I wrote, the dancers in the episode were going to choreograph to! I immediately said I could do it, did a bunch of research to refresh myself on the location and style, then went to town and sent something over to the music supervisor in a few hours.
Everyone loved it, and the dancers choreographed to it — the cue went into the episode exactly as I wrote it, and it's one of the pieces I'm most proud of!
Your website told me to ask you about the CBS series Scorpion …
Yes, this is another example of the music supervisor needing something rare that the composer didn't have time to take care of — a one-handed arrangement of a Bach piece! I pulled it off and sent it over — using my right hand — and then a few days later was called to see if I could actually come on set to perform the piece.
Little did I know that the scene actually featured a real-life US army vet hero who has a six-figure prosthetic arm — the gag of the scene was that the main character had programmed the arm to play a difficult piece like the Bach.
But it was his LEFT hand, so I instantly knew I needed to re-record my cue — but then I also realized I had to have the very expensive prosthetic arm taped to my arm and play the piece with the heavy fingers on top of mine, while my arm was snaked between the actor's own arm and his body! It was too hilarious, but it worked great, they edited me out in post and the episode's joke works great.
Your score for the romantic sci-fi short Virtually won several awards, including best original score at FilmQuest, and was nominated for best original score (short film) at the Tenerife International Music Festival. Tell me about that project and what it felt like to be recognized in this way.
This is one of my favorite projects of all time and I'm so gratified to see the score being recognized so much. It's a post-apocalyptic romantic short film with very little dialogue for most of the action; it really needed to rely on the score, which is a hybrid orchestral-electronic element with beautiful solo cello work by my frequent collaborator Simone Vitucci.
Soon I will have some exciting distribution and release information to share so that everyone can enjoy this project, but the score is also going to be released on all streaming and digital platforms soon too!
Christy with director Rian Johnson.
You've also done a lot of work for and with members of the Star Wars fan community, including a fan film and several podcasts and YouTube channels, including Scavenger's Hoard, What the Force?, and Girls with Sabers. What do you enjoy about working with fellow fans?
I absolutely love working with fellow fans and the opportunity it gives me to contribute to their amazing work that I enjoy so much. I was a huge fan of Scavenger's Hoard and listened religiously before I began communicating with them on Tumblr and was originally asked to come on the podcast and talk about all things music — then Rachael and Kirsty asked me to do them the honor of actually composing a new custom theme for the podcast.
Through hearing me on SH, Marie-Claire of WTF and Emrys & Luthien of GWS came to know and appreciate my work, so I started making friends along the way and getting more and more involved in providing music for podcasts, meta analysis videos, and even a fantastic audio drama about women and fangirls.
Is it true you've made a hobby of writing lengthy meta-essays about Star Wars?
YES! My blog is here.
This is originally how I got involved coming onto podcasts to discuss the music of Star Wars and John Williams. I love writing these essays and expect a lot more post-The Rise of Skywalker content!
As I'm writing these questions, the final trailer for The Rise of Skywalker is set to drop in just a few hours. What are your thoughts about the upcoming conclusion of the new trilogy?
I couldn't be more excited; I actually don't think I've ever been more excited for a movie in my life. I'm thrilled to be about to witness the culmination of not just this amazing, beloved Sequel Trilogy, but the Skywalker Saga as a whole.
I'm BLOWN AWAY that we got the Heroine's Journey, Female Power Fantasy, Fem-Gaze storytelling, as well as one of the best Star Wars heroines of all time, Rey Nobody of Jakku. I can't wait for Bendemption, to see the full fruition of the Reylo love story, to hopefully see a Han flashback, Luke Force Ghost, and hear the new incredible John Williams score. It's the final movement of his symphony; and it's going to be the most incredible, thrilling score of the saga.
If you could only choose the score from one Williams' movie, which movie would it be?
This may be controversial, but it's actually a tie between The Empire Strikes Back and The Last Jedi. I hear a lot of criticism from the film scoring community and other people who study Williams' music about the TLJ score — that it overused themes, or didn't give us enough new thematic content.
I very strongly disagree and believe that it is one of the more nuanced, internal, and complex scores for the saga that JW has given us; that every choice to use every theme is very well thought out and detailed in its decision making process and support of narrative and character development.
What's your ultimate favorite theme or piece of music from the Star Wars galaxy?
Rey's Theme, Yoda's Theme, the Main Theme, Across the Stars, The Spark … oh my goodness, clearly I cannot pick a favorite! I can say for sure that come TRoS, the new Bendemption theme or Reylo Love Theme will instantly become my favorite!
Christy with the man himself — John Williams.
Have you ever had the pleasure of meeting John Williams?
I have indeed! A friend and mentor is good friends with JW and arranged a meeting four years ago. I was so grateful; it was actually during the time frame when JW was working on The Force Awakens! He was sweet, sparkly, kind, interested in me and my work, and such a pure gentleman.
I mostly blubbered in the presence of my icon — I was a fairly recent mom and still riding the waves of post-partum mood swings — but I managed to stammer out a few sentence to tell him how much he means to me, and he was wonderfully gracious.
Who are some of your favorite film composers besides John Williams?
Some of my favorites from those who have passed on: James Horner, Jerry Goldsmith, Shirley Walker.
Some of my favorites from those still with us: Joe Hisaishi, Rachel Portman, Hildur Gudnadottir, Thomas Newman and Tyler Bates (who I had the honor of meeting and being mentored by at Sundance!), John Debney, Howard Shore, Dario Marianelli, John Powell, Fabrizio Mancinelli, Amie Doherty, and so many others!
Photo by Kaya Savas.
Before we close, I want to ask you about your epic personal project, writing and recording (live with a full orchestra in Macedonia) music inspired by author Jacqueline Carey's Kushiel's Legacy series. How did you discover Carey's books?
My cousin Jonathan initially shared these books with me, knowing how much I would absolutely love the story. This was back in 2007/2008, Myspace days, and so I created a Myspace profile to host the music I wrote inspired by the books. The Kushiel's Legacy fandom caught on and sent my music to the author herself, Jacqueline Carey, who then linked my music from her website and has always been incredibly supportive.
When I was on maternity leave with my daughter in 2016, I realized that I didn't have a proper orchestral demo showcasing my skills and what I could do. I also didn't have anything up to par to submit to incredible opportunities I longed to be chosen for, like the Sundance Lab and the ASCAP workshop. I decided that I was going to show my daughter that I am not the type of person to give up or settle for less.
I wrote to Jacqueline asking for her blessing to revisit my project interpreting her stories through music, and upon receiving it, I spent the next five months, writing, orchestrating, crowdfunding, and recording my music inspired by Jacqueline's epic story and characters.
Tell me more about how the series fueled this ambitious project.
I chose my favorite characters and scenes and then wrote as if I was accompanying the visual adaptation of the series. All along the way, I had Jacqueline's encouragement, and that of the fans. It was on the strength of these tracks that I was eventually chosen for both Sundance and ASCAP — and this music has also gotten me plenty of other interesting gigs and lead me to opportunities I couldn't have anticipated!
The Kushiel's Legacy series was just acquired by Lionsgate. That sounds like potentially very exciting news for you …
YES, huge congrats to Jacqueline! And I am determined to have my demo in that stack of potential composers to be chosen for the gig! Having the rights acquired doesn't automatically mean that the series will for sure be developed, but it is definitely looking promising, and I'm doing all I can to line my ducks up in a row to be in the room.
What's your ultimate goal or dream as a composer?
My biggest dream is to score a Star Wars film (or television series.) I would love to be involved in any official Lucasfilm project as composer; but ultimately, I want to be in the big chair, and in the direct musical lineage of John Williams and John Powell.
As a director, Rian Johnson is my dream director to be involved with — since Rian always works with his incredibly talented cousin, composer Nathan Johnson, I might not get the chance, but I would jump at it if I did!
My other dreams include scoring the Kushiel's Legacy adaptation and any other adaptation of the amazing fiction series I admire. I would love to have more of my concert work performed and to travel the world giving back to the music education communities and passing on my knowledge.
This entry was tagged composer, film composer, film score, John Williams, Kushiel's Legacy, Looking for Leia, Reylo, Skywalker Ranch, Skywalker Sound, Star Wars, Star Wars score, Sundance Institute, The Last Jedi, The Rise of Skywalker. Bookmark the permalink.
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Of only 60 Dyno Units in the United States, Randy and the team at Windsor Perfomance & Exhaust were the first to have one in Colorado. The Colordo Mobile Dyno is a state-of-the-art dynamometer trailer used to measure the force, torque or power of your vehicle. With the mobile capabilities of our dyno, we are able to travel to your town and participate in car shows, allowing others to test the power of their engine.
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Deutsch defends many-worlds philosophy
David Deutsch is one of the chief gurus of the many-worlds interpretation (MWI) of quantum mechanics, and of quantum computing. He says that quantum computing will work because of the efficiency of parallel computation being done in alternate universes.
I suspect that he was considered a crackpot at first, but now that we have 100s of millions of dollars being spent on these dead-ends of physics, he is revered as an insightful genius. He has been mentioned as a candidate for a Nobel Prize, if anyone ever finds any evidence for anything he says.
The MWI has two fatal flaws. First, there is no empirical evidence for it, and there can never be any such evidence. Second, it destroys the probabilistic predictions that are at the heart of quantum mechanics and every other science.
Deutsch has posted a new paper addressing these issues. There is no physics in the article; just philosophical hand-waving:
Claims that the standard methodology of scientific testing is inapplicable to Everettian quantum theory, and hence that the theory is untestable, are due to misconceptions about probability and about the logic of experimental testing. Refuting those claims by correcting those misconceptions leads to various simplifications, notably the elimination of everything probabilistic from fundamental physics (stochastic processes) and from the methodology of testing ('Bayesian' credences).
By "Everettian", he means MWI, and he shortens it to just "quantum theory", as if that were the most sensible interpretation. Copenhagen and other textbook interpretation are called "collapse" variants. The collapse is the idea that you refuse to consider the alternative (unobservable) universes.
Deutsch flips the arguments with a philosophical sleight-of-hand. He credits Karl Popper's rejection of positivism that a good scientific explanation is much more important than a crucial experiment. He agrees with the philosophers who say that there is no such thing as the crucial experiment. MWI doesn't explain any experiments but it does give a good explanation, so he says that it is philosophically superior to collapses.
He goes further and denies that any probabilistic theories are truly testable, and only something like MWI, which says that anything can happen without any probability estimates, should be considered testable. He concludes:
By adopting Popper's explanatory, conjectural conception of science, and his objective, problem-based methodology of scientific testing (instead of ones that are subjective, inductivist, positivist, 'Bayesian' etc.), and bearing in mind the decision-theoretic argument, we can eliminate the perceived problems about testing Everettian quantum theory and arrive at several simplifications of methodological issues in general.
In particular, I have shown that the claim that the standard methods of testing are invalid for Everettian quantum theory depends on adopting a positivist or instrumentalist view of what the theory is about. The claim evaporates, given that science is about explaining the physical world.
Even 'everything-possible-happens' theories can be testable. But Everettian quantum theory is more than an everything-possible-happens theory. Because of its explanatory structure (exploited by, for instance, the decision-theoretic argument) it is testable in all the standard ways. It is the predictions of its 'collapse' variants (and any theory predicting literally stochastic processes in nature) that are not genuinely testable: their 'tests' depend on scientists conforming to a rule of behaviour, and not solely on reality conforming to explanations.
I cannot make any sense of this. All of science involves some sort of comparison of theory with experiment. The measurements never match up exactly, so we are always left with the problem of deciding whether the observations are within the margins of what the theory said was likely. There is no other way to do science, as far as I know.
If a theory gives probabilities and error estimates, as all good scientific theories do, then Deutsch says that it is not testable. If a theory says that everything possible happens, as MWI does, then Deutsch says that it is testable.
There is no merit to anything Deutsch says. Popper was wrong in his rejection of positivism. Duhem-Quine were wrong in their rejection of the crucial experiment. MWI is incoherent. Quantum computing is a pipe dream. You can reverse almost everything he says, and get closer to the truth.
NSA is cautious about quantum computers
Latest quantum spookiness experiment
Hawking has new black hole info theory
Autism discoveries not independent
Bekenstein black hole area and entropy
Relativity forbids rigid objects
What quantum feature killed the classical picture?
John Conway's Life
Where are the extraterrestrials?
Newton studied alchemy
Theories of Everything, Mapped
Wave function can be just our knowledge


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Q: How to get UserName in a label in my Create.html? I have an asp.net core 2.0 site using VS 2017 (ver. 15.4) & C#. I have a 'Comments' model that has been scaffoled. A user has to be logged in to create a new comment. In 'Create.cshtml' I want the 'Date' and the 'UserName' to be filled in a label- not an input. Just trying to keep a user from using a false name to create a comment. I need to use code in 'Create.html' to accomplish this. Here is what I have in 'Create.html':
Date (this works):

    @Html.LabelFor(model => model.Date, htmlAttributes: new { @class = "control-label col-md-2" })

        @Html.LabelFor(model => model.Date, DateTime.Now.ToShortDateString())
        @Html.ValidationMessageFor(model => model.Date, "", new { @class = "text-danger" })

UserName (this does NOT work) :

    @Html.LabelFor(model => model.UserName, htmlAttributes: new { @class = "control-label col-md-2" })

        @Html.LabelFor(model => model.UserName, new { htmlAttributes = new { @class = "control-label", @Value = User.Identity.Name } })
        @Html.ValidationMessageFor(model => model.UserName, "", new { @class = "text-danger" })

I'm trying to get the UserName filled in using a label. Thanks for any suggestions.     Jeff

A: Well couple problems on your approach:

*

*There is no value attribute on a label element

*Since you have the ViewModel for the Create.cshtml view, and you have a UserName property, there is no point to do LabelFor or TextBoxFor with no value and initialize the element value on the Razor view. You could have done so when initializing the ViewModel on the server side.

Fix
You can initialize the model property UserName with the value of User.Identity.Name on the server side, and remove the @value = User.Identity.Name on the view.
My 2 cents
If you just want to display the UserName and not expect it comes back as input, you don't have to put @Html.ValidationMessageFor() there. You are not getting a value when doing post back anyway.
And for the same reason, you can just use a regular  element with Razor 1 way binding to display the value, i.e.,

    @Model.UserName

I see you're using Bootstrap. There is a class from Bootstrap 4 called form-control-plaintext that will style an input element and make it look like a label, so that you can actually bind the value to an input as well.

        <input type="text" class="form-control-plaintext" asp-for="UserName"
            readonly />


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Spartan Newsroom (https://news.jrn.msu.edu/2016/03/annual-wild-game-dinner-in-bath-benefits-wildlife-economy/)
Annual Wild Game Dinner in Bath benefits wildlife, economy
By Laina Stebbins | March 3, 2016
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By Laina Stebbins
Bath-DeWitt Connection Reporter
BATH — Bath may be a relatively small community compared to others in the state, but what it lacks in population size it makes up for in natural bounty. The third annual Wild Game Dinner, hosted by the Michigan Wildlife Conservancy this month, will once again highlight Bath's plentiful natural resources by showcasing local hunters' contributions to their township while benefiting wildlife conservation efforts.
Taking place March 19 at the Bengel Wildlife Center from 6-10 p.m., Bath's 2016 Wild Game Dinner will feature a silent auction, music and door prizes, a cash bar, and an all-you-can-eat strolling dinner of wild game and other food. Food will be replenished until 9 p.m.
The provisions at these dinners can vary greatly, ranging from relatively standard wild game choices to more exotic ones for adventurous eaters.
For this particular event, participants can expect "some bear, venison, some duck, some geese, some lake trout, and a whole list of other different game," said Kim McKenzie, Office Administrator at the Michigan Wildlife Conservancy.
"Other things that we are looking for are elk and moose, and anything [else] that people would be willing to try," said McKenzie.
Contrary to what one might think, wild game dinners across the country have proven to be extremely beneficial to wildlife conservation and restoration. These dinners do not promote the hunting of endangered or threatened species, but instead encourage responsible hunting and self-sustainability in sourcing one's food. They also contribute substantially to funding for wildlife habitat restoration.
Wild game dinners serve several important functions. First and foremost, events like these bring a community together to socialize and eat great food they might never have gotten the opportunity to eat otherwise. After all, the commercial sale of local wild game was banned federally in 1900 and this has not changed since.
Despite this antiquated ban, wild game dinners provide hunters a rare opportunity to share their bounty with the public, which could potentially turn others on to the benefits of a self-sustaining lifestyle.
There are also huge economic and environmental benefits to hunting one's own food. Nationally, according to a 2014 wildlife conservation fact sheet published by the National Shooting Sports Foundation, "hunters and recreational shooters have contributed over $9.2 billion to wildlife conservation through the excise tax paid by manufacturers of hunting and shooting arms and ammunition."
In fact, the U.S. Fish & Wildlife Service states that "the sale of hunting licenses, tags, and stamps is the primary source of funding for most state wildlife conservation efforts."
Breaking down the various ways by which hunters/sportsmen contribute to conservation each year. (Chart: Wildlife Conservation Fund of America)
Similarly, funds brought in by the Michigan Wildlife Conservancy's annual wild game dinner are channeled primarily into wildlife habitat restoration efforts. According to McKenzie, this kind of restoration is the central mission of the conservancy.
Wild game dinners may also encourage hunters to hunt, trap, and prepare their meat responsibly. These responsible hunting practices set forth by wildlife conservancies also deal with the deer population management component of hunting, as an overpopulation of deer in an area often bears destructive results.
"One consequence for an unmanaged deer herd is more car-deer accidents," said Randy Bell, MSU Extension Educator for Community Food Systems.
Gardens and farms are also at risk when deer and other wildlife populations get out of control, according to Bell, because they are "particularly attractive to wildlife, including deer and all kinds of critters."
"We humans are really competing with the wildlife in a lot of cases for that kind of food," said Bell.
"We don't want our conservancy overrun," said McKenzie on the topic, "so we do have some management going on throughout the year during specific times.
The popularity of wild game fare can also be at least partially attributed to the growing awareness of organic, locally-sourced food. Hunting the food yourself can cut out the middleman, allowing hunters to eat organically and locally without the extra costs.
Leaner and healthier than beef, venison is a common dish at wild game dinners. (Photo: Shaw Academy)
Oftentimes, families involved in these dinners have embraced the concept of farm-to-table living. This means they prefer their meats to come from their backyard or neighborhood woods than from their local grocery store, citing health reasons, taste, and cost as factors that have nudged them in the direction of this type of lifestyle.
Townsfolk taking part in the shared experience of trying new foods together will most likely find themselves to be more in tune with the area they live in, and perhaps even find themselves to be more culinarily adventurous from that point on.
Tickets can be purchased online at www.MiWildlife.org or by phone at (517) 641-7677 for $25.
The Bengel Wildlife Center in Bath, located at 6380 Drumheller Road. (Photo: Michigan Wildlife Conservancy – Bengel Wildlife Center)
Farmer's markets taking off in DeWitt, nationwide
DEWITT — The Downtown DeWitt Farmers Market is a one-stop shop for fresh produce, locally-sourced meat and eggs, an assortment of home goods, and a hefty dose of community engagement. The farmers market, which is run by the DeWitt Downtown Development Authority, brought in an average of 1,000 attendees in 2015.


What companies state that EFH is allowed under their LVT.
Marmoleum by Forbo. Marmoleum is approved.
Maple Leaf / Lamisol Reports are that LVT compatible with EFH.
Karndean Designflooring is suitable for installing over underfloor heating systems, providing they have been insulated so that the surface temperature does not exceed 27°C (80°F). Designflooring is warmer and softer underfoot than stone and ceramic tiles so is a popular choice for bathrooms, kitchens and sunrooms. Karndean's floors can be laid over underfloor heating systems for extra warmth. When visiting your local retailer, do remember to mention underfloor heating when selecting your floor. If you are arranging for installation of underfloor heating or have an existing system, we recommend making a note of the manufacturer and model. Your Karndean installer will need to ensure that your heating system is compatible with our flooring. We provide full guidance to our flooring installers about sub floor and adhesive preparation when laying Karndean floors over underfloor heating systems.
Tarkett Transcend: Embedded, 85 degree F limit.


The BTA05 is a keypad, designed and manufactured by Rexroth Indramat that closely matches the appearance and dimensions of the BTV05 operator panel. This keypad has outside dimensions of 318(w) x 112(h) x 67.5(d) mm and a weight 0.74kg. The front surface panel is made of varnished aluminum that is covered with a chemical resistant material and has a protection rating of IP65. The BTA05 keypad has six possible switch locations, but comes installed with five. The five standard switches include unit off, unit on, auto/local mode, start, and e-stop.
BTA05.2-AM Bosch Rexroth IndramatMachine Control Board in the BTA05 Series.
BTA05.2-DB Bosch Rexroth IndramatMachine Control Board in the BTA05 Series.
BTA05.2-WR Bosch Rexroth IndramatMachine Control Board in the BTA05 Series.
BTA05.2-WS Bosch Rexroth IndramatMachine Control Board in the BTA05 Series.


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Jû-Belloc è un comune francese di 326 abitanti situato nel dipartimento del Gers nella regione dell'Occitania.

Società

Evoluzione demografica

Note

Altri progetti

Ju-Belloc