Member (PLI), Postal Services Board, as Chairman.
Three Financial Experts to be drawn from outside, to be appointed in consultation with the Ministry of Finance.
One Joint Secretary from the Ministry of Finance/Department of Disinvestment (to be nominated by the Ministry of Finance).
Joint Secretary and F.A. of the Department of Posts.
Chief General Manager, PLI Directorate.
Consulting Actuary for PLI & RPLI.
Chief Investment Officer as Convenor Member.
Investment Division is located at Mumbai. The Investment Division is headed by Chief Investment Officer (CIO), supported by Four Directors (JAG level officer), one each for Accounts and Treasury, MIS, Debt and Equity and the support staff.


text:
10 questions with Kevin Kent: From Navy SEALs to Jack Ryan
Joel Searls
Published December 04, 2021 06:53:29
Kevin Kent is one of the most experienced and trusted military advisors in Hollywood. With over 20 years as a U.S. Navy SEAL, specializing in evasive driving, air operations, diving, & weapons handling/ instruction, while traveling to hundreds of countries, he definitely has the experience to back it up. He currently works as a director, producer, actor, stuntman, personal security specialist, weapon's instructor, and a Military/ Police & Technical Advisor in the film industry, as part of Global Studies Group International. WATM sat down with Kent to learn more about his background, his experience in the Navy and how it all translates to the big screen.
Photo credit KK.
Can you share about your family and your life growing up?
I am the youngest of three boys. My father was a 22-year Army veteran and served in Vietnam. I was born in Greece and my brothers were born at various spots around the globe. My mom is a nurse and I had a disciplined childhood. My father retired from the Army when I was about five years old and we moved back to northwest Tennessee in the late 70s where my parents had grown up. My parents were very goal-oriented people and that education was important. We were driven to do our best and learn something. My grandparents had a farm where I grew up hauling hay and cutting tobacco, so it was hard work. I played baseball and football growing up. I am an Eagle Scout and was heavily involved in scouting. Both of my brothers are Eagle Scouts. We camped a lot and spent much time outdoors.
Accountability was a key family value that was stressed. Being in the military reinforced some of those values taught as a kid. Holding yourself and others around you accountable. Don't succumb to peer pressure. If you screw up, own it. Write down goals and set out a path. You never think your parents are as smart as they actually are until you grow up.
What made you want to become a SEAL and what was your experience like?
I did not want to go to college while in high school where I was more hands on and desired to build something or travel. I couldn't see myself sitting in a classroom. I was given guidance but come from a small town where a lot of the industry had dried up. The town went from 20,000 people living there to about 10,000 because of the industry drying up. The military was the best thing for me and my father gave me the advice to join the Navy instead of the Army for EOD school. He shared that the Navy owns the school and will get dive training out of it. The Navy is a better fit for who I was. I didn't care for the Navy uniforms at the time, Cracker Jack guy. My mom was happy about me joining the Navy. My oldest brother was in the Army as well. You couldn't be an EOD tech until you were an E-5, so it was a long road. You couldn't get orders to the school until you were an E-5. The EOD school is technically hard, similar to Navy Nuke school.
Before leaving for bootcamp I was informed about the SEAL program. I had some knowledge of the program and knew it was going to be tough. I joined the Navy a few months after high school and went into a dive program to train for BUD/S. All of the guys in the program were in my bootcamp company. I went to bootcamp in Orlando, FL. You had to pass your first Physical Screening Test with a certain score and times for the program. You had to pick a source rating (Navy Fleet MOS) if you washed out of BUD/S. I ended up with Gunner's Mate and had to do a six-month long course. I reported to Great Lakes, MI and was part of a galley detail to prepare food for the rest of the base, so my class didn't start up for another two months. That was my first taste of the military's "hurry up and wait."
After graduating A school, BUD/S was backed up so the Navy was sending candidates to dive commands. It was so weird because I ended up at the EOD school in Indian Head, MD which is the same one my dad went through. I spent six months at the command getting ready for BUD/S. I went to BUD/S in 1994 and graduated in 1995 where I was sent to SEAL Team Five in 1995. I went to Jump School on my way to my unit. I made E-4 right before "Hell Week" and checked into SEAL Team Five with nothing much going on. I was assigned to SEAL Tactical Training upon arriving at my unit. It used to be where each team would run its own STT training that tailored it to the unit's missions. SEAL Team Five used to be a colder weather unit.
I did nine deployments overall and was initially with SEAL Team Five for ten years. At the time there were SEALs that had been with one team for twenty years. My first deployment I ended up in the Persian Gulf after Desert Storm. In that deployment we were involved in recon and ship boarding in the region. My first deployment into Iraq in 2003 was eye opening to see how people can be oppressed, especially women by the Baath party. We were digging up mass graves in countries where people were getting closure on their lost relatives. It is insurmountable with forensic people laying out countless human bones on mats to where Iraqis are waiting to see if their family member(s) are among the bones. We took over a dam in the early part of the invasion that was in the eastern part of Iraq. The dam was near Tikrit and further east. We had dune buggies to traverse around the areas. We had a lot of helicopter supporters and two C-130s on station for support. Once we got on the ground, we secured the dam.
The next day we were driving around scouting everything where there was a village close to the dam. It was amazing seeing some of the kids where they were blonde haired and blue-eyed Persians. It was like something out of Alexander the Great and being from another time. We found a lot of anti-aircraft guns loaded close to the dam that were unmanned. If someone had been on one of these guns when we came in via helicopter we would have been shot out of the sky. We turned over the dam to a Marine Corps unit later on. The Iraqi people in the village welcomed us with open arms. People from the village also showed up to the dam for work where we had to turn them away.
Kent on being secured from "Hell Week" at BUD/S class 198. Photo credit KK.
What are you most proud of from your service in the Navy?
I'm most proud of the group of men that I was able to stand side by side with and do great things for oppressed people in the world, such as those in Iraq and other places in the world. I believe that this Country is the greatest in the world and having our presence in many places brings hope to those individuals who might never have any type of freedom or individual rights. I've stood at the edge of mass gravesites, while looking mothers, fathers, sons and daughters in their eyes, as they hoped that the large excavating machine would reveal whether or not these people's loved ones were buried there many decades prior to our occupation of their home. Just so they could get closure.
Kent during his time as a SEAL. Photo credit KK.
What values have you carried over from the Navy into Hollywood?
Harry Humphries has been my mentor and has trained me well. I have brought over "Train like you fight" from my service, especially when instructing the technical part of the role. I cut my teeth on "The Last Ship" for five seasons with Harry, which was a constant cycle of work. Actors would come to pitch me ideas on the show of what to do tactically, where it added a lot of realism to the show. Credibility is key and we want to make sure the actors are training and doing rehearsals. The camaraderie aspect of the work I do is great. We had a tight knit group in the most recent season of "Jack Ryan." For season two of the show I was in Columbia by myself as an adviser. We got so close working together down in Columbia it kind of felt like I was in a platoon again. The actors want to remain authentic as military-types and they want to do a good job.
Kent on his retirement day from the SEALs. Photo credit KK.
Kent at his retirement ceremony. Photo credit KK.
What was one of the toughest lessons to learn coming from the service to Hollywood?
One of the better lessons learned was in Season Two of "The Last Ship" where I was working with Keith Woulard where he sees me talking with some actors. As a note, my last two years in the military I was a BUD/S instructor as a third phase weapons chief, so I could be intense. Keith comes up to me and asks, "What am I doing?" He gives me tips such as tell the actors they are doing something right first and then telling them where they are messing up. So, I may have been a little hard on them where they are actors and not SEALs.
"The Last Ship" 2018 (L>R Bridget Regan, Eric Dane, Kevin Kent)
Kent with Mike Moriarty and Harry Humphries. Photo credit IMDB.com.
What was it like working on projects such as Twelve Strong, Bumblebee, 13 Hours, Kong: Skull Island, Tom Clancy's Jack Ryan, The Last Ship, Da 5 Bloods and the like?
All of the directors on those projects were professional where I would work with them again if the opportunity arose. Each project offered a different challenge as shared with "Jack Ryan." 13 Hours with Michael Bay was great where he was such a huge influence on me. Bay puts us in a place to succeed where he wants military guys a part of the production and in the cast. 13 Hours set me up for success on "Jack Ryan" with John Krasinski where John wants to make everything look better. Twelve Strong was my first opportunity working with Jerry Bruckheimer where it was eye opening. Bruckheimer is a machine when it comes to producing. Bruckheimer and Ian Bryce were just phenomenal to work with.
We were surprised when we went to Thailand to work with Spike Lee for Da 5 Bloods. Lee is so organized and knows exactly what he wants. Lee was okay with me training the actors every day where on other productions that would not fly. The stunt guys were getting so many repetitions where it definitely showed in the finished product. He knows everybody's job on set to where after a take he would ask me what we thought about a take. He would encourage me to go give people notes if needed. Lee filmed the flashback sequences on 16mm film, which was the first time we have ever seen film on a set before.
Filming on Transformers 4 (2014) in Detroit (L>R, Titus Welliver, Kevin Kent, Michael Bay, Andrew Arrabito, Kenny Sheard).
Kent on set with the cast of 12 Strong. Photo credit IMDB.com.
12 Strong 2018 (L>R David H. Venghaus Jr, Kevin Kent, Chris Hemsworth)
13 Hours 2016 (L>R David Furr, Demetrius Grosse, Kevin Kent, Mike Moriarty, David Giuntoli)
Kent on set with the cast of 13 Hours. Photo credit IMDB.com.
Season 1 of "Jack Ryan" in Morocco (2017)
(Kneeling L>R Wendell Pierce, John Hoogenakker, Joost Janssen)
(Standing L>R Ron Culpepper, Geoff Reeves, Mike Moriarty, John Krasinski, Kevin Kent, Todd Sharbutt, Christian Stewart, Scott Foxx)
Season 2 of "Jack Ryan" in Colombia (Kevin Kent as Savage)
On set with Jeff Ward (stunt coordinator), Humphries, Kent and stunt team members of Da 5 Bloods. Photo credit KK.
What leadership lessons in life and from the SEALs have helped you most in your career?
Praise in public and chastise in private. Always take responsibility as a leader. It's easy to be the leader when things are going great, but when Michael Bay comes and says, "What are you doing?", it is not always that easy. My deployments have given me life perspective and patience in tough situations. I recognize where we are at and what needs done, I stay calm in the intense moments on set.
As a service, how do we get more veteran stories told in the Hollywood arena?
I feel like most individuals coming from the military are extremely humble about their service and aren't inclined to tell "war stories" to people they don't know. In many ways, those actions and stories are sacred to the brothers-in-arms that lived those tales, and many guys feel vulnerable to be judged by others who perhaps didn't live through those specific interactions or battles. However, if there was a way to get some of these high influence personal, such as Medal of Honor recipients to open up about their specific challenges and victories downrange, while either leading or being led by phenomenal service members, it might lead more people to open up and tell their stories. Even getting these stories on a podcast with guys like Jocko Willink, who has a great platform and could lead to potential books being written or interest in films made about these phenomenal individuals. Obviously, it would take someone with some clout in the industry, like a Bruckheimer or Bryce to develop these stories into something meaningful for the screen. Tom Hanks has done great things with his production team for projects such as "Band of Brothers", "The Pacific", and Saving Private Ryan to name a few. I would love to take on a military project as part of a proven team like that and I'm sure the Harry Humphries story needs to be told!
Navy SEALs vs. Zombies (2015)
What would you like to do next in your career?
I want to get into writing, producing and second unit directing. I started the Digital Cinematography program at Full Sail University. It has got me out of my comfort zone and has helped hone my technical skills, especially with editing in Premiere Pro. Harry and his wife Catherine have been very supportive of my education. I really want to stress how great she & Harry have been in bringing me into this industry. I filmed a couple of documentaries and my kids are into acting right now. It would be great to work with fellow veterans as well. One of the things that pushed me in this direction was having worked on "Jack Ryan" where I worked with Dennie Gordon, she did season two of the show. She is phenomenal at her craft and is a great person. We have kept in contact with each other since our time on "Jack Ryan." She would let me set up and block shots for the series. It pushed me to get my stuff together and learn about the craft. I can now talk to the director and the cinematographer about the shots in a technical manner.
I was humbled to meet Patricia Riggen as well on "Jack Ryan" where her and her husband Checco Varese who is a cinematographer. There was a mutual feeling of respect between Patricia and Check where I learned as much from them as they did me. They both pulled me aside and told me how much they want to work with me again and the feeling was the same from me as well. It has been amazing where I am grateful in having people like them and more take time with me and mentor me. It has been great working with so many high-level people.
Kent with his twin boys. Photo credit KK.
What are you most proud of in life and your career?
The fact that I was able to hold my family together. I have been married now for 18 years, I have twin boys that are 15 and a daughter that is 11. I am grateful to be able to teach and mold them into the productive members of society I want them to be. Being deployed so much kept me away where my wife is a saint. She puts up with me being gone all the time and is the glue that holds everything together.
One of my son's has expressed interest in joining the service when he is old enough. My sons were introduced to acting when they were young by my wife since they are twins. They played Bill Paxton's son for five seasons on the HBO show "Big Love", which put me on set to be with them. They did the last two seasons of "Weeds" as the son of Mary Louise Parker. The boys were nominated separately for the same award for the Imagen foundation (https://www.imagen.org/) which is for Hispanics in Entertainment. They did a show called "Room 104" where they were nominated for best young actor award for TV. It is crazy when one of my sons says, "I don't know dad it might be cool to be a Navy SEAL." I told them, "They are on a gravy train with biscuit wheels right now, you guys need to stay on this whole acting gig."
Mrs. Kent with Gavin and Ethan at the Imagen Awards Ceremony. Photo credit KK.
Kent with his wife and family. Photo credit KK.
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redpajama_set_name: RedPajamaCommonCrawl


text:
layout: post
title: "Pharo by Example 11"
description: ""
category: smalltalk
tags: [smalltalk, book]
---

## Morphic
---

Morphic is the name given to Pharo's graphical interface. Morphic is written in Smalltalk, so it is fully portable between operating systems; as a consequence, Pharo looks exactly the same on Unix, MacOS and Windows. What distinguishes Morphic from most other user interface toolkits is that it does not have separate modes for "composing" and "running" the interface: all the graphical elements can be assembled and disassembled by the user, at any time.

### The history of Morphic
---

![Figure 11.1](/assets/img/smalltalk/Figure 11.1.png)

Detaching a morph, here the Workspace menu item, to make it an independent button.

> To create a morph to represent a string object, execute the following code in a workspace.

`'Morph' asMorph openInWorld`

*Open a browser on the Color class and add the following method to it:*

Getting a morph for an instance of Color.

{% highlight smalltalk %}
Color >>
asMorph
    ^ Morph new color: self
{% endhighlight %}

Now execute `Color orange asMorph openInWorld` in a workspace. Instead of the string-like morph, you get an orange rectangle!

### Manipulating morphs
---

Every morph, even if it is not currently open on the screen, has a position and a size. For convenience, all morphs are considered to occupy a rectangular region of the screen; if they are irregularly shaped, their position and size are those of the smallest rectangular "box" that surrounds them, which is known as the morph's bounding box, or just its "bounds". The position method returns a Point that describes the location of the morph's upper left corner (or the upper left corner of its bounding box). The origin of the coordinate system is the screen's upper left corner, with y coordinates increasing down the screen and x coordinates increasing to the right. The extent method also returns a point, but this point specifies the width and height of the morph rather than a location.

> Type the following code into a workspace and `do it`:

{% highlight smalltalk %}
joe := Morph new color: Color blue.
joe openInWorld.
bill := Morph new color: Color red .
bill openInWorld.
{% endhighlight %}

Then type joe position and `print it`  . To move joe, execute joe position: (joe position + (10@3)) repeatedly.

> *To make bill follow joe, you can repeatedly execute this code:*

`bill position: (joe position + (100@0))`

### Composing morphs
---

One way of creating new graphical representations is by placing one morph inside another. This is called composition; morphs can be composed to any depth. You can place a morph inside another by sending the message addMorph: to the container morph.

> Try adding a morph to another one:

{% highlight smalltalk %}
star := StarMorph new color: Color yellow.
joe := Morph new color: Color blue.
joe addMorph: star.
star position: joe position.
joe openInWorld .
star openInWorld.
{% endhighlight %}

The last line positions the star at the same coordinates as joe. Notice that the coordinates of the contained morph are still relative to the screen, not to the containing morph. There are many methods available to position a morph; browse the *geometry* protocol of class Morph to see for yourself. For example, to center the star inside joe, execute star center: joe center.

![Figure 11.2](/assets/img/smalltalk/Figure 11.2.png)

The star is contained inside joe, the translucent blue morph.

### Creating and drawing your own morphs
---

While it is possible to make many interesting and useful graphical representations by composing morphs, sometimes you will need to create something completely different. To do this you define a subclass of Morph and override the drawOn: method to change its appearance.

The morphic framework sends the message drawOn: to a morph when it needs to redisplay the morph on the screen. The parameter to drawOn: is a kind of Canvas; the expected behaviour is that the morph will draw itself on that canvas, inside its bounds. Let's use this knowledge to create a cross-shaped morph.

> *Using the browser, define a new class CrossMorph inheriting from Morph:*

*Defining CrossMorph*

{% highlight smalltalk %}
Morph subclass: #CrossMorph
    instanceVariableNames: ''
    classVariableNames: ''
    poolDictionaries: ''
    category: 'PBE−Morphic'
{% endhighlight %}

We can define the drawOn: method like this:

*Drawing a CrossMorph.*

{% highlight smalltalk %}
drawOn: aCanvas
    | crossHeight crossWidth horizontalBar verticalBar |
    crossHeight := self height / 3.0 .
    crossWidth := self width / 3.0 .
    horizontalBar := self bounds insetBy: 0 @ crossHeight.
    verticalBar := self bounds insetBy: crossWidth @ 0.
    aCanvas fillRectangle: horizontalBar color: self color.
    aCanvas fillRectangle: verticalBar color: self color
{% endhighlight %}

![Figure 11.3](/assets/img/smalltalk/Figure 11.3.png)

A CrossMorph with its halo; you can resize it as you wish.

Sending the bounds message to a morph answers its bounding box, which is an instance of Rectangle. Rectangles understand many messages that create other rectangles of related geometry; here we use the insetBy: message with a point as its argument to create first a rectangle with reduced height, and then another rectangle with reduced width.

> To test your new morph, execute *CrossMorph new openInWorld*.

> Define the following method in class CrossMorph:

*Shaping the sensitive zone of the CrossMorph.*

{% highlight smalltalk %}
containsPoint: aPoint
    | crossHeight crossWidth horizontalBar verticalBar |
    crossHeight := self height / 3.0.
    crossWidth := self width / 3.0.
    horizontalBar := self bounds insetBy: 0 @ crossHeight.
    verticalBar := self bounds insetBy: crossWidth @ 0.
    ^ (horizontalBar containsPoint: aPoint)
        or: [verticalBar containsPoint: aPoint]
{% endhighlight %}

*horizontalBar.*

{% highlight smalltalk %}
horizontalBar
    | crossHeight |
    crossHeight := self height / 3.0.
    ^ self bounds insetBy: 0 @ crossHeight
{% endhighlight %}

*verticalBar.*

{% highlight smalltalk %}
verticalBar
    | crossWidth |
    crossWidth := self width / 3.0.
    ^ self bounds insetBy: crossWidth @ 0
{% endhighlight %}

We can then define both drawOn: and containsPoint: using these methods:

*Refactored CrossMorph >> drawOn:.*

{% highlight smalltalk %}
drawOn: aCanvas
    aCanvas fillRectangle: self horizontalBar color: self color.
    aCanvas fillRectangle: self verticalBar color: self color
{% endhighlight %}

*Refactored CrossMorph >> containsPoint:.*

{% highlight smalltalk %}
containsPoint: aPoint
    ^ (self horizontalBar containsPoint: aPoint)
        or: [self verticalBar containsPoint: aPoint]
{% endhighlight %}

{% highlight smalltalk %}
m := CrossMorph new bounds: (0@0 corner: 300@300).
m openInWorld.
m color: (Color blue alpha: 0.3).
{% endhighlight %}

![Figure 11.4](/assets/img/smalltalk/Figure 11.4.png)

The center of the cross is filled twice with the colour.

![Figure 11.5](/assets/img/smalltalk/Figure 11.5.png)

The cross-shaped morph, showing a row of unfilled pixels.

The revised drawOn: method, which fills the center of the cross once.

{% highlight smalltalk %}
drawOn: aCanvas
    | topAndBottom |
    aCanvas fillRectangle: self horizontalBar color: self color.
    topAndBottom := self verticalBar areasOutside: self horizontalBar.
    topAndBottom do: [ :each | aCanvas fillRectangle: each color: self color]
{% endhighlight %}

*CrossMorph»horizontalBar with explicit rounding.*

{% highlight smalltalk %}
horizontalBar
    | crossHeight |
    crossHeight := (self height / 3.0) rounded.
    ^ self bounds insetBy: 0 @ crossHeight
{% endhighlight %}

*CrossMorph»verticalBar with explicit rounding.*

{% highlight smalltalk %}
verticalBar
    | crossWidth |
    crossWidth := (self width / 3.0) rounded.
    ^ self bounds insetBy: crossWidth @ 0
{% endhighlight %}

### Interaction and animation
---

To build live user-interfaces using morphs, we need to be able to interact with them using the mouse and the keyboard. Moreover, the morphs need to be able respond to user input by changing their appearance and position — that is, by animating themselves.

#### Mouse events

When a mouse button is pressed, Morphic sends each morph under the mouse pointer the message handlesMouseDown:. If a morph answers true, then Morphic immediately sends it the mouseDown: message; it also sends the mouseUp: message when the user releases the mouse button. If all morphs answer false, then Morphic initiates a drag-and-drop operation. As we will discuss below, the mouseDown: and mouseUp: messages are sent with an argument — a MouseEvent object — that encodes the details of the mouse action.

Let's extend CrossMorph to handle mouse events. We start by ensuring that all crossMorphs answer true to the handlesMouseDown: message.

> Add this method to CrossMorph:

*Declaring that CrossMorph will react to mouse clicks.*

{% highlight smalltalk %}
CrossMorph >>
handlesMouseDown: anEvent
    ^ true
{% endhighlight %}

Suppose that when we click on the cross, we want to change the color of the cross to red, and when we action-click on it, we want to change the color to yellow.

*Reacting to mouse clicks by changing the morph's color.*

{% highlight smalltalk %}
CrossMorph >>
mouseDown: anEvent
    anEvent redButtonPressed "click"
        ifTrue: [self color: Color red].
    anEvent yellowButtonPressed "action−click"
        ifTrue: [self color: Color yellow].
    self changed
{% endhighlight %}

Notice that in addition to changing the color of the morph, this method also sends self changed. This makes sure that morphic sends drawOn: in a timely fashion. Notealsothatoncethemorphhandlesmouseevents,youcanno longer grab it with the mouse and move it. Instead you have to use the halo: meta-click on the morph to make the halo appear and grab either the brown move handle `fullscreen` or the black pickup handle `home` at the top of the morph.

The anEvent argument of mouseDown: is an instance of MouseEvent, which is a subclass of MorphicEvent. MouseEvent defines the redButtonPressed and yellowButtonPressed methods. Browse this class to see what other methods it provides to interrogate the mouse event.

#### Keyboard events

To catch keyboard events, we need to take three steps.

1. Give the "keyboard focus" to a specific morph: for instance we can give focus to our morph when the mouse is over it.
2. Handle the keyboard event itself with the handleKeystroke: method: this message is sent to the morph that has keyboard focus when the user presses a key.
3. Release the keyboard focus when the mouse is no longer over our morph.

Let's extend CrossMorph so that it reacts to keystrokes. First, we need to arrange to be notified when the mouse is over the morph. This will happen if our morph answers true to the handlesMouseOver: message

> Declare that CrossMorph will react when it is under the mouse pointer.

*We want to handle "mouse over" events.*

{% highlight smalltalk %}
CrossMorph >>
handlesMouseOver: anEvent
    ^ true
{% endhighlight %}

This message is the equivalent of handlesMouseDown: for the mouse position. When the mouse pointer enters or leaves the morph, the mouseEnter: and mouseLeave: messages are sent to it.

> Define two methods so that CrossMorph catches and releases the keyboard focus, and a third method to actually handle the keystrokes.

*Getting the keyboard focus when the mouse enters the morph.*

{% highlight smalltalk %}
CrossMorph >>
mouseEnter: anEvent
    anEvent hand newKeyboardFocus: self
{% endhighlight %}

*Handing back the focus when the pointer goes away.*

{% highlight smalltalk %}
CrossMorph >>
mouseLeave: anEvent
    anEvent hand newKeyboardFocus: nil
{% endhighlight %}

*Receiving and handling keyboard events.*

{% highlight smalltalk %}
CrossMorph >>
handleKeystroke: anEvent
    | keyValue |
    keyValue := anEvent keyValue.
    keyValue = 30 "up arrow"
        ifTrue: [self position: self position - (0 @ 1)].
    keyValue = 31 "down arrow"
        ifTrue: [self position: self position + (0 @ 1)].
    keyValue = 29 "right arrow"
        ifTrue: [self position: self position + (1 @ 0)].
    keyValue = 28 "left arrow"
        ifTrue: [self position: self position - (1 @ 0)]
{% endhighlight %}

We have written this method so that you can move the morph using the arrow keys. Note that when the mouse is no longer over the morph, the handleKeystroke: message is not sent, so the morph stops responding to keyboard commands. To discover the key values, you can open a Transcript window and add Transcript show: anEvent keyValue to method 11.17. The anEvent argument of handleKeystroke: is an instance of KeyboardEvent, another subclass of MorphicEvent. Browse this class to learn more about keyboard events.

#### Morphic animations

Morphic provides a simple animation system with two main methods: step is sent to a morph at regular intervals of time, while stepTime specifies the time in milliseconds between steps. In addition, startStepping turns on the stepping mechanism, while stopStepping turns it off again; isStepping can be used to find out whether a morph is currently being stepped.

> Make CrossMorph blink by defining these methods as follows:

*Defining the animation time interval.*

{% highlight smalltalk %}
CrossMorph >>
stepTime
    ^ 100
{% endhighlight %}

*Making a step in the animation.*

{% highlight smalltalk %}
CrossMorph >>
step
    (self color diff: Color black) < 0.1
        ifTrue: [self color: Color red]
        ifFalse: [self color: self color darker]
{% endhighlight %}

To start things off, you can open an inspector on a CrossMorph (using the debug handle `settings` in the morphic halo), type self startStepping in the small workspace pane at the bottom, and do it . Alternatively, you can modify the handleKeystroke: method so that you can use the + and - keys to start and stop stepping.

{% highlight smalltalk %}
handleKeystroke: anEvent
    | keyValue |
    keyValue := anEvent keyValue.
    keyValue = 30 "up arrow"
        ifTrue: [self position: self position - (0 @ 1)].
    keyValue = 31 "down arrow"
        ifTrue: [self position: self position + (0 @ 1)].
    keyValue = 29 "right arrow"
        ifTrue: [self position: self position + (1 @ 0)].
    keyValue = 28 "left arrow"
        ifTrue: [self position: self position - (1 @ 0)].
    keyValue = $+ asciiValue ifTrue: [self startStepping].
    keyValue = $- asciiValue ifTrue: [self stopStepping].
{% endhighlight %}

### Interactors
---

To prompt the user for input, the UIManager class provides a large number of ready-to-use dialog boxes. For instance, the request:initialAnswer: method returns the string entered by the user.

{% highlight smalltalk %}
UIManager default request: 'What''s your name?' initialAnswer: 'no name'
{% endhighlight %}

![Figure 11.6](/assets/img/smalltalk/Figure 11.6.png)

An input dialog.

To display a popup menu, use one of the various chooseFrom: methods

{% highlight smalltalk %}
UIManager default
chooseFrom: #('circle' 'oval' 'square' 'rectangle' 'triangle') lines: #(2 4) message: 'Choose a shape'
{% endhighlight %}

![Figure 11.7](/assets/img/smalltalk/Figure 11.7.png)

Pop-up menu.

### Drag-and-drop
---

Morphic also supports drag-and-drop. Let's examine a simple example with two morphs, a receiver morph and a dropped morph. The receiver will accept a morph only if the dropped morph matches a given condition: in our example, the morph should be blue. If it is rejected, the dropped morph decides what to do.

> Let's first define the receiver morph:

*Defining a morph on which we can drop other morphs*

{% highlight smalltalk %}
Morph subclass: #ReceiverMorph
    instanceVariableNames: ''
    classVariableNames: ''
    poolDictionaries: ''
    category: 'PBE−Morphic'
{% endhighlight %}

> Now define the initialization method in the usual way:

*Initializing ReceiverMorph.*

{% highlight smalltalk %}
ReceiverMorph >>
initialize
    super initialize.
    color := Color red.
    bounds := 0 @ 0 extent: 200 @ 200
{% endhighlight %}

How do we decide if the receiver morph will accept or repel the dropped morph? In general, both of the morphs will have to agree to the interaction. The receiver does this by responding to wantsDroppedMorph:event:; the first argument is the dropped morph, and the second the mouse event, so that the receiver can, for example, see if any modifier keys were held down at the time of the drop. The dropped morph is also given the opportunity to check and see if it likes the morph onto which it is being dropped; it is sent the message wantsToBeDroppedInto:. The default implementation of this method (in class Morph) answers true.

*Accept dropped morphs based on their color.*

{% highlight smalltalk %}
ReceiverMorph >>
wantsDroppedMorph: aMorph event: anEvent
    ^ aMorph color = Color blue
{% endhighlight %}

What happens to the dropped morph if the receiving morph doesn't want it? The default behaviour is for it to do nothing, that is, to sit on top of the receiving morph, but without interacting with it. A more intuitive behavior is for the dropped morph to go back to its original position. This can be achieved by the receiver answering true to the message repelsMorph:event: when it doesn't want the dropped morph:

*Changing the behaviour of the dropped morph when it is rejected.*

{% highlight smalltalk %}
ReceiverMorph >>
repelsMorph: aMorph event: ev
    ^ (self wantsDroppedMorph: aMorph event: ev) not
{% endhighlight %}

That's all we need as far as the receiver is concerned.

> Create instances of ReceiverMorph and EllipseMorph in a workspace:

{% highlight smalltalk %}
ReceiverMorph new openInWorld.
EllipseMorph new openInWorld.
{% endhighlight %}

Try to drag-and-drop the yellow EllipseMorph onto the receiver. It will be rejected and sent back to its initial position.

> To change this behaviour, change the color of the ellipse morph to Color blue using an inspector. Blue morphs should be accepted by the ReceiverMorph.

Let's create a specific subclass of Morph, named DroppedMorph, so we can experiment a bit more:

*Defining a morph we can drag-and-drop onto ReceiverMorph*

{% highlight smalltalk %}
Morph subclass: #DroppedMorph
    instanceVariableNames: ''
    classVariableNames: '' poolDictionaries: ''
    category: 'PBE−Morphic'
{% endhighlight %}

*Initializing DroppedMorph.*

{% highlight smalltalk %}
DroppedMorph >>
initialize
    super initialize.
    color := Color blue.
    self position: 250@100
{% endhighlight %}

Now we can specify what the dropped morph should do when it is rejected by the receiver; here it will stay attached to the mouse pointer:

*Reacting when the morph was dropped but rejected.*

{% highlight smalltalk %}
DroppedMorph >>
rejectDropMorphEvent: anEvent
    |h|
    h := anEvent hand.
    WorldState addDeferredUIMessage: [h grabMorph: self].
    anEvent wasHandled: true
{% endhighlight %}

Sending the hand message to an event answers the hand, an instance of HandMorph that represents the mouse pointer and whatever it holds. Here we tell the World that the hand should grab self, the rejected morph.

> Create two instances of DroppedMorph, and then drag-and-drop them onto the receiver.

{% highlight smalltalk %}
ReceiverMorph new openInWorld.
(DroppedMorph new color: Color blue) openInWorld.
(DroppedMorph new color: Color green) openInWorld.
{% endhighlight %}

The green morph is rejected and therefore stays attached to the mouse pointer.

### A complete example
---

Let's design a morph to roll a die. Clicking on it will display the values of all sides of the die in a quick loop, and another click will stop the animation.

![Figure 11.8](/assets/img/smalltalk/Figure 11.8.png)

The die in Morphic.

> Define the die as a subclass of BorderedMorph instead of Morph, because we will make use of the border.

*Defining the die morph*

{% highlight smalltalk %}
BorderedMorph subclass: #DieMorph
    instanceVariableNames: 'faces dieValue isStopped'
    classVariableNames: ''
    poolDictionaries: ''
    category: 'PBE−Morphic'
{% endhighlight %}

The instance variable faces records the number of faces on the die; we allow dice with up to 9 faces! dieValue records the value of the face that is currently displayed, and isStopped is true if the die animation has stopped running. To create a die instance, we define the faces: n method on the class side of DieMorph to create a new die with n faces.

*Creating a new die with the number of faces we like.*

{% highlight smalltalk %}
DieMorph class >>
faces: aNumber
    ^ self new faces: aNumber
{% endhighlight %}

The initialize method is defined on the instance side in the usual way;
remember that new sends initialize to the newly-created instance.

*Initializing instances of DieMorph.*

{% highlight smalltalk %}
DieMorph >>
initialize
    super initialize.
    self extent: 50 @ 50.
    self useGradientFill;
        borderWidth: 2;
        useRoundedCorners.
    self setBorderStyle: #complexRaised.
    self fillStyle direction: self extent.
    self color: Color green.
    dieValue := 1.
    faces := 6.
    isStopped := false
{% endhighlight %}

We use a few methods of BorderedMorph to give a nice appearance to the die: a thick border with a raised effect, rounded corners, and a color gradient on the visible face. We define the instance method faces: to check for a valid parameter as follows:

*Setting the number of faces of the die.*

{% highlight smalltalk %}
DieMorph >>
faces: aNumber
    "Set the number of faces"
    (aNumber isInteger
        and: [aNumber > 0]
        and: [aNumber <= 9])
    ifTrue: [faces := aNumber]
{% endhighlight %}

It may be good to review the order in which the messages are sent when a die is created. For instance, if we start by evaluating DieMorph faces: 9:

1. The class method DieMorph class»faces: sends new to DieMorph class.
2. The method for new (inherited by DieMorph class from Behavior) creates
the new instance and sends it the initialize message.
3. The initialize method in DieMorph sets faces to an initial value of 6.
4. DieMorph class»new returns to the class method DieMorph class»faces:, which then sends the message faces: 9 to the new instance.
5. The instance method DieMorph»faces: now executes, setting the faces instance variable to 9.

Before defining drawOn:, we need a few methods to place the dots on the displayed face:

*Nine methods for placing points on the faces of the die.*

{% highlight smalltalk %}
DieMorph >>
face1
    ^ {0.75@0.75}

DieMorph >>
face2
    ^ {0.75@0.75 . 0.5@0.5}

DieMorph >>
face3
    ^ {0.75@0.25 . 0.75@0.75 . 0.25@0.75}

DieMorph >>
face4
    ^ {0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.5@0.5}

DieMorph >>
face5
    ^ {0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.25@0.5 . 0.75@0.5}

DieMorph >>
face6
    ^ {0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.25@0.5 . 0.75@0.5 . 0.5@0.5}

DieMorph >>
face7
    ^ {0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.25@0.5 . 0.75@0.5 . 0.5@0.5 . 0.5@0.25}

DieMorph >>
face8
    ^ {0.25@0.25 . 0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.25@0.5 . 0.75@0.5 . 0.5@0.5 . 0.5@0.25}

DieMorph >>
face9
    ^ {0.25@0.25 . 0.75@0.25 . 0.75@0.75 . 0.25@0.75 . 0.25@0.5 . 0.75@0.5 . 0.5@0.5 . 0.5@0.25 . 0.5@0.75}
{% endhighlight %}

These methods define collections of the coordinates of dots for each face. The coordinates are in a square of size 1 ◊ 1; we will simply need to scale them to place the actual dots.

The drawOn: method does two things: it draws the die background with the super-send, and then draws the dots.

*Drawing the die morph.*

{% highlight smalltalk %}
DieMorph >>
drawOn: aCanvas
    super drawOn: aCanvas.
    (self perform: ('face' , dieValue asString) asSymbol)
        do: [:aPoint | self drawDotOn: aCanvas at: aPoint]
{% endhighlight %}

The second part of this method uses the reflective capacities of Smalltalk. Drawing the dots of a face is a simple matter of iterating over the collection given by the faceX method for that face, sending the drawDotOn:at: message for each coordinate. To call the correct faceX method, we use the perform: method which sends a message built from a string, here ('face', dieValue asString) asSymbol. You will encounter this use of perform: quite regularly.

*Drawing a single dot on a face.*

{% highlight smalltalk %}
DieMorph >>
drawDotOn: aCanvas at: aPoint aCanvas
    fillOval: (Rectangle
        center: self position + (self extent * aPoint)
        extent: self extent / 6)
    color: Color black
{% endhighlight %}

Since the coordinates are normalized to the [0:1] interval, we scale them to the dimensions of our die: self extent * aPoint.

> We can already create a die instance from a workspace:

{% highlight smalltalk %}
(DieMorph new faces: 6) openInWorld.
{% endhighlight %}

To change the displayed face, we create an accessor that we can use as myDie dieValue: 4:

*Setting the current value of the die.*

{% highlight smalltalk %}
DieMorph >>
dieValue: aNumber
    (aNumber isInteger
        and: [aNumber > 0]
        and: [aNumber <= faces])
    ifTrue:
        [dieValue := aNumber.
        self changed]
{% endhighlight %}

Now we will use the animation system to show quickly all the faces:

*Animating the die.*

{% highlight smalltalk %}
DieMorph >>
stepTime
    ^ 100

DieMorph >>
step
    isStopped ifFalse: [self dieValue: (1 to: faces) atRandom]
{% endhighlight %}

Now the die is rolling!

To start or stop the animation by clicking, we will use what we learned previously about mouse events. First, activate the reception of mouse events:

*Handling mouse clicks to start and stop the animation.*

{% highlight smalltalk %}
DieMorph >>
handlesMouseDown: anEvent
    ^ true

DieMorph >>
mouseDown: anEvent
    anEvent redButtonPressed
        ifTrue: [isStopped := isStopped not]
{% endhighlight %}

Now the die will roll or stop rolling when we click on it.

### More about the canvas
---

The drawOn: method has an instance of Canvas as its sole argument; the canvas is the area on which the morph draws itself. By using the graphics methods of the canvas you are free to give the appearance you want to a morph. If you browse the inheritance hierarchy of the Canvas class, you will see that it has several variants. The default variant of Canvas is FormCanvas; you will find the key graphics methods in Canvas and FormCanvas. These methods can draw points, lines, polygons, rectangles, ellipses, text, and images with rotation and scaling.

It is also possible to use other kinds of canvas, to obtain transparent morphs, more graphics methods, antialiasing, and so on. To use these features you will need an AlphaBlendingCanvas or a BalloonCanvas. But how can you obtain such a canvas in a drawOn: method, when drawOn: receives an instance of FormCanvas as its argument? Fortunately, you can transform one kind of canvas into another.

> To use a canvas with a 0.5 alpha-transparency in DieMorph, redefine drawOn: like this:

*Drawing a translucent die.*

{% highlight smalltalk %}
DieMorph >>
drawOn: aCanvas
    | theCanvas |
    theCanvas := aCanvas asAlphaBlendingCanvas: 0.5.
    super drawOn: theCanvas.
    (self perform: ('face' , dieValue asString) asSymbol)
        do: [:aPoint | self drawDotOn: theCanvas at: aPoint]
{% endhighlight %}

That's all you need to do!

![Figure 11.9](/assets/img/smalltalk/Figure 11.9.png)

The die displayed with alpha-transparency.

## Chapter summary
---

Morphic is a graphical framework in which graphical interface elements can be dynamically composed.

* You can convert an object into a morph and display that morph on the screen by sending it the messages asMorph openInWorld.
* You can manipulate a morph by meta-clicking on it and using the handles that appear. (Handles have help balloons that explain what they do.)
* You can compose morphs by embedding one onto another, either by drag and drop or by sending the message addMorph:.
* You can subclass an existing morph class and redefine key methods, like initialize and drawOn:.
* You can control how a morph reacts to mouse and keyboard events by redefining the methods handlesMouseDown:, handlesMouseOver:, etc.
* You can animate a morph by defining the methods step (what to do) and stepTime (the number of milliseconds between steps).
DieMorph»drawOn: aCanvas
* theCanvas |
theCanvas := aCanvas asAlphaBlendingCanvas: 0.5. super drawOn: theCanvas.
(self perform: ('face' , dieValue asString) asSymbol)
do: [:aPoint | self drawDotOn: theCanvas at: aPoint]
* Various pre-defined morphs, like PopUpMenu and FillInTheBlank, are avail- able for interacting with users.

redpajama_set_name: RedPajamaGithub


The war between the city of Boston and Wynn Resorts is officially over, complete with the approval of what the executive director of the Massachusetts Gaming Commission described as a "treaty" between the two parties.
The treaty consisted of an agreement in which the city, Wynn, and the Gaming Commission agreed to drop all legal action against each other and a separate document in which the city acknowledges it is a surrounding community – and not a host community – to the Everett casino.
Although city officials said they welcomed the agreements, they represent a major attitude recalibration for Boston Mayor Marty Walsh. Walsh has vehemently insisted for about a year that Boston is a host community to the casino and that residents of Charlestown should be entitled to vote up or down on whether they want the project located on the city's doorstep.
At times, the war between the city and Wynn became quite heated. For example, the city accused the Gaming Commission of engaging in a "corrupt process" in awarding a casino license to Wynn. The city also accused top executives at Wynn of lying about when they became aware of a felon's hidden interest in the land purchased for the casino. Steve Wynn responded by calling Walsh "irresponsible" and targeting his administration with a libel lawsuit.
But after racking up $2 million in private legal fees on a court case that was dismissed in December by Judge Janet Sanders, Walsh decided to call an end to the war. Walsh and Steve Wynn sat down together late last year at the Parkman House, alone without any aides or lawyers present, and buried the hatchet, leading to the deal that was approved on Thursday by the Gaming Commission. The vote was 3-0, with commission chairman Stephen Crosby away on vacation and new commissioner Lloyd MacDonald abstaining. The commission's executive director, Ed Bedrosian, called the agreements a treaty as opposed to a settlement.
Boston Corporation Counsel Eugene O'Flaherty (left) with Jacque Krum, senior vice president and general counsel for Wynn Everett.
The surrounding community agreement offers face-saving gestures for both sides but doesn't substantively change the original terms imposed by the Gaming Commission after Boston balked at negotiating with Wynn Resorts. The agreement requires Wynn Resorts to give the city an extra $6 million over 15 years and ups the project's target spending amount on Boston vendors from $15 million to $20 million. The deal also provides an attractive sweetener for Wynn, doing away with financial penalties if the Las Vegas developer fails to fully mitigate its traffic impact in Sullivan Square. The penalties could have cost the company $20 million.
Boston Corporation Counsel Eugene O'Flaherty, who led the legal fight against the Wynn casino, sat side-by-side with Wynn's legal counsel during the Gaming Commission hearing and joined Robert DeSalvio, the president of Wynn Resorts Everett, for a press conference afterward.
"From this point forward, Wynn's success is the city of Boston's success and vice versa, and we look forward to our new relationship," O'Flaherty told reporters.
He also promised residents of Charlestown that the traffic tie-ups that currently plague the neighborhood's Sullivan Square – and which the city had insisted would only be exacerbated by a casino – were going to be eradicated. "Gridlock as it exists today is on the way out," O'Flaherty said.
Walsh has backed away from a transportation plan for the area around Sullivan Square that was initially developed by former mayor Thomas Menino, but no new plan has emerged from talks among city, state, and casino officials. Sources say the state is likely to take the lead role in dealing with Sullivan Square.
Pressed on whether the city's lawsuits trying to block the casino were a mistake, O'Flaherty refused to veer off script.
"Our relationship with Mr. Wynn is based on the future, not the past, and I think the agreement and what you see today is reflective of that," he said.
Wynn officials said that, barring any new challenges, they hope to begin construction in May after the first phase of remedial work is completed on the polluted Everett casino site along the Mystic River.
DeSalvio, the Wynn Resorts Everett president, said the hotel-casino should open during the second half of 2018 and expects to hire 4,000 permanent employees. He said the project will generate $660 million a year in economic benefits for the state, including $211 million in annual gaming tax payments.


VANCOUVER, June 8, 2018 /CNW/ - A&W Food Services of Canada Inc. is marking World Oceans Day by eliminating all plastic straws from all restaurants by the end of this year. It will be the first quick service restaurant chain in North America to make this commitment.
"Reducing waste from landfills is a top priority for A&W and this is one big way that we can make a difference," says Susan Senecal, A&W Canada's President and Chief Executive Officer. "We are proud to make this change, which has been driven by the wishes of our guests, franchisees, and staff."
A&W will provide guests with the option of a paper straw. The paper straws are 100% biodegradable, compostable and are sustainably sourced. They last 2-3 hours in a drink without breaking down, but naturally biodegrade in 3-6 months in the environment. This switch to paper will keep 82 million plastic straws out of landfills every year.
"Introducing packaging innovations that reduce waste is key to A&W's environmental strategy," explains Tyler Pronyk, A&W Canada's Director of Distribution, Equipment & Packaging. "By using compostable packaging, real mugs, plates and cutlery, we are diverting millions of single-use packaging from landfills every year."
"Eliminating plastic straws is another big step for us. As we learn more about new tools and sustainable practices, we look forward to more improvements ahead," he adds.


text:
RimRock Press Main
Anchestry.com
Big Bend Book Store
Libit.sulross
Big Bend Radio
Chinati Hot Springs
Circle Dug Ranch
FS Books
Marfa Book Company
Map Quest
Historic Terlingua
Topo Zone
Tsha Online
US Gen Web
Wendy Lynn Wright
Angell Expeditions
Cactus Book Shop
HISTORY AT HEREFORD
LAJITAS CLOSING OF THE CROSSING, WILL THE SAME HAPPEN AT CANDELARIA?
BORDER BARRIERS ON WRONG SIDE
CANDELARIA BRIDGE ARTICLE BY ROSS MCSWAIN
IT IS THE ANTONIO CARRASCO GANG
IPHONE TEXAS HISTORICAL MARKER APP
REMEMBERING THE PORVENIR MASSACRE
OLD RIOT, NEW RANGER: CAPTAIN JACK DEAN, TEXAS RANGER AND U.S. MARSHAL
ARVEL RODOLPHUS PONTON: FATHER OF MEDICINE ON THE TEXAS SOUTH PLAINS
PORVENIR MASSACRE MARKER DEDICATION
PORVENIR MASSACRE AND THE HANDBOOK OF TEXAS
WAR IN EAST TEXAS: REGULATORS VS. MODERATORS
HIGHER EDUCATION IN TEXAS: ITS BEGINNINGS TO 1970
BEN THOMPSON: PORTRAIT OF A GUNFIGHTER
THC PORVENIR MASSACRE HISTORICAL MARKER GOES TO THE FOUNDRY
CAPTAIN JACK HELM: A VICTIM OF TEXAS RECONSTRUCTION VIOLENCE
Administrator (Glenn Justice)
Chad, Sorry for the mix up and thanks for letting us know....
Jeff, I just can't put Sherman and his terroristic...
Jeff, Thanks for the fine comment! Didn't mean to...
Glenn Willeford
Mr. Fain, as Glenn Justice reminds us, more needs to be...
Thank you I will try that and a friend of mine told me that...
Tuesday, August 27, 2013, 04:03 PM
Dear Friends and Members of the West Texas Historical Association (WTHA)
It is not often that we have news that needs to be sent forward by itself owing to its importance. Many of us who love history and are involved in this association and others like it occasionally rue the seemingly diminished awareness of history. However, there is a center of history excellence alive and well in the heartland of West Texas that is incubating and nurturing the love of history in the next generation. Mr. Richard LaMascus a Social Science Teacher at Hereford High School has guided an award winning Special Projects social science program that has exhibited state and national excellence. The WTHA encountered him with his students at a recent Quanah Parker Trail installation where one of them, Matthew Wilhelm, helped organize and raise money for the arrow installation. He is a member of a much larger program that built on the good work of long-time educator and school board member Carolyn Waters.
The current Special Projects program has expanded the horizon of social studies among the high school students in Hereford, Texas. The list of accomplishments are extensive and they include Hereford winning the Texas UIL Team Social Science Championship two of the last four years and one student, Andrew White, took first place this year at State with his Interpretive Web Site--Devils Rope [barbed wire]-- and advanced to the National History Day Competition in College Park Maryland. Mr. LaMascus said that West Texas is a hot-bed for educational excellence, ". . . our region encompassing El Paso to Fort Worth including the entire Texas Panhandle has been the most competitive in the State of Texas."
Congratulations to the students and teachers at Hereford ISD. All of West Texas applauds you. For LaMascus' comments about the Hereford High School Special Projects Social Science program please see the note below.
Best wishes, Tai
Tai Kreidler
West Texas Historical Assn
E. Richard LaMascus
Hereford high School
Social Studies Department Head
UIL Academic Coach
richardlamascus@herefordisd.net
Thank you for your interest in the History program here at Hereford High School. My name is Richard LaMascus and I am starting my 14th year as a Social Studies Teacher at Hereford High School and my second year as the High School's Social Studies Department Head. One of the first people I met upon moving to Hereford is Carolyn Waters. She has been and continues to be a wonderful teacher/mentor, school board member, and supporter of the History programs in and around Deaf Smith County.Reflecting on the photos taken of last year's Special Topic's History group, I truly did not realize how much we participated in and/or accomplished this past school year. Among the places visited and programs participated in include:
•Museum of the Plains – Perryton TX, Lecture and question and answer session with S.C. Gwynne, Author of "Empire of the Summer Moon".
•Presentations to Hereford's Lion's Club twice, and the Quanah Parker Trail committee.
•Touring the Crosby County Museum, Deaf Smith County Museum, Panhandle Plains Museum, Palo Duro Canyon and Blanco Canyon.
•We visited and toured several Texas Forts including: Fort Phantom Canyon in Abilene, Fort Concho in San Angelo, Fort McKavett outside of Menard TX, and the still being excavated Spanish Presidio along the San Saba River.
•We competed in several different area, state, and national contests including: The Daughters of the American Revolution (DAR) Columbus essay writing contest, and in History Day and UIL Academic competitions in Canyon, Lubbock, Abilene, Austin, and College Park Maryland. Andrew White and I also spent three days touring Washington D.C., Gettysburg PA, and Harpers Ferry WV.
•Eagle Scout Matthew Wilhelm helped organize and raise money for the Quanah Parker Trail Arrows placed in Hereford.
Two years ago, Hereford High School began a Special Topics/Research class aimed at providing an option for but not exclusive to GT students' grades 10 thru 12. The TEKS (Texas Essential Knowledge and Skills) for this class encourage students to research, analyze, and create projects under the Social Studies theme. Simply put, we research analyze and write at a much deeper level than our normal survey classes. We began creating projects for the Texas History Day competition where the requirements for research, annotated bibliographies, and in-depth study fit perfectly with the requirements for this class. The students also study and work towards our UIL Competitions specifically, Current Issues and Events, and Social Studies.
Each of the past two years, Hereford High School has qualified seven to eight students to the Texas History Day competition in Austin Texas. This past May one student, Andrew White, took first place at State with his Interpretive Web Site entitled "The Devil's Rope" advancing to the National History Day Competition in College Park Maryland. His success has inspired many of my Special Topics students to give it their all this upcoming year wanting to equal or surpass what this fine young man accomplished in 2013.
I also have the privilege of coaching our State winning UIL Social Studies Team. We have won almost every competition entered the past seven years. Our accomplishments include:
•Seven straight District Championships and numerous invitational tournament championships.
•Three Regionals Championships where for the past decade, our region encompassing El Paso to Fort Worth including the entire Texas Panhandle has been the most competitive in the State of Texas
•Five straight years qualifying for the UIL State Academic Tournament winning two State Championships in 2010 and 2013.
Our assigned topics varied greatly including the American Revolution, The Supreme Court, Sub-Saharan Africa, American Civil War, US Space Exploration, Latin America, and last year's Native American History. This year's topic may be the most challenging yet, Australia and Oceania; with the assigned book, "Commonwealth of Thieves" the Birth of Australia, by Thomas Keneally. Many top students in Hereford High School will once again compete for one of the final four spots on this great Academic team.
Just a note, over the past decade, Hereford's UIL Social Studies team has included many of our Valedictorians and Salutatorians and numerous others who have gone on to prestigious universities including the Air Force Academy, Notre Dame, Texas A&M, and of course Texas Tech. Five or more students from past teams have entered Texas Tech's Honor's program majoring in Engineering. Student scholarships are far too numerous to count.
http://www.notevenpast.org/websites/devils-rope Andrew White's Website as discussed in Not Even Past
Comments are not available for this entry.


text:
Sebastian Buff (c.1829–1880) was a Swiss portrait painter.

Life

Buff was born in 1829. He studied painting with the portraitist Leonhard Tanner in St Gallen, before continuing his education  at Munich and Paris. Besides portraits he painted genre works which were much sought after. He died at Herisau in 1880.

References

Sources

19th-century Swiss painters
Swiss male painters
Swiss portrait painters
1828 births
1880 deaths
19th-century Swiss male artists

redpajama_set_name: RedPajamaWikipedia


text:
FSP - Franklin Street Properties Corp. Declares Regular Quarterly Dividend and Introduces Property Disposition Guidance for Full-Year 2022
WAKEFIELD, MA - Jan. 14 - 2022
WAKEFIELD, Mass.--(BUSINESS WIRE)-- Franklin Street Properties Corp. ("FSP", "our" or "we") (NYSE American: FSP) announced today that its Board of Directors declared a regular quarterly dividend of $0.09 per share of common stock for the period October 1, 2021 through December 31, 2021, payable on February 17, 2022 to stockholders of record as of January 28, 2022.
At this time, FSP is also introducing property disposition guidance for full-year 2022 to be in the range of approximately $250 million to $350 million in aggregate gross proceeds. We continue to believe that the current price of our common stock does not accurately reflect the value of our underlying real estate assets and intend to continue our strategy of seeking to increase shareholder value through the sale of select properties where we believe that our short to intermediate term valuation objectives have been met. We intend to use the proceeds from any future dispositions for debt reduction, repurchases of our common stock, any special dividends required to meet REIT requirements, and other general corporate purposes. This guidance reflects our current expectations of economic and market conditions and is subject to change. We will update our disposition guidance quarterly in our earnings releases. There can be no assurance that we will be successful disposing of our properties at attractive pricing levels or that our actual results will not differ materially from the estimates set forth above.
If we are able to dispose of properties in 2022 at anticipated pricing levels, we may be required to declare a special dividend in 2022 in addition to any regular quarterly dividends in order to meet REIT requirements.
Today's news release, along with other news about Franklin Street Properties Corp., is available on the Internet at www.fspreit.com. We routinely post information that may be important to investors in the Investor Relations section of our website. We encourage investors to consult that section of our website regularly for important information about us and, if they are interested in automatically receiving news and information as soon as it is posted, to sign up for E-mail Alerts.
About Franklin Street Properties Corp.
Franklin Street Properties Corp., based in Wakefield, Massachusetts, is focused on infill and central business district (CBD) office properties in the U.S. Sunbelt and Mountain West, as well as select opportunistic markets. FSP seeks value-oriented investments with an eye towards long-term growth and appreciation, as well as current income. FSP is a Maryland corporation that operates in a manner intended to qualify as a real estate investment trust (REIT) for federal income tax purposes. To learn more about FSP please visit our website at www.fspreit.com.
Statements made in this press release that state FSP's or management's intentions, beliefs, expectations, or predictions for the future may be forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. This press release may also contain forward-looking statements, such as those relating to expectations for dispositions, potential stock repurchases, the payment of regular and/or special dividends and the repayment of debt in future periods, and value creation/enhancement in future periods that are based on current judgments and current knowledge of management and are subject to certain risks, trends and uncertainties that could cause actual results to differ materially from those indicated in such forward-looking statements. Accordingly, readers are cautioned not to place undue reliance on forward-looking statements. Investors are cautioned that our forward-looking statements involve risks and uncertainty, including without limitation, adverse changes in general economic or local market conditions, including as a result of the COVID-19 pandemic and other potential infectious disease outbreaks and terrorist attacks or other acts of violence, which may negatively affect the markets in which we and our tenants operate, increasing interest rates, disruptions in the debt markets, economic conditions in the markets in which we own properties, risks of a lessening of demand for the types of real estate owned by us, adverse changes in energy prices, which if sustained, could negatively impact occupancy and rental rates in the markets in which we own properties, including energy-influenced markets such as Dallas, Denver and Houston, , any inability to dispose of real estate properties at pricing levels comparable to recent historical portfolio dispositions, and any delays in the timing of any such anticipated dispositions, changes in government regulations and regulatory uncertainty, uncertainty about governmental fiscal policy, geopolitical events and expenditures that cannot be anticipated such as utility rate and usage increases, delays in construction schedules, unanticipated increases in construction costs, increases in the level of general and administrative costs as a percentage of revenues as revenues decrease as a result of property dispositions, unanticipated repairs, additional staffing, insurance increases and real estate tax valuation reassessments. See the "Risk Factors" set forth in Part I, Item 1A of our Annual Report on Form 10-K for the year ended December 31, 2020, as the same may be updated from time to time in subsequent filings with the United States Securities and Exchange Commission. We will not update any of the forward-looking statements after the date of this press release to conform them to actual results or to changes in our expectations that occur after such date, other than as required by law.
Georgia Touma
Source: Franklin Street Properties Corp.
Franklin Street Properties Corp.
Symbol: FSP
CIK: 1031316
Market Capitalization: Small-Cap
REIT Sector: Office
Latest Price: $6.14
High: $6.28
Low: $6.14
Open: $6.22
Previous Close: $6.22
52-Week High: $6.28
52-Week Low: $3.61


On Jan. 1, 2019, Blue Cross and Blue Shield of Illinois (BCBSIL) implemented a new opioid drug management program to promote the safe and effective use of prescription opioids for our Medicare Part D members who have prescription drug benefits administered through Prime Therapeutics.
Similar to the Appropriate Use of Opioids program that was implemented August 2018 for our non-Medicare members, this new program includes improved point-of-sale safety alerts and drug management programs to help coordinate care when chronic high-risk opioid use is present. These new policies are aimed to improve identification and help manage potential opioid misuse.
o The member is in hospice care or receiving palliative (end-of-life) care.
o The dispensing pharmacist can contact the number on the member ID card to assist in these situations. Members or their health care provider may also call.
o The dispensing pharmacist may consult with the health care provider and, if the prescription is deemed appropriate, may enter an override. Please be aware that on-call staff may receive outreach from pharmacies regarding this MME limit. Please help ensure your staff are educated on the importance of responding timely to these inquiries.
o The dispensing pharmacist may be able to enter an override for these edits if the prescription is deemed appropriate. They also may consult with health care providers when needed.
The new policies are not intended as prescribing limits, but as tools to help alert health care providers of potential opioid misuse or abuse. Providers and members may request a coverage determination for MME exceptions if necessary and appropriate. Please be aware that providers and on-call staff may receive urgent outreach from pharmacies regarding these edits. Please help ensure all staff are educated on the importance of responding timely to these inquiries.
This information is for informational purposes only and is not intended to replace your clinical judgement. Pharmacy benefits and limits are subject to the terms set forth in the member's certificate of coverage. Only you, in direct consultation with your patient, can determine your patient's drug therapy, regardless of the member's benefits.
Prime Therapeutics is a separate pharmacy benefit management company contracted by BCBSIL to provide pharmacy benefit management and other related services. BCBSXX, as well as several Blue Cross and Blue Shield Plans, has an ownership interest in Prime Therapeutics.


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MAKO™ Lake and Pond Dye is the ultimate professional colorant, and can be used year round to enhance and beautify your lake or pond. Maximum concentrate MAKO™ works faster and lasts longer in most all contained bodies of water. MAKO™ reduces sunlight penetration by blocking a broad spectrum of UV rays and is 100% Safe around people, livestock, birds, pets, horses, fish, wildlife and the environment.
Water treated with MAKO™ may be used for recreation, fishing and other activities immediately after treatment. Once applied to water, MAKO™ will not stain docks, boats or decorative features.
AQUATIC EFFECT MAKO™ rapidly spreads through your water to create a stunning natural effect. Formulated using only the highest quality deep dyes, MAKO™ guarantees a deeper,richer appearance.
WHERE TO USE Perfect for lakes, ponds, ornamental water features, fish hatcheries, irrigation & runoff canals, drainage ditches, aquaculture and other contained (or very low outflow) bodies of water.
Shake well & pour MAKO™ along the shoreline or throughout the water by boat for faster disbursement. MAKO™ is effective regardless of temperature and should be used year round. Treatments last up to several months depending on rainfall and evaporation.
Looking For a Rapid Aquatic Contact Killer to Compliment Your MAKO Experience?
Sonar Genesis contains a powerful ingredient 'fluridone' which will completely eradicate most nuisance pond weeds when used as directed. It is the premier go-to product for pond applicators worldwide and is manufactured by the leading US based aquatic control company SePRO.
Reward herbicide is super-fast acting weed killer, which works best on submersed weeds, especially effective on as a quick knockdown killer for Elodea, Eurasian Watermilfoil, Coontail and Duckweed and Algae. Recommended highly for ponds and along lakeshore areas and for spot treatment. This weed control product is absorbed by target plants in just minutes with no toxicity to fish or wildlife. No Swimming Restriction.
NT-MAX Lake & Pond Digester An Industrial Strength Biological Water Clarifier & Digester Eliminates Excess Sludge & Nutrients to Completely Restore Your Lake, Pond or Lagoon to Crystal Clear Condition. This Biological Bacterial treatment contains Billions of bacteria that double in numbers every 30 minutes to absorb and digest sludge and nutrients while reducing excessive fuel.
Mako Lake and Pond Dye Copyright © 2019.


Brussels: The European Union (EU) has teamed up with China in a two-way partnership for training professionals and managers.
The programme offers high-level training for EU managers and professionals interested in gaining China expertise, as well as Chinese managers with an ambition to train in Europe.
According to a survey published recently by the human resource consultancy Hewitt Associates, 55 percent of corporations with a presence in China plan to hire new staff in 2008.
For the EU-based companies, especially small and medium enterprises (SMEs), the EU-China Managers Exchange and Training Programme (METP), financed by the EU and China, offers the possibility to train their employees to become qualified experts in the Chinese market.
Stefan Hell, team leader in Beijing said: "Despite the strong coverage China has received through the Beijing Olympics, the country and its business culture remain unknown to most European managers."
"To be successful in China, one needs a profound knowledge of economy, culture and business ethics. And this is what METP offers applicants. At the same time, the programme functions as a platform where Europeans and Chinese meet and build long-term relationships - the basic foundation for successful business in China," he added.
Julius Daujotas from Lithuania, who has already travelled to China and participated in the programme, told IANS: "The company I am working for (Umega AB) manufactures heating equipment for industrial and laboratory purposes. Mainly it's heating furnaces up to 1,800 degrees Celcius."
"Our company is selling quite a lot in Asian markets, for example Pakistan, India, Indonesia, but the Chinese market was still unexplored for us. So, one of the main objectives was to enter China with our production. To do that is a lot easier when you are able to speak Chinese, when you are familiar with local traditions and customs," Daujotas explained.
"During the cultural training, we had a chance to meet each other more closely. For doing business in China, to have good 'guanxi' (relations) is very important," he said.
"The most interesting experience during my stay was seeing the bargaining in markets - and the way salesmen try to attract your attention. Initially I was shocked, but then I understood the way of doing this and it became fun. Also it's a really good practice for your Chinese language," Daujotas added.


text:
DC Comics Movie
Joker Sequel in the Works with Director Todd Phillips Returning
November 20, 2019 Arelis Feature, Joker 2, Movies, News, The Joker
According exclusively to The Hollywood Reporter, director Todd Phillips and Joaquin Phoenix will be reuniting for the second installment to the very successful Joker origin movie, that has grossed over $1 billion at the worldwide box office in under two months of being released in theaters worldwide.
Sources to The Hollywood Reporter also went on to say that on October 7th, Todd Phillips headed into Warner Bros. Pictures chairman Toby Emmerich's office and went on to propose the idea of him developing a portfolio of DC Comics character's origin movies.
This took place after the movie opened with the impressive $96.2 million domestically opening weekend. But according to the report, Phillips was only allowed to come out of the meeting with the rights to only one DC Comics origin story.
The report also goes on to say that Phillips will be teaming up with Scott Silver once again to pen the screenplay for the sequel. Warner Bros. nor anyone attached to Joker has officially confirmed this news, but it wouldn't be a surprise that Joker will get a sequel, seeing how ridiculously well it did at the box office.
Source: HollywoodReporter.com
Arelis
Founder at DCComicsMovie.com
Latest posts by Arelis (see all)
Aquaman Animated Miniseries Set to be Released on HBO Max - January 17, 2020
Birds of Prey Soundtrack Trailer Released - January 16, 2020
Birds of Prey Tickets Go on Sale January 29th - January 16, 2020
Black Adam Will Take Place In the DC Extended Universe
Henry Cavill Hasn't Given Up on Playing Superman
JokernewsThe Joker
Ezra Miller Appears on The Flash Television Series
Birds of Prey Tracking to Open Between $50-$55 Million
Birds of Prey Soundtrack Trailer Released
Joker to Be Rerelease in Theaters on January 17th
What did you think of Shazam?
Loved every bit of it!
It was very enjoyable!
Best Movie of the DCEU!
It was okay...
Sadly underwhelming...
Hated it!
Gal Gadot Joins the Campaign to R …by Arelis2 months ago
Ben Affleck Joins the Campaign to …by Arelis2 months ago
Amr Waked Confirms to be in Wonde …by Arelis2 months ago
February 7, 2020 Birds of Prey
June 5, 2020 Wonder Woman 1984
June 25, 2021 The Batman
August 6, 2021 The Suicide Squad
December 22, 2021 Black Adam
April 1, 2022 Shazam! 2
July 1, 2022 The Flash
December 22, 2022 Aquaman 2
is a fan site for DC Comics, that's ran by the fans for the fans and is in no way affiliated with or endorsed by DC Comics. Our main goal is to report on all the latest breaking DC Entertainment news.


A progressive video poker game structured on Jacks or Better, this version deals 10 hands per game.
The coin value is fixed at $1 and you can bet 1 to 5 coins per hand but payout on a Royal Flush with one coin pays 250 coins while a Royal Flush on max coins (5) pays the jackpot amount displayed above the deck.
The decision hand is one of the ten hands you are dealt in this game. When you click on draw, nine additional hands of 5 cards will be dealt.


text:
The Case for Civility HB by Os Guinness
Author: Guinness, Os
Publisher: HarperOne
Condition: New with remainder mark.
In a world torn apart by religious extremism on the one side and a strident secularism on the other, no question is more urgent than how we live with our deepest differences—especially our religious and ideological differences. The Case for Civility is a proposal for restoring civility in America as a way to foster civility around the world. Influential Christian writer and speaker Os Guinness makes a passionate plea to put an end to the polarization of American politics and culture that—rather than creating a public space for real debate—threatens to reverse the very principles our founders set into motion and that have long preserved liberty, diversity, and unity in this country.
Guinness takes on the contemporary threat of the excesses of the Religious Right and the secular Left, arguing that we must find a middle ground between privileging one religion over another and attempting to make all public expression of faith illegal. If we do not do this, Guinness contends, Western civilization as we know it will die. Always provocative and deeply insightful, Guinness puts forth a vision of a new, practical "civil and cosmopolitan public square" that speaks not only to America's immediate concerns but to the long-term interests of the republic and the world.
New with remainder mark.
Rising to the Call
The Call by Os Guinness PB
The Last Christian on Earth: Uncover the Enemy's Plot to Undermine the Church
Dining With the Devil: The Megachurch Movement Flirts With Modernity (Hourglass Books)


Dr. Taylor is a family practitioner practicing in Humble, TX. She is a top match for high cholesterol and 6 other conditions. She was educated at New York Institute of Technology College of Osteopathic Medicine in 1989.
Dr. Doshi is a internal medicine doctor practicing in Houston, TX. He is a top match for high cholesterol and 2 other conditions. He was educated at University of Texas Medical Branch School of Medicine in 1996.
Dr. Diaz is a family practitioner practicing in Spring, TX. He is a top match for high cholesterol and arteriosclerosis. He was educated at Baylor College of Medicine in 1995.
Dr. Keshwani is a family practitioner practicing in Houston, TX. He is a top match for high cholesterol and 12 other conditions. He was educated at University Of Birmingham in 1978.
Dr. Ramirez is a family practitioner practicing in Houston, TX. She is a top match for high cholesterol and 5 other conditions. She was educated at Universidad de Antioquia Facultad de Medicina in 1984.
Dr. Zavaleta is a endocrinologist practicing in Houston, TX. He was educated at Universidad de El Salvador Facultad de Medicina in 1964.
Dr. Bhuchar is a family practitioner practicing in Sugar Land, TX. He was educated at Seth G.S. Medical College in 1981.
Dr. Pucillo is a family practitioner practicing in Sugar Land, TX. He is a top match for high cholesterol. He was educated at New York Medical College in 1980.


text:
INFINITY WAR: A Path of Fears Made Real For Tony Stark
By Kevin Erdmann
AVENGERS: INFINITY WAR marks the end of a few different things in the MCU. It's the concluding chapter in a decade-long story and the potential end for more than a couple of beloved heroes. It's also the end of a treacherous path. One that Tony Stark, (Robert Downy Jr.) believes he began for the Avengers, which leads them to Thanos. Let's look at Iron Man and the choices he's made that have created this path.
Tony Stark: The MCU's Godfather
IRON MAN was the MCU's first film way back in 2008. As a result, Tony Stark has been in more MCU films than any other hero. From the IRON MAN films to the first two AVENGERS films, the end of THE INCREDIBLE HULK, CAPTAIN AMERICA: CIVIL WAR, and most recently in SPIDER-MAN: HOMECOMING.
Tony Stark as a character operates almost as the nucleus or center of the Marvel Cinematic Universe, in that most everything within it revolves around him. His influence and decisions arguably have made the most impact on the path that the MCU has taken, for better or for worse. In Tony's eyes, probably for the worst.
Thanos' Motives: From The Page To INFINITY WAR
Tony Forges the Path with His Vulnerabilities and Fear
Say what you will about IRON MAN 3, if it did one thing right, it was showing that the Battle of New York in THE AVENGERS messes Tony up. In the film, Tony struggles with processing the alien invasion, seeing himself as just one man who is ill-equipped. This leads to him having panic attacks and high stress throughout the film, feeling as though he can't protect himself or the ones he cares about.
Image Courtesy of Marvel Entertainment
His solution is a poor one. He begins to obsess over making more and more suits to better arm himself. This does little to actually help his struggles and begins to make the situation worse, as he begins to lose Pepper, the one he loves and cares for the most. After defeating Aldrich Killian, a villain formed as a direct result of Tony's past mistakes, Tony blows up his suits.
This supposedly signals a clean slate for Tony, his new resolve to be with Pepper, and to no longer let his suits be a crutch for his fear and vulnerabilities. In spite of that, we soon see that Tony's fear still remains after IRON MAN 3. This is only the beginning of the path Tony starts.
"I See a Suit of Armor Around the World."
When the second AVENGERS film begins, the Avengers are taking down a Hydra base and Tony finds Loki's scepter. As he takes it, the Scarlet Witch (Elizabeth Olsen) tampers with his mind and he sees a vision. The vision he sees is all of the Avengers lying dead in space, while a massive alien force is headed to Earth to invade and assumedly destroy everything and everyone Tony loves. A dying Captain America (Chris Evans) grabs him and says with a dying breath:
"You could have saved us…Why didn't you do more?"
This is Tony's greatest fear: All that he loves dead, his potential to save them, but not doing enough beforehand to make a difference.
When Tony discovers that Hydra was planning on creating advanced A.I powered by Loki's scepter, Tony sees an opportunity to create Ultron, a peacekeeping A.I to help defend the world against future invasions. Ultron (James Spader) would help Tony arm the world. Unfortunately, Ultron becomes too advanced and determines that humankind needs to start over and evolve.
While the Avengers are able to stop Ultron, the nation of Sokovia is destroyed.
Ultron Leads to Tony's Guilt in CIVIL WAR, Another Part of the Path
With the destruction of Sokovia, the U.N decides to form the Sokovia Accords, which will put the Avengers under the supervision of a U.N panel. While Captain America that this would take away their freedom to choose where and when they help, Tony sides with the U.N and works with them.
This leads to a rift that splits the Avengers in two. One team led by Tony under the Accords, and the other led underground by Rogers as a group of fugitives. This rift is made even larger when Tony and Steve discover that it was the Winter Soldier who killed Tony's parents in 1991.
Tony initially seeks vengeance, overcome by grief, and yet Steve still tries to protect his brainwashed friend from him.
I'd like to think that Tony Stark most likely would have agreed with Rogers if not for Ultron. Tony rightly sees Ultron and the resulting events with Sokovia as his fault. His large feelings of guilt drives his choice to go under the U.N's supervision.
"We need to be put in check. Whatever form that takes I'm game. If we can't accept limitations, if we're boundary-less, we're no better than the bad guys."
He then goes on to compare his choice to when he shut down his company's manufacturing of weapons. When he saw their capability for destruction and chaos, he stops making them. Steve argues by saying that that was his choice to make and that the Accords would take away their ability to choose.
Regardless, Tony's focus on his guilt causes him to stick to his perceptions.
INFINITY WAR: What the End of the Path Looks Like
"This is the end. The end of the path I started us on."
These are the words that Tony Stark tells Nick Fury during AVENGERS: AGE OF ULTRON when describing his vision. He says that it's not a nightmare. It's his legacy.
It certainly looks like AVENGERS: INFINITY WAR might be Tony's vision coming to life. Several of the shots from the trailer certainly seems to indicate that Tony thinks so. Thanos' arrival, the Black Order, and his hordes of outriders… things don't look good for any of the Avengers.
If that wasn't enough, Tony's actions have put the Avengers on what seems like the worst footing possible, in that they aren't even a whole team. Broken from the Accords, the Avengers will have to figure out how to all work together once more, putting aside their issues both political and personal in order to combat Thanos.
Tony's Death at the End of the Path?
There have also been several shots of Tony personally that might suggest the end of the path results at the end of Tony's life. As previously stated, Tony Stark was the first MCU hero audiences met a decade ago. It might very well be time for Tony's (and RDJ's) exit from the MCU, allowing other heroes to step in (Spidey perhaps?)
Updated Odds Each Avenger Dies In INFINITY WAR and AVENGERS 4
One can only hope that, after reaching the end of the path that Tony began, he might be able to have a happy ending: knowing that he did enough. The path he started, made largely from his fear, vulnerabilities, and guilt, could end with Thanos being defeated, and a new chapter for Avengers who would live on.
Tony Stark has many issues and caused several problems for the heroes of the MCU. However, he is still a hero, an Avenger. His strengths have caused just as much good for the MCU as his flaws have done harm. His desire to protect the world and his loved ones are pure. At the end of the day, he'll still always be Iron Man.
AVENGERS: INFINITY WAR releases April 27th. Get your tickets here!
TagsIron ManThanosInfinity Wartony stark
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It's that time of year again: With the end of the year comes the college football BCS bowl games, the annual winter tradition where the best college football teams in the country compete against each other. The Fiesta Bowl - one such game - will kick off this year's celebrations with a parade that features John Deere tractors.
Glendale, Arizona plays host to the Fiesta Bowl game and this year, the parade that precedes the game will feature a bit of farm life with a procession of 15 tractors. The tractor operators will pull floats down the streets of the city, led by local resident Ken Johnson, who plans on driving his antique 1935 tractor.
Debbie Geiger, one of the people who will drive her tractor in the parade, is a member of the Arizona Early Day Gas Engine and Trader Association, an organization that has teamed up with the bowl game's organizers to ensure that enough tractors are present at the parade to participate.
Geiger grew up in steeped in farm life in Michigan and now her husband and two sons are involved in the tractor organization, she says. Geiger will make sure that "people have a good time" during the parade's two mile route through central Phoenix. Ultimately, she says she is excited to participate in the event.


In preparation for the High Holy Days the West End Synagogue volunteer choir will be holding rehearsals Saturdays after kiddush in the Sanctuary. Click the image to go to the choir page with rehearsal recordings and sheet music!
If you have interest in joining the choir, there are no auditions, only passion and commitment required!
Contact Hazzan Ayelet at aporzecanski [at] westendsynagogue.org (subject: I'd%20like%20to%20find%20out%20about%20the%20choir) for more information.