The 30 Best Holiday Gifts for MomsBecause you love your mom. It is crafted of the bronze metal materials. Required fields are marked *Comment Name * Email * Website Top Laptop For Gaming (VR Ready) Top 10 Best Laptop for Gaming of December 2016Here I have listed the top 10 best laptop for gaming 2016 included laptop for gaming and school, college, work, etc. Style News Politics Culture Food & Drink Follow Subscribe Give A Gift Digital Edition Breaking News! William Faulkner's Hot Toddy Recipe Here's an Electoral College Prediction to Bet On Chrissy Teigen Does Push-Ups for French Fries What to Give the Classic Music Lover in Your Life Let's Take a Minute to Talk About Toilets . Popular Categories Popular: Top 100, Stocking Fillers, Secret Santa Gifts, Personalised Christmas Gifts, Unicorn Gifts Your Cart 0.00 0 Checkout Added to Cart! in Cart . 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Some of under 00. More FromThe Best Christmas Gift Ideas of 2016 Music Share What to Give the Classic Music Lover in Your Life This Holiday Season Lifestyle Share Gifts to Give If You're Broke: The -and-Under Guide Lifestyle Share 10 Great Holiday Gifts For Every Dad Lifestyle Share 25 Under Gifts for Everyone in Your Office Lifestyle Share 25 Foolproof Gifts for the Woman in Your Life Lifestyle Share 25 Can't-Miss Gifts for the Man in Your Life Lifestyle Share 10 Ways to Upgrade Dad's Style this Father's DayCreated for Timex Fashion Share The 'Oh Sh*t, It's Valentine's Day' Last-Minute Gift Guide Lifestyle Share 10 Investment-Worthy Valentine's Day Gifts for HerEsquire Tiffany & Co Lifestyle Share 10 Box Sets for the Music-Lover in Your Life Holiday Gifts 2016 Lifestyle mother's day mother's day 2015 mother's day gifts mother's day gift guide gift guide mother's nightmare before christmas revisited what's this the nightmare gift guides 2015 mother's day gift guide best mother's day gifts shinola catbird warby parker moet & chandon givenchy suuno 20 Gifts Your Wife Really Wants This Year 10 Christmas Gifts Your Father Will Thank You 1951 a christmas carol quotes about scrooge 22 Gifts Your Mom Will Love by Seventeen.com 25 Great Secret Santa Gifts Under 25 Best Christmas Gifts for Men 11 Completely Unique Gift Ideas for Men. Uh oh! . Save 0 on MSI VR Ready GE62VR 4. Easy as that. Home Gift Occasions Christmas Gifts Christmas Gifts for Women Christmas Gifts For Mum Christmas Gifts For Mum Christmas Gift Ideas For Our Wonderful Mums! Read more. It is a bronzed finished frame. Try these little browser tricks to get going again.
10. Subcategories Slide to close Sort by Best Selling What's New Price - Highest First Price - Lowest First Sale Reset Price 0 - 5 (3) 5 - 10 alison wonderland i want u acapella christmas 10 - 20 (138) 20 - 50 (70) 50 - 100 (26) 100 (4) Reset Age 1-4 (3) 4-9 (25) 9-14 (50) 14-19 (107) 19-35 (254) 35-50 (228) 50-60 (124) 60 (139) Reset Sort by: Relevancy Best Selling Price (highest first) Price (lowest first) Newest Top Rated View: 36 72 240 Quick View Cocktail Bath Melts 9.95 Quick View Gin and Tonic Bathing Gel 9.95 Quick View Gin Tasting with Cream Tea for Two at the Waldorf Hilton London 55.00 Quick View Scribble Writing Alarm Clock 12.95 Quick View Portable Wine Glass 8.95 9.99 Quick View Wine Bottle Glass 14.95 16.99 Quick View Bath Tea Bag Box 9.95 Quick View EcoSphere - Small 99.00 Quick View what is the most snow to fall on christmas day in chicago & Cream Pamper Pack 12.95 15.00 Quick View Mug Cakes 7.95 8.99 Quick View Peacock Feather Tall Candlepot 5.95 Quick View Dear Mum - From You to Me Book 11.95 12.99 Quick View Eyezone Massager 14.95 17.50 Quick View Thames Lunch Cruise for Two 72.00 Quick View Hot Stone Therapy Pack 19.95 24.95 Quick View Heated Back & Seat Massager 49.95 69.99 Quick View Winter in Venice - Rich Plum Oval Wooden Bowl 39.95 43.00 Quick View Personalised Unicorn Glass 9.95 Quick View Personalised Unicorn Wine Glass 11.95 Quick View Personalised Photo Frame Keepsake Box 17.95 Quick View How To Tell If Your Cat Is Plotting To Kill You 9.95 Quick View LED Wine Glass 5.95 6.99 Quick View Personalised Your Life In Pictures Book 29.95 Quick View Scratch Map 14.95 18.95 Quick View Personalised Teddy Bear in a Gift Tin 19.95 Quick View Personalised Retro Taster Jar 8.95 10.00 Quick View Personalised Mason Jar - Coloured 7.95 8.99 Quick View Make Your Own Chocolate Pizza 12.95 Quick View Personalised Butterfly Trinket Box 18.95 22.99 Quick View Indoor Allotment 24.95 Quick View Dear Grandma - From You to Me Book 11.95 12.99 Quick View Microwaveable Bagpuss 14.95 Quick View Underwater Light Show - Set Of 2 9.95 Quick View Personalised Slate Heart Keepsake 12.95 Quick View Personalised Bistro Latte Glass 12.95 14.99 Quick View Giant Upside Down Wine Glass 9.95 10.99 1 2 3 4 5 6 7 8 9 . It can be plugged into any simple socket. So, below are the best, great, good, awesome, memorable, cute and perfect Christmas gifts for mom. Related Posts: 10 Best Christmas Gifts For Women 2014 5 Best Last Minute Christmas Gifts (December 2016) Filed Under: Holiday Gift Guide Tagged With: christmas gift for mom, christmas gift ideas, christmas gift ideas for mom, christmas gifts, christmas gifts for mom, gifts for mom Leave a Reply Cancel reply Your email address will not be published. In one of the biggest festival Christmas, rodan and fields macro exfoliator images of christmas you forget your mom to give her a great Christmas gift then it is too bad.
Save on HP 15-ay013nr Laptop 2. Where would we be without our Mum? It's important to let her know this with a beautiful Christmas present? From relaxing Pampering Days through to ever-so tasty Chocolate Gifts we've something for every wonderful mum. Price: Buy From Amazon. So it is the best Christmas gift for mom. 1. If you love your mom then just give her this as a Christmas gift to win over her heart. And your mom loves this stuff. Willow Tree Mother and Son is the best Christmas gift for the mom and a son can give this gift to her mom as a Christmas gift. Go back to Etsy.com.


The 36th Ludum Dare finished and I've made it again! This time without a live blog at @GameStad. Play the game here on the Ludum Dare entry page. The theme this time was Ancient Tech. My game is set in a fantasy world with tech far below ours. You, the GOD of eternal slumber get's awoken by a cult of worshippers. Once awoken this mechanic god initiates it's main program... Wil you be able to execute this program?
I've been drawing on live streams on Tuesdays for a while. During these streams I've been practicing some different kinds of art styles. This is one of those different styles. As a quick painting I really like them. But beyond that I still have doubt. Do you have suggestions? Tell me on twitter or the live stream itself.
Can you find all the easter eggs in this Easter Egg game I made? The game was created during a two session live stream last week on Picarto. Play the game on the GameCreator.
Follow my art adventures and more on Picarto.tv! I'm going to weekly broadcast as I create art for the GameCreator or InCourse for you to use there.
Creating an artistic game is one part. Making a game popular for an audience is another. My company creates games for businesses, a different kind of audience than Ludum Dare participants. How to make sure that a game will fit them? The key is to know your target audience to the bone, to make sure they keep playing and recommend it to friends. Our goal is to make lots of people play and enjoy our games. So, what does motivate a human to enjoy my games?
Which aspects are important in a game?
Although there are millions of games these days, only a few really succeed and even less are worth to play. How is this possible? A game consists of a set of rules, right? But a bunch of rules don't make it fun to play. Actually, far from in my opinion. Throwing in some random rules doesn't make a game good. So, which aspects are important related to the rules and make it worth the play? What gives rules the edge to play a game again and again?


text:
Journal of Criminal Law and Criminology
Vol. 107 Nbr. 2, March - March 2017
From grace to grids: rethinking due process protection for parole.
Document Cited authorities 58 Cited in Related
Author Thomas, Kimberly
Current due process law gives little protection to prisoners at the point of parole, even though the parole decision, like sentencing, determines whether or not a person will serve more time or will go free. The doctrine regarding parole, which developed mostly in the late 1970s, was based on a judicial understanding of parole as an experimental, subjective, and largely standardless art--rooted in assessing the individual "character" of the potential parolee.
In this Article we examine the foundations of the doctrine, and conclude that the due process inquiry at the point of parole should take into account the stark changes in sentencing and parole practice over the years. Since the development of the parole due process doctrine in the 1970s, two seismic shifts have occurred. First, the constitutional protections provided at the initial sentencing have vastly increased. Second, the parole process itself has been transformed by the move to evidence-based parole guidelines and the use of actuarial risk-assessment instruments as the norm in parole decision-making.
In this Article we document the changes in this under-scrutinized area and assert that the liberty interest in parole should more closely match the present-day legal account of the liberty interest that courts afford defendants at sentencing.
TABLE OF CONTENTS INTRODUCTION 214 I. EARLY PAROLE DEVELOPMENT AND DUE PROCESS PROTECTIONS 216 A. Parole Practice 216 B. Review Under the Due Process Clause 219 C. Due Process at Sentencing 228 II. CHANGES IN CONSTITUTIONAL PROTECTIONS AT SENTENCING 229 A. Sixth Amendment Protection for Facts that Increase a Defendant's Sentence 230 B. Eighth Amendment Protections 235 III. PAROLE AS WE NOW KNOW IT 238 A. Sentence Length Is Still Commonly Determined By A Parole Board 238 B. Use of Guidelines for Parole Release Decisions 241 C. Use of Risk and Needs Assessments for Release Decisions 244 IV. How MODERN PAROLE AND SENTENCING PRACTICE INFORMS THE LEGAL PROTECTIONS AVAILABLE UNDER MODERN PAROLE 249 CONCLUSION 251 INTRODUCTION
Sentencing and parole are two sides of the same coin. Both involve figuring how much risk the individual poses to the public, and then deciding how much time the person should serve. But when it comes to the due process protections afforded to defendants at sentencing and to prisoners at parole, defendants at sentencing get modern due process rights, while prisoners at parole get barely a horse-and-buggy. The foundational law of sentencing and parole, especially the stark differences in the level of due process protections afforded at the front end versus at the back end of the criminal justice system, is a product of the time when it was developed by the U.S. Supreme Court. We think that changes in sentencing and parole since then have made the asymmetry unwieldy and anachronistic, and that a correction is called for.
To be specific, the Court set the pattern for its parole due process cases back when parole was still viewed as something new and experimental. It was a time when parole boards engaged, at least according to the lore of that era, in a fine-grained assessment of the character of the potential parolee. This narrative about the art of granting parole was instrumental in the Court's framing of the extent to which due process protections attached to parole decision-making.
In 1979, in Greenholtz v. Inmates of the Nebraska Penal and Correctional Complex, (1) the Court first examined the due process protections that should be given to the parole decision. (2) In denying that there was a fundamental liberty interest in parole, the Court described the parole decision as a "synthesis of record facts and personal observation filtered through the experience of the decisionmaker and leading to a predictive judgment as to what is best"3--what the Court called a "discretionary assessment of a multiplicity of imponderables, entailing primarily what a man is and what he may become ...." (4)
Even at the time of Greenholtz, this system of broad parole discretion was coming under criticism. (5) To the extent that the Court's vision of parole was true at the time, it is not true now. Today, parole occurs in a different landscape, against a backdrop of a shift in sentencing systems, additional broad constitutional protections at sentencing itself, and a blurring of the line between sentencing and parole. Further, modern parole decisions are made with detailed guidelines and based on actuarial tables about the statistical likelihood that a person with the inmate's characteristics will reoffend.
In light of these shifts in sentencing protections and parole practice, this Article invites a re-examination of the foundations of the due process protections provided to prisoners at the point of parole, and posits an approach to the due process interest in parole that reflects these modern realities.
In Part I, we describe aspects of early parole practice and the law of due process that developed around parole. We look closely at Greenholtz, which specifically examined the due process interest in parole release, but we also look at the cases leading up to and following Greenholtz.
In Part II, we outline shifts in the due process protections provided to defendants at sentencing, particularly the increased legal and constitutional constraints placed on the sentencing process.
Taken together, Parts I and II reveal that today there are two disparate regimes--a front-end sentencing regime which gets significant constitutional scrutiny, and a back-end sentencing regime (parole) which gets little. Instead of being viewed as a unitary or overlapping process that determines how long people who commit crimes should serve, today, sentencing and parole have become disconnected, functionally and analytically.
In Part III, we describe modern parole practices, with a focus on the decision whether or not to parole. This Part first looks at the prevalence, even in the modern sentencing era, of parole. Second, this Part examines two interrelated moves in parole practice--the use of parole guidelines and the use of risk and needs-assessment instruments. Some important points emerge. First, parole still matters. Although indeterminate sentencing may have fallen out of favor in recent decades, most prisoners are still subject to parole because that is the regime under which they were sentenced. Second, the types of parole guidelines, and the types of risk-assessment tools that parole boards use today, are quite different from the ones that were in place when the U.S. Supreme Court laid down the doctrines that contributed to the "deregulation" of parole. Today, most parole boards rely at least in part on actuarial-based studies, and not on the more subjective, nuanced predictions of human behavior that were the norm when the Supreme Court moved to a more hands-off approach to parole.
In Part IV, we advance the idea that the due process inquiry into the parole release decision should take into account the changes in the reality of sentencing and parole practice. The liberty interest in the parole release decision should more closely reflect the current legal account of the liberty interest at sentencing; a fundamental liberty interest in parole should be recognized.
EARLY PAROLE DEVELOPMENT AND DUE PROCESS PROTECTIONS
PAROLE PRACTICE
For most of the eighteenth and nineteenth centuries, parole as we know it today did not exist. (6) Criminal defendants were typically sentenced to fixed prison terms, and early release was a matter of executive clemency. (7) In the late nineteenth and twentieth centuries, penology became more scientific, and the insights of psychology began to be applied to it. (8) In the twentieth century, to encourage good behavior and to foster rehabilitation, corrections professionals requested, and legislatures passed, new laws permitting indeterminate sentencing (with minimum and maximum terms, for example ten to fifteen years). (9) The theory was that inmates should be given the chance to earn their way to freedom. (10) Indeterminate sentencing was coupled with reward structures like good-time or disciplinary credits, which could shorten both the minimum and maximum terms of well-behaved inmates. (11)
But by far the most innovative and effective reward was release on parole. (12) Parole's main virtue was that it provided a powerful inducement for inmates to conform to social norms in order to win early release. (13) An additional virtue of parole was that it extended that inducement even beyond release, via the threat of re-incarceration for a parole violation. (14) By the second half of the twentieth century, parole was becoming a ubiquitous feature of American penal law, in both the state and federal systems. (15) By the late 1970s, parole boards exercised authority to release more than 70% of all the people leaving prison. (16)
For most of the twentieth century, parole boards maintained relatively unfettered discretion when paroling prisoners. (17) Or, as it was described in 1976, "The parole decision, as a key element of a system premised on rehabilitation or 'correction,' is seen as a judgment (usually made by inadequately informed decisionmakers) of whether an inmate meets some subjective, largely unarticulated standard of 'reformation' or 'recovery' from mental or social illness." (18)
REVIEW UNDER THE DUE PROCESS CLAUSE
The due process rights of people convicted of crimes vary with the setting and have changed over time. The key case as to parole--both in terms of the Court's examination of the parole release decision under the Due Process Clause, and in terms of the Court's explanation of its understanding of parole is Greenholtz. (19) But the Court's parole-related decisions before and after Greenholtz give a fuller understanding of how the doctrine came to be what it is today.
Oddly, we start with a case that is not a parole case, but that is foundational for modem due process...

redpajama_set_name: RedPajamaCommonCrawl


Weddings signify the union of two people who agree be committed to each other for a lifetime. One way to symbolize this union stems from the European ritual of wearing a ring on the left ring finger that many marrying couples from all over the world now embraces. Wedding rings come in many different styles -- diamond rings, milgrain rings, hammered rings, woven rings, and more -- and metal options -- gold, platinum, ceramic, cobalt, tungsten, and titanium rings. Couples can also choose from brand names, such as Benchmark wedding bands and Dora wedding bands. Find the perfect wedding band that you and your loved one will adore.


text:
Q: How to get selected image name in message box? I am retrieving images from database from particular table. It's showing all images from that table.
Now I need to get that selected image name, it's displaying the name using binding and ToolTip, but I need to get when I click the image, selected image  name should be view in message box.
This is my code:
imageView.cs-page.
var query1 = DB_Linq.tbl_ItemMaster.Select(cust => new { cust.Item_Code, cust.Item_Image,cust.ImagePath, cust.ItemName_EN }).ToList();

                var QBM1 = (from po in DB_Linq.tbl_ItemMaster
                             where po.ActiveFlag == true
                             select new ImageEntity
                            {
                                ImagePath = po.ImagePath,
                                ItemName_EN = po.ItemName_EN

                            }
                           );

                return QBM1.ToList<ImageEntity>();

ImageEntity.cs
class ImageEntity
    {
        public String ImagePath
        {
            get;
            set;
        }
        public String ItemName_EN
        {
            get;
            set;
        }

    }

Invoice.Xaml.cs-page
private void BindImages()
        {
            try
            {
                // Store Data in List Object
                List<ImageEntity> ListImageObj = ImageView.GetAllImagesData();

                // Check List Object Count
                if (ListImageObj.Count > 0)
                {
                    // Bind Data in List Box Control.
                    LsImageGallery.DataContext = ListImageObj;

                }
            }
            catch (Exception ex)
            {
                throw new Exception(ex.Message);
            }
        }

Xaml code is:
<Page.Resources>
        <ItemsPanelTemplate x:Key="ListBox_HorizontalItems">
            <StackPanel Orientation="Horizontal" />
        </ItemsPanelTemplate>

        <DataTemplate x:Key="ImageGalleryDataTemplate" x:Name="ImageGalleryDataTemplate"  >
            <Grid>
                <Border BorderBrush="ForestGreen" BorderThickness="3"  Width="120" Height="120" Padding="10" Margin="15" CornerRadius="10">

                    <Image Source="{Binding ImagePath}" Stretch="Fill"  HorizontalAlignment="Center" >

                        <Image.ToolTip>
                            <Grid>
                                <Image Source="{Binding ImagePath}" Stretch="Fill" HorizontalAlignment="Center" Height="100" Width="100"></Image>

                            </Grid>
                        </Image.ToolTip>

                    </Image>

                </Border>
                <Border>
                    <Grid>
                        <TextBlock Text="{Binding ItemName_EN}" ToolTip="{Binding ItemName_EN}" />
                    </Grid>
                </Border>
                <Grid x:Name="LayoutRoot" Background="DarkGreen" >
                    <Button   Click="ButtonClicked" ToolTip="{Binding ItemName_EN}" >
                        <Image Source="{Binding ImagePath}" Stretch="Fill" Height="100" Width="100" HorizontalAlignment="Center"/>
                    </Button>
                </Grid>

            </Grid>
        </DataTemplate>

        <ItemsPanelTemplate x:Key="ImageGalleryItemsPanelTemplate">

            <!--Display Images on UniformGrid Panel-->
            <UniformGrid Columns="4" HorizontalAlignment="Center" VerticalAlignment="Stretch"/>

        </ItemsPanelTemplate>

    </Page.Resources>

 <Grid>
        <ListBox x:Name="LsImageGallery"   ItemsSource="{Binding}"  ItemTemplate="{DynamicResource ImageGalleryDataTemplate}" ItemsPanel="{DynamicResource ImageGalleryItemsPanelTemplate}">
            <ListBox.Background>
                <LinearGradientBrush EndPoint="0.5,1" StartPoint="0.5,0">
                    <GradientStop Color="Black"/>
                    <GradientStop Color="#FF1E2A2F" Offset="1"/>
                </LinearGradientBrush>
            </ListBox.Background>

        </ListBox>

</Grid>
</Page>

A: Off the top of my head, you could have a boolean IsSelected property on ImageEntity that is updated by a clicked event in a trigger in the xaml. And you could have DataTrigger in the xaml such shows items when their IsSelected is set to true and hides them otherwise.
<Page.Resources xmlns:conv="clr-namespace:Project.Converters">
        <conv:BoolToVisibilityConverter x:Key="boolToVisibilityConverter"/>
        <ItemsPanelTemplate x:Key="ListBox_HorizontalItems">
            <StackPanel Orientation="Horizontal" />
        </ItemsPanelTemplate>

        <DataTemplate x:Key="ImageGalleryDataTemplate" x:Name="ImageGalleryDataTemplate"  >

            <Grid>
                <Border BorderBrush="ForestGreen" BorderThickness="3"  Width="120" Height="120" Padding="10" Margin="15" CornerRadius="10">
                    <!--Note: You'll Need Antother Event Somewhere In Here To Switch IsSelected Back To False To Hide It Again.-->
                    <Image Source="{Binding ImagePath}" Stretch="Fill"  HorizontalAlignment="Center" MouseDown="MouseDownEventHandler">

                        <Image.ToolTip>
                            <Grid>
                                <Image Source="{Binding ImagePath}" Stretch="Fill" HorizontalAlignment="Center" Height="100" Width="100"></Image>

                            </Grid>
                        </Image.ToolTip>

                    </Image>

                </Border>
                <Border>
                    <Grid>
                        <!--I Added Code Here To Only Show The TextBlock Whenever The IsSelected Property On Your ImageEntity Class Is True-->
                        <TextBlock Text="{Binding ItemName_EN}" ToolTip="{Binding ItemName_EN}" Visibility="{Binding Path=IsSelected, Converter={StaticResource boolToVisibilityConverter}}" />
                    </Grid>
                </Border>
                <Grid x:Name="LayoutRoot" Background="DarkGreen" >
                    <Button   Click="ButtonClicked" ToolTip="{Binding ItemName_EN}" >
                        <Image Source="{Binding ImagePath}" Stretch="Fill" Height="100" Width="100" HorizontalAlignment="Center"/>
                    </Button>
                </Grid>

            </Grid>
        </DataTemplate>

        <ItemsPanelTemplate x:Key="ImageGalleryItemsPanelTemplate">

            <!--Display Images on UniformGrid Panel-->
            <UniformGrid Columns="4" HorizontalAlignment="Center" VerticalAlignment="Stretch"/>

        </ItemsPanelTemplate>

    </Page.Resources>

Class ImageEntity : INotifyPropertyChanged
    {
        private bool isSelected = false;

        public String ImagePath
        {
            get;
            set;
        }
        public String ItemName_EN
        {
            get;
            set;
        }

        public bool IsSelected
        {
            get {return isSelected};
            set
            {
                isSelected = value;
                NotifyPropertyChanged("IsSelected");
            }
        }

        ///You Need All Of These To Notify The View That The IsSelected Has Changed So That It Will Update
        public event PropertyChangedEventHandler PropertyChanged;

        protected virtual void OnPropertyChanged(string propertyName)
        {
            if (this.PropertyChanged != null)
                this.PropertyChanged(this, new PropertyChangedEventArgs(propertyName));
        }

        public void NotifiyPropertyChanged(string property)
        {
            if (PropertyChanged != null)
                PropertyChanged(this, new PropertyChangedEventArgs(property));
        }

    }

    ///You Need This To Convert The IsSelected Property Above To A Visibility Enum. This Is Used In Your XAML
    namespace Project.Converters
    {
    using System;
    using System.Collections.Generic;
    using System.Linq;
    using System.Text;
    using System.Windows.Data;

    /// <summary>
    /// TODO: Update summary.
    /// </summary>
    public class BoolToVisibilityConverter : IValueConverter
    {
        public object Convert(object value, Type targetType, object parameter, System.Globalization.CultureInfo culture)
        {
            if (value.ToString().ToLower() == "false")
                return System.Windows.Visibility.Visible;
            else
                return System.Windows.Visibility.Collapsed;
            //throw new NotImplementedException();
        }

        public object ConvertBack(object value, Type targetType, object parameter, System.Globalization.CultureInfo culture)
        {
            throw new NotImplementedException();
        }
    }
    }

class InVoice
{
    private void BindImages()
    {
        try
        {
            // Store Data in List Object
            List<ImageEntity> ListImageObj = ImageView.GetAllImagesData();

            // Check List Object Count
            if (ListImageObj.Count > 0)
            {
                // Bind Data in List Box Control.
                LsImageGallery.DataContext = ListImageObj;

            }
        }
        catch (Exception ex)
        {
            throw new Exception(ex.Message);
        }
    }
    void MouseDownEventHandler(object sender, MouseButtonEventArgs e)
    {
        //Here You'll Probably Need To Cast sender To A FrameworkElement Or Something In Order To Get The Instance Of The ImageEntity That Was Clicked
        //After You Do This, You Can Set The IsSelected Property For The Item To True, And The ItemName_EN Should Automatically Show.
    }

}

redpajama_set_name: RedPajamaStackExchange


text:
Pretty Crappy: 6.87%
Sucks: 7.63%
5 reviews, 101 user ratings
See another review of this film:spork-girl (Just Average) Chef ADogg (Pretty Crappy) Jack Sommersby (Sucks) PaulBryant (Worth A Look)
"Powerhouse Scorsese epic."
What few people know about Martin Scorsese is that he has never made a gangster film. No, really. 'Mean Streets' wasn't about gangsters, it was about Catholic guilt. 'GoodFellas' wasn't about gangsters, it was about the American dream as seen in a cracked mirror.
Casino isn't about gangsters, either. Taken together, these films (all set largely in the '70s, when Scorsese came to prominence) form a trilogy of rise-and-fall stories, lovingly crafted and intricately detailed, addressing all the key American themes: money, sex, power, love, death, religion, family, above all ambition -- the hot desire to move up, move out, move ahead. (Scorsese's camera expresses the motion of motivation.) Casino, a true epic, pulls it all together and yet leaves us with chilling food for thought about what it all means. The movie is about business. There's business, and then there's everything else. Eventually there is nothing else.
Scorsese is working again with Nicholas Pileggi, who co-wrote GoodFellas based on his fascinating piece of journalism Wiseguy. After GoodFellas, Pileggi threw himself into researching the web of mob connections in Las Vegas; his work yielded a book and now this script. Pileggi lets his subjects talk in their own voices, with little authorial intrusion, and both GoodFellas and Casino are densely journalistic. The characters narrate while Scorsese's images underline (and sometimes contradict) their words. At one point he even provides subtitles translating the code phrases they use to foil the feds. People talk and talk about how Vegas works, and Scorsese's camera sprints to keep up. He's like an energetic tour guide making sure we understand everything.
Casino revolves around two hollow men. Sam "Ace" Rothstein (Robert De Niro), a bookie with a scientific genius for picking winners, positions himself as the boss of the mob-run Tangiers hotel. Ace is cool and rational and shrewd -- the perfect man to oversee a casino, because he knows it's in his best financial interests to keep the mob bosses back home happy, and the bosses know he won't get stupid about the fortunes rolling in. He dresses flamboyantly, in a variety of dandyish pastels ranging from peach to pistachio, but under the suits he's perhaps the most unflamboyant man Scorsese has ever put on the screen. Ace's opposite number, and boyhood buddy, is Nicky Santoro (Joe Pesci), who comes out to Vegas looking to carve himself a niche. Nicky offers his services as Ace's unofficial muscle, and quickly gains a rep as a mercurial sociopath. Ace may shake his head at Nicky's savagery, but Nicky is great advertising: To mess with Ace is to mess with Nicky, and you don't want to mess with Nicky.
Scorsese knows these guys; he's comfortable with them. But every director has an Achilles heel, and Scorsese's has always been women. He can see them only from the outside, and the third leg of Casino is weak. Ginger (Sharon Stone), the glamorous hustler whom Ace marries and Nicky has an affair with, has no visible inner life. De Niro narrates, Pesci narrates, even Frank Vincent (as Nicky's right-hand man) gets to narrate a quick anecdote, but Stone never gets a turn. That's a shame, because this is Stone's breakthrough performance -- vibrant, alive, operatic in its extremes of mink-fur bliss and bottom-dog torment -- all the more so because she's working against a script that barely bothers to humanize her. Ginger is the wild card, the untrustworthy junkie bitch who brings chaos into the boys' club. Ace, usually the epitome of caution, throws caution to the wind and falls deeply in love with her, or so we're told; we don't really understand why. (The book isn't much help either.)
Luckily for Scorsese, Casino doesn't rest its full weight on this ill-starred love triangle (or it would collapse). Its real meat is the tragic theme of the hothead prevailing (with disastrous results) over the cooler head, a Biblical theme (think of Cain and Abel) that links the movie with Mean Streets and GoodFellas. Ace keeps his pulse steady unless something threatens his bottom line: an incompetent slots manager, an inattentive cook in the casino kitchen. (One of the funniest moments in the entire Scorsese portfolio to date occurs here when we get to watch Robert De Niro going ballistic over the amount of blueberry in a muffin.) Nicky, on the other hand, is a back-home street thug with his eyes on the prize. Power to him means being feared. He doesn't use his head, and after a while the bosses back home start to wonder if he's worth the trouble. Joe Pesci may seem to have already gotten an Oscar for this performance, but Nicky is different from his other psycho, Tommy, in GoodFellas. Tommy had fun being a hard-ass -- that was what made him scary -- but Nicky, mesmerized by the gold in the desert, doesn't have much fun. Money is serious. The more you have, the more you have to worry about losing it.
Even by Scorsese standards, the violence in Casino is exceptionally harsh. There's not as much of it, and the brutality is parcelled out over three hours, but when it happens, it's always uniquely grotesque, rage-filled, almost intimate; there are at least three scenes that make the notorious Billy Batts pistol-whipping in GoodFellas look nearly serene. Part of what makes the savagery here so haunting is that there's no Henry Hill looking on in horror; nobody looks on in horror. To the extent that ghastly beatings and stabbings keep things moving smoothly, it's tolerated. By the time someone ends up betrayed in the middle of a corn field, beaten beyond recognition and buried alive in the desert, the cruelty has the sting of Greek tragedy.
The men in Casino have calcified far beyond the Ray Liotta character in GoodFellas, who got off on the sensual pleasures of being a hot-shot. These Vegas men, lured long ago by the siren song of money, have long since crashed on the rocks. Ace derives no pleasure from his grandly successful casino or even from his family. De Niro plays his one note skillfully, sometimes introducing a second note -- Ace's conflicted feelings for Ginger, which bring out a frightened vulnerability De Niro hasn't shown in a while. But ultimately only one thing matters to Ace, and it's not until he loses everything that he is restored to himself: he goes back to picking winners. It's a classic Scorsese finish -- redemption by self-destruction. Casino has been criticized for being cold, and unfairly compared with GoodFellas, as if the collaboration of De Niro, Pesci, and Scorsese made it an unofficial sequel. Scorsese takes risks based on the nature of his material. Love and honor mean nothing in this movie because in Vegas, nothing means anything except money.
As Michael Corleone said, "It's not personal. It's strictly business." 'Casino' is Scorsese's personal epic about business, and he seals it with a devastating joke. The mob loses its grip on Vegas, and at the end, we see the new casinos -- shining castles built by corporations, the mob of the future.
link directly to this review at http://www.hollywoodbitchslap.com/review.php?movie=1012&reviewer=416
2/13/17 morris campbell very good even if its goodfellas goes 2 vegas and it stick close to the real story on which
5/27/16 stephen a masterwork
6/03/15 stanley welles deft, visually impressive and admirably performed
9/11/11 Captain00Kirk A 3 hour-version of Goodfellas, I'm in! www.youtube.com/Captain00Kirk
3/02/11 chris c Kinda of a retread of Goodfellas with De Niro and Pesci but ultimately rewarding
2/26/11 Jeff Wilder Great overall even if half an hour shoulda been shaved off.
2/09/11 nigger whipper fuck the niggers
11/02/10 Mark O. Avery Pesci & DeNiro Score again!!!
9/23/10 Flathead King Not bad but well below Scorsese's best.
4/10/09 Dane Youssef Almost a dream state. The world's most insight look at the universe's most fascinating city
2/23/09 brian Scorsese's best crime film, with more objectivity than he's used to
1/04/09 matt one of the best movies ever, incendiary, brilliant script
11/19/08 PAUL SHORTT AN OVERLONG AND UNFOCUSED SORDID PIECE OF SLIME
3/04/08 ladavies Nobody can tell a better gangster story than Scorsese.
2/01/08 Quigley Good acting and direction, but it was too much of a Goodfellas imitation to be acceptable
11/19/07 Wendell O. Maness True story, but Civella was a wimp, chickenshit old man
7/27/07 theresa Aldrich 3 hours of pure genius!
7/23/07 Terry Departed is ripoff of a better Hong Kong film. At least Casino is more original.
6/23/07 Bitchflaps Scorcese had been here before with Goodfellas, and Goodfellas was average.
4/27/07 Double M One of Scorsese's best. everything is just great.
2/14/07 I Gluck Great movie, great cast...Pesci is top notch
2/13/07 action movie fan too long and tedious the departed was a good deal better
2/12/07 The chode Awesome Movie.
10/10/06 Jan A classic!!!
10/09/06 Bugsy Last and great Scorsese film. Departed sucked.
8/20/06 Sepi53 Great cast! Joe Pesci, De Niro and above all SHARON
7/24/06 Sandy + Stephanie (twins) very nice
5/22/06 Agent Sands A great Scorsese epic. No one can top Pesci's gangster charisma.
5/05/06 dionwr Good but not great Scorsese
5/02/06 Ryan_A Haven't seen all of it.
5/01/06 William Goss Still haven't seen it.
5/01/06 David Cornelius Gets better with repeat viewings
5/01/06 HBS-SH cards with the kgb
3/17/06 MP Bartley Nastier than Goodfellas...but not better.
2/27/06 matt they don't make em like this anymore
1/04/06 John Dog Great movie.
12/26/05 Monday Morning Great until S.Stone entered the pic...then it gummed up a bit.
11/19/05 Phil M. Aficionado Sciortino sez: "..ex-boyfriend (Don Rickles).."; No, James Woods. Great film, esp S. Stone
10/15/05 Moctezuma Though not as good as Goodfellas, it's still pretty great
10/04/05 Jesse Taylor One of the finest films of the 90's
9/29/05 Michael Blower Next to the Godfather trilogy and Goodfellas this is the daddy!
9/26/05 Anthony G Highly entertaining, I didn't move for three hours!
8/17/05 Indrid Cold Some surprisingly disturbing violence, but a good story to support it.
7/02/05 jimmy better than goodfellas
6/12/05 Agent Sands For a 3-hour movie, it sure doesn't seem that long.
3/15/05 Pete fraud good movie. a little bit long
2/21/05 Captain Craig The best gangster-Vegas movie you will ever see
1/26/05 Jeff Anderson About as great as GOODFELLAS and THATS saying something! Amazing production design & acting
12/02/04 Carly Austin Robert de Niro in one of the most understated, underrated performances of all time.
11/23/04 Geoff My 2nd favorite Scorsese movie behind Raging Bull
11/20/04 Kristina Williams Sharon Stone's best work
10/23/04 UMER i don't know why it is one of the most underrated movies of all time
5/29/04 king eric top quality film. pesci kicks ass
2/21/04 your worst goddamn nightmare cool flick; narration reminded me of Goodfellas... and that's a good thing!
9/22/03 jack after i saw this movie it made me go hit my friend in the teeth with a baseball bat
7/21/03 AD underated masterpeice
7/20/03 john_cord Very damn good film. No Goodfellas or Raging Bull or Taxi Driver but riveting nevertheless.
7/01/03 jackass if its too graphic then dont watch it ya wacky prick:P
5/12/03 Mr. Hat (I'm Back, Mo'fos!!!) De Niro, Pesci, & Scorsese should've won every award there is for this. Good soundtrack, 2!
4/16/03 Jon "Thumb the Toad" Lyrik Superb.
3/21/03 GMan A good movie. Goodfellas is better. Sharon Stone sucks ass. DeNiro kicks ass.
2/22/03 jennifer carter awesome flick
1/22/03 Pinkline Jones Good film - swearing overload though
12/29/02 Femme_Fataleaa Very dissapointing...thought these heavy hitters could bring the heat!
12/27/02 Charles Tatum No one addresses how frickin' long this thing is
12/27/02 Jack Sommersby A 3rd-rate version of the 2nd-rate Goodfellas
10/15/02 Monster W. Kung Great. Violence is occasionally too graphic, but it's still an excellent film.
8/24/02 Turkish if u hav got the patience for long movies, you gotta see this shit man
7/27/02 sdjfsdkjf get over the comparisons with goodfellas, it gets old. Not as bad as ppl make out.
6/22/02 R.W. Welch Nothing really wrong here but it's mostly familiar stuff.
11/28/01 The $1.98 Pyramid Perfect in every way.
8/08/01 E-Funk Feels like a Goodfellas re-visit, but it stands out as another great Scorsese film.
3/19/01 Michael Nicholls It's true i tell u! It;'s my life story on celluloid!
2/16/01 MagdaM I have seen this film and I think it is very good film
10/26/00 Jackie Townsend It was okay, but needed plot development
9/07/00 Terrie Smith A lot like "Goodfellas" but not nearly as good. Pesci very boring.
8/04/00 Elvisfan A rare Scorsese failure; by now its all been done by him, better too
7/09/00 Tim In many ways a rehash of "Goodfellas", but still worth a look because of the sets & fashion
6/24/00 Crystal Fleming Held my interest the entire time. Good acting.
1/14/00 Fuck Yeah!! The cleverest,wittiest,most thought provoking movie ever!Right up there with Goodfellas!!
11/11/99 jj fgf
10/12/99 JERRY GARCIA PART 2 SCORSESE'S BEST-BETTER THAN GOODFELLAS!ITS FLAWLESS IN EVERY WAY
9/24/99 alyssa Wish Scorcese made more pix.
9/03/99 Elizaveta I am fucking scared of the mafia. Did Joe Pesci and little bro really have to die that way!
6/30/99 Popa Chulo Almost hard to watch. Fuck is said 362 times, eyeballs are popped out of heads. It was good
6/27/99 Chris Gianaras Great movie even though it recycled everything from GoodFellas.
6/14/99 Dylan Scorcese does it again. De Niro and Stone are fantastic.
4/22/99 lucas jackson This movie was a great display of the underworld in casinos
3/14/99 little jerry Goodfellas is more flashy but also more annoying.I suspect this will stay with me longer.
3/06/99 davebo Great movie overall but lets face it, its no Goodfellas
11/27/98 Mr.Pink Has it's laws, but still impressive overall.
11/25/98 Fred Stone almost became an actress. I wish I could stab some dick in the neck & get away w/ it.
11/06/98 grunter 1 image remains: a dead Pesci being buried in his underpants: big Scorsese misstep
11/04/98 Bad Kosh De Niro and Pesci rule, mobsters owning a casino... but lacking.
10/26/98 Silent Rob Just misses a 'F.A.' If you liked 'Goodfellas', here's more.....
10/24/98 Lord Of The Dunce Sharon Stone is sad. She's such a coffee table.
10/07/98 Maegs More pretty pictures. Not a big Stone fan, but she was better than usual
9/30/98 Melissa De Niro is really cool! This movie is a must see for the family.
9/19/98 {{{OZ}}} Lost a star for Pesci, another for Stone.
9/19/98 J-Guy *really good, but really long. maybe too long. but really good. loses a star for length.*
9/16/98 Bbanks2908 Fucking awesome De Niro and Pesci at there best
DVD: 17-Jan-2006
23-Feb-1996 (18)
07-Mar-1996 (R)
Nicholas Pileggi
Don Rickles
Alan King


text:
Lil Marvin
Mushid Marc is a Congo-born French rapper who came up with the rhymes and poetry of Tupac and Bob Marley. A music fan for life, he started to make his own in 2010 when he stepped into the studio for the first time. While nothing came from that, it did showcase to him that he was on the right path. Seven years later he worked overtime and released a full-length album, Thug Life, and an EP, Still on the Street, in 2017. All of the above have his signature blend of precise flows, a crystal clear delivery and a unique story to tell.
d�brouillard 2019-05-29
Je m'enjaille 2019-05-28
Je me demande 2019-05-28
Flip It 2019-04-28
Dans Le Game 2019-04-28
Je fait toujours kiffer 2018-08-27 1
Bae 2018-08-27 1
Enemy 2018-09-15 1
Mamacita 2018-08-29 1
Spice 2018-09-13 1


text:
By HASTAC Team
Upcoming HASTAC Conferences
HASTAC 2020: "Hindsight, Foresight, Insight"
Mark your calendars now for October 15-18, 2020! Led by Dean Anne Balsamo, one of HASTAC's original founders, a team at the exciting, visionary new School of Arts, Technology, and Emerging Communication at the University of Texas at Dallas will host #HASTAC2020. Playing on the idea of hindsight as twenty-twenty vision, #HASTAC2020 will embrace the theme: "Hindsight, Foresight, Insight," to think about where we began in 2001 and where technology in general was at that time. We will also think forward, meditate on the path we have taken, and include final workshops where, together, we plan new projects, new actions, new forms of collective engagement. In the Fall, you will begin to see more information about #HASTAC2020 and then calls for proposals. We are thrilled and grateful to Dean Balsamo and her team and to the University of Texas at Dallas.
HASTAC 2022:
Spring 2022 (tentatively set as May 26-28), #HASTAC2022 comes to Pratt Institute in New York City, led by Chris Alen Sula, a professor in the School of Information and Coordinator of Digital Humanities and M.S. in Data Analytics & Visualization.
About HASTAC Conferences
Our annual HASTAC conferences are hosted by affiliate organizations at locations around the globe. Previous conferences have taken place at Duke University in Durham, NC; University of California Humanities Research Institute (on the UCI campus) and UCLA: University of Illinois Urbana-Champaign; a fourteen-site international virtual conference; University of Michigan; York University in Toronto, Canada; and at the Ministry of Culture in Lima, Peru.
The conference usually attracts between 250-450 attendees from around the world. Attendees include professors, independent scholars, HASTAC Scholars, graduate and undergraduate students, and professionals dedicated to using the open web to change the way we teach and learn.
Recent HASTAC Conferences
Unceded Musqueam (xʷməθkʷəy̓əm) Territory
UBC Vancouver
On 16-18 May 2019, the Humanities, Arts, Science, and Technology Alliance and Collaboratory (HASTAC), in partnership with the Institute for Critical Indigenous Studies at the University of British Columbia (UBC) and the Department of English at the University of Victoria (UVic), will be guests on the traditional, ancestral, and unceded territory of the hən̓q̓əmin̓əm̓-speaking Musqueam (xʷməθkʷəy̓əm) people, facilitating a conference about decolonizing technologies and reprogramming education.
The conference held up and supported Indigenous scholars and knowledges, centering work by Indigenous women and women of colour. It engaged how technologies are, can be, and have been decolonized. How, for instance, are extraction technologies repurposed for resurgence? Or, echoing Ellen Cushman, how do we decolonize digital archives? Equally important, how do decolonial and anti-colonial practices shape technologies and education? How, following Kimberlé Crenshaw, are such practices intersectional? How do they correspond with what Grace Dillon calls Indigenous Futurisms? And how do they foster what Eve Tuck and Wayne Yang describe as an ethic of incommensurability, unsettling not only assumptions of innocence but also discourses of reconciliation?
Check out posts from the Director of Programs and Administration Katina Rogers HASTAC 2019: Reflections and Gratitude; Plenaries by Jules Arita Koostachin, Elizabeth LaPensee, Alana Sayers, Melody McKiver, Leanne Simpson, Karyn Recollet and Kim van der Woerd.
Conference logo for #hastac2019 by Diamond Point.
HASTAC 2017: The Possible Worlds of Digital Humanities
University of Central Florida, Orlando, Florida
#HASTAC17
The HASTAC 2017: The Possible Worlds of Digital Humanities, was held in Orlando, Florida on November 3-4, 2017. The lead sponsor and organizing group for the conference was the Florida Digital Humanities Consortium (FLDH.org), which included a dozen different organizations working collaboratively on this project.
The title suggests the simulation theme, and also the hard problems that are on the horizon for DH, and how addressing them might open new areas of research and creative work. It is also a nod to science fiction, and hence has a popular angle also.
HASTAC 2016: Impact, Variation, Innovation, Action
Nexus Lab, Arizona State University
#hastac2016
The HASTAC 2016 conference was held May 11-15, 2016 at the Arizona State University's Nexus Lab in Tempe, AZ. The conference aimed to emphasize and encourage broader conversations about the past, current, and potential impact of interdisciplinary work in research and education. If the digital humanities are one successful configuration of humanistic and technological research domains, what other configurations are available, or urgently necessary?
HASTAC 2016 investigated the potential for new work, and also encourages participants to engage ways that collaborative teams might use channels beyond academic publication to impact local communities, national conversations, and worldwide systems.
Check out posts from the HASTAC Scholars Unconference; keynotes by Gary Dirks and Liza Potts; panels on the University Worth Fighting For; and more! These posts and many others have been collected in the HASTAC 2016 group; all are welcome to join and add content.
HASTAC 2016 Sponsors
Arizona Science Foundation
ASU Center for Science and Imagination
ASU College of Liberal Arts and Sciences, Humanities
ASU Department of English
ASU Lightworks
Institute for Humanities Research
MLA Connected Academics
HASTAC 2015: Exploring the Art & Science of Digital Humanities
HASTAC 2015 conference was held May 27-30, 2015 at the Kellogg Center on the campus of Michigan State University. Connecting with HASTAC's interdisciplinary mission, the conference's theme was the "Art and Science of Digital Humanities" and challenged participants to consider how the interplay of science, technology, social sciences, humanities, and arts are producing new forms of knowledge, disrupting older forms, challenging or reifying power relationships, among other possibilities. The conference featured a mini-conference for HASTAC Scholars followed by two full days of conference activities and opportunities for collaboration.
The keynotes were presented by:
Cezanne Charles & John Marshall, rootoftwo, "Whithervanes: a neurotic, early worrying system THR_33 (Tea House for Robots)"
Roopika Risam, Salem State University, "Across Two (Imperial) Cultures: A Ballad of Digital Humanities and the Global South"
Scott B. Weingart, Carnegie Mellon University, "Connecting the Dots"
Some things to check out from the conference:
HASTAC 2015 Conference Group
Videos of talks from the conference
HASTAC Scholars Unconference
DH Toolbox that came out of one of the HASTAC Scholars Unconference Sessions
On Scott B. Weingart's "Connecting the Dots"
#Whithervanes, a Storify of tweets sent during "Whithervanes: a neurotic, early worrying system THR_33 (Tea House for Robots)", keynote by rootoftwo (Cezanne Charles and John Marshall)
On "DH: Affordances and Limits of Post/Anti/Decolonial and Indigenous Digital Humanities", keynote by Roopika Risam
Reflections on #HASTAC2015
Please add your own presentations, notes, thoughts, photos, storified tweets, or any other inspirations from the conference to the HASTAC 2015 Conference group!
For more information about the conference, please see www.hastac2015.org.
HASTAC 2014: Hemispheric Pathways - Critical Makers in International Networks
The HASTAC 2014 conference was held in Lima, Peru (April 24-27, 2014).
This international conference was graciously hosted by the Peruvian Ministry of Culture, in collaboration with HASTAC, the Organization of American States (OAS), and several other key partnering institutions from North, Central, and South America.
More information can also be found as follows:
Check out the conference roundup.
Visit the official conference website at: hastac2014.org
See the Organization of American States (OAS) Press Release for HASTAC 2014.
View the Conference Program (PDF).
This event was Live Streamed on Cultura24.
Past HASTAC Conferences:
HASTAC 2019: Decolonizing Technologies, Reprogramming Education
HASTAC 2015: The Arts and Science of Digital Humanities
HASTAC 2014: Hemispheric Pathways: Critical Makers in International Networks
HASTAC 2013: The Storm of Progress: New Horizons, New Narratives, New Codes
Digital Scholarly Communication: Conference Proceedings from HASTAC 2011
HASTAC 2010: Grand Challenges and Global Innovations
HASTAC 2009 Conference Buzz
HASTAC II: Techno-Travels (2008)
Information Year (2007)
Conference Planner To-Do List
HASTAC 2019: Decolonizing Technologies, Reprogramming Education ›
HASTAC Team


Carrie Butler works as an Graphics Manager, Office of the Comptroller, Office of Communications for Comptroller of Maryland at Annapolis, MD. The company's webpage is http://www.comp.state.md.us. For email, phone number and executive profiles for Graphics Manager, Office of the Comptroller, Office of Communications and other executives of Comptroller of Maryland at Annapolis, MD, check Comptroller of Maryland at Joesdata.com. Not the Carrie Butler you are looking for? Do a quick search in our website and find other people named Carrie Butler.
As of April 26, 2019, Carrie Butler has 94 co-workers under the company name Comptroller of Maryland at Joesdata.com.
Comptroller of Maryland is located at 301 W Preston St Ste 206 , Baltimore, MD 21201. It has around 500 - 1K employees. Its revenue is under $1M.


text:
The Matador is an armoured personnel carrier (APC) and mine-protected vehicle that is produced by Paramount Group in South Africa. The vehicle was displayed for the first time in 2007, during the International Defence Exhibition and Conference in Abu Dhabi. The Matador was officially launched the following year, at the 2008 African Aerospace and Defence exhibition in Cape Town, South Africa.

Vehicle specs
With a curb weight of 10,800 kg and a payload weight of 4,500 kg, the Matador has a maximum crew capacity of fourteen, including a driver and co-driver. The vehicle has a cruise speed of 100 km/h and a maximum range of 700 km. Although it can be used for military and peacekeeping operations in urban areas, it was originally designed for missions in less built-up areas. It therefore has a larger turning circle compared to its sister vehicle, the Marauder, which was specifically developed for urban areas.

The Matador is either equipped with a militarised MAN engine integrated with a 12-speed semi-automatic transmission, or a Cummins engine integrated with a fully automated 6-speed transmission. Both technologies are common around the world, allowing the vehicle to be repaired and serviced in most countries, without requiring an independent logistic system.

Armour
The Matador is fitted with a double-skin monocoque hull, which gives it a modern look and a smooth finish while protecting its occupants against blasts up to STANAG 4569 Level III, the highest level of tested protection. The V-shaped hull comprises three self-jigging plates. This system, developed in South Africa, enables the Matador to withstand the blast of a double anti-tank mine (14 kg of TNT) at any point beneath the hull, and a triple anti-tank mine (21 kg of TNT) under any wheel.

Armament
The vehicle can be equipped with light and medium-calibre machine guns and cannon weapon installations, as well as mortar firing platforms, missile launchers, combat turret, and command, surveillance and control systems.

Functions
The Matador can be converted to serve various purposes and roles, such as armoured ambulance, command-post vehicle, or utility mine-protected vehicle.

Production
In 2008, for the manufacturing and production of the Matador, the Paramount Group liaised with King Abdullah II of Jordan and the Design and Development Bureau (KADDB), Jordan's primary governmental military institute for the possible development and manufacturing of defence systems.

In 2009, a deal was sealed with the government of the Republic of Azerbaijan to produce Matadors via knock down kits.

Operators

 : 13 sold in 2013.

References

Armoured fighting vehicles of the post–Cold War period
Armoured personnel carriers of South Africa
Military equipment of Azerbaijan
Military vehicles introduced in the 2000s
Wheeled armoured personnel carriers
Armoured personnel carriers of the post–Cold War period

redpajama_set_name: RedPajamaWikipedia


Alliance Memory's SDRAM portfolio now features a wide variety of components that combine low power consumption with power-saving features to extend battery life in mobile devices. They include SDR (LPSDR), double data rate (LPDDR), and DDR2 (LPDDR2) devices. Featuring power consumption of 1.8V, the company's LPSDR SDRAMs are available in densities of 128Mb, 256Mb, and 512Mb in 54-ball and 90-ball FBGA packages. LPDDR devices feature power consumption from 1.7V to 1.95V and densities of 256Mb, 512Mb, 1Gb, and 2Gb in the 60-ball and 90-ball FBGA packages. Enabling ultra-slim designs, LPDDR2 SDRAMs offer power consumption of 1.2V/1.8V and densities of 1Gb, 2Gb, and 4Gb in the 134-ball FBGA package.


A dozen handwritten cards fill Lt. Col. Bruce Fike's office wall, many of them from cadets thanking him for training them and telling him about their current assignments.
For Fike, those cards represent the memories he wants to take away when he leaves his position.
After leading UCLA's Air Force Reserve Officers' Training Corps for the past three years, Fike is retiring from his position to become a junior ROTC instructor in a high school in Colorado Springs, Colorado.
Fike, who has served in the Air Force for more than 30 years, promoted leadership development among ROTC cadets by improving creative training programs and leading by example.
During his time at UCLA, Fike revived a leadership lab, during which junior and senior cadets design and lead training programs that simulate real-life scenarios they may face in active duty.
Some of the simulations in the trainings include monitoring and protecting access to a certain area and dealing with improvised explosive devices.
The time for the leadership lab was previously used for cadets to practice marching, but Fike said he revived the program because he wanted cadets to learn more skills relevant to the amount of training they've had.
Alejandro Mosqueda, a ROTC cadet and fourth-year Russian language and literature student, said Fike is able to switch between the roles of a strict commander and a caring figure to the cadets.
"When the switch is off, that's when we are sitting around and he explains (where we can improve) and gives constructive criticism; when the switch is on, that's when he demonstrates how to correct (mistakes we make) under pressure," he said.
Mosqueda said he thinks Fike interacted and connected more with students than the previous ROTC commander.
Courtney Tomas, incoming Cadet Wing commander and a third-year psychology student, said Fike would join the cadets in their physical training even at 6 a.m. on a Saturday.
"If we're running four miles or doing dozens of pushups, he's right there along with us," Tomas said.
Mosqueda said Fike even flew to Alabama to attend the cadets' graduation from Field Training Preparation, an intensive lockdown training that cadets attend before they officially sign a contract with the military.
Fike said he thinks it is important for a leader to be present and know what is going on in his cadets' lives.
When the ROTC headquarters decided to dismiss a cadet for alcohol possession as a minor, Fike appealed the decision because he believed the cadet would be able to contribute to the Air Force.
Fike said he tries to lead by example when interacting with senior and junior cadets so that they will do the same when they lead underclassmen and become officers in active duty, he said.
In his upcoming position as a junior ROTC instructor, Fike said he expects to be more of a father than a commander because many of the students are from low-income families and may lack male role models.
"I think there is a huge potential to do lots of good – really maybe help some kids figure out their lives, make some good choices," Fike said.
Fike said he is drawn to teaching college ROTC and junior ROTC because he likes seeing cadets grow and develop as people and future officers.


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Strategic Doing author featured at Business and Society Lecture Series
Posted by UWSPcps - October 28, 2022 - Academics, Business and Economics, Featured, SBE Engagement
Author Liz Nilsen spoke to more than 100 community members and students during the Business and Society Lecture Series, hosted by the UW-Stevens Point School of Business and Economics on Friday, Oct. 28. [View Photos]
Nilsen is associate director of the Agile Strategy Lab at the University of North Alabama, director of operations of the Strategic Doing Institute and co-author of the award-winning 2019 book, Strategic Doing: Ten Skills for Agile Leadership. Strategic Doing is a framework designed to facilitate collaboration amongst the loose networks common in business today.
She addressed how in today's global economy, focused collaboration and innovation are key for success. These networks could be composed of different businesses and community partners with a common goal or different units within a single organization. The Strategic Doing framework is ideal for tackling complex, interconnected problems.
The Business and Society Lecture is part of the School of Business and Economics Smiley Professional Events series in which students attend a variety of career-related presentations and workshops throughout the school year.
Nilsen also was the keynote speaker at the Women Trailblazers and Entrepreneurs Conference, hosted by UW-Stevens Point at Wausau, and presented to students on the main UWSP campus on Thursday, Oct. 27. Her two-day visit was made possible thanks to the Tommy G. Thompson Center on Public Leadership, Portage County Business Council, CREATE Portage County and the UWSP School of Business and Economics.
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Category: Screenwriting
A Few Thoughts on "The Limit" – New VR film from Robert Rodriguez
I'm looking for a narrative VR film I can really love and want to watch over and over again. Could it be, "The Limit?"
"The Limit" is Robert Rodriguez' latest entry into the world of narrative filmmaking using VR technology. Released on November 20, 2018, it's an action film that takes the audience on a brief journey to find out why some bad guys are chasing "us." It's not much more than that. It's fun, but in the end not very ambitious as storytelling. Rodriguez, joined by his son, Racer on this outing, isn't known for his thoughtful character dramas, but for action and trying new things. This film reflects those values. It's a non-stop action sequence, with only a few moments of relief. For action fans, it may be the next thing. Or?
Let's Talk Story
The story begins with "us" (the viewer) sitting in a bar, and meeting M-13 (Michelle Rodriquez) who is obviously a badass waitress. The filmmakers take little time to set up anything, but we quickly learn that we can't speak and have some kind of AR "enhancements" that enable us to see bad guys. Other than that, we have no idea why we're here. If you read the synopsis for the film, you'll discover that we are "…a rogue agent with a mysterious past…" — whatever.
We are quickly forced to flee said bad guys with M-13. After that, we mostly get shot, help drive her Jeep, and suffer repeated blackouts after bad things happen to us. But, for some reason, we don't seem to die from anything we suffer, including a gunshot to the stomach and a freefall from an airplane. Guess that all needs some explanation, which M-13 gladly gives in a long static monologue that tries to fill in a few details in an attempt to convince us that this all matters for some reason. Oh, we're kind of alike. And now she's got a plan and goal for herself. Finally! But it mostly involves us walking in to a poorly defended warehouse, killing the stupid henchmen, and confronting the Big Bad Guy (played by Norman Reedus of Walking Dead fame.) He wants something we've got, of course. A kind of slow, pitiful chase ensues. We have another blackout. But then there's a twist ending. You get the idea. Oh, and the story will continue. Theoretically. If anyone would shell out for more. I'm not convinced they've given us anything to hope for. Michelle is badass and they treat her pretty well in terms of not really playing on her sexuality. Points for that.
Ultimately, as with many films in this genre, the story suffers for the sake of the experience. Why does this have to be? I'd call it more of a 'ride-along' experience. We (the audience) are immersed in the action but are almost completely passive characters, only taking initiative for a moment toward the end. So, we get to watch M-13, the real Protagonist, go through her journey that our appearance at the beginning seems to spark.
The problem with this, and many stories, is that we have no reason to care. We don't know who we are, or who she is, other than a little backstory and a twist at the end. The stakes aren't even that high for most of the film because it seems that we can just get shot, survive a car crash, a freefall from a plane, etc., and it's no big deal. Guess "we're" pretty badass, too. But "we" don't say or think much of anything the whole time.
On the medium and techniques used in "The Limit."
Just a note for would-be viewers; it's not full 360 VR, more like 180 in a custom "Surreal Theater" that does fill in the other 180 with a dark cineplex, in case you want to see how cool it is to be alone in a dark cineplex.
It's not an open world by any stretch. The directors choose and maintain our focus using the camera as in traditional cinema and it's a completely linear timeline. The main difference here is the increased sense of immersion and some ability to look around a limited frame. I think it works pretty well, and it seems to me to be the best option for story-telling. If you let the audience just wander around, it's hard to create a narrative flow and pacing. That works for exploring worlds in a game setting, but I don't think we humans will lose our enjoyment of and desire for stories to be told to us. I'm not alone in thinking about ways to guide a viewer, using other cues (visual & auditory) to direct attention but without locking an audience's POV one frame. But it's a big challenge, to be sure. The directors do choose to pull us out of the POV a few times so we can watch ourselves drive away, etc. Also, they cut to insert shots that are from our POV, but are done in traditional cuts rather than "moving" us closer. It works fine.
Our character cannot speak for some reason. We communicate, very little, via some kind of text screen, but I can't figure out where it may be located, if our body and face are supposed to be normal looking. At the beginning the logic doesn't work. Maybe it begins to make sense later (spoiler!) when M-13 reveals that she's also a biconically enhanced person. Can she see our communications in a kind of heads-up AR display?
The main problem with a lack of our ability to communicate is that the film is mostly a monologue by M-13. It gets really tedious when she has a long exposition scene where she puts the pieces together for herself and for us. Was this just lazy on the part of the writers, or an inherent limitation of the medium?
Final observation; my feeling is that running time on an immersive VR action film must be kept short. This film is really about 15 mins of actual narrative and Rodriquez made a good decision to keep it brief. Because the viewer is immersed and can't control their point of view much, the intense action and motion will certainly cause some queasiness for many viewers. It did for me. I could never watch a feature length film without breaks if it is shot in this style. Maybe with some downtime scenes? I'm sure they took that into consideration, but it's something for all of us to consider if we're planning a VR film. On that note, an immersive story without all of the intense action is likely just fine for a longer run time. Then, the challenge is to have a real story. And, does anyone want to watch a 'talky' character drama in VR? Perhaps?
Other notes: I watched the 3D version on an Oculus Go headset. The film is delivered as an app from the Occulus story and includes a lot of behind-the-scenes material that I think will be fun to watch. The app download is pretty big, over 3GB,ut it's not a problem to me. You can watch this sitting in a chair as the film is not a full 360 experience.
Author TomKPosted on November 21, 2018 January 23, 2019 Categories Film Production, Influences, Learning, Screenwriting, Storying, VRTags Film, independent film, Occulus, Robert Rodriguez, screenwriting, VR filmLeave a comment on A Few Thoughts on "The Limit" – New VR film from Robert Rodriguez
4 Reasons Why Homeschoolers Should Study Screenwriting (and get English Comp credit for it.)
If you have a budding homeschool writer or filmmaker, they should be learning to write screenplays. Screenplays represent a unique literary genre that forms the foundation of one of the most influential forms of art and entertainment in our world today, movies and other visual stories.
I'll begin with two quotes:
"Film is the literature of our age" AND "Those who tell the stories shape the culture"
The first is by Steven Spielberg. I'll reveal who said the second one in a moment.
These two quotes remind us how influential and pervasive stories through film have become in our culture. No one can deny the influence of these stories, whether told on a cinema screen or a mobile phone. My 30+ years as a professional filmmaker have convinced me of the importance of raising up a new generation of filmmakers and writers who will take us into the future.
So here are the four main arguments I'll make to encourage you to consider screenwriting as an important field of study for your creative homeschooled student.
Screenplays are a unique literary genre, deserving disciplined study.
Screenplays make use of the major elements of all good creative writing.
Screenwriting is the foundation of a highly influential cultural expression, movies.
Christians can make better movies.
First, as Mr. Spielberg argues, screenplays made into movies are the pervasive form of storytelling in our modern culture. And, they truly are a literary genre unto themselves. They require discipline and study to master their unique form and storytelling conventions. For instance, did you know that screenplays are always written in the present tense? That's because all we can write is what we see on the screen in front of us. We can't make full use of inner thoughts of characters. A well-written screenplay reveals their choices through the ways they act when challenged. If you have a budding screenwriter, this is a great creative challenge.
Secondly, screenplays make use of the same storytelling elements found in other literary forms, such as short stories and novels. For instance, we must create interesting and dimensional characters, devise interesting plots with rising conflict, and draw our audience into the story with vivid descriptive language and compelling themes that touch our emotions while entertaining us.
Third, most people don't understand the immense importance of the screenplay as the foundation of all movies. It has been said that it's possible to make a bad film from a good script, but it's impossible to make a great film from a poor script. It's like the blueprint, foundation, and framing of a movie. Of course, movies–good and bad–exert tremendous influence in our culture.
That leads us to my final point…
…making films that are powerful and influential and reflect a Christian worldview. I believe all Truth is God's Truth, and that all Beauty reflects His Glory. I hope to envision and equip young storytellers to follow God's call to speak powerfully to culture through many forms of films and videos. Most of us admit that few popular films that are labelled "Christian" exhibit the highest literary and artistic reach we are capable of. There was a time when the Church led the way in the arts. We should aim that high.
Now, to the second quote; "Those who tell the stories shape the culture." It's from Aleister Crowley, the famous British occultist in the early 20th century. His vision was to undermine the Christian worldview and values of his culture, and he argued for a takeover of popular storytelling to achieve his end. He saw the potential.
I have had the privilege of teaching many passionate and creative young homeschoolers who are learning to tell powerful stories of their own. I am so encouraged by them, and they give me great hope for the future. They are learning to tell stories that change the world.
For further reading: There are a zillion screenwriting blogs out there, but one I especially like is The Rabbit Room. They have a film section, plus many other forums that, to me, represent some of the best writing and thinking about the arts in the Church today.
Author TomKPosted on May 25, 2017 June 3, 2017 Categories Learning, ScreenwritingTags Christian homeschool filmmaking, Christian screenwriting, homeschool screenwriting, Learning, online screenwriting classes for homeschoolers, screenplay, screenwritingLeave a comment on 4 Reasons Why Homeschoolers Should Study Screenwriting (and get English Comp credit for it.)
Creating Your Unique Story World – Dialogue
I was reminded last night of the Coen Brothers' passion and ability to create rich story worlds in their films through their use of dialogue (among other things.) I see films and read scripts that nail character arcs and important beats with precision, but don't rise to their full potential because their characters are too flat. They may be extreme, active, loud, quirky, and all that. But they are usually stuck in a stereotype and are ultimately predictable by the time we get past the introductions.
I was reminded last night of the Coen Brothers' passion and ability to create rich story worlds in their films through their use of dialogue (among other things.) I watched their recent version of "True Grit" again and I thought to myself, I'd watch this film again just to enjoy individual scenes because of the unique voices given to each character. Mattie Ross is a force of nature in a 14yr/old girl. Rooster Cogburn is a force in his own right, but they are polar opposites in their social manners. The story brings them crashing together and it's a joy to watch. I can watch the scene where Mattie negotiates for her father's horses over and over as an example of great dialogue and fun scene dynamics.
But this isn't a review of True Grit or any other particular Coen Bros. film. (You can say the same things about The Big Lebowski, Fargo, O Brother Where Art Thou, etc.)
It is about creating rich story worlds by using all of the tools in a filmmaker's bag. Visuals and production design are on everyone's mind, but if your characters aren't created with the same care, the film will not succeed at the same level.
I see films and read scripts that nail character arcs and important beats with precision, but don't rise to their full potential because their characters are too flat. They may be extreme, active, loud, quirky, and all that. But they are usually stuck in a stereotype and are ultimately predictable by the time we get past the introductions.
I'm trying to work on this in my own work. I need to back up continually to listen to my characters, to hear them as individuals rather than 'types' I know. I ask myself how I am creating individuals who live in a unique (even if it's familiar) story world. There are no "normal" people or worlds.
Do you wrestle with this too? Do you settle to describe your Hero as 'a typical suburban housewife' or 'slacker dude' and settle for that? If you are depending on quick dialogue and witty comebacks or just keeping the audience on a ride with your action scenes, you are depriving yourself and your audience of a richer story experience.
I've mentioned the Coen Bros. (love them or hate them) as filmmakers who have a passion to create rich cultural worlds. I can think of others who are less quirky, but no less rich.
If you've never seen the Coen Brother's version of True Grit, here's a sample scene (the trailers don't capture the dialogue well): "Not Going"
Author TomKPosted on December 14, 2012 December 14, 2012 Categories Film Production, Screenwriting, StoryingTags independent film, screenwritingLeave a comment on Creating Your Unique Story World – Dialogue
The Theology of Screenwriting, Part 1: Sin | GoIntoTheStory
Filmmakers, even those claiming no particular religious faith, make use of themes that seem to resonate universally with human beings – and these are highly theological. This is not news to most people, but I like Scott Myers' examination of theology and its use in visual storytelling. It's in 5 parts.
Here is a link Scott's exploration of "The Theology of Screenwriting" on his Go Into The Story blog.
The Theology of Screenwriting, Part 1: Sin | Go Into The Story.
Author TomKPosted on September 22, 2012 Categories Influences, ScreenwritingTags Art & Mission, independent film, redemption, screenwritingLeave a comment on The Theology of Screenwriting, Part 1: Sin | GoIntoTheStory
Listening to Critique on Your Screenplay
Tools of the trade.
I'm soliciting feedback on a screenplay I'm working on. Today I've got a consultation with a guy who is a reader in LA. I really do want to know what people think, even if there is a lot still undeveloped at this stage of the process.
Storytelling is about communication. If I'm not communicating, then I want to fix it.
But receiving critique on creative work is usually difficult. As wonderfully wise and mature as I am, I still get defensive and frustrated on occasion. I honestly think that it's not so much that I don't think the advice is valuable (it might even be correct), it's just that I am secretly afraid that I may not have a solution. And my story will be a dead end.
My experience has shown me that is usually not the case.
What's your experience?
Author TomKPosted on September 1, 2012 Categories Learning, ScreenwritingTags independent film, screenplay, screenwriting, script notes1 Comment on Listening to Critique on Your Screenplay


You may have seen headlines about the housing market slowing down, but what does that mean for you? Knowing what's happening will ensure that you don't miss the opportunity of your dreams.
There's no crystal ball to look into, but it's not hard to find trends already shaping the new year. We live in an interconnected world, and those news alerts on your phone will affect the housing market—even if they seem completely unrelated. Get ready for 2019 by reviewing six trends that experts think will move the housing market this year.
Like any other industry, the health of the U.S. economy and stock market at large has a direct impact on the housing market. When the economy's doing well, it can become easier to buy, sell, or get a loan for a home. Despite stock volatility at the end of 2018, the economy's healthy by many key indicators.
When the economy is doing well, the Federal Reserve raises the benchmark interest rate, which indirectly increases interest rates across the board. That may seem counterproductive, and the stock market can react negatively to the increases, but the idea is to keep economic growth moving forward. For those looking at buying a home, it means new mortgages will get more expensive.
After several rate hikes in 2018, officials at the Federal Reserve now appear to be easing off rate hikes—at least in the immediate future. That's good news for buyers. Last month, the Fed predicted two rate hikes in 2019, but more recently, the Fed's former chair Janet Yellen said the Fed may not make those hikes after all.
Late last year, the Federal Housing Finance Agency decided to raise the maximum conforming loan limits in 2019—from $453,100 up to $484,350. Those limits are even higher if you're buying in an expensive market, but the gist is that you can now get more money without having to get a jumbo loan, which makes life easier for both you and the bank.
The easiest way to gauge nationwide housing market activity is right at your local strip mall. Stores like Home Depot and Lowe's have become key indicators of all sorts of housing projects, since they're popular with DIYers. When sales (and the companies' stock prices) go up, it can mean more people are moving into homes and tweaking them to their tastes or launching remodeling projects that may increase their home's value.
Construction stagnated in 2018, and Home Depot and Lowe's ended the year on a lackluster financial note. But a CNN aggregation of expert opinions expects both Home Depot and Lowe's stock to climb in 2019. That should help restore consumer confidence in the housing market as a whole.
Instead of moving into a new home and getting a new mortgage, homeowners may decide to take out a home equity loan and renovate their current home instead. Those loans are borrowed against the value of your home. For example, if you've paid off $100,000 on your current mortgage, you can borrow some of that money—which may be used to remodel, redecorate, or whatever else you need cash for.
With interest rates trending upward, Mark Flemming, chief economist at First American, said he expects home equity loans to become more popular. That way, homeowners won't lose the low interest rate they currently have on their mortgage. Experts at CoreLogic agreed, pointing out that people are staying in homes longer, which means those owners are gaining significant equity in many parts of the country.
One way to measure whether it's a buyers' market or a sellers' market is months of supply. This is how long it would take, at the current selling pace, to sell all of the homes on the market. Six months' worth of supply is considered a "balanced" market. Any less than that, and sellers reap benefits like high demand and quick sales. Any more, and buyers enjoy more options and more time to negotiate.
The U.S. supply is currently sitting just below four months, and that's good news for sellers. If you've been following the housing market in recent years, this one's nothing new. But the market has recently started creeping toward balance, and analysts expect that to continue in 2019, especially in markets that have been red-hot in recent years.
2018 ended on a bad note for single-family home construction. Economists with the National Association of Home Builders (NAHB) blame the slowdown on a shortage of labor and a lack of lots to build on—in addition to governmental factors like regulations and new trade tariffs. A growing population depends on the construction of new homes, and when construction stalls (like it did toward the end of 2018), the market gets out of whack. This significantly impacts first-time homebuyers and lower-income families, whose price ranges can't cover more lavish home purchases. NAHB expects construction stagnation to continue in 2019.
There's also the impact of natural disasters to consider. Hurricanes and wildfires slow construction work and strain available labor. Where natural disasters strike, we can expect a construction lull to follow.
This is also bad news for home flippers. Put simply, there are less homes to flip. The outsized demand hikes prices for the homes that are available, which increases the risks of investment. Flippers and first-time buyers should keep tabs on construction activity, and single-family home construction in particular. How are you feeling about 2019, and what trends will you be looking for? Which factors do you think will have the biggest impact on homebuyers and sellers? Share your thoughts in a comment below!
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