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Home Research > Members > 1754-1790 > HERVEY, Hon. Augustus John (1724-79)
HERVEY, Hon. Augustus John (1724-79).
Published in The History of Parliament: the House of Commons 1754-1790, ed. L. Namier, J. Brooke., 1964
26 May 1757 - Feb. 1763
SALTASH
1 Dec. 1763 - 1768
1768 - 18 Mar. 1775
b. 19 May 1724, 2nd s. of John, Lord Hervey (and gd.-s. of John, 1st Earl of Bristol), by Mary, da. of Brig.-Gen. Nicholas Lepell; bro. of Hon. William Hervey. educ. Westminster 1733. m. 4 Aug. 1744, Elizabeth, da. of Col. Thomas Chudleigh (she m. bigamously, 8 Mar. 1769, Evelyn, 2nd Duke of Kingston), 1s. d.v.p. suc. bro. as 3rd Earl of Bristol 18 Mar. 1775.
Entered R.N. 1735; lt. 1740; cdr. 1746; capt. 1747; r.-adm. 1775; v.-adm. 1778.
Groom of the bedchamber 1763-75; chief sec. to ld. lt. [I] 1766-7; ld. of Admiralty 1771-5.
Well born, with powerful connexions, but a younger son with small expectations, Hervey was sent to sea at the age of eleven. For nearly twenty years he served continuously, engrossed by his career afloat and his amatory exploits ashore—'I cared very little about anything but my pleasures in these days till I got to sea, and then my profession was all my pleasure.'1 His abilities and flamboyant courage brought him some renown, yet he never reached the front rank he sought.
In 1754, while serving in the Mediterranean, Hervey was nominated for Bury St. Edmunds by his brother, Lord Bristol, and was elected on a double return, but in December 1754 his opponent was seated by the House.
Touchy and critical of his superiors, Hervey bitterly disliked Lord Anson, and after the outbreak of war with France, became increasingly indignant about his handling of the fleet. In May 1756, after the battle of Mahon, he wrote to Henry Fox blaming the Administration for its lack of support. When in 1757 he was recalled to give evidence at the court martial of his friend Byng, he was zealous in his defence, and after the sentence approached everyone he could 'to show a face against such an infamous violation of justice'. He commented bitterly that
it was easily perceived there was a sullen determination in the King, the Duke of Cumberland, Lord Anson, and the Duke of Newcastle (which was artfully conducted by that determined implacable villain, Mr. Fox) to sacrifice Admiral Byng in order to screen themselves from the just resentment of the people for the loss of Minorca and other infamous conducts.2
During his campaign for Byng he felt the disadvantage of not being in the Commons, but when the seat at Bury became vacant, merely noted in his journal: 'I did not stir in it as my brother was abroad';3 and soon afterwards went to sea, only learning from an English newspaper on 30 June that he had been returned for Bury in May. That he would support Administration was taken for granted by Bristol, who informed Newcastle that he had reminded his brother 'of the many professions he has made of adhering steadily to me and my friends, of which list I have placed your Grace at the head; I hope I may congratulate you upon having an additional friend in the House of Commons'. On 19 Oct. Bristol wrote again: 'My brother Augustus has not long since confirmed to me his former assurances of having no other connexion than mine, and has particularly mentioned his resolution to serve your Grace.'4
In January 1759 Hervey at last took his seat, and though he writes that he was 'too much dissipated to mind much of what was going on in public business', he attended the debates on the supply, and when on 2 Feb. Alexander Hume introduced a bill against pressing, he 'took a very warm part against the whole'. After attending one of Newcastle's levees he noted in his journal that the Duke repeated former promises (presumably about promotion) 'with the same false grinning countenance', and, he wrote to Bristol, 'how little I relied on anything his Grace said'.5 But on 27 Mar. he wrote:6
I have little to hope for obtaining anything but from your Grace's goodness towards me, nor shall I seek it through any other channel, as that is the most acceptable to my brother Bristol and will always be preferable to myself.
Soon afterwards he returned to sea, and for the next few months kept watch on the French fleet at Brest, without returning to harbour. When finally fatigue forced Hervey to return to England, Hawke wrote: 'He has given such proofs of diligence, activity, intrepidity, and judgement that it would be doing injustice to his merit as an officer not to acknowledge that I part with him with the greatest regret.'7
Between 1761 and 1762 Hervey served in the West Indies, and in 1762 distinguished himself at the taking of Havana, returning to England with the news in October 1762. He now retired from active service at sea, though remaining in the navy and retaining a keen interest in its affairs. In Parliament, to which he had again been returned during his absence in 1761, he supported Bute's Administration, while his brother adhered to Pitt. Relations between the brothers, always delicate, now reached a crisis. On 30 Nov. 1762 Fox mentioned to Bute that Bristol had written Hervey 'two cruel letters indeed', and on 20 Jan. Augustus himself wrote to Bute that his position was so awkward that he would be grateful for
any little stewardship that will vacate my present seat in Parliament, that according to my first and determined resolution I may make use of it, unless my Lord Bristol on my acquainting him again therewith, and finding it in my power, should then leave me at liberty to take that part which he before prevented me, and which from every principle and motive I am inclined to.8
Hervey resigned his seat in February, and, a vacancy having occurred at Saltash during the summer prorogation, was returned there by Administration. In the meantime he had at the Government's request abandoned a voyage to the Mediterranean with the Duke of York. 'A person of your parts and activity is not to be spared in these critical times',9 Lord Sandwich wrote to him on 7 Sept. Hervey himself wrote to Grenville on 16 Sept.:10 'I ... hope this additional proof I have given of my zeal for the support of his Majesty's Administration will give me some merit; believe me, Sir, I have in many senses been a great loser in this last affair.' He was rewarded with a post in the bedchamber.
During the debates of February 1764 on general warrants Hervey exerted himself in support of Administration, and sent Grenville information about the attitude of various Members;11 but few speeches by him are reported, and those almost invariably on points of order. Throughout his life he was a frequent contributor of political articles to the newspapers under assumed names. His personal relations with Grenville were close, and in May 1765 he succeeded in effecting a reconciliation between Grenville and Temple. On the formation of the Rockingham Administration, Hervey wrote to Grenville of his 'unalterable' attachment—'I am neither ungrateful nor a weathercock.'12 Yet he did not feel it necessary to resign his post at court, and while he criticized Administration and constantly avowed his connexion with Grenville, he avoided plunging deep into opposition. James Harris reports13 that in September 1765 Hervey had told him he thought
very meanly of the present Administration—said that all business stood still, and that they did nothing—wondered what Pitt meant by standing off, that he ought to come in—that Mr. Grenville and his friends would support his measures—if not, then let Lord Temple try—each at the head of the Treasury. If not that, then let them support Mr. Grenville there.
At the beginning of 1766, when the repeal of the Stamp Act was mooted, Hervey, declaring that he intended to vote against it, requested the King's permission to resign,14 but with the King's blessing remained in office, while warning the House of the 'consequences that would ensue from that puerile, pitiful, and baneful measure'.15
By July 1766 good relations were restored with Bristol. 'I have the pleasure to tell you my brother has requested of me to be for Bury next Parliament', Hervey wrote to Grenville, 10 July 1766, 'and with the assurance that I am ever to be at my own liberty as to what measures I shall pursue; you will easily imagine how glad I was to prove my desire of giving him the preference to any other place I could be brought in for.'16 When almost immediately after this Pitt came into power, Hervey, assuming that Lord Temple would 'have the settling all with Mr. P.' wrote 'to lightly throw my wish of the Admiralty before him'.17 Temple's withdrawal dashed his hopes, but another chance seemed imminent when Pitt wrote to Bristol 'inviting him in and to everything he can wish and desire'. Whereupon, Hervey wrote to Grenville, Bristol had said to him:18
If I accept I hope you'll take a seat at the Admiralty as I know you wish it. I beg to be excused. I said, brother, I wished it had my friends come in with yours. But all I desire is that I may not be offered it, because I'll refuse. If this is asked you or if you intended to make this your terms too, assure yourself you'll only hurt me. I am determined to take nothing whatever. But if you go in, I'll not oppose, and by that means show that 'tis for you alone.
—and considerably more in the same vein. In fact no such offer was made, but finally Bristol was appointed lord lieutenant of Ireland and asked his brother to go with him as his secretary. Hervey, protesting loudly, accepted, writing to Grenville on 30 Aug.:19
Ill health, inabilities, and other things had made me determine not to go, and to remain quiet as I was. I told him this and declined it, but had you seen the effect of it and how impossible it was for me to persist after what he said, you would both applaud and pity the determination. So there I am embarked in what I know nothing of, nor like.
Yet in October Hervey suggested that Sandwich, one of Grenville's allies in the Bedford group, should be offered the embassy at Madrid, 'as a friend to Administration, he thought it might accelerate further arrangements'.20
In November 1766 Hervey was asked to second the Address, and according to Grenville, 'induced by Lord Bristol's earnest and peremptory solicitation (though very much against his will)'21 agreed to do so. Finally, on 11 Nov., the principal Administration speaker having defaulted, Hervey moved the Address, in what Grenville described as 'a direct Opposition speech'. Hervey did not vote on the land tax, 27 Feb. 1767. Relations with Bristol were again precarious, and, at the beginning of April, Hervey, then at Bath for his gout, was summoned back to London. Informing Grenville of this on 4 Apr., he wrote that he had been warned by Bristol
that the closet canvassed over rigidly every absentee, and that it became me to act with more circumspection and more vigour than the rest, lest I should be suspected to be waiting the cast of the die, when it was so well known I was so strongly and avowedly attached to those two brothers who were the declared antagonists of that one which he was determined to support.
To this Hervey had replied:
that even my friend Mr. Grenville knows and approves my determination to support my brother in preference to himself, and he, (my brother) knows it is to support Mr. Grenville in preference to every one else but my brother.
On 1 July, referring to the 'very great alteration' in Bristol's conduct, he at last offered his resignation. He would, he wrote to his brother, continue to support Administration—'I think myself wounded by your suffering it to be insinuated that your conduct to me proceeds from my not supporting the King's Administration, which is false in whoever dare to tell you the untruth or propagate it.'22
During the negotiations of July 1767, Hervey professed to believe that Grenville and Temple would be approached, and wrote to Grenville on the 21st that Grafton had declared he 'knew no man so fit to be at the head of our House' as Grenville. To which Hervey had replied that he knew nothing of Grenville's intentions 'but that I knew you had several friends who, like myself, were determined only to act as we saw you should approve; that I for one made no secret of declaring that I wanted nothing but the Admiralty, which I thought I had a right to after those I had seen there, but that I never desired it till you came in, or supported the Administration'.23 By September 1767, when the general election was in sight, Hervey became reconciled with his brother once more, and an agreement was reached which left him 'totally at liberty' in Parliament. Which, wrote Grenville to Hervey,24 is 'the best proof Lord Bristol can give that he has no essential blame to impute on you, and the most honourable justification of your own conduct towards him'. Hervey voted with the Opposition on nullum tempus, 17 Feb. 1768, and in a letter of 21 Oct. wrote despairingly of the 'melancholy scene' presented by Administration—'How can a Grafton supply the seat of a Walpole or a Grenville'.25 But contrary to Grenville's opinion he spoke several times in support of Administration over Wilkes, and voted with Administration on the Middlesex election, 8 May 1769. No votes or speeches by him are reported during the following year.
In 1771, after Grenville's death, Hervey with other Grenvillites was taken into Administration, at last obtaining a place at the Admiralty Board. His infrequent speeches were henceforth mainly on naval matters, but on 6 Feb. 1775 he spoke at considerable length on the American crisis:26
That America ... ought to be subordinate to the authority of Great Britain is beyond a doubt ... From the moment I had a seat in this House, I thought it my duty to study the conduct and opinions of those whose abilities and attachment to their country justly entitled them to a preference, and very early attached myself to that good, wise, and able minister, Mr. Grenville ... I will not prove myself undeserving the friendship and confidence that minister honoured me with, by deviating this day by one single iota from what I am confident would have been his conduct ... and therefore, as far as my voice goes, I will never consent to the rescinding, the discharging, or the repealing of any one resolution, order, or act, that either the last or any former Parliament has passed for the declaring, maintaining, enforcing the legislative authority of Great Britain over all its colonies.
On succeeding to the peerage in 1775 Hervey resigned his offices. He seems to have been ambitious for the post of first lord of the Admiralty; during the last years of his life, joining the Opposition in its criticism of naval matters, he became a vigorous champion of Keppel and a violent critic of the first lord, his former friend Lord Sandwich. He died 22 Dec. 1779.
Author: Mary M. Drummond
1. Augustus Hervey's Jnl. ed. D. Erskine, 294.
2. Ibid. 235, 236, 320.
3. Ibid. 232.
4. Add. 32871, f. 464; 32875, f. 190.
5. Jnl. 297, 298.
6. Add. 32889, f. 270.
7. Quoted Jnl. 304.
8. Bute mss.
9. Sandwich mss.
10. Grenville mss (JM).
11. Hervey to Grenville, 15 Feb. 1764, ibid.
12. 26 June 1765, ibid.
13. Malmesbury mss.
14. Walpole, Mems. Geo. III, ii. 183.
15. See his speech of 6 Feb. 1775, Almon i. 146-50.
17. Hervey to Grenville, 19 July 1766, ibid.
18. To Grenville, 21 July, ibid.
19. Ibid.
20. Shelburne to Chatham, 28 Oct., Chatham Corresp. iii. 122.
21. Grenville Pprs. iii. 382.
23. Grenville Pprs. iv. 69.
24. 27 Sept., Grenville mss (JM).
25. Grenville Pprs. iv. 385.
26. Almon, i. 146-50.


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EPW053780 ENGLAND (1937). Shepherd's Bush, crowds gathered outside the White City Stadium for a Greyhound Race Meeting, 1937. This image has been produced from a damaged negative.
Title [EPW053780] Shepherd's Bush, crowds gathered outside the White City Stadium for a Greyhound Race Meeting, 1937. This image has been produced from a damaged negative.


text:
"""
Tool to find wrong contour order between different masters, and
other interpolatability (or lack thereof) issues.

Call as:
$ fonttools varLib.interpolatable font1 font2 ...
"""

from fontTools.pens.basePen import AbstractPen, BasePen
from fontTools.pens.pointPen import SegmentToPointPen
from fontTools.pens.recordingPen import RecordingPen
from fontTools.pens.statisticsPen import StatisticsPen
from fontTools.pens.momentsPen import OpenContourError
from collections import OrderedDict
import itertools
import sys

def _rot_list(l, k):
    """Rotate list by k items forward.  Ie. item at position 0 will be
    at position k in returned list.  Negative k is allowed."""
    n = len(l)
    k %= n
    if not k: return l
    return l[n-k:] + l[:n-k]

class PerContourPen(BasePen):
    def __init__(self, Pen, glyphset=None):
        BasePen.__init__(self, glyphset)
        self._glyphset = glyphset
        self._Pen = Pen
        self._pen = None
        self.value = []

    def _moveTo(self, p0):
        self._newItem()
        self._pen.moveTo(p0)

    def _lineTo(self, p1):
        self._pen.lineTo(p1)

    def _qCurveToOne(self, p1, p2):
        self._pen.qCurveTo(p1, p2)

    def _curveToOne(self, p1, p2, p3):
        self._pen.curveTo(p1, p2, p3)

    def _closePath(self):
        self._pen.closePath()
        self._pen = None

    def _endPath(self):
        self._pen.endPath()
        self._pen = None

    def _newItem(self):
        self._pen = pen = self._Pen()
        self.value.append(pen)

class PerContourOrComponentPen(PerContourPen):
    def addComponent(self, glyphName, transformation):
        self._newItem()
        self.value[-1].addComponent(glyphName, transformation)

class RecordingPointPen(BasePen):

    def __init__(self):
        self.value = []

    def beginPath(self, identifier = None, **kwargs):
        pass

    def endPath(self) -> None:
        pass

    def addPoint(self, pt, segmentType=None):
        self.value.append((pt, False if segmentType is None else True))

def _vdiff(v0, v1):
    return tuple(b - a for a, b in zip(v0, v1))

def _vlen(vec):
    v = 0
    for x in vec:
        v += x * x
    return v

def _complex_vlen(vec):
    v = 0
    for x in vec:
        v += abs(x) * abs(x)
    return v

def _matching_cost(G, matching):
    return sum(G[i][j] for i, j in enumerate(matching))

def min_cost_perfect_bipartite_matching(G):
    n = len(G)
    try:
        from scipy.optimize import linear_sum_assignment

        rows, cols = linear_sum_assignment(G)
        assert (rows == list(range(n))).all()
        return list(cols), _matching_cost(G, cols)
    except ImportError:
        pass

    try:
        from munkres import Munkres

        cols = [None] * n
        for row, col in Munkres().compute(G):
            cols[row] = col
        return cols, _matching_cost(G, cols)
    except ImportError:
        pass

    if n > 6:
        raise Exception("Install Python module 'munkres' or 'scipy >= 0.17.0'")

    # Otherwise just brute-force
    permutations = itertools.permutations(range(n))
    best = list(next(permutations))
    best_cost = _matching_cost(G, best)
    for p in permutations:
        cost = _matching_cost(G, p)
        if cost < best_cost:
            best, best_cost = list(p), cost
    return best, best_cost

def test(glyphsets, glyphs=None, names=None):

    if names is None:
        names = glyphsets
    if glyphs is None:
        glyphs = glyphsets[0].keys()

    hist = []
    problems = OrderedDict()

    def add_problem(glyphname, problem):
        problems.setdefault(glyphname, []).append(problem)

    for glyph_name in glyphs:
        # print()
        # print(glyph_name)

        try:
            allVectors = []
            allNodeTypes = []
            allContourIsomorphisms = []
            for glyphset, name in zip(glyphsets, names):
                # print('.', end='')
                if glyph_name not in glyphset:
                    add_problem(glyph_name, {"type": "missing", "master": name})
                    continue
                glyph = glyphset[glyph_name]

                perContourPen = PerContourOrComponentPen(
                    RecordingPen, glyphset=glyphset
                )
                try:
                    glyph.draw(perContourPen, outputImpliedClosingLine=True)
                except TypeError:
                    glyph.draw(perContourPen)
                contourPens = perContourPen.value
                del perContourPen

                contourVectors = []
                contourIsomorphisms = []
                nodeTypes = []
                allNodeTypes.append(nodeTypes)
                allVectors.append(contourVectors)
                allContourIsomorphisms.append(contourIsomorphisms)
                for ix, contour in enumerate(contourPens):

                    nodeVecs = tuple(instruction[0] for instruction in contour.value)
                    nodeTypes.append(nodeVecs)

                    stats = StatisticsPen(glyphset=glyphset)
                    try:
                        contour.replay(stats)
                    except OpenContourError as e:
                        add_problem(
                            glyph_name,
                            {"master": name, "contour": ix, "type": "open_path"},
                        )
                        continue
                    size = abs(stats.area) ** 0.5 * 0.5
                    vector = (
                        int(size),
                        int(stats.meanX),
                        int(stats.meanY),
                        int(stats.stddevX * 2),
                        int(stats.stddevY * 2),
                        int(stats.correlation * size),
                    )
                    contourVectors.append(vector)
                    # print(vector)

                    # Check starting point
                    if nodeVecs[0] == 'addComponent':
                        continue
                    assert nodeVecs[0] == 'moveTo'
                    assert nodeVecs[-1] in ('closePath', 'endPath')
                    points = RecordingPointPen()
                    converter = SegmentToPointPen(points, False)
                    contour.replay(converter)
                    # points.value is a list of pt,bool where bool is true if on-curve and false if off-curve;
                    # now check all rotations and mirror-rotations of the contour and build list of isomorphic
                    # possible starting points.
                    bits = 0
                    for pt,b in points.value:
                        bits = (bits << 1) | b
                    n = len(points.value)
                    mask = (1 << n ) - 1
                    isomorphisms = []
                    contourIsomorphisms.append(isomorphisms)
                    for i in range(n):
                        b = ((bits << i) & mask) | ((bits >> (n - i)))
                        if b == bits:
                            isomorphisms.append(_rot_list ([complex(*pt) for pt,bl in points.value], i))
                    # Add mirrored rotations
                    mirrored = list(reversed(points.value))
                    reversed_bits = 0
                    for pt,b in mirrored:
                        reversed_bits = (reversed_bits << 1) | b
                    for i in range(n):
                        b = ((reversed_bits << i) & mask) | ((reversed_bits >> (n - i)))
                        if b == bits:
                            isomorphisms.append(_rot_list ([complex(*pt) for pt,bl in mirrored], i))

            # Check each master against the first on in the list.
            m0 = allNodeTypes[0]
            for i,m1 in enumerate(allNodeTypes[1:]):
                if len(m0) != len(m1):
                    add_problem(
                        glyph_name,
                        {
                            "type": "path_count",
                            "master_1": names[0],
                            "master_2": names[i + 1],
                            "value_1": len(m0),
                            "value_2": len(m1),
                        },
                    )
                if m0 == m1:
                    continue
                for pathIx, (nodes1, nodes2) in enumerate(zip(m0, m1)):
                    if nodes1 == nodes2:
                        continue
                    if len(nodes1) != len(nodes2):
                        add_problem(
                            glyph_name,
                            {
                                "type": "node_count",
                                "path": pathIx,
                                "master_1": names[0],
                                "master_2": names[i + 1],
                                "value_1": len(nodes1),
                                "value_2": len(nodes2),
                            },
                        )
                        continue
                    for nodeIx, (n1, n2) in enumerate(zip(nodes1, nodes2)):
                        if n1 != n2:
                            add_problem(
                                glyph_name,
                                {
                                    "type": "node_incompatibility",
                                    "path": pathIx,
                                    "node": nodeIx,
                                    "master_1": names[0],
                                    "master_2": names[i + 1],
                                    "value_1": n1,
                                    "value_2": n2,
                                },
                            )
                            continue

            m0 = allVectors[0]
            for i, m1 in enumerate(allVectors[1:]):
                if len(m0) != len(m1):
                    # We already reported this
                    continue
                if not m0:
                    continue
                costs = [[_vlen(_vdiff(v0, v1)) for v1 in m1] for v0 in m0]
                matching, matching_cost = min_cost_perfect_bipartite_matching(costs)
                identity_matching = list(range(len(m0)))
                identity_cost = sum(costs[i][i] for i in range(len(m0)))
                if matching != identity_matching and matching_cost < identity_cost * .95:
                    add_problem(
                        glyph_name,
                        {
                            "type": "contour_order",
                            "master_1": names[0],
                            "master_2": names[i + 1],
                            "value_1": list(range(len(m0))),
                            "value_2": matching,
                        },
                    )
                    break

            m0 = allContourIsomorphisms[0]
            for i, m1 in enumerate(allContourIsomorphisms[1:]):
                if len(m0) != len(m1):
                    # We already reported this
                    continue
                if not m0:
                    continue
                for ix,(contour0,contour1) in enumerate(zip(m0,m1)):
                    c0 = contour0[0]
                    costs = [v for v in (_complex_vlen(_vdiff(c0, c1)) for c1 in contour1)]
                    min_cost = min(costs)
                    first_cost = costs[0]
                    if min_cost < first_cost * .95:
                        add_problem(
                            glyph_name,
                            {
                                "type": "wrong_start_point",
                                "contour": ix,
                                "master_1": names[0],
                                "master_2": names[i + 1],
                            },
                        )

        except ValueError as e:
            add_problem(
                glyph_name,
                {"type": "math_error", "master": name, "error": e},
            )
    return problems

def main(args=None):
    """Test for interpolatability issues between fonts"""
    import argparse

    parser = argparse.ArgumentParser(
        "fonttools varLib.interpolatable",
        description=main.__doc__,
    )
    parser.add_argument(
        "--json",
        action="store_true",
        help="Output report in JSON format",
    )
    parser.add_argument(
        "inputs", metavar="FILE", type=str, nargs="+", help="Input TTF/UFO files"
    )

    args = parser.parse_args(args)
    glyphs = None
    # glyphs = ['uni08DB', 'uniFD76']
    # glyphs = ['uni08DE', 'uni0034']
    # glyphs = ['uni08DE', 'uni0034', 'uni0751', 'uni0753', 'uni0754', 'uni08A4', 'uni08A4.fina', 'uni08A5.fina']

    from os.path import basename

    fonts = []
    names = []

    if len(args.inputs) == 1:
        if args.inputs[0].endswith('.designspace'):
            from fontTools.designspaceLib import DesignSpaceDocument
            designspace = DesignSpaceDocument.fromfile(args.inputs[0])
            args.inputs = [master.path for master in designspace.sources]

        elif args.inputs[0].endswith('.glyphs'):
            from glyphsLib import GSFont, to_ufos
            gsfont = GSFont(args.inputs[0])
            fonts.extend(to_ufos(gsfont))
            names = ['%s-%s' % (f.info.familyName, f.info.styleName) for f in fonts]
            args.inputs = []

        elif args.inputs[0].endswith('.ttf'):
            from fontTools.ttLib import TTFont
            font = TTFont(args.inputs[0])
            if 'gvar' in font:
                # Is variable font
                gvar = font['gvar']
                # Gather all "master" locations
                locs = set()
                for variations in gvar.variations.values():
                    for var in variations:
                        loc = []
                        for tag,val in sorted(var.axes.items()):
                            loc.append((tag,val[1]))
                        locs.add(tuple(loc))
                # Rebuild locs as dictionaries
                new_locs = [{}]
                names.append("()")
                for loc in sorted(locs, key=lambda v: (len(v), v)):
                    names.append(str(loc))
                    l = {}
                    for tag,val in loc:
                        l[tag] = val
                    new_locs.append(l)
                locs = new_locs
                del new_locs
                # locs is all master locations now

                for loc in locs:
                    fonts.append(font.getGlyphSet(location=loc, normalized=True))

                args.inputs = []

    for filename in args.inputs:
        if filename.endswith(".ufo"):
            from fontTools.ufoLib import UFOReader
            fonts.append(UFOReader(filename))
        else:
            from fontTools.ttLib import TTFont
            fonts.append(TTFont(filename))

        names.append(basename(filename).rsplit(".", 1)[0])

    if hasattr(fonts[0], 'getGlyphSet'):
        glyphsets = [font.getGlyphSet() for font in fonts]
    else:
        glyphsets = fonts

    problems = test(glyphsets, glyphs=glyphs, names=names)
    if args.json:
        import json

        print(json.dumps(problems))
    else:
        for glyph, glyph_problems in problems.items():
            print(f"Glyph {glyph} was not compatible: ")
            for p in glyph_problems:
                if p["type"] == "missing":
                    print("    Glyph was missing in master %s" % p["master"])
                if p["type"] == "open_path":
                    print("    Glyph has an open path in master %s" % p["master"])
                if p["type"] == "path_count":
                    print(
                        "    Path count differs: %i in %s, %i in %s"
                        % (p["value_1"], p["master_1"], p["value_2"], p["master_2"])
                    )
                if p["type"] == "node_count":
                    print(
                        "    Node count differs in path %i: %i in %s, %i in %s"
                        % (
                            p["path"],
                            p["value_1"],
                            p["master_1"],
                            p["value_2"],
                            p["master_2"],
                        )
                    )
                if p["type"] == "node_incompatibility":
                    print(
                        "    Node %o incompatible in path %i: %s in %s, %s in %s"
                        % (
                            p["node"],
                            p["path"],
                            p["value_1"],
                            p["master_1"],
                            p["value_2"],
                            p["master_2"],
                        )
                    )
                if p["type"] == "contour_order":
                    print(
                        "    Contour order differs: %s in %s, %s in %s"
                        % (
                            p["value_1"],
                            p["master_1"],
                            p["value_2"],
                            p["master_2"],
                        )
                    )
                if p["type"] == "wrong_start_point":
                    print(
                        "    Contour %d start point differs: %s, %s"
                        % (
                            p["contour"],
                            p["master_1"],
                            p["master_2"],
                        )
                    )
    if problems:
        return problems

if __name__ == "__main__":
    import sys

    problems = main()
    sys.exit(int(bool(problems)))

redpajama_set_name: RedPajamaGithub


text:
DIRECT SPEECH
Mom, dad, a couple of kids and a golden retriever. Julie Blackmon.
Andrey Belkov
Kids rule the world by Julie Blackmon (Julie Blackmon, 1966). They lock their rooms, courtyards and houses entirely. They fall into a frenzy, trying to seize our attention. They are very busy with their important work – being children. Reality in photos Blackmon does to an unreal extent. This is a beautiful tale of a happy childhood. The author demonstrates the absurd, sometimes surreal, but very touching, look at daily home life – a fun, chaotic activity. Most of us imagine the classic American family as "Mom – Dad – a couple of kids – and a golden retriever …" But if we talk about Blackmon, she is an exception to the rule. Being the eldest of nine children and the mother of three, in her works Blackmon tells the story of an ideal large family and all sorts of cute episodes, so adorning daily life. Sometimes she tries to organize the chaos of her home, or allows herself to break out and take hold of life. "I love to denote the presence of parents, – says the photographer – and I like to portray the figure of the "crazy mother "- we are all kind of like that."
Julie Blackmon. Baby Toss, 2009. Courtesy of Catherine Edelman Gallery, Chicago, USA
Being the eldest daughter in a family of nine children, Julie Blackmon became famous for her series "Domestic Vacations", showing fine tuned, staged photographs and collages of the daily lives of American families with many children. The subject is well known to many painters. Casual fuss, chaos, troubles, family reality – a house in a complete mess, the children playing, sad and funny adults, tired of the noise and eternal complaints from their children – but at the same time a sweet, gentle atmosphere of love and comfort .
Blackmon explores the behavior and location of family members of all ages in "domestic landscapes", the contradictions that arise in the life of modern people-oriented towards the education of their children. Children's games and entertainment become a safe haven, often more valuable for the adults themselves.
Julie Blackmon. Airstream, 2011. Courtesy of Catherine Edelman Gallery, Chicago, USA
The small world of the adults sounding so significant and important to the children. In the next room, where the kids are making a noise and hubbub, because they are alone and no one can teach them important lessons. Interest in the child Blackmon presents as poetic rather than prosaic, though she focuses on real children and their cousins, friends and peers. The house as the creation of the family, a happy microcosm both large and small safe from all the horrors of the universe. The myth of a large American family, fictional to Blackmon, yet so sublime! But there is the mystical and the enigmatic, something that cannot be understood, because one is an adult! But any adult will forever retain ownership of their childhood, because the adult is only the derivative of the child. Somewhere in the recesses of "matured consciousness" always lives our "little self." From time to time it reminds us of itself. In a whisper or loudly, then adult aunts and uncles begin their adult game called creativity. In dreams, fantasies, games, we go back to the myth of childhood. It is free from the conventions that reality creates. You cannot "leave childhood", and thank God for that!
Blackmon still lives in her childhood city – Springfield, Missouri, the city of the happiest cartoon family – the Simpsons. On January 27, 1992, the president of the United States George HW Bush referred to "The Simpsons" in a speech, saying: "We will continue our efforts to strengthen the American family, to make it a lot less like the Simpsons." But surely not, because most typical middle class American families are content with this "anti-ideal." The cartoon certainly is a parody of the American way of life, but the stories about the "yellow men" may look naive, melodramatic and perhaps even unfunny as characters for Blackmon.
Relatives, neighbors and especially their children are the restless heroes that Blackmon photographs. It seems that people come in and out of the images created Blackmon just as they come to visit. Here and there, rising above the hands and feet characters are left in the frames. Such a method allows for images as if ejected from the frame into reality and vice versa – the reality comes into the picture. The viewer is drawn into this game. Scepticism is misplaced. Everyone needs to believe in the certainty of what is happening. He who looks at everything from the outside may experience the absurdity and artificiality of what is happening. In order to be touched by the game's elements, it is necessary to be on the inside.
Julie Blackmon. Homegrown Food, 2012. Courtesy of Catherine Edelman Gallery, Chicago, USA
For ten years, Blackmon was a simple housewife raising her children. She was 35 when, by a happy coincidence, she became a professional photographer. The family moved to an old centenarian house with a darkroom in the basement, which was repaired and converted into a photo studio. Blackmon bought a camera and started taking pictures. "It was a way to sort out my life," – she said. Art and life suddenly crossed and connected.
"Suddenly I discovered an intoxicating life that I had not noticed before. Over time, my work became less and less devoted to my children and more to 'the game' "- says the photographer. Her early photographs were black and white. However, these do not fully reflect the ideas of the artist. "It seemed that the photos were taken a long time ago. It was a documentary look at family life. I wanted to talk about this in a different way. " Then she began to shoot interiors and in color. She would shoot first and then construct the plot after. One of Blackmon's the first works of was "nail polish." Her sister is talking on the phone in the kitchen, while the child in the foreground colors her nails. It was a revelation. "When I saw what happened, I thought it does not even look like reality – so funny and absurd things seemed." The game is kind of peculiar to children, but for them it is not only a way of understanding life. Kids, after all, imitate adults in their games. The types of the imagination in the game are varied: children's actions, creating an image of the movements, facial expressions, words, use of various objects, the construction of buildings. The game has many imaginary contexts 'for fun', as they say, but the experience of playing is always sincere, genuine and real. Hence, the main purpose of the game – to give an opportunity to be active, to express thoughts and feelings. The game is the need to live in a dream world. Blackmon just 'fixes' that need, at the level of art.
Julie Blackmon. Garage Sale, 2013. Courtesy of Catherine Edelman Gallery, Chicago, USA
Her exhaustive composite drawings of the game are beautiful. The photographer is directing their work: she puts people in a room and uses pre-fabricated surroundings. In addition, she studied Dutch and Flemish painting, as it entails a special way of building space by the Dutch artists of the XVII century. Jan Steen – one such artist – was specializing in domestic scenes similar to Blackmon's. "I like his paintings because, despite the fact that they are about 400 years old, they have something very modern about them. Perhaps this is the irony. In his paintings at the same time there are hundreds of things going on. " For example, the picture "of the dissolute life of families" and Blackmon's perfectly checkered Wall.
Gestures in her compositions, like the Wall, are a very important element of the narrative around them and build an entire universe of images. "Sometimes the idea is incorporated directly into the picture – said Blackmon. It is often hidden. The truth is important, not formal, but it is our perception of living in the moment." Most adults are struggling to be normal, while children say about normality that it is boring, and so do such things that adults do not dare even to dream of. The philosophy of Blackmon is that life should be seen as a holiday, then the ideal world will become a reality.
Movies, photography and painting, Blackmon does not consider her work to be a particular kind of creativity: "It's kind of a modern creative synthesis. I am an artist who looks to the canvas in the evening, and thinks that I will write on it tomorrow. " Though she adds: "My things are in line with the development of modern photography."
© Bleek Magazine. Text: Olga Averyanova.


6" Oak Pelican Tide Clock by West & Co.
Home > Tide Clocks > 6" Oak Pelican Tide Clock by West & Co.
6" Oak wood with glass lens. Easy to read pelican dial. Nautical tide clock forecast tides on the Atlantic and Pacific coast. Requires one "AA" battery (not included).


These conditions are common in activities that include running long distances, repetitive jumping or impact on hard surfaces. Sprinters, long distance runners, basketball and volleyball players, aerobic and classical dancers comprise most of the athletes with these problems.
They are caused by inflammation of the periosteum, tendon sheath, muscle belly, or interosseous membrane secondary to strain, minimal tears, or mechanical irritation. The symptoms usually occur only during activity and settle promptly with rest.
They evolve from microfractures, which may become macroscopic defects. There is usually one area of exquisite discomfort to palpation on the bone. The symptoms occur with intense activities but ultimately with all weight-bearing activities or rest.
They exist when increased intramuscular pressure during exercise impedes the blood flow and function of the tissues within the compartments (anterior, lateral, deep posterior and superficial posterior) in the osteofascial spaces (Fig.2). Pain is induced only by activity. The symptoms disappear fairly promptly at the cessation of exercise, although the tenderness may persist. Depending on the severity of the syndrome, numbness or tingling may occur in the distribution of the nerve that traverses the particular compartment.
Wearing worn-out shoes, shoes with insufficient arch support and poor shock-absorbing qualities, fails to counteract the repetitive jarring of the heel strike and may increase bone stress. Shoes that do not bend well at the toe box may increase the forces on the posterior compartment.
Overly flexible or flat foot may put additional stress on tibialis posterior, which is partly responsible for supporting the medial arch. Rigid cavus foot is poor in absorbing shock and may put extra stress on tibia.
Increased adduction of the leg increases functional foot pronation (Fig.3), thus increasing the activity of tibialis posterior. Excessive pronation is the major cause of medial tibial stress syndrome. Running with the hip externally rotated, leaning too hard while training on a track with excessively tight corners also tend to increase foot functional pronation. Forefoot contact running style may be important in the development of shin splints as it causes increased jarring in the leg.
Individuals who are overweight may be susceptible to shin splints, as forces through the legs are multiples of body weight in running. The lower the level of conditioning, the greater the degree of overload placed on the body for a set workload. When running, this overload is predominately borne by the lateral and posterior compartment leg muscles.
Shin splints may be secondary to stress generated by the tightness of the flexor digitorium longus, calf muscles and/or weakness of the foot intrinsic muscles or both. Warming up muscles before use increases the flexibility and blood flow in the muscles. Failure to do so may precipitate minor tears and the onset of inflammation.
Repetitive running on hard surfaces may produce strains on tendons and bending forces on the tibia and fibula. Running over uneven ground or too many hills may place excessive stress on the various compartments of the leg.
Training too much too soon will no doubt get you into trouble.
An initial period of rest from aggravating activities is necessary with athletes with severe symptoms and chronic course. Running in the water or cycling can be substituted. For stress fractures, full return to activity should await sound radiologic union when complete cortex is involved with a visible fracture line.
Non steroidal anti-inflammatory drugs (NSAIDs) prescribed by the doctor are frequently helpful.
Ice and electrical modalities can be used to reduce pain and inflammation. Specific stretching of tight muscles and strengthening of weak muscles should be performed as instructed by your physiotherapist.
Correction of varus heel (over-pronation), support of the medial longitudinal arch, as well as the introduction of shock-absorbing materials such as Sorbothane, may decrease symptoms. Worn-out shoes should be replaced. Shoes with a better support of the heel and medial longitudinal arch are recommended.
If conservative therapy is ineffective over a 4- to 6-week period and the symptoms are sufficiently disabling, surgery may be contemplated.


The mission of the Kentucky Fire Commission is to strengthen, upgrade and improve the services for the citizens and industry of the Commonwealth through standardized education, training, communication and distribution of funds.
The mission of Fire Rescue Training is to plan, direct, and administer a quality, comprehensive and uniformly delivered training program through the most efficient use of available resources to assist in meeting the training needs of fire, rescue and other emenrgency services personnel so that lives and property may be saved more safely and effectively. In addition, to provide health and safety training programs for industries, institutions, government agencies and other such entities to assist in meeting their training needs mandated by federal, state and local laws.


I struggle a bit with colour schemes unless I give myself a definite palette before I start. This last week I've been trying to concentrate on one colour, with a plan to go through all the rainbow hues. I've just done red and, whilst, I have at least been adding to my sketch book each day, I'm not going to carry on with this single colour, it's too limiting and I ended up cheating and adding green towards the end anyway.


text:
Grumpy Cat to join Broadway's 'Cats'
NEW YORK (AP) — Life will imitate art — or is it the other way around? — when internet sensation Grumpy Cat joins the cast of the Broadway musical "Cats" on Friday for what will likely be a feline-good moment.
The kitty with the comical frown and feline dwarfism "will be worked into the end of the show and will become an honorary Jellicle Cat," according to a spokesman for the show.
Grumpy Cat has become an online phenomenon with 8.7 million Facebook followers and a career selling books, T-shirts, mugs and cat food. She's been in commercials for cereal and fast-food restaurants.
She'll likely be at home at the Neil Simon Theatre, where Andrew Lloyd Webber's musical returned this summer with a cast hissing loudly while wearing legwarmers and spiked hair.
Massive fire engulfs multiple West New York businesses


Amongst one of the most frequent electrical wiring thoughts is regarding how to wire a switch. When making use of switches at your home is kind of straightforward, wiring 1 may well not be that effortless for everyone. An ON-OFF switch is really quite simple to wire. You will discover different types of switches, but for this instance, let's say you will be installing a single-pole toggle switch, an extremely popular switch (as well as the simplest).
There are a few shades of wires inside a normal single-pole toggle switch: black, white, and eco-friendly. Splice the black wire in two and hook up them about the terminal screws - one particular on leading and also the other to the base screw of your change. The white wire serves as a resource of uninterrupted energy and is also ordinarily related to your light colored terminal screw (e.g., silver). Join the environmentally friendly wire towards the ground screw of the switch.
These steps would frequently be ample to make a normal swap do the job with out a challenge. Nevertheless, when you are usually not self-assured that you simply can complete the endeavor appropriately and securely you better allow the professionals do it rather. After all, there is a rationale why this process is probably the most typical electrical wiring issues requested by most people.
For a few cause, how to wire a ceiling fan is likewise considered one of the most prevalent electrical wiring concerns. To simplify this task, you may use an individual swap for the single ceiling fan. To wire the supporter, it can be just a make any difference of connecting the black wire from the ceiling fan to the black wire on the switch. When there is a lightweight, the blue wire needs to be linked towards the black wire with the change likewise.
You'll find causes why these are generally probably the most usually requested electrical wiring thoughts. A person, numerous consider it is straightforward to accomplish, and two, these are generally the typical electrical responsibilities at your home. But then you definitely shouldn't place your protection in danger in the target to economize. The stakes could even be a great deal larger when you endeavor to save cash and do an electrical wiring task with no ample expertise or knowledge.


text:
Thanks for taking the time to contribute!

### Table of contents

[Code of Conduct](#code-of-conduct)

[Contribution prerequisites](#contribution-prerequisites)

[Project Setup](#project-setup)
  * [How to run the project](#how-to-run-the-project)
  * [How to run tests](#how-to-run-tests)

[How can you contribute](#how-can-you-contribute)
  * [Reporting bugs](#reporting-bugs)
  * [Suggesting enhancements](#suggesting-enhancements)
  * [Writing documentation](#writing-documentation)
  * [Your first code contribution](#your-first-code-contribution)

[Additional Notes](#additional-notes)
  * [Issue and Pull Request Templates](#issue-and-pull-request-templates)
  * [Need help?](#need-help?)

## Code of Conduct

This project and everyone contributing to it adheres to the [ResearchGate Code of Conduct](CODE_OF_CONDUCT.md).
By participating you are expected to uphold this code. Please report any behavior you find unacceptable to [researchgate@github.com](mailto:researchgate@github.com).

## Contribution prerequisites

Before you start your work, make sure that you:

* have `node` installed at v6.10.0
* have `npm` installed at 5.3.0
* have `yarn` installed at v0.21.3
* are familiar with `git`
* are familiar with [conventional commits](http://conventionalcommits.org)
* have read and agree to abide by the [ResearchGate Code of Conduct](CODE_OF_CONDUCT.md)

## Project setup

### How to run the project

Install Node Package Blueprint as a global npm package:

```
npm install -g @researchgate/node-package-blueprint
```

Now create a new project with the CLI tool:

```
node-package-blueprint my-project
cd my-project/
```

Install the dependencies with:

```
yarn install
```

When all dependencies get installed successfully there is a variety of commands at your disposal:

* `yarn build` - runs a full build of all source files, binaries and complied bundles
* `yarn watch` - runs a watcher that makes sure all changes and builds are noticed

For the full list, please refer to [Integrated Tooling](./docs/docs/integrated-tooling.md)

### How to run tests

This project uses [jest](http://facebook.github.io/jest/) for JavaScript testing.

To run tests, execute:

```
yarn test
```

Since coverage is not collected by default when running yarn test, run:

```
yarn coverage
```

To run linters use:

```
yarn lint
```

## How you can contribute

### Reporting bugs

This section guides you through the steps to follow when you submit a bug report for a ResearchGate project.

Following these guidelines makes it easy for the maintainers and community to understand your report, reproduce the behavior, and find related reports.

Before creating a bug report, please check Open Issues as you may find that there is already an issue open for the bug you've found. When you create a bug report, be sure to include as much detail as possible and fill out [the required template](ISSUE_TEMPLATE.md), the information it asks for helps us resolve issues faster.

After you have submitted the issue, we'll try to get back to you as soon as possible.

### Suggesting enhancements

This section guides you through submitting a feature suggestion.

All enhancement suggestions are tracked as [GitHub issues](https://guides.github.com/features/issues/) and, when approved by a core team member or project maintainer, are given the green light to then be turned into a Pull Request.
For the best possible experience, please provide us with:

* **A clear and descriptive title**
* **A step-by-step description of the suggested enhancement** and what it should do
* **Specific examples to demonstrate the steps**. Ideally, you should support it with code snippets, screenshots, and/or animated GIFs
* **Explanation of why this feature would be useful** to this project
* **Your development environment** and context for creating the feature

After you have submitted your Pull Request, we'll try to get back to you as soon as possible.

### Writing documentation

All great projects require good documentation.
There is __always__ room for (better) docs, so why not to contribute to the project by enhancing them?
Please do so via Pull Request.

### Your first code contribution

Unsure where you can start contributing?
We strive to make all our projects easy for beginners to contribute to. Just look out for issues labeled `help-wanted` and `beginner-friendly`, then get stuck in!
If you still need some guidance, consider [this resource](https://egghead.io/courses/how-to-contribute-to-an-open-source-project-on-github) and/or contact us.

## Additional notes

### Issue and pull request templates

When filing an issue or pull request, please take the time to fill out the templates we provide in as much detail as you can. This helps ensure that we have all the information we need to provide you with the right support so that your experience contributing to our open-source project runs as smoothly and easily as you would like it to.

### Need help?

If you need any help or require additional information, don't hesitate to contact the project maintainer or any of the contributors.

Thank you for contributing!


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Brian Reitzell-Soundtracks & Records Echoes Podcast
Brian Reitzell combines a vinyl junkies knowledge with a sound designers' ear.
Hear his interview in the Echoes Podcast
In Hollywood films there are soundtrack composers and then there are music supervisors. The composer writes the underscores for films. Music supervisors sometimes work with the composer, but usually, they're the people who pick the songs that go in a movie. But when those roles are combined some interesting things can happen. Take Brian Reitzel. He played drums in the punk group Red Kross and has his own synth-pop group called TV Eyes. But he's becoming more well known for his film scores including 30 days of Night, Friday Night Lights and all of Sofia Coppola's films including Lost in Translation. For the last two years he's been scoring the TV drama Boss on the Starz network. The soundtrack for that show has just been released and it shows a composer with a different approach.
Brian Reitzell: I feel like I could pretty much score any movie with my record collection. I think guys like Stanley Kubrick and Quentin Tarantino, and a lot of people that use sourced music in a really good way, it's just fantastic.
Hear a fascinating interview with Brian Retzell, including his story of a vinyl junkie's dream, in the Echoes Podcast.
~John Diliberto ((( echoes )))
gn up for Echoes CD of the Month Club. With the Echoes CD of the Month Club, you get great CDs like A Long Way to Fall. Club members will get this album 10 days before release. Follow the link to the Echoes CD of the Month Club and see what you've been missing.
← Weekend February 15th, 16th & 17th-Echoes Program 1307A
Monday February 18th-Echoes Program 1308A →


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AJPW Summer Explosion 2016 (August 20) Review
Posted by Dylan Justin | Aug 30, 2016 | Other Puroresu, Puroresu, Reviews
All Japan Pro Wrestling
Summer Explosion
Kobe Sambo Hall – Kobe, Hyogo, Japan
Yuma Aoyagi & Naoki Tanizaki Def. HAYATA & Naoya Nomura
Naoki Tanizaki, who I've always been one of the biggest fans of, is in weird spot at this point in his career. He isn't booked on as many Dragon Gate shows anymore and isn't heavily featured on them even when he is. His schedule keeps getting lighter, and frankly, I wouldn't be all that surprised to see him completely disappear eventually. The match itself was fine but nothing you really need to see unless you're as big a Tanizaki fan as I am, which I would imagine not many people are. **3/4
Gabaiji-chan & The Bodyguard Def. SUSHI & Takao Omori
If you're not as familiar with Gabaiji-chan, allow me to enlighten you since I, unfortunately, am a person with way too much time on my hands and therefore have seen him on many an occasion.
Gabaji-chan works for the sleazy Japanese indies that normal people don't watch as a decrepit old man, played by TAKA Michinoku trainee PSYCHO. It's a gimmick some may enjoy, but a gimmick this reviewer only enjoys in small doses. There were points in this match that got me to smirk, and there were points in this match that got me to cringe. Overall, it was decent comedy that the crowd seemed to enjoy, so I can't complain. Again, nothing you need to see unless you're really into this sort of thing. **
GAORA TV Championship
Billy Ken Kid Def. Yohei Nakajima (c)
All Japan seems to enjoy taking this belt off of Nakajima and then giving it right back to him a few days later. He dropped it to Kazuhiro Tamura in June then won it back six days later, did the same with Takeshi Minamino in July, and will presumably do the same with Billy Ken Kid. Anyone who's read any of my work on this site knows how much I enjoy Ken Kid, so seeing him win some gold in All Japan is nice, but knowing it probably won't lead to anything hurts a bit. The match itself was fun, as expected. Both being extremely talented and bringing something different to the table in a promotion that so heavily features guys like Miyahara, Akiyama, Sekimoto, Zeus and others who work that style. Ken Kid defends against Kazuaki Mihara of Dotonbori Pro on September 9th, so there's at least one win under his belt before he inevitably drops the title back to Nakajima. ***1/2
All Asia Tag Team Championship
Atsushi Aoki & Hikaru Sato (c) Def. Rey Paloma & Shoichi Uchida
I'd be lying if I told you I was familiar with Rey Paloma beyond having seen his name before. I know Uchida a bit from Dragon Gate and Big Japan, as he's done some shots for them in Osaka over the years, but not enough for me to have a real opinion on him. Both he and Paloma looked good here.
I've always enjoyed seeing local guys challenge for titles on these "middle of the road" shows, and these two teams working well together definitely helps. It was patently obvious halfway through the match that this was an extended squash and a very dominant title defense for the two Evolution members, but all the same, it was thoroughly enjoyable. ***3/4
Kento Miyahara, Jake Lee & Shuji Ishikawa Def. Rikiya Fudo, Ryouji Sai & Tatsuhito Takaiwa
The focal point of this match heading in was obviously Ryouji Sai and his upcoming Triple Crown match with Kento Miyahara. The two had some nice interactions, but Jake Lee was far and away the star of the match. The fire he showed when getting beat down by Sai, Fudo and Takaiwa while desperate to make the tag was excellent and made an otherwise forgettable match worth watching. Everyone played their part well, Miyahara and Ishikawa are never not good, while Sai, Fudo and Takaiwa can all be hit or miss. It did its job of providing a preview for the aforementioned Triple Crown match, but again, Jake Lee was the star. ***1/2
Suwama Def. Zeus
This was a weird one, to say the least. Suwama has been out since early January, so I get that he may be a bit rusty, but frankly, he wrestled Akiyama earlier this year in a match I found super underwhelming, and a match I found him to be the lesser of the two performers in. I like Suwama, always have, but unfortunately he is one of those guys who suffers from his inconsistencies. When he's good, he's damn good, but when he's not good, he is extremely dull. This was one of his more dull performances, and I'm not exactly comfortable chalking it up to him being rusty. I'll give him the benefit of the doubt and hope he gets himself together soon, especially since he'll be playing a major part in All Japan moving forward. Zeus was good here, as he's been for the past several months. This wasn't one of his best performances, but he outshined Suwama for what that's worth.
There were very few things that clicked in the match, the finish not being one of them. My guess would be that they didn't want Zeus taking a pin so had him get choked out, which makes sense, but I personally don't think being pinned by Suwama would hurt him much, if at all. It falling completely flat certainly didn't help, either. The match was 18 minutes long and very much just a match. ***
AJPW World Tag Team Championship
Daisuke Sekimoto & Yuji Okabayashi (c) vs. Jun Akiyama & Daichi Hashimoto
They aren't finishing on a lot of ballots and they definitely aren't winning, but Strong BJ is a viable contender for Tag Team of the Year, and both Sekimoto and Okabayashi are viable contenders for Most Outstanding. They may not have the amount of MOTY level matches say The Revival have (depends on who you ask though, I guess), but they sure as hell have had a lot of great ones. You would really have to try to have a bad match if you were to wrestle these two and under-deliver, and even then I'm not so sure it wouldn't at least be good. Hashimto hasn't been doing much in Big Japan, so seeing him in a somewhat prominent role in All Japan teaming with someone of Akiyama's stature is quite nice and will hopefully be a thing for a good while. I love their chemistry together. The match, as you already know, was excellent. By far the best match on the show. ****1/4
This was a fun show. Not great, not exactly up to par with other All Japan shows, had Suwama vs. Zeus delivered, maybe it would have hit that next level, but it was enjoyable for what it was. Watch the main event.
PreviousArmories and Snowflakes: Black vs. Danielson (Ring of Honor 2008)
NextNJPW Lion's Gate Project 3 (September 1) Preview
Dylan Justin
OTT Matina's Gaff Party 2 Belfast Results & Review
AJPW Champion Carnival 2020 Preview & Predictions
PROGRESS Wrestling Chapter 35: Writing Nirvana on Other People's Bags Review
Lucha Underground (May 6) Review


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Case assessment and consent for Teethxpress full arch reconstruction
Jonathan Dean | Paul Swanson | Teethxpress | webinar
Seb Evans
18th Feb 2021 13:51
Join Paul Swanson and Jonathan Dean discuss case assessment and consent for Teethxpress on Thursday 25 February at 19:00.
Paul Swanson and his technician Jonathan Dean will summarise the Teethxpress surgical and restorative methodology for immediate full arch reconstruction. They will also detail some of the important aspects of treatment planning to pave the way to a successful procedure.
This webinar will include guidance on full arch reconstruction:
Case assessment
Long-term maintenance
Integrating full arch treatment into your practice. Also including advice on full arch training, mentorship and technician support.
Paul Swanson
Paul Swanson qualified from the University of Liverpool in 2000.
Dr Swanson has since completed or received several qualifications and certifications including his MFGDP qualification in 2003, a post graduate certificate in conscious sedation in 2004, a diploma in implant dentistry from the Royal College of Surgeons of England and the advanced certificate in bone grafting in 2008. He also has a master of science degree in implant dentistry from Queen Mary University of London.
Over the last 10 years, the volume and complexity of Dr Swanson's cases have naturally increased.
Paul's clinical practice is now limited to implant dentistry. He owns a specialist referral practice in Liverpool where he contributes to the multidisciplinary cases performed by his team.
Dr Swanson mentors dentists at both entry level and advanced dental implants. He also contributes to study clubs in his region.
Paul is a tutor for the Royal College of Surgeons diploma in implant dentistry, the ITI Study Club director for Liverpool, and also the co-director of IDEAL, an organisation that manages dental courses for all members of the dental team.
Jonathan Dean
Jonathan Dean is owner and senior technician of C&J Dental Technologists. This is a small dental laboratory producing exclusively private implant, crown and bridge and prosthetic work.
Qualifying as a dental technician in 2000, Jonathan went on to qualify as a clinical dental technician in 2008 (one of the first CDTs in the UK).
Jonathan serves as an advisory board member of the British Association of Clinical Dental Technicians (BACDT).
Over the last 11 years, C&J Dental Technologists has completed over 400 immediate load cases. More patients are demanding same day results.
Teethxpress cases have become the main part of Jonathan's workload.
To sign up and watch this webinar for free, visit www.dentistrystudyclub.co.uk.
VSS Academy explains why its Certificate in Implant Dentistry is one of the most comprehensive entry-level courses available to the…
Set your implant skills free with guided surgery
Building an award-winning implant practice
Soft tissue management for large bone augmentation
A new level of confidence
Implant insights – the implant consultation
Putting the patient experience centre stage


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De tandarts houdt een winterslaap is een gedicht uit 1951 van Annie M.G. Schmidt dat voorkwam in de verzamelbundel Dit is de spin Sebastiaan met allerlei gedichten en verhalen van de schrijfster.

Samenvatting van het gedicht
De tandarts L.J. Langejaap houdt in de winter een winterslaap. Deze winterslaap duurt al veertien weken. Alleen 's morgens vroeg mompelt hij tegen zijn vrouw Katrien dat hij geen dek genoeg heeft waarna hij een extra deken krijgt. Intussen staan er negenentachtig mensen met kiespijn op de deur te bonken. Uit woede gooien ze met kiezeltjes tegen de ruit en klagen of hij nog eens uit zijn bed komt. Maar de tandarts blijft maar slapen omdat hij voor hij ging slapen tegen zich zelf heeft gezegd dat het later allemaal wel terechtkomt en dat niemand hem mocht wekken en dat hij in bed bleef tot zeven april. Pas dan zou hij weer kiezen gaan trekken. Intussen staan al die mensen voor de deur en raken verschrikkelijk uit hun humeur en roepen er schande van. Maar tandarts L.J. Langejaap blijft maar slapen en droomt niet eens van tanden en kiezen. Hij blijft bij zijn voornemen, wat er ook gebeurt. De wekker staat op zeven april (het is een winterslaap-wekker). Maar één iemand is niet boos. Het is de kleine Jacobus, hij denkt: Ik hoef voorlopig dus niet.

Werk van Annie M.G. Schmidt
Nederlandstalig gedicht

redpajama_set_name: RedPajamaWikipedia


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Ismael Urzaíz Aranda (Tudela, 7 oktober 1971) is een voormalig Spaans profvoetballer. Hij is vooral bekend als aanvaller van Athletic de Bilbao. In het seizoen 2007-2008 stond hij onder contract bij AFC Ajax. Hij kwam bij die club echter nauwelijks aan spelen toe en zijn contract werd dan ook niet verlengd.

Clubcarrière
Urzaíz begon als profvoetballer in 1989 bij Real Madrid Castilla, het tweede elftal van Real Madrid. Hij debuteerde in het eerste elftal in 1990 in het Europa Cup-duel tegen Odense BK. Urzaíz wist echter geen vaste plaats bij de hoofdmacht te krijgen en huurperiodes bij Albacete Balompié (1991-1992) en Celta de Vigo (1992-1993) volgden. De aanvaller verliet Real Madrid definitief in 1993. De drie seizoenen die volgden speelde Urzaíz steeds voor een andere club.

In 1993/1994 ging hij naar Rayo Vallecano, maar daar scoorde hij slechts één keer in twintig wedstrijden. Een seizoen later hielp Urzaíz UD Salamanca aan promotie naar de Primera División door twee keer te scoren in de beslissende wedstrijd tegen zijn oude club Albacete (5-0). Weer een seizoen later (1995/1996) ging de aanvaller spelen voor RCD Espanyol. Daar maakte Urzaíz zijn beste seizoen tot dan toe mee. Hij scoorde dertien keer, waardoor Espanyol vierde eindigde in de competitie. Met deze prestatie verdiende hij een transfer naar Athletic Bilbao.

Bij de Baskische club groeide Urzaíz uit tot een zeer gewaardeerde speler en samen met Joseba Etxeberría vormde hij jarenlang een doeltreffend aanvalsduo. In 1999 behaalde hij met zijn club de tweede plaats in de competitie achter kampioen FC Barcelona, wat betekende dat Athletic zich plaatste voor de UEFA Champions League. Het bleef in het seizoen 1999/2000 bij zes groepswedstrijden en één doelpunt voor Urzaíz in het grootste Europese toernooi.

In 2007 besloot hij de stoppen als profvoetballer. Desondanks heeft AFC Ajax hem over weten te halen om nog een jaar te spelen. In Amsterdam vervulde hij de rol van pinchhitter achter Klaas-Jan Huntelaar.

Statistieken

Interlandcarrière
Urzaíz was tevens international. Hij werd Europees kampioen in 1988 met Spanje Onder-16 en verder speelde Urzaíz 25 interlands voor het Spaans nationaal elftal, waarin de aanvaller acht keer doel trof. Zijn debuut was op 9 oktober 1996 tegen Tsjechië. Hij behoorde tot de Spaanse selectie voor het EK 2000. Urzaíz scoorde zes keer in de drie wedstrijden waarin hij meespeelde tijdens de kwalificatie voor dit toernooi.

Zijn overige twee interlanddoelpunten maakt de aanvaller in een oefenwedstrijd tegen Polen. Op 28 februari 2001 speelde Urzaíz tegen Engeland zijn laatste interland. Urzaíz speelde ook zeven keer voor de Baskische selectie. Zijn enige twee doelpunten voor deze ploeg maakte hij in 2000 tijdens de wedstrijd tegen Marokko (3-2 winst).

Erelijst
 Ajax
Johan Cruijff Schaal
 2007
  Spanje
'''Europees kampioenschap voetbal onder 16
 1988

Zie ook
 Lijst van spelers van Ajax

Externe links
 Europese statistieken op http://www.rsssf.com
 Statistieken Spanje op rsssf
 Statistieken volgens El Mundo Deporte

Spaans voetballer