text:
Wii Virtual Console
Top Hunter: Roddy & Cathy
Our Review: Scroll Down
Top Hunter: Roddy & Cathy Review (Neo Geo)
Take on the role of either Roddy or Cathy, bounty hunters in this side-scrolling action game set far in the future when humans have colonized space.
Version Reviewed: North American
review by Marcel van Duyn Sat 15th Dec 2007
I'm sure many have played at least one game in SNK's awesome shoot 'em up franchise, Metal Slug. But did you know that SNK also created a game that's similar, yet at the same time quite different? They did, and it's named Top Hunter.
You play as the titular Roddy or Cathy (or both simultaneously with a friend) and make your way through a number of stages, starting with four elemental planets, forest, fire, ice and wind, each with two "sections". Each planet is quite beautiful, with, for example, the fire planet having enormous streams of glowing lava in the background, the forest stage having a blowing leaves and the ice stage having a lot of reflecting ice.
The gameplay's standard stuff - make your way to the end defeating the bad guys: yyou can jump on them Mario style or beat them up and throw them. There are a few guns to pick up, and you can also jump into a combat robot, similar to Metal Slug's... well, metal slugs!
It's not just normal, weak grunts headed your way though. Sometimes the enemies hop into their own combat robots or assault you with stronger weapons! Every stage also has a number of minibosses (a buff pirate returns on every planet), and a boss showdown at the end. There are numerous traps, such as boulders, falling walls and firebreathing statues, that will take off a large chunk of your health, so caution is advised! The bosses are usually not too hard and you will figure out how to beat them almost immediately.
A major feature of every stage is that it has two lanes to walk on - one in the foreground and one in the back. This way you can quickly jump to safety on the other side if something nasty's heading your way. Be warned though, because enemies can jump after you most of the time! During boss fights there is usually only one lane. You will have to solve some very small puzzles in some stages, but usually this is nothing more than pushing over a wall or grabbing onto a switch.
The music is quite cheerful, but altogether, nothing very special. You won't really notice it during all the action anyway! The game is not very tough, but remember to watch out for stuff that takes away a ton of health!
If you want a taste of Metal Slug-like action (of which all games were released in a collection on Wii already - so they may not be coming to VC soon), look no further than Top Hunter. Play it with a friend for maximum enjoyment. Or play it alone – it's still pretty good.
Great 8/10
Please Note: This review was originally published on vc-reviews.com
Megal0maniac
Nice review
Action, Arcade
Wii (Wii Shop)
31st Dec 2007, 900 points
14th Dec 2007, 900 points
20th Nov 2007, 900 points
7th Dec 2017, $7.99
7th Dec 2017, £6.29
ACA NEOGEO
Buy on eBay
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Review Onion Assault - A Bold, Breezy Homage To Super Mario Bros. 2
Review A Space For The Unbound - A Beautifully Rendered, Breathtaking Adventure Game


text:
Akuapem South District Assembly to sanction absentee teachers
hammadPosted on May 7, 2018
Kitase (E/R), The Akuapem South District Assembly is to sanction teachers in the District who absent themselves from school without permission.
The Assembly would also reward schools that would place first in the West Africa Senior High School Certificate Examination (WASSCE) with GH10,000.00 as a measure of improving the standard of education in the District.
Mr Frank Aidoo, the District Chief Executive (DCE), disclosed this at the launch of the 10th Anniversary Celebration of the enstoolment of Oyeeman Nana Kwasi Ankrah III as the chief of Kitase-Mpeduase near Aburi in the Eastern Region.
The Anniversary is on the theme: Enhancing the Gateway to Akuapem: A National and Community Responsibility."
Activities planned for the celebration include Sanitation and Tree Planting Day, and Mothers and Fathers' Day.
Mr Aidoo said for the Community to become the gateway to Akuapem, the people must to take education, health and sanitation issues seriously.
He, therefore, charged parents to take active interest in the education of their children so they would grow to become useful citizens.
He said the Assembly would supply the Community with dustbins to improve upon the sanitation situation.
Mr Aidoo urged the youth to take advantage of the Nation Builders Corps (NaBCO) initiated by the Government and register for employment.
He said the Assembly had secured funding to provide a sports complex to promote sporting activities in the District and urged the youth to form sporting teams to make it vibrant.
The DCE commended Oyeeman Nana Ankrah for single-handedly initiating a number of projects for the community, which include a Police Station and Recreational Centre.
Mr Freddie Blay, the Acting Chairman of the New Patriotic Party (NPP), urged the chiefs to avoid chieftaincy disputes and unite to ensure the development of the community.
Oyeeman Nana Kwasi Ankrah, on his part, urged the people to support him to bring development to the area.
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redpajama_set_name: RedPajamaCommonCrawl


Links and subcategories within the Attigliano section are provided below.
Description of the centrally located accommodation, photographs, prices and contact details.
Three stars. Includes presentation, services, rates and reservations.


Archives|Family Farmer Wants to Sell, But for a Radioactive Dump?
Family Farmer Wants to Sell, But for a Radioactive Dump?
There have been Allens in this Cortland County town since 1817, and Allens on Allen Hill for more than 130 years. For nine generations their sweat and blood have mingled with the town's history, as doctors, carpenters and, for the last six generations, farmers.
But after years of rising at 3:45 A.M. each day to milk his cows, 52-year-old Arthur Allen has decided to sell his farm. He has become the only person in New York State to offer his land for a proposed low-level radioactive waste dump.
The Allen property is one of five final sites being considered, and although no decision has been reached and no price offered, confrontations on or around the farm are feared as state officials begin inspecting the land next week.
Low-level waste includes fluids, tools and clothes. It comes from reactors, hospitals and some other companies. High-level waste, which includes spent fuel rods, would not go to the dump.
In September, the New York Low-Level Radioactive Waste Siting Commission announced that it was considering five privately owned sites for the dump, three in Allegany County in western New York, and two in Taylor, a town of fewer than 500 people about 30 miles south of Syracuse. One of those sites is the 730-acre Allen farm.
Some of the more than 20 owners of the four other sites went to court to prevent the state from even setting foot on their land. Others said they did not want to sell. Others said nothing. Only Mr. Allen wrote the state that he was willing. He says he hopes to get $800,000 to $1 million.
When the siting commission recently met in Cortland, more than 4,500 people angrily protested the selection process. The commission hired more than 70 security guards to maintain order.
While residents are furious at the state, they are dismayed that one of their own might help bring the nuclear dump to Taylor.
''It's a betrayal,'' said Denise Cote-Hopkins, a Taylor resident hired as a consultant by the county's planning department to help fight the dump.
New York State, which could force an owner to sell through its power of eminent domain, has not offered to compensate neighbors of a dump for reductions in their property values.
Joel died in his father's arms ''at 3 in the morning,'' Mrs. Allen said. At 3:30 her husband ''was in the barn milking.'' ''He had to,'' she said. Joel's death meant there was no one left to inherit the farm, for the Allens' two other sons do not want the land. But financial pressures also contributed to the decision. The family cleared only $10,000 after expenses last year, even though the farm's milk output was high - two million pounds from 165 cows.
Although Mr. Allen offered to let the state buy his farm, he is not set on selling it to the state. But no one else has offered to buy the land, he says. The hilltop farm has hard soil; Mr. Allen said, and real-estate agents agreed, that anyone wanting to buy a working farm would prefer a valley farm. He could subdivide the land and sell it to downstate people seeking country solitude, but that is an idea he says he cannot abide. He believes it is the downstate people who have created much of the dissension in the community.
The situation is expected to grow more tense soon, for members of the siting commission staff will begin inspections of the two Taylor sites after Monday. Opponents of the dump have vowed to prevent entry to the sites.
''We're just going to lie right down and they're going to have to haul us away,'' said Norma Lewis, a member of Citizens Against Radiaoctive Waste Disposal.
For the Allens, the threat of a confrontation hangs heavy. Although police agencies have assured the family they will be protected, they still dread the prospect of getting caught in a car surrounded by protesters.
''I fear for my children,'' said Denise Allen, Mr. Allen's daughter-in-law.


text:
Alex Trebek's Widow Jean Trebek Gives 1st Interview Since His Death: I Have 'Waves of Grief'
By Eliza Thompson
She misses him too. Jean Trebek is speaking out for the first time about how it felt to lose Alex Trebek, her husband of 30 years.
Alex Trebek Dead: Stars Pay Tribute to 'Jeopardy' Host
The businesswoman, 57, spoke to Savannah Guthrie for an upcoming NBC News special called Inspiring America: The 2021 Inspiration List. "I think right now, talking with you, I'm good. You know?" she told Guthrie, 49, in a clip that aired on Wednesday, April 28. "I'm good. I absolutely have moments of waves of grief that just come over me. I miss him a lot."
Jean and Alex Trebek. Dan Steinberg/Invision/AP/Shutterstock
The beloved Jeopardy! host died in November 2020 at age 80 after a nearly two-year battle with pancreatic cancer. He revealed his diagnosis in March 2019 in a video shared via YouTube. "Now, normally, the prognosis for this is not very encouraging, but I'm going to fight this, and I'm going to keep working, " he said at the time, adding that he planned to keep hosting Jeopardy! for as long as he could. "And with the love and support of my family and friends and with the help of your prayers also, I plan to beat the low survival rates statistics for this disease."
The Ontario, Canada, native underwent several rounds of chemotherapy and continued taping the game show throughout 2019 and 2020, eventually filming without an audience because of the coronavirus pandemic. His last day in the studio was October 29, 2020, and he died at home on November 8.
Though she admitted to missing him terribly, Alex's widow said that one of the "blessings" about his health struggle was seeing how much the entire world loved him.
Celebrity Charity: Stars Who Use Their Influence to Give Back
"I think one of the beautiful things, the blessings that came, if you can call it a blessing, was that he got to really see the outpouring of love and admiration that he gave to the world," she told Guthrie. "And I know that that was in and of itself a huge inspiration for Alex."
She also addressed the now-famous moment when a contest wrote, "We [heart] you, Alex!" for his Final Jeopardy answer in a November 2019 episode. "That's very kind of you," replied the usually stoic host, holding back tears.
"When that contestant wrote that, you know, you could see him, like, 'Oh, don't make me cry here but I love it,'" Jean recalled. "And I think that meant the world to him."
Alex Trebek Isn't 'Afraid of Dying': 6 Revelations From His New Memoir
Since The Answer Is author's death, various celebrities — including Aaron Rodgers, Anderson Cooper and Katie Couric — have filled in for the longtime host, who won seven Daytime Emmys for his 36 years of work on the show. Sony recently announced that George Stephanopoulos, Robin Roberts and LeVar Burton will each do hosting stints this summer.
Inspiring America airs on NBC and Telemundo Saturday, May 1, at 8 p.m. ET.
For access to all our exclusive celebrity videos and interviews – Subscribe on YouTube!


Within the lines of applied research that are developed as a substantial part in the conservation projects carried out by the Programa nacional de conservación de patrimonio gráfico rupestre of the Coordinación Nacional de Conservación del Patrimonio Cultural, emphasis is placed on the evaluation and monitoring of the behavior of the materials used in the conservation processes that are appliedin rock art sites for stabilization, such as the consolidation and edging of the stone supports. This article explains how the continuity projects that are executed at the sites: La Pintada, Sonora; El Vallecito, Baja California and El Ocote, Aguascalientes; have allowed, through a methodology developed ex professo, the periodic monitoring and evaluation of the behavior of the materials applied in the conservation of rock art paintings, being able to assess its effectiveness through wide cycles both in situ and laboratory tests and records, performed at various times. The obtained results have been satisfactory and have been allowed to guide the conservation actions in each specific site; in addition to providing knowledge, as well as qualitative and quantitative information that may be useful for attending other rock art sites with characteristics and conservation problems similar to those studied.


text:
Q: Invalid Method identifier specified (Service: AmazonApiGateway; Status Code: 404; Error Code: NotFoundException) I am trying to create an API method like:
ApiIndex:
  Type: AWS::Serverless::Function
  Properties:
    Handler: src/apis/index.handler
    FunctionName: !Sub '${ProjectName}-api-index'
    Role: !GetAtt LambdaExecutionRole.Arn

ApiIndexMethod:
  Type: AWS::ApiGateway::Method
  Properties:
    HttpMethod: ANY
    AuthorizationType: NONE
    Integration:
      Type: AWS_PROXY
      IntegrationHttpMethod: GET
      Uri: !Sub arn:aws:apigateway:${AWS::Region}:lambda:path/2015-03-31/functions/${ApiIndex.Arn}/invocations
    OperationName: Index
    ResourceId:
      Fn::ImportValue:
        !Sub ${BaseStack}-apiroot
    RestApiId:
      Fn::ImportValue:
        !Sub ${BaseStack}-api

But I am getting:

Invalid Method identifier specified (Service: AmazonApiGateway; Status Code: 404; Error Code: NotFoundException)

My other stack that defines my API Gateway looks like:
Resources:
  Api:
    Type: AWS::ApiGateway::RestApi
    Properties:
      Description: !Sub ${ProjectName} API gateway
      EndpointConfiguration:
        Types:
          - REGIONAL
      Name: !Ref ProjectName

Outputs:
  Api:
    Description: API gateway
    Value: !Ref Api
    Export:
      Name: !Sub ${AWS::StackName}-api

  ApiRootResourceId:
    Description: API Gateway root resource ID
    Value: !GetAtt Api.RootResourceId
    Export:
      Name: !Sub ${AWS::StackName}-apiroot

Whats wrong here?

redpajama_set_name: RedPajamaStackExchange


text:
The Jewish Talmud and the Death of Christ
In one of his epistles, Paul, lifting a text from the book of Job (5:13, LXX) to emphasize the folly of human wisdom in contrast to that which is divine, observed that God "catches the wise in their own craftiness" (1 Corinthians 3:19). A fisherman "caught in his own net" is a pathetic sight. Or, as Chrysostom (c. A.D. 347-407) of Constantinople once expressed it, the soldier "is worsted with his own weapons."
An evil contingent within the Jewish nation influenced the Romans to put Christ to death. No serious student of history can deny this reality. This is not to discount the culpability of all sinners in the death of God's Son; it merely acknowledges the historical events that occurred in the spring of A.D. 30 in the city of Jerusalem.
For nearly two millennia Jewish writers have been attempting to revise history in an effort to rationalize their role in the death of Jesus of Nazareth. In each attempt, they pitifully ensnare themselves. Better it would have been had they treated the awful history factually and simply moved on.
In this brief article we take note of a passage in the Jewish Talmud that speaks of the death of Jesus. It sought to explain the execution of Christ against the background of Hebrew law, with the contention that the Lord's death was implemented legally. The result, however, is a remarkable confirmation of the details of the biblical narratives.
The Jewish Text
The Babylonian Talmud is a commentary on Jewish laws composed between A.D. 500-600 (Neusner/Green, 69) Therein is a text about Jesus' death. The Tractate Sanhedrin (43a) contains this passage:
Jesus was hanged on Passover Eve. Forty days previously the herald had cried, "He is being led out for stoning, because he has practiced sorcery and led Israel astray and enticed them into apostasy. Whosoever has anything to say in his defense, let him come and declare it." As nothing was brought forward in his defense, he was hanged on Passover Eve.
An analysis of this paragraph is extremely rewarding. First, one must observe that the document is written from the Jewish viewpoint; thus, as expected, is hostile to Jesus, and is defensive of Jewish jurisprudence. This makes it all the more valuable as a document for the support of Christianity.
Jesus — A Real Person of History
The first fact readily apparent is that the Jews responsible for the Babylonian Talmud, who had every motive for wanting to eradicate Christ from history, did not. That is telling. The historicity of Jesus is conceded.
This is powerful testimony since a few modern skeptics (very much a minority within their ranks) deny that Jesus ever lived. G.A. Wells is one modern example; he has attempted to argue that Jesus was purely a mythical character, yet even he admits that "nearly all present-day scholars" do not agree with his thesis (Wells, 1.363).
The Manner of Jesus' Death
The mode of his death was by "hanging." This is an expression that was used for crucifixion. Note Peter's description: "The God of our fathers raised up Jesus, whom you killed, hanging him on a tree" (Acts 5:30). Literally, the text reads, "whom you killed, having hanged him on a tree." The participle, "having hanged," is "coincident with that of the verb" (Lenski, 225). See also Acts 10:39.
There was divine planning in the manner of Christ's death. In his atoning act, he was bearing the "curse" of sin, i.e., the consequence of human sin — potentially available to the entire family of mankind. As Paul would later explain: "Christ redeemed us from the curse of the law, having become a curse for us; for it is written, Cursed is every one that hangs on a tree" (Galatians 3:13; cf. Deuteronomy 21:23). More on this momentarily.
The Time of Jesus' Death
The general time of his death is indicated: at the "Passover Eve." John the apostle, who was present at the time of Christ's death, writes: "Now it was the Preparation of the Passover; it was about the sixth hour. And he [Pilate] said unto the Jews, 'Behold your king'" (19:14). For a study of the alleged problems associated with the time element of the Passover, the day of Jesus' crucifixion, etc., see Geldenhuys (649-670).
This timing, of course, was a perfect complement to the imagery of the Old Testament that made the Passover lamb a "type," i.e., pictorial preview, of the atoning death of the Savior (see John 1:29; 1 Corinthians 5:7).
The Illegal Trial of Christ
The reference to a "herald" crying out for "forty days," proclaiming the guilt of Christ appears to be an obvious attempt to cover up the illegal malfeasance that occurred in connection with the Lord's trial and death.
Jewish legal procedure dictated that en route to an execution, a "herald" was required to: proclaim the victim's name, state his alleged crime, provide the names of witnesses against him, and call for any exculpatory testimony (see our article on the trial of Jesus, Part 1 and Part 2. ) There is not a shred of evidence in the New Testament that such was done in connection with Jesus' death. Christ was not even in Jerusalem until five days before his crucifixion!
Accusation of Collusion with Satan
Christ was accused of practicing sorcery, which, in effect, was a charge that he was in league with the devil. The term "sorcery" represents a perversion of truth regarding Jesus; nonetheless, in a subtle way, it concedes that he was doing extraordinary things (his miracles) that were inexplicable from a strictly natural vantage point.
As support for the Lord mounted, the Hebrew leaders were frantic.
The chief priests therefore and the Pharisees gathered a council, and said, "What are we to do? For this man is doing many signs. If we let him alone, all men will believe on him: and the Romans will come and take away both our place and our nation" (John 11:47-48).
Their ploy, therefore, was this: they would attribute his amazing deeds to the devil. After the Savior had healed a man who was both blind and mute as a consequence of being demon possessed, the Pharisees charged: "This man does not cast out demons except by [the power of] Beelzebub" (Matthew 12:24). This is what the Talmud characterized as "sorcery." Sorcery indeed! Christ exploded the argument by demonstrating that if their theory was true, Satan would be divided against himself!
Stoning or Crucifixion — Which?
The Sanhedrin text notes that he was led away for "stoning" (as with the later cases of Stephen and Paul – Acts 7:58; 14:19). Stoning was a Hebrew method of execution. This is amazing since the same Talmudic text says Christ was "hanged." See above on the "Manner of Jesus' Death."
From a legal standpoint, the Jews could not execute a person by stoning, for the Romans had taken from them the option of implementing capital punishment directly (see John 18:31b); they were required to go through the Roman judicial system for executions, and for a non-Roman, that meant crucifixion.
This, of course, ultimately was of divine planning. His "hands and feet" were to be "pierced" (Psalms 22:16b), and his "soul" [Heb. nephesh; "life," resident in the blood; cf. Leviticus 17:11] was to be "poured out" (or "laid bare"; Isaiah 53:12b; cf. Zechariah 13:1). The Savior had to die in some fashion involving the profuse loss of blood. Crucifixion accommodated that requirement much more effectively than stoning (cf. John 19:34). It is incredible that the Talmud should provide such an unintended confirmation of the biblical record.
The Lack of Defense
The claim that Jesus lacked any "defense" is noteworthy in that it corroborates the prophecy of Isaiah. "He was oppressed, yet when he was afflicted he opened not his mouth; as a lamb that is led to the slaughter, and as a sheep that before its shearers is dumb, so he opened not his mouth" (53:7).
Reflect upon the testimony of the Gospel records: "And when he was accused by the chief priests and elders, he answered not a word.... And he gave him [Pilate] no answer, not even one word" (see Matthew 27:12, 14; cf. Mark 15:5; Luke 22:67; 23:9). These texts reveal that while Christ made a few brief comments in the course of his several "court" appearances, he offered no formal defense for his innocence.
Christ's Influence
This Jewish document also takes note of the influence of the Lord Jesus. He was said to have led "Israel astray ... into apostasy," a circumstance which the chief priests and Pharisees anticipated with fear (cf. John 11:48).
It has been estimated that by the time Stephen was martyred (Acts 7:60), the Jerusalem church consisted of no fewer than 20,000 souls (Kistemaker, 148). This represented more than one-third of the estimated 55,000 citizens in Jerusalem at that time (Jeremias, 83).
How strange it is (dare we say "providential"?) that Jewish writers of the post-apostolic age ended up providing the sort of evidence that does not undermine the New Testament accounts; rather, unwittingly it supports them!
The commentary, Acts of the Apostles—From Jerusalem to Rome, by Wayne Jackson is available from Christian Courier Publications. Call 1-888-818-2463 for information.
The Conversion of Saul of Tarsus
The Crucifixion of Christ
The Theological Implications of the Trial of Jesus – Part 1
Who Was Caiaphas, the Official at the Trial of Jesus?
God's Plan of Salvation for His Lost Children
The Jesus Seminar – Part 1
The Nature of History
The Weekly Observance of the Lord's Supper
The Burial of Christ's Body
Brevity – A Confirming Evidence of Bible Inspiration
Geldenhuys, Norval (1956), Commentary on the Gospel of Luke (Grand Rapids: Eerdmans).
Jeremias, Joachim (1969), Jerusalem in the Time of Jesus (London: SCM Press).
Kistemaker, Simon J. (1990), Exposition of the Acts of the Apostles (Grand Rapids: Baker).
Lenski, R.C.H. (1961), The Acts of the Apostles (Minneapolis: Augsburg).
Neusner, Jacob & Green, William Scott, Eds. (1999), Dictionary of Judaism in the Biblical Period (Peabody, MA: Hendrickson).
Wells, G.A. (1985), "The Historicity of Jesus," The Encyclopedia of Unbelief, Gordon Stein, Ed. (Buffalo, NY: Prometheus Books).
1 Corinthians 3:19; Acts 5:30; Acts 10:39; Galatians 3:13; Deuteronomy 21:23; John 1:29; 1 Corinthians 5:7; John 11:47-48; Matthew 12:24; Acts 7:58, 14:19; John 18:31; Psalm 22:16; Leviticus 17:11; Isaiah 53:12; Zechariah 13:1; John 19:34; Matthew 27:12, 14; Mark 15:5; Luke 22:67, 23:9; John 11:48; Acts 7:60
Jackson, Wayne. "The Jewish Talmud and the Death of Christ." ChristianCourier.com. Access date: January 22, 2021. https://www.christiancourier.com/articles/1357-the-jewish-talmud-and-the-death-of-christ


text:
Q: Qt QPixmap QPainter problem I have a piece of code that has this lines of code:
int dsize = 100;
QPainter *painter;
QPixmap *img;
QLabel *l_img;

painter = new QPainter;
img = new QPixmap(dsize, dsize);

l_img = new QLabel;
l_img->setPixmap(*img);

painter->begin(img);
painter->fillRect(img->rect(), Qt::white);

QPen pen(Qt::black, 12);
painter->setPen(pen);
painter->drawLine(40, 40, 40, 100);

painter->end();
l_img->show();

How ever when I run the code, I don't see any white image with a black rectangle on it. In fact what I see is the title of the window written in big fonts. Nothing seems to work, I just get an image like that. What am I doing wrong?
Thank you!

A: Got it!!
It has this line:
l_img->setPixmap(*img);

It should be after
painter->end();

Thank you, xD.


Field Trips Disney is on the schedule for this school year. Disney is the more important trip as we will be playing in a recording workshop! The trip will cost us $105 per person. Make sure to contribute your fair share.
Concert Band The concert band plays several concerts each year, attends the Lake Elsinore Districts Music Festival, travels to Disney for a workshop and day at the park, as well as a trip to Castle Park with the other middle schools of Lake Elsinore. Fun, Fun, Fun!
We are using Remind.com to help us stay in touch with everyone. Reminders for rehearsals, performances, etc. Just click and give us either your phone number for texting to your smartphone or email address.
• Practice 5 days a week with SmartMusic • Attend your sectional each week • Take good care of your instrument/get what you need (www.WWBW.com) • Attend all performances • Have FUN!


text:
1: Research Profile
2: Graduate Research School (GRS)
Aktive Seite ist 3: DFG Research Training Group
4: Researchday
5: Research Projects
6: Research Partnerships
7: Research Services
8: Young Academics
DFG Research Training Group 1913 »Cultural and Technological Significance of Historic Buildings«
The objective of the Research Training Group (RTG) 1913 funded by the German Research Foundation (DFG) is to carry out academic research on historic buildings from various historical and cultural contexts in the complex field between art, technology and society.
Historic buildings are understood in this context to be constituents of cultural value systems that include both the cultural and technical knowledge of their time and are thus bearers of the architectural and technical achievements of a culture and a historical period.
The academic work of the RTG is based on individual research projects on historic buildings, cultural landscapes or stakeholders, with the aim of identifying significant technical innovations and cultural processes. What is especially innovative in this regard is the focus on technical and technological aspects and their cultural and historical classification and evaluation. The cultural and technical aspects of the buildings are equally at the heart of the interdisciplinary discussion.
The theme of the RTG draws together essential interests from the fields of historical building research, historical building technology, art history, historic preservation, archaeology, history and the social sciences. By combining the diverse perspectives of these disciplines, the scientific worlds of engineering and the humanities are linked to one another to develop new, shared bases for assessing and understanding historic buildings.
For further information, visit the website of the DFG Research Training Group.
Prof. Dr.-Ing. Klaus Rheidt
Speaker of the DFG Research Training Group
klaus.rheidt(at)b-tu.de
Albrecht Wiesener M.A.
Research Coordinator of the DFG Research Training Group
albrecht.wiesener(at)b-tu.de
Responsible: Sophia Astrid Hörmannsdorfer Last Modified: 20. November 2018


Considering the scope of the project — 13 years, three exhibitions, two countries and a book in two languages, amongst many other facets — it is no real surprise that Type Motion, FACT Liverpool's new exhibition, can feel overwhelming.
Gallery 1 is taken up by seven separate projector screens hung from the ceiling, and with mirrored material attached to the walls to provide an 'infinity effect' that, due to the positioning and size of the material, is ineffective and fairly distracting. The screens are occupied by a rolling selection of examples of what the curators refer to as 'Schriftfilme' (a word that is apparently without a literal English translation). I found the experience distracting and almost uncomfortable. The situation was odd; here I was confronted by a multitude of projected examples of the written word in film, several of which, although not all, were in my native language, and yet I couldn't make sense of anything that was happening.
It was only slowly, after spending several minutes in the room, that I began to realise what I was seeing, or rather what I wasn't seeing.
I had expected, from the pre-exhibition promotion and accompanying leaflet, to see a show that combined numerous examples of text and typography in a filmic context, to be able to pat myself on the back when I recognized a title sequence — and surreptitiously Google the odd phrase from others that I didn't — so that I could go home and brush up, and leave feeling enriched.
What I was presented with instead was a gallery experience that challenged the way I interacted with two separate media. The point that I was missing was that the words themselves were not necessarily important; the focus was placed upon the form and the motion rather than the meaning. On reflection, the name of the show should probably have given me a clue.
Gallery 2 is entirely different, and much more focused on audience participation. The most immediate impression of this section of the exhibition is the innovations in coding and design that it presents; from the motion-controlled console that steers the user through a vast cityscape, to the playlist generator in the opposite corner that houses an archive of films which can be projected, at the users command, on one of two nearby screens.
It is here, whether engaging with either of the consoles or simply watching others do so, that the exhibition is most rewarding. The sheer scale of the archive — everything from music videos like Tiger Dust (2009, above) to Len Lye's animated postal advert Trade Tattoo (1937) — and the intellectual weight of the endeavour ensures that the style of presentation avoids the temporary reward of novelty; indeed, it is only on closer inspection that the richness of the archive becomes apparent.
In contemporary gallery interpretation, it is generally accepted that merely pointing a visitor in the direction of a work of art is no longer enough to pique interest. Type Motion uses the most interesting aspects of new media to provide the user with a truly unusual guide to a specific aspect of film.
The only shortcoming that I personally experienced is that my own interest in the subject matter falls far short of the creators. Of course, that is probably true of every exhibition, but it feels particularly relevant in this case. I left with an overriding sensation of frustration, due to the knowledge that, considering the whole scope of the project, I had merely skimmed over the top.
Post-exhibition, I had the privilege of sitting in on a talk given by the curators of the show — Dr Bernd Scheffer, Dr Chistine Stenzer, and Dr Soenke Zehle (xm:lab) — where I was further educated on what exactly a 'Schriftfilme' is: essentially, a genre of film defined by the interplay between the written word and the moving image. It was suggested that this new genre — in which words and titles are used as part of the visual narrative, rather than intrusively aiding the viewers' understanding of the plot — represents a cultural evolution in the way that audiences interact with the written word. That in a digital world of fluid motion, even the rigid logic of type can be adapted and included in movement.
While I remain slightly sceptical of the conclusions, I think these films are stylistic and visual innovations, rather than indicators of a fundamental shift in culture. The idea, however, is an extremely interesting one. Type Motion is, according to the instigators of the project, an attempt to present the findings of an extensive research project in a format that expands and challenges the notions of a simple archive; to provide the user with an unusual and rewarding experience. I feel that upon my first visit to the show that they have succeeded.
In summation, the best way to approach Type Motion is as a learning experience; not one that feels overly stifling or that highlights previous ignorance, but the result of a group of highly ambitious people who have clearly and thoroughly enjoyed the research put into the show. The enthusiasm for the subject matter shows, and I would say that it is a show almost unique in its potential to reward multiple visits.
Type Motion is well worth your time, as much of it as you have to spare; although I would tentatively suggest that unless you have a specific interest in the recent history and stylistic progression of moving image, then it may well struggle to hold your interest.


text:
Kate Hudson's role in 'The Reluctant…
Kate Hudson's role in 'The Reluctant Fundamentalist' more timely after the Boston bombings
A scene from "The Reluctant Fundamentalist." Courtesy photo.
By Los Angeles Daily News, Los Angeles Editorial Board, Los Angeles News Group, Los Angeles Times, Los Angeles, Daily News, Rob Lowman Southern California News Group and Rob Lowman |
PUBLISHED: April 29, 2013 at 4:30 a.m. | UPDATED: July 21, 2021 at 9:49 a.m.
When Kate Hudson opened the door for Mira Nair for a meeting they had scheduled to talk about "The Reluctant Fundamentalist," they both started laughing. "You're so pregnant!" exclaimed Nair, director of such films as "Monsoon Wedding" and "The Namesake." "I know," replied Hudson, who was eight months along. Nair then told the actress that the film was scheduled to start shooting shortly and in her present state, there was no possible way she could be in it. Hudson explains that the meeting, which had been set up by their representatives, was as a bit of a mix-up. Nobody had told Nair that Hudson was pregnant, and no one had told the actress when the film was scheduled to start shooting. The two sat down to talk anyway and really hit it off. "We ended up talking forever about the movie," says the 34-year-old Hudson. "I was so fascinated by the story and how she wanted to tell it." "We really had an excellent connection," Nair agrees. "I really loved her honesty and that she was unfettered by any kind of pretension." They parted assuming they would not be able to work together, but then "The Reluctant Fundamentalist" temporarily lost its financing. By the time it regained its ground, Hudson had had her son, Bingham, with Muse frontman Matthew Bellamy in July 2011. (It's the actress's second child – she also has a 9-year-old son with Black Crowes singer Chris Robinson.) Only two months after Hudson gave birth, Nair said she still wanted her for the role of Erica in the "The Reluctant Fundamentalist," which is opening today. The actress agreed, even though she was still breast-feeding. "It's quite a time when you're still recovering from having a child," Hudson says. "It's even hard to remember lines when your baby is an infant, but everything went really smoothly." Based on the novel by Mohsin Hamid, the film is set in New York City, Lahore, Pakistan, and Istanbul, Turkey, and co-stars Kiefer Sutherland and Liev Schreiber. Its protagonist is Changez – played by Riz Ahmed ("Four Lions") – a young Princeton-educated Pakistani who is doing well climbing the ladder on Wall Street when the World Trade Center is attacked by terrorists on 9/11. The event inevitably changes his life. Hudson plays Changez's lover, an artist who is haunted by the death of her previous boyfriend. "I was drawn to the role because it was something very different for me than I've been delving into in the last couple of years," says Hudson, who has dark hair in the film. (She was back to her accustomed blond at the film's premiere earlier in the week.) "Of course, we all know of the effervescence of Kate Hudson," Nair says, "but I had no idea of her worldliness and her intelligence and curiosity about doing things that are way beyond what she's normally known to do." Since last week's bombings in Boston, "The Reluctant Fundamentalist" has taken on an even more timely quality. Though Changez proclaims he loves America, he finds himself thrilled by the audacity of the Twin Tower attacks. The young Pakistani then becomes more and more alienated living in the United States as people see him as an object of suspicion because of his looks. Although he is not a practicing Muslim, he finds himself being drawn to radical factions of that religion. Hudson says she was attracted to the film because it explores a number of complex themes. "For me, one of the most interesting things is the idea of fundamentalism," says the actress, "a sort of stripping things down to black and white and the idea that you lose that sense of human connection." She says she discussed with Nair the story as one of searching for identity and where one belongs against the backdrop of a political thriller. "I think one of the things that was important for Mira in terms of the film that she wanted to make, was that the love between the couple was unable to bridge the gap because they were two people at different places in their lives," Hudson says. "The Reluctant Fundamentalist" is told through a series of stories that Changez relates to a U.S. journalist, Bobby Lincoln (Liev Schreiber), at a Lahore cafe after the kidnapping of an American professor. No one is exactly who they seem to be. Bobby is there to get information – and not just for a news story. As the CIA closes in during their search for the professor, Changez – a man still caught between two cultures – may or may not be willing to help. "What we tried to do in striving for nuance and preserving complexity was not to reduce it to just simply good and bad, us and them, good guys-bad guys," says the India-born Nair, who makes New York City her home. As for Hudson, "The Reluctant Fundamentalist" signals something of a return to the limelight, although she had a recurring cameo on "Glee" last season as a dance teacher. She will next be seen in Larry David's HBO movie "Clear History," set to air in the summer. "Working with Larry was just great – I haven't laughed that hard in a long time," she says. But because they haven't been announced yet, Hudson couldn't talk about a number of other projects that she is rumored to be attached to. ("That's always annoying, I know.") Still, she is excited to get back to work. "My baby is almost 2 now; so it felt like it was time."
Los Angeles Editorial Board
Los Angeles News Group
Rob Lowman Southern California News Group
Rob Lowman


Testimony by FBI director, others, point to an urgent need for independent probe.
FBI Director James Comey unleashed two blockbusters Monday during his sworn testimony before Congress that were as astonishing as they are alarming. He confirmed that the bureau is investigating Russian interference in the 2016 election, along with any links or potential coordination with the campaign of President Trump. Comey also said that the FBI and the Justice Department have no information to substantiate Trump's claims that former President Barack Obama had him wiretapped during the election. Trump's own mendacity, lack of impulse control and disregard for his own office have landed his already shaky, eight-week-old administration in a swamp of his own making.
National Security Director Michael Rogers said the intelligence community is highly confident the Russians interfered with the goal of tipping the election to Trump. He also rejected allegations by the Trump administration that he asked British intelligence to spy on Trump, which would have violated U.S. law and international agreements governing intelligence-gathering.
Trump's contempt for the public and his own office is becoming more evident by the day. He irresponsibly spouts baseless accusations of lawbreaking by his predecessor and smears long-standing allies, heedless of the damage he is doing to his office, let alone his own credibility. Some have dismissed his rantings as distraction. But it's more than that. He may have found a new method of dissemination, but Trump's tactics go by an old name: disinformation. That's when a government figure or entity knowingly spreads false information to mislead public opinion or obscure the truth. It can be traced back to the 1920s and, of course, Russia, which formed an office then specifically for the spread of disinformation.
Trump seems to have a particular affinity for disinformation. Even now, confronted with the testimony of his own appointed officials, Trump refuses to back off, insisting instead — again, with no evidence — that Democrats concocted the story about Russian interference. Trump should, at this point, admit his error, apologize forthrightly, and move on.
Sadly, we have no confidence he will do so. Regrettably, it also appears the country cannot rely on Congress to act as any kind of backstop. As evidenced by its line of questioning Monday, the GOP-led intelligence committee, to its shame, seems more obsessed with leaks — and punishing reporters who brought the information to light — than with Russian interference itself.
Trump should appoint an independent counsel, if only to prove he has nothing to hide. If he fails to do so, Americans should ask themselves why.


To view the ACWA 2018 Program, please click here. Program is current at 19 August 2018 and is subject to change.
On behalf of the ACWA 2018 Conference Organising Committee, I would like to invite you to attend the Association of Children's Welfare Agencies Conference (ACWA 2018). This Conference is widely regarded as the premier child and family welfare professional event held in Australia.
ACWA 2018 will be held at the International Convention Centre Sydney, located in Darling Harbour, from 20 – 22 August 2018. In addition to providing professional opportunities for input and debate for practitioners, policy makers, researchers and academics, the Conference will provide delegates with an opportunity to renew connections and acquaintances, and of course meet new colleagues from within the industry.
The program will highlight our continuing endeavours of working with community organisations in providing positive outcomes for vulnerable children, young people and their families.
We look forward to seeing you at ACWA 2018.


For the exhibition Iron, Flesh, Abstraction The Green Parrot has produced a limited edition of 60 t-shirts designed by André Romão. The printed sentence is inspired by a pamphlet distributed by the Indiani Metropolitani during the occupation of the University of Rome La Sapienza, in 1977. The Indiani Metropolitani were a leftist group that joined the protest student movement in Italy during the end of the seventies. Apart from their political discourse, the Indiani Metropolitani proposed all kinds of artistic manifestations as a space of liberty and encouraged a change in attitude towards sexuality, society and politics.
André Romão was born in Lisbon, Portugal in 1984, where he lives and works. A selection of his solo exhibitions include: A Nervous Smile, MACRO – Museo d'Arte Contemporanea, Rome (2014); Golden Masks hide Decomposing Bodies, Galeria Baginski, Lisbon (2013); Notes on the History of Violence, Middelheim Museum, Antwerp (2012); Barbarian Poems, Galleria Umberto di Marino, Naples (2011); The Vertical Stage, Kunstlerhaus Bethanien, Berlin (2010); The Winter of (our) Discontent, Kunsthalle Lissabon (2010). His work has been featured in group exhibitions such as Europe, Europe, Astrup Fearnley Museet, Olso (2014); BES Revelação, Museu de Serralves, Porto (2013); [szkmr] (as Atlas Projectos), Galerie Kamm, Berlin (2013); PhotoCairo 5, Townhouse Factory Space, Cairo (2012); Às Artes, Cidadãos!, Museu de Serralves, Porto (2010); Res Publica, Fundação Calouste Gulbenkian, Lisbon (2010); Democracy among Tyrants, Galeria Pedro Cera, Lisbon (2009); A River Ain't too Much to Love, Spike Island Art Center, Bristol (2008), among others. His first selection of writings was now published under the title "Perpex. Marble, Bone" on the occasion of the exhibition "Europe, Europe" at the Astrup Fearnley Museet in Olso.


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Latest revision as of 22:08, 25 April 2016
Classics (also Classical Studies) is the study of the languages, literature, laws, philosophy, history, art, archaeology and other material culture of Ancient Greece and Ancient Rome; especially during Classical Antiquity (ca. 600 BCE – 600 CE). Traditionally, the study of Classical literature (Greek and Roman) was the principal study of the humanities.
1.2 Art
1.3 Inscriptions
2 Scholarship
2.1 Scholars
2.2 Networks
2.3 Publications online
2.5 Tools
Literature[edit]
Digital libraries (editions and translations)
Perseus Digital Library's collection covers the history, literature and culture of the Greco-Roman world, containing editions and modern English translations of hundreds of Greek, Roman, Arabic, Germanic and other texts. Maintained by the Department of the Classics, Tufts University, ed. Gregory R. Crane.
A Teubner a Day, a catalog of online copies of Teubner editions of Greek and Latin texts in the public domain.
Thesaurus Linguae Graecae Canon (TLG Canon), a digital library of Greek literature.
The Digital Loeb Classical Library (subscription access).
Further digital editions and translations
The Chicago Homer contains Homer, Hesiod and the Homeric Hymns, each in one Greek edition (derived from Perseus) and English translation [1].
The Homer Multitext project presents the textual transmission of the Iliad and Odyssey in a historical framework. It offers free access to a library of texts and images, a machine-interface to that library and its indices, and tools to allow readers to discover and engage with the Homeric tradition.
Living Poets, passages from editions and translations of selected Greek and Roman poetry (8 poets as of Jan 2015). Maintained by Durham University.
Papyri
Papyri.info: the Papyrological Navigator (PN) supports searching, browsing, and aggregation of ancient papyrological documents and related materials aggregates material from APIS, DDbDP, HGV, BP and APD (in progress), and depends on close collaboration with Trismegistos. Maintained by The Duke Collaboratory for Classics Computing and the Institute for the Study of the Ancient World (NYU).
Perseus Catalog, a resource with bibliographies of Greek and Latin authors, including editions and translations. Ed. Gregory Crane, maintained by the University of Leipzig and Tufts University.
Trismegistos, a portal of papyrological and epigraphical resources dealing with Egypt and the Nile valley between roughly 800 BC and AD 800 currently expanding its geographical scope to the Ancient World in general.
Featured on Monoskop wiki
Plato, Republic.
Aristotle, Poetics.
Art[edit]
CLAROS (CLassical Art Research Online Research Services) builds on scholarly databases about the art of classical antiquity (Greece and Rome) created by the universities of Oxford, Cologne and Paris.
Classical Art Research Centre and the Beazley Archive. Includes the world's largest collection of images of ancient figure-decorated pottery.
Corpus Vasorum Antiquorum (Corpus of Ancient Vases).
Lexicon Iconographicum Mythologiae Classicae, a catalogue of representations of mythology in the arts of classical antiquity. Also in print. [2]
Arachne, the central Object database of the German Archaeological Institute (DAI) and the Archaeological Institute of the University of Cologne.
Trendall Archive, a database of South Italian and Sicilian red-figure vases.
Inscriptions[edit]
Searchable Greek Inscriptions, a scholarly tool in progress. Maintained by The Packard Humanities Institute.
Epigraphik-Datenbank records almost all known Latin inscriptions. Ed. Manfred Clauss.
Scholarship[edit]
Scholars[edit]
The pages contain bibliographies.
Roger Bagnall
Gregory Crane
E. R. Dodds
W. K. C. Guthrie
Eric A. Havelock
Donna Kurtz
Gregory Nagy
Walter F. Otto
Barry B. Powell
Tracey Rihll
Frank M. Snowden, Jr.
Martin Litchfield West
Networks[edit]
The Digital Classicist List, a mailing list.
Publications online[edit]
Bryn Mawr Classical Review publishes open-access, peer-reviewed reviews of current scholarly work in the field of classical studies (including archaeology).
List of Open Access Journals in Ancient Studies, over 1400 titles.
Encyclopedias and dictionaries
The Princeton Encyclopedia of Classical Sites, 1976. Hosted by the Perseus.
The Suda On Line, ed. David Whitehead. Maintained by the Stoa Consortium.
Demos: Classical Athenian Democracy, a digital encyclopedia, ed. Christopher W. Blackwell. A publication of The Stoa.
A Dictionary of Greek and Roman Antiquities, ed. William Smith, 1890. Hosted by the Perseus.
A Dictionary of Greek and Roman Biography and Mythology, ed. William Smith, c1873. Hosted by the Perseus.
Dictionary of Greek and Roman Geography, ed. William Smith, 1854. Hosted by the Perseus.
Harpers Dictionary of Classical Antiquities, ed. Harry Thurston Peck, 1898. Hosted by the Perseus.
Brill's New Pauly at BrillOnline (subscription access, previews only)
Publications by Harvard's Center for Hellenic Studies freely available online, (more).
Publications on antiquity at Monoskop Log.
Resources[edit]
The Digital Classicist Wiki, a hub for scholars and students interested in the application of humanities computing to research in the ancient and Byzantine worlds. Hosted by the Department of Digital Humanities at King's College London, and the Stoa Consortium, University of Kentucky.
Projects applying computing technologies to Classical/Ancient Historical research, listed on the Digital Classicist Wiki.
The Stoa Consortium, news, projects and links for digital classicists.
Diotima: Materials for the Study of Women and Gender in the Ancient World, ed. Ross Scaife, maintained by The Stoa.
AWOL: The Ancient World Online, a blog maintained by Charles E. Jones, Tombros Librarian for Classics and Humanities at the Pattee Library, Penn State University.
Basic lexical, grammatical, and encyclopedic tools of the philological trade, selected by William A. Johnson.
Diogenes, a tool for searching and browsing the databases of ancient texts, primarily in Latin and Greek, that are published by the Thesaurus Linguae Graecae (TLG) and the Packard Humanities Institute (PHI).
GapVis, an interface for exploring and reading texts that reference ancient places. It includes maps and data visualizations that show what locations are referred to a different points in the historical books such as The Histories of Herodotus or The History of the Peloponnesian War of Thucydides. Research blog.
Pelagios, an initiative introducing Linked Open Data into online resources that refer to places in the historic past. Run by Leif Isaksen, Elton Barker, and Rainer Simon. Map.
Fields and theories: Classics, Art history, History of architecture, Anthropology, Semiotics, Philosophy of technology, Marxist aesthetics, Design research, Humanities computing, Structuralism, Poststructuralism, Mediology, Media archaeology, Cyberfeminism, Cultural techniques, Neuroaesthetics, Posthumanities, Sensory ethnography, Media ecology, Digital humanities, Software studies, Modern periodical studies, Accelerationism.
Concepts: Faktura, Ostranenie, Biomechanics, Commons, Postmedia, Evil media.
Related theories: Systems theory, Information theory, Cybernetics.
Writers.
Retrieved from "https://monoskop.org/index.php?title=Classics&oldid=69944"


text:
Michel Etchegorria dit Michel le Basque est un flibustier labourdin, pirate français originaire du Royaume de Navarre au Sud-Ouest de la France, et compagnon de François L'Olonnais.

Biographie

Michel Etchegorria de Saint-Jean-de-Luz est d'abord boucanier, il chasse bœufs et cochons sauvages de l'île de la Tortue (Saint-Domingue) ou des îles voisines pour préparer et conserver la viande en la fumant (boucaner) afin de la vendre aux corsaires, pirates et premiers colons.

À la mort de Tomás de Larraspuru (1632), la puissance navale hollandaise dépasse alors celle des Espagnols dans les Caraïbes, le champ est libre aux Antilles. En 1666 à Portobelo, Il s'empare d'un galion de l'escadre de la Tierra Firme et d'un joli butin, un million de piastres. Le flibustier Michel le Basque s'associe alors au corsaire "L'Olonnais" (François d'Olonne ou  Jean David Nau des Sables d'Olonne  ou encore Nau I'Olonnais), qui s'était emparé de six bateaux légers et d'une frégate pourvus d'équipages. Le Basque, de son côté, apportait la troupe pour le combat terrestre.

À la fin du , les guerres menées de Louis XIV voit l'apogée de la Course basque, qui même modeste, contribue à l'essor et à la prospérité économique de la région. La guerre de Course est à distinguer de la piraterie : les corsaires basques comme les corsaires des autres royaumes européens du  sont régis par un certain nombre de règles en tant qu'auxiliaires de guerre mandatés par un roi.

Après la prise de Maracaibo, Michel le Basque poursuit quelques années la Course. Michel le Basque et Junqua de Bayonne avec deux petits navires prirent l'abordage de plus gros vaisseaux espagnols, remercièrent le gouverneur de Carthagène de les avoir ainsi dotés de bons navires et de leur intention de poursuivre. A nouveau en 1667, Michel le Basque renouvelle avec seulement quarante hommes, l'attaque de Maracaïbo et prend les plus riches habitants comme otages contre rançon.

Il serait ensuite rentré au Pays basque. Légendes et romans ont popularisé les aventures de Michel Etchegorria, commandant en chef des forces de terre d'une armée de presque un millier de combattants, resté célèbre pour sa bravoure et son endurance. Au même titre que Ducasse, Darribeau, Cépé et d'Elissagaray, il a été reçu et félicité par le roi Soleil.

La prise de Maracaibo
En 1666, Michel le Basque et l'Olonnois entreprennent la première grande expédition de flibustiers sur le continent sud-américain. Les deux hommes réunissent pour cette campagne huit voiliers et un corps de débarquement de 650 hommes sous leurs ordres. Sur le chemin de Maracaïbo (Venezuela actuel), objectif de leur raid, ils s'emparent de quelques bonnes prises, dont un grand voilier espagnol chargé de cacao et de 300 000 talers d'argent. François L'Olonnais décida de le garder et de le renommer: La Cacaoyère.

Maracaibo, située à l'extrémité du lac du même nom, est reliée à la mer par un étroit chenal défendu par un fort. L'Olonnois et le Basque débarquent leurs troupes hors de portée des canons du fort et le prennent d'assaut. Puis, ils font route dans le chenal et attaquent la ville, qui comptait alors 4 000 habitants, et qui se défend âprement. Alors qu'ils sont encore occupés à piller, les flibustiers apprennent qu'un détachement espagnol a été envoyé en renfort. L'Olonnois marche à la rencontre de cette troupe avec 380 hommes, et les met en pièces non loin de la petite ville de  (Venezuela). Les Espagnols perdent 500 hommes, tandis que les flibustiers ne comptent que 40 morts et 30 blessés. L'Olonnois passe six semaines dans la ville de Gibraltar, qu'il met à sac, réunissant un riche butin. Mais une épidémie se déclare dans les rangs des pirates. Ils mettent alors la ville en feu et reviennent vers Maracaïbo, qu'ils pillent à nouveau, cette fois radicalement. Le butin des flibustiers s'élève à  pièces de huit (réaux) et environ  couronnes d'objets de culte et de bijoux.

Notes et références

Voir aussi

Bibliographie
 Dutertre Père Jean-Baptiste, 1667-1671 Histoire Generale Des Antilles Habitees Par Francois. Paris, Thomas Jolly, 3 vol.
 Alexandre-Olivier Exquemelin, 1678 - De Americaensche Zee Roovers, Amsterdam (Les aventuriers et les boucaniers d'Amérique. Ed. La Découvrance, réed. 2000)
 Lugat Caroline, 2002 - Les corsaires basques et  la guerre de Course classique (XVII). Zainak, 21 : 397-409
 Merrien Jean,  1996 - Corsaires et flibustiers. Ed. L'ancre de la marine, 349 pages

Articles connexes
 Colonisation française des Amériques
 Piraterie dans les Caraïbes
 Les lettres de marque
 Guerre de course
 Saint-Domingue (colonie française)
 Île de la Tortue
 Henry Morgan
 Étienne Pellot « Montvieux », le Renard basque (1765-1856),
 Johannès de Suhigaraychipi dit "Coursic" (?-1694),
 Lope de Aguirre

Liens externes
 Centre de la Mer côte basque & Fundacion Oceanografica de Guipuzkoa :  Histoire du corsaire Michel le basque

Pirate français
Corsaire français

redpajama_set_name: RedPajamaWikipedia


text:
El Miss Venezuela 2011 fue la quincuagésima octava (58°) edición del certamen Miss Venezuela. Se llevó a cabo el sábado 15 de octubre de 2011 en el Estudio 1 de Venevisión, ubicado en la ciudad de Caracas. 24 candidatas de diversos estados y regiones del país compitieron por el título. Al final del evento Vanessa Gonçalves, Miss Universo Venezuela 2010 de Miranda coronó a Irene Esser de Sucre como su sucesora, e Ivian Sarcos, de Amazonas, Miss Mundo Venezuela 2010 coronó a Gabriella Ferrari como su sucesora.

De igual forma, se asignaron títulos a Blanca Aljibes, de Guárico, como Miss Internacional Venezuela por parte de Jessica Barboza, y Osmariel Villalobos, de Yaracuy, como Miss Tierra Venezuela por parte de Caroline Medina.

El certamen estuvo conducido por el animador Leonardo Villalobos y la modelo Daniela Kosán. Fue transmitido en vivo y directo para toda Venezuela por Venevisión y Venevisión Plus, y al exterior por Ve Plus TV y Univisión; también fue transmitido en alta definición para todos los suscriptores de DirecTV. Estuvo producido por trigésimo segundo año consecutivo por el vicepresidente de variedades de Venevisión, Joaquín Riviera.

La presentación oficial a la prensa de las 24 candidatas del certamen fue el 3 de septiembre de 2011, conducido por Carolina Indriago. Mientras La Gala Interactiva el 17 de septiembre de 2011, conducido por Mariángel Ruiz y Winston Vallenilla.

Resultados

Premiaciones Especiales (Final)

Candidatas
En total fueron 24 las candidatas que compitieron en el certamen:

(En la tabla se utiliza su nombre completo, los sobrenombres van entrecomillados y los apellidos utilizados como nombre artístico, entre paréntesis; fuera de ella se utilizan sus nombres «artísticos» o simplificados)

Representaciones internacionales

 Ángela Ramírez (Cojedes) ganó el Miss Latinoamérica 2013 en Panamá.
 Irene Esser (Sucre) fue segunda finalista en el Miss Universo 2012 celebrado en Las Vegas, Nevada, Estados Unidos.
 Blanca Aljibes (Guárico) fue semifinalista (Top 15) en el Miss Internacional 2012 en Okinawa, Japón.
 Gabriella Ferrari (Distrito Capital) fue segunda finalista en el Reinado Internacional del Café 2012 en Manizales, Colombia. Luego asistió al Miss Mundo 2012, celebrado en China, sin lograr clasificación.
 Osmariel Villalobos (Yaracuy) fue segunda finalista en el Miss Tierra 2012 en Manila, Filipinas resultado Miss Tierra Agua.
 Diana Wood (Amazonas) participó en el Miss Tourism Queen International 2005 en Hangzhou, China, siendo semifinalista (Top 12).
 Carla Rodrigues (Lara) ganó el Miss Portugal 2018 y representó a dicho país en el Miss Mundo 2018. Sin figuración alguna.
Andrea Baptista (Portuguesa) fue semifinalista (Top 15) en el Miss Caraibes Hibiscus 2013.
Ivany Guzmán (Delta Amacuro) participó sin éxito en el Miss Model of the World 2013.

Referencias

Enlaces externos
 Sitio Oficial del Miss Venezuela

Venezuela en 2011
Concursos de belleza en 2011
Miss Venezuela por año


text:
Spite Sox? South Siders Reportedly Unwilling to Deal with Cubs
Evan AltmanNovember 29, 2016
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I almost chose not to write about this at all, but the dearth of other news involving the Cubs had me jonesing something awful. So when I saw the Buster Olney report that "The White Sox have told the Cubs they won't deal with them" re: a blockbuster Chris Sale deal, I felt compelled to hunt and peck my way to a cogent opinion on the matter.
Let's first address the massive amount of short-sighted recalcitrance here, which should vex every baseball fan and anger those of the Good Guys who wear black. I can understand the reluctance to trade Sale, as no one wants to part with a franchise cornerstone still very much in his prime. The Sox would be insane to let him go for anything short of a king's ransom, but they're equally insane for being unwilling to engage every kingdom to see who's willing to pay the most.
By openly refusing to deal with That Team Up North, one that they face only four times each year in that farce of a rivalry known as the BP Crosstown Cup, White Sox management is operating with a fan's mentality. And I'm talking about those who gathered at McNally's to root against the Cubs in the playoffs. Kenny Williams and Rick Hahn, probably with more than a little influence from Jerry Reinsdorf, are pouring the barbeque sauce into the crock pot hot tub to make it comfortable for all the meatballs.
Or are they?
A baseball exec's job is pretty simple: put together a winning ballclub. That's easier said than done, though, and you're often only as good as your last trade/signing/draft. One need look no further than Doubting Theo, a tumblr page that proves even the reigning Executive of the Year has had his share of detractors. But when you're on the other side of town and being compared to a man who's now won World Series titles in both Boston and Chicago, you might be wise to avoid dealing with him directly.
Any deal the Sox could possibly make involving Sale will be scrutinized ad infinitum. Now imagine them trading him to the Cubs and having him go on to win a title on the North Side. Even if the return was enough to rebuild a moribund farm system, the immediate and obvious talent gap between the two teams might well be enough to swallow Hahn and Williams whole.
Jon Greenberg's got a really nice piece on why the Sox and Cubs are wary of dealing with one another and why they'd still absolutely make a trade if it made sense for both sides. Of course, the stakes involved in a Chris Sale swap would be such that I can't imagine Theo Epstein and Jed Hoyer even entertaining the idea in the first place. Which is why the stated refusal to engage the Cubs in potential trade talks is at best dubious and at worst a bit of pandering to the fanbase.
But if the shoe was on the other foot, would Cubs fans want to see Javy Baez or Kyle Schwarber or Jake Arrieta change the color of their pinstripes from royal blue to black? The most pragmatic among you would say it depends on the return, and you'd be right. Well, inasmuch as we can be right or wrong on such matters. And while Epstein or Hoyer would likely never make known their lack of desire to deal with a particular team, I can very much believe that they're subject to the same emotions as the rest of us. They're generally not as bound by them when it comes to making personnel decisions, but that doesn't mean they're automatons.
Emotions aside, there's also the thought that the Sox would leverage by eliminating a team that will be very much in the market for starting pitching in the near future. But c'mon, are the Sox really going to hurting for suitors should they really get serious about trading their lanky lefty? Unless we're talking about a team that opts for uncomfortable throwbacks on the regular, I can't see many being like, "Nah, bro, we don't need a perennial Cy Young candidate."
Yeah, I think it's kinda silly that the Sox would openly admit to not wanting to deal with the Cubs. It's also kinda silly that I'd spend part of my afternoon writing about both how silly it is and how I also think it kinda makes sense. And now that I've chased my tail enough that I'm dizzy, I'll bid you adieu.
Before I take my leave of you, however, I'll ask you to weigh in on the topic below. Are the Sox crazy for ruling the Cubs out or is it a moot point since there's no way the Cubs would meet the asking price in the first place?
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K-ON! Volume 3 by kakifly
On 20th December 2018
In Comedy, Manga, Slice of Life
I was feeling in the mood for something quick and a bit cute before a few books that were likely to take a bit more time to complete, so I settled on K-ON! Volume 3. It was a good thing too, considering that I ended up heading home early from work feeling thoroughly ill and miserable.
K-ON! Volume 3 picks up from where the last volume left off, with the majority of the Pop Music Club's members finishing their second year and entering their final year of high school. With graduation looming, Yui, Mio, Ritsu and Mugi have to start considering where they want to go for university, while Azusa has to face the prospect of being the only remaining member come the start of the next school year.
As I haven't been feeling great today, it was nice to read something safe and predictable. If you've been following K-ON! so far, it's safe to say that you know how it goes now. There aren't quite as many jokes about eating cake instead of practising, but it's still more focused on the domestic than the music side of things. There's a sense of things starting to come to a close, as there's a lot of baton-passing shown, both inside and outside of the club. There's also a bit more focus on how it is run as a club, with more mentions of things like club budget and requests for things like air conditioning.
The characters are still great, and this volume the reader gets to see a bit more of some of Azusa's classmates. Ui's already been introduced in an earlier volume as Yui's doting and hyper-competent younger sister. A new addition to the cast is Jun, who really admires the club whilst they're on-stage, but can't bring herself to join as she thinks that they're a bit lazy and embarrassing day-to-day.
If you like the previous two volumes of K-ON!, it's a pretty safe bet that you'll like the third. A bit more of a focus on the actual school side of things, and more of a spotlight on characters that are likely to join the club once the older members leave for university. 4/5
Next review: Under Ordshaw by Phil Williams
Banebringer by Carol A. Park
Under Ordshaw by Phil Williams


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Sourav Ganguly suffers mild cardiac arrest; WB CM Mamata Banerjee wishes him speedy recovery
2 January 2021, 9:59 am
BCCI president and former India captain Sourav Ganguly was admitted to the emergency ward of a private hospital in Kolkata as he reportedly suffered a mild cardiac arrest. He complained of chest pain, following a workout session on Friday evening, after which he was taken to the hospital. He underwent angioplasty and his condition was reported as stable and out of danger but needs to undergo several tests. West Bengal Chief Minister Mamata Banerjee wished a speedy and full recovery to Ganguly and sent prayers to his family. Watch the full video to see find out more about this story with Times Now.


Perhaps we shall see the continued spread of the International Baccalaureate. The organisation is steadily winning the trust of students, teacher and universities. Its syllabuses, and the means by which students are examined, are settled between schools and the board, changes are permitted only at five year intervals, and there is not a politician in sight.


Long-time readers will know how much of a fan I am of Loro Piana. In particular, of their marked commitment to quality compared to other designers – even if that comes with the same big-brand prices. I've worn their blousons, gilets and made-to-measure knitwear (an old piece in The Rake) for many years.
However, I had only met the brothers Pier-Luigi and Sergio Loro Piana (the latter now sadly deceased) a couple of times, and that fleetingly. So when Pier-Luigi expressed an interest in getting a copy of my book, The Finest Menswear in the World, I took the chance for a fuller interview.
Loro Piana are of course featured in The Finest Menswear for their knitwear, and it was nice that Pier-Luigi remembered our factory visit for the Loro Piana chapter, despite being almost four years ago.
He was typically affable as we talked, only turning serious when discussing points of quality or cloth. He clearly has firm views on both things and the direction Loro Piana needs to go in this respect, although interestingly his personal items weren't the most luxurious – prized for their fit or sentimental value rather than quality.
Permanent Style: In The Finest Menswear we talk about quality in some detail – what creates it, what doesn't. Do you think people today more interested in this level of detail when it comes to quality?
Pier-Luigi: Yes, absolutely, we see this a lot at Loro Piana. There is a new generation of customers that will ask continuous questions about what they are buying. They care about quality and about provenance, particularly when they are spending more than they would otherwise. Also about sustainability, interestingly.
How much they care also depends on the brand though. If the brand is clearly about quality, then they will ask about it. If it's more about fashion and the look, they won't. Women shop far more in this way – if something looks great on them, they will buy it. They're less interested in the quality side.
Have you seen this trend in your children too?
Yes, although it's been happening for a while. I remember my kids used to be happy with Nike trainers. That's all they wanted and all they'd ask for – which is fine, they're comfortable and they're not expensive.
But then one day my boy Franco said to me, 'Papi, what do you think about Church's?' That took me by surprise – that he wanted to dress more like my generation. Although it was a disaster from a budget point of view – they're six or seven times more expensive than Nike!
Where do you have your shoes made?
I like Loro Piana shoes of course – they're great for travel. But for dress shoes I used to use Stivaleria Savoia. Then he stopped taking orders, and I went for a couple of years without a shoemaker. It's awful, a bit like losing your dentist! Hopefully he will start making again.
In the meantime I have used Riccardo Freccia Bestetti. The ones I'm wearing today are an old try-on pair he made for me. It's just waste leather but they're very comfortable. I have rather difficult feet, very wide, so they really need to be made.
What tailor do you use?
I use the tailor that makes custom suits at the Loro Piana store in Milan. He might take care of me particularly, I couldn't say! But it's a great service.
Have you ever looked at expanding Loro Piana's tailoring into full bespoke? Berluti are obviously expanding the reach of luxury brands in this respect, using the old Arnys workshop.
We were looking at it before the acquisition by LVMH, and it's something we'd still like to do if we could.
But I also like our custom approach to suiting. There is a lot of handwork, and we deliberately don't sell many ready-made suits in the shops. Our suiting is all about cloth, and we want customers to take the time to really get into cloth, to understand it and pick out something that is right for them.
Also, we have a strong style in our tailoring. If you offer bespoke, it is often more about making anything the customer wants, in any shape and any style. We want people to buy into our style, and if they like it they can have a suit made in it. We don't want to waver from that.
What other clothing do you cherish? Your briefcase looks well-worn, for example.
It's very old, a gift from my father 40 years ago. He had the same one and gave this to me when I was 24, back in 1975.
Were you into classic style back then?
Yes, but then we all were. There wasn't much variation. We were more used to ties, to blazers. It didn't change so much.
My style today is probably a little old-fashioned, although the nice thing is tailoring is pretty consistent. I like your suit, it's a little sharper and more contemporary [I was wearing my grey Camps de Luca] but it's just about small changes – an inch in the trouser, half an inch in the lapel. If you look back at the 1930s and 1940s, the lapel was wider and the notch lower, but not by much.
Some of the pieces in the current Loro Piana collection seem to be cut a little slimmer, which is great for me and I'd guess for other younger guys. How deliberate was that?
It was certainly something we wanted to do, but more to cater to the changing sizes of our customers. Most 40-50 year olds are much healthier than they used to be, for example, and are slimmer as a result. It's about wellness rather than youth.
We've always tried to know our customer well, and then cater to him. I always think that a Loro Piana customer could probably wear 80% of the things in our shop. They would all be to his taste; it's a consistent look and style.
Do you like the way clothes age?
Absolutely. People come up to me and show me a Loro Piana suit and say, 'Look, it's 30 years old!' I say 'So what?' That's how things should be, that's how clothes should last. It would be an insult if you threw out a Loro Piana piece after 10 years, unless your body changed shape a lot.
Suits don't always age that well – or don't look better with age. But a sports jacket can, it can become a little distressed in the fabric and the fit, and there is a chicness to that. A little like jeans.
Yes – I used to wear Levi Strauss all the time when I was younger. Those great heavy denims that stood up on their own.
Levi's now does a bespoke service in London and the US.
Really? That's interesting. I don't wear my Levi's any more, but we do some nice jeans and I find the material fascinating. Cotton is a wonderful fibre, and denim pushes it to its limit.
I did a great trip a few years ago to California, seeing organic cottons we were going to work with, and travelled to Japan looking at the natural indigo dyes.
In fact, the reason I went to Japan was a famous Kimono maker wanted to buy some of our lotus flower cloth to weave into a kimono design. It was beautiful, the way she worked it in on an old hand-operated loom.
Finally, what do you think is the biggest misunderstanding about Loro Piana?
I dislike the word luxury. The word has been so misused over the years, and of course it's all relative. Our clothes are just about quality – quality which creates value. We make a product with a high value – obviously it's something very few people can afford, but it's quality we're striving for.
People always make mistakes – a button can come off in the making. But the important thing is what you are aiming at, and I think customers need to be able to understand that. Most will pick up two cashmere sweaters, one five times as expensive as the other, and have no idea why there is that difference. We have to help – as do you, in your writing.
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This is an interesting interview! One might say that the main issue you both have raised is about quality in menswear. But since nowadays neither price tags nor – even – label are necessarily a sound token of quality, so makers as well as buyers are equally challenged as to what makes up quality or how it could be recognizable at once. Admittedly, this is one that mostly arises when it comes to RTW, whether it's about jackets, shoes or any other item.
Therefore a tremendous effort is really needed to take up this challenge since bespoke will remain reserved to only few.
The quality of their cashmere is off the Richter scale and their colour palette is very refined but it is all eye wateringly expensive.
I restrict my LP purchases to absolute staples (mainly v neck sweaters) but they wear like nothing else. I bought a grey sweater ten years ago and it hasn't got a bobble on it.
Their out wear with their storm system is also very special. I've a versatile travel jacket that breaths like nothing else whilst being the most waterproof item in my wardrobe.
How they'll do under LVMH ownership will be interesting to see. Their indiscriminate brand expansion normally knows no boundaries – Berlutti into menswear – being a classic example.
Simon, I too share this concern about the quality an craftsmanship of Loro Piana long term as a result of LVMH ownership. Would you please address this question in more detail? Have you discussed this concern,if it is a concern,with Mr. Piana?
Interesting interview. I still have to try their cashmere, but at the moment I tend to buy cheaper alternatives. I have tried Eric Bompard and the result has been quite good. Let's see how it ages.
Given the fewer comments to this article I fear many may have overlooked the real treasure of knowledge in this piece .
In that paragraph alone he's summed up the dilemma many men face as well as the craziness of women's fashion.
That's why we come to this blog, to understand what brands are about quality.
Great interview to round off the year. Maintaining a consistently high level of quality, information and entertainment across a broad range of subject matter must be tiring – so I hope you enjoy a well deserved break over the holiday season. It was great to meet you in person this year – all the best for 2016.
How does the quality of Loro Piana compare to Smedley? I have five or six of the Smedley Orton range (silk/cashmere), at around £400 a go, and I was wondering whether it is worth "upgrading" to Loro Piana.
Simon, are you familiar with their London shops? If so, which has the broadest range, if one wants to peruse their items on of these days. Merry Christmas!
I thought their custom suit offering was full bespoke but that doesn't appear to be the case. Is it MTM or MTM with more hand finishing? I'm a bit puzzled.
Lovely post. I haven't tried their MTM sweaters yet but I have come close (I think) with MTM from Paul Stuart in NYC. They use LP cashmere and have their sweaters made in Scotland as you probably know. I've been very happy so far.
I would rate cashmere from William Lockie the equal of anything I have seen, and there is no price premium to be paid for a "name".
Hi Simon, Interested to see that you have added a link to Howard's in Paris to the site, which by coincidence is offering seven-fold ties made from various LP fabrics. What, if any, is your experience with Howard's? I can't tell if these are "true" seven-folds but their tie quality/construction looks broadly similar to Viola Milano or Shibumi.
His statement rings true, there are few times I can, or want to, afford LP clothing. But every time I spot a an LP store I am drawn to inspect the wares, if only to appreciate the quality. Icer coats and Storm systems jackets are on my wish list. Most of my trepidation in pulling the trigger on an item, is based in my lack of confidence in any dry cleaners I have EVER entered that would not destroy the item when I need it cleaned.
i generally like your site, however I truly wonder what specific kind of "fabrics research" warrants to charge €6200,- for a simple cardigan ("Bomber Classic"). After all a ready to wear, non-fitted, very simply garment — for which Loro Piana charges more that an excellent, fully bespoke suit would cost.
Correct me, but this price point appears ludicrous to me and I associate it with a gaudy, ostentatious and very forced display of wealth. Fair or not, this reminds me a lot of Vertu.
Is that the one in vicuna? That's a big part of your answer – the material is so rare and expensive that it is charged at astronomical rates.
I won't defend LP margins generally, but they're no more than any other big designer brand, and the quality is always better. Just as much profit, but money spent on fabrics rather than creative directors.
great interview. I do agree with his point that they don't make bespoke because you are buying their look. This is the same with Tom Ford, I remember reading an article of yours a while back explaining that Tom Ford do not do bespoke because you are buying the Tom Ford "look" which will be lost in bespoke.
Much better value to by LP cloth and have it made up elsewhere I assume?
I am considering the purchase of a trench to be worn on rainy days over a suit. Loro Piana will be one of my options. Could you please recommend me other places? What about Hermes?
I'm pondering a pair of Loro Piana Open Walks or possibly summer walks. I've tried them on and they're crazy comfortable. Looks aside, as I know they aren't for everyone, do you have any personal or second hand experience of their quality? They're not cheap as you know, and compared to a pair of proper welted shoes, I'm concerned about longevity.
This was such an amazing opportunity and wonderful interview! Thank you for this post. These designers and their appreciation for beauty in both quality textiles and craftsmanship is slowly disappearing… from my observation, there is an emergence of contemporary randomness in the fashion world. Loro Piana has kept true to their Italian heritage (their textiles are beyond words, especially the Zibeline!) and I am glad to see that, especially in Europe. MaxMara, Brunello Cucinelli, Kiton, Isaia Napoli to name a few have stayed true to quality and aesthetic.
You dress beautifully Simon! Best wishes. Suzanna. Xo.


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Georgia Tech vs. Clemson Postgame Notes
Recap?|? Final Stats?|? Quotes?|? Photo Gallery
GEORGIA TECH POST-GAME NOTES Georgia Tech vs. Clemson – September 20, 2003 – Bobby Dodd Stadium/Grant Field
With his career highs of nine catches for 170 yards, Tech senior wide receiver Jonathan Smith moved into fifth place on the Jackets all-time career-receptions list with 118 catches. He also is now in 10th place for career receiving yardage with 1,455 yards.
Smith's 170 receiving yards in the game are the most since Will Glover finished with 172 yards against Virginia in 2001. The total is the 13th-highest single-game total in school history.
Yellow Jacket sophomore cornerback Reuben Houston recorded a career-best 10 tackles against Clemson, raising his season total to 28 in 2003, just five stops shy of his total of 33 as a rookie in 2002.
Tech sophomore defensive end Eric Henderson recorded a pair of sacks to raise his team-leading total to six on year, moving him into 13th on the school's all-time career sack list with 11.
Georgia Tech's 39-3 loss to Clemson marked the largest margin of defeat for the Yellow Jackets against the Tigers since a 73-0 loss during the 1903 season. The scoring margin in the game was the largest for either team in the series since a 51-0 win by the Yellow Jackets in 1944.
Clemson became the first team to gain over 100 yards rushing against Georgia Tech in 2003, gaining 138 yards on the ground in the contest. The Jackets led the ACC in rushing defense entering the game, allowing 72.3 yards per game through the first three contests of the year.
CLEMSON POST-GAME NOTES
Tremaine Billie saw his first action of his career- Billie was in on Clemson's punt team.
John Leake had three tackles for loss in the first eleven minutes of the game. His previous career high tackles for loss was two in four contests.
Tony Elliott's nine yard touchdown reception is the second of his career. Both have come against Georgia Tech. Elliott had five receptions for 31 yards. His previous career high of three catches came against Georgia Tech.
Clemson's 23-3 halftime lead is the largest halftime advantage since the Tigers held a 31-10 lead against Duke on December 1, 2001.
Duane Coleman's touchdown run of 25 yards in the fourth quarter is the longest rush by a Clemson running back this season.
Clemson rushed for 138 yards. This the most yards given up by Georgia Tech's defense this season. The previous high was 91 yards against Florida State.
This is Clemson's largest margin of victory over Georgia Tech since 1903 when the John Heisman coached Clemson team defeated the Yellow Jackets 73-0.
Duane Coleman's 86 yards rushing is the most yards by a Clemson running back this year.
January 10, 2021 VIDEO/PHOTOS: Mid-Year Move-In Day
#Megatron21 arrives on The Flats
VIDEO/PHOTOS: Mid-Year Move-In Day
January 9, 2021 VIDEO: Behind The Scenes - Ray Guy Award
An exclusive look at Georgia Tech's Pressley Harvin III receiving the 2020 Ray Guy Award
VIDEO: Behind The Scenes - Ray Guy Award


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Home » M&M'S celebrates 75th birthday bash
M&M'S celebrates 75th birthday bash
To celebrate the brand's 75th anniversary, M&M'S is bringing the celebration to their fans – all year long.
"For 75 years, our fans have made M&M'S the iconic and beloved chocolate brand it is today," said Berta de Pablos-Barbier, vice president of marketing for Mars Chocolate North America. "We aren't satisfied with solely looking back on our history as America's favorite chocolate candies. We are looking to the next 75 years of innovation and transformation to engage, entice and excite consumers of today and tomorrow."
From weddings to birthdays and all occasions in between, M&M'S fans already celebrate with the brand every day. However, in 2016, M&M'S is taking the celebration up a notch with the launch of the largest marketing campaign in the brand's history: "Celebrate with M." The campaign will feature star-studded events, product innovation, iconic collaborations and unexpected partnerships that will cement the brand's place in pop culture history.
National Honey Board and Project Apis m. merging research efforts
The Popcorn Factory celebrates Chicago's birthday
Oregon bakery celebrates 90th birthday
Krispy Kreme celebrates a big birthday
Cinnabon to celebrate 30th birthday in style


Both McCain and Obama are now calling for an increase in the deposit insurance cap, from $100,000 to $250,000. Their stated goal is to rebuild confidence among the public and small businesses. But how? Unless you have more than $100,000 in an FDIC-insured account, this means nothing to you (and if you do, why?). And it certainly means nothing to the banks and credit markets. Moreover, while the FDIC has been an important part of the federal response to bank collapses in recent weeks, that role has been to ease the purchase of one bank by another. And since a raise in the cap won't make credit any easier to get, it will mean little to the small businesses that, in coming weeks, will struggle to get the short-term loans necessary to meet payroll and other expenses. It also won't mean much to the people who are facing lower limits on credit cards, or who are reassessing that new car or even their children's college prospects. If this is a political stunt, it's an odd one.


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KUALA LUMPUR, October 2018 - Tiger Beer, Malaysia's No. 1 Beer, kickstarted its Uncage campaign earlier this month with the launch of its brand film featuring three Malaysian uncaged heroes. Im Cheah, Herukh Jethwani and Jun Chan shared their experiences of challenging street food conventions and the ways they overcame their fear to follow their dreams. Tiger Beer wanted to give media a sneak peek of what these uncaged heroes have in store for the upcoming Uncage Street Food Festival later this year and hosted an intimate get-together for guests to meet the inspiring Malaysian chefs.
Members of the media were treated to specially curated dishes over a couple of ice-cold Tiger beers at the exclusive preview. Im, Herukh and Jun prepared two exclusive dishes each for the event and shared their experiences on how they overcame societal pressures to pursue their dreams and find their tiger within. Im, a full-time 'baconist' prepared her famous bacon and sambal ikan bilis popcorn, as well as a pork bacon and gula Melaka (palm sugar) popcorn variation, and a dessert dish 'Going Bananas Over Bacon' that incorporates bacon ice cream and pisang goreng (banana fritters) topped with sticky-sweet rum gula Melaka caramel. Herukh, an adventurous chef who refuses to play it safe, prepared an innovative mini tandoori pork ribs tacos sautéed in crispy prawn chilli, garlic and curry leaves dish, and his famous Siew Yoke Briyani, for guests to enjoy. Jun, a chef with a passion for soul food prepared his exclusive ramen burger with Tiger Beer cheddar cheese sauce, and a dish called 'Main Bola', made from egg plant, minced brisket meatball, sweet potato gravy with a local touch of belacan sofrito, ayam kampong egg and salted egg crumble.
While helping themselves to the one-of-a-kind local delicacies prepared by the chefs, members of the media had the opportunity to mingle with the uncaged heroes and learn more about how they challenged street food conventions, as well as hear from Jun's parents on their experience. Tiger Beer then revealed the exciting surprise by announcing the dates for its Uncage Street Food Festival, which will be held on 1st and 2nd December.
Fans will be able to enjoy the signature dishes by these uncaged heroes alongside a variety of street food delicacies by other local vendors such as myBurgerLab, The Porki Society, Ticklish Ribs & 'Wiches, Pho King and Makirito, under one roof. Foodies are in for a treat, and can be part of this unique experience as these chefs challenge local street food conventions with their one-of-a-kind delicacies.
"Food plays such an important role in our everyday lives as Malaysians, especially street food. As the Uncage platform is about uncaging your passion, we wanted to share with Tiger Beer fans not only the stories of our heroes, but their creations. These innovative dishes are the end product of challenging culinary conventions of street food and following their dreams, and we hope that this will inspire Malaysians to awaken their courage through our platform," said Pearly Lim, Marketing Manager of Tiger Beer Malaysia.
Through its Uncage campaign, the local brewer is addressing an important question, that is, 'why are Malaysians so afraid to follow their dreams?' With this at the core of the campaign, Tiger Beer hopes to inspire fans to follow their dreams, even if that means defying societal expectations. Courageous fans that wish to join in on the fun can do so through the online 'Find Your Tiger' quiz to discover which of the six tiger personalities they fit. Tiger Beer fans and foodies alike who want to be part of this Uncage campaign can also be on the look out for more information on Tiger Beer's official platforms for more delicious updates on the upcoming Uncage Street Food Festival.
For more information on the Tiger Uncage campaign and to watch the campaign video, visit www.facebook.com/tigerbeermy, or www.tigerbeer.com.my. Fans who wish to participate in the 'Find Your Tiger' online quiz, can visit https://bit.ly/2pL43Ug to get their personalised gift, which can be redeemed at the upcoming Uncage Street Food Festival in December. If you would like to see more pictures from the event, you can see them here and here.
Street Food Tiger Tiger Beer Tiger Uncage


Are Your eCommerce Product Descriptions Working For You?
As we previously discussed a few weeks back, if you're looking to bring visitors (and by extension, customers) to your site, then you'll need to revolutionise the way that you think about content.
If you want your description to convert into a sale, then you need to really persuade a reader. Like any standard salesman would tell you, that means knowing your products inside out. There's no point describing the greatness of product if you don't know about it yourself, so find out before you write your descriptions.
What's more, it's the littlest things that can make a product stand out to a reader. You may not think it's necessary to include every last detail, but that's what customers are looking for – leaving out a key detail could prevent a sale.
Quite a lot of the time, the first thing a customer will know about your product will be on search engines. So ensure each product has an original, inviting title and a meta description that will engage them and persuade them to click through from Google.
If you run a successful business, you'll have a good idea of how your customers behave and what they like. So you have to write for their benefit. For instance, if you typically welcome a younger customer, they may feel more engaged with a touch of humour in your web copy and a laid-back feel. But if you're selling products for thousands of pounds each, your customers won't appreciate a casual tone.
Understanding your customers will also inform whether you use strong, persuasive language to sell to them, or adopt more of a laid back approach that seeks to educate and empower them.
When you're working on an eCommerce site, it can be tempting to talk using industry buzz-phrases and terms that your customers may not actually be comfortable with. So try to keep things as simple as possible on your descriptions and explain everything in layman's terms – as if you were describing your product to a gaggle of schoolchildren.
It's not a product description per se, but if you've not accompanied your scorching hot copy with some pictures and videos of the thing you're trying to sell, you're not going to get very far. Remember, people process information in different ways: some will learn about the product by watching a video about it; some will look at pictures of it and others will read about it. Ignoring a specific type of person will limit the amount you sell.
A well-written product description hints at a quality product that a customer would need in their life. But a series of well-written product descriptions demonstrates something slightly bigger: a strong website that takes the online experience of its customers seriously. So write cohesively and maintain your brand's reputation throughout the copy.
Recent Google updates have continued the search engine's war on 'spammy' sites with unoriginal content. So if you have a number of different web pages with identical content on them, you will be penalised. And writing personalised, interesting product descriptions won't just engage your visitors, they'll ensure you're looking good in the eyes of the search engines too.
There's nothing quite so off-putting as a typo or a spelling mistake. Once you've written your interesting descriptions, get a second pair of eyes to proof your product descriptions and ensure there are no glaring errors that could annoy or deter a visitor.
Once your descriptions have been written, that's not the end of it – not by a long shot. Tools such as Google Analytics can help you to see which descriptions are working better than others and how you can improve your practices.
For instance, if you're seeing a lower bounce rate on pages with in-depth photography, then it's worth investing in more pictures of your products pictures. Likewise, if pages with less copy and more concise sentences are converting better, then you should look at making your descriptions more succinct with plenty of bullet points.
So, how do you deal with product descriptions? Are they given the importance they deserve in your business? Have you found a particularly successful way of writing your descriptions? Let us know.


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