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An expanded version of the book at the origin of the Orpea scandal appears this Wednesday
Through Le Figaro
28 minutes ago , Update just now
Journalist Victor Castanet received the Albert Londres Prize for his investigative book The Gravediggers. JOEL SAGET / AFP
The author of the investigation, Victor Castanet, returns in these additional pages to the scabrous backstage of the publication of his investigation and attacks by name political and media personalities.
His investigation had the effect of a bomb in the public debate. In 38 chapters and nearly 400 pages, The Gravediggers by Victor Castanet documented with surgical precision the odious practices of Ehpad Orpea. In summary, abuse and cigarette butting. A year later, to the day, the journalist who has since received the Albert London prize is publishing an expanded version of his book on Wednesday. Ten additional chapters to tell the scabrous backstage of the publication of his investigation.
Victor Castanet first goes back to the petty shenanigans of which he was the object. He had already told of the gag of 15 million euros offered – in vain – by Orpea before the publication of the book. The journalist informs this time about "the strange underground chess game" which was played out to counter his investigation, with great support from economic intelligence companies, communication agencies, and even political support.
Read alsoOrpea, a giant struck down by a journalistic investigation
Victor Castanet specifically denounces the practices of Jean-Louis Borloo or even Cyril Hanouna. The latter organized a survey shortly after the publication of the book live from his show on D8: is it "baseless accusations", he asks the viewers, who respond positively to more than 70%. The augmented version of the survey tells how this survey would have been rigged on the initiative of Orpea and with the help of experts in digital reputation, according to the author of the book. As for the former minister, he would have given advice to Sophie Boissard, director of Korian and former collaborator of Jean-Louis Borloo, including not to answer the journalist's questions. The interested party denies.
HAVEALSO – Abuse in Ehpad: "We are going to do everything we can to ensure that it does not happen", commits the director of Orpea
Severely judged controls
Leaving the economic field, Victor Castanet also writes on the political consequences caused by his investigation. In the midst of the presidential campaign, Emmanuel Macron and his teams are worried, according to him, about the weakness of the outgoing president's record in terms of old age, in particular the law on dependency promised at the start of the first five-year term and buried in the meantime. As proof, according to Victor Castanet, the redoubled efforts of the president's entourage to prevent the opening of a parliamentary inquiry into Orpea. As for the controls of the General Inspectorate of Social Affairs (Igas) in Ehpad Orpea, carried out by the executive, they are very severely judged by the author.
the new CEO of Orpea Laurent Guillot reacted Wednesday morning on France Info to this new warning shot from journalist Victor Castanet. The new revelations are aimed, according to him, "the practices of former leaders" and "relate to the past". "Me, I'm here to take care of the future and the present", he said, after recalling that 30 senior executives were dismissed after the publication of the investigation to make a clean sweep of bad practices. "We have changed a lot in the last few months", hammered the new CEO of Orpea.
Tags: appears, bedroom 40, big bosses, book, business creation, companies, competition, consumption, Crisis, Economic news, economy, entrepreneur, expanded, job, layoffs, monopoly, multinationals, origin, ORPEA, privatization, relocations, Scandal, stock Exchange, taxes, united, version, Wednesday
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SYNONYM

#### According to
GRIN Taxonomy for Plants

#### Published in
Revis. gen. pl. 1:196. 1891 "<I>heterocarpa</I>"

#### Original name
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### Remarks
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redpajama_set_name: RedPajamaGithub


We have a mission. A mission to break down the stigma associated with reduced functionality through a strong design concept. We want to help everyone maintain an active lifestyle – and look great while doing it. We do this through a novel approach where functionality and aesthetics go hand in hand to form a mobility design that is motivating and innovative. Mobility is at the core of modern life and according to us mobility products should be a tool to keep people moving – in style, of course. Our biggest influence is the long Scandinavian design tradition – and we design, engineer and handcraft all our products right here in the heart of Scandinavia: Denmark.
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In our opinion it is the combination of functionality and aesthetics that make for an excellent design concept – and we really believe that we have made designs where these two go hand in hand. When functionality and aesthetics are combined we are able to produce mobility designs that are motivating and stylish. We never compromise functionality over design and vice versa – because what difference would a mobility design be, if it wasn't functional?
All our designs are designed, engineered and hand built in the heart of Scandinavia: Denmark. We have a dedicated team of people who handbuild all the rollators piece by piece. They have a very varied taste in music, but their sense of quality and craftmanship is a something they all have in common.
We find our inspiration for our design concept everywhere. Whether it is in fast moving animals, sports car and bicycle design like with the Carbon Ultralight, or in Scandinavian furniture design, as with the Scandinavian Home Range. Our inspiration originates from a late afternoon in front of a dance studio. Two rollators where standing outside, and our minds started wondering about the owners of the rollators. Limitied by their mobility, but still being mobile by dancing and enjoying life.
The Scandinavian Home Range – consisting of the Butler, Gardener and Mist rollators have won the iF Design Award and Danish Design Award. Two awards that we are extremely proud of. The awards were given for the functional design and harmonious expression – and for the rollators ability to blend into the home without introducing an institutional feel. The awards prove to us, that mobility design with a strong design concept, that do more than just solve a problem is the way forward. Mobility design should be motivating, stylish and fit the modern life we live today.
Furthermore, the Carbon Ultralight came in second place as 'Product Innovation of the Year' at Expolife International in 2017. The judges especially appreciated the shock-absorbing wheels and the handles that secure a comfortable ride even on uneven ground.


text:
Home/Review/Eating Myself -Applecart Arts
FeaturedLive StreamOnlineReview
Eating Myself -Applecart Arts
Reviewer: Helen Tope
Writer: Pepa Duarte
Director: Sergio Maggiolo
Part-polemic and part-confessional, Eating Myself explores the fractious relationship women have with food. This is a one-woman show, but actor and physical performer Pepa Duarte fills the stage with character. Re-telling incidents from her own life and going back further into her family history, Peruvian-born Duarte reframes the issue of food, women and dieting against her heritage and background.
Raised by her mother and grandmother, Duarte relates the differing attitudes the generations had to feeding a family. Her grandmother, strongly connected to Peruvian tastes, adds flavouring to her daughter's bland but well-meaning vegetarian meals. Finding herself pregnant with Pepa aged 42, her mum's doctor recommends a vegetarian diet, to promote health and longevity. This, says Duarte, is before vegetarianism got hip.
Duarte tells us the story of her childhood as she prepares, live on stage, a soup that is her grandmother's recipe. Slivers of bacon and a Peruvian spice mix are slipped into the pot. The calm, sensory experience of preparing food is sharply contrasted with Duarte's move into her teenage years. Convinced she needs to diet, Duarte lurches from one crazy regime to another. The breathless way in which she calorie counts – the perception of control Duarte has over herself as well as the food – is all too recognisable to anyone who has experienced disordered eating.
Eating Myself spares the diet industry no punches. On the back wall of the stage, low-fat cookbooks hang suspended in mid-air, along with kitchen equipment and utensils, as much of the eating experience as a whisk or a colander. Duarte leans into the debate on fat vs capitalism, as her teenage self parts with cash for weight-loss remedies. In exploiting people's unhappiness about their bodies, there is always a profit to be made.
Duarte's relationship with food, as she moves about the stage, becomes ever more complex as she weaves in narratives from her friends and family. These intrusive thoughts – being thin, being fat, being a woman, being Peruvian – coalesce until Duarte can't see straight. Going beyond the political and the cultural, Eating Myself shifts into territory that is clearly uncomfortable for Duarte, but this is all part of the process.
Filmed just before lockdown, Eating Myself, told within a tiny space, will have you yearning for the real-life experience – up close and intensely personal – that only independent theatre can deliver. This show, which sees Duarte build a beautifully intimate relationship with her audience, can only work on such a stage: the sense of scale Duarte brings to the story is created in our imagination. This is as much collaboration as performance.
As Duarte begins to make the connection between food, family, image and reality, Eating Myself comes full circle as we are presented with a cooking pot of homemade soup. Duarte gives us her final thoughts, but the emphasis is very much on leaving us to consider our own position in the spectrum. Duarte's exploration of food (from every angle) is warm, generous and asks all the right questions. Eating Myself prioritises nourishment over function; self-care over denial. It is, suggests Duarte, in being kinder to ourselves that we can find a way to cut through the white noise and listen to the voice that really counts: our own.
Available here until 1 December 2020
Collaboration and performance
Applecart Arts Diets Eating Myself FOOD Pepa Duarte Plays Sergio Maggiolo The Golden Goose Theatre Theatre Women


US Rep. Marcy Kaptur (D-OH) is talking to Bill Moyers about the state of the economy. She claims it's a "Financial Coup D'Etat"
It's a lengthy interview, about 20 minutes, but well worth a listen in entirety. The site has a complete transcript for those with limited time. Here is a partial transcript.
MICHAEL MOORE: We're here to get the money back for the American People. Do you think it's too harsh to call what has happened here a coup d'état? A financial coup d'état?
MARCY KAPTUR: That's, no. Because I think that's what's happened. Um, a financial coup d'état?
BILL MOYERS: That's the progressive Representative from Ohio, Marcy Kaptur, she's with me now. She has a Masters from the University of Michigan, did graduate study at M.I.T. and still lives in the same house in the Toledo working class neighborhood where she grew up.
She's in her 14th term in Congress, the longest-serving Democratic woman in the history of the House, and she's an outspoken financial watchdog on three important Committees: Appropriations, Budget and Oversight and Government Reform.
Also with me is a familiar face to viewers of this broadcast. Simon Johnson is the former Chief Economist at the International Monetary Fund. He now teaches Global Economics and Management at M.I.T.'s Sloan School of Management. He's one of the founders of the website Baselinescenario.com. I check it out daily for Simon's take on the economic and financial crisis.
It's been a year since the great collapse and both my guests are well equipped to assess what's happened since then. Welcome to you both.
Others have posted the link already but I wanted to get in a few comments.
At left: Congresswoman Marcy Kaptur with Simon Johnson, the former Chief Economist at the International Monetary Fund.
The interview with Bill Moyers is an early sign that people are shifting their attitudes significantly. Kaptur does not look like or sound like some radical nutcase, yet she presents a compelling case of a Financial Coup D'Etat.
Two years ago people would have laughed at the idea. Not today.
This type of sentiment is a good portion of what is powering (and going to power in the future) the gold bull market this time around. There is not so much fear of inflation or deflation, rather there is a growing loss of faith in the financial system and government itself, not just in the US but a loss of faith in governments worldwide. The US just happens to be leading the way at the moment.
Another clear sign of mistrust is the overwhelming support for Ron Paul's Audit The Fed Legislation, now with 301 co-sponsors per RonPaul.Com. Once again, a few years ago, people thought Paul's idea was loony.
What Did We Get For The Trillions Of Dollars Spent?
Sadly, for all the $1.4 Trillion expansion in the Fed's balance sheet, the $1+ trillion in various stimulus programs, and monetary printing, the economy has nothing to show for it other than a stock market rally.
[Note: I had a typo leaving out the decimal point. The above sentence was revised from $14T to $1.4T. The Fed's Balance sheet was about $2.2 trillion at the time. "In all, the Fed more than doubled the size of its balance sheet, to $2.3 trillion."
Please see H.4.1 Statistical Release for current numbers. As of October 15, securities held outright are up over $1.1 Trillion (not $1.4 Trillion) over a year ago but with more Mortgage Backed Securities coming.
The wealthy have been bailed out, while the middle class and poor are stuck without a job in underwater mortgages, hoping for scraps of mortgage payment reductions when many would be better off walking away. Meanwhile boomers are headed into retirement, underfunded and scared half to death.
I have been exchanging emails with John Mauldin on the growing list of problems as well as possible solutions (Please see Thoughts on the Economy: Problems and Solutions).
This week, John will have another Thoughts From The Frontline on the unsustainable path we are on. Be sure to look for it. The title will surprise long-time Mauldin readers.
Did Gold Bulls Hop Off The Train?
Gold is up again making new highs.
Interestingly, there has been little fanfare on this move. When gold broke 1000 in 2007, talk was "next stop 2000, then 5000". Sentiment was so extreme I was sure the next move was down.
I am hearing very little of that type of sentiment now. Did the gold bulls hop off the train? That's what it seems like. If so, this move could have a lot more left in it, regardless of what the dollar does.


İngilizce şarkılar arasında Dethroned şarkı sözleri (lyrics), dinleyebilir Dethroned sözleri (lyrics) sitemizde videosuyla birlikte bulunuyor.
You're up so high on your throne looking down.
The flood gates of your life come crashing down.
You've lost touch with yourself.
The pieces fade away tonight.
Your intentions fall right out of sight.
And I see you cry.
You're gonna fall face first into the ground.


Southlake officials have condemned a video depicting at least one Carroll ISD student in a group of teens using the N-word, months after students were captured in another video using the same racial slur.
The school district wrote on its Facebook page that it was notified Tuesday night of the video showing three teens in a car, where the N-word can be heard repeatedly. The district told the Fort Worth Star-Telegram that one teen seen in the video as well as an off-camera driver have been identified as Southlake students.
In October, Carroll ISD officials said they were "extremely disappointed" in a video of at least nine white students huddled in a group chanting the N-word. It's unclear whether any students who appeared in the first video also appeared in the second.
The district said in a written statement Wednesday that "racism is not welcome in Carroll ISD or Southlake."
"Although an apology was posted by the student seen most prominently in the video, it does not undo the harm and hurt felt when racial slurs are used," the district said in the statement. "This type of speech will always be unacceptable and quite frankly, makes us angry and sad."
The district did not specify what punishment would be brought against the students but said administrators would "consistently apply the Student Code of Conduct to the extent allowable under the law."
Southlake Mayor Laura Hill condemned the video in a statement on Facebook, saying parents "had better wake the heck up."
"Every time a child does something ignorant or just plain bad we demand to know what the district is going to do and what will the punishment be," Hill said in the statement. "As parents, we constantly demand the district fix problems when we obviously haven't been able to fix them ourselves."
Hill said "ugly thinking" can't be fixed by punishment from the school district.
"Parents, at some point we need to be as hard on ourselves as we are on them," Hill said.
Hill said city leaders were "more resolved than ever" to be better in the wake of the second video.
"There is NO place for racism, exclusion or discrimination of any kind, anywhere," she said. "Parents, get on the boat or we do the future a huge disservice."
Carroll ISD's new District Diversity Council kicked off its work last month, according to MySouthlakeNews.com, a website run by the city and the district.
The council aims to promote "cultural competence" within the district, and its formation was accelerated after the racist video surfaced in October, according to the district.
The council's second meeting will focus on proposed changes to the Student Code of Conduct that would strengthen consequences for student behavior categorized as hate speech or racism.


text:
Kenderes [] ist eine Stadt im ungarischen Komitat Jász-Nagykun-Szolnok. Der Ort liegt östlich der Theiß in der Großen Ungarischen Tiefebene, erstreckt sich über 11.124 ha Fläche und hat 4.736 Einwohner (Stand 2011).

Geschichte
Kenderes ist seit dem 19. Jahrhundert der Stammsitz der Familie des nachmaligen ungarischen Reichsverwesers Miklós Horthy. Dessen sterbliche Überreste wurden – nach dem Abzug der letzten sowjetischen Truppen aus Ungarn – aus dem portugiesischen Estoril 1993 nach Ungarn überführt und am 4. September in einem Mausoleum mit staatlichen Zuschüssen und unter dem Beisein von mehreren ungarischen Regierungsmitgliedern auf dem Ortsfriedhof beigesetzt.

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  Kozy, Polen
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  Sabinov, Slowakei
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Galerie

Belege

Weblinks

 Luftaufnahmen über Kenderes

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text:
early 1Z(m), three guns, photo from 1918
One of Lancia's early military vehicles was the 1Z Autoblinda. Its history has been somewhat obscure. What was it, when was it made, and what was unique about it? Its seems the Autoblinda 1Z was based on the Lancia 1Z truck, c. 1915. The information is murky, but on one factory sheet, its called the 1Z(m), likely for militare. That seems like a pretty good designation. The 1Z(m) had a Theta engine and chassis, bodied by Ansaldo in Genova. Its never been clear how many were made, but a visit to Wiki (France) gives a lot of information, with the following information translated largely from their site. It says that the 1Z(m) was used into the late 1930s, and there is a picture on the web of one as 1943. For what its worth, the information looks good, and might even be true. So here we go…..
(NOTE 6.8.2020 – some of the information outlined below has been corrected in the Comments section. Please review that information).
1Z(m) in WWI – Battle of Vittorio Veneto
After the Italian-Turkish war of 1910, during the short period of neutrality before the outbreak of the First World War, in 1914 Regio Esercito commissioned Ansaldo to study an armored vehicle, a major novelty in the the time when the infantrymen were still attacking enemy troops with only one rifle in their hands. The engineer Guido Corni, an expert in mechanics and metallurgy at Ansaldo, presented a project based on the chassis of the Lancia 35 HP (ed. note: the Theta was a 35HP chassis) as the basis for the "1Z(m)" armored vehicle.
The Ansaldo Lancia 1Z(m) prototype, consisting of two superimposed turrets armed with "Maxim 1906" 6.8 mm machine guns, was presented to the Italian military authorities on April 17, 1915. After conclusive tests on May 7, the Regio Esercito – King's Army from Italy – placed an order of 20, which differs slightly from the prototype at the bonnet. The originality of this vehicle lay in its two superimposed turrets, which can turn in a single block or separately. The lower turret or dome had two machine guns and the upper one the third.
1Z(m) in WWI – Battle of Vittorio Veneto, note the two gun turret
The first Lancia 1Z(m) armored car was delivered to General Cadorna in August 1915 in Udine, the remaining 19 following in the spring of 1916. Three squadrons of these armored carriages were formally established in July 1916. The judgments issued at the time were positive about motorization and protection, but regretted difficulties to back down (reverse?). The vehicle also seemed heavy and cumbersome. This defect was solved later with Fiat 611 model. A second batch of 17 units was ordered in March 1917, differentiated by replacing the front wheel shielding by simple mudguards and the addition of a front radiator protection. This order brought to 37 the number of copies of the first series delivered in 1917.
At Les Portes de Màlaga c. 1937
The version was also called the Lancia 1ZM
After the initial period of real use on the front, Italy already having entered the war in 1915, the vehicle appeared to be too unbalanced because of its height. It is then decided to have only one turret and to place the 3rd machine gun at the bow of the vehicle. This is how the second series of the Lancia armored car was developed, and some gave it the name of 1ZM (although factory info also has 1Z(m)). In order to improve its firepower, it was also decided to replace Maxim's 6.8mm machine guns with St Etienne 907F 8mm machine guns. This choice was particularly unfortunate, the French weapons having a tendency to jam, which could only create problems. Moreover, they could not work when the vehicle was moving, and were quickly replaced by Fiat-Revelli M 1914, much more reliable.
(From another Wiki site, we have more information on the second series:
"The Lancia 1ZM was the second batch of Ansaldo-Lancia armoured cars built. 110 cars of the improved model were ordered in 1917 and all were delivered before the end of 1918. Sometimes difficult to identify from the original Lancia 1Z ("Model 1916"), the most obvious difference is the removal of the top machine gun turret. This left the 1ZM with just the one larger, twin machine gun turret. Other features that will help are that the first 1ZM's usually have two spare tyres mounted on the right side of the vehicle (on the 1Z they were under the rear). The cooling vents and front armour of the engine compartment are slightly different and there are fewer vision ports in the armoured crew compartment. The front bumpers were also simplified. However, some of the original 1Z series were modified to initial 1ZM standard by the removal of the extra top turret and up-dating the chassis. This makes it possible to find photos of 1ZM armoured cars with both 1Z and 1ZM features. American troops on the Italian Front during World War I trained with and used some of these vehicles." )
Returning to the French Wiki:
35 "Lancia 1ZM" of the third series, were first ordered in November 1917, but then increased to 100 copies in January 1918. This version had only one turret armed with two 8mm machine guns. The third weapon fired through a rectangular opening at the rear. A total of 113 copies of the "Lancia 1ZM" 3rd series model were produced. During the 1920s, the Lancia 1Z machine guns were all replaced by Fiat mod.14 of 6.5mm. In 1935, the replacement of the original wheels with wheels with low pressure tires began for the colonial models.
from German army files, 1Z in 1943
The version Lancia 1Z colonial
The Fiat-Revelli M 1914 machine guns had water cooling, which was a problem in the hot desert regions. For this reason, all the armored carriages for the Italian colonies of East Africa were equipped with air-cooled 8mm Fiat-Revelli M 1935 machine guns. The copy given to Afghanistan was equipped with air-cooled SIAM 1918 light machine guns.
Width: 1.80 m
Engine: Lancia 1Z, 4 cylinders of 4 960 cm³, developing 60 hp
Mass: 5.4 tons
Maximum speed: 70 km / h on the road
Autonomy: 200 km
Protection: 6.5 mm
Weaponry: three Fiat mod.14 6.5 mm machine guns (15,000 rounds)
Note: A special version was made to order for the Austrian army with Schwarzelose machine guns, the exact number unknown.
So…. if the articles are to be believed, we have the following production numbers for a total of 260 examples of the 1Z(m) or 1ZM:
20 of the first series 1915-1916
17 of the first series 1917
110 of the second series, 1917-1918
113 third series, 1918
Video!
And if this isn't enough – from Luigi De Virgilio comes a link to a video with 1Z(m) in motion. Amazing…. start at 2′ 15″ (added 3.2020):
https://www.youtube.com/watch?v=07cNGjDwCKs&t=193s
And where they ended up:
Found in (all places) Afghanistan, was a 1Z(m). With information from Frank Tierney on the LMC website, this was likely the 1Z given to the King of Afghanistan in 1928, and was on a military base called Camp Warehouse, near Kabul until 2007 when it was moved to the military museum in Dresden. More info can be found here:
https://www.lancia.myzen.co.uk/forum/index.php?topic=11750.0
« Colors revisited
I am fairly sure that reference to the third machine gun being relocated to the front of the 1ZM is erroneous as most sources state it was relocated to fire out of the rear of the hull.
There is information that Lancia armoured cars were used by British forces in the Middle East between the wars. http://www.rafmuseum.org.uk/documents/Research/RAF-Historical-Society-Journals/Journal_48 gives the following information; "The RAF armoured car companies in Iraq by Dr Christopher Morris
Operations between the wars
In Iraq, the car units spent the 1920s and '39s roaming from the southern deserts to the mountains of Kurdistan in vehicles, many of them veterans of WW1, lacking reliable communications, proper mapping, adequate logistic support – and air conditioning. Various types were used; Lancias, Crossley, Morris and Rolls Royce. The early Lancias were gradually withdrawn and other marques tried but the most loved and successful was the Rolls Royce and the force soon standardised on the 1920 pattern Rolls Royce." mmpbooks.biz › mmp › tables › Vehicle_Names_V3 lists the names individual names of 8 vehicles.
Frank Tierney
thanks for the input. Not too sure about the 3rd gun, see the top image in the post, where its pointing forward.
Having been a military model maker in my youth I have, since discovering Lancias, been fascinated by their armoured cars. Your Blog has set me off on a journey of discovery and I have now trawled at least a couple of dozed online sources and I have come to the sad conclusion that the majority of sources contain garbled and incorrect information.
As regards the machine gun at the front, your source says "the vehicle appeared to be too unbalanced because of its height. It is then decided to have only one turret and to place the 3rd machine gun at the bow of the vehicle. This is how the second series of the Lancia armoured car was developed". None of the more reliable sources mention this, there are no pictures and for practical reasons it seems improbable. Your picture at the head of the post is of course a first series car prior to the relocation of the third gun.
Finally, I have done some work on production figures and am reasonably confident that total production was only 120 vehicles of all series.
07/05/1915 Order No 2401 acknowleged for 20 units (the number was limited by availability of machine guns).
31/12/1915 7 units completed and delivered to date.
30/06/2016 Remaining 13 units of the first order were delivered by this date. These were the "First Series".
11/03/1917 17 revised units ordered on contract 979. Designated "Second Series".
26/11/1917 35 new units ordered on contract 1706 following the military collapse at Caporetto (24 October to 19 November 1917). "Third Series".
13/01/1918 48 units added to the outstanding order
31/03/1918 First 17 of the Third Series cars delivered the final 5 of which had an improved chassis.
02/05/1918 A further 15 units had been delivered.
27/08/1918 Total of Third Series cars delivered to date now stands at 83.
This gives 20 first series, 17 second series and 83 third series.
I realise I should give the source for my information. No single source contains a narrative that is both consistent and convincing. Only by starting with the most detailed source then pursuing the apparent inconsistencies through other sources can a convincing picture be built up. I have so far compared information from 40 different sources to form my conclusions. The most detailed information on the contracts and deliveries is given by http://www.italie1935-45.com/regio-esercito/materiels/item/291-lancia-1zm together with https://en.topwar.ru/79829-broneavtomobili-lancia-1z-italiya.html.
What ultimately makes sense is that a first batch of 20 cars was ordered and delivered followed by an order for a second batch of 17 cars. Sources are fairly consistent that a third batch of 35 cars was initially ordered and that this order was then increased. "Italie 1935-45", which goes into enough detail to quote contract numbers and delivery dates of part orders, states that 83 cars were produced in the third batch and "topwar" says that the count of 100 cars in relation to the extending of the third order included some cars prior to that third order. In effect the Ministerio delle Munizioni decided to equip the army with 100 cars in addition to the 20 first series cars already in service.
The English version of "topwar" says "100 including those already delivered" but again this doesn't make sense and I strongly suspect a mistranslation from the Russian. What does make sense is the 100 was to include those already nearing completion because the extended order was made on 13/01/1918 and the 17 cars were delivered eleven weeks later. These have to have been the second series cars which were in production from March 1917. The first and second batch were both under construction for just over a year and the third, admittedly much larger, batch was produced in nine months.
My next challenge is assembling a list of the Lancia Ansaldos' deployment throughout their service life up to the end of WW2 together with charting a consistent account of technical changes.
There is a fascinating and highly detailed account in https://rotanazdar.cz/?p=8325 of the two cars given the Czechs in 1918, right up to their being dismantled and the chassis going to a technical school in 1935. It has drawings, including the prototype, and superb photographs including the interior and underside. It however has lifted the typical misconceptions about production figures from other sources.
I have copies of blueprints of various 1Z chassis (no bodies) designated variously as 1Z, 1Z(m) and 1ZM pretty much at random. They are dated variously as 1915 and 1916 and I had always assumed that the M's, large and small, stood for Militare. There seem to have been at least 2 chassis length's, one being described as Allungato. The only other significant difference seems to be that one of the prints, designated 1ZM 1915, has a large circular structure just ahead of the rear axle, possibly a base for the gun turret or possibly a fuel tank as it doesn't have the usual tank mounted behind the rear axle.
The other thing which is a bit puzzling is regarding the Afghanistan bodies. The one nearest the camera certainly looks as if it could be a Lancia but the engine seems to be quite different to the usual Jota/Theta one which does not have the the separated cylinders in the top of the motor. It could ,of course, have had a transplant sometime in it's long life.
Ron – great comment, thank you. Take another closer look at the engine. I think (?) its a Lancia engine with the outer casting knocked off, as can be seen at the two ends. What do you think?
Geoff Goldberg
The armoured cars had the fuel tank as an upright cylinder in the centre of the turret, which is just ahead of the rear axle. Slightly alarmingly in the early, double decker turret, cars the fuel tank is what one of the machine gunners stood on to reach the gun in the upper turret. Brian Long's book "Lancia from Alpha to Zeta and beyond" says that the armoured cars were initially built on the Zeta truck chassis (strengthened by Ansaldo) and late cars were built on the Iota chassis. https://rotanazdar.cz/?p=8325 has excellent pictures showing the internal layout.
Frank – This is all fantastic information, thank you very much for posting. Its amazing the amount of detail that exists on the 1Z, and what you have assembled. In general, it seems that the blog entry should be revised with your new information…
One question – has anyone had the chance to look at the Ansaldo archives? I was wondering if some of these might have been bodied at Lancia, and others at Ansaldo, thus explaining a history of confusing production numbers.


God Śiva is all and in all, one without a second, the Supreme Being and only Absolute Reality. He is Pati, our Lord, immanent and transcendent. To create, preserve, destroy, conceal and reveal are His five powers. As Absolute Reality, Śiva is unmanifest, unchanging and transcendent, the Self God, timeless, formless and spaceless.He is our personal Lord, source of all three worlds.
Gaṇeśa, Kārtikeya, Indra, Agni and all the 330 million Gods of Hinduism are beings just as we are, created by Lord Śiva and destined to enjoy union with Him. The Gods are souls of high evolution.The devas are benevolent beings of light abiding in the higher Antarloka. They help to guide evolution from their world between births.
Our soul is God Śiva's emanational creation, the source of all our higher functions, including knowledge, will and love. Our soul is neither male nor female. It is that which never dies, even when it's four outer sheaths—physical, prāṇic, instinctive and mental—change form and perish as they naturally do.The soul body matures through experience,ultimately realizing Śiva totally in nirvikalpa samadhi.
Karma is not fate, for man acts with free will, creating his own destiny. The Vedas tell us, if we sow goodness, we will reap goodness; if we sow evil, we will reap evil. Reincarnation, punarjanma, is the natural process of birth, death and rebirth.At death, we leave the body through the crown chakra, entering the clear white light and beyond in quest of videhamukti.
The path of enlightenment is divided naturally into four stages: charyā -virtue and selfless service; kriyā -worshipful sādhanas; yoga - meditation under a guru's guidance; and jñāna, the wisdom state of the realized soul. Jñāna is divine wisdom emanating from an enlightened being, a soul in its maturity, immersed in Śiva-ness, the blessed realization of God, while living out earthly karma.
There are three worlds of existence: the physical, subtle and causal, termed Bhūloka, Antarloka and Śivaloka. The Creator of all, Śiva Himself is uncreated.As supreme Mahādeva, Śiva wills into manifestation all souls and all form, issuing them from Himself like light from a fire or waves from an ocean.The universe ends at Mahāpralaya, when time, form and space dissolve in God Śiva.
The intrinsic and real nature of all beings is their soul, which is goodness. Ultimately, there is no good or bad. God did not create evil as a force distinct from good. He granted to souls the loving edicts of dharma and experiential choices, thus to learn and evolve.Āṇava, karma and māyā are the source of the seeming suffering.


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A SHORT HISTORY OF
The Arundell Arms
The Arundell has welcomed generations of returning families, be it for the love of sportsmanship or a love for the ever-present character which still thrives within the hotel today. The original building itself, which guests today can recognise from the street-side facade, is 250 to 300 years old - covering an area roughly from part of the lounge, through to the cocktail bar and along to the Lyd Room and television room. The original stone entrance still exists today, sitting under the balcony which juts out over the main road looking over to the village church.
The cockpit in the hotel garden (now the rod and tackle room) is also over 200 years old and is said to be one of the few cockpits in England which still survive. Whilst the roof is new, having been renovated regularly throughout the years, most of the walls are original.
Now the site of fishing tackle, the circular rod rack enclosing the area of a raised earth mound inside was there until about 1970, and is the cocks were set to fight. Cock-fighting was made illegal in Victorian times, but was said to have continued in country districts long after it had ceased in the towns. Public opinion was aroused against it, because of the use of steel spurs on the birds' legs. This lethal method of fighting shortened individual conflicts, allowed more fights to take place and more bets to be laid. Among the hotel's early relics are a pair of cock fighting spurs which can be seen in the glass cupboard by the cocktail bar entrance.
One suspects that there was a much earlier inn or ale house on the site of the hotel long before the late 1600's. No records of such an inn have been found but the hotel was originally called The White Horse and that suggests links with the Saxons, for the badge of the white horse is of Saxon origin; moreover, the greatest of the Anglo-Saxon kings, King Alfred (849-901) was Lord of the Manor of Lifton.
In the 7th, 8th and 9th centuries, Lifton was a frontier town, a military outpost of the Saxons during their conquests of West Devon and Cornwall. Battles with the Celts were fought at Lewtrenchard, near Lifton, and at a shallow crossing or ford of the Tamar somewhere near the present Polson Bridge. The name Tamar comes from the Celtic words Taw Maur - big water.
Today the memory of the river frontier of the Tamar lives on in local speech. Many a Cornishman, crossing the Tamar into Devon, will say when he gets back home that he has been "over the border".
In medieval times, Lifton, as a Royal Manor, was in the gift of the Sovereign, and held for its revenues by a member of the royal family or a court favourite. One Lord of the Manor was the Earl of Westmorland, another was the Fair Maid of Kent, wife of the Black Prince, Duke of Cornwall (1330-1370). It is doubtful whether either ever came near Lifton.
The only royal visitor we know of was Charles I who came unexpectedly, riding up the main street, one July morning in 1644, surrounded by his Cavaliers and men-at-arms. This was during the Civil War and Charles was making a desperate effort to rally the Royalists of Cornwall to stem the attacks of the Parliamentary Army under Essex.


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Q: SharePoint page edit issue I am using SharePoint Server 2007 Enterprise with Windows Server 2008 Enterprise, and I am using publishing portal template.
I am using SharePoint Designer 2007 to design pages. When I open the default.aspx under Pages sub-folder of a site, there are two options:

*

*Edit in Browser and

*Edit Page Layout.

I want to know what are the differences between Edit in Browser and Edit Page Layout -- especially what is the function of Edit Page Layout, because when I select Edit Page Layout, WelcomeSplash.aspx opens in SharePoint Designer, other than default.aspx itself (very confused).
thanks in advance!

A: Publishing pages have a PageLayout associated with them so they cannot be edited in SharePoint Designer directly unless you unassociate it with the Page layout.  So when you get the option "Edit in Browser" basically is the same as selecting "Edit Page" from the site in which you move around web parts, and "Edit Page layout" will allow you to restructure the underlying layout which would impact any other pages that use the WelcomeSplash layout in that site collection.

A: The page layout is a template for authoring and rendering content in a publishing site.
In general, a page layout will consist of Html structure, Content Placeholders,Field Controls and Web Part zones,additional CSS and Script references.When you "Edit Page layout", you make changes to any of them without affecting the underlying content.These changes will be applied to all pages which use this layout.
When you "Edit the page" in browser, you can insert\edit\version content (as list item in pages library) and can add\modify web parts.

redpajama_set_name: RedPajamaStackExchange


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Immacolata Amodeo (* 6. Oktober 1961 in Carfizzi, Italien) ist eine Literaturwissenschaftlerin italienischer Herkunft, Leiterin des Ernst-Bloch-Zentrums in Ludwigshafen am Rhein und Honorarprofessorin an der Universität Mainz.

Nach ihrem Studium an den Universitäten von Perugia, Frankfurt am Main und Siegen promovierte Amodeo zu einem Thema im Bereich der Migrationsliteratur in Deutschland. In ihrer Dissertation von 1996 unternahm sie als Literaturwissenschaftlerin den Versuch, den ästhetischen Dimensionen dieser Texte gerecht zu werden, indem sie der weiteren Reduktion bei der Rezeption der interkulturellen Literatur auf Betroffenheit, Authentizität, Exotisierung ein anderes Modell entgegensetzte. Dieses andere ästhetische Modell stützt sich unter anderem auf Überlegungen der Wissenschaftler Félix Guattari und Gilles Deleuze, wobei insbesondere deren philosophisches Rhizom-Modell zum Tragen kommt. Ihre Habilitation erfolgte 2001 an der Universität Bayreuth, wo sie bis 2004 Allgemeine und Vergleichende Literaturwissenschaft lehrte. Vo 2004 bis 2018 war sie Professorin an der Jacobs University Bremen, allerdings zwischen Februar 2012 und 2018 freigestellt, um als Generalsekretärin der Villa Vigoni in Loveno di Menaggio (Como), Italien, tätig zu sein. Seit Oktober 2018 leitet sie das Ernst-Bloch-Zentrum in Ludwigshafen am Rhein und ist Honorarprofessorin an der Universität Mainz.

Als Rezensentin im Rundfunk gilt sie als Expertin für die Werke von und über Ingeborg Bachmann, Primo Levi, Nelly Sachs, Antonio Gramsci, Erich Fried und andere Literaten und Theoretiker.

Größere wissenschaftliche Arbeiten

 Il gusto melodrammatico. Eine medienkomparatistische Studie zum Opernhaften. Habilitationsschrift, Bayreuth 2001. Transcript. Bielefeld 2007.
 (Hg.) Italien in Afrika – Afrika in Italien. Italo-afrikanische Beziehungen. Wissenschaftlicher Verlag. Trier 2004 (mit Claudia Ortner-Buchberger und in Zusammenarbeit mit Brigitte Kienle).
 (Hg.) Frau Macht Wissenschaft. Wissenschaftlerinnen gestern und heute. Ulrike Helmer Verlag. Königstein 2003 (In Zusammenarbeit mit Nicole Weiß).
 "Die Heimat heißt Babylon". Zur Literatur ausländischer Autoren in der Bundesrepublik Deutschland. Westdeutscher Verlag. Opladen 1996.

Quellen

Weblinks
 Prof. Dr. Immacolata Amodeo

Literaturwissenschaftler
Romanist
Hochschullehrer (Jacobs University Bremen)
Hochschullehrer (Universität Bayreuth)
Interkulturelle Literatur
Italiener
Geboren 1961
Frau


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The Kentucky Center Opens 36th Season with Lewis Black, Wu-Tang Clan, Lyle Lovett and more!
LOUISVILLE, Ky. — The Kentucky Center for the Performing Arts is offering a wide variety of entertainment as it opens its 36th arts season – including a bevy of shows at the historic Brown Theatre and the newly opened standing room venue, Old Forester's Paristown Hall. Fall performances will feature rap group Wu-Tang Clan, the return of singer Lyle Lovett, comedian Lewis Black, Complexions Contemporary Ballet and many others.
View the current season lineup at www.kentuckycenter.org.
Here are some of the highlights of The Kentucky Center Presents 2019-20 performance lineup:
The Kentucky Center and Production Simple present Gavin DeGraw with Hannah Ellis
Friday, August 23, 2019 at 8 p.m.
Old Forester's Paristown Hall
Standard tickets are $39.50; $44.50 Day of Show; $70 Premium. Tickets on sale now.
Gavin DeGraw is a Grammy-nominated, multi-platinum selling singer, performer and songwriter. His 2003 debut album, "Chariot," sold more than one million copies, earned platinum certification and yielded three hit singles. He tours continuously around the world, including sold out dates with the legendary Billy Joel. DeGraw released his fifth studio album, "Something Worth Saving," in September 2016.
91.9 WFPK presents The Mavericks with Nick Lowe and Los Straitjackets
Saturday, September 26, 2019 at 7:30 p.m.
Brown Theatre on Broadway
Tickets start at $35. Tickets on sale now.
The Mavericks are true American originals, heirs to the great songwriting traditions of Cuba, Miami, Nashville, San Antonio and Memphis. Celebrating their 30th anniversary as a band, they're back to remind the world why they're so good – and they'll be joined by Nashville-based rock band Los Straitjackets, as well as singer-songwriter and musician Nick Lowe.
The Kentucky Center and Live Nation present Lewis Black – Alive in Concert!
Thursday, October 3, 2019 at 8 p.m.
Tickets are $45. Tickets on sale now.
Grammy Award-winning stand-up comedian Lewis Black is one of the most prolific and popular performers working today. As a passionate performer who is a more pissed-off optimist than a mean-spirited curmudgeon, Black offers a live performance that provides a cathartic release of anger and disillusionment. His performances incite raucous laughter, while making compelling points about the absurdity of our world.
91.9 WFPK presents Lyle Lovett and his Acoustic Group
Thursday, October 10, 2019 at 8 p.m.
Tickets start at $45.50. Tickets on sale now.
This season features the return of Lyle Lovett, an iconic American singer-songwriter and winner of four Grammy Awards, including Best Male Country Vocal Performance and Best Country Album. Lovett's music has broadened the definition of American music by fusing elements of country, swing, jazz, folk, gospel and blues, mixed with storytelling, in a convention-defying manner.
The Kentucky Center presents Switchfoot & Their Fantastic Traveling Music Show
Friday, October 11, 2019 at 7:30 p.m.
With a career spanning over 20 years, 11 albums, a film and millions of tickets sold, the Grammy Award-winning band Switchfoot is embarking on one of their most ambitious endeavors to date. They will perform two sets, back-to-back: a stripped-down acoustic concert with the untold stories and inspirations behind some of your favorite songs and then a full-blown rock concert to end the night.
The Kentucky Center and NS2 present Cody Ko and Noel Miller: Tiny Meat Gang Live
Saturday, October 12, 2019 at 8 p.m.
Cody Ko and Noel Miller are software engineers turned social media influencers and comedians through their popular YouTube channel and podcast, Tiny Meat Gang. In January 2019, they set out on their comedy tour, entertaining tens of thousands of people around the United States. The two believe the success of their comedy lies in their "ability to overcome their small-ish physical stature with their 6-foot 7-inch personalities."
The Kentucky Center and Production Simple present Wu-Tang Clan: 36 Chambers 25th Anniversary Tour
Friday, October 18, 2019 at 8 p.m.
Standard tickets are $115; $125 Day of Show; $300 Premium. Tickets on sale now.
Twenty-five years ago, the Wu-Tang Clan changed hip-hop music forever. With lyrics that combine the reality of 1990's New York and the world of martial arts, the Wu-Tang Clan has created a unique mythology that captures the hearts of fans worldwide. This performance celebrates the 25th anniversary of their first album "Enter the Wu-Tang (36 Chambers)" with the innovative beats, clever lyrics and diverse personalities that comprise its nine-member group.
The Kentucky Center presents JB Smoove
The Kentucky Center – Bomhard Theater
Tickets are $38.50. Tickets on sale now.
JB Smoove is a multi-talented writer, comedian and actor, who can currently be seen in the beloved role of "Leon" in the iconic HBO comedy series "Curb Your Enthusiasm." His new book, "The Book of Leon: Philosophy of a Fool," based on the popular character, was nominated for a 2018 Audie Award for the audio version. In addition to a wealth of notable TV performances, including BET's "The Real Husbands of Hollywood," ABC's "Fresh Off the Boat," CBS' "The Millers" and "Everybody Hates Chris," Smoove tours as a stand-up comic internationally, bringing the ruckus to sold-out audiences all over the world.
91.9 WFPK presents Ryan Bingham with special guest Jamestown Revival
Sunday, November 3, 2019 at 8 p.m.
Standard tickets are $30; $35 Day of Show; $60 Premium. Tickets on sale now.
Texas-based Ryan Bingham is a Grammy Award-winning musician who defies easy classification, but often zeroes in on the American experience. Accolades include the American Music Association's 2010 Artist of the Year, as well as an Oscar for his song "The Weary Kind" from the 2009 film "Crazy Heart." His music, including his latest album "American Love Song," reflects his life experiences, including the Cajun culture he experienced in western Louisiana and border songs of Mexican immigrants.
Brown-Forman Midnite Ramble Complexions Contemporary Ballet
Thursday, November 21, 2019 at 8 p.m.
Tickets start at $25. Tickets on sale Friday, August 23.
Complexions was founded in 1994 by Master Choreographer Dwight Rhoden and the legendary Desmond Richardson with a singular approach to reinventing dance through a groundbreaking mix of methods, styles and cultures. Today, Complexions represents one of the most recognized and respected performing arts brands in the world. Having presented an entirely new and exciting vision of human movement on 5-continents, over 20-countries, to over 20-million television viewers and to well over 300,000 people in live audiences, Complexions is poised to continue its mission to bring unity to the world one dance at a time.
The Glenview Trust Enriching Life Series Straight No Chaser: The Open Bar Tour
Sunday, December 1, 2019 at 7 p.m.
The Kentucky Center – Whitney Hall
A Cappella group Straight No Chaser are neither strait-laced nor straight-faced, but neither are they vaudeville-style kitsch. They have emerged as a phenomenon with a massive fanbase, numerous national TV appearances and proven success with CD releases. Straight No Chaser is the real deal—the captivating sound of nine unadulterated human voices coming together to make extraordinary music that is moving people in a fundamental sense and with a sense of humor.
Also Coming Soon:
The Kentucky Center presents – Pine Mountain Sessions – The Kentucky Center – Thursday, Aug. 22, 2019 at 8 p.m. Tickets are $25.
The Kentucky Center and Production Simple present – Drive-By Truckers – Old Forester's Paristown Hall – Saturday, Sept. 14, 2019 at 8 p.m. Standard tickets are $30; $35 Day of Show; $60 Premium.
The Kentucky Center and Production Simple present – NF – Old Forester's Paristown Hall – Thursday, Sept. 26, 2018 at 8 p.m. Standard tickets are $49.50; $76.50 Premium.
The Kentucky Center and Emporium present – Home Free – Brown Theatre – Wednesday, Oct. 9, 2019 at 8 p.m. Tickets start at $24.50
The Kentucky Center presents – The Kingdom Choir – Brown Theatre – Wednesday, Oct. 16, 2018 at 8 p.m. Tickets start at$25.00.
The Kentucky Center presents – Bobby Bones & the Raging Idiots – Brown Theatre – Friday, Nov. 22, 2019 at 8 p.m. Tickets start at $38.50.
The Kentucky Center presents – Kathleen Madigan – Brown Theatre – Saturday, Nov. 23, 2019 at 8 p.m. Tickets start at $35.
The Kentucky Center presents – A Charlie Brown Christmas – Brown Theatre – Sunday, Dec. 15, 2019 at 1:30 and 5 p.m. Tickets start at $25.
Nickelodeon/Spin Master present – PAW Patrol Live! Race to the Rescue – The Kentucky Center – Dec. 27-29, 2019 at 1:30 and 5 p.m. Tickets start at $22.50.
The Kentucky Center presents – The Second City – The Kentucky Center – Thursday, Jan. 24, 2020 at 8 p.m. Tickets are $35.
The Kentucky Center presents – Parsons Dance – Brown Theatre – Thursday, Feb. 20, 2020 at 8 p.m. Tickets start at $20.
Brown-Forman Midnite Ramble – The Color Purple – Brown Theatre – May 19-20, 2020 at 7:30 p.m. Tickets start at $30.
For more information and to view the full season, visit www.kentuckycenter.org.
New shows are booked throughout the year and the calendar is constantly changing. Be sure to stay informed and receive presale invitations, create your Kentucky Center eClub account at www.kentuckycenter.org/login. Be sure to follow The Kentucky Center on social media platforms including on Facebook, Twitter or Instagram for the latest ticket availability updates.
Frequent attendees are encouraged to become Kentucky Center Members. Members save on every ticket purchased through the member hotlines and enjoy benefits like priority seating and waived handling fees. For more information about Kentucky Center Membership and to view a complete list of member benefits, please visit www.kentuckycenter.org/content/downloads/MembershipBenefits.pdf.
About The Kentucky Center for the Performing Arts
The mission of The Kentucky Center for the Performing Arts is to build lifelong relationships with the arts. As an integral member of the Kentucky Tourism, Arts, and Heritage Cabinet, The Center, along with the other agencies, seek to preserve and promote the history, heritage and arts of the Commonwealth.
Three locations comprise the family of venues under The Kentucky Center umbrella:
The Kentucky Center is located at 501 West Main Street, Louisville, KY 40202
The Brown Theatre is located at 315 West Broadway, Louisville, KY 40202
Old Forester's Paristown Hall is located at 724 Brent Street, Louisville KY 40204


Fortunately Nonny is home now. In fact, last time I talked to Noel on the phone, she had to pause to stop her dear daughter from doing something nefarious to one of her brothers. So, everything is back to normal apparently.
She sent me some recent photos, including this one she took when they were still in the hospital.
See in the background, how the shower head is low. It's adjustable. Noel was able to let her take little baby-sized showers under it. Nonny thought it was the cat's pajamas. Then they had to lance her foot and she wasn't allowed to take any more showers. This was how she felt about THAT decision.
"I want the water on NOWWWWW!!!!"


Electromagnetic Geoservices ASA (EMGS) has signed a data licensing agreement with a customer worth USD 3.5 million for the provision of 3D EM data from EMGS's multi-client data library in the Barents Sea.
"It satisfying to note that our multi-client library continue to provide value for new and existing clients in the Barents Sea. An increased acceptance of EM as a value adding exploration tool in the region, and our vast coverage coupled with customer's success, bode well for the future," says CEO Roar Bekker.
EMGS' multi-client data library in the Barents Sea now covers 42,000 km2, in addition to approximately 10,000 km2 in the Norwegian Sea and 1,400 km2 in the North Sea.
Posted on September 24, 2014 with tags Barents Sea, data, EMGS, europe, Multi-client, News by topic.


text:
You See a Sight That Almost Stops Your Heart*
Posted on 20 May 2021 20 May 2021 by Margot Kinberg
Horror filmmakers often use a 'jump scare' strategy to ratchet up the tension in the film. 'Jump scares' can take any one of a number of forms: banging doors; figures popping out from behind trees; and faces suddenly appearing in mirrors are just a few examples.
It's harder to create that effect in a crime novel, since there's no visual imagery. And if it's not done well, a scare like that can be melodramatic and can take away from the story. But when it's done well, a sudden scare can add suspense and atmosphere to a story.
For instance, Marie Belloc Lowndes' The Lodger is the story of Ellen and Robert Bunting, who've retired from domestic service. Money's tight, and they find that they have to open their home to lodgers. The problem is that Ellen in particular is very fussy about who should live in their home. So their room goes unlet for some time. Then one day, a man calling himself Mr. Sleuth arrives and asks about a room. He talks and acts 'like a gentleman,' and it's clear he can afford to pay. So the Buntings agree to let him rent their room. At first, he's quiet and polite, if quite eccentric. But slowly, Ellen begins to wonder whether he might be more than he seems. She suspects he may be a mysterious killer the police have dubbed the Avenger. Gradually, she becomes convinced, and her husband starts to share her concerns. One night, he's walking home when all of a sudden, he sees Mr. Sleuth come up in the darkness. It's a very effective 'jump scare' moment, and it adds to the tension.
In Agatha Christie's Murder in Mesopotamia, Hercule Poirot investigates the murder of Louise Leidner. She was the wife of noted archaeologist Eric Leidner, and had joined him and his dig team at an excavation a few hours from Baghdad. It's very unlikely that she was killed by an outsider, since anyone coming into the house where the team stays would be noticed. So Poirot looks among the people living there to find the killer. One of those people is Nurse Amy Leatheran, who was hired to help Mrs. Leidner cope with nervous anxiety. Nurse Leatheran isn't at all a fanciful person, but one day, she goes to Mrs. Leidner's bedroom to try to imagine who might have killed her. She lies down on the bed and goes over the case step by step…and then the door creaks open. It frightens her badly, and it makes for a suspenseful scene.
In Hake Talbot's Rim of the Pit, a group of people gathers at a New England home called Cabrioun. It was the home of Grimaud Désanat, but now belongs to his widow, Irene. She is a medium, and has decided to use her powers to conduct a séance, during which she wants to contact her dead husband. That's not as far-fetched as it seems, since more than one person at this séance believes in spiritualism. There are a few 'jump scare' moments during the séance, and everyone is on edge. Then, Irene is found dead. Now, the question becomes, who killed her and why? There are several possibilities, but the one thing everyone knows is this: someone staying in the house is responsible. That, too, adds to the tension.
As Mark Rogers' Koreatown Blues begins, we meet Wes Norgaard, manager of a Los Angeles car wash company. One evening, he's visiting one of his regular haunts, a Korean bar called Saja. Various patrons are taking turns at karaoke when a man named Dae-Hyun enters the bar. He's barely inside when a shot is fired from outside, killing him instantly. Everyone's shocked, including Norgaard. At first, he doesn't think he'll have to be much involved, except for answering a few police questions. But that's not what happens. As it turns out, Dae-Hyun's murder is related to a very old feud between two family groups, and whether he wants to or not, Norgaard ends up getting drawn into it. The scare at the beginning adds some real suspense to the novel. It also serves to 'hook' the reader.
Peter May's The Blackhouse is the first of his Lewis trilogy. At the beginning of the novel, a teenage couple slip into an abandoned boathouse for some privacy. They both get a 'jump scare' when they find the body of Angel Macritchie, who's lived all his life on the Isle of Lewis. Edinburgh police detective Fionnlagh 'Fin' Macleod is working a case that has a lot of similarities to Macritchie's murder. So he is seconded to the Isle of Lewis to help in the investigation. For MacLeod, this is a homecoming, since he grew up on the island. But he had his reasons for leaving, and was in no hurry to go back. Now that he has returned, he'll end up facing some of his own ghosts from the past as he works with the local police to find the killer.
There are, of course, a lot of other crime novels that feature 'jump scare' moments. When they're done effectively, they build tension, they keep a story going, and they keep the reader engaged. What do you think? What's your take on this strategy? If you're a writer, do you use it?
*NOTE: The title of this post is a line from Michael Jackson's Thriller.
Posted in Agatha Christie, Hake Talbot, Marie Belloc Lowndes, Mark Rogers, Peter May
I'm Taking the Reins*
Let's Fly, Let's Fly Away*
10 thoughts on "You See a Sight That Almost Stops Your Heart*"
I agree that it is harder to create a scary, threatening event in a novel, but I don't like that kind of tension in my reading anyway so it is more comfortable for me that way.
You're not alone, Tracy. There are plenty of readers who don't want those sudden scares in their stories (or films, for that matter). As you say, it is hard to build up that sort of tension, anyway, in a novel.
20 May 2021 at 10:40 pm
One of the scariest description for me was this from Death in Kashmir:
"And the night was so quiet that Sarah could hear, like a whisper in an empty room, the far, faint mutter of thunder from behind the distant mountains of the Nanga Parbat range on the opposite side of the valley. But she had not taken more than two steps towards the hut when she heard another sound; one that was to remain with her and haunt her dreams for many a long night to come. The creak of a door hinge…
Sarah checked, staring. Frozen into immobility by the sight of the door that she had so recently closed. Someone must have eased it open while she talked with Janet in the snow, and was now closing it again – slowly and with extreme care – and presently she heard the faint click as the latch slowly returned softly to its place. "
Very commonplace – a door closing softly -but the eeriness this passage conveys is absolutely spellbinding.
Oh, Neeru, that is scary! That description is so well done, and I can just imagine Sarah's emotions. It's just the sort of 'jump scare' moment I had in mind with this post, so thanks for sharing it. And I appreciate the reminder of Death in Kashmir, too. I ought to read that.
I hadn't heard that term before, but I do love when a writer pulls it off – as you say, it's not as easy with the written word as it is in films. Funnily enough, I was reading a book this week that has a great "jump scare" in it – I'll reserve the title since otherwise it'd be a bit of a spoiler. At one point as the detectives and suspects are gathered together in the home of the deceased, who should suddenly walk in… but the deceased!! Haha, it worked brilliantly – I jumped as high as the characters and then laughed at myself, which was clearly what the author was aiming for. 😀
Ha! I've done that, too, FictionFan! When an author includes a really good 'jump scare,' it's very hard to resist leaping up out of your seat. And I can well imagine that having a supposedly dead person walk into a room would be enough to everyone jumping up. It sounds like a great example of exactly the sort of thing I had in mind with this post. And I'll bet the author would be no end pleased to know that you were that caught up in the story.
I like your examples. No books immediately come to mind but Sharon and I were sitting in a Kansas City movie theatre watching The Bourne Identity when Matt Damon came crashing through the window. I do not even remember jumping up but I was standing. Just watched a clip on YouTube and still flinched. It was an amazing "jump scare". I did like the earlier Bourne movies. I was glad they were only loosely based on the books. I doubt Hollywood could have portrayed the subtleties of the books written by Ludlum.
There are just some scenes like that, Bill, that make people react, and I can imagine how Matt Damon crashing through a window would have that effect. You make a good point, too, about the similarities (or not) between the Bourne films and the books. Very rarely does Hollywood do an effective job of portraying those kinds of nuances and subtleties…
I agree with the differences between book and films. I'm an absolute coward when it comes to films with frights. I'm on edge before I settle into my seat. My family think it's hilarious. Books are much less likely to induce that level of discomfort for me. And thanks for the reminder of Rogers' Koreatown Blues. I've had it on the pile far too long!
Koreatown Blues is a good 'un, I think, Col. When you get to it, I really hope you'll like it. I'm with you, too, on 'jump scares' in film as opposed to books. I don't like those visual frights, either, but somehow, I don't mind them when I read about them. Not sure why, but there it is.


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the Iconocast: Chris Carlsson (episode 62)
In episode 62 Joanna interviews Chris Carlsson. Chris is a writer, San Francisco historian, bicyclist, tour guide, photographer, and a book and magazine designer. He's lived in San Francisco since 1978. He's written two books (After the Deluge and Nowtopia) and edited six, including: Critical Mass: Bicycling's Defiant Celebration and Ten Years That Shook the City: San Francisco, 1968-78.
He helped co-found Critical Mass in September 1992, and has ridden with Critical Mass rides in a dozen cities on three continents since then. He has directed Shaping San Francisco, a participatory community history project, since its inception in the mid-1990s, and continues to be co-director of the archive of San Francisco history at FoundSF.org. He also conducts award-winning bicycle history tours a dozen times a year, and hosts an ongoing Public Talks series in San Francisco.


AJ Rowed for Mercer for three years, serving as team captain her senior year. She graduated from Montgomery High School in 2013. AJ rowed for Rutgers University for 4 years and graduated in 2017 with a degree in Exercise Science – Sports Management and earned the Rutgers Student Athlete High Achiever Award. AJ currently coaches and runs a Special Olympics Local Training Program in her spare time.


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At United Way of Greater Chattanooga, the health and safety of our community is our priority. We have been closely monitoring developments related to COVID-19 and will be following guidelines from the CDC and Tennessee Department of Health. We know you may have questions about what we are doing to keep our community healthy, and we want to share the actions we're taking to help.
Right now we are working closely with a variety of community partners to provide consistent messaging and responses on the pandemic to the social services sector.
Needs and Volunteer Opportunities
If you are looking to Get Help or Give Help, we have added a COVID-19 Community Response section to our website. These pages include an evolving list of community partner resources, volunteer opportunities, supply needs and giving opportunities. These will continue to be updated as we gather new information on efforts from our partners on behalf of the community and we will be sharing on our social channels as well. If you are a nonprofit providing assistance during the COVID-19 pandemic, please fill out this form and we'll work to connect with you and add you to shared relief effort databases.
To help limit the spread of COVID-19 and support efforts to promote social distancing, United Way offices will be closed to the public effective March 16, 2020, until further notice.
As a duty of care organization, we recognize our role in ensuring all Greater Chattanoogans get the support they need during this critical time. As such, most United Way staff will be working remotely and will continue to be available by email, phone, or virtually.
United Way public events and trainings scheduled for March and April have been canceled, postponed, or will be accommodated online. Events scheduled for May or later will be determined in the coming weeks.
Greater Chattanooga has repeatedly proven that we are strongest during our most difficult times. Uniting and supporting one another is what we do. Please take care of yourself, and we thank you for taking care of one another!
For current information and guidance regarding COVID-19, please go to the Tennessee Department of Health website.
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A patient was having difficulty with symptoms of gout. They were on Allopurinol 300 mg daily for their hyperuricemia (elevated uric acid happens in gout). This particular patient would have flares periodically and had about 3 over the last year requiring the use of Indomethacin 50 mg three times daily for up to a week at times. Due to ongoing issues with these gout flares and trials of multiple different medications for their gout, the prescriber wrote for the patient to have an order for the indomethacin as needed without a limit on the length of use. Indomethacin is notorious for causing GI bleeding, but also a hallmark medication for the symptomatic treatment of a gout flare. In this case, the patient experienced great relief from the Indomethacin 50 mg three times daily, but without the limit on how long the patient should use it, they continued use indefinitely. Often if chronic NSAID therapy is required, prescribers will use GI protection (usually a PPI i.e. omeprazole, pantoprazole etc. or an H2 blocker like famotidine or ranitidine). In this case, the patient was not on GI protection. Within a couple weeks of consistent use of the indomethacin, the elderly gentleman was hospitalized experiencing significant GI distress and began to have black tarry stools – indicating the presence of a GI bleed or NSAID induced ulcer.
But how long should we continue the GI protection medication? As long as the patient is on Nsaid? Does cardiac protective dose of aspirin require gi protection medication as well?


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