text:
Artistic confidence is a valuable asset when it is warranted, but a terrible liability when not.
Unfortunately, the nature of confidence is that it blinds us to whether it is warranted or not.
Picasso's huge ego was an asset when it gave him the courage to break with stale traditions. On the other hand, Julien Schnabel's ego did him no favors when it led him to claim, "I'm the closest thing to Picasso that you'll see in this fucking life." Confidence can be the Jekyll or Hyde of art.
Artist Markus Lüpertz certainly had the confidence to stand up to his critics. When he erected his latest public artwork -- a creepy, 60 foot sculpture of Hercules with one arm, a big nose, blue hair and a stunted body-- the New York Times reported:
in the past his work has been, to put it kindly, misunderstood. One piece was smeared with paint and covered in feathers. Another was beaten with a hammer. Another was removed altogether after protesters demanded it be taken down. "It doesn't matter," said Mr. Lüpertz...."The general opinion of my art is that it is rejected. I attribute this to a lack of intelligence among the people."
Some of Lupertz's confidence comes from avoiding nay-sayers:
I only work with students who admire me and think I am great. If I am not the one that takes their breath away, I don't feel like working with them, because this would be a waste of time. It's not about their individualism, it's about my individualism. It's not about their genius, it's about my genius.
Lupertz shows us that confidence can transform bad art into immense, unavoidable bad art.
At Stone Mountain, Georgia, sculptors Augustus Lukeman and Walter Hancock defaced an entire mountain with a sculpture the size of three football fields.
The sculpture, which depicts heroes of the Confederate Army, was sponsored by the Ku Klux Klan and the United Daughters of the Confederacy. As a work of art, it exemplifies the struggle between a pathetic lack of talent and disgusting racism. Most artists might look for a more inconspicuous location for such a struggle-- perhaps hidden in the back pages of a personal sketchbook. But if you have unquestioning confidence, you try to assert your position bigger and bolder and more permanently than anyone else's.
The jackhammer and dynamite are apparently favored tools of the overly confident. Consider this awful sculpture of chief Crazy Horse, currently on its way to becoming the largest sculpture in the world:
The sponsors of this statue hired sculptor Korczak Ziolkowski in 1948 to begin reshaping a mountain into a figure larger than Mount Rushmore. The head of Crazy Horse alone is 87 feet tall. The scale model pictured here in front of the despoiled mountain is so bad, an artist with any judgment would have returned to the drawing board. But confidence never heard the Turkish proverb, "No matter how far you've gone down the wrong road, turn back."
Confidence has served many artists well, giving them the strength necessary to undertake difficult projects and make bold decisions. Illustrator and art teacher Sterling Hundley reports,
I've had students in the past ask me the question: "Do you think that I am good enough?"
My answer: "If anyone could say anything in that moment that would keep you from pursuing your dreams, then you should find something else to do with your life."
This is surely true. On the other hand, when writer Flannery O'Connor was asked whether college writing programs were discouraging young writers, she responded "Not enough." This is surely true too.
Distinguishing between helpful and unhelpful confidence is one of the greatest challenges facing any artist. When is it Jekyll and when is it Hyde? If there is a formula, I lack the confidence to articulate it here.
Posted by David Apatoff at 12:33 PM 72 comments:
THE ERA OF CELEBRITY ILLUSTRATORS
Once upon a time, the world's largest media companies bragged in full page ads about their upcoming illustrations:
From the back cover of Life Magazine. When was the last time you saw an ad like this?
Magazines urged readers to spend more time studying illustrations:
This was all driven by economics, of course. The general public followed the work of top illustrators and made purchasing decisions based on their art:
Before the invention of movies and computer videos, illustrators were the George Lucas and Steven Spielberg of their day. They created magic images that captured the public imagination and shaped public taste. They invented cultural icons:
This was the great power of stationary images in an era before people learned that pictures could also be made to move and talk.
Like the Cecile B. DeMille of his day, Gustave Dore (1832-1883) shaped the world's image of epic stories such as the Bible, Paradise Lost and Dante's Divine Comedy. His books (and his visions) were everywhere.
Celebrity illustrators were were richly paid for their contribution to the mass entertainment industry. Charles Dana Gibson, who created the popular Gibson Girl, went from being a cartoonist for Life Magazine to taking over the entire magazine. His work enabled him to retire to his own private 700 acre island. Illustrator Henry Raleigh earned enough from drawing illustrations for three or four months to spend the balance of the year traveling the world lavishly with family and friends. He spent freely, giving away thousands of dollars. He maintained a yacht, owned a mansion and kept a large studio in downtown Manhattan.
Those days are gone. Like a huge peristaltic wave, the mass entertainment market has moved beyond illustration to other media.
There is nothing surprising about this. The golden age of illustration began in the 19th century by crushing the old fashioned wood engraving industry, which could no longer retain an audience when compared to color photo-engraving. Later, silent movies could not hold out for long against sound movies. Black and white movies were similarly vanquished by color movies. It remains to be seen what will happen with 3D, or 48 frame per second movies, or the next development after that.
This evolution seems to be powered primarily by the economics of mass marketing. There will always be a significant role for still pictures, but a medium that talks (and therefore doesn't require the consumer to read text), that moves (and therefore doesn't require the consumer to imagine the implications of a moment isolated by a static drawing), a medium that completely fills our sight, sound, olfactory and other senses, allowing us to passively absorb, seems to have a natural advantage over a medium that doesn't fill in all the blanks for us.
I see no prospect of this trend reversing itself, barring a global electromagnetic pulse (EMP) from thermonuclear war that renders all electronic viewing devices useless. If nuclear winter ever comes, illustrators can look forward to returning to their historic birthright as the powerful shamans who make magic images on the cave walls.
But for now, I think it is important to emphasize that, while illustration is no longer the centerpiece of the entertainment world, and the great peristaltic wave took celebrityhood and money with it, it did leave the "art" portion behind. And that, my friends, is the most important part.
Posted by David Apatoff at 4:11 PM 114 comments:
IS IT OKAY TO LIKE PULP ART?
Last week the Society of Illustrators opened a wonderful exhibition of pulp magazine covers from the 1930s and 40s. The show includes nearly 90 paintings of scantily clad damsels in distress, hooded fiends with elaborate torture devices, and futuristic space heroes. This is probably the most emotionally uncomplicated art you will ever find: big, juicy paintings with the open heart (and emotional maturity) of a 14 year old boy.
Some of the paintings, such as this gem by the great Baron Leydenfrost, are executed with astonishing skill:
But most of these pictures are painted with a technique as vulgar as their content. There was no room for subtle colors and elaborate compositions on a magazine rack crowded with competing pulp magazines.
The girls on these covers always seemed to be in peril, and ripe for rescue by the proper hero.
Young male readers were tantalized by the prospect of what lay beyond those slightly parted dressing gowns or those strategically torn shirts. They pored over these illustrations for clues to what awaited them someday. It's a mark of their innocence that their best plan for winning such favors was by rescuing a girl from space monsters.
If you're looking for a holiday from moral complexity, pulp art may be just the oasis for you. In fact, the owner of this marvelous collection, Robert Lesser, calls it "escape" art. But its simple mindedness is the source of both its joyful strength and its gnawing weakness.
Which brings me to my question of the week: Is it okay to like pulp art?
Let's put aside that this stuff is politicallly incorrect. My question is focused solely on artistic merit. Is this stuff anything more than "chewing gum for the eyes"? What are we to make of art that is not particularly well painted and does not challenge us mentally or emotionally, that raises no questions and doesn't expand our vision, but is undeniably likable for nostalgic reasons?
Beryl Markham cautioned us about the temptation to look over our shoulder at simpler, bygone days:
Never turn back and never believe that an hour you remember is a better hour.... Passed years seem safe ones, vanquished ones, while the future lives in a cloud, formidable from a distance. The cloud clears as you enter it. I have learned this, but like everyone I learned it late.
This is a worthy sentiment, but I nevertheless think pulp art is a valid art form. The moral obviousness of these pictures gives them an ethical virility that you won't find in more sophisticated art. They are akin to religious paintings from the age of faith, which left no ambiguity about who was the bad guy, who was the hero, and which blonde needed to be rescued.
The fact that such ethical clarity is an illusion doesn't mean it isn't art.


text:
T.S. Spivet (Kyle Catlett) is the title character of The Young and Prodigious T.S. Spivet. He's a 10-year-old child prodigy with a passion for cartography, scientific observation and invention. T.S. lives on a range in Montana with his entomologist mother, Dr Clair (Helena Bonham Carter), his father (Callum Keith Rennie), who dreams of being a cowboy, and his teenage sister, Gracie (Niamh Wilson), who wants to become Miss America.
T.S.'s twin brother Layton (Jakob Davies) has died in a shooting accident involving T.S. Although the entire family is grieving, nobody talks about the accident and T.S. is very distressed. He blames himself for the accident and has imaginary visits from his dead brother.
One day after attending a lecture on perpetual motion, T.S. decides to invent a perpetual motion machine and submits his blueprints to the Smithsonian. Sometime later, he gets a call from G.H. Jibsen (Judy Davis) from the museum who, believing T.S. to be an adult, informs him that he has won a prestigious award for his machine. Miss Jibsen invites T.S. to Washington to accept the award and give a speech.
Without telling his family, T.S. packs a suitcase and sets off on an eventful journey to Washington D.C.
Death of a family member; guilt and grief; family relationships; child prodigies
The Young and Prodigious T.S. Spivet has scenes related to the accidental gun death of a young child. It also has action and peril involving young children, and scenes that show injury to animals, including some blood and gore. For example:
A young boy fires a rifle at a cat with a tin can tied to its tail. The cat runs away with the tin can dragging behind it.
A flashback scene shows a barn. There is the sound of a gunshot and a bright flash from the barn. Then we hear a monologue about how a young boy died.
A married couple has a heated argument, shouting at each other.
A truck driver tells T.S. that he joined the army to 'meet interesting people and kill them'.
A woman slaps another woman hard across the face. A man punches a second man in the face and knocks him to the ground.
In addition to the violent scenes mentioned above, The Young and Prodigious T.S. Spivet has some scenes that could scare or disturb children aged under five years. For example:
Several scenes show images of large dead insects, which are being examined by an entomologist. There are several stuffed animals in life-like poses, including a mountain lion, a coyote and an eagle.
A rattlesnake confronts T.S. CGI makes the snake appear unrealistically large and threatening (from the boy's perspective) as it rears up.
One scene shows imaginary images of a Halloween jack-o'-lantern pumpkin under a young boy's bed.
The pumpkin has scary cut-out eyes and a mouth with jagged teeth. When the boy gets out of bed and puts his feet on the ground, the pumpkin's mouth starts making biting movements.
There is a dream-like image of the top of a young boy's head with smoke pouring from his hair as if his head is about to burst into flames
In addition to the violent scenes and scary visual images mentioned above, The Young and Prodigious T.S. Spivet has some scenes that could scare or disturb children in this age group. For example:
T.S. is disturbed by the accidental shooting of his twin brother. Throughout the movie he talks about his involvement and his belief that he was responsible for his brother's death. In an extended and emotionally intense scene he tells an adult audience about the incident and the fact that his family won't talk about it. There are flashback images of him sitting on a bathroom floor while his older sister holds him and his mother cries. Throughout the movie T.S. has imaginary conversations with his dead brother.
The movie has several perilous scenes involving T.S. One shows him jumping onto an inclined conveyor belt, riding it to the top and then jumping from the conveyor onto a moving freight train. In another scene a security guard chases him. He jumps across a gap in a bridge and almost falls. He is injured by the impact, grimacing in pain and clutching his side. Later we see images of his badly bruised ribs, and we hear that he has several broken ribs.
T.S. feeds his dog unknown herbs and then forces his dog to vomit. When his mother appears he kneels down and pretends to vomit. There is a small puddle of vomit on the ground. In a later scene we see him vomit into a sink.
A man on a ranch brands a young calf. He pins the calf to the ground and then presses a hot branding iron into the calf's rump. There is a loud hissing sound, and smoke bellows from the branding iron.
A goat is entangled in barbed wire and covered in blood.
Children in this age group might also be disturbed by some of the scenes mentioned above.
Younger children in this age group might also be disturbed by some of the scenes mentioned above.
The Young and Prodigious T.S. Spivet has some sexual references. For example:
A woman talks about the objectification of women in beauty pageants.
A young boy says, 'If you make a baby, it means you love each other'.
After being teased at school, a young boy asks his mother if she has AIDS.
The Young and Prodigious T.S. Spivet shows some use of substances. For example:
Scenes show a man sitting in a lounge chair sipping whisky from a glass. T.S. says his father takes a sip of whisky from his glass every 45 seconds.
A woman drinks champagne from a glass and is later seen slurring her words and acting abusively.
None of concern
The Young and Prodigious T.S. Spivet shows some US fast food brands.
The Young and Prodigious T.S. Spivet contains coarse language and name-calling.
The Young and Prodigious T.S. Spivet is an adventure drama suited to older adolescent and adult audiences. On the surface it's about a young boy's lone journey across the US, but it's also a story about facing emotional demons and a child's desire for his parents' love and respect. The movie is thought-provoking and at times emotionally intense, although with a quirky whimsical feel.
It contains violence, disturbing themes and scenes, and coarse language. This makes it unsuitable for children and tweens, and we strongly recommend parental guidance for younger teenagers.
Parental love and respect is crucial to a child's health, happiness and wellbeing.
Self-blame is destructive and debilitating.

redpajama_set_name: RedPajamaCommonCrawl


text:
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by	MK Raghavendra	July 1, 2019
A 'prequel' to a film classic is sometimes a much better marketing ploy than a sequel – especially when the first film began on an intriguing note. Ridley Scott's Alien (1979) is a horror classic and it engendered several sequels by other filmmakers until Ridley Scott embarked upon its prequel Prometheus (2012). To those who have not seen the original film – and there cannot be many of those – Alien begins when a spaceship carrying minerals is returning to Earth from a distant galaxy. When signs of life are detected on a passing planet, the crew is directed to explore and report back to headquarters. Members of the crew land on the planet; what they see is initially hazy but Alien puts together one of the most striking sets in film history. What we see in the darkness and fog is something that resembles the remains of an ancient spaceship perhaps half a mile across, twisted and eaten away by the elements. On the floor deep inside, the crew members find irregular protrusions – which reveal themselves to be primitive creatures attached to the floor like barnacles, opening up on inspection to reveal pink tissue, moist, veined and throbbing; this strange but not yet threatening creature goes on to bring about one of the scariest monsters in Hollywood film history.
A set like the one in Alien is simply designed to enthrall and excite – which it unfailingly does each time – and not provide reasons for how whatever we see came about. The prequel, on the other hand, needs to create a narrative basis for Alien's opening set. It has not only to think up a plausible narrative but also connect with the film-going public's concerns today. The unfortunate fact it must contend with is that this public is less intelligent than the one in the 1970s – perhaps the best period for Hollywood. Ridley Scott is obviously not to blame for Prometheus because, given the film's cost, he can hardly take chances. If Alien was a horror film, Prometheus attempts to become 'philosophical' about mankind's origins. "The search for our beginning could lead to our end," declares the poster for the film and this suggests getting on with 'philosophy' without losing out on horror.
Prometheus begins with a humanoid alien on primordial earth. As he drinks a dark bubbling liquid, he starts to disintegrate. As the alien's remains fall into a waterfall, his DNA triggers a biogenetic reaction. In 2089, archaeologist couple Elizabeth Shaw and Charlie Holloway discovers a star map among several unconnected ancient cultures. They interpret this as a sign from humanity's forerunners, whom they name 'the Engineers'. Peter Weyland, the CEO of Weyland Corporation, funds the creation of the scientific vessel Prometheus to follow the map to the distant moon LV-223. Arriving in 2093, they are informed of their mission to find the Engineers. Mission director Meredith Vickers orders them to avoid making contact without her permission, a directive which, in order to get the story going, they ignore. The Prometheus lands near a large artificial structure, which the team explores.
Relating the rest of Prometheus is pointless and what is important is that there are two kinds of creatures to be accounted for plausibly. On the one hand are the humanoids from the opening sequence who are presumably the Engineers who engendered mankind and on the other are the monsters which proliferated in Alien and its sequels. Since there is an ancient spaceship also to be accounted for, the Engineers cannot be indigenous to LV-223 but should be made to have arrived from elsewhere.
Our curiosity revolves around the relationship between the two kinds of beings because they are so different – gods and monsters – and it is necessary to have one explanation for both. It would, for instance, be ludicrous to propose that the two arrived separately on spaceships from different planets and encountered each other accidentally on LV-223. It would also be unacceptable for the Engineers to have arrived in a spaceship and being undone by local monsters because that would be like replicating Alien.
The artificial structure, it turns out, is an ancient spaceship. After analyzing some Engineer remains, the explorers conclude that they have DNA exactly like that of men; they are actually our ancestors. The explorers are accompanied by an android named David (Michael Fassbender) who has the capacity to understand any language from anywhere. How a man made entity can now know more than men is a philosophical issue that the film does not resolve but David is able to track down a surviving Engineer by reading charts and notations scattered all over the ancient spaceship. The Engineer is slumbering and they awaken him so they can ask him questions with David's assistance. Instead of being happy to talk to them – as a father might be to a long lost son – the Engineer tries to destroy them. Fortunately, however, a monster is lurking around and swiftly disposes of the Engineer.
The Engineers, it appears, were from another planet a long way off and stopped over here with a cargo of monsters in sealed aluminum containers. They were bound for Earth and the monsters were actually 'weapons of mass destruction' with which they were planning to destroy mankind. "The Engineers created us but later wanted to destroy us," we are told mysteriously. The choice of beasts as 'weapons of mass destruction' was an apparently eccentric one because the monsters eventually escaped and killed the Engineers until there was only this one survivor left. It is finally left to Elizabeth Shaw, who has just given birth to a monster, and a resurrected David to locate another Engineer spaceship and journey to the Engineers' home planet, which is perhaps Heaven allegorized.
Its dazzling visual effects help a little but Prometheus is still unable to conceal the clumsiness of its own conception. There are too many things to be brought together and the film fails by a light-year. What is more interesting, however, is the philosophical issue the film is exploring – which Elizabeth Shaw appears to regard as the most important of philosophical questions: "Where do we come from?" It seems to me that this becomes an important question only if interpreted as involving the mystery of all life. If mankind came from some other planet – LV-589 instead of LV-223 – there would still be a more difficult question to answer which is where the Chimpanzee came from and that could not be answered by "LV-901"; we would be left to then explain the Gorilla and so on.
Prometheus is probably designed to attract a neo-conservative creationist oriented audience, a public which looks at 'Intelligent Design' (ID) as a viable alternative to Darwinian evolution. There has apparently been a demand in the US to install ID in school/ college curriculums as a serious discipline. With the full-scale commercialization of education, there is perhaps a movement towards democratization – spreading the general sense that all disciplines are intellectually equal so that those who embark upon PhD programs in 'Happiness Economics' feel intellectually equal to those doing theoretical Physics. Darwinian evolution may have glitches but it is still elaborate enough to be a full-fledged discipline – while ID rests on the 'watchmaker analogy' ('If a watch needs a watchmaker, could something as complex as the Universe have come about by accident?') The fact that a color picture of the inside of a watch is provided alongside the analogy does not make ID more profound. The spectacular visual effects in Prometheus are perhaps like the picture of the watch given alongside the argument whenever ID is propagated. It doesn't help its intellectual thrust but it can distract you from seeing it for the nonsense that it is.
To conclude, one wonders how the origin of mankind – without attaching it to that of life on Earth – could have assumed so much importance in the mind of any audience. Is the public drawn to Prometheus so self-important that it looks upon Man (i.e. itself) as the endpoint of a process set in motion in another corner of the Universe? Anyone with even a hazy idea of the extent of the Universe – as understood – can only feel insignificant as a human being but here is Mankind being placed at the Universe's centre – as though this were before Copernicus and Galileo. One reason there was so much resistance to Galileo was that if the Earth was no longer at the centre of the Universe, neither would the Church be. There is perhaps a clue here through which we can understand Prometheus. Ridley Scott is British but the film itself could have only come from Hollywood. Gradually, it seems, the US has begun to see itself as the centre/culmination of creation/ evolution and evidence of this is found even in a film like Terrence Mallick's The Tree of Life. If 'Man' was synonymous with 'Christianity' to the Church in Galileo's time, it could well mean the US to Hollywood in our own time. It was the power exercised by the Church that made it place itself at the centre of the Universe and it can be argued that it is the political/ military/ technological power exercised by the US that makes Hollywood do likewise.
More film reviews by Anirban Lahiri, Dalton L, MK Raghavendra, and Utpal Datta
Film review excerpts by Anna MM Vetticad | Ashmeera Aiyappan | Baradwaj Rangan | Cris | Johnson Thomas | Karan Bali | Mayank Shekhar | Nandini Ramnath | Piyasree Dasgupta | Rahul Desai | Raja Sen | Rajeev Masand | Rajesh Kumar Singh | Saibal Chatterjee | Sajin Shrijith | Saumil Gandhi | Shoma Chatterjee | Shubhra Gupta | Sowmya Rajendran | Stutee Ghosh | Sukanya Verma | Suparna Sharma | Sweta Kaushal | Tanul Thakur | Uday Bhatia | Udita Jhunjhunwala | Velu Nair
Prometheus on IMDB
by	MK Raghavendra	- Jun 14, 2019
Rare footage of lost 1948 film, Vande Mataram, now in NFAI collection
by	- Jul 9, 2019
MK Raghavendra
MK Raghavendra is a Bengaluru-based film/literary scholar, theorist, critic and writer who had, till 2016, authored six volumes on cinema, and contributed to numerous newspapers and periodicals in India and outside. He received the Swarna Kamal, the National Award for Best Film Critic in 1997. He is the co-founder of the film journal 'Deep Focus'; the founder-editor of 'Phalanx', an online journal dedicated to debate; and a member of both FCCI and FIPRESCI. He has been a member of the jury for various international film festivals as well as for the Indian Panorama (twice) by the government of India.
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You, as an icon designer, should not forget that nine times out of ten the icons you create are going to be used in some context rather then on their own. It could be an app, a website, a flyer, a book, a sign at the airport, etc. This means, the icon will make a huge contribution to the overall user experience. And great user experience is something you don't want to underestimate. Your job is to make sure that your icons make it as pleasant and easy as possible for potential future users. So, that being said: What should you keep in mind when designing icons to assure great user experience?
Does it convey the right message?
Icons should communicate a very clear and easily understandable message. Make sure you avoid icons with conflicting meanings.
Does it communicate with the target audience?
If you don't have the specific target audience, you have already lost. Every app, website or service has their target audience. You should create icons that will talk directly to that audience.
The icon's meaning has to be as clear as possible. This means no hidden connotations, nothing too complicated that could mislead the user. It should take a couple of seconds to recognize and understand the icon.
If it is possible, always check how your icons looks like in the context they will be put in. Icons may look really nice and distinct on white background, the real question is though, is it as clear and good on a cluttered website or on the billboard at a crowded bus station.
Always–always!–know why you did a certain thing the way you did it. Ask yourself why you've chosen the particular metaphor or what you're trying to achieve with this exact shape or line. This way you will know that your icons hit your target audience.
Commonly, the best way to see if your icons are clearly recognisable is just to ask people about it! Compile all the icons in one file without giving away any clues about what each of them means, send it to somebody who will be using the icons and ask them to describe what whey think each icon represents. The key is to pick somebody from the target audience. If you send the icons depicting parts of a bmx bike to your granny, chances are she wouldn't have an idea of what that is. Unless, of course, she is a professional biker!
I know that most of the times it's really difficult to test your design decisions. But if you have even a slight chance of seeing how people react to and interact with your icons — never miss it. Given a chance, show the app that features your icons to someone to see if everything looks clear to them. Do the A/B testing using different icons or icon variations, if possible.
All in all, always remember that you're designing not pretty pictures–or not just pretty pictures–but rather people's experiences. Your icons are going to be used by real people and it is your task to make their experience as smooth as possible. If they get frustrated because they don't get the meaning of an icon or get lost in the app, they will most likely close it and don't order the service your client is offering. It is a loss for everyone, so take your job seriously and design some amazing experiences!


This week was more complicated.
Well, we haven't been going to church for a while. We joined one church when we moved here 10 years ago but have since occasionally been attending another church. Mild panic. Was Will the only kid who couldn't readily identify his religion?
I sent an email specifying what religion we are and where we have been going to church. To which, there was no reply.
It was a disjointed email because Will had omitted the word "what." However, I was able to read between the lines: "I forgot what we believe for religion." Where would book fit in here?
"Look, Mom... I said, 'I forgot we believe for religion.'" He showed me the book.
"Cap-it-al-i-za-tion, Will! Grammar is EVERYTHING!"
I would like to give the same message to the graphic artists who designed the book cover.


The Third Age Centre honours and recognizes outstanding contributions to the quality of life and wellbeing of New Brunswick seniors with two annual awards. The Wakeling Award, named for George Wakeling, one of the founding members of the Third Age Centre, is for an individual. The Logue Memorial Award, named for Marjorie and Ottis Logue, former members and generous benefactors of the Third Age Centre, is for an organization or group. These awards are presented on October 1st each year, at the International Day of Older Persons luncheon hosted by the Third Age Centre in Fredericton.
These awards have a proud history of more than twenty years.
Award recipients in both categories are selected on the basis of the impact, quality, and creativity of the service that has been provided, and in light of a demonstrated ongoing commitment to bettering the lives of older adults in New Brunswick.
TAC President Donna Evans presented the George Wakeling Award to Constable Duncan Lombard, a 25-year veteran with the Fredericton Police Department. During the last eight years, Cst. Lombard has taken on a number of crime prevention related initiatives, including developing a Seniors Advisory Group. Cst. Lombard was instrumental in bringing a group of seniors together as volunteers to move initiatives forward for adults 50 years and older. Cst. Lombard, with this group of volunteers, has moved forward a number of crime prevention and harm reduction initiatives.
Jesse Everett of Stanley was awarded a special certificate for his exemplary work and presence among the residents at Nashwaak Villa, Stanley.
Two recipients were honoured with the George Wakeling Award in 2014.
Michele Madore, President of TAC, left, and Lieutenant-Governor Graydon Nicholas present Marion Norquay with the George Wakeling Award.
Lt.-Governor Graydon Nicholas, left, presents Fred Beairsto with the George Wakeling Award. The award was announced by TAC President Michele Madore, right.
The Logue Memorial Award 2014 recipient is the Fredericton Area Network (FAN) Inc. Pictured are Lt.-Governor Graydon Nicholas, left, TAC President Michele Madore, FAN President Chris Grady, and FAN members Bob Andrews, Bill Brayall and Allison Warren. Absent from the photo are FAN members Murray Swan, Willard Miller and Llewellyn Brewer.
© 2014 St. Thomas University. Fredericton, New Brunswick, Canada.


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Energy News / Shareholders Foundation, Inc.
NASDAQ: ASTE Shareholder Notice: Lawsuit Alleges Misleading Statements by Astec Industries, Inc.
Updated 11:15 AM CST, Wed, February 13,2019
A lawsuit was filed on behalf of investors in Astec Industries, Inc. (NASDAQ: ASTE) shares over alleged securities laws violations.
San Diego, CA -- (SBWIRE) -- 02/13/2019 -- An investor, who purchased shares of Astec Industries, Inc. (NASDAQ: ASTE), filed a lawsuit over alleged Securities Laws violations by Astec Industries, Inc. in connection with certain allegedly false and misleading statements.
Investors who purchased shares of Astec Industries, Inc. (NASDAQ: ASTE) have certain options and for certain investors are short and strict deadlines running. Deadline: April 2, 2019. NASDAQ: ASTE investors should contact the Shareholders Foundation at mail@shareholdersfoundation.com or call +1(858) 779 - 1554.
Chattanooga, TN based Astec Industries, Inc. designs, engineers, manufactures, and markets equipment and components for the road building, aggregate processing, geothermal, water, oil and gas, and wood processing industries in the United States and internationally. On July 24, 2018, Astec Industries, Inc announced its financial results for the second quarter of 2018 and disclosed that Astec Industries, Inc was exiting from its contractual obligations concerning the Highland wood pellet plant in Arkansas "driven by unresolved issues, which inhibited the plant's ability to meet contractual provisions by the date required by the Company's sales contract with Highland." Therefore, Astec Industries, Inc "agreed to pay $68 million in cash in the aggregate over the course of the next 120 days and forgive approximately $7 million in receivables."
Then, before the market opened on October 23, 2018, Astec Industries, Inc reported third quarter 2018 results that fell well short of the low end of the Company's guidance and the market's expectations. Astec Industries, Inc reported a 1.2% decrease in domestic sales and a 20.2% decrease in backlog, with domestic backlog contracting by 28.1%, which was being dragged down by the Company's pellet business. For 2018, Astec Industries, Inc cut its core revenue growth forecast to 1% to 3%, down substantially from 7% to 12%. The Company also reported earnings per share of $0.30 for the quarter, widely missing the consensus estimate of $0.59. Revenue came in light as well, with Astec Industries, Inc reporting $256.6 million, below analysts' expectations of $276.8 million.
The plaintiff claims that between July 26, 2016 and October 22, 2018, the defendants made false and misleading statements and/or failed to disclose adverse information regarding Astec's business, operations and prospects, including that its wood pellet plants suffered from significant and costly problems that prevented them from running at their promised production capacity, posing a threat to the Company's pellet plant business, its overall financial performance, and its financial outlook. As a result of this information being withheld from the market, the price of Astec stock was artificially inflated to a high of nearly $70 per share between July 26, 2016 and October 22, 2018.
Those who purchased shares of Astec Industries, Inc. (NASDAQ: ASTE) have certain options and should contact the Shareholders Foundation.
About Shareholders Foundation, Inc.
The Shareholders Foundation, Inc. is a professional portfolio monitoring and settlement claim filing service, , which does research related to shareholder issues and informs investors of securities class actions, settlements, judgments, and other legal related news to the stock/financial market. Shareholders Foundation, Inc. is in contact with a large number of shareholders and offers help, support, and assistance for every shareholder. The Shareholders Foundation, Inc. is not a law firm. Referenced cases, investigation, and/or settlements are not filed/reached and/or related to Shareholders Foundation. The information is provided as a public service. It is not intended as legal advice and should not be relied upon.
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"The body of Senator Wagner was a spectacle never to be forgotten. The head was burnt and charred beyond the possibility of recognition, the legs were burnt off and the trunk bruised and disfigured…Later in the night he was identified by his gold watch, bearing the initials "W.W" his diary and several newspaper slips giving the election returns of his Senatorial district."—The New York Truth, January 15, 1882.
On the evening of January 13, 1882 the Western Express from Chicago pulled into Albany twenty-three minutes late. The State Legislature had just let out for the weekend and the Tammany Hall politicians were eager to get back to New York City for the weekend.
Demand for seats was so great that the railroad took on an extra fifteen cars accommodate the 500 new passengers. The fifteen new hitches included eight gleaming palace cars designed by burgeoning railroad tycoon and State Senator Webster Wagner. In addition, two extra engines were added to accommodate the additional weight as well as make up for lost time.
Wagner, on-board the train, proudly described his parlors of luxury, or "rolling stock," as he was fond of saying, to reporters and colleagues as champagne poured freely.
The trip was a jolly one. Snow settled softly alongside the tracks as the train barreled ever southward.
As the ride progressed the night turned into a booze fueled bacchanalia—the drunken passengers unaware of the impending disaster that lay around the bend.
Just after the Chicago express passed the hairpin turn where the Hudson River meets the Spuyten Duyvil, the locomotive came to an abrupt stop. Perhaps a drunken reveler had pulled the air brake as a gag?
Harper's Weekly cartoon, February 4, 1882.
Webster Wagner was not amused. He politely excused himself from the lavishly detailed palace car and stepped into the snowy night to investigate.
It was the last time he would be seen alive.
Standing above the cut William R. Murray, a brass moulder's apprentice at the local foundry, watched as the pending tragedy played out before his eyes.
In later testimony, Murray recalled standing on the stoop of Kilcullen's Hotel gazing curiously at the stalled train some 125 feet below the hotel and saloon.
Kilcullen's was a popular watering hole for the foundry workers at the Johnson Ironworks, which once produced munitions alongside the peaceful banks of the Spuyten Duyvil—and on a Friday night the saloon was likely packed.
Spuyten Duyvil in 1883, Johnson Ironworks on right and Inwood Hill on left.
From the safety of his perch, Murray watch as another train, the Tarrytown Special, also heading south, sped through the cut on a collision course with the rear end of the unsuspecting Chicago Express.
A brakeman on the train from Albany, in a vain attempt to warn off the approaching train, ran towards the Tarrytown train frantically waving his signal lantern. The Tarrytown engineer sounded his whistle seconds before slamming into the stalled train.
Soon the pure, snow-covered banks of the Spuyten Duyvil were a kaleidoscope of blood and flames. Screams pierced the night as volunteers waded through the inferno to pull survivors out of the collision before they burned alive.
Frank Leslie's Illustrated Newspaper, January 21, 1882.
Other resourceful volunteers, worried the boilers might explode, rolled giant snowballs towards the overheated engine cars. Some even pelted survivors, their clothes ablaze, with snowballs in a desperate attempt to save human life.
The disaster had such a profound impact on the railroad industry that the Spuyten Duyvil disaster was featured on the cover of Railroad Stories, a pulp magazine for train enthusiasts, more than half a century later.
Below, in its entirety, is the harrowing account published by Railroad Stories in 1935.
A light snow was swirling around the Chicago-New York Express as she double-headed out of Albany at 3:06—twenty-six minutes late—on a gray afternoon of 1882, straightened her "string of varnish" after leaving the yards, and settled down for the 142-mile run to New York City.
It was Friday the 13th. Although there were thirteen wooden cars in that train, the possibility of a jinx didn't seem to worry the seventy-seven politicians who were traveling southward from the New York State capital on free passes given by the New York Central & Hudson River Railroad.
They laughed and roughhoused like schoolboys on a holiday. As a matter of fact, that's just what it was. The State Legislature had adjourned for the weekend, and they were going back to the big city—back to the bright lights of Broadway and the three-story brownstone mansions of Twenty-third Street.
Interior view of parlor car showing the luxury of travel in the 1880's. Source: Railroad Stories, 1935.
Just behind the two locomotives were coupled two mail cars; then a baggage car and four passenger coaches, all the property of the railroad. Lastly, and most important, came six parlor cars: the "Red Jacket," the "Sharon," the "Vanderbilt," the "Minnehaha," the "Empire," and the "Idlewood" –all built and owned by the Wagner Drawing-Room Car Company, of New York; each valued at about $17,000.
Mr. Wagner himself was riding that train. Webster Wagner, of Palatine Bridge, N.Y. (some fifty-five miles west of Albany). Inventor of the sleeping car, president of the Wagner Company, five times elected to the State Senate, and an influential member of its railroad committee.
Webster Wagner, Source: Memorial of Webster Wagner, By L. D. Wells.
Mr. Wagner was sixty-four. He was tall and broad-shouldered, with a high forehead and blue eyes, and possessing rare vigor for a man of his age, his young son-in-law, Jay Taylor, was riding the same train as parlor-car conductor in charge of the Wagner rolling stock.
The newspapers that day were filled with rumors of a proposed merger between the Wagner Company, capitalized at five million dollars, and the Pullman Company, capitalized at ten million, which would soon be twelve and a half million. Such a combination would monopolize the field, revolutionize railway travel, and bring immense revenue to the stockholders of both concerns. It was expected to be the crowning triumph of Webster Wagner's long and useful career.
Stock certificate signed by Webster Wagner.
Newspaper reporters were trying to get a statement from Mr. Wagner; but, like the good politician that he was, he shook their hands with a genial smile—and talked about other subjects. As the Chicago Express rumbled through the deepening shadows of the late afternoon, winding the snow-covered banks of the Hudson, he passed around cigars to the political news-hounds and told his life story.
Mr. Wagner revealed that he was born at Palatine Bridge on the second of October, 1817, became interested in transportation at an early age, and was apprenticed to his brother James as a wagon builder. Later the two brothers went into partnership, but Webster soon decided there was more of a future in railroading, so he reassigned and got a job as station attendant at Palatine Bridge.
He held that job from 1843 to 1860. During that time he watched the long through trains of comfortless cars go by his station, and one day he stumbled upon the idea that brought him fame and fortune.
William H. Vanderbilt trading card from the 1880's.
He broke off abruptly, opened the window and peered out. The snow had stopped falling. A tiny station rushed by in the gathering twilight.
"'There is only one,' I told him.
Interior of Wagner Palace Car, 1875.
"What did you do about ventilation?" one of the reporters reminded the inventor.
But Senator Wagner did not live to see the merger consummated. And all because of that hilarious group of politicians who were riding in his drawing-room cars from Albany to New York on Friday the 13th. At least, that's what the train crew maintained in the investigations that followed, although no one came forward to name the guilty person.
If pulling the rope was intended to be a joke, it proved to be a ghastly one. The train had stopped a little to the north of Spuyten Duyvil, on the outskirts of New York City. At that point there was a deep cut through a ledge that obstructed a view of the station. On one side rose rocks and high ground. The other side sloped down toward the Hudson River.
Map from New York Herald, January 14, 1882.
Just before entering the cut a southbound train had to round a long curve, and see what was around that curve ahead of them. Previously the N.Y.C. & H.R. had kept flagmen on duty at both ends of the cut, Bill McLaughlin and Richard Griffon, paying them each about thirty dollars a month, but in a wave of economy they had discharged McLaughlin, leaving the dangerous stretch of track insufficiently guarded at the north.
Mr. Wagner left the Empire and hurried back into the end car, the Idlewild. That was about 7 p.m. It was the last time he was seen alive.
Edward Stanford, engineer on the first locomotive, who had been employed on the New York Central for twenty-five years, made several attempts to start his train, but only succeeded in breaking the drawbar connecting the two engines.
The second engineer on the doubleheading express, Archibald Buchanan, who had eighteen years of engine service on that road, said later that he had seventy-five pounds of air on, and it had dropped at once to forty when somebody back on the cars pulled that cord, and he had tried to relieve the brakes by pumping them off. Recharging an air cylinder, he pointed out, took about fifteen minutes.
His brother, who was a conductor on the Poughkeepsie train, advised Brakeman Melius to modify that speed estimate in telling his story to the coroner's jury – "because," said Conductor Melius, "the Tarrytown local had just stopped at the Spuyten Duyvil depot and could not possibly have picked up so much speed in that distance." So George modified his story for the official investigation.
At 6:40 p.m. the southbound local had left Tarrytown, N.Y., fourteen miles away, with Frank Burr at the throttle and Patrick Quinn wielding the scoop. Both were men of years experience in engine service on the N.Y.C.
The number "thirteen" seems to run like a theme song through the history of this occurrence. It was Friday the 13th, there were thirteen cars on the express, and the local was running thirteen minutes behind the express.
"The northern boundary of Manhattan Island, N.Y. City, as it looked in 1882. This section today is served by two Metropolitan subway-elevated systems. At the upper left is the New York Central main line, which parallels the Hudson River to Albany." Source: Railroad Stories, 1935.
The locomotive of the Tarrytown local was only slightly damaged. Her overhauling was estimated later to be not more than a fifty-dollar job. She was embedded in the parlor car Idlewild. Her headlight, broken but still shining, had pushed its way a dozen feet within the luxurious car, casting a weird glare upon the terrified passengers.
"Scene of Spuyten Duyvil wreck, looking toward the northwest, just after the railroad tracks had been cleared. In the foreground is the creek, which marked the boundary line between Spuyten Duyvil and Manhattan. In the center are shown Kilcullen's Hotel and Saloon, to which the victims were taken." Source: Railroad Stories, 1935.
The Idlewild, in its turn, had been partly telescoped into the car ahead, which was the Empire. It was not known then how many persons had been killed or injured, but the engine had a full head of steam and a boiler explosion was feared. An explosion under those circumstances would have added frightfully to the casualty list.
Spuyten Duyvil train crash headline, New York Herald, January 14, 1882.
Survivors of the wreck who had managed to scramble out of the cars, aided by a number of husky fellows who hurried to the scene from near-by villages, formed a bucket brigade and threw water from the Hudson River onto the last two parlor-cars, which had caught fire almost immediately after the collision.
Engineer Burr was the first to recognize the damage of a boiler explosion. Seizing the fireman's scoop from Patrick Quinn, he commenced piling great shovelfuls of snow into the furnace. Fortunately, although it was mid-winter, the weather was rather mild, and the snow was soft enough to work with.
Water carriers, who had been emptying their pails onto the flaming cars, followed Burr's example and dashed them against the locomotive boiler instead. Eventually the fire in the firebox was quenched, and attention was turned once more to the Empire and the Idlewild, from which came the agonizing cries of victims who were slowly burning to death.
"In the absence of fire-fighting equipment, the trainmen, passengers and men from nearby farmhouses used huge snowballs to combat the flames and facilitate the task of rescuing survivors from the wreckage." Source: Railroad Stories, 1935.
And, although badly burned about the face and hands, Hanford started to roll a snowball toward the terrible mass of burning timbers and hissing metal. Soon hundreds of willing hands were pushing great mounds of snow toward the danger spot. Some, braving the fierce heat, ran alongside the blazing cars and tossed the snow in through the windows. Others risked death themselves to drag out both the living and dead from the fiery hell-holes.
To enable rescuers to keep at work while removing the victims, their companions deluged them with water and pelted them with snowballs.
Sketch of crash with inset of Webster Wagner.
At the moment of impact, the lamps in one end of the Empire went out. Those in the other end gave a light, which, pale and sickly though it was, proved to be a blessing. With this illumination every occupant of the Empire was enabled to get out or be carried out alive before a wall of fire made exit impossible; and no one perished in that car.
Until a year and a half before the accident the N.Y.C. & H.R. had lighted cars with candles. General Superintendent John M. Toucey maintained that these were safer than oil lamps; but the traveling public had complained that they could not read by such light, and so oil lamps were substituted.
The cars were heated by the Baker patented process, not by stoves, and the heating apparatus was concealed from view. Nevertheless, according to Conductor Hanford, who had been in train service on that road for eleven years, this system was the cause of the fire, though oil lamps added to the conflagration.
Tons of snow were thrown upon the two cars, and in a short time the volunteer workers had the hills and roadway scraped almost entirely clear of snow. Even this, however, seemed hardly able to abate the heat. Late at night relief came with the arrival of the fire department from Carmansville, a wrecking train from the Thirtieth Street depot, and two or three ambulances made a long and terrible drive through the dark over snow-covered, muddy roads.
The fire apparatus, pumping water from the Hudson, soon put the fire out. But before this happened, the cars had been reduced to a shapeless mass of charred wood and twisted metal.
James Kilcullen threw open his place to the victims, dead and wounded alike. When the grim casualty list was finally counted, there were found to be eight dead – most of them burned beyond recognition – and nineteen persons were seriously injured.
The bodies were carried into Kilcullen's saloon and there were laid, a ghastly spectacle, upon the floor and billiard tables. Two rival undertakers who had hurried over from Yonkers, N.Y., quarreled with each other as to which one should take charge of the bodies.
Aboard the wrecking train were General Superintendent Toucey, who was in charge of the entire N.Y.C. & H.R. Railroad between New York City and Buffalo, and Division Superintendent Charles Bissell. Both officials remained on the scene of the wreck all night, personally supervising the rescue work and disposal of the ruins.
"Clearing up after the wreck; Manhattan Island in the background; Kilcullen's Saloon at right." Source: Railroad Stories, 1935.
By 4 A.M. the two tracks were cleared sufficiently for trains to run in both directions. The trains from New York brought a throng of newspaper reporters and curiosity seekers. Kilcullen's thirst emporium did a land-office business, scores of men all day long drinking and playing billiards on the very spot where bodies of the wreck victims had been laid a short time before.
The New York Truth, January 15, 1882.
The first of the dead to be identified was Senator Wagner. The famous inventor had perished in the Idlewild, with which he had sought to equip with every appliance of safety and comfort. Sorrowfully his son-in-law, Conductor Jay Taylor, claimed the body. One of the Wagner cars was draped with black and coupled onto a special train taking the Senator back to Palatine Bridge where he was born sixty-four years before, and where he had served the railroad for seventeen years as station agent.
Another of the dead was the Rev. F.X. Marechal, chaplain for Blackwells Island, New York City – the spiritual advisor for inmates of the workhouse, the insane asylum and the almshouse. He, too, was burned to death in the Idlewild.
So were Mr. and Mrs. Park Valentine, a young bride and groom who had been married the night before at a fashionable society wedding in New England. He was twenty-two; she was nineteen.
Conductor Hanford was the last person to see the newlyweds alive. Forcing his way into the shattered and burning car, he saw the devoted pair standing together in the wreckage. Mr. Valentine was trapped beyond all hope of being extricated. His bride was clinging to him; only her clothing was caught in the wreckage.
Hanford said later that if she had been willing to slip out of her clothing and leave her husband she could have been saved. This he urged her to do, but the hysterical girl refused to obey. The heat was too intense for Hanford to stay in there long enough to force her to do this, to save the woman in spite of herself, and so the young couple died together.
Immediately after the accident, according to A.H. Catlin, who had charge of the road's air-brake equipment, the brakes on the wrecked train were examined and found to be in good working order. Just who had pulled that cord, at the height of revelry back there in one of the cars, will probably never be known.
Mr. Toucey, however, picked on Conductor Hanford and Brakeman Melius, particularly Melius, as the prime scapegoats.
Whenever a train is stopped on a road, or is enabled to proceed at slow rate, the conductor must immediately send a man with red signal at least half a mile back, on double track, and the same distance in both directions if on single track, to stop any approaching train, which signal must be shown while the detention continues.
This must always be done whether another train is expected or not. In carrying out these instructions the utmost promptness is necessary; not a moment must be lost in inquiry as to the cause of stoppage or probably duration; the rear brakeman must go back instantly. Conductors will be held strictly responsible for the prompt enforcement of this rule.
"Do you know of any such?" persisted the lawyer.
"I do not," said Mr. Toucey.
Then the truth came out. Although George Melius had been employed in train service on the New York Central & Hudson River Railroad for more than twenty years, he could neither read nor write!
It did not take the coroner's jury long to reach a verdict. They held that eight persons had been killed "by criminal means and culpable negligence in the performance of their several duties" on the part of brakeman Melius, Conductor Hanford, Engineers Stackford, Buchanan and Burr, General Superintendent Toucey, and the railroad company itself.
(1) Discontinuance of the use of mineral oil for illumination in cars.
(2) Use of steam of hot water or hot air heating of cars instead of heating be direct radiation.
(6) Trainmen and others holding responsible positions should be required to read and write.
(7) Inclusion of water pails and tools boxes containing axes, etc., on every train.
(8) The practice of giving free passes to legislators and others holding office under our state and city government is contrary to all proper ideas of good public policy and should be prohibited by law.
George Melius, The National Police Gazette, February 4, 1882.
On account of the death of Senator Wagner, who had been a member of important railroad committees, the Senate of New York State also made an investigation. Its report, June 1, 1882, was vague and obviously written by politicians; but was definite about one point, namely, putting the blame upon brakeman Melius and not upon any of the railroad officials.
Northwest view of crash site area across the Spuyten Duyvil shot from Inwood.
If any other Spuyten Duyvil witnesses are still living, the general yardmaster of RAILROAD STORIES wants to hear from them.
What a story. The people who ran to help were real hero's. I wonder if Mr. Melius was a scapegoat and whoever pulled the cord was the real culprit. Thanks again for another Inwood piece of history.
It sounds like the cuprit was the person who pulled the brake cord for fun but Mr. Melius was guilty of gross incompetance since he never learned the emergency procedures. If he was unable to read, he should have had someone read the protocols to him and memorize them. But he was probably too lazy to do that.
While it was apparent that the brakeman, Mr. Melius was negligent in not following standard procedures, we cannot apply modern thinking to practices of 100 or more years ago. Most people learned their craft through apprenticeships, not 'book-learning'. There were no written exams, no expectations that manuals be consulted and supervision was verbal. In that era, most Americans were what we consider today, 'functionally illiterate '. Melius was an easy scapegoat for those seeking to avoid culpability. However the standards of the day ruled, as we can see from the last paragraph…Melius, illiterate Mr. Melius, became the driver of a horse-drawn street car. I would be willing to bet, he didn't have to pass a written test or consult a manual to do so.
Lots of blame to go around. The railroad was cutting costs by eliminating safety precautions, extra watchmen guarding the cut. Was Melius properly trained? Did Conductor Hanaford make sure Melius got down the track ASAP? As far as other witnesses to an 1882 accident, not too likely that there are 130-year-old folks still living!


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"What legacy? You have no rings"
Aaron Judge was recently named the 16th captain in franchise history for the New York Yankees. He's the first captain since Derek Jeter, who held the title from 2003 through 2014. It was the perfect decision after the reigning American League MVP signed a new deal to become a Yankee for life.
Not everyone is impressed with Judge becoming the new captain of the Yankees. Jared Carrabis, who isn't shy about expressing his animosity towards the club, had a few words to say about the team's decision.
"Couple notes here: 1. What legacy? You have no rings. 2. New York City is the worst city in the world. Smells like P**s, vomit, and microwaved garbage. $3K a motnh to live in a shoebox. 3. Yankees fans consistently place No. 1 on every poll for worst fans in baseball," said Jared Carrabis.
Couple notes here:
1. What legacy? You have no rings.
2. New York City is the worst city in the world. Smells like piss, vomit and microwaved garbage. $3K a month to live in a shoebox.
3. Yankee fans consistently place No. 1 on every poll for the worst fans in baseball. twitter.com/yankees/status…
A Yankee for life 💙 https://t.co/qVaW1PYW8I
Couple notes here:1. What legacy? You have no rings.2. New York City is the worst city in the world. Smells like piss, vomit and microwaved garbage. $3K a month to live in a shoebox.3. Yankee fans consistently place No. 1 on every poll for the worst fans in baseball. twitter.com/yankees/status…
The MLB Analyst, who's a Boston Red Sox diehard fan, didn't hold back. He believes that Aaron Judge's legacy in New York is fabricated. He hasn't brought the team a World Series ring.
He then went on to roast the city of New York for its high cost of living and unusually bad-smelling areas. Carrabis then finished his thoughts off by blasting the Yankees fans for being voted one of the worst fan bases in baseball.
Carrabis isn't afraid to speak his mind, and that's exactly what he did here. His comments are sure to rile up some New York fans, and that's always his goal.
Aaron Judge hasn't brought New York a ring, but that could change very soon
Aaron Judge Press Conference
The New York Yankees have made a splash in free agency so far. They re-signed Anthony Rizzo alongside Aaron Judge. On top of that, they added Carlos Rodon to their rotation, who's been one of the league's most consistent pitchers over the last two seasons.
They'll come into the 2023 season with one of the toughest starting rotations in MLB. The Yankees' six-man rotation will consist of Gerrit Cole, Rodon, Luis Severino, Domingo German, and Frankie Montas.
The @Yankees now have the very best starting rotation in baseball (according to @fangraphs, at least)!⚾ Carlos Rodón⚾ Gerrit Cole⚾ Nestor Cortes⚾ Frankie Montas⚾ Luis Severinohttps://t.co/cb3iAtCWyn
They still have a question mark in left field. They can address this by signing one of the available free agent outfielders like Michael Conforto. Or they could try and find a team that's willing to engage in a trade.
Either way, they're building something special in New York. It wouldn't be surprising if they finished atop the American League next season.


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Techsplanation
Introducing Honor 10 Lite
Sub-brand of Huawei, Honor is known for creating affordable, mid-range smartphones. However, despite the lower price point you're still going to find plenty of impressive specs on board each handset, particularly on the Honor 10 Lite.
With an early 2019 release, there's so much to love about this device. From the amazing 6.21-inch Full HD+ display that stretches across the entire front of the phone to the 24MP front-facing camera, you can be sure the Honor 10 Lite won't let you down.
Honor 10 Lite Design
Everything about the Honor 10 Lite appears far more premium than its price tag might suggest, including the device's design. Aluminium sides, an elegant glass back inspired by the aurora borealis and minimum bezels around the display make the Honor 10 Lite a pleasure to use.
It's a lightweight handset too, coming in at just 162g. As for measurements, the Honor 10 Lite has dimensions of 6.09 x 2.90 x 0.31 inches. You'll find a small, teardrop-shaped notch located at the top of the screen to house the cutting-edge front camera, and there's a fingerprint scanner included for secure, fast access, that's located conveniently on the back of the device.
Honor 10 Lite Display
The Honor 10 Lite's display will please phablet fans, as it measures 6.2 inches. The 90% screen-to-body ratio helps to keep the overall size of the handset down however, so you can reap the rewards of a large screen without having to put up with a bulky, oversized device.
The screen itself offers Full HD+ viewing too, with a resolution of 2230 x 1080 pixels and a 19:9 ratio. Love streaming movies on your device or playing graphic-intensive games? With the Honor 10 Lite, you're sure to have an immersive experience packed with detail and vibrant, true-to-life colour.
Honor 10 Lite Power
Looking for a device with enough processing power to keep up with your demands? The Honor 10 Lite has you covered. Under the hood you'll find 64GB of internal storage, 3GB RAM and the cutting-edge Kirin 710 octa-core processor.
Honor's GPU Turbo ensures a seamless performance, particularly for gamers. Designed to deliver stable gameplay with a high frame rate, you'll never have to put up with lagging again. The Honor 10 Lite also features Honor's own customised interface, fuelled by Android Pie. Known as EMUI 9.1, past Honor or Huawei users will be familiar with the look and feel of the Honor 10 Lite. It's minimal, easy to navigate and optimised to make the most out of the phone's AI features.
Honor 10 Lite Camera
The standout feature of the Honor 10 Lite has to be its camera. Front and back, Honor has added a bunch of additional features to make sure you always get the best shot possible.
On the rear, you'll find a dual 13MP and 2MP camera. The f/1.8 aperture makes it possible to snap photos at a wider angle, and you'll also find increased exposure levels to improve pictures taken in darker conditions. Fuelled by AI, the Honor 10 Lite will also be able to identify over 22 different scenarios, adjusting the camera settings automatically to deliver the best results.
The handset's front camera is sure to blow you away as well. The 24MP selfie shooter has a f/2.0 aperture and, alongside capturing your best side in incredible detail, the AI beauty algorithm enhances your features. Expect professional looking photos every single time.
Honor 10 Lite Battery
Running out of power won't be a problem with the Honor 10 Lite. There's a sizeable, non-removable 3,400 mAh battery built in to keep you charged up all day long, so you won't lose power even if you're utilising some of the device's more power-hungry features. Whatever you love doing, whether that's streaming TV shows on your commute or shooting with the incredible camera, you can rely on the Honor 10 Lite.
Love the sound of Honor, but not sure if the Honor 10 Lite is the device for you? Why not compare all our Honor handsets here, or browse our amazing contract and SIM-only deals online at Mobiles.co.uk.
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Facelinidae  è una famiglia di molluschi nudibranchi della superfamiglia Aeolidioidea.

Tassonomia
La famiglia comprende i seguenti generi:

 Adfacelina
 Algarvia
 Amanda
 Anetarca
 Antonietta
 Austraeolis
 Bajaeolis
 Burnaia
 Caloria
 Cratena
 Dicata
 Echinopsole
 Emarcusia
 Facelina
 Facelinopsis
 Favorinus
 Hermosita
 Herviella
 Jason
 Learchis
 Moridilla
 Myja
 Nanuca
 Noumeaella
 Palisa
 Pauleo
 Phidiana
 Pruvotfolia
 Pteraeolidia
 Sakuraeolis
 Setoeolis

Alcune specie

Note

Bibliografia

Altri progetti

Collegamenti esterni

Taxa classificati da Rudolph Bergh

redpajama_set_name: RedPajamaWikipedia


"Peer into the life of a high school junior. As Shirley Miranda's first novel she does a superb job in enticing the reader. Readers will be able to find "bits and pieces" of themselves in the characters, and will identify and relate to a nostalgic awkwardness of blossoming teen relationships. You don't have to be in high school to get hooked on this book, because you will be pulled into the lives of Liz and her new friends.
The author draws from her career as a teacher and the observations she's made over the years. Miranda intertwines that insight with Liz's story and the subtleties of high school life to create a novel that is definitely infectious and will leave you wanting to read more about Liz and Patrick. " – A.B.D.
"Really enjoyed this book! Finished it in two days and I'm not a fast reader…just was enthralled and couldn't put it down. Kept my interest peaked and couldn't wait to see what happened next…each chapter was exceptionally interesting. I'd recommend it to everyone. Can't wait for the next in the series. Excellent author, hope Shirley Miranda continues to write and entertain us!!" – M.N.


After its lackluster return to Formula 1 as the first Mercedes-Benz works outfit since 1955, Mercedes GP Petronas is looking to get its championship hopes back up with the MGP W02 for the 2011 season.
The MGP W02 continues its predecessor's livery with a high-gloss airbrush effect serving to highlight the car's shape while evoking the Silver Arrows heritage. In turn, the green shading which represents the team's title partner Petronas adds a modern touch to the car along with its 3D partner logos.
With the return of the Kinetic Energy Recovery System (KERS) to the grid, Mercedes-Benz Motorsport hopes to build on its success as its KERS was the first to win a Grand Prix race when the system first made its debut during the 2009 season.
"It is always a thrill to see a new car ready to take the track for the first time and this year is no exception. After our first year as the Mercedes-Benz works team, we are now seeing the benefits of our chassis group and our engine group working well together," said team principal Ross Brawn. "With a good technical structure and a strengthened race engineering organisation, both at the factory and the race track, I am confident that we have done and will continue to do a better job this year in all key areas."
Despite last year's uninspired showing, Mercedes-Benz Motorsport vice president Norbert Haug is still bullish about the team's chances for this season.
"Our target can be described in one short sentence: The new Silver Arrow should not only look first class, but should also be developed to be at the top step-by-step," said Haug.


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Medina Valley ISD 2017-2018
Medina Valley ISD
Medina Valley ISD is a school district in Castroville, TX. As of the 2017-2018 school year, it had 5,060 students. The school received an accountability rating of A. 24.6% of students were considered at risk of dropping out of school. 5.2% of students were enrolled in bilingual and English language learning programs.
An average teacher's salary was $54,519, which is $1,185 more than the state average. On average, teachers had 10.4 years of experience. The average SAT score at Medina Valley ISD was 1038. The average ACT score was 21.1. In the Class of 2017, 97.6% of students received their high school diplomas on time or earlier.
www.mvisd.com
Kenneth Rohrbach
lori.gill@mvisd.org
Students in Medina Valley ISD are part of the Texas Education Agency's Region 20. Students who started eighth grade in 2007 in this region had a college graduation rate of 22.7 percent. View a more comprehensive breakdown of the higher ed outcomes in Region 20.
Castroville Elementary School
Lacoste Elementary School
Potranco Elementary School
Medina Valley Middle School
Bexar County Juvenile Justice Acad
Medina Valley High School


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Do you want to dream it, live it and sell it? If this excites you then you're in for an adventure! At Liberty Travel we are passionate about what we do and you'll need to be too.
At Liberty Travel we are passionate about what we do and you'll need to be too. We're looking for individuals who are sales-driven, results-focused, determined to succeed, and who are committed to ensuring our customers have an amazing travel experience. You will love the thought of exceeding targets and earning rewards as a result.


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Share The Great Depression
With unemployment figures exceeding 80 percent in some counties, West Virginia was one of the states hardest hit by the Great Depression of 1929–41. All sectors of the economy suffered, and the vicissitudes of hard times have had an enduring impact on life and labor in the state.
In politics, the Depression ended a long era of Republican domination as Democrats took over the legislature and the governor's office. Republican Governor William Conley (1929–33) called for increased appropriations for relief and sought federal help but faced a growing financial crisis as state revenues faded. In 1932, West Virginia voters approved a tax-limitation amendment to the constitution and voted overwhelmingly for the Democratic ticket headed by Franklin D. Roosevelt for president and Herman Guy Kump (1933–37) for governor. Popular because it promised tax relief for farmers and homeowners, the amendment's unintentional consequences complicated the crisis. The limitations on property taxes denied to local governments their chief source of revenue and compelled the state to assume new powers over schools, roads, and indigent care. Kump and the legislature sought new sources of revenue through a mix of indirect taxes, including a consumer sales tax. In Washington, Congress quickly enacted Roosevelt's New Deal program.
Debates over policy and patronage split Democrats into two factions. The statehouse faction, headed by Governor Kump, controlled state patronage and tended to oppose New Deal programs, while the federal faction, headed by U.S. Sen. Matthew Mansfield Neely, supported the New Deal and reaped the benefits of federal patronage. Governor Homer Holt, elected in 1936, was another statehouse-faction Democrat, and he generally continued the conservative fiscal policies of Kump. The statehouse Democrats boasted of their successes in paying off bonds and eliminating debt, but in the meantime the state provided meager support for education, roads, and other public services.
West Virginia's leading industry, coal, underwent wrenching changes. In the early stages of the Depression, the industry suffered from a virtual collapse as mining companies failed and unemployment grew, leaving once busy coal camps idle and stranding thousands of miners and their families. New Deal legislation encouraged industrial cooperation on prices and wages and the development of collective bargaining, and under this impetus the United Mine Workers finally succeeded in unionizing the West Virginia coalfields. Many of the unemployed returned to the mines at higher wages, but the higher labor costs, competition from other energy sources, and falling prices of mining machinery eventually led to increased mechanization of the mines.
In the early days of the Depression, a return to the land led to an increase in the West Virginia farm population. But by the mid-1930s, many West Virginia farmers, finding it difficult to make a living on their mountain farms, began to abandon agriculture and to seek employment in towns and cities, often in other states. New Deal agricultural policies, plagued by ambivalence and inconsistency, provided support for soil conservation and land use planning but offered little to rescue the subsistence agriculture typical of West Virginia farmers.
At Eleanor, Arthurdale, and Tygart Valley, the New Deal experimented with planned communities which sought to combine agriculture and industrial work. Although the communities provided new homes and a better life for some, the results generally fell short of the hopes of their promoters.
Unemployed miners and farmers as well as other victims of the Depression found work in relief programs such as the Works Progress Administration and the Public Works Administration. These offered work to the unemployed and built needed facilities such as floodwalls in Huntington, the Kanawha Boulevard in Charleston, and airports, roads, bridges, schools, and health facilities throughout the state. Young people found help in the National Youth Administration, which provided job training and help to stay in school, and the Civilian Conservation Corps, which put young men to work on conservation projects in West Virginia and elsewhere. The state park system benefited greatly from CCC projects.
The pressure of federal policy also led to the reorganization of public welfare administration with the establishment of the Department of Public Welfare (later called the Department of Public Assistance) in 1932 and the closing of county poor farms after the establishment of social security in 1936. The new system required professionally trained social workers and led to the establishment of sociology and social work training programs at West Virginia University and the expansion of the social work profession in the state.
In 1940, Matthew M. Neely left his U.S. Senate seat to win the governorship for the federal-faction Democrats, opening the possibility of closer state-federal cooperation on New Deal matters, but the coming of World War II brought the New Deal to an end, leaving unresolved many of the problems of the Depression era.
This Article was written by Jerry Bruce Thomas
Last Revised on August 09, 2012
Thomas, Jerry Bruce. An Appalachian New Deal: West Virginia in the Great Depression. Lexington: University Press of Kentucky, 1998.
Salstrom, Paul. Appalachia's Path to Dependency: Rethinking a Region's Economic History, 1730-1940. Lexington: University Press of Kentucky, 1994.
Olson, James S. The Depths of the Great Depression: Economic Collapse in West Virginia, 1932-1933. West Virginia History, (Apr. 1977).
Coffey, William E. "Rush Dew Holt, the Boy Senator, 1905-1942." Ph.D. diss., West Virginia University, 1970.
Gatrell, Albert Steven. "Herman Guy Kump: A Political Profile." Ph.D. diss., West Virginia University, 1967.
Haid, Stephen Edward. "Arthurdale: An Experiment in Community Planning." Ph.D. diss., West Virginia University, 1975.
Thomas, Jerry Bruce "The Great Depression." e-WV: The West Virginia Encyclopedia. 09 August 2012. Web. 17 January 2020.
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This entry was posted in A Taste of..., Sides, Snacks, sweets and tagged carob, fruit, Israel, Tu B'Shvat. Bookmark the permalink.
6 Responses to Happy Birthday, Trees!
Today is a special holiday for all nature-loving people – the New Year of the Trees. Enjoy this fantastic selection of Tu b'Shvat recipes from an awesome blogger Miriam – from the Land of Israel to your table!
Amazing! Trees are so important!


Write a review about this establishment.
We stayed at Auberge Mr. A big advantage of this method is that you can set your sexual orientation type in your profile and make it easier for everyone and yourself of course. My name is Ricky. We were beyond spoiled and the place extremely comfortable and cozy. My name is Sam.


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Q: Error Installing RabbitMQ on Ubuntu 16.04 I'm trying to setup RabbitMQ on Ubuntu 16.04. I've installed Erlang on my machine by following this blog. I'm getting this error when I do this sudo apt-get install rabbitmq-server
Reading package lists... Done
Building dependency tree
Reading state information... Done
rabbitmq-server is already the newest version (3.8.0-1).
0 upgraded, 0 newly installed, 0 to remove and 118 not upgraded.
1 not fully installed or removed.
After this operation, 0 B of additional disk space will be used.
Do you want to continue? [Y/n] Y
Setting up rabbitmq-server (3.8.0-1) ...
Job for rabbitmq-server.service failed because the control process exited with error code.
See "systemctl status rabbitmq-server.service" and "journalctl -xe" for details.
invoke-rc.d: initscript rabbitmq-server, action "start" failed.
● rabbitmq-server.service - RabbitMQ broker
   Loaded: loaded (/lib/systemd/system/rabbitmq-server.service; enabled; vendor preset: enabled)
   Active: activating (auto-restart) (Result: exit-code) since Fri 2019-10-11 19:35:40 IST; 4ms ago
  Process: 20134 ExecStart=/usr/lib/rabbitmq/bin/rabbitmq-server (code=exited, status=1/FAILURE)
 Main PID: 20134 (code=exited, status=1/FAILURE)

Oct 11 19:35:40 developer-OptiPlex-3020 systemd[1]: Failed to start RabbitMQ broker.
dpkg: error processing package rabbitmq-server (--configure):
 installed rabbitmq-server package post-installation script subprocess returned error exit status 1
Errors were encountered while processing:
 rabbitmq-server
E: Sub-process /usr/bin/dpkg returned an error code (1)

Any knowledge on how to fix this would help me. Thanks.

redpajama_set_name: RedPajamaStackExchange


Submit the UW Tacoma Freshman Application.
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Complete the activity log by listing your awards, achievements, jobs and school and community activities.
Pay the $60 application fee ($75 for international applicants) at the conclusion of your application. Please note, it is at that time you may request a fee waiver.
Submit official standardized test scores.
Submit official Advanced Placement (AP) or International Baccalaureate (IB), or College-level Examination Program (CLEP) scores (if applicable).
Please be aware that official college or high school transcripts may be required at the time of application; check if you will need to submit your transcripts.
Turn in your complete application as early as possible to ensure that you receive priority consideration for admission and scholarships. Applications received after the priority application date will be considered on a space-available basis.
If you have questions about completing the application, email uwtinfo@uw.edu or call 253-692-4742.


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Thank you to everyone who has contacted me about trophy hunting.
A report by the International Fund for Animal Welfare (IFAW) in 2016 found that at least 1.7 million animal 'trophies' were traded between countries over the previous decade. Of this number, 200,000 trophies were from threatened species.
Killing animals to display their heads, horns, antlers or hides as 'trophies' is cruel and unjustifiable. It only helps push endangered wildlife closer to extinction. That is why I support ending the import of wild animal trophies from threatened species.
Currently, the import of hunting trophies is legal as long as the animal is licensed under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). However, the trade is exacerbating the decline of threatened species and causes unnecessary suffering to animals. It is often used as a cover for illegal poaching as traffickers pass off illegal wildlife products as legal.
The UK Government held a consultation on options to restrict the import and export of hunting trophies into the UK, including a potential ban. It invited views from the public and experts and it will inform any next steps taken on this issue. The consultation closed on 25 February 2020. The Government says its response has been delayed due to the COVID-19 pandemic and that it will set out its plans soon.
I believe that the Government should take action to address trophy hunting, and that any ban should cover all species above 'least concern' on the International Union for Conservation of Nature's Red List of Threatened Species. This would include species classed as vulnerable, endangered, critically endangered and extinct in the wild. I further believe that hunting holidays should not be legal.
Thank you once again for contacting me and sharing your views. I can assure you that I will follow developments on this issue closely and continue to press for a ban on imports of hunting trophies.
DEFRA logo


text:
How DealWare Helps:
We understand how important each and every deal is, and how complicated the process is.
That's why we've kept things simple.
Our company founders have years of experience in M&A and they've seen how the very processes and tools that are a part of the current M&A landscape inevitably lead to chaos. Scattered content, haphazard communications, and fractured work protocols threaten every deal and are sources of stress for every M&A advisor. Across all of their work with sellers, buyers, and other M&A advisors, they've seen the impact of this chaos affect many people, clients and advisors alike.
The problems we wanted to solve:
Money left on the table
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They lived in that world, and saw how many people were negatively impacted by M&A 1.0. They crafted tools and processes tailored to the problems that M&A professionals live with every day. These solutions helped move them to M&A 2.0, completing more deals through a better deal process. They decided that they wanted the chance to help an entire industry improve, and made the decision to develop their tools into a commercial offering with the help of industry leading development expertise. The result is DealWare.
We are dedicated to applying the M&A expertise of our team in concert with cutting-edge software to produce an offering that can help every advisor, every client, and every deal run smarter, faster, and better. We look forward to helping you upgrade your deal process to M&A 2.0.
The beginning of a deal process is one of the busiest times for you, and problems here can have far-reaching implications for the health of the project. That's why DealWare provides expert setup services to each and every project. You provide us with simple guidance, and we implement communications, data storage, permissions, and workflow. Everything you need for a successful project that hits the ground running. Plus, with us handling the implementation, you're freed to power through the first stages of the project and get a crucial head start.
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Getting work done is what enables deals to succeed, and working to a process improves the likelihood of success. By implementing customizable workflows, and tying those workflows directly to the files that are produced, DealWare ensures that everyone works like a seasoned professional, while also vastly reducing the number of file versions, mislaid files, and file integrations that are necessary to get the work done. Reduced overhead and less confusion mean better results.
Reporting and Statusing
Reporting and statusing during a deal is a terrible situation. It distracts from vital work, while also being a crucial component of running a deal successfully. DealWare addresses this by leveraging our platform to integrate reporting and statusing with the actual completion of work. No more requests for statuses that are outdated by the time you get them, no more additional work on top of data production and analysis. Everyone simply does their work, and deal status reflects that in real time. We also provide a host of standard reports, ensuring that you're never scrambling to figure out where you are and keeping you focused on where you're going.
You know that M&A deals are collaborative projects with large teams. Having dozens of people spread across multiple firms makes communications challenging and can slow down the deal process overall. Further, dissemination of information over email and messaging services presents security risks in addition to process complications. Many projects feature 3 or more email providers and at least 3 communications beyond email. All of this leads to more logins and more chances for an important message to be lost in the shuffle. That's why we designed DealWare to provide a robust communications platform that allows your discussions to be located with the work that you're discussing. Better channels, better visibility, better communication, better process.
Analysis & Process Improvement
Each deal is unique, but that doesn't mean that there shouldn't be a standard process that you follow, or that you can't learn from each and every deal that you complete. Continuous Improvement is a core tenet of M&A 2.0, and DealWare offers unprecedented insight into your deal process and performance. With each aspect of the deal stored in a single system, continual analyses can be run to ensure that you're on track, and once the deal is done, a comprehensive report on standout performers and areas for improvement will be provided. That way, each deal will be better than the last, each and every time.
DealWare was designed by M&A professionals for M&A professionals like you. We've had the problems you have and designed a solution to them. All so that we could do more and better deals. To get started contact us for more information or to setup your free demo instance of DealWare.


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