text:
I Had a Miscarriage: A Memoir, a Movement
Sixteen weeks into her second pregnancy, psychologist Jessica Zucker miscarried at home, alone. Suddenly, her career, spent specializing in reproductive and maternal mental health, was rendered corporeal, no longer just theoretical. She now had a changed perspective on her life's work, her patients' pain, and the crucial need for a zeitgeist shift. Navigating this nascent transition amid her own grief became a catalyst for Jessica to bring voice to this ubiquitous experience. She embarked on a mission to upend the strident trifecta of silence, shame, and stigma that surrounds reproductive loss—and the result is her striking memoir meets manifesto.
Category: Autobiographies/Memoirs
Drawing from her psychological expertise and her work as the creator of the #IHadaMiscarriage campaign, I Had a Miscarriage is a heart-wrenching, thought-provoking, and validating book about navigating these liminal spaces and the vitality of truth telling—an urgent reminder of the power of speaking openly and unapologetically about the complexities of our lives.
Jessica Zucker weaves her own experience and other women's stories into a compassionate and compelling exploration of grief as a necessary, nuanced personal and communal process. She inspires her readers to speak their truth and, in turn, to ignite transformative change within themselves and in our culture.
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My Remarkable Journey: A Memoir
The remarkable woman at heart of the smash New York Times best seller and Oscar-winning film Hidden Figures tells the full story of her life, including what it took to work at NASA, help land the first man on the moon, and live through a century of turmoil and change.
Bevelations
From the host of the fabulous and popular show Bevelations on SiriusXM's Radio Andy channel, Bevy Smith's irreverent and inspiring memoir about learning to live a big, authentic, and unapologetic life – and how you can, too.
My Mother's Daughter: A Memoir of Struggle and Triumph
"A phenomenal, human story…. I could not put this book down." (Clara Hughes)
An instant national bestseller, this raw and affecting memoir is the story of a mother and daughter who beat the odds together.
'Heart of Fire' by Mazie K. Hirono
Heart of Fire is a revelatory, evocative, deeply moving book." (Washington Post)
"A beautiful book." (Trevor Noah, The Daily Show)
The intimate and inspiring life story of Mazie Hirono, the first Asian-American woman and the only immigrant serving in the US Senate
Somebody's Daughter: A Memoir
"Ashley C. Ford brings listeners into her life in this outstanding coming-of-age story…Listeners will cheer as Ford attends college and weep as she visits her father in prison, and when he is finally released." (AudioFile Magazine, Earphones Award winner)
Stronger: Courage, Hope, and Humor in My Life with John
In Stronger, the widow of Senator John McCain opens up about her beloved husband, their 38-year marriage, and the trials and triumphs of a singular American life.
Where You Are Is Not Who You Are
The first Black female CEO of a Fortune 500 company looks back at her life and her career at Xerox, sharing unique insights on American business and corporate life, the workers she has always valued, racial and economic justice, how greed is threatening democracy, and the obstacles she's conquered being Black and a woman.
This Will All Be Over Soon
A powerful memoir from the Saturday Night Live cast member Cecily Strong about grieving the death of her cousin – and embracing the life-affirming lessons he taught her – amid the coronavirus pandemic.
The Ugly Cry
"They say comedy equals tragedy plus time: This very funny account of an often miserable childhood is proof." (People)
'The Soul of a Woman' by Isabel Allende
"The Soul of a Woman is Isabel Allende's most liberating book yet."—Elle
"When I say that I was a feminist in kindergarten, I am not exaggerating," begins Isabel Allende. As a child, she watched her mother, abandoned by her husband, provide for her three small children without "resources or voice." Isabel became a fierce and defiant little girl, determined to fight for the life her mother couldn't have.


Finance Minister Edward Scicluna has announced five measures which will make it easier for those who are in default of VAT payments to regularise their position.
In the past, individuals or companies that were in default found themselves caught in a system which quickly became unsustainable, as interest mounted and made it harder and harder for them to get back on track.
"We have to learn from the past and see where we can improve the system," Prof Scicluna said, stressing that the government never looked at interest and fines as being revenue, but rather as a deterrent.
"The interest rate and fines were very high. You might even describe them as 'usury' for those who fell behind as it made it very hard for them to ever catch up," he said.
The measures are aimed at encouraging those in the black economy to register for VAT by making the system more "humane" for those who lapse, while still remaining firm with those who repeatedly defaulted, who he described in no uncertain terms as "parasites".
The main measure is that the interest rate on tax due will go down from 9% per year to between 6 and 6.5%.
In order to reduce the accumulation of interest and fines, any payment made by individuals or companies in default will be apportioned towards the tax due and only after that towards the fines and interest, a reversal of the current system.
The government will also extend – for the fifth and final time – the deadline for those eligible for the amnesty announced in the 2012 Budget. Prof Scicluna stressed this extension would only apply to those who had already been determined to be eligible for the amnesty, in order to give them a chance to regularise their position.
The government will also be capping the fine on late registrations and removing the €15 a day fine on payments imposed by Court – which accumulated rapidly and often ended up putting the hapless defendant in jail for non-payment.
There are around 35,000 individuals and companies registered to pay VAT (apart from those who are exempt etc).


The IOSCO has decided to play a major part in furthering the adoption and implementation of IFRS internationally, upon special request of the IFRS Foundation. The Board of IOSCO (the International Organization of Securities Commissions) that was incepted to restructure IOSCO at the beginning of 2012, resolved to offer assistance upon request of Michel Prada, chairman, Trustees of the IFRS Foundation.
The Committee on Multinational Disclosure and Accounting of ISOCO is going to accept the proposal. This particular committee was earlier a standing sub division of the IOSCO Technical Committee that has now been incorporated in the IOSCO board. The proposals revolve around monitoring the interpretation and development of the IFRIC, offering comments on proposed interpretations and standards as well as promoting continuous regulatory enforcement and interpretation of IFRS. This development was clarified by IOSCO in its efforts to outline the conclusions of the Board's meeting that was held on 3-4th of October in 2012. During the meeting discussions regarding work assigned by the leaders of the G20 as well as FSB on regulatory related reforms apart from many other projects were also discussed. At the meeting the members also discussed emerging trends pertaining to market as well as took note of the possible setting up of the IOSCO Foundation.
The meeting, which was held in Madrid also saw members discuss IOSCO's efforts towards tackling the risks to securities markets and investors in a much more proactive manner. The meeting also emphasized on the advantages of engaging early with stakeholders in an effort to offer strategy related input for Board of the International Organization of Securities Commission's main role as well as underlined the progress made by IOSCO in improving global co-operation.
The board also took some important decisions related to work in varied areas and reached an agreement regarding the future steps to be taken with regard to report prepared by IOSCO on the Credit Default Swap Market.


text:
Battelle Enters Agreement with Wagenbrenner Development for Sale of 20 Acre Parcel in Columbus
Site in Harrison West Neighborhood to be Developed for Residential, Mixed Use
COLUMBUS, Ohio (Feb. 2, 2017) – Battelle announced today that it has entered an agreement to sell approximately 20 acres of land in Columbus to a development team led by Wagenbrenner Development and Fortress Real Estate Companies. The land is bordered by 5th Avenue to the north, Perry Street to the east, 3rd Avenue to the South, and the Olentangy River to the west. Other development team members include Daimler Group, M/I Homes, and Continental Real Estate Companies.
Preliminary plans for the land, which is located immediately south of Battelle's main Columbus campus, include single-family residential homes, multi-family residential units, leased office space, a large park at the southernmost end of the parcel, the addition of green space along the Olentangy bike path between 3rd and 5th Avenues, and may include other mixed use development. Terms of the sale were not disclosed.
"After a very thorough selection process, which included numerous face-to-face meetings with developers who shared their thoughts on how best to develop the property, the Wagenbrenner team was selected because of its vision to integrate the property into the surrounding neighborhood," said Patrick Jarvis, spokesman for Battelle. "When completed, this unique parcel will enhance the surrounding neighborhoods and benefit the city."
Battelle is selling the land to generate proceeds that will be used to help fund a significant renovation and modernization of its main campus. The sale is expected to be complete before the end of the year.
For more information contact Katy Delaney at (614) 424-7208 or delaneyk@battelle.org or T.R. Massey at (614) 424-5544 or masseytr@battelle.org.

redpajama_set_name: RedPajamaCommonCrawl


Less than two weeks til we celebrate Richard Burton in the movies, on TV and more... Come and join Realweegiemidget's last Blogathon for 2018.
Come and join my blogathon I'm holding in honour of Richard Burton... Come and celebrate one of world's most famous Welshmen.
When a Wee 11 -year -old Drew Barrymore Goes Down to the Woods One day... A Ray Bradbury written TV Tale where wee Heather Leary has a liking for horror stories. She hears screaming coming from the woods.
Reviewing Finland, With the Help of Monty Python and an American Author... Good tongue in cheek advice in a book on all things Finnish and a little more on that Monty Python song.


As a professor of political science, I can't help but be concerned with all the enthusiasm about "civic engagement" as some radically transformative, disruptive, "Copernican" revolution in higher education. All the literature that makes such bogus claims is rife with management-speak barely masking progressive ideology. It makes the agenda-driven proclamation that the point of higher education is to make students into citizen-activists all about transforming communities, nations, and even the world in the name of removing inequities, fighting for inclusive diversity, achieving social justice, and fending off the impending catastrophe of global warming. All those activist 'engagements' might be praiseworthy, but they inevitably have a highly partisan bent—reflecting the opinions of professors and administrators and dissing the allegedly false consciousness of so many ordinary Americans.
But I'm not going to waste more time mocking the jargon-laden literature. Most civic engagement authors don't seem to know much. And that literature often carries hostility to genuine higher education. The hostility is often reflected in the word "infuse." The goal is to infuse courses with this new way of learning in the hope the more traditional or more disengaged content-driven parts of courses atrophy as a result.
It's only fair that I think about the real concerns that brought the ideology of civic engagement into being. In political science, it appears as a kind of "third way." The other two ways are more detached than engaged. There's the objectivity of the rigorously scientific political science—the behavioral approach, for example. And there's the leisurely study of great books of political philosophy. So "civic engagement" is neither science nor philosophy. It claims, instead, to take the perspective of the citizen. In political philosophy, we read books that take the perspective of the citizen seriously, such as ones by Aristotle or Tocqueville, not to mention ones written by exemplary citizen-statesmen and citizen-soldiers. And we even encourage students to be engaged citizens, but we don't given course credit for acting as citizens.
Our problem is that we think that "activism" is little more than self-righteous anger without being informed either by the real interests of a citizen living in a particular place, or by the wisdom that comes through science and philosophy. So we political philosophers see "civic engagement" as a soft form of the fairly mindless (although undeniably heartfelt) activism of the late Sixties, just as we see that the activism of the early Sixties (the Civil Rights movement) was led by those (such as Dr. Martin Luther King, Jr.) who actually had studied with care the exemplary works of our political and theological traditions. Morehouse College prepared Dr. King for his life of courageous activism, but it did so, in part, by not being silly enough to give him college credit for activism.
College typically entails "leaving home" and in a way not inhabiting a "real place," and its point is to prepare the students for work, leisure, and civic responsibility after returning home. Higher education requires more than a bit of civic disengagement, although part of the point of that disengagement is acquiring the civic literacy that's primarily the product of "book learning." Liberal education is based on the premise that we have to know who we are, before we figure out what to do. And so higher education as political education is about actually mastering the key texts and revisiting the key moments of the tradition of our written and highly contentious and remarkably erudite constitutional tradition.
Now you might respond that I'm defending the higher education bubble in the sense of the artifical world—the world of ideas—insulated to some extent from the "real world." Well, I would do that all day long. Defending the bubble in this sense is harder than ever because of the higher education bubble in the other sense. The cost of inhabiting the bubble is expanding much more rapidly than the rate of inflation and the real value of the increasingly shoddy product.
So there's the understandable—if not exactly noble—demand for evidence that higher education be worth what it costs. Most "disruptive" calls for reform are in the direction of relevance to the real world. Higher education should be more practical or vocational, more attuned to preparing students to flourish in the world of work. I have some sympathy for this concern, although it too often leads students to tech-lite majors that are too specific and too easy to give them what they need to succeed—majors such as sports broadcasting or beverage management or public relations or (let's tell the truth) marketing or management. Still, who can deny that students majoring in business or engineering or computer science should be provided with practical experiences—which sometime carry college credit—to prepare them for their clearly chosen vocations?
Civic engagement is not that kind of relevance. It's not preparing students for jobs, but to be citizens! The alleged crisis is that young people think of themselves as citizens less than ever, and they lack the "skills and competencies" required to be engaged, effective citizens. It's inevitable that the American devotion to individual rights will be in tension with the devotion to political responsibility. And this tension is tilting in the "libertarian" direction too much right now. But is "civic engagement" for college credit really the remedy?
Tocqueville explains that one American way of combating the excesses of individualism is "free, local institutions." In America, political power is decentralized and most decisions are made locally. And Americans, to secure their interests (their interest, for example, in getting a bridge, built) have to mobilize their fellow citizens with the same interests. They enter political life out of calculation, but they end up finding it intrinsically enjoyable. The experience of citizenship turns out to be the result of self-interest rightly understood. And so civic engagement comes from be immersed as in local life, in being a person with a job, a family, and so forth. College students, for the most part, lack the responsibilities and the corresponding interests that generate informed, "authentic" civic engagement in a free and democratic country. So Tocqueville sees no connection between higher education—which is largely about books and experiences you wouldn't get "on the street" in a democracy—and being somewhat a participant in democratic political life.
The people who complain about the two bubbles have their strongest case against reconfiguring higher education as civic engagement. Am I really paying the big bucks to have some professor teach my kid to be a citizen? When I think of a good citizen, I rarely think of this or that professor. Maybe a thoughtful parent could easily add that the withering away of citizenship is much more clearly correlated with the near-disappearance of military service—of the citizen-soldier. But how many professors of civic engagement approach the issue from that angle?
In any case, the problem I have with "civic engagement" can be reduced to the problem I have with a lot of higher education these days. It's neither liberal education nor vocational education. I could go on to engage in a polemic against all those "studies" majors that fall into the activist, "neither/nor" category—such as women's studies or environmental studies. But I've decided to show some self-restraint.
Another trendy educational concern that generates all this concern with civic engagement focuses on "engagement." Engagement, the thought is, generates "deep learning." So higher education reform should focus on inquiry-based learning, undergraduate research, capstone courses, internships, and so forth. What is learned is less important than how it's learned. The focus on engagement is one way of trumpeting the superiority of the small college, one of showing that what it offers is worth the big bucks. Engagement in general becomes pernicious when obsession with process or method overwhelms concern for content. But it's true enough, after all, that small classes that encourage guided discussion of the deep issues raised by real books blow away MOOCs and such as educational "delivery systems." But the claim for "civic engagement" is weaker than those for the other "high-impact practices," precisely because it seems more about generating a reformist attitude than mastering some disciplined body of knowledge.
Let me add that I'm all for student work, student service, and student political involvement in causes. I just think giving college credit for all that is a mistake that distorts both the admirable activity and higher education. "Service learning" makes sense if you mean that the virtue of charity teaches you plenty about yourself and others. But adding credit (just like adding money) comes at the expense of experiencing the virtue for its own sake. I think students should work in college, and a few colleges—such as my Berry college—have heavily endowed work programs in which almost all students participate. For work, they get money; they learn stuff too, of course. But not for college credit. And Berry is also distinguished by a vibrant religion-in-life program, which generates all kinds of outreach from the local community to other continents. It goes without saying that nothing would undermine that vibrancy more than the idea that students are serving God for either money or credit. Berry has scholarship programs—such as the legendary Bonner Scholars program—which require lots of service in the community. But even there, that requirement is clearly separated from college credit. I hope things stay that way.
I sometimes aim to separate credit from "real world experience" even further. Berry, like every other college, gives college credit for internships. It would be suicidal to take a strong stand against that practice. But when our entrepreneurial students find themselves fine internships with law firms or think-tanks or government agencies, I almost always ask the student whether receiving college credit for the internship is actually worth their while. They often say no. Moving away from Berry in particular, I could go on to agree with critics who've noticed the elitism of our whole system of unpaid internships. It's a perk of privilege to be able to work for credit—not money. Internships, by gum, should be paid.


text:
Introduction to Anatomy & Physiology: Crash Course A&P #1
YouTube: https://youtube.com/watch?v=uBGl2BujkPQ
Previous: World History Outtakes!
Next: The Deep Future: Crash Course Big History #10
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In this episode of Crash Course, Hank introduces you to the complex history and terminology of Anatomy & Physiology.
Anatomy: The Structure of Parts 2:34
Physiology: How Parts Function 3:50
Complementarity of Structure & Function 4:09
Hierarchy of Organization 4:20
Directional Terms 7:27
Support CrashCourse on Subbable: http://subbable.com/crashcourse
Intro (0:00)
I'd like you to take a second and really look at yourself. I don't mean take stock of your life, which really isn't any of my business, but I just mean just look at your body. Hold up your hand. Wiggle it around. Take a sip of water. Hold your breath. Sniff the air.
These things are so simple for most of us that we don't give them a moment's thought. But each one of those things is oh so much more complex than it feels. Every movement you make, every new day that you live to see, is the result of a collection of systems working together to function properly. In short, you, my friend, are a magnificent beast. You are more convoluted and prolific and polymorphously awesome than you probably even dare to think.
For instance, did you know that, if they were all stretched out, your intestines would be about as long as a three story building is tall? Or that by the time you reach old age, you'll have produced enough saliva to fill more than one swimming pool? Or that you lose about two-thirds of a kilogram every year in dead skin cells? And you will lose more than 50 kilograms of them in your lifetime. Just tiny, dried-up pieces of you, drifting around your house and settling on your bookshelves, feeding entire colonies of dust mites. You're your own little world.
And I'm here to help you get to know that world, the body that you call a home, through the twin disciplines of anatomy, the study of the structure and relationships between body parts, and physiology, the science of how those parts come together to function and keep that body alive.
Anatomy is all about what your body is, physiology is about what it does, and together, they comprise the science of us. It's a complicated science, I'm not gonna lie to you, and it draws on a lot of other disciplines, like chemistry and even physics. And you'll have to absorb a lot of new terms - lots of Latin, gobs of Greek.
But this course isn't just gonna be an inventory of your individual parts, or a diagram about how a slice of pizza gives you energy, because these disciplines are really about why you're alive right now and how you came to be alive, how disease harms you, and how your body recovers from illness and injury.
It's about the big-picture stuff that we either spend most of our time thinking about, or trying not to think about: death, and sex, and eating, and sleeping, and even the act of thinking itself, all processes that we can understand through anatomy and physiology.
If you pay attention, and if I do my job well enough, you'll come out of this course with a richer, more complete understanding not only of how your body works, everything from handshakes to heart attacks, but I think you'll also start to see that you really are more than just the sum of your parts.
[Opening music]
The History of A&P (2:34)
We've come to understand the living body by studying a lot of dead ones. And for a long time, we did this mostly in secret. For centuries, the dissection of human bodies was very taboo in many societies, and as a result, the study of anatomy has followed a long and slow and often creepy road.
The second-century Greek physician Galen gleaned what he could about the human form by performing vivisections on pigs. Da Vinci poked around in dead bodies while sketching his beautifully detailed anatomical drawings until the Pope made him stop.
It wasn't until the 17th and 18th centuries that certified anatomists were allowed to perform tightly regulated human dissections, and they were so popular that they were often public events, with admission fees, attended by the likes of Michelangelo and Rembrandt.
The study of human anatomy became such a craze in Europe that grave-robbing became a lucrative, if not legal, occupation until 1832, when Britain passed the Anatomy Act, which provided students with plentiful corpses in the form of executed murderers.
Today, students of anatomy and physiology still use educational cadavers to learn, in person and hands-on, what's inside a human body by dissecting them. And it's totally legal. The cadavers are volunteers, which is what people mean when they say they're "donating their body to science."
What Makes Up a Body (3:47)
So what have all of these dead bodies shown us?
Well, one big idea we see over and over is that the function of a cell or an organ or a whole organism always reflects its form. Blood flows in one direction through your heart simply because its valves prevent it from flowing backward. In the same way, your bones are strong and hard and this allows them to protect and support all your soft parts.
The basic idea - that what a structure can do depends on its specific form - is called the complementarity of structure and function. And it holds true through every level of your body's organization, from cell to tissue to system.
And it begins with the smallest of the small: atoms. Just like the chair you're sitting on, you are just a conglomeration of atoms -- about 7 octillion of them, to be precise. Fortunately for both of us here, we've covered the basics of chemistry that every incoming physiology student needs to know in Crash Course Chemistry. So I'll be referring you there throughout the course when it comes to how things work at the atomic level.
But the next level up from the chemistry of atoms and molecules includes the smallest units of living things - cells. All cells have some basic functions in common, but they also vary widely in size and shape, depending on their purpose. For example! One of the smallest cells in your body is the red blood cell, which measures about 5 micrometers across. Now contrast that with the single motor neuron that runs the length of your entire leg, from your big toe to the bottom of your spine, about a meter from end to end.
Typically, cells group with similar cells to form the next level of organization: tissues, like muscles, membranes and cavity linings, nervous, and connective tissues. When two or more tissue types combine, they form organs -- the heart, liver, lungs, skin, etc. that perform specific functions to keep the body running.
Organs work together and combine to get things done, forming organ systems. It's how, like, the liver, stomach, and intestines of your digestive system all unite to take that burrito from plate to pooper.
And finally, all those previous levels combine to form the highest level of organization - the body itself. Me and you and your dog - we're all glorious complete organisms, made from the precise organization of trillions of cells in nearly constant activity.
This ability of all living systems to maintain stable, internal conditions no matter what changes are occurring outside the body is called homeostasis, and it's another major unifying theme in anatomy and physiology. Your survival is all about maintaining balance of both materials and energy. You need the right amount of blood, water, nutrients, and oxygen to create and disperse energy, as well as the perfect body temperature, the right blood pressure, efficient movement of waste through your body, all that needs to stay balanced.
And by your survival depending on it? I mean that everyone's ultimate cause of death is the extreme and irreversible loss of homeostasis. Organ failure, hypothermia, suffocation, starvation, dehydration - they all lead to the same end, by throwing off your internal balances that allow your body to keep processing energy.
Take an extreme and sudden case - your arm pops off. If nothing's done quickly to treat such a severe wound, you would bleed to death, right? But what does that really mean? What's gonna happen? How do I die?
Well, that arterial wound, if left untreated, will cause a drastic drop in blood pressure that, in turn, will prevent the delivery of oxygen throughout the body. So the real result of such an injury - the actual cause of death - is the loss of homeostasis.
I mean, you can live a full and healthy life without an arm. But you can't live without blood pressure, because without blood, your cells don't get oxygen, and without oxygen, they can't process energy, and you die.
Directional Terminology (7:13)
With so many connected parts needed to make your life possible, you can see how we need a hyper-precise language to identify the parts of your body and communicate what's happening to them. A doctor isn't gonna recommend a patient for surgery by telling the surgeon that the patient has an "achy belly."
They're going to need to give a detailed description - essentially, it's like a verbal map. So, over time, anatomy has developed its own standardized set of directional terms that describe where one body part is in relation to another.
Imagine a person standing in front of you. This is what is called the classic anatomical position, where the body is erect and facing straight ahead, with arms at the sides and palms forward.
Now imagine slicing that person into different sections, or planes. Don't imagine it too graphically, though. The sagittal plane comes down vertically and divides a body or organ in left and right parts. If you imagine a plane parallel to the sagittal plane, but off to one side, that plane is the parasagittal. The coronal or frontal plane splits everything vertically into front and back, and the transverse or horizontal plane divides the body top and bottom.
Look at that body again and you'll notice even more divisions, like the difference between the axial and appendicular parts. Everything in line with the center of the body, the head, neck, and trunk, are considered axial parts, while the arms and legs, or appendages, are the appendicular parts that attach to the body's axis.
Everything at the front of your body is considered anterior, or ventral, and everything in the back is posterior, or dorsal. So your eyes are anterior, and your butt is posterior, but you'd also say that your breastbone is anterior to, or in front of, the spine, and the heart is posterior to, or behind, the breastbone.
Features toward the top of your body, like your head, are considered superior, or cranial, while structures that are lower down are inferior, or caudal. So the jaw is superior to the lungs because it's above them, while the pelvis is inferior to the stomach because it's below it.
And, there's more: if you imagine the center line running down the axis of a body, structures toward that midline are called medial, while those farther away from the midline are lateral. So the arms are lateral to the heart, and the heart is medial to the arms.
Looking at the limbs - your appendicular parts of your body - you'd call the areas closer to the center of the trunk proximal and those farther away distal. In anatomy-talk, your knee is proximal to your ankle because it's closer to the axial line, while a wrist is distal to the elbow because it's farther from the center.
Okay, so pop quiz!
I'm eating a club sandwich -- I'm not, I wish I was, but imagine I am. I'm so ravenous and distracted that I forget to take out that little frilly toothpick at the top, and I end up swallowing it with a raft of turkey, bacon, and toast. A fragment of the toothpick gets lodged somewhere in here, and my doctor takes an x-ray and says I need surgery. Using anatomical language, how would she direct the surgeon to that tiny wooden stake inside of me?
She might describe it as being "along the medial line, posterior to the heart, but anterior to the vertebrae, inferior to the collarbone, but superior to the stomach." That would give the surgeon a pretty good idea of where to look -- in the esophagus, just above the stomach.
I warned you at the beginning, lots of terms! But all those terms might have just saved my life. And hey, it's the end of your first lesson, and you've already started to talk the talk.
Review and Credits (10:24)
Today you learned that anatomy studies the structure of body parts, while physiology describes how those parts come together to function. We also talked about some of these disciplines' central principles, including the complementarity of structure and function, the hierarchy of organization, and how the balance of materials and energy known as homeostasis is really what keeps you alive. And then we wrapped it all up with a primer in directional terms, all held together with a toothpick.
Thanks for watching, especially to our Subbable subscribers, who make Crash Course available not just to themselves, but also everyone else in the world. To find out how you can become a supporter, just go to Subbable.com.
This episode was written by Kathleen Yale, edited by Blake de Pastino, and our consultant is Dr. Brandon Jackson. Our director and editor is Nicholas Jenkins, the script supervisor is Valerie Barr, the sound designer is Michael Aranda, and the graphics team is Thought Café.
[Theme music]


text:
Q: why i am getting mysql error in this query I am getting mysql error after executing below query
select s1.Student_Id,
       s1.Total_Paid_Orders
from ((SELECT s.Student_Id,
              COUNT(o.Order_Id) as Total_Paid_Orders
       FROM `orders` o
       inner join students s on s.Student_Id=o.Student_Id
       WHERE o.Entry_Date<'2019-09-01 00:00:00'
       group by s.Student_Id
      ) s1
      left join (SELECT s23.Student_Id
                 FROM `orders` o23
                 inner join students s23 on s23.Student_Id=o23.Student_Id
                 WHERE o23.Entry_Date>='2019-09-01 00:00:00'
                 group by s23.Student_Id
                ) s2 on s1.Student_Id=s2.Student_Id
      where s1.Student_Id is null
);

Mysql Error:

MySQL said: Documentation
  #1064 - You have an error in your SQL syntax; check the manual that corresponds to your MySQL server version for the right syntax to use near 'where s1.Student_Id is null) LIMIT 0, 25' at line 1```

Please help me to resolve this issue.

A: I guess the problem is with the extranneous parenthesis. Try below query -
SELECT s1.Student_Id,
  s1.Total_Paid_Orders
FROM
  (SELECT s.Student_Id,
    COUNT(o.Order_Id) AS Total_Paid_Orders
  FROM `orders` o
  INNER JOIN students s
  ON s.Student_Id   =o.Student_Id
  WHERE o.Entry_Date<'2019-09-01 00:00:00'
  GROUP BY s.Student_Id
  ) s1
LEFT JOIN
  (SELECT s23.Student_Id
  FROM `orders` o23
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George Johanson: What a curious profession this is…
George Johanson speaks with his former student and long-time friend, PNCA faculty member Barry Pelzner, about seven decades of painting.
On July 8, 2010, at George Johanson's studio in Portland, the artist met with his former student and long-time friend, PNCA faculty member Barry Pelzner. They discussed Johanson's career surveyed in George Johanson: Seven Decades of Painting.
Marianne, 1949
Barry Pelzner Ok, so we've started to look at the specific paintings that are going to be in the show. We're looking at the 1940s; there's a beach scene and a self-portrait and a portrait of your sister. A thing that strikes me is that both of these portraits, the one of your sister (Marianne) and the one of yourself (Self Portrait), are signed 1948 but they are actually very different in character and they seem to have happened almost simultaneously. And this beach scene (Beach) is also very different from each of the portraits.
George Johanson Yes. For one thing, when you are a student you are looking at all sorts of styles and trying everything. But in another sense, I have been doing that all my life, adapting my approach to what I have to say in a particular painting. The one of my sister was very much influenced by Oscar Kokoschka, whom I just loved and felt very much of a kinship with. Those early Kokoschka portraits, I thought, were just so stunning psychologically and in the kind of verve of the painting and so on. And I did quite a lot of things during my student years that were very Kokoschka-like. But there were other painters whom I loved very much then, too. One was Rouault. And in the self-portrait I think there's a sense of that very heavy reliance on light-dark patterning that I saw in Rouault. That's something that I have really loved all my life, chiaroscuro and the patterning of light and dark.
BP So when you see these paintings now do you get into the self who would have created this one, who is a slightly different self than the one who would have created that one?
GJ But I disagree with that. I don't think it's a different self. It's a matter of a certain way of thinking when you're drawing or painting. For instance, I do a lot of life drawing and when I am drawing from the nude I have only that one subject in front of me. And I will do very gestural drawings for awhile, and then on another page I will do a clean line drawing, and then maybe a little later I'll do something that looks at the light and dark of it and really gets into that. And each one of these, stylistically, looks different but the psychology of them is all mine. And when I look at these I feel myself in them all. I don't look back at them and say, well, that was a different person than this person, not at all.
Daub, 1958
BP Sounds like you view the wide range of your work as representing a kind of toolbox from which you choose according to the task in front of you.
GJ That's a good way of putting it. As an artist I've built up a kind of toolbox where I have control, or some kind of control, of a lot of approaches to my subject. I have never tried to impose a style on my work, but as I look back on what I have done over the years, I find that the work does tend to group itself into different stylistic periods. Well, we probably should look at other work before we get too much into that . . .
BP Yes, let's add a decade shall we? Did you produce these paintings in New York in the fifties?
GJ Let's see . . . yes, three of them, Framemaker, Slaughtehouse and Children by the Cross were all done in New York. And then these two, which look very abstract expressionist, were from the very end of the fifties and then as we look at a couple more . . . What happened was that really during that time I got into abstract expressionism in a very big way and . . .
BP They are very abstract, but it also looks like there's figuration just bursting to get out.
Seated Figure in a Garden (detail), 1960
GJ Right. I worked in an abstract expressionist mode for about five or six years and I would say that during all of that time the most abstract stuff still had a sense of figuration. The shapes in this painting have a lot to do with sections of anatomy. Hints at legs and thighs and so on. It's called Surf 2 and its idea is bathers romping in the waves. This other one called Daub is very much in the vein of the paintings I was doing in those abstract years, and in my mind it related to a still life. You get the wall plane of red back there and the floor plane of light blue-green and then the pillars of the table and a kind of jumble of things on the table. So . . .
BP So, is your impulse to narrate this painting to me as a description of an interior—is that indicative of a feeling you have about what the painting needs to contain?
GJ No, not really. I think I'm saying that simply as information about where the forms came from, because I think the paintings stand on their own as forces of color and movements and senses of volume and so on, without having to pin them down to a subject such as a still life. One of my abstract expressionist paintings might be a forest, or it might be not anything specific. It might be a range of emotions, a statement about emotion.
BP Earlier it seemed to me that you were describing your progress as an artist not as an evolution, but rather as an accumulation of more and more tools of expression to add to your arsenal. Is that correct?
GJ That's right.
Waiting for the Parade, 2009
BP So I just want to ask about the tools you acquired with the abstract expressionist paintings. The ones that seem so nearly non-representational. Do you think you could wrap your words around the nature of the tools that you added on when you added on the ability to make these paintings?
GJ I think so. The wonderful thing about painting for me is that it is a sensual expression of the outside world. I've always loved juicy paint in one way or another. And, if we look at the early paintings from New York, they all have a sense of the deliciousness of the paint, I think. It's the sensuousness of paint that compels me, I guess. All of this kind of moved into abstract expressionism.
BP I'm just trying to get at that sense of what you were finding new that you could do in these paintings that you weren't already doing so wonderfully in the earlier ones. That idea of just relying more on yourself and your relation to the paint sounds like it's in that direction.
GJ Well, there can be a kind of tyranny in subject matter. And in a sense, when one is dealing with figurative art, I think there is the insistence of the subject on what you're doing with it and I think that abstract expressionism was a way of getting free of that for a period of time, and getting involved totally in the act of painting and in the emotion of it and in color range and just what all of that could do without the obligation to do something specific with any sort of subject matter. These paintings were all begun pretty much without drawing, which was so different.
BP Which would be radically different.
GJ Radically different, yes. And therefore one was able to develop whatever drawing there was in terms of what the paint was doing and could find the subject matter and the composition in terms of what was already beginning to develop on the canvas. This painting is from 1960; it's called Seated Figure in a Garden. It's abstract expressionist too, except there's a figure in a chair. You can make out legs, and back, and head and so on. So, I think, as much as I was talking about the liberating quality of abstract-expressionism, I was always kind of working the figure into it in some way. But, it was coming in through the back door. It was coming in after the painting was evolving, just totally free and changeable . . .
BP Well, what happened in the next decade?
Tea Time for Three Nudes (detail), 1966
GJ I got a year off and went to live in London in 1965, and at the same time I was feeling dissatisfied, I think, with abstract expressionism, in that I wanted a more specific way to deal with life around me and with life as I experienced it. And living in London that year brought me more specifically in touch with both David Hockney and Francis Bacon. While they're very different artists, they both did something for my work that has been meaningful ever since. This painting is called Tea Time for Three Nudes and I think in the kind of broadness of the treatment of the figures, it owes something to Bacon. Also there's the shaping, the shaped canvas. I think this is the only painting in the show that's shaped, but I came back from that year with quite a number of paintings that were shaped. That came partly from looking at Hockney, who was doing shaped canvasses at the time. My interest was in the kind of illusion the painting could have. I think of the painting as being a window of some kind that's looking into a world that has some three-dimensionality in it, either very deep, or sometimes shallow, or sometimes twisted. This expression of space within the painting is a very vital part of my sense of transposing the world as I see it onto this two-dimensional surface. The shaping of the canvas was a way both to emphasize that flatness and also, by the illusion of the canvas itself seeming to be an object seen in perspective, to fool the mind—is this painting flat or is it three-dimensional? This dichotomy goes back and forth—not at all in a fool-the-eye way, but in a fool-the-mind way—making the mind work about what this illusion of space is.
BP Right, and certainly calling the viewer's attention to the conundrum of the painting as window and as object simultaneously.
GJ That's right. The other thing about moving to London, and having that year off, was that I began to get back into figurative work. So that the paintings I did then were being, at least to a large extent, planned from the beginning. I might make changes in the painting as I went along, but they were started with a composition about where the figures would be placed and how the space would be structured.
BP Did you want to say a word about the impetus to get back into figurative painting?
Portrait of Gretchen Corbett, 1979
GJ Well, I think the figure is really my strong point and it's the thing that needed to come out all along. Working abstractly was a necessary step along the way, but the figure is really my commitment and, as I say, it was there even when it was submerged in the abstract paintings. So, it was a very deliberate thing of coming back to it and making the figure a very strong element.
BP Was there something about the London situation that enabled you to return to the figure with renewed . . .
GJ . . . with renewed interest?
BP Or with renewed confidence that it was the right thing to do?
GJ Yes, besides Hockney there were a number of painters, some of them minor names that you wouldn't hear a lot about here, who were working with the figure and kind of strange spaces in painting. And that just interested me a whole lot. So that was part of the basis of this Tea Time for Three Nudes that we've just talked about, but there were many other painters I saw who were using notions about space and the figure in a way that was kind of interestingly broken up and calling things into question, which I found very compelling.
BP Contemporary viewers are quite at ease viewing this broken up space in your paintings, but earlier in your career as a painter, was there a portion of your audience that had to be brought along to see the space so confounded? Do you know what I mean?
GJ I think maybe in general the kind of fractured space that has been happening in paintings over the years is now much more acceptable, just as abstraction is much more acceptable than it was in the early years. You know, when I went to art school and in all of those early years, abstraction among the general public was thought to be a Communist plot or something.
BP But you went to art school after World War II, right? So virtually all of Modernism had unfolded by that time.
GJ Well, I think the thing to remember is that the audience for art in 1950 was not very big at all. The people who were interested in and followed art were used to abstraction by 1950, for instance, but the audience for art was very small in Portland. The Museum Art School (PNCA) was a terrific school but no one in town except the artists knew that it was there. And the artists weren't showing anywhere because there were no galleries and no sales . . . so that tells you that, sure, Modernism had been around for fifty years by that time but it was not yet accepted by the general public. Things have really changed, and a lot of it has to do with university art departments.
BP How so?
GJ Particularly university art departments because a lot of people who were going to university and taking other subjects were also taking some art classes and finding out about art. Art schools were turning out the same people they had been turning out. You know, people who wanted to be artists. But I think university art departments really started up after the Second World War, and that in my mind is what really has changed the whole picture. Because people who were going to become accountants, for example, went through university and got some art training along the way. They became aware that there was something out there that was terribly interesting. And when the galleries came along, those same people could be enticed into looking at art as a serious thing because of what they'd learned along the way. They'd been educated to it.
BP Do you see this as a change for the better?
GJ Oh sure, of course.
BP Well, just thought I'd ask.
GJ Sure, because I think art is basic to being a human being and the more we have of it the better off we are. I mean all of it. Even stuff that doesn't speak to me. I think we need art and the more art the better. My theme is that art is the most important thing in the world and all the rest of what we do is just maintenance.
BP Well, that's quite a theme.
Ritual—Smoke and Water, 2010
GJ I think the rest of what we do, raising families, sure it all has value, but it's all maintenance. We're all just maintaining ourselves until we die, amusing ourselves and entertaining ourselves until we die. But art in its broadest terms is what we're really here for, to be creative. To make something and look at the world and to interpret it through art is the highest activity of human beings. Now argue with that, Barry.
BP No, I don't want to argue with you, George, but I'm wondering how that belief you have comports with this other development in the world: that what art is has expanded exponentially since you went to art school and also since I went to art school. So that I think now most people in the art world would identify as art—potentially—any made thing. I mean there is the potential for any made thing to be art. So do you experience that as a dilution of art or an enrichment of human potential?
GJ Well, I think that's entirely an enrichment of potential. Now, what I do think is that when art schools take the emphasis off painting and drawing there is a dilution of what painting can be, and eventually it's going to impoverish painting. Because unless you have a strong group of people who are really passionate about painting to really get into it and move it, it is in danger of becoming marginalized.
On the other hand, I think that drawing is so basic to human nature that it is not in the same danger. The fact is that tiny kids, if you give them a pencil, will start scratching away with it, and as they get a little more skilled they love it. And they begin to get very excited about the fact that they can replicate something in the world—and what an exciting thing this is, you know. I draw a lot all the time, and when I'm drawing, particularly when I'm drawing from the figure, and something begins to form on the page and it has a certain simplification and it is blooming into a volume, I'm excited.
BP It's a magic that doesn't go away, does it?
GJ No! That magic doesn't diminish one bit. I'm as enthralled with that thing that happens as I was when I was a tiny kid. Take as an example the Paleolithic cave paintings: I'm absolutely convinced that those people were totally enthralled, too. If you think of the fact that they had no images to start with, whereas now we have images everywhere. No images! Nothing! And then there was a group of people, maybe all of them drew in some way, but at least a group of them could make some lines on a cave wall appear to be a buffalo. Wow! And I'm sure that the people who saw Lascaux for the first time got in there and looked, were dumbfounded, totally dumbfounded. They probably fell on their knees.
Amusement Park—Night Rides (detail), 1982
BP Oh, you mean the first contemporary viewers?
GJ Yes, contemporary viewers. Well, this is to say that I think that drawing, as the extension of your mind through your hand, is such a basic human thing that we will never lose that, whether it's taught or not taught. Because it's so basic I think that there's something there that will keep coming up. You can ignore it as something to teach, but you know it'll bubble up anyway.
BP Isn't it interesting that painting would be in a slightly different category?
GJ Than drawing?
BP Than drawing in that regard. I mean, if you're right, it does need to be cultivated a bit to be enriched and to maintain its vitality.
GJ I think it's certainly true with me and with most people, that painting takes more time and is more developed. It's an image that's developed and thought over and you use your intellect about it and all of that. For me, the idea, the feeling about putting something on two dimensions that is evoking three dimensions is still a very exciting thing.
An idea comes to mind about 3D television and so on and the notion that this is the coming thing and everyone's now going to be tired of two dimensions. I don't think so. You know there's something going on when you look at a Rembrandt or a Velázquez that is not challenged at all by a 3D video, for example.
BP I share your point of view exactly, but I don't know if that's true for young people.
GJ Being excited about making a drawing, for instance?
BP Or being excited about being in front of a Velázquez in a way that they are not by being in front of the movie Avatar.
GJ I guess I've presumed that someone who's into the arts at all would appreciate a Velázquez, but you know, now that you mention it, I think that it also takes familiarity with painting, the tradition of painting, with what's going on, before you can get that, before you can get that excited about it. Yes.
BP Well, the more you can see.
GJ Although, you could get it all, this is the other thing about it that I love, is that you could get it all from just seeing Lascaux. I mean we don't know anything about the cave people to speak of, but I get why they did it, why they were excited about it, I get that part.
BP I would argue that we probably don't get it all, but we get plenty enough to make a really rewarding experience. I mean there could be many things that you simply don't get because you don't know the circumstances of its creation, you don't know the iconography or . . .
GJ But, what you do get is the plastic quality of it.
BP That seems almost an innate human experience, doesn't it?
Tropical Cat Cage, 2009
GJ Universal! How you put this color up against that color, the beauty of line, what makes a strong shape and what happens when you distort a shape. The very first artists were concerned with esthetic qualities and those qualities communicate directly to us when we view what they did. Jack McClarty once made the statement: "I own Rembrant and he owns me."
BP What did he mean when he said: "he owns me"?
GJ Rembrandt could "own" Jack's work if he were around to see it. We become part of an artist's life by being absorbed in his work. I love the idea that I own Rembrandt. I own him as much as any person who's ever paid to purchase one of his paintings. I completely own Rembrandt and I own Velázquez. Completely, you know.
BP It's a wonderful idea!
OK, so George, there's a last question I wanted to ask you. In preparing for today's conversation I reread Roger Hull's monograph on you, and I would say the focus of his writing was on the relationship between what you were seeing in each point of your life and what you were making. But I wanted to ask you a question that focuses on something rather different than that, which is just the sheer volume of images that you make, that you have made so far and continue to make. I mean, you don't seem to be experiencing any diminution of productivity, and I'm wondering, do you see it as a compulsion to make images, or as something else?
GJ Oh boy, that is a good question.
BP I hope so. Now it's your turn to give a good answer.
GJ I think there are several reasons which we have touched on, about the pleasures that it gives you to make art, but there is also in my own psychology, at least, the sense that I'm building a kind of accumulation of something. It's kind of like hoarding, I think.
BP That seems like an unnecessarily self-effacing way of describing it.
GJ But it has that quality to it of getting a lot of pennies if you're collecting pennies. There is something in human nature about acquisitiveness. In my ordinary life I don't like collecting a lot of things and I feel very good when I throw things out or give them away. But, there is this idea that I'm making things and if pleased with them, then I've got some more of those, and I've got some more of this and some more of that. It's kind of an abstraction in a way, but I think it's part of the pleasure of working. I have a show coming up in November at Augen Gallery and I'm not aiming at this point to do a group of paintings that will look good together, but I do feel that I've got enough work that I'm going to be able to pull together a cohesive show.
BP So that's the benefit of having so many pennies in your jar?
BP But, it's interesting to me that you describe this pleasure as a kind of receiving, that is of getting . . .
GJ . . . acquisitiveness . . .
BP . . . acquisitiveness, but there's also the fact that this stuff comes out of you. That is, you had it even before you made it.
GJ Yes.
BP But is there any part of it that just has to come out? Is there the voice that says, "I've got to get it out?"
GJ Yes, this is a really important part of being an artist. I think it's that you don't know what else is in there that you can bring out. You don't know what else there is about you that you've got that you can bring out and make a painting out of, and yet it seems to keep coming. And the more you do, the more that one thing leads to another thing, which leads to two more ideas. And the thing that I find about working is that working tends to solve a lot of questions about where you're going, and what you can do and why you're doing it. Probably part of being an artist in the 20th and 21st centuries is that there's a certain amount of angst about the whole purpose of art. For the most part, you're not commissioned by anyone, and no one cares whether you do it or not.
BP Right.
GJ And what a curious profession this is, that that's the case. You're inventing the thing out of pure air, so to speak.
by Barry Pelzner
Photos by Aaron Johanson. Courtesy of the artist and Augen Gallery
Watch George Johanson: Alumni Profile
Listen to George Johanson's 2010 Homecoming Address
George Johanson at Augen Gallery
Feldman Gallery curator Mack McFarland interviews the Bruce High Quality Foundation in conjunction with their visit to Portland as part of their Teach 4 Amerika tour. Read more →
Ten writers share poetry and prose written during a two-day retreat at Lee Kelly's woodland studio and sculpture garden. Read more →
To commemorate an exhibition of the late Bonnie Bronson's work, Randal Davis writes about the influences, context and history that shaped Bronson's development as an artist. Continued from Part One. Read more →


Rune Soldier Louie (魔法戦士リウイ, Mahou Senshi Louie) is a light novel written by Mizuno Ryou and illustrated by Yokota Mamoru, which features soldier Louie as the hero. The series takes place on the continent of Alecrast on the world called Forcelia, and is related to the novel, anime, and manga series Sword World. It is a sibling series to Record of Lodoss War (which is also written by Mizuno), taking place on a continent north of Lodoss Island. The first series was released from October 1998 to February 2002. The series, sequel and sidestories are 21 books in total. An anime with 24 episodes aired from April to September 2001.
This page was last edited on 20 November 2016, at 11:35.


The company has strengthened its position in the ICT market and seeks to focus on the energy and industry market through an innovative offer in industry 4.0 and the smart city sector.
Axians is the brand of VINCI Energies that specialises in ICT. Its global turnover for 2017 stood at 2,000 million euros, with a network of 9,000 professionals and operations in 22 countries.
Axians has the capacity to take on international projects with greater solvency, and to establish synergies with new markets and in new technological areas.
The acquisition of Acuntia one year ago and this current rebranding reflect VINCI Energies' commitment to growth and technological innovation in the Spanish market, operating in the industrial, energy and services sectors.
VINCI Energies España has forecast turnover of 239 million euros in 2018 and has a team of 1,500 employees.
"Ever since it was first founded, our company has evolved day after day, keeping pace with technologies. By joining VINCI Energies, we are opening up a whole host of new proposals that are closer to what our clients are demanding, and we can respond to the challenges of society in order to improve people's quality of life. For that reason, our slogan at Axians is "Technology with a human touch", said Emilio Cabañas, Axians' business managing director in Spain.
Axians is the brand of VINCI Energies dedicated to the information and communications technology sector, registering global turnover of 2,000 million euros in 2017.
boost our competitive position in the market. Our vision over the medium term is optimistic, and we confidently expect continued and sustainable growth over the next 5 years".
Over the past year, Acuntia has been working to understand Axians' portfolio and pursue new business lines and solutions. Having integrated everything Axians offers into its portfolio, it proceeded to change its brand name. Furthermore, by becoming a part of VINCI Energies España, it has strengthened its economic solvency, which will allow it to take on large-scale projects.
With turnover of 100 million euros in 2017 and a current team of 500 people, Axians is a leading Spanish provider of IP convergence network solutions and services, secure systems and applications, supported by consultancy, integration, management and outsourcing services. It works for companies and for telecommunications operators and public bodies that are looking to deploy long lasting tailored ICT solutions. In recent years, it has become a leading firm in SDN, SD-WAN, WiFi, cybersecurity, analytics and big data solutions. Its clientele includes 30 companies listed on the IBEX35 index, as well as leading telecommunications operators and major public bodies.
Axians' Spanish headquarters are located in Madrid and it has delegations in Barcelona, Bilbao, Valencia, Seville, A Coruña and Las Palmas. It has also developed projects in the Americas, Europe, Asia and Africa.
VINCI Energies España registered turnover of 239 million euros in 2017 and has a team of 1,500 employees. Through its different service brands, it works in energy infrastructures (Omexom), industry (Actemium), ICT (Axians), public lighting (Citeos) and facilities (VINCI Facilities). Thanks to its brand synergies and networking, VINCI Energies develops innovation applied to energy, transport and communications infrastructures, as well as the industrial sector. From design to maintenance and operation, it supports its clients through their energy transition and digital transformation.
VINCI Energies has a global worldwide turnover of 10,800 million euros and 64,500 employees working in 52 countries. It is part of the VINCI Group, one of the world leaders in concessions and construction, with turnover of 40,200 million euros and 195,000 employees in more than 110 countries.


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Star Trek: Discovery Star Joined After Walking Dead Fate Was Sealed
Rose Moore Apr 7, 2017
Star Trek: Discovery – Andrew Lincoln Wants to Cameo as an Alien
The Walking Dead star Andrew Lincoln wants to appear on upcoming Star Trek: Discovery as an alien to work with Sonequa Martin-Green again.
Star Trek: Discovery Is a Bigger & Grittier Take on the Series
Emily Donn Apr 3, 2017
While speaking about her new show, Star Trek: Discovery's Sonequa Martin-Green describes the series as bigger and grittier.
Star Trek: Discovery - Sonequa Martin-Green's Character Revealed
James Roberts Apr 3, 2017
Following The Walking Dead season 7 finale, the name of Sonequa Martin-Green's character on Star Trek: Discovery is officially revealed.
Star Trek: Discovery Casts Rainn Wilson as Harry Mudd
Timothy Lammers Mar 31, 2017
The Office star Rainn Wilson is cast as the conniving character Harry Mudd in the CBS All Access series Star Trek: Discovery.
Star Trek: Discovery Photo Spotlights the Show's Main Cast
Harry Lime Mar 27, 2017
An unofficial, casual photo of cast members from the CBS All Access series Star Trek: Discovery is our first glimpse of the actors together.
Star Trek: Discovery Casts Jason Isaacs as the Captain
Bob Chipman Mar 7, 2017
Star Trek: Discovery casts actor Jason Isaacs, best known as Lucius Malfoy from the Harry Potter films, as Captain Lorca.
Star Trek: Leonard Nimoy's Son Open to Reviving Spock With CGI
Araceli Roach Mar 4, 2017
Star Trek star Leonard Nimoy's son Adam Nimoy says he's open to his father's character Spock being brought back to life using CGI.
Star Trek: Discovery Now Aiming for Late Summer Premiere Date
Sarah Moran Feb 27, 2017
CBS chairman and CEO, Leslie Moonves says to expect Star Trek Discovery to premiere later this year, reaffirming their commitment to the series.
Star Trek: Discovery Casts Three More Starfleet Characters
Ashley Victoria Robinson Feb 13, 2017
CBS's upcoming Star Trek: Discovery series adds a few more crew members to its Starfleet cast, filling out the ranks of two ships.
Star Trek: Discovery Set Photo Leaks Possible New Klingon Design
Jasmin Mohamed Feb 12, 2017
Potential leaked photo from the set of Star Trek: Discovery may reveal a totally redesigned Klingon for the upcoming series.
Can Star Trek: Discovery Save the Star Trek Franchise
Andy L. Kubai Feb 10, 2017
Star Trek: Discovery, the first new series in over a decade, offers hope that Trek can warp into the 21st century.
Star Trek: Discovery Video Confirms Start of Filming
Sandy Schaefer Jan 31, 2017
CBS confirms the start of production on its upcoming TV series Star Trek: Discovery, via a video with behind the scenes footage.
Star Wars Writer Gary Whitta 'Would Jump At' Working on Star Trek
Kevin Yeoman Jan 24, 2017
Though Rogue One screenwriter Gary Whitta has had success with Star Wars recently, the scribe wouldn't say no to working on Star Trek.
Star Trek: Discovery Casts Spock's Dad; Premiere May Be Delayed Again
Sarah Moran Jan 18, 2017
Star Trek Discovery casts actor James Frain as Spock's father, Sarek. The series may also have its premiere date delayed, again.
Star Trek: Discovery Begins Filming This Month
James Roberts Jan 16, 2017
After a tumultuous development and some delays, the new television series Star Trek: Discovery begins filming this month.
Star Trek: Discovery Casts Walking Dead's Sonequa Martin-Green as Lead
Kevin Yeoman Dec 14, 2016
A new report indicates that Walking Dead star Sonequa Martin-Green has landed the lead role in CBS' Star Trek: Discovery.
Star Trek: Discovery Casts Three Klingon Characters
Chris Obi, Shazad Latif, and Mary Chieffo join the cast of the TV series Star Trek: Discovery as a trio of new Klingon characters.
Star Trek: Discovery: Filming Begins Early 2017
Chris Katje Dec 4, 2016
With CBS' upcoming Star Trek: Discovery series moving its premiere to spring, the network will start filming new episodes in early 2017.
Bryan Fuller 'Not Involved' With Production on Star Trek: Discovery
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Bryan Fuller, co-creator of Star Trek: Discovery, confirms that he's no longer involved with production on the upcoming CBS TV show.
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General Motors has announced a recall of more than 38,000 Pontiac G8 sedans because of an airbag sensor. Image from Wikimedia Commons.
General Motors has announced a recall of almost 40,000 Pontiac G8 cars manufactured between 2008 and 2009. A faulty sensor could cause the passenger-side airbag to not deploy correctly in the event of a crash.
The Pontiac brand is dead and gone; General Motors had to shutter the under-performing division in 2010 as part of a reorganization to keep itself solvent. However, GM honors warranties and still provides service for Pontiac owners.
Recently, General Motors notified the National Highway Traffic Safety Administration, according to the New York Times, that it was initiating a recall for the Pontiac G8. Holden, the Australian division of GM, found in crash testing that a higher number of head injuries were occurring on crash test dummies less than five feet in height when the seat was positioned forward. The airbag deployment sensor would malfunction and cause airbag deployment to be delayed, causing greater injury.
Holden was testing the Holden Commodore, the car the Pontiac G8 was based on, according to Edmunds. According to MotorAuthority, testing of the Commodore revealed that the crashes at 30 miles per hour could cause a 30 millisecond delay, which is not up to federal airbag standards. Holden manufactured the G8 in Australia for export to the United States.
According to the automotive recall website of the Australian government, there has been at least one recall of the Holden Commodore because of side airbag issues before, in Nov. 2008.
The recall affects 38,444 Pontiac G8 sedans. The G8 units in question were manufactured between Nov. 2, 2007 and Jan. 22, 2009. According to USA Today, it's unknown whether the recall also affects the new Chevrolet Caprice. The new Caprice, also based on the Commodore platform, is only being sold to police departments, but a few have managed to find their way into civilian hands.
No accidents or injuries have been reported as a result of the defect; the recall is entirely preventative. Owners are being directed to take G8s from the specified years to the nearest General Motors dealership service station. GM technicians will reprogram the sensing and diagnostic module to correct the problem at no cost to the owner.
Anyone who wants further information, according to MotorWard, can contact General Motors at 1-800-620-7668. The National Highway Traffic Safety Administration can be reached at 1-888-327-4236. The reference campaign number for the Pontiac G8 recall is 11V534000.


The VITA Mobile Tax Express will be at Trinity Lutheran Church, 444 N. American St., Stockton, from 1 to 4 p.m. Sunday. IRS-certified tax preparers can help people fill out their tax forms. Call first for an appointment at (209) 507-5118.


People with birth dates between 1964 and 1979 are labelled 'Generation X' and are suffering from a widespread tendency to procrastinate when it comes to putting money aside for retirement, according to the results of a new survey.
After a rocky few years, the Global Emerging Markets sector has picked up in 2016, with the sector showing an increase of 31% over the year to date at the end of August.
Supporters of the British vote to leave the European Union (EU) have heralded recent economic indicators as vindication that Brexit will act to catalyse, not sabotage, the UK economy. Before June's referendum, most economists warned that a Brexit vote would damage economic growth – an argument at the heart of the unsuccessful Remain campaign.
Thanks to healthier lifestyles and advances in medicine, people are living longer lives. Men are narrowing the gap on women when it comes to life expectancy in England and Wales. Research in the Lancet indicates a predication that by 2030, men will be living 85.7 years on average – just two fewer than women. The analysis did not cover Scotland, but government data suggests 76.8 years for males and 80.9 years for females.


LPN Programs in Iowa | OnlineLPN.net - Find LPN Schools Online Today!
If you think you'd like a job in the healthcare industry, LPN programs in Iowa is available to help you to get started today!
Get Free Information Here for LPN Programs in Iowa!
A lot of training classes can be completed in only a matter of 9 to 18 months, which means you'll probably be taking the Licensed Practical Nurse NCLEX examination in just a couple of months or so after completing your program.
What are the Requirements for Licensed Practical Nurse Programs?
Often times there are conditions that have to be satisfied before you can be a Licensed Practical Nurse. The very first is to fulfill the minimum age requirement and have a H.S. diploma or equivalent, the third is in many instances, to test negative for drugs, and lastly is then to successfully pass a background check.
The author of this site can't say which of the Licensed Practical Nurse courses is best for you, however we can present you with the following recommendations to help make your final decision a bit easier. Selecting LPN schools may perhaps appear relatively easy, but you must ensure that that you're deciding on the right kind of program. Before you sign a contract with the school you've selected, it is highly suggested that you take the time to look at the certification status of the training program with the Iowa State Board. If the accreditation is good, you may want to check out a number of other attributes of the school in comparison with other programs offering the same training.
Does Iowa Have a LPN Certification Prerequisite That I Need to Know About?
The National Council of State Boards of Nursing does, in fact, state that all LPNs need a license. The Nurse Aide Registry regulates the nursing registry that dictates who is able to be employed as a LPN. Once listed and formally credentialed, one has opened up the chance to get paid more and get hired easier.
If you're just beginning your employment search in Iowa, you will be happy to learn that the O*Net Online forecasts enormous prospects for you in the near future. The rise in new work opportunities for practical nurses are expected to go up across the country through the year 2020 and in Iowa. For individuals who want to start working as a practical nurse in Iowa, obviously the increasing demand is very much in your favor.
Thanks to the guidelines and info you have collected, you're now prepared to and get started on your new job as a licensed practical nurse through enrolling in LPN Training!


Divine Chants of Krishna consists of devotional hymns and mantras from sacred Hindu texts devoted to Krishna - the eighth incarnation of Hindu God Vishnu, the God of Preservance. The album features the voices of popular Indian singers Ashit Desai and Hema Desai. Available in audio CD format.


Click on play button to listen high quality(320 Kbps) mp3 of "Starvigator". This audio song duration is 1:53 minutes. This song is sing by Starvigator. You can download Starvigator high quality audio by clicking on "Download Mp3" button.


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FROM CHAINS TO ALMOST FREE
Juneteenth is representative of June Nineteenth, a commemorative holiday celebrating the end of slavery in the United States. To first understand why Black People celebrate Juneteenth one must understand the Emancipation Proclamation under the presidency of Abraham Lincoln.
President Abraham Lincoln issued the Emancipation Proclamation on January 1, 1863, freeing all enslaved people in Confederate States. The Emancipation Proclamation states,
"All persons held as slaves within any State or designated part of a State, the people whereof shall then be in rebellion against the
United States, shall be then, thenceforward, and forever free; and the Executive Government of the United States,including the military
and naval authority thereof, will recognize and maintain the freedom of such persons, and will do no act or acts to repress such
persons, or any of them, in any efforts they may make for their actual freedom."
In layman's terms, Our people were free and no one was to mess with it! Well, so we thought...
In actuality, the Emancipation Proclamation didn't instantly set all slaves free because not all places were under the Confederate control. Northern Union troops did venture down south to free more slaves, but Texas was one of the places where no major combating took place. There also wasn't a large presence of Union troops to enforce freeing the slaves. Slave owners from other states thought Texas, being a bordering state, would become a safe place to continue enslaving people. Some decided to relocate their slaves with hopes of avoiding any disruption from the Union troops. More than 250,000 people were still enslaved 2 1/2 years after Lincoln issued the Emancipation Proclamation. Slave owners tried to withhold the news of Freedom to get extra work out of their slaves since harvest season was upon them.
Two months after the Confederate States lost the Civil War, Federal Troops arrived in Texas on June 19, 1865 to take control of the state and enforce the Emancipation Proclamation. Celebrations broke out amongst the freed slaves and Juneteenth was born. Later that year, in December, slavery was formally abolished with the help of the 13th Amendment. Today Juneteenth commemorations have spread around the country holding this day in remembrance. Though we are free, we still have a long way to go. Our people were physically freed, but the government and white supremacy have introduced other forms of slavery:
1.) The Jim Crow South
2.) The Suppression of Voting Rights for Black People
3.) The Mass Incarceration of Black People
4.) The Never ending racism and unfair treatment in schools and the workplace
5.) The unjust killings of unarmed Black & Brown People by over funded police
Yes, our people were freed that day on June 19, 1865, but we were placed 100 steps behind everyone else. So when Juneteenth comes around, cling to your family, love on each other, support each other, and celebrate each other. For you don't know what the world holds for you, and you don't know if that will be your last time walking out the door just because of the color of your skin. True FREEDOM is equality for all, and we must keep striving to reach it and always celebrate where we come from. We come from strength and perseverance. Remember that God never puts more on us than we can bear. He knew we could take this and that is why we were chosen to go through this.
Stay strong my brothers and sisters, and celebrate Juneteenth width pride.
-The Cast Iron Chef
BUY BLACK
© 2023 The Chronicles of the Cast Iron Chef.


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Amazon Prime Day UK
Stop the unboxing posts madness!
By Carrie Marshall 2009-05-12T13:41:00.131Z Web
It's just a box. Get over it
Mmm, box...
Fast forward a few months.
Apple's latest iPhone is not just out: it's in your hand.
You take it home, carefully open the packaging and there it is, glistening in all its gadgety glory.
What now? Do you (a) start playing with it immediately? Or (b) drop your trousers and rub yourself against the cardboard box for a few hours?
Boxes are many things. They're the rubbish that sits in your garden for weeks because the council won't pick up cardboard and you keep forgetting to go to the recycling point.
They're hilarious toys for toddlers or dogs. They're handy for storing all the crap you've got kicking about that you don't use any more.
What they're not, ever, is interesting.
So where the hell does the phenomenon of unboxing come from?
It's everywhere. Boy Genius Report is doing it with the Palm Pre. Engadget does it with pretty much everything. And people read it. Of course they do, or the sites wouldn't post it.
Let's look at this phenomenon in detail: BGR's unboxing of the Palm Pre. There are seven images. The quality is reasonable, although a bit of colour correction would have been nice. So what do we have?
Photo one shows a top view of the box.
It's a box!
Photo two shows the top of the box and the bottom of the box.
Photo three shows the small print on the box.
It's small print! On a box!
Photo four shows the sticky label and barcode.
It's a sticky label! On a box!
Photo five: manuals, and the other things inside the box.
It's the stuff inside the box!
And finally, do we get a shot of what's actually in the box? A shot of, you know, the actual gadget? No. We get the box.
Only the box.
Nothing but box.
There are 36 comments on the story. Only a few of them say "it's a box!"
We don't get it. It's like having Angelina Jolie or Brad Pitt come to your house and do their sexiest striptease, only for you to give their shoes a good tonguing when they're finally in the buff. Of course there are people into that kind of thing, but their websites are of the, ahem, specialist variety.
Unboxing is everywhere. It's big. It's mainstream. It's socially acceptable.
Incredible iPhone XR price drop is an unexpected Amazon Prime Day deal
Why I bought AirPods on Amazon Prime Day even though I don't 'need' them


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Q: Workflow 4.5 ReceiveAndSendReply I have a state machine workflow of 2 states. State 1 has 2 transitions and they share the same trigger, a Receive operation.
What i want to do is:
if the received message is "GO" the transition1 action is to reply "DONE"
if the received message is not "GO" the transition2 action is to reply "TRY AGAIN"
The problem im facing is:
I can use a ReceiveAndSendReply activity, but i cant get everything to work with the receive on the trigger and the reply on the transitions Actions...
Can anyone tell me how can i do this?!?

A: a give receive message can have more than 1 reply if the correlation is set properly. For more info see http://msdn.microsoft.com/en-us/library/ee358755.aspx


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Jefferies Financial Group Equities Analysts Lift Earnings Estimates for Basf Se (OTCMKTS:BASFY)
Basf Se (OTCMKTS:BASFY – Get Rating) – Analysts at Jefferies Financial Group boosted their FY2023 earnings per share (EPS) estimates for shares of Basf in a research report issued on Tuesday, January 10th. Jefferies Financial Group analyst C. Counihan now forecasts that the basic materials company will post earnings of $1.03 per share for the year, up from their previous estimate of $1.00. The consensus estimate for Basf's current full-year earnings is $1.55 per share. Jefferies Financial Group also issued estimates for Basf's FY2024 earnings at $1.13 EPS and FY2025 earnings at $1.27 EPS.
Get Basf alerts:
Basf (OTCMKTS:BASFY – Get Rating) last issued its quarterly earnings data on Wednesday, October 26th. The basic materials company reported $0.45 earnings per share (EPS) for the quarter. The business had revenue of $22.12 billion during the quarter. Basf had a return on equity of 16.03% and a net margin of 5.82%.
Several other brokerages have also weighed in on BASFY. Morgan Stanley lowered their price objective on Basf from €59.00 ($63.44) to €57.00 ($61.29) and set an "equal weight" rating for the company in a research report on Thursday, September 29th. Deutsche Bank Aktiengesellschaft upgraded Basf from a "hold" rating to a "buy" rating in a research note on Friday, October 28th. Finally, Credit Suisse Group cut their price target on Basf from €67.00 ($72.04) to €61.00 ($65.59) in a research note on Monday, October 3rd. One equities research analyst has rated the stock with a sell rating, six have assigned a hold rating and three have assigned a buy rating to the company. According to data from MarketBeat, Basf presently has a consensus rating of "Hold" and a consensus target price of $62.36.
Basf Price Performance
Shares of Basf stock opened at $14.31 on Friday. The company has a debt-to-equity ratio of 0.32, a current ratio of 1.72 and a quick ratio of 1.02. The business has a 50 day simple moving average of $12.74 and a two-hundred day simple moving average of $11.43. The stock has a market capitalization of $52.58 billion, a P/E ratio of 9.35 and a beta of 1.20. Basf has a 12 month low of $9.01 and a 12 month high of $19.87.
Basf Company Profile
BASF SE operates as a chemical company worldwide. The company operates through six segments: Chemicals, Materials, Industrial Solutions, Surface Technologies, Nutrition & Care, and Agricultural Solutions. The Chemicals segment provides petrochemicals and intermediates. The Materials segment offers advanced materials and their precursors for applications and systems, such as isocyanates and polyamides, as well as inorganic basic products and specialties for plastic and plastic processing industries.
Get a free copy of the StockNews.com research report on Basf (BASFY)
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Hasbro, Inc. (NASDAQ:HAS) Shares Purchased by Russell Investments Group Ltd.


@katelingauldie is on Carousell - Follow to stay updated!
Cute grey knitted turtle necked sweater. Comes down half way down my arms so more like a poncho look. Very flowey, Size XS. Brought from the store ICE in Australia.


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Sakontala est un opéra de Franz Schubert (D. 701, 1820) en trois actes, inachevé et en fragments, d'après un livret de Johann Philipp Neumann, inspiré de l'œuvre du poète sanskrit classique Kâlidâsa.

Histoire
Schubert commence à composer cette œuvre en , mais s'arrête au printemps 1821, sans doute, parce que le Wiener Staatsoper lui demande d'adapter Zémire et Azor de Louis Spohr dont le sujet est très proche. Pour les premier et second actes, il n'y a que des ébauches de partition pour onze scènes en fragment reproduisant les lignes mélodiques fondamentales des chants et des basses.

Johann Philipp Neumann s'inspire de la pièce Abhijñânaśâkuntalâ qui est à la mode dans toute l'Europe et s'appuie sur la traduction de Georg Forster parue en 1800.

On redécouvre en 2002 le livret et les manuscrits à la . Après la détermination de l'ordre des fragments, le compositeur danois Karl Aage Rasmussen achève les ébauches de Schubert afin de pouvoir interpréter l'opéra.

En 2006, cette version est présentée au festival de Bad Urach, avec Frieder Bernius à la direction du  et du Deutsche Kammerphilharmonie. Les interprètes sont :
 Sakontala (soprano) – Simone Nold
 Duschmanta (ténor) – Donat Havar
 Kanna (basse) – Martin Snell
 Madhawia (basse) –
 Durwasas (basse) – Stephen Loges

La première représentation scénique a lieu le  au théâtre national de la Sarre, à Sarrebruck. Elle fait l'objet d'un enregistrement avec la distribution suivante :
 Duschmanta : Algirdas Drevinskas
 Sacontala : Elizabeth Wiles
 Durwasas / Madhawia : Guido Baehr
 Kanna : Hiroshi Matsui
 Amusina /  fille : Sofia Fomina
 Priamwada /  : Judith Braun
 Le pêcheur : Stefan Röttig
 Menaka : Elena Kochukova
 Un démon/ homme de main : Timo Päch
 Un démon/ homme de main : Harald Häusle

 Direction musicale : Christophe Hellmann
 Mise en scène :
 Décors : Veronika Witte
 Costume : Doey Lüthi
 Direction du chœur : Jaume Miranda
 Artiste performant sur scène : Skall

Notes et références

Liens externes
 Manuscrit original à la Wiener Rathaus

Œuvre de Franz Schubert
Opéra autrichien
Opéra en allemand
Opéra des années 1820
Œuvre de musique classique inachevée
Kâlidâsa

redpajama_set_name: RedPajamaWikipedia


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HYT CEO Gregory Dourde on H1 Colorblock, X Series and Future Projects
Review: Hands-on with the new MB&F HM8
Review: Swatch Sistem51 Irony
With price, analysis and live photographs.
by Simon Neo on October 5, 2016
Many different designs to choose from
Since the early 1980's, Swatch revolutionized the watch market by producing affordable Swiss watches that appeals to a wide range of audience, this time it stepped it up with the Swatch Sistem51 Irony.
At Baselworld 2013, we saw the release of the Sistem51 series that is the world's first mechanical movement made with an entirely automated assembly. The Sistem51 is unique in its own way, comprising a total of 51 mechanical movement components with only a single central screw uniting the mechanics of the timepiece.
By having only 51 components within the watch, it makes the timepiece easy to produce and complements the fully automated assembly production of it. By doing so, it keeps human involvement in the watchmaking process to a minimum and reduces the overhead costs of the process. The watch was a huge success as it was very well-priced and costs a fraction of its nearest competitor which was any Swiss-Made watch with a manufacture movement.
This year's release of the Sistem51 Irony sees a step up in terms of material used for the watch. The Swatch Sistem51 Irony series goes metal with the introduction of high performance and robust metals to the watch design.
The Sistem51 Irony features metal as a key element of its design
Case, Dial and Hands
The Swatch Sistem51 Irony comes in a 316L stainless steel watch case measuring at 42 mm with 6 different dial designs. Each design has its own unique features that can complement any individual's preference. We like the variations in the dial designs as it allows the collector to choose a design that best fits his/her style.
The Sistem51 Irony comes in a 316L stainless steel watch case in 6 different designs.
In this release, we also see a refresh in the materials used in the watch. From the use of rubber instead of silicon bands; superluminova index applications instead of print; use of fine, padded leather bands and metal that really differentiates the watch from its predecessor and yet maintains its price point. This is a huge step by Swatch to move towards pushing out affordable, timeless automatic watches that can appeal to the mass market.
Beautiful details on the Sistem51 Irony dial.
We think the Swatch Sistem51 Irony is a pretty fun watch as it has so many different variants and the fact that its Swiss-Made really makes the watch all the more desirable. This is all made possible by taking advantage of the first fully-automated mechanical watch manufacturing process where each model is assembled to the highest standards of Swiss watchmaking.
The Sistem51 was made using the first fully-automated mechanical watch manufacturing process.
The Sistem51 Irony makes use of the same movement as its predecessor, featuring an automatic movement that operates at a frequency of 21,600 bph with a 90-hour power reserve which is pretty impressive. The openwork caseback design of the watch allows for a clear view of the central screw, automatic rotor, oscillating balance wheel and other components all moving in motion, aesthetically pleasing to the eye.
The openwork caseback design of the watch allows for a clear view of the movement.
Priced from S$ 279 to S$330 depending on the model selected, the Sistem51 Irony is an excellent buy for any individual. The wide range of choices available will fit most people's tastes and preferences and that combined with the fact that this is a Swiss-Made watch with a manufacture movement makes it all the more desirable to own. The addition of metal as a key element of the Sistem51 Irony series gives the watch a "premium" feel without affecting its price tag further justifying its value for money.
Reviews, Watches
sistem51swatch
sistem51, swatch
Robin's Christmas wishlist, 5 presents for the horologist
Review of the Swatch Sistem 51


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American Sports
The Cast Of 'The Little Giants' - Where Are They Now?
By Mikey Traynor Feb 20, 2016 11:30 PM
If you're anything like us here in the Balls.ie offices, then chances are you grew up with the classic kids sports films that there seems to be a cruel shortage of for the kids of today. We laughed, we learned about sports we had no idea existed, and more often than not it was because it was the Big Big Movie on RTE, or the cover looked fun on the shelf in Chartbusters.
Having previously explored the heroes of The Mighty Ducks, and recently reporting on Remember The Titans, we thought it only fair to find out what happened to those involved in another American sporting classic, The Little Giants, which wsa released in 1994.
Here are the findings.
Kevin O'Shea (Ed O'Neill)
You should instantly recognise Ed O'Neill as the grandad/husband of the stunning Gloria in smash hit comedy show 'Modern Family'. O'Neill was already well known for his role on 'Married With Children' and was a major draw for this film.
Danny O'Shea (Rick Moranis)
Another well known actor in this movie, 'The Little Giants' was one of Rick Moranis' last appearances as an actor. After his wife passed away in 1997, Moranis quit acting to focus on raising his children. Hollywood's loss, Moranis was brilliant in most of his movies, but you can't argue with his reasoning, a great man.
Icebox (Shawna Waldron)
Well then. Sadly for Icebox she hasn't landed a starring role like she did when she played the role of everyone's favourite female linebacker. A few appearances in low budget films, such as Cyrus which also starred Jonah Hill, and dodgy horror films were what she has on her resume to date.
Junior (Devon Sawa)
Dreamboat QB Junior went on to enjoy roles in the likes of Slackers, NCIS, and Nikita, but most spectacularly... He was Stan in the Eminem music video for 'Stan'! Incredible!
Spike (Sam Horrigan)
Now the proud owner of a jawline that could cut glass, Spike also enjoyed success on TV shows, with the likes of CSI, Veronica Mars, and True Blood. Fair play to him, we were always terrified of him.
Jake (Todd Bosely)
The puny kid with a hypochondriac mother in the film, Jake would go on to star in the unfortunate final series of 'Scrubs', as well as appearances on Veronica Mars and The OC.
Marcus "The Toe" (Marcus Toji)
The chubby kid with a knack for kicking his team-mates in the balls.ie, Marcus was a popular character. He has recently had spots on popular shows such as 'Workaholics', 'It's Always Sunny In Philadelphia', and 'Rules of Engagement' as well as 'House' and 'Weeds'.
See also: What Do The Cast Of The Mighty Ducks Look Like Today?
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NEFS1 29 May 2018 Bez kategorii
We are very happy to announce that two of our feature films JUMPMAN and PANIC ATTACK will compete for Crystal Globe at Karlovy Vary International Film Festival!
PANICK ATTACK is a debut of Paweł Maślona the filmmaker behind our award-winning short MAGMA. The film was an art-house box office hit in Poland and attracted over 200.000 viewers. The film shows six stories about ordinary people put in extreme situations, which cause them to experience a panic attack. We experience a roller coaster of events: a woman meets her two exes during one night, a couple picks the worst seat on an airplane, a young girl risks having her girlfriends expose her as a porn star, a bride gives birth on her own wedding, a teenager gets stoned for the first time while a young man has to beg his weird mother to save his life's work. A brilliant satire that cuts through society with razor-sharp humor.
JUMPMAN marks our second collaboration with Ivan, director of acclaimed film ZOOLOGY that we represented. The project was presented at Rotterdam's Cinemart in 2017. It tells the story of Dennis, who grew up in an orphanage, where his mother left him soon after his birth. He is a special boy, who due to a rare illness is immune to pain. This makes him popular among other boys, who take bets on how long he can endure cruel physical games. One day his mother turns up out of the blue and takes him to Moscow, where he becomes part of a gang that extracts money from wealthy people. Dennis becomes a "jumpman" – someone who jumps in front of cars to blackmail the drivers. Reunited with his mother, Dennis' feels that this new life is a dream come true until one day… he starts feeling pain again.
Two of our short films will compete in Cannes!