text:
Q: How to prevent inserting spell checking tags in Word XML? I've got a file saved as the 'Word XML Document' format. I now need to replace some placeholders in it.
I know there are better ways to make word documents a template, like shown here, but I can't choose.
The variables use the ${var} format. Word regularly destroys the variable names due to spell checking. It splits them as follows:
<w:r>
    <w:t>${</w:t>
</w:r>
<w:proofErr w:type="spellStart" />
<w:r>
    <w:t>name</w:t>
</w:r>
<w:proofErr w:type="spellEnd" />
    <w:r>
        <w:t>}</w:t>
</w:r>

The first save usually is okay but the variables certainly will get torn apart a few saves later or instantly when I insert tables or headings anywhere in the document.
The only way to get rid of it seems to rewrite all variables inside the document.
I've tried disabling spell checking of a document in the Word options which adds
<w:hideSpellingErrors />
<w:hideGrammaticalErrors />
<w:proofState w:spelling="clean" w:grammar="clean" />

to the settings tag inside the XML file. This looks good but does not stop the spellcheck tag generation.
I've also tried a tool which someone said was capable of removing the tags but I don't think it can. There must be some method of disabling the generation of those tags, in the end they just unnecessarily increase the file size.
All other so questions had different prerequisites and/or lead to nothing.
Edit June/2020
I did a bit of trial and error and found out that the following code gets rid of any text-breaking tags:
fileContent.replace("</w:t></w:r><w:proofErr w:type=\"spellStart\"/><w:r><w:t>", "")
                .replace("</w:t></w:r><w:proofErr w:type=\"spellEnd\"/><w:r><w:t>", "")
                .replace("<w:proofErr w:type=\"spellStart\"/>", "").replace("<w:proofErr w:type=\"spellEnd\"/>", "");

The XML is still intact afterwards, everything worked for me. I did not manage to destroy any variables after adding the code. Not a nice solution but the whole thing is pretty dirty anyway. Either apply the replaces to your edited and saved XML file (like a Word XML file sanitizer) or - probably better, apply them when you read the document's content.

redpajama_set_name: RedPajamaStackExchange


The North Pocono Public Library is partnering with Credit Management of Pennsylvania to offer a series of six financial workshops.
The workshops will take place on Thursdays, 6:00-7:30 PM. Registration is required for each workshop and can by done in person at the circulation desk or by calling the library at 570-842-4700.
For more information and details about each workshop, call the library at 570-842-4700.


Bonhams, Los Angeles, located at 7601 W. Sunset Boulevard, six blocks east of Fairfax in West Hollywood, will be the site for a two-day photography fair featuring twenty-six internationally known galleries and dealers exhibiting 19th, 20th and 21st century photography and photographic books. Through their diverse inventories of classic, modern, and contemporary work, the exhibitors will exemplify a wide-range of photography, offering prints accessible to both the beginning and seasoned collector.
CPLA 2016 exhibitors include: Joseph Bellows Gallery, Nailya Alexander Gallery, Deborah Bell Photographs, Stephen Bulger Gallery, Contemporary Works/Vintage Works, Michael Dawson Gallery, Gary Edwards Gallery, Etherton Gallery, Howard Greenberg Gallery, Gitterman Gallery, Charles A. Hartman Fine Art, Paul M. Hertzmann Inc, Eric Chaim Gallery, RoseGallery, Alan Klotz Gallery, Lee Gallery Inc., Richard Moore Photographs, Nazraeli Press, Scott Nichols Gallery, Gallery 19/21, L. Parker Stephenson Photographs, Barry Singer Gallery, Joel Soroka Gallery, among others.


Background: Understanding public attitude towards dentists and dental services helps both dental service providers and planners. Hence, this study was conducted to assess public attitude toward dentists and dental services in Bangalore city, India. Methods: Two thousand residents of Bangalore city were selected through multistage cluster sampling method. A structured questionnaire containing statements pertaining to public attitude toward dentists and dental services in Bangalore city was administered to the subjects. Five point Likert scale was used to measure the attitude. Results: About 67.8% of the study subjects had visited a dentist in their lifetime. Negative attitudes were observed regarding waiting time, cleanliness of instruments and dentist advising patients to give up unhealthy practices such as smoking, drinking and pan chewing. Positive attitude was found regarding availability of dental services near place of residence or work, modern equipments being used for treatment and the nobleness of the dental professionals. About 67% of study subjects felt that dental services are expensive. Only 65% agree that regular check-ups prevent dental diseases and 33% of the study subjects agree that dental treatment can be delayed if there are other expenses. Conclusions: Subjects generally had positive attitude toward dentists and dental services. Certain factors like waiting time and cleanliness elicited negative response.


Headturning, large black and white headpiece by Ascot Couture Milliner Nataliya Tutus.
A black smartie base, decorated in a huge wave of black lattice weave sinamay, black and white crinoline folds, black veiling, and adorned with two white silk roses, white quills with Swarovski crystals, and two white butterflies.
A Great headpiece to turn heads at Ascot, in the never failing monochrome clean black and white colours.
£75.00 per day, plus £300.00 deposit refunded on return.
Attaches by black thin elastic that wraps under your hair, and holds with the tension fore to back, even on fine or thin hair.
Smartie Base 7" x 7", and arrangement height approx 17", and width approx 20.5".


The UK's opposition party is considering giving the Bank of England a house price inflation target should it assume power in the future.
The Labour Party's shadow housing secretary, John Healey, has proposed giving the central bank a 2% target for house price inflation in addition to tougher macro-prudential powers, which would target mortgage lending.
The proposal was reported in the Guardian, but was confirmed to Central Banking by a member of Healey's team.


Irene's Myomassology Institute may change this policy from time to time by updating this page. You should check this page from time to time to ensure that you are happy with any changes. This policy is effective from 3/1/2010.
You can correct your information by contacting us by phone or email as indicated below.
You can correct factual errors in your personally identifiable information by sending us a request and we encourage you to do so.
You may also request to be removed from our records as to not receive emails from us.


text:
Nov 11 New players welcome discord all new players and old players are welcome to join my server, we have been playing for awhile we can assist you with ur questions! 6300 30 posts 1 sec ago https://discord.gg/CNU53ju basicly made it so people can talk/make friends while playing any game, has 50+ people in the server, most people are on moonguard playing wow. this is a friendly server, we dont allow bullying! We prefer everyone to put eachother up instead of down. We have a suggestion box! and a music bot :) i am trying to get more people into the server so we can have events like stand up comedy. custom emojis available you just gotta send them to admin (Me) also looking for server mods to manage the server/improve it when im not around.Tenzo0	Nov 11
"To fill our pool of beta and stress test participants, we'll be choosing dedicated players who meet select criteria from both the WoW Classic beta opt-in and the standard Warcraft beta opt-in. Participants will also need to have an active subscription or active game time on their Battle.net account. While opting-in to the beta is the primary way to make sure you're in the running to join the test, it doesn't guarantee an invitation to the closed beta test. We may also consider additional factors such as how long a player has been subscribed to the game so that we have the right mix of players to ensure great feedback toward making WoW Classic the very best experience for the community."
The fact that Cookie's Tenderizer from the Deadmines had +3 instead of +2 strength. The fact that the Stormwind south bank had one instead of two mailboxes. The fact that Jaina's Proudmore's name was "Jaina Proudmore" instead of "Jaina Proudless." Stuff like this isn't what mattered. It was arbitrary. If Cookie had dropped a shield instead of a mace and Jaina had been named Susan, nobody would have cared. It wasn't specific details like these that caused us to enjoy the game.
If you haven't actually gotten to play on the WoW Classic beta, you've still gotten to see other people's reactions and probably have watched a few people stream it. That's the internet in 2019, some 15 years in the future from the first time we went around with this content, so I'm curious — what have you actually thought and felt, either playing in the old sandbox or seeing other people play?
It's a brand new PTR build and as Stan digs through all the data and details added we have a general overview directly from Blizzard. The big focus this time around is the Essence system, with Rank 3 becoming available. There's also the usual continued testing on the zones, dungeons and systems, with Mythic+ updates and the Heroic Stromgarde Warfront ahead.
Zygor Guides is an in-game software strategy guide for World of Warcraft. Every guide comes complete with the Guide Viewer, which displays step by step instructions of what quests to accept, how to complete objectives, when to use items, and more. Our gorgeous waypoint arrow will point you exactly where to go at all times and the model viewer will display fully rendered 3D models of NPCs and objects mentioned in the guide.
So far my favorite take is, of all things, this forum thread where the sheer volume of people reporting things as bugs that aren't bugs, but just the way the game worked back then. I think I laughed the hardest at Warrior health regeneration is working at the expected rate, which is a very nice way of saying Yes, you're dying a lot, that's how it was for Warriors back then. I've said it before and I know I'll say it again, but guys, all those supposed 'dumbing down' changes that got made between then and now were for a reason, and in a lot of cases? That reason was because it's awful. Much of WoW Classic is going to feel like getting a sandpaper massage compared to the game as it is now — a whole host of conveniences and improvements have been made over the years.
When hovering over an ability, the tooltip will tell you whether or not that attack is weak or strong against certain pet types. Additionally, you can hover over the opposing team's pets and view their attacks during combat. This will be important since it's a good idea to pit a pet that's strong against the opponent's pet who's vulnerable to that type.
Nov 10 well i tryed i was hoping to comeback to wow after being away since cat but my only real interest was pvp. seeing the state its in now i can see it's not worth bothering with and i feel i've given it enough time. the only choices i see for pvp is to twink so i can beat on kittens (cause i'm so 1337) or be so under powered i'm useless as i watch the twinks decimate my team. i didn't return for the american gladiator experience. it's a shame i missed legion i feel i would have like it better.Piale5	Nov 10
World of Warcraft Classic is currently in beta, which means some players are getting a chance to experience a much older version of the MMO ahead of its release. WoW Classic is based on how WoW played in August 2006, back around update 1.12. Back then, things were different. Tauren hitboxes were much larger, sitting could cause certain combat effects to not trigger and completed quests were marked with dots and not question marks. Strange days.
Extract ConsolePort to Interface/Addons. The addon can be downloaded through the Twitch app too. Make sure the addon is enabled when you log in to the game. Install WoWMapper and connect the controller to your PC via cable or bluetooth. Make sure the controller is recognized by your operating system. Log in to the game and make sure ConsolePort is enabled. Now it's time to choose your controller layout. Grats, you can now start playing the game with a controller. (Optional) Enable Action Camera for extra immersion by typing /console ActionCam full, /console ActionCam basic or /console ActionCam default, depending on whichever you prefer most. You can turn it off by typing /console ActionCam off command.
So committed, in fact, that modern WoW players are trying the beta and reporting what seem like bugs today but what were actually intended functionality 13 years ago. This became such a common occurrence that Blizzard publicly posted a list of known non-issues called the "WoW Classic 'Not a Bug' List." For example, hitboxes for the Tauren player race are much larger than those of other races. In a modern game, this would be seen as a serious balance issue (see: Apex Legends). But it's what vanilla WoW was like, so it has been faithfully reproduced.
When it comes to levelling the Priest Class from 1-60 fast, XP grinding locations is only half the battle. You will need to make sure your weapon does enough DPS so that you can clear these mobs fast enough, it should also be noted that monster should be around your level to make sure to gain the 100% XP Reward. The Level your character should be before you start that specific location will be indicated to left in a Blue Color for Alliance [Lvl 35-39] and the Orange Color for Horde [Lvl 35-39]. The Mobs you are looking for in that specific area names are Bolded [Mob Name].
For example, the Azure Whelpling belongs to the Dragonkin family. However, it has Beast, Magic, and Elemental abilities in addition to a Dragonkin attack. Different attacks are strong and weak against different family types. Having a diverse spell selection might increase your chances of being prepared with a strong attack against an opposing team.
The vanilla WoW Horde leveling guide you see on this site was originally made back in 2006 by Joana (AKA Mancow, or FuriousPaul). The guides have been tweaked many times over the years to make things "faster". The leveling guides were made because of all the messages I got from people asking me how I was able to level up so quickly on new realms. I was first to level 60 on 7 different realms (3 with Mancow and 4 with Joana), even winning Blizzard's "First to Level 50" contest they held back in 2006.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag: Newsreels
Funeral of Vera Kholodnaia (1919)
This Soviet-era newsreel footage is something of the "end of an era" in Russian filmmaking. Evgeni Bauer had died between the revolutions, and most of his important colleagues would soon flee Russia for Paris. The great, innovative movies of the Tsarist period were quickly forgotten as new experimental styles were developed by Vertov, Eisenstein, and others. But now, Vera Kholodnaia, known as the "Queen of the Screen," succumbed to the flu epidemic that killed millions of Europeans in the year following the First World War. There were immediate speculations about poisoning and Bolshevik plots, with nothing ever proven. Despite the deliberate destruction of many of her films by the State, she had been rehabilitated as a kind of revolutionary heroine, and a large ceremonial funeral was authorized in Odessa. Thousands attended, and the Soviet newsreel footage of her coffin being taken to its final resting place may be the best-known movie of her today. It begins with a title card with her name, followed by seemingly random clips from her movies, then an image of her lying in state with the date of her death superimposed. Then the funeral procession is shown, with the streets of Odessa filled with mourners, and an ornate white coffin lifted by six pallbearers.
Director: Peter Chardynin
Camera: Unknown
Starring: Vera Kholodnaya
Babe Ruth Kinogram (?)
This may or may not actually qualify as a Century Film, but it seemed pointless to wait until one could be certain before reviewing it. It is a light-hearted piece of "human interest" from a newsreel starring a famous figure.
The opening intertitle establishes that the audience can expect a "surprise," but the film imagery begins with a prosaic view of an experienced potter at his wheel. As the clay spins, it takes on new forms under his skilled hands. The apparent ease with which he transforms it seems to recall thousands of years of the development of his trade. After only a few seconds of this, the "surprise" is announced: "Who should drop in by Mr. & Mrs. BABE RUTH." They stand behind the potter and watch him at work on a smaller pot, both appearing completely absorbed in watching his hands at their work. Babe removes a glove and touches the potter's shoulder and a new intertitle says that he "turns from swatter to potter." The final image shows Babe working on a very simple pot with both his hands, while his foot pumps away to keep the wheel turning. He looks up at the camera and the scene ends. Read the rest of this entry »
On to Washington (1913)
This short clip of newsreel footage gives us a look at a significant event in women's history – a march on Washington that culminated on the day before Woodrow Wilson's inauguration.
The movie begins with a title card that tells us that 14 "suffragettes" will march from Newark, New Jersey to Washington DC, then shows a series of shots of the march – which appears to have attracted many more than 14 individuals, including many men. We also get a two-shot of the leaders of the march: Rosalie Jones and Elizabeth Freeman. Jones wears a heavy cloak and carries a large walking stick. One shot begins by showing a police escort on horseback, and it's not clear how many of the people marching are involved, sympathetic, curious, or even hostile to the intent of the march, though no unruliness is depicted. One man waves awkwardly at the camera, possibly indicating a wish not to be photographed (or possibly saying, "hi, Ma!"). It ends suddenly, and might be incomplete.
The event shown here is really the kickoff of the march in Newark, so we don't see the nation's capitol or the reported 5000 marchers that turned out on March 3, the day of Wilson's inauguration. This event represents a shift in American suffrage tactics from attempts to win the vote state-by-state to a national strategy. The two women shown represent the alliance between "respectable" wealthy women (Jones) and working-class activists with a more hard line approach (Freeman). There were counter-protestors, as well as politicians and pundits who spoke against them, but the march was seen as effective in raising awareness and sympathy. Wilson at the time was cautiously supportive of women's right to vote, but he only really came out in favor after the First World War.
Director: Unknown
Starring: Rosalie Jones, Elizabeth Freeman
Run Time: 1 Min, 20 secs
Films of the San Francisco Earthquake (1906)
Actuality footage of one of the major natural disasters of the Nickelodeon Era. These early newsreels fed audiences hungry to see what they were reading about in the papers.
On April 18, 1906, an earthquake of an estimated 7.7-7.9 magnitude hit San Francisco. Because of the construction standards of that time, the quake did far more damage than would be expected today, but worse was the fact that fires quickly broke out that could not be contained. Broken water mains and damaged streets prevented the quick response of volunteer fire departments, the fire burned for four days, destroying huge portions of the city. Hundreds of people lost their lives, and tens of thousands their homes, and the entire city was disrupted. Naturally, this was a major news event at the time. While there was likely no camera rolling during the actual quake, nor so far as I can tell during the height of the fires, there were newsreel cameramen on site within days, taking images of the devastation, the refugees, and the rescue efforts.
This particular "movie" is included in the "Invention of the Movies" DVD from Kino, and serves to give us a sample of that footage. I am not certain whether it was ever screened in the form we see here, whether it is stitched together from multiple sources, or whether it is a fragment of a larger film. In comparing what we do have here with "Searching the Ruins of Galveston for Dead Bodies," it doesn't appear that documentary techniques have changed much in six years. The camera pans across scenes of devastation, wisely getting human figures into the picture when possible for scale, and stays at a distance from its subjects. There are a few shots of newspaper headlines to give context, but I assume that exhibitors would usually provide a running narration, possibly reading from newspapers, to add to the drama of the images, when these scenes were originally shown. We do see some flaming buildings in relatively close-shot, but the long pans show a city after the fires have passed.
For a modern viewer, the first response is that the ruined cityscapes look like the aftermath of a war, but it's interesting to note that large-scale artillery attacks on civilian areas were rare at the time, and aerial bombing nonexistent. Thus, when people who lived in 1906 witnessed such things as in the later World Wars, they were more likely to think that they were "like an earthquake."
Director: Robert K. Bonine
Camera: Unknown, likely Robert K. Bonine
You can only see the reviewed version on the "Inventing the Movies" DVD, however some of the same shots are edited into a film: here (no music) and you can see a much longer set of actuality footage of the 1906 earthquake aftermath here (no music).
Censorship in 1916
There is a lot of confusion today over what "censorship" means, much of which I think is because the word itself has fallen out of fashion and become an accusation rather than a useful description of anything. One hundred years ago, people who felt that they had the ability to judge what other people should read, watch, or experience were far less shy about calling openly for censorship, and this kept things more honest. Today they call for "ratings systems" and laws for the "protection of children" (how could anyone be against protecting children?), which makes it all much more slippery.
No industry wants to be restricted from doing business as freely as possible, and in a capitalist society censorship ultimately means placing restrictions of some kind on the ability of cultural industries to sell their wares. Whereas the publishing industry was an established force in the early twentieth century, the embryonic motion picture industry had less power, prestige, and legal protection. As a new technology, it was ripe for criticism from all quarters. People really weren't sure what the long-term results of exposure to moving images would be (any more than they are today about the long-term effects of texting or the internet). Would children's eyesight be damaged? Would their literacy suffer? Would they lose respect for parental authority? Would they all become criminals? No one knew, but some were willing to suggest the most dire of possible consequences.
Of course the motion picture industry didn't take all this lying down, small and new though it was at the time. Motion picture exhibitors, distributors, and producers were making money hand over fist and they used some of that money to protect their own interests by forming associations and leagues dedicated to fighting motion picture censorship. One of their strongest allies was the magazine Moving Picture World, which I frequently cite in my reviews. The Moving Picture World was created as a news magazine for exhibitors, the owners of nickelodeons and movie palaces (and chains of such venues), so that they could keep up with trends in the industry, hot new titles, and technical advances. It also became a strong advocate against censorship, as we can see from this editorial page from the first issue of 1916 (click on it to blow it up so you can read it), where it talks about censorship at the local, State, and federal levels:
It opens with concerns about local censorship in Oregon, my state of residence. I regret that it doesn't specify the towns it mentions: one in which local exhibitors called for censorship to forestall worse censorship and one in which "young girls" comprised the censor board. Still, it exemplifies the frustration distributors had to feel when faced with different standards of censorship for each town where they wanted to sell their product. This also led to multiple different re-edited and re-cut versions of each film being distributed, infuriating the creators and confusing historians to this day. In a later paragraph, news about an exhibitors' convention in New York is an entry to a call for visible opposition to State-wide censorship bills soon to be introduced in Albany. One of these bills would close all movie theaters on Sunday, one of the most profitable days for exhibitors, but also a contested day because of its association with church-going. In speaking about the "modern Sunday," the editor means the secularization of leisure time, still an important issue at the time. The editorial ends with a petition against Federal Censorship, and by encouraging readers to find "citizens who are not in any way connected with the motion picture industry" to sign it. While dealing with local and State censorship is egregious, the MPW claims that Federal Censorship would "drive not hundreds, but thousands of exhibitors out of business."
What they aren't mentioning in all of this is the critical Supreme Court decision of the previous year. On February 23, 1915, the case Mutual Film Corp. v. Industrial Commission of Ohio was resolved in the State of Ohio's favor. Ohio had set up a State Censorship Board in 1913, and Mutual, sick of having to re-cut films for each and every state they sold to, took them to court. In the decision, the Court stated, "the exhibition of moving pictures is a business, pure and simple, originated and conducted for profit … not to be regarded, nor intended to be regarded by the Ohio Constitution, we think, as part of the press of the country, or as organs of public opinion."
This is really important: so far as the highest court in the land was concerned, motion pictures had no free speech protections. This remained the case until the decision was overturned in 1952. So, during pretty much the whole "studio era" or what is now often called the "Classic" or "Golden Age" of Hollywood, movies could be legally censored by governmental organs. Which has a lot to do with what was produced and why, but we can get into more of that history as this project continues. For now, I want to look at some aspects of the court's decision.
The biggest distinction they're making is that films are businesses, and not therefore "part of the press…or organs of public opinion." This is at least as bizarre to me (but also the reverse) as the Citizen's United decision that spending money is the same thing as free speech. For some reason, the fact that newspapers are profitable businesses is completely ignored. They are elevated to a public good, treated as something apart from the business interests, as if they were publically-funded institutions like libraries or the post office, which by this interpretation would also presumably qualify for free speech protection. It's unclear how the Court found this distinction between "press" and "business" in the Constitution in the first place, but the implications are staggering. Apart from this, they are ignoring (probably because Mutual's lawyers never brought it up) the existence of documentaries and newsreels, which would become an important "organ of public opinion" within a few years, and had also been seen as the major purpose of motion pictures by many (including the Lumière Brothers and J.P. Chalmers, the author of the article for Moving Picture World) just a few years before.
There's another aspect to all of this, which is the question of "movies as an art form." While directors, actors, and others were arguing fervently that cinema should be taken seriously as a new art form, this doesn't seem to have even entered into the conversation. Again, I believe this is because the lawyers for Mutual didn't broach it. It says something about how the industry's leaders saw themselves: they presented themselves to the Court as a business, and the Court responded in kind. Talk about "art" was all very well for the rubes, but they didn't expect the idea to be taken seriously at a higher level, is how I read this.
A different decision by the Court a year earlier would have meant a very different editorial for January, 1916. Instead of calling for greater organization to fight hundreds of local censorship ordinances, the focus would have been on clarifying the constitutional limits of government interest in free expression and in local cases that still had not been resolved. The question of film as an "organ of public opinion" or an art form could have been taken more seriously, becoming a matter for serious, high-level discussion, rather than semi-serious ad copy. And, I would say, the growing dominance of the United States film industry would have been a more positive thing, as more creative and innovative product might have become available to inspire artists all over the world. But, history is the study of what did happen, not what didn't, and from here we study an era in which censorship was an accepted fact of movie making life in the United States.


I have just been journaling a bit, getting some thoughts out and started some classes in the studio too.
These are wonderful journal pieces. I would love to sit at a table combing through your art journals...I bet I could spend hours looking at them.
Love the colors! Do I see Juliette Crane's influence?


Apple makes major update to their main Operating System every year, and for the past few years, it came as a free update. It didn't use to be so before.
When Leopard was introduced, I remembered having a meet-up at an Apple shop in Great Eastern Mall when it was released. Since it was released at midnight an San Francisco, the shop were only able to hand the disc - yes, disc - to us at around 3 pm Malaysia time. And there was a group of about 20 of us turned up, having a quick drink and snack which the shop provided.
It used to be a big thing since Apple and Mac was not mainstream back then. That didn't stop me from staying up to watch the Apple keynote, something that Anita was wondering about until years later she learned who Steve Jobs was.
Time have moved on. Even the shop at Great Eastern Mall has since closed - although a new dealer came in recently. Nowadays, the OS is free and one just downloaded it through broadband.
6Gb was the size of the file and since today was the first day of the release of El Capitan, the server had been really slow. I left the download on when I left for work this morning and when I reached home, only 1.2 Gb was on my disc. It would probably be tomorrow morning before I would be ready for the install. Hopefully it would be worth the wait!


text:
CAPON, JEAN-CHARLES - L'Univers-Solitude
"Souffle Continu Records present the first ever vinyl reissue of Jean-Charles Capon's L'Univers-Solitude, originally released in 1972. The cello, although considered a minority instrument in the history of jazz and improvisation, has carved itself a niche, both in the USA (Fred Katz, Calo Scott, Abdul Wadud, Diedre Murray, Peggy Lee) and in Europe (Tristan Honsinger, Maarten Altena, Denis Van Hecke, Ernst Reijseger). Alongside Didier Petit, Jean-Charles Capon is one of the French virtuosi on the instrument, and he began playing professionally at the beginning of the '60s before creating the Baroque Jazz Trio. His name was rapidly linked to different cult groups for who he became the guest star (Confluence, Perception, Speed Limit), but also with many more or less well-known (free) jazz musicians including David S. Warewith whom he recorded the impeccable duo From Silence To Music(1978), Philippe Maté, Michel Roques, André Jaume, or Joe McPhee(as part of Po Music). Jef Gilson helped get his career under way (they recorded together as far back as 1968) before Pierre Barouh, boss of Saravah records with who Jean-Charles Capon played alongside Brigitte Fontaine and Areski, offered him the opportunity to record his first album: L'Univers-Solitude. In the company of Swiss percussionist Pierre Favre, Jean-Charles Capon demonstrated, in all registers, a level of invention way beyond a traditional rhythmic and melodic background, with the fluid phrasing a perfect complement to his extended range. It is not for nothing that Jean-Charles Capon admires Duke Ellington, John Lewis, and Gabriel Fauré, as can be heard on his later highly personal versions of "Mood Indigo", "Django", and "Après Un Rêve". As for Pierre Favre, he is not there just to make up the numbers: his timbral research and combinations of complex rhythms offer the French cellist wonderful interaction throughout this remarkable album which had finally been given a dignified rerelease. The fluidity of the phrasing, timbral research, complex rhythmic combinations and rare sense of improvisation make this one of the best modern jazz recordings on the Saravah label in the 1970s." - Souffle Continu. Licensed from Saravah. Gatefold sleeve, obi strip. Edition of 500.
LP - $24.00 USD


text:
Червоное () — село,
Преображенский сельский совет,
Криничанский район,
Днепропетровская область,
Украина.

Код КОАТУУ — 1222085509. Население по переписи 2001 года составляло 51 человек.

Географическое положение
Село Червоное находится на правом берегу реки пересыхающей безымянной речушки,
выше по течению на расстоянии в 2,5 км расположено село Ветровка,
ниже по течению на расстоянии в 2,5 км расположено село Смоленка,
на противоположном берегу — село Михайловка.
На реке сделано несколько запруд.

Примечания

redpajama_set_name: RedPajamaWikipedia


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IATA: Passenger Numbers Hitting 8.2 Billion by 2037
LONDON – The International Air Transport Association (IATA) is forecasting up to 8.2 billion passengers will be handled per year by 2037. According to an update in the organization's 20-Year Air
IATA Warns UK Over Financing of Heathrow Expansion
LONDON — The International Air Transport Association (IATA) has warned the UK over the financing of expansion at London Heathrow. IATA's Rafael Schvartzman, who is the Regional Vice President for Europe
Cobalt Air Joins IATA
MIAMI — Cobalt Air received its International Air Transport Association (IATA) member certificate during a ceremony held at Larnaca Airport. With this announcement, the carrier becomes the only Cyprus-registered airline
IATA Shuts Down Venezuelan Offices, Situation Worsens
MIAMI — The International Air Transport Association (IATA) announced through an internal letter that it has decided to leave Venezuela effective on January 31, 2018. According to the letter, all
IATA: Another Strong Year for Air Travel Demand in 2016
MIAMI — The International Air Transport Association (IATA) announced full-year global passenger traffic results for 2016, showing a 6.3 percent
IATA Seeks Antitrust Immunity to Address Blocked Funds in Venezuela
MIAMI — The International Air Transport Association (IATA) announced that it filed a request for antitrust immunity with the U.S.
Alexandre de Juniac Takes IATA Helm
MIAMI – Alexandre de Juniac has become the new director general of the International Air Transport Association (IATA), succeeding Tony
Bombardier CSeries Debuts in Dublin at the 72nd IATA AGM
DUBLIN — A Bombardier CSeries CS100 branded in the livery of SWISS, the launch operator of the jetliner, was presented
What's Next for Aviation in Venezuela?
MIAMI — This week, LATAM Airlines and Lufthansa have joined the list of airlines that have opted to cut service
IATA Annual General Assembly 2016: Roundup
DUBLIN — The international aviation community gathered once again to discuss its state of affairs and plan for the future
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Home News Cover Through a Lens, Gladly
Through a Lens, Gladly
JEFF PRINCE
The kiss between the young man and woman was sweet – a friendly peck, really. But it didn't sound right. Needed more smack. The actors weren't around anymore; filming had wrapped up months ago, and they'd flown to other movie sets. No problem: Sound editor Mark Menza pushed up his sleeve, leaned into a microphone, and kissed the inside of his forearm,getting just the right smooching sound.
"I don't know if anybody needs to know that," he said about the scene in Fort Worth filmmaker Tom Huckabee's latest movie, Carried Away.
Menza and Huckabee were at the tail end of an eight-hour mixing session, meticulously looping dialogue and adding hundreds of other sound effects – footsteps, wind, car doors – to the audio track. Every second of film requires many minutes, sometimes hours, of work to get the sound just right. It's one of the last steps in a movie's long production process, so Huckabee was thrilled to kill a gorgeous Sunday holed up in a dark studio. It meant he was one step closer to reaching a goal.
Carried Away is a dream project, the movie he always wanted to make during his long Hollywood career. But La La Land can be a callous temptress, stringing people and their projects along for years before dropping them cold. Huckabee spent most of his time working on other people's projects and overlooked his own aspirations along the way.
"Tom has always been a booster for other people's art," said actor and director Bill Paxton, who grew up in Fort Worth and made amateur films with Huckabee before finding fame in Apollo 13, Twister, Mighty Joe Young, and, currently, HBO's Big Love.
"Tom was a huge advocate for me," he said. "I've gone to the bank with his genius. I've never seen anybody with so much loyalty."
In turn, Paxton's own loyalty led him to work alongside artistic director Huckabee at Fort Worth's inaugural Lone Star International Film Festival in 2007 – and that same loyalty made Paxton shun the festival after his friend was fired. Huckabee said he was shocked by his dismissal and "hadn't seen it coming" but refuses to diss the festival or the board members who shoved him out the door. He's moved on.
A heaping helping of personal tragedy has left him thoughtful and grounded in his mid-50s. He watched his wife of 23 years die after a long, debilitating illness. Barbara Cohen followed him from Austin to Hollywood, married him in 1983, and flourished as a successful casting director before breast cancer tortured her for years, then stole her away completely in 2006.
"I don't fret about small stuff like I used to," Huckabee said. "I feel like nothing else in my life can be as bad as that. She had a horrible death. I've never seen suffering like that – mental, emotional, physical."
Their Hollywood house didn't feel like home afterward. So when Huckabee's mother died in Fort Worth six months later, he moved back to his hometown to help his siblings look after their father, who has Alzheimer's.
Before long, Huckabee decided to do something in Fort Worth that had eluded him for a quarter century in Hollywood – write and direct an independently financed feature film using a local cast and crew. He poured his life savings and proceeds from the sale of his Hollywood home into Carried Away's $275,000 production costs, betting on himself to make it triumphant and profitable. The movie might be described as Harold and Maude meets Rain Man, with plenty of local footage included in a road-trip flick whose action stretches from Fort Worth to California.
Huckabee is submitting Carried Away to film festivals and anticipates a release in limited theaters and on DVD. Meanwhile, he's planning a local exhibition of his digital paintings next year in Fort Worth and is dipping his toe somewhat awkwardly into the dating pool.
The role of the returning prodigal son is one that fits Huckabee comfortably these days. Life is good. Making the movie was the perfect antidote for what had been a very tough decade.
As he put the final touches on the sound edits, Huckabee said something about his movie that rings true for his life in general.
"It's like building a Lego castle – one piece at a time."
A frantic woman and her shady-looking accomplice grab Jim Morrison's feet and drag him across the floor toward a bathtub. They'd spiked his drink with poison, and the Doors frontman had writhed in agony before dying on the floor.
Suddenly the scene flutters. The vintage VCR sitting on the floor of Huckabee's cluttered living room floor had been providing an impromptu theater venue, and we were watching the first movie he made while attending the University of Texas at Austin's film school in the late 1970s. The murder scene in The Death of Jim Morrison diverges greatly from popular theories surrounding the singer's death, and the movie angered Doors insiders after Huckabee sent them copies, trying to secure music rights for a soundtrack.
Huckabee was recalling a tense exchange from that time when the tape began to stutter and then froze up completely, as if the Lizard King's ghost had intervened.
Causing shock and anger was par for the course with some of Huckabee's early movies. Pushing people's buttons made life interesting.
Wedgewood Middle School in the late 1960s wasn't exactly a mecca for budding filmmakers, but Huckabee was hooked after he discovered a 16mm Bell & Howell movie camera in his father's closet. He and a school chum decided to make movie magic. "It still had film in it," Huckabee said. "We went and shot it and then got it developed."
His father had used the camera only twice in a decade, and the first part of the developed film showed footage of Huckabee as a 4-year-old opening Christmas presents. The earlier footage had remained in the camera so long that the images were faded. The film developer thought he'd made a mistake and offered Huckabee some free film. Huckabee and his buddy used the free film to shoot a Western tale of poker players, card cheating, and murder.
"We read the manual wrong and set the exposure wrong, and it came out black," he said. "But it gave me an identity. I was the guy who made movies."
As a Southwest High School sophomore he directed Into the Light, about teenagers struggling with religious faith, and submitted it to a Texas Christian University film festival. That spring, he and 25 other local students enrolled in a program to study abroad for a semester in England. On the plane ride there he met an older student from Arlington Heights High School named Bill Paxton.
"While we were in England I received a letter saying I'd won first place at the TCU film festival, and Bill was impressed by that," Huckabee recalled.
Paxton had been experimenting with homemade movies himself and vowed to hook up with Huckabee back in Fort Worth. In the summer of 1974, they pooled $300 to buy a cutting-edge Kodak Ektasound movie camera, the first Super 8 with sound. "We went crazy with that camera," Huckabee said.
Others went crazy when they saw the finished products. The pair's early movies were usually loved or loathed at public screenings at clubs and film festivals. Huckabee's love of foreign directors such as Federico Fellini, combined with Paxton's infatuation with action films and silent movies, led to a jarring cross-pollination of styles – literate, violent, visual, abrasive, and fantastical.
For one early movie, they borrowed a huge swastika banner, rifles, bayonets, and German helmets that their friends' fathers, World War II vets, had brought home from overseas. Victory at Auschwitz depicted an American soldier trying to save Jews aboard a train bound for a concentration camp. The railroad yard near Vickery Boulevard was the perfect substitute for a German depot.
"We hung a big Nazi banner on the side of a boxcar," Paxton said. "We had guns and uniforms and helmets."
Filming stopped when three police cars arrived.
"The police leveled their guns at us and told to throw down our guns," Huckabee said.
As usual, the fledgling filmmakers hadn't bothered to get permission to film, so police were baffled when passersby reported neo-Nazis planning an armed uprising. A policeman told Huckabee that if any of the boys had raised their guns they all might have been gunned down for real.
Once Paxton graduated, he lit out for Hollywood. Huckabee was stuck in high school for another year but joined his friend on the West Coast after graduation. They lived together until Paxton got a film job that took him out of town for a year. Alone and homesick, Huckabee moved to Austin and enrolled at UT's film school, where he met his future wife, an outgoing and dynamic knockout named Barbara Cohen.
His first student movie was the Morrison short, and its drugs, violence, and nudity caused some people to grumble at the school's annual student film screenings. "It started a big problem," Huckabee said. The faculty became divided over whether to censor sex and violence from future student projects.
Later, when he sent the film to Elektra Records president Jac Holzman seeking rights to use the Doors music, he received a reply that wasted no time getting to the point. "I watched what I could of the Jim Morrison tape, but my experience of Jim was so personal and the implications contained in the early portion of the tape that Jim may have been willfully murdered so outlandish that I ceased viewing the material at the point where you dumped him in the bathtub," Holzman wrote, adding that the film was "exploitive under a veneer of significance."
John Burnett, now a National Public Radio correspondent, was Huckabee's roommate when the Morrison movie was in the works, and he quickly learned to expect the outrageous. He recalled coming home from class one day to find the kitchen ransacked and a nude scene being filmed.
"This friend of ours, Sally, and the male actor who played Jim Morrison were on the floor of the kitchen and they had the refrigerator door open and they had pulled out everything, the milk, the ketchup, eggs, tortillas, everything, and had made a slurry on the floor and they were in an amorous embrace and covered in this stuff, and Tom was kind of demonically filming all of it," he said.
Huckabee was possessed, Burnett said. "He always thought about movie-making in a completely original way," he said. "A bird flew in the apartment one time and couldn't get out. Tom immediately grabbed a camera and started following the bird around the apartment yelling 'Tweet for Tom, tweet for Tom.'"
Another time Huckabee filmed a girl dancing naked and then projected it from the balcony of their apartment onto a white concrete wall for everyone to see.
"He was enormously entertaining," Burnett said.
Punk rock was shrieking its way across America at the time, and Huckabee began drumming for the Austin-based Huns, a fledgling punk group in a city with only one punk club. Raul's opened on Guadalupe Street in 1978, and the Huns were among the first handful of punkers to play there. The band's debut performance included profanity and mock violence. Austin police raided the club during the song "Eat Death Scum" and arrested a half dozen people, including lead singer Phil Tolstead, which made front-page news in The Daily Texan, brought national attention to Raul's, and got the Huns a write-up in Rolling Stone, thus cementing the band's place in Texas punk history.
The Texan quoted a tongue-in-cheek Huckabee as saying, "I saw a cop walk onstage, and I couldn't believe it – we said on the posters, 'No Police.' "
For his final school project, Huckabee took footage from a movie Paxton had never finished and began adding new scenes and editing old ones. Three years passed, and he was still working on the film when UT gave him a diploma and bade him farewell.
"I was trying not to graduate so I could keep using their facilities," he said.
Huckabee returned to Hollywood, determined to finish transforming Taking Tiger Mountain into a full-length feature. Horizon Films contracted to distribute the movie, which appeared in art theaters and film festivals to mixed reviews.
Next he was hired to direct film festivals for the Landmark theater chain. But by 1984, chronic pain from scoliosis forced him to take time off to convalesce, and he turned his attention to the more sedentary art of script writing.
"I became obsessed with the theories of dramatic writing," he said.
Throughout the 1980s and '90s he studied literature and the art of storytelling. He rewrote scripts for others by day while working on his own screenplays at night. Some of his stories got nibbles of interest and came close to being made into movies. But no cigar. "I had a lot of those projects that took a lot of time and almost got made but didn't," he said.
In the meantime, he helped friends with their projects. Huckabee and Paxton started American Entertainment Co. as a clearinghouse for film projects, and Huckabee recommended the script that would become Paxton's directorial debut in 2001, the psychological thriller Frailty, which earned rave reviews.
"Tom said, 'This is the one you've been looking for,' " Paxton recalled. "He was my brain trust. Tom's genius is in his analytic ability to break down a screenplay and themes and tell you what's working and what isn't. He did so much script doctoring, you have no idea."
The idea of following her soon-to-be husband to Hollywood hadn't scared Barbara Cohen. She figured she'd be successful no matter where they went. Selling clothes at Neiman Marcus helped pay the rent for a while, but she had bigger plans. The film industry appealed to her as well, and she had a knack for winning over people. Her dynamism played well against Huckabee's more internal nature.
"She was a great lady," Paxton said. "She looked a little like Susan Sarandon. Beautiful. She was a mover and shaker and organizer, and I think she supplied that part of life that Tom wasn't as great at, the organizational part."
Her husband blanched when she decided to become a Hollywood agent.
"I hated agents, and I didn't like the idea of her being in the same business as me," he said.
True to form, she landed a job at one of the top agencies as an assistant to a vice president – and learned how tough Hollywood can be. "She came home crying every night because of the abuse from her boss," Huckabee said.
She quit her job after her boss threw a paperweight at her head, but then she discovered her true calling – casting actors in movies. She worked at Disney and elsewhere before forming her own casting agency with Mary Gail Artz. "They had a meteoric rise," Huckabee said.
Captain Ron, Rushmore, The Nightmare Before Christmas, and I Am Sam were among the many movies she cast, including two of Paxton's directorial projects, Frailty and The Greatest Game Ever Played.
"Tom and Barbara were one of the few couples I know who had really weathered the storms in Hollywood," Paxton said.
Breast cancer was a storm that arose in 1998 and lingered for eight years until finally taking Cohen's life.
Huckabee was floored by his loss and discouraged by the Hollywood grind, particularly after another pet project fell through. His mother's death and his father's slide into dementia were enough to pull him back to his hometown.
"I thought it was time to get out of the movie business," he said.
While caring for his wife he'd begun photographing flowers floating in water and, in typical fashion, became obsessed with his new passion. Looking back, he realized that the thousands of images he'd made reflected his wife's painful battle. Early photos showed colorful flowers in full bloom lying atop bright blue water. In later images, flowers were more often wilted and brown, the watery backgrounds dark and ominous. The photos were featured last year and earlier this year at exhibits in Fort Worth, Dallas, Commerce, and Santa Monica.
Huckabee was living with his father in Edgecliff when the Lone Star Film Society, at Paxton's urging, offered Huckabee a job as artistic director at its first film festival. Films selected by Huckabee were interesting, offbeat, and praiseworthy, and the number of celebrities converging on Fort Worth was a coup for a first-time festival in a city not known for its film community. Paxton, Harry Dean Stanton, Martin Sheen, Keith Carradine, Robert Rodriguez, T-Bone Burnett, and Fred Durst were among those roaming Sundance Square in November 2007 for four days of movie screenings, panel discussions, and partying.
Many people were surprised when the film society's board of directors dumped Huckabee after first lauding him for pulling together such a splendid festival on short notice and with little money. The board was factious, and when Huckabee tried to keep one faction happy, he'd piss off another. In the end, his head rolled.
Paxton, Fort Worth's biggest Hollywood connection, was appalled. He stepped down as chairman of the film society's advisory board. "Tom was maligned in that situation, but I don't want to stir that up again," he said.
But Paxton can't help himself. Seeing his longtime friend mistreated continues to stick in the actor's craw. "I was very angry at the time," Paxton said. "It was quite a little festival, and I don't think they quite knew what we had created for them. Tom is more of a bohemian and artist, and they were looking for more of a politician to run that thing."
A former film society board member, who asked for anonymity, said Huckabee's situation was mishandled, and his firing an unfortunate miscommunication. Board members thought Huckabee did a wonderful job of attracting interesting films and high-profile celebrities but displayed organizational shortcomings. The board wanted Huckabee as artistic director but decided to hire someone else to take the lead role as business manager. A board representative met with Huckabee to discuss the situation, but the meeting didn't go well.
"Tom felt like he was being let go when he really wasn't," the former board member said. "I was upset because some of the most talented, creative people I've ever worked with lacked in organizational skills, but you build around that. Everybody will say that Tom was instrumental in helping us get off the ground."
In the end, Huckabee's dismissal might have turned out for the best because it freed him to pursue his real dream.
"We've both moved on from that," Paxton said. "Tom and I are very proud of Fort Worth and the cultural heritage the town has. We still love Fort Worth."
Huckabee's hurt feelings didn't deter him from attending the next year's festival, where the vampire comedy Night Crawlers impressed him. At a party, he befriended the cast and crew, including one of the film's stars, Gabriel Horn of Cleburne. They discussed Huckabee's dream of filming a semi-biographical family drama on a limited budget using local cast and crew. The movie involves a Hollywood actor returning to Fort Worth to break into a nursing facility and free his grandmother. The parallel to Huckabee's personal situation is obvious.
"It was Gabe who lit the fuse of Carried Away by reading the script and saying he wanted to star in it and help find the financing," Huckabee said. "It was his enthusiasm for the project that caused me to commit all the money from the sale of my house in Los Angeles."
Horn, currently in pre-production for his debut as a feature film director in a movie starring Cuba Gooding Jr., remains enthusiastic about the prospects for Carried Away.
"Tom knows the festival circuit inside out," he said. "He's already started entering it into major festivals. That's the first step. It will have a great festival run. The film is touching enough and quirky enough that it's bound to win some festival awards and warrant a limited theatrical release or a DVD release."
Horn plays Ed, the lead character who rescues his grandmother from a nursing home and takes her on a road trip despite her Alzheimer's. Horn and his wife, Jennifer Floyd, share producer credits on Carried Away, meaning they helped pay for the film. Friends and family also invested small amounts. But Huckabee paid about 90 percent of the $275,000 price tag, sinking his life savings into the movie and stretching his credit as well. Finding a distributor to get his movie to the public where it can earn some money is crucial to getting a return on his investment.
He's got his sales pitch down flat: Movies do great during recessions. There will be a dearth of film product next year because of the recent credit freeze. Investing in a movie might be safer and more profitable today than traditional stocks and bonds. And even if the investment doesn't pay off, "at least you get a movie when you're done," he said.
"If you get lucky and the film turns a profit, you're a genius," he said. "If it fails you're an art patron!"
Huckabee is planning an offbeat method to recoup some of his investment: He'll auction the title of executive producer to the highest bidder on eBay, with a starting bid of $10,000. He needs about $85,000 to pay off his debts and raise enough money to submit the movie to various festivals, and he hopes to find an executive producer with faith in the film and money to invest.
Horn said the low-budget movie was shot so well that it looks like a million-dollar production and is testament to Huckabee's directing talent. He expects Carried Away to be the first of many Huckabee projects filmed in
North Texas.
"There's a lot more freedom when you're not around the [Hollywood] machine," Horn said. "It was a roll of the dice making Carried Away. Tom and all of us put in a lot and sacrificed quite a bit, but if and when it pays off, it will pay off big. We are all rooting for the next quirky adventure Tom allows us to be a part of."
Promoting a movie in a competitive market and a tight economy won't be easy. Finding a distributor for low-budget indie flicks is always a challenge, although it can be much easier with some festival awards on the mantel.
"This is a perfect festival film, very audience-friendly, and a crowd pleaser," said James M. Johnston, recipient of Fort Worth Weekly's 2009 Best Of Award for filmmaking and a producer on
Carried Away.
"It's good counter-programming for some of the highbrow art movies that play at festivals," he said. "Everyone has crazy families, and those kinds of films always do well."
An audience test screening of Carried Away will be at 7 p.m. Sunday at Four Day Weekend Theater, 312 Houston St., and Huckabee will ask audience members to fill out response sheets in exchange for free admission.
"It's a good opportunity for someone who thinks the movies are on the wrong track to come and make their voice heard," he said. "They might literally have an effect on the editing of my film."
So Huckabee continues to work feverishly on the movie, although "work" might be a misnomer. Fort Worth isn't a bad place to dig in one's heels, even for a moviemaker. A film industry infrastructure is established here. Once Carried Away is behind him, Huckabee can see making other movies here. He's in excellent condition after years of Pilates and a vegetarian diet. A laid-back demeanor disguises the fact that he is energetic and driven.
Most of all he's stoked about being back home and putting the final touches on a deeply personal movie that gives him such pride.
"The last year has been one of the happiest times of my life, making this film," he said.
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Home News Foreign News Melania Trump, unlike Donald, offers to visit LeBron James' school
Melania Trump, unlike Donald, offers to visit LeBron James' school
U.S. First Lady Melania Trump stepped away from her husband's criticism of NBA star LeBron James to compliment his work on behalf of children and even offer to visit his school for at-risk children.
"It looks like LeBron James is working to do good things on behalf of our next generation and just as she always has, the First Lady encourages everyone to have an open dialogue about issues facing children today." Mrs. Trump's spokeswoman, Stephanie Grisham, said in a statement Saturday.
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The statement's tone was in stark contrast to President Donald Trump's tweet Friday night following James' appearance on CNN in which he told journalist Don Lemon that he "would never sit across" from Trump, whom James has criticized in the past. The interview took place at James' "I Promise" school in his hometown of Akron, Ohio.
LeBron James: gets sweet words from Donald Trump's wife
CLEVELAND, OH – JUNE 07: LeBron James of the Cleveland Cavaliers addresses the media during practice and media availability as part of the 2018 NBA Finals on June 07, 2018 at Quicken Loans Arena in Cleveland, Ohio. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. Mandatory Copyright Notice: Copyright 2018 NBAE (Photo by Garrett Ellwood/NBAE via Getty Images)
"Lebron James was just interviewed by the dumbest man on television, Don Lemon," Trump tweeted in a swipe at a news network he often derides. "He made Lebron look smart, which isn't easy to do."
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While many former and current professional athletes jumped to James' defense, Mrs. Trump's spokeswoman noted that the first lady's Be Best initiative for children promoted "the importance of responsible online behavior" as well as their well-being and healthy living.
"Her platform centers around visiting organizations, hospitals and schools, and she would be open to visiting the I Promise School in Akron," Grisham said.
Mrs. Trump has stood apart from her husband's views before. In June, when migrant families entering the U.S. illegally were being separated at the U.S.-Mexico border under Trump administration policies, she said through her spokeswoman that she "hated" to see the separations and that she believed the U.S. needed to be a country that "follows all laws, but also a country that governs with heart."
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Christian Clark Scouting Reports
Christian Clark of Sacramento State ~ 6.1/270
NFP's Wes Bunting on Cristian Clark:
"An undersized interior lineman who possesses a good first step off the snap and routinely is one of the first defenders moving off the snap. Has the ability to sit into his stance off the football, coils up well and can generate leverage when trying to anchor or work the bull rush. Has a slight pop on contact, but isn't real overwhelming through the play. Needs to do a better job keeping his pad level down as a pass rusher. Displays a long set of arms, very violent hands and a good first step.
He knows how to disengage from blocks through contact, use his lateral quickness to separate and close on his man. However, his upright pad level takes away from his suddenness and he has the ability to play lower and be even more explosive laterally on his pass rush. Too often his first movement off the ball is upright and will get caught up with blockers who can get under him easily, but there is still some upside to his game. Possesses a good first step when asked to close, works hard in pursuit and has range to make plays off his frame on perimeter runs.
Can be overwhelmed on contact initially off the ball in the run game. Works hard to fend off defenders with his arms and is coordinated enough to slip his man and close on the ball carrier. However, his pad level again gets too high, which causes defenders to get into his frame, knock him off balance or drive him away from the football. Needs to continue to add more girth in order to hold up inside at the next level vs. the in-line run game.
Impression: An explosive athlete who uses his length and hands well to fend off blocks and close. Needs to get stronger and learn to play lower as a rusher inside. However, is a gifted athlete who could add some weight and fight for a spot inside or make the move to DE. Either way is an interesting practice squad guy with a good bit of upside to his game still."
Consensus Draft's Steve Martin on Christian Clark:
"Overview: Christian is a 2006 graduate of Palisades Charter High School in Los Angeles where he played on both the offensive and defensive lines for the Dolphins. He appeared in nine games as a junior and ended the year with 19 tackles as a defensive tackle. He shifted to defensive end and recorded 54 tackles in 10 games as a senior. Started at center on the offensive line in high school.
Appeared in 9 games in 2007 as a RS freshman and tallied 7 tackles for Sacramento State. In 2008, he was named honorable mention all-Big Sky as he tallied 42 total tackles, including 9.0 TFLs, and 5 sacks.
In 2009, he was named second team All-America by The Sports Network and was a second team all-Big Sky selection as a defensive tackle. Christian led all defensive linemen on the team with 44 total stops, including 15.5 TFLs and 10 sacks.
In 2010, he had a down year, statistically, as he drew constant double teams and finished with 36 tackles, 5.5 TFLs, 3.5 sacks, 3 QBHs, a FF and a FR.
Strengths: Played mostly over the nose in the 4-3 alignment in college, but has the necessary quickness to move outside at the next level. Bulky enough to hold his own v. the run, and quick enough off the snap and into the backfield to be a force in the pass rush. Looks like an ideal 4-3 weakside pass rush-candidate. Submarines well in SY and goal line situations. Stout in college at the POA. Productive. Content to do the dirty work and to let others get the glory.
Weaknesses: Too small to stay inside at the next level. Does not have experience at his likely NFL position (DE), and will need some time to develop at the position and to work on technique and pass rush moves. Can get his legs taken out at times. Not a great tackler.


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NRA Shooting Sports Ambassador Brielle Smith Reviews: Blaser Intuition F16
by Brielle Smith - Thursday, June 28, 2018
Each year since 2009, the National Rifle Association's Youth Programs Division has partnered with select youth organizations and outstanding young shooters as part of the NRA National Youth Shooting Sports Ambassadors program Presented by Brownells. Brielle Smith, our Ambassador from Marine Corps' JROTC, recently reviewed the Blaser Intuition F16 Sporting Model Shotgun. Here are her thoughts!
At the 2018 SHOT Show event in Las Vegas, Nevada, the 2018 National Rifle Association Ambassadors, including myself, had the pleasure of meeting several representatives with the German Blaser company. Upon further discussion, expressing my interest in the firearms, one of the representatives introduced me to the new Blaser Intuition F16 Sporting Model Shotgun. They advised me that this shotgun was built to cater to smaller body types, especially females, making this a more versatile shotgun. I was thrilled to learn t that Blaser would let me have the honor of reviewing this gorgeous shotgun.
There was a demo model of the shotgun sent to me to review. Upon receiving the shotgun, I eagerly assembled it and further inspected it. First impressions: This shotgun was made exceptionally well. It was easy to assemble and get used to. The wood is nothing too fancy, but it's classic and elegant. The stock is shorter to fit smaller arms, and the cheek rest is also raised slightly higher to fit females who, on average, have longer necks than males. Due to the shorter stock, the trigger is closer to the pistol grip which shortens the distance between the trigger and end of the butt plate (length of pull). The shotgun is about 8 pounds; however, the F16 has the option to add additional weight. At the end of the muzzle there are interchangeable chokes for shooting at different distances.
I couldn't wait to take this gorgeous shotgun to the shooting range. As a smaller female, the Blaser Intuition F16 shotgun fit me very well. With each shot, it was very apparent that the adjustments made to the stock fit very nicely. The short length of pull made a huge difference; my finger was actually able to fit around the trigger, which made me feel much more in control of the firearm. The switch to go from the upper barrel to the lower barrel is in the trigger guard, making it very easy to access and change while shooting. The bright red sight at the end of the barrel makes it easy to aim.
You can tell how much effort and thought has gone into the engineering and manufacturing of this shotgun. The Blaser Intuition F16 Shotgun Sporting Model has a lot of potential to draw more women to the sport.
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Your upcoming movie American Luchador - in a few words, what is it about?
American Luchador is a journey of self-discovery. It's about looking back at the people and events of your past that have shaped you into the person you are and then taking control of your future.
Basic question, why make a movie about Mexican lucha libre-wrestling, what do you find fascinating about the subject?
Well, what attracted to me was the story. It's a story that everyone can relate to, whether you like wrestling or not. We've all been at that point in our life where we stop and wonder how we got where we are and where we're going from there. The wrestling aspect is a bonus for me. I have been a pro-wrestling fan since I was a kid and it's something that I now share with my own son. We love to go to live matches, so to be able to do something I love about another aspect of my life that I enjoy, it was a no-brainer!
How did the project get off the ground in the first place?
Mike Messier [Mike Messier interview - click here] posted on Facebook that he had a luchador script that he was looking for help with. I have some friends in the local indie-wrestling scene, so I offered my assistance. Things came together very quickly. We cast the two main roles and brought in cinematographer Chris Hunter all within a couple weeks!
What can you tell us about your writer Mike Messier, and how did you two first hook up?
I would say prior to American Luchador, Mike and I were acquaintances at best. The film community in Rhode Island is very close and supportive, so we had a lot of mutual friends, but had only really met in passing. Mike is a talented and brave filmmaker. He's very dedicated to his craft and a really good collaborator. He and I took his original short script, Dream of the Fire Wolf and have expanded and constructed a feature-length story with characters that have depth. American Luchador will be a movie that cinema fans as well as wrestling fans will enjoy.
Robert Rodriguez is one of my favorite directors and the Mexican aspect of American Luchador lends itself to the feel of a Rodriguez film. The story of the film is akin to A Christmas Carol, the main character Lobo Fuego is taken on a journey through his past. So, I guess if Robert Rodriguez directed a version of A Christmas Carol.... That would be close to what American Luchador will be!
One thing that I�m very excited about is we have secured a Black Magic Cinema Camera for the production. We shot some scenes with it just after Thanksgiving and they look fantastic!
Lucha libre as such suggests quite a few action scenes - so how do you plan to go about those, actually?
There are several wrestling sequences in the movie. We have a few different strategies to film those. T Phoenix, who is the owner/promoter of the Renegade Wrestling Alliance, is an executive producer on American Luchador. Recently we filmed a couple of matches at their headquarters in Providence, RI. We'll also be filming matches at other venues during other live wrestling shows in the northeast. Another thing that I'm VERY excited about is we're going to be putting on our own show on March 2, 2014 at the Varnum Memorial Armory in East Greenwich, Rhode Island. It will be a combination of "movie matches" with our characters and we're booking actual matches with pro- wrestlers in the area. It should be very exciting!
Anything you can tell us about your intended cast yet, and why exactly these people? And will you hire any real wrestlers to fill your ranks?
There are two main characters in the film. Lobo Fuego and Educo. Educo is a kind of sage that guides Lobo Fuego on his journey of self-discovery. It was also the first role I cast. After reading the script, I immediately thought of Jose Gonsalves. Jose is a very talented actor that I had worked with before and I knew he could portray the right amount of wisdom and guidance that the role required. Jose is also natural athlete, having run track and field, played semi-pro football and been a boxer, so I knew he could handle the physicality of the role as well. And on a more personal note, Jose just won the Best Actor award at the 2013 Shawna Shea Indie Film Fest for his performance in a film that I wrote and directed, called Love and Laundry Soap.
For the role of Lobo Fuego, I wanted to cast a wrestler. I could've cast an actor to say the words, but I thought it would add authenticity to the project to have someone who understood the emotions behind the words, because he actually lived them. I reached out to some promoters to see if they knew of any wrestlers that had any acting background. All pro-wrestlers are performers to a degree, but I wanted someone with some formal acting experience. JT Dunn was recommended to me. JT is a young, rising star on the independent wrestling scene. I had seen him wrestle a few times and was impressed with his charisma in the ring. When I reached out to him, he informed me he had taken drama throughout high school. After our first meeting, I was sold on JT. He had impressed me with how much of the script he had digested. He was trained in the lucha libre style. JT could relate Lobo Fuego's story to his own life, so he understood what Lobo was feeling and why.
We've also been lucky enough to cast wrestling legend and WWE Hall of Famer Jimmy "Boogie Woogie Man" Valiant in the role of Lobo Fuego's early teacher. We're taking a trip down to Virginia to shoot at Jimmy's training facility, called Boogie's Wrestling Camp. Again, adding to that authenticity that I'm striving for.
As far as I know, your film is still in its fundraising stages as we speak - so what can you tell us about your fundraising efforts?
We are exploring a few options for fundraising. We filmed a teaser and have included it as part of an IndieGoGo crowd-sourcing campaign. There are various perks for different levels of donation. Crowd-sourcing is very tough, you're competing with so many other projects. We're hoping that we can build on our wrestling fan base and progress from there.
Once your funds are raised, how do you plan to proceed - and any idea when and where the film will be released onto the general public yet (and I do know it's probably waaay too early to ask)?
At this point, we�ve able to film some parts of the script, but principal photography won�t begin until after our funds our raised. There�s a long list of things that we need the capital for, including ordering custom costumes for Lobo Fuego and Educo.
We�re exploring a few different options for release and distribution; including DVD/Blu-Ray, television, internet based and traditional film festivals. In today�s market, there are lots of ways to get your film seen. We don�t want to rule anything out yet.
Any future projects beyond American Luchador you'd like to share?
There's nothing scheduled yet beyond American Luchador. It's taking up quite a bit of my time right now. However, I have a horror/thriller script that I wrote called Doll Island that I would love to direct next. The script found its way to a very famous rock singer, who has recently been doing some acting. He's very interested in one of the parts in Doll Island. My hope is that American Luchador achieves some success that I can then roll into Doll Island.
I started as a comic book writer. I did that for a few years, traveling to different shows and conventions around the country. Then in 2009, I entered a horror screenwriting contest. I didn't win, but my screenplay Quonset was one of the finalists. That gave me the confidence to pursue filmmaking. Following that, I directed a teen anti-drunk driving PSA for South County Hospital. Since then, I've worked on all sorts of projects. I never went to film school, so I've learned by doing. I've done the last three 48 Hour Film Projects and various other online competitions. I also read a lot of filmmaking books. I try to learn from each project and improve for the next one.
What can you tell us about your filmwork prior to American Luchador, and your evolution as a filmmaker?
My first actual film experience was as an extra in the 2008 Mathew McConaughey film, We Are Marshall. At the time I was living and working as a firefighter in Atlanta, Georgia. The producers of the film were recruiting actual firefighters to portray the firefighters in the crash scene of the movie. I worked one very long night on the film. It was a lot of fun, I got to meet Mathew McConaughey and the director McG. Since then, I've directed 8 projects of my own, produced another for a friend and been an extra in a few other local productions. For such a small state, Rhode Island has a very active and supportive film community. I've worked with a lot of talented people and made some really good friends along the way.
My film Love and Laundry Soap, which was released this past spring, has been shown at a couple different film festivals and won a Motiff Film Award for Best Original Music. The music in the film was written and performed by a very talented singer/song writer named Brittany Rebola. As I mentioned earlier, Jose Gonsalves recently won a Best Actor award for his performance in Love and Laundry Soap.
My last film prior to American Luchador, called M is for Midnight, just got optioned by a production company to be included in a horror/thriller DVD/Blu-Ray boxed set for national distribution. So, I'm pretty excited about that.
I'm an actor's director. I love to work with my actors and break down the scenes. When I rehearse, I generally start with just talking. We don't open the scripts at all, we just sit and talk about the scene, what it's about, what the characters are doing. Then once we get a good feeling, we open the scripts and go through the dialogue. When we get on set, I like to stay in close contact with my DP to make sure we're on the same page and then we go to work. I tend to work fast. I don't do a lot of takes. I think you can work a scene too much at times, especially with younger and less experienced actors. Sometimes the best takes are the first couple, so unless there's something specific that I don't think we're getting, I like to keep things moving. I think of filmmaking as a team effort and I try to listen to everyone's thoughts and opinions. The challenge is that sometimes people have good ideas but it just doesn't fit with the direction of my vision. That's a hard lesson to learn, to learn to stick to your guns and say no sometimes.
There are so many filmmakers that I appreciate. I mentioned Robert Rodriguez earlier, his book Rebel Without a Crew, changed my life. To read about how he made El Mariachi by himself. No crew, very little money or equipment. To read where he came from and see what he's become, it gave me the confidence that I could do it too. Robert has a presentation called the 10 Minute Film School and in it he talks about things like using the resources you have. Write to the strengths of the actors you have. Look at what kind of locations you have access to. Create to fit your environment. That's definitely a lesson I have used.
One of my other favorite filmmakers is Sam Raimi. When I was a teenager, in the early days of VCRs, my friends and I would walk up to the local video store and rent every horror movie on the shelf. Evil Dead was one of my favorites! It scared the hell out of me! Later in life, as an adult, I read Bruce Campbell's autobiography, If Chins Could Kill and learned about how Evil Dead was made by the then early 20's Raimi, Campbell and crew. Just like Robert Rodgriguez, to see where Raimi began and years later he's directing Spider-Man. But it's those stories filmmakers who inspire me.
On a more personal level, there's a young filmmaker in Rhode Island, who I sort of met by chance. Brian Bouyea is 21 years old, he and his friends have been running around with video cameras since they were kids. Brian is now working on his 5th feature film and I couldn't tell you how many shorts he's also done. I've helped out on a couple of his projects and love to spend time working with him. His youth and enthusiasm definitely inspire me to keep pushing forward. I wish I had been bitten by the filmmaking bug when I was a teenager like he was! No telling what I'd be doing now!
Wow! That's a tough question. There are so many movies I love, but my all time favorite movie is still Star Wars. I'll never forget being 6 years old in the summer of 1977 and sitting in the darkness of the Starcase Theater. The screen seemed gigantic. I was absolutely mesmerized by the images on the screen. The space ships, the characters, the creatures, it was an amazing experience!
The only other time, I've felt something close to that during a movie was in 2001 when Sam Raimi's Spider-Man came out. Spider-man had been my favorite comic book character since I was 8 years old. As a kid, I went through my parent's divorce, moving from Rhode Island to Florida and back to Rhode Island, junior high, puberty and everything else a kid goes through, but I always had a friend in Peter Parker. Whatever I went through or feeling, Peter went through it in an issue somewhere. So, in 2001, to see a character that had been such a huge part of my life, come alive on the big screen and done so well, it brought me back to that 6 year old in the Starcase Theater.
Ha! There are definitely plenty of bad movies out there! Whenever I see a movie, no matter how bad it is, I try to find something positive. Maybe some nice cinematography, maybe a good performance, maybe a cool effect... Very rarely can I find NOTHING to be positive about. But sometimes you watch something and it's very obvious that the filmmakers just don't care about what they're doing; actors just phoning in a performance or a director taking shortcuts, and that bothers me. I may not like a movie, but if it looks like the filmmakers put effort in and loved what they were doing, then I can respect it.
We have a website, www.americanluchador.com, a Facebook www.Facebook.com/americanluchador, an IndieGoGo www.indiegogo.com/projects/american-luchador and a Twitter @AmLuchador. I try to update everything as often as possible with the latest news and pictures.
I want to give a quick public thank you to my fianc�e Erica Tarbox. I addition to being a very loving and supportive partner in my life, she's also my partner in film. She began as a PA on my first film, The Call and has worked as a PA, production manager or associate producer on almost every one of my projects. And when the actress I had originally cast in Love and Laundry Soap had some health problems and had to drop out of the project, Erica stepped in, took over the role and did a tremendous job! I owe all of my success to her help and support over the years.
Thank you for the opportunity to talk about American Luchador and my other work!


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The information in this page may be outdated, as Ilya Sergey is no longer a member of the Institute.
Ilya received a Ph.D. in Computer Science from iMinds-DistriNet research group at the Department of Computer Sciences of KU Leuven under supervision of Dave Clarke in November 2012. He joined IMDEA in February 2013.
Before joining academia he worked as a software developer in JetBrains Inc.
Ilya's research interests dwell in the area of the design and implementation of programming languages, including but not limited to program semantics, certified programming, abstract interpretation, program transformations and refactoring techniques.
For further information and a list of publications please visit Ilya's personal homepage.
Design and implementation of programming languages, program semantics, static program analysis, certified programming, type systems, abstract interpretation, functional programming, object-oriented programming, program transformation.


Approved by the world's greatest bodysurfers for it's extra deep concave that will give you the grip you need to stay on any steep wave.
The sharp, crisp rails cut effortlessly through a punchy shorebreak and handles perfectly down a vertical take off. This handboard is for the elite bodysurfer looking to take their waves to the next level.
What sets the Hawaiian Bula shape apart from other boards is the incredible concave that is designed to shred steep, fast, shore-break.


I created these images as a way to express my Omani heritage and the memories I have of growing up there as a child. Vivid colours remain in my mind when I think of Oman. I imagine all my female ancestors sitting chatting to me, and the long line of brave strong mothers that lived their lives before I was born. I will never hear their voices and learn their secrets, though I do believe they sometimes come and whisper sweet songs in my ear as I sleep.