From the inception of AIS, Sine Qua Non has supplied industry leading technology to the market. All our legacy products date back to 1992 in development. Our second generation products are now comming to fruition. AISTE.ST formerly Sine Qua Non would like to take this opportunity to thank you for your continued ineterst in one of the AIS Developer Studio suite of products. We want to assure you that this product range is designed using over 22 Years of AIS experience and thoroughly tested to ensure your complete satisfaction.
Where did it all begin.
Between 1992 and 1995 George Fyfe was contracted as a development partner to design and produce a RF transceiver technology, which Portnet Marine Data Systems would use as an identification and telemetry RF backbone for the full length of the South African coastline.
The hardware was known as the H25. In those early days the GPS 1PPS at times just vanished, so a secondary mechanism of TDMA lock was needed and the "Semaphore" method was developed. This was based on how many H25 stations were received at a specific location. This allowed a plurality of transmitting objects to share a TDMA structure in the cell they found themselves due to the "FM capture effect". i.e. dBm, distance and time.
At the end of 1995, Portnet hosted the IALA Aids to Navigation conference in Cape Town. It was immediately recognised that parallel marine identification technologies had been developing across the seas. This Cape Town meeting was the pre-cursor to the inaugural IALA AIS meeting held early 1996 in Sweden.
Marine Data System represented the interests of George Fyfe at the early IALA AIS working group meetings. At discussions following these meetings it soon became clear that patents were frowned upon. As George Fyfe the original developer of the "TDMA Semaphore Concept" was at that time a co-patentee with Marine Data Systems , he sold his share of the development to Marine Data Systems. George Fyfe was rewarded with a five-year restraint of trade in AIS transponder technology. The semaphore technology went on to be included in ITU-M.1371.
With the restraint on AIS transponder technology in place, George Fyfe set his sights on developing production and front line AIS test sets. This resulted in the PMG1 and the AITS-R. These units were designed and produced at a time when there was no final AIS documentation available. All documents were working group draft documents.
Sine Qua Non went on to produce these industry leading hardware items for many years. And so the story continues with AIS TEST.
The AIS Developer Studio is a synergistic merger of software and hardware modules to create a general AIS development, production, integration and verification environment. It provides a value added service to all users of AIS equipment. The main objective of the system is to assist in providing different test and monitoring scenarios using the PC workstation as the main control object. It does this by providing interactive modules, which have been streamlined to produce verifiable outcomes. The Automatic Identification System (AIS Class A) is defined by the IMO and has been made a carriage requirement by the latest revision of SOLAS Chapter V. This does not only require the AIS to be installed, but also to provide information used for ship navigation. The AIS has been standardised by the ITU and IEC and is subject to type approval. In order to fulfil the reliability requirements of information exchange, product pre - verification and final verification must be done at all levels of development to ensure correct AIS inter operability.
It is the intention of AISTE.ST through the current and further development of the AIS Developer Studio suite of components to continue to supply a cost effective method for development, production, integration and verification of protocols as used by AIS, ASM and VDE. It is the intention of AISTE.ST to supply upgrades to the AIS Developer suite user group as and when they become available. Users may subscribe to this upgrade service.
The AIS Developer Studio makes use of NTP/SNTP network lock to obtain a relative UTC time base. All events are time stamped with the NTP/SNTP network lock. The accuracy of the UTC time stamp is dependent on your network lock of choice.
Pseudo Electronic Position Fixing Device providing exclusive direct control over GPS, COG, SOG, HDT, ROT for each individual target.
Dynamic navigation derived from PEPFD settings.
Detection of non valid 6 bit TEXT characters.
Global setting of fault indication – (PC beep).
Tracking, static and voyage data.
Descriptions for each edit window are auto provided.
Auto profile 5 targets using licence defaults or individual.
From 1 July 2014 legacy units may be returned to the "AIS Test" workshop for repair and re-verification according to original factory specifications..
How To Return A Unit To AIS Test Workshop.
1.Please contact us by email to obtain return procedure for repair and or re-verification .
2.For warranty service, enclose a scanned copy of your sales receipt with your email. If a copy of the original purchase receipt is not available, your product may be deemed out-of-warranty. .
3.If you are uncertain what product you own and or require a quote please contact us by email.
All internal simulation process's for packet creation can be viewed graphically.
The Modulation Waveform Generator module that is embedded in the simulator creates all the required modulation waveforms as set out in IEC61993-2 paragraph 10.4 and IEC 62287 paragraph 10.4. It can perform the encoder requirement as set out in IEC61993-2 10.6. All original PMG1 legacy waveforms are supported. Further to this all M 1371-5 messages and waveforms are supported. It creates and generates 5 mutually exclusive AIS Targets. Standard Test Environment baseband waveforms can be output via the PC Sound Card Line Out to an external RF Signal Generator coupled to the EUT via a power pad.
The Pseudo Electronic Position Fixing Device Dialogue provides an input method for formatting the NMEA defined GPS and SENSOR sentences. During parts of the verification the EUT GPS antenna is disconnected. The Pseudo Electronic Position Fixing Device is ported to the EUT sensor RS422 input. Dynamic external control of all positional and sensor information can be implemented using this method.
The Own Profile Dialogue provides an input method for formatting any packets generated using RATDMA as a mutually exclusive AIS Object. It can be set-up for SOTDMA or ITDMA communication states. Absolute control of generated base band or IQ VDL packet modulation data is available through this module. The OWN PROFILE allows right mouse click injection of any M 1371-5 packet into the Standard Test Environment. This allows realtime polling, channel managment etc or information excahnge to the Equipment Under Test via the externally modulated RF VDL signal.
The EUT MMSI is used to identify and isolate all VDM / VDO messages generated in the Standard Test Environment by the equipment under test. This allows realtime analysis of all VDO / VDM traffic.
The Standard Test Environment set-up provides an input method for formatting any packets generated automatically as mutually exclusive AIS Objects within the same VDL environment as the EUT. All 5 targets enter the VDL using ITDMA communication state formatting. After entry they will enter their respective EPFD dynamic navigation set-ups using SOTDMA communication state formatting. By respectively changing sensor data the dynamic navigation state of the target can be altered in real time. Absolute control of generated base band or IQ VDL packet data is available through this module.
The AIS Developer Studio uses 3 timelines to display the following UTC time logged data. Signal Generator VDO / EUT VDO / EUT VDM or external receiver VDM information. The AIS Developer Studio will decode all required M 1371-5 messages. By placing the mouse cursor over the log indication and left clicking the mouse button, the relative message filter will show the decoded information that lies below the mouse cursor.
The OWN Profile, EUT VDO, EUT VDM ( or external receiver VDM ) time lines can be recorded and analised graphically.
AISTE.ST continues to supply support and OEM re-vereification of all Sine Qua Non legacy products.
If you are interested in the AIS Deveoper Studio range of products or wish to be kept in the loop or wish to order a product, please send an email to the address below.


After a billboard or wildposting campaign is done, there's nothing left but the memories is there? But memories live on when fans snap pics or take videos, post them to social media and share them with friends. Outdoor advertising agencies are in a unique position to participate in creating those memories by documenting the installation of outdoor ad campaigns and making that documentation available to fans.
Media buying agency Dash Two has been doing that for quite a while. For example, we document billboard installations with time-lapse video as shown in the captivating videos below.
Kendrick Lamar debuted the music from his latest album, Damn, at Coachella 2017. Fans on their way to Coachella got a big roadside reminder.
Wind conditions near Coachella can be quite hazardous. In the video above billboard installation pros are careful not to lose pieces of vinyl in the wind that could easily smash a windshield or two. It can be a nerve-racking process though they make it look easy.
The album artwork for Lana Del Rey's Lust for Life album was first teased in the above billboard that, like Lady Gaga's Coachella billboard, was installed under highly windy conditions.
Lady Gaga's World Tour billboard had a special touch. The outdoor advertising agency included a build-out with real life LED glasses added. You can see the actual glasses on Dash Two's Instagram.
Fans returning home from Coachella got a tongue-in-cheek mileage billboard alerting them to just how far they'd have to drive to reach the offices of Interscope Records.
For a bit of extra fun, here's a video from the 50th Anniversary celebration of the release of Sgt. Pepper's Lonely Hearts Club Band. The video stars Sgt. Pepper himself hoisting a flag at the top of the old Capitol Records building in Los Angeles.


text:
Home/Books/Art or Blasphemy? Whatever Your Take, Book Wheels Get Bibliophiles Talking
Art or Blasphemy? Whatever Your Take, Book Wheels Get Bibliophiles Talking
Jon Whitfill's solo gallery show wasn't off to a great start. It was 2006, and the Lubbock-based artist had just graduated with an MFA from Texas Tech University. He was exhibiting his book wheels—kaleidoscopes of colorful spines and pages—and had dressed for the occasion. A couple walked in, and the husband, not knowing the artist was standing nearby, turned to his wife and said, "Just some asshole destroying books." They walked out before Whitfill had a chance to explain.
"It was awful," he says. "Just moments before, I'd been thinking how proud I was, and they were literally the first people that came in. It put a fog over the rest of the show."
Still, he says he understands why the gallerygoer was miffed. Whitfill, an avid reader and former educator, sometimes feels conflicted about his work.
"I hate the fact that to make these [book wheels]some destruction has to happen," he says, "but without destruction, creation can't occur."
Whitfill believes that turning unwanted relics into art is a far better alternative than them ending up in a landfill. To date, he has salvaged roughly 15,000 discarded books. Libraries often reach out to him, wanting to off-load titles they've removed to make room for more books, more seating, or, more often than not, more computers. Sometimes, Whitfill shows up at his studio in the tiny town of Slaton to find that people have left boxes at his front door. The first book wheel Whitfill made was composed of old romance novels he came across during a demolition project.
"The cool thing about pulp fiction is that they typically dye the edges of the page," he says. "I was taking a break and just started putting all the colors together and was inspired to make a few paperback romance-novel color wheels."
Jon Whitfill with his book wheels. Courtesy of Jon Whitfill
A close-up of one of Whitfill's book wheels. Courtesy of Jon Whitfill
Left: Jon Whitfill with his book wheels. Courtesy of Jon Whitfill
Top: A close-up of one of Whitfill's book wheels. Courtesy of Jon Whitfill
His process has evolved as he's gotten new tools and tried different techniques. As a former high school science teacher, Whitfill says it's all part of the scientific method. Trial and error goes into each work: it can take multiple tries to shape the designs to his liking; books absorb resin differently depending on age and paper type. As a result, no two wheels are exactly the same.
The book wheels can cost anywhere between $2,000 and $8,000, depending on size, and take about a month to make. The majority of that time is dedicated to planning and preservation. Whitfill starts by removing pages from the spine to create a wedge, then uses a band saw to create the desired depth and fits the wedges together to form a circle. What follows is roughly fifteen thin layers of resin. Although Whitfill can't use every part of a book in a single wheel, nothing goes to waste.
"I take the pages that have to be removed to turn a book from a square into a triangle and restack those pages into boxes, then cut them and resin the end to basically make new books," he explains. Along the way, he sets aside pages with interesting illustrations or text that intrigues him for other types of art, such as collages. (He's also known for his metal sphere sculptures.)
There are some things Whitfill won't do, such as buy books to fit a particular theme or color palette, even if it means saying no to a client's request. "Sometimes I've done a commission for authors who want to incorporate their own pieces, so they might go to a garage sale or whatever and bring me a box of other books to use alongside them, but I don't go to Barnes and Noble. I won't take something that still has life left in it," he says, noting that "parameters breed creativity."
Whitfill also can't bring himself to cut up anything from his favorite genre, science fiction, because he says so many of the predictions authors made back then came true—a lesson in what he calls "reverse history." While any salvaged sci-fi novels go directly into Whitfill's personal library, he feels certain texts are too precious not to share with others.
When he received thousands of patent books containing the intricacies of various inventions, he felt "weird" about keeping those all to himself. He's since shipped roughly 250 across the artists and the world to other, inviting them to make pieces based on the books to be exhibited in an ongoing series of shows called "Patent Pending."
"It's a way to get these out into other artists' hands and see if they can be inspired by them, too," he says. Knowledge sharing is something Whitfill thinks about a lot. He was recently commissioned by his alma mater, Texas Tech, to design several large-scale works out of old law books for the campus law library. He asked the librarians if physical copies were being preserved elsewhere. Their response? It's all digital now.
"That scares the hell out of me," Whitfill says. "What is being lost that we don't even know about? Who's going through to make sure each of those books even has a digital imprint? What we need is a bunch of people out there going, 'I love books; let me just go through every one and make sure we don't miss anything.' "
Knowledge lost is never a good thing, Whitfill says, whether it's due to digitization or a crusade to ban certain books. "You need to know what's going on," he says. "You need to have the opportunity to make your own decision and not just take someone else's rote ideas for your own."
Whitfill welcomes different opinions when it comes to both politics and his art. He says the lion's share of feedback he's received has been positive, but when people are critical, it's usually because they're concerned about where the books came from—"an incredibly valid question," Whitfill says.
"Sometimes I need to explain that these were detritus. Yes, it could be read again, but it was on its last journey when it got to me," he says. "Books are beautiful objects on their own accord, but getting to see them in a way that you may never see them also has an appeal. Maybe it wasn't their intended purpose, but it can still bring you joy."
The Immortal King Rao by Vauhini Vara review – the rise and fall of a tech giant | Fiction
Channing Tatum On Kids Books, Co-Parenting, & Fatherhood
'Little Miss [Blank]': How a kid-book meme became viral comedy
10 Summer Reads Chosen By Tattered Cover Book Store Experts
Hawthorne NJ student writes four books during COVID pandemic

redpajama_set_name: RedPajamaCommonCrawl


text:
The Gallery Where Stevie Wonder Was a Regular
by Admin - July 5, 2020
This summer, Linda Goode Bryant, the pioneering art dealer, received the 2020 Berresford Prize from the nonprofit United States Artists, which is awarded annually to "a cultural practitioner who has contributed significantly to the advancement, well-being and care of artists in society." In 1974 Bryant founded the gallery Just Above Midtown on 57th Street, which became one of New York City's first dedicated art spaces for Black artists. Bryant now runs the urban farming initiative Project EATS, based in New York. This conversation, between Bryant and Senga Nengudi, one of the artists who got her start at JAM, took place over Zoom, and touches on JAM's history and its legacy.
Linda Goode Bryant: So, where did we get started? We got started at JAM. Actually, we got started before that, but I don't know if we need to get into it. Before we even met, we were connected.
Senga Nengudi: That's true. From the beginning, there was so much conversation.
LGB: There was so much conversation. I actually believe that you belong to a tribe. And that often weaves itself in life.
SN: Absolutely.
LGB: There's the birth family. But then, that family that you discover through life is just your tribe. I'm never surprised by those connections.
SN: We were talking the other day about how to describe your role working with artists and we talked about the "artful conductor." That you have all of these instruments and you're at the command center utilizing everybody in the best way possible, so they can be seen in their brilliance. And you are the one in the center, the ultimate brilliant one allowing all of this light around you. And allowing everyone to do their best, not only for themselves but for others. And that's really key. That it's about others. You're allowing platforms for others to help others.
LGB: It's funny because I actually feel in the amazing relationships that get developed through our interactions with one another — it's more like a stew to me, so there's nobody in the center. It's just one big stew. And occasionally, the carrots are kicking. And the tomatoes are going: "Hey. Wait a minute. I got this idea." And the next thing you know, all this stuff is simmered together. And the stew itself is the most nutritional meal you could have. All this creativity and imagination and the different ways we can make things and do things and share things that bring us closer together in our own relationships with one another.
The making of art is uniquely human, and it enhances who we are and how we relate to one another. It makes us more empathetic and understanding of the world around us. It helps us relate to people who we don't see as similar to ourselves. All of us who make this thing that's called art, no matter what form it is, understand this. Just Above Midtown was an art piece.
SN: I think it's really great that you used the stew as an example because art is nourishing. Art feeds. That's why there's so many people expressing themselves during this time, because art is nourishing. It's centering. I like to say one plus one equals three. By that I mean, you have two bodies coming together: the person who is viewing the art and the person who is doing the art. And then, this other, third thing happens, which is a new idea, a new dialogue, and that's really important.
LGB: Yes.
SN: I also really want to mention Just Above Midtown and how you, Linda, are a history book. You have worked with all these people, and you all were mutually inspired. Actors, artists and business people who you showed a new way of utilizing their funds. And most people don't know all of the people you've worked with in your life that are only in history books now, like Romare Bearden, Miles Davis and so on.
LGB: When you and I have our weekly Sunday conversations I'll say something like: "Oh yeah. I remember such and such person." And you'll say: "Linda, will you write this down? You got to write down the encounters and the time that you spent with these folks!"
In the case of Romare, he took me under his wing when he realized I was determined to start JAM. He told me I would need $50,000 to start a gallery and I said, "Well, I don't have $50,000." But I borrowed the money from someone and I signed the lease for this space. And I called up Romare and I said: "Romie, Romie! I got a lease! I got a lease! Can I come down? Can I show you? Can I show you?" And I ran up all those stairs on Canal Street. He was on the top floor, as I recall. Five flights. And he opened the door with that cat in his arms and said: "Take a breath. Sit down." He looked at the lease and said, "You're really going to do this thing."
And he said something to me that it took me until my 50s to hear. And it was in my 60s that I actually ingested it. And I think now, at 70, I'm just now able to process it within my being. And what he said to me was: "Linda, this is what I want you to know. Don't worry if people love you. All you want them to do is respect you. You don't want love because love is fickle. Respect is forever. It's enduring."
SN: Wow, yeah.
LGB: And I couldn't hear him. I was like: "Why is he popping my balloon? I have the lease. I run up all these stairs. I fly from 57th Street to Canal Street on the subway. Are you kidding me? You're popping my bubble here." At the time, I really couldn't hear that. And then, as life progressed, I'm just now embracing the notion of respect because I've never really — I'm doing what I'm doing because I really believe in what I'm doing.
Art can be anything. I think all of us are artists. And some of us choose to pursue it as a focus of our life because we have nothing. We can't do anything else. It's the compulsion of what we do.
SN: Yes.
LGB: JAM was a family. It was a family that manifests. It was the stew that manifests as a family. We were definitely family.
SN: Who else did you work with?
LGB: Someone had a contact for Roberta Flack in the early days of JAM and she was collecting this artist in Jamaica, Kapo. Eventually that led to her underwriting a show of Kapo's work at JAM. That experience introduced me to everybody that was in the music world at that time.
SN: How did they find you?
LGB: The gallery was well positioned because right next door to us on that fifth floor at 50 West 57th Street was an Italian tailor named Mario. All the basketball stars who were Mario's clients would come into the gallery when they went to see Mario. Miles Davis recorded in that building and he went to Mario too. And then we got all this press talking about this Black gallery on 57th Street that the art world couldn't understand. So then other people start finding us.
Stevie Wonder would come into the gallery when he was in New York City and we would just talk and have great conversations with one another back then.
SN: Wow.
LGB: And he bought art even though he couldn't see it. He bought a wonderful David Hammons piece.
SN: Did you describe it to him?
LGB: No, he touched it. He felt it.
SN: I was thinking back to when you were saying that Romare Bearden was telling you how determined you were. I like to call you the Determinator. That is your title. There has been this line throughout everything you do. You see a void that needs to be filled. Whether it's addressing gentrification in Ohio with your filmmaking or Project EATS when you saw that there was a huge problem in the community related to not only getting food to people but having nourishing education. I think the line started with JAM and has been throughout everything you've done since then.
LGB: If we go back to the stew metaphor, I think one of the wonderful things about JAM was that we all had that seasoning, being together, and that strengthened it.
SN: Mm-hmm.
LGB: And so it was in collaboration. It was us together. That strengthened my determination as I'm sure it strengthened the determination of all others, is what I'm trying to say. There was something about what we created in that space, who we were and how that manifested in that space, that made that space possible. It was all about the way that we supported and cared for one another, even when we disagreed.
SN: I think that you're not giving yourself enough credit.
LGB: Probably not. I really like to be quiet.
SN: I still think you are the conductor, the glue, or something like that. You are the artful conductor because you have a number of skill sets that are helpful. I am an artist. I do what I do. But you also have the skill of business. In fact, you created those workshops at JAM — The Business of Being an Artist. That side of it was woefully lacking for many of us artists.
LGB: I went and got a business degree because a man who had ties to potential patrons told me that he thought it was ludicrous I started a gallery. Some curators told me that too. Anyway, one day this man came into the gallery and said: "This isn't going to last. You don't know what you're doing. What do you know about balance sheets and financial statements?" And blah, blah, blah. So I said: "You need to get out of here. I mean I can't believe you would come in here, and tell me what I don't know." But it stayed with me. And it made me realize business is mother wit. They want to fancy it up, put a degree behind it, and charge a lot of money for that degree. That's well and good for them but the fact of the matter is business is common sense. So I guess, I will always hold dear to the belief that the essential quality of all life, no matter what form it takes, from amoeba to animal to human beings and beyond, is the ability to use what you have to create what you need.
SN: That's your theme song.
LGB: I have an M.B.A. but that's technical stuff and not the essence of trying to run a business. So for me, what has kept me going, even in the moments when I felt I was alone in what I was trying to do, has been family. That family that was JAM created the foundation of the families that have come since JAM. And it's difficult now to create that. Not just because of Covid, but also because of modernization. Science and technology, as with everything else, has its pluses and minuses. I think the minuses of so much of digital technology, and the way we connect, and the way we perceive ourselves as community can pull us very far apart, despite its intentions to bring us together. And so, I'm really grateful for family.
SN: I think I need to add another element of who Linda is, which is ever enthusiastic, ever curious.
LGB: Oh yeah.
SN: Ever in a state of "what if?"
LGB: That's true.
SN: And it serves as a magnet to other people who want to join the band, so to speak. It convinces them that certain things can be done. That they have a place in what's going on. They can dream with you for this higher vision.
LGB: When those dreams are there, you can actually make it tangible. It doesn't guarantee you're going to be successful by any number of definitions of success. To me, the success is that you pursue it. Just go for it and let's see.
Eight Artists on the Influence of Tom of Finland
Brontez Purnell, Oakland, Calif.-based writer and artistWe kind of take Tom of…
'Days of the Whale' Review: A Battle Between Art and Power
For all the stress and strife endured by the teenage protagonists of…
Taylor Swift and Kanye West Will Tangle Again, With Dueling Albums
Taylor Swift and Kanye West, the most reliably combustible pair of stars…


text:
Mark King
Philosophy About Storytelling In the News Blog Be In Touch
PhilosophyAboutStorytellingIn the NewsBlog
Kareem Abdul-Jabbar and mastering the fundamentals
To me, the most exciting time in the NBA was in the late '70s and the '80s. The great players of that era changed the game forever and shaped how it's played today. Kareem Abdul-Jabbar was a quiet assassin in his 20 seasons with the NBA, and nearly 30 years after leaving the court, he's still the league's leading scorer of all time with 38,387 points – a record that may never be broken.
Before he went pro, he had unbelievable success at UCLA with three championships under Coach John Wooden, who taught Kareem fundamentals really matter.
"Coach Wooden's basic philosophy was to teach the fundamentals of the game and try to get his team to execute as a unit, instead of as five individuals out there. Five fingers working together, not separately. It's the teams that are able to be effective as a unit that get to stand in the winner's circle at the end of the season." – Kareem Abdul-Jabbar
To be successful in anything you do in life, you have to know how to work on a team and, maybe more importantly, how to work as a team. When you're as great as Kareem and you're sharing the court with people who admire you, you also need to know how to lead.
"I was able to master the fundamentals, and then I had that desire to win and had that leadership quality. Leadership is shown in many different ways. Some people are vocal leaders, some people lead by example. I feel that my career is one of leading by example." – Kareem Abdul-Jabbar
For any athlete, playing at the pro level takes talent, and Kareem obviously has talent. What really pushes great players over the edge into extraordinary is their attitude and desire to win.
"The great players have an attitude where they're not going to accept second place. They want to be in first place, and they will work as hard as they can to get there… Basketball is the type of game, if you work on certain talents and hone them, you can play and be a very effective player and make it to the Hall of Fame." – Kareem Abdul-Jabbar
Listen to our full conversation on Extraordinary Happens.
Lauren Grancio February 15, 2017
Becky Hammon: Everything is impossible until it's not
Lauren Grancio March 21, 2017
Through sport, we have the power to change lives
Lauren Grancio January 10, 2017
HomePhilosophyAboutStorytellingIn the NewsBlog


A SOUL Clinic License for religious counseling is issued upon successful completion of the course. This course does not entitle you to be a State Certified Psychologist.
The course material offers practical information and ways to use guidance counseling to address personal and spiritual conflict. It uses resources from Psychology, Metaphysics, Christianity, Eastern and Western Religious writings.
This course consists of 12 lessons. There is a written assignment that is to be completed at the end of each lesson, Return all 12 lessons together upon completion your certificate will be issued. There is a recommended reading list of books for the course. If you are unable to locate some of the books either from your local library or bookstore your may substitute them for books along the same subject line.
Add a copy of the Star Book of Pastoral Counseling for a reduced price when ordered together with the SOUL Clinic. You may use it as one of your three textbook selections.
Enter the name and address of the person this degree is for. It will be shipped to the "ship to" address provided at checkout, however we need the name and address of the recipient so that it can be properly recorded in the church records.


The "Sonya" is made of smooth calf leather and features a broad square toe with a 12" top. The hypnotic swirl designs on the shaft create a modern and dynamic boot. A simple vamp ensures these boots have pizzazz without being over the top.


text:
Cinema Dispatch: The Banana Splits Movie
August 29, 2019 August 29, 2020 ~ Matt Vetrano
The Banana Splits Movie and all the images you see in this review are owned by Warner Bros Home Entertainment
Directed by Danishka Esterhazy
Well… I guess we're finally here. After months of speculation and a couple of pieces by yours truly, we finally find out if this horror themed Banana Splits movie can justify its ludicrous premise. I've made no bones about the fact that I'm not looking forward to this, especially when it's so blatantly trying to jump on the Five Nights at Freddy's bandwagon with a property that isn't even REMOTELY applicable (a Country Bear Jamboree horror film would make WAY more sense), but maybe the filmmakers know something I don't and have found an angle to tell this story from that will make it an interesting examination of these characters and their place in popular culture instead of just a cheap attention grabbing cash in. Yeah, it's probably the latter but let's find out!!
The Williams Family wanted nothing more than for little Harley's birthday (Finlay Wotjak-Hissong) to go perfectly and the best way to do that would be to take him to see a live taping of his FAVORITE show; The Banana Splits; a quartet of singing animals made up of Fleegle the beagle, Bingo the ape, Drooper the lion, and Snorky the elephant (voiced by Eric Bauza). In this universe however, I guess the Banana Splits are the entire half hour instead of the bumper between cartoons and they use a retro-sixties aesthetic… ironically maybe? Well whatever the case may be, his mother Beth (Dani Kind) managed to score five tickets to take the both of them along with his dad Mitch (Steve Lund) and his step brother Austin (Romeo Carere) along with a friend from school Zoe (Maria Nash) who's too cool for the Splits but has to go anyway. Once they get to the studio where it's filmed which is located WAY in the back of the lot, we learn that The Banana Splits, while successful (somehow) is a production of many frustrations. The stage manager Rebecca (Sara Canning) has to manage the incompetent staff as well as the overly dramatic Stevie (Richard White) who's the only human in the cast and drinks his sorrows away on a daily basis. Fortunately The Splits themselves aren't as troublesome as they are LITERALLY ADVANCED ROBOTIC ENTERTAINERS that this studio can somehow afford and are regularly maintained by the overly enthusiastic programmer Karl (Lionel Newton), and most everything else is managed by the page Paige (Naledi Majola) who is way sicker of that joke than you are. Well in case you weren't sure what movie we were watching, the robotic Splits end up getting a crappy firmware update and start to go on a murdering rampage as soon as the taping is over and the only ones left in the studio are a few employees and the lucky few who were chosen to meet The Splits in person; including the Williams family. Will anyone be left alive after The Splits enact whatever horrifying machinations they are dead set on enacting? Are the true Splits still somewhere within those cold metal shells, and is there a way that Harley can reach them? Even if he could though, who would WANT to reach them? Bunch of dead eyed Chuck-E-Cheese rejects. Back in my day, The Banana Splits had life and personality; not circuits and microchips con-sarn-it!
"NOT PROGRAMMED FOR AFFECTION! HUG PROTOCOLS ARE IN BETA!!" "Aww… I love you to Bingo!"
This is not a complete disaster. In fact, some of it is pretty good and shows some real talent on the part of the actors and filmmakers. The problem is that it just can't escape what a lousy idea this is from the outset and there's absolutely nothing that The Banana Splits adds to this in terms of its story or any sort of emotional context for the horror; what little horror there is anyway. Overall, the biggest word that comes to mind (aside from asinine) is inert. It's not particularly scary, not particularly nostalgic or satirical, not shot with any particular flair, and what little gore there IS to be found comes in rather unimpressive fits and spurts. If it's not scary, not particularly funny, and isn't all that great to look at, then what is it? At best it's on occasion a middling but passable drama which is all well and good, but is that what anyone wanted from a Banana Splits movie? Is that what anyone wanted from an R RATED Banana Splits movie!? The fact that I have to write R RATED BANANA SPLITS MOVIE is still baffling to me, but certainly not in the way they were hoping for. It's less an unexpected surprise than an exasperated sigh of resignation which… well I guess that's about as good a description as any for this movie.
"TRA-LA-LA! TRA-LA-LA-LA!! TRA-LA-LA! I'M DYING INSIDE!!"
So yeah, shock of all shocks, turning a sixties children show into a Five Nights at Freddy's knock off turned out to be an awkward and messy idea! I mean where to even START with this!? Let's assume you're a fan of the original series and these characters. What do you want to see in a revival of the original show? Do you want a sincere tribute? Well if that's the case then you're out of luck because the show they're doing is not like the one from the sixties, the characters barely talk and are rather lethargic onstage, and the only song they play is the Tra-La-La one. No mention of the cartoons which comprised MOST of the show as the live action segments were just the wrap around, and the show we're seeing here seems intentionally shoddy but without much reason for it. Maybe there were some rights issues with everything except the barest of elements (no mention of Sid and Marty Krofft either) but whatever the reason there's nothing here to really give anyone a nostalgic buzz or show any appreciation for the material. Do you want an irony tinged NOT YOUR DADDY'S version of the show? Well you don't really get that either as there's nothing particularly satirical about the bad production; it's just a cheap show for the sake of it which does elicit a few laughs here and there but doesn't seem to know how far it wants to go with it. I mean not every movie about shoddy show business needs to be Meet the Feebles, but it doesn't even feel like they're trying to make a statement here at all!
"Stevie's got a grown up headache so he's just gonna lie there for a bit, isn't that right Stevie?" "I drink because of YOU, Drooper!"
But hey, you might be asking yourself how many fans are REALLY out there for this property? You might say, they didn't make this to revive the franchise; they just needed an attention grabbing gimmick for an evil robot movie! Okay, fine. You have my twenty bucks, you have my attention; so what have you got to show for it? Not a whole lot, at least if you're here for the horror. I mean sure, I just so happened to have started binge watching horror movies a week before I saw this so my perspective is perhaps a bit skewed, but there's just nothing scary about this in the least. The aesthetic is washed out and the cinematography is bland which are active detriments to whatever terrifying atmosphere they're trying to set up; even with the creepy music constantly droning on in the soundtrack. The staging of the kill sequences is really awkward which I can only assume is the case because of the big costumes that someone had to struggle through in these scenes, and people end up just STANDING AROUND when supposedly terrifying things are going on instead of running or finding a weapon. As a matter of fact, there's something REALLY wrong with the reactions in this movie in that people barely even have them. There's one part where a character has been cut in half; organs have spilt all over the gosh darn place. The victim's significant other is crying next to the body as two other characters walk up, and… nothing. They aren't screaming, they aren't puking, they are looking at this scene as if the person died of a heart attack instead of viciously vivisected, which by the way was a rather boring and awkward scene in its own right.
"Someone call an ambulance! He's losing a lot of blood!"
What it feels like is that they are teasing the idea of being a straight up horror comedy, but there's no backbone to it so everything feels misdirected rather than making a point. This is a television studio, and yet it is COMPLETELY empty the moment the show ends. No security, no stagehands cleaning up, nothing; despite the fact that there are STILL GUESTS ROAMING AROUND which I can only imagine is some sort of major liability that shouldn't be handled by a single page. If it being a poorly run studio was part of the story that'd be one thing, but there's no indication of that! There's a bit where two people have to run through some sort of obstacle course at the behest of the Splits, but they didn't even bother to Saw it up in this scene; it's literally just the same obstacle course that we saw children run through earlier when the show was being taped! Is there a point to that? I sure as heck hope it wasn't to be scary because it is AGGRESSIVELY not.
Oh no… their pants cuffs are getting slimy…
And while I may be the only one who cares about this, none of the villains' motivations make any sense. The Splits are now robots instead of people in costumes and I GET why they did it, that way the killers can actually BE the characters and not just some dudes wearing masks (though it probably would have been funny if they were all hardcore thespians who refused to take off their costumes and only referred to each other in character), but it doesn't work against the shoddy nature of the rest of the show. The sets are cheap, they've got one alcoholic actor making peanuts, and yet they can afford these advanced animatronics that are beyond anything even Disney could make? Moreover, there's not even a reason why they turn bad in the first place. As far as I can tell an update didn't install correctly, and instead of blue screening they turn into homicidal killers which I've got to say isn't very compelling. No mastermind pulling the strings and turning them evil because he got fired or something like the new Child's Play movie, no ridiculous SCIENCE HAS GONE TOO FAR setup like in Small Soldiers, they just start killing people in rather sedate and unengaging ways. They aren't like The Terminator where their program plays out as relentless danger similar to that of a natural force; they're just wandering around without much rhyme or reason or discernable purpose. Yes, they do explain a LITTLE bit of what they want to do at the end, but it still doesn't make any sense why their prime directive involves murder and fire. There's just no sense of taboo or even much delight in the wrongness of it all. You need SOMETHING to hook us and play with our emotions otherwise the bloodletting is just so much red sugar water all over the floor.
He may be broiling a man alive, but you can just tell that Drooper's heart isn't in it…
Now I did a lot of complaining just now about this movie, but let me pull back a bit and say that I think the first act of this movie is GENUINELY good and there are bits of it that extend through the rest of the film to keep it from being utterly worthless. The writing is actually pretty solid on most of the characters in this and even if there's no real follow thru on it, I do admit that a lot of the scenes of The Splits show are kinda fun and in that way where we're watching an intentionally bad show. Richard White as the extraordinarily bitter and drunk Stevie manages to really carry these scenes and there a few decent sight gags to be had; particularly when he gets knocked over and falls flat on his back with a bone crunching thud. Along with that, the Williams family is pretty well acted and has a solid dynamic. Okay, the little kid isn't doing much more than BEING a little kid, but everyone else has some interesting stuff going on that plays out quite well in the first half. The mother is trying to keep things together which is a thankless job given the rather crappy dad who is mortified that his son is into this silly show and him and the older son Austin are constantly at each other's throats. Speaking of whom, Austin played by Romeo Carere BY FAR is the best character in this because he acts like a real teenager, but is also a genuinely sweet and caring guy. The way he goes above and beyond for his kid brother is probably my favorite moment in the entire movie, and I even liked the scenes he had with Paige.
He's got a heart AND he can pull off that hat? Some guys get have ALL the luck!
It makes it all the more disappointing though that things fall apart the way they do once the horror scenes are introduced and it even extends to the acting itself which gets notably worse. For some reason they decided that the terrible dad should get whiner and more frantic as the movie goes along which I feel wasn't a great choice considering it takes a despicable character with a modicum of nuance into a straight up cartoon. Similarly, Austin just runs out of things to do and is just tagging along without any real arc to speak of which is disappoint considering how much I liked him right off the bat. The first third of this movie reminded me a bit of a movie called Opening Night from 2016 which felt somewhat cheap as well and was about a stage production but it had good writing, good humor, and solid performances across the board. Maybe if this movie stuck with THAT formula and was about a particularly stressful taping of the show then these good elements could have stuck around a lot more, but you're not gonna sell a Banana Splits movie on that I guess so throw in the blood and the gore to see how many monocles can be popped in exasperated indignation.
This seems like an unnecessary direction for Wheel of Fortune to go in.
The movie just can't seem to make up its mind on where it wants to go, and while it means that it never gets so committed to the bad ideas that it becomes unwatchable, it doesn't stick with the good ideas enough for it to be much fun. Given that this project felt doomed to being a novelty at best, it's impressive that the filmmakers squeezed in as much character and story as it did, but we all know where this was ultimately headed and where it was headed was nowhere good. MAYBE with a better cinematographer, a slightly higher budget, and a genuine motivation for the antagonists it could have mustered up enough tension to make the horror sections a lot more bearable, but at the end of the day it's just uninspired gore, boring set pieces, and half-hearted winks at the audience that need to carry this and they certainly don't. We know that Hanna-Barbera and Warner Bros can do some amazing things with their properties like the critically acclaimed Snagglepuss comic, but this feels like they're flailing to keep relevant and the most they frankly got more out of it than such an asinine premise really deserved. I wouldn't really recommend seeing it unless you find the idea fascinating beyond the initial novelty of seeing children's characters commit murder. Trust me, the novelty wears off fast and you'll be regretting your purchase before you reach the hour mark. I'll give it this though! They didn't end this with The Splits rapping! They've at least got THAT over the ridiculous Suicide Squad crossover, so congratulations for not sinking THAT low!
If you like this review and plan on buying the movie, then use the Amazon link below! I'll get a percentage of the order it helps keep things going for me here at The Reviewers Unite! In fact, you don't even need to buy the item listed! Just use the link, shop normally, and when you check out it will still give us that sweet, sweet, percentage! You can even bookmark the link and use it every time you shop! HOW AWESOME IS THAT!?
The Banana Splits Movie
Posted in Cinema Dispatch	Celina MartinDani KindDaniel FoxDanishka EsterhazyEric BauzaFinlay Wotjak-HissongHanna-BarberaHorrorKeeno Lee HectorKiroshan NaidooLia SachsLionel NewtonMaria NashMovie ReviewNaledi MajolaRichard WhiteRomeo CarereSara CanningSteve LundsyfyVash SinghWarner Bros
‹ PreviousCinema Dispatch: Angel Has Fallen
Next ›Super Comics: Sonic the Hedgehog (IDW) – #20


18 Mar - 6 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Land Settlement Scene In Hotel Watch more movies @ http://www. 24 Mar - 4 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Kadambari Kiran Hilarious Comedy Scene Movie: Attarintiki. 28 Mar - 3 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Samantha Love Propose to Gowtam Movie: Attarintiki Daredi, Cast.
22 Mar - 3 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Shopping Mall Fighting Scene Movie: Attarintiki Daredi, Cast. 24 Mar - 3 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Sentiment Scene In Attarintiki Daredi Movie: Attarintiki Daredi. 18 Mar - 7 min - Uploaded by Volga Video Attarintiki Daredi Comedy Scenes || Aahalya Drama Scene (Lalitha Kalalu) Movie.
21 Mar - 2 min - Uploaded by Volga Video Attarintiki Daredi Scenes || Sunanda Came Back To Her Father Movie: Attarintiki Daredi, Cast. 19 Oct - 6 min Watch Attarintiki Daredi Scenes || Land Settlement Scene In Hotel - Posani Krishna Murali. 25 Oct - 11 sec Watch Attarintiki Daredi Sentiment Scene Trailer | Pawan Kalyan, Samantha | 18 Oct - 3 min Watch Attarintiki Daredi Scenes || Samantha Love Propose to Gowtam - Pawan Kalyan by. 18 Oct - 2 min Watch Attarintiki Daredi Scenes || Rao Ramesh Heart Touching Sentiment Gopala Gopala.
27 Oct - 11 sec Watch Attarintiki Daredi Movie Pawan Kalyan Emotional Dialogue Scene Trailer New. 15 Jan The makers of Attarintiki Daredi are planning to add few more new scenes to attract the moviegoers to theaters. The production unit has been. 15 Jan Here is the latest news that six minutes of footage has been added to the film and the film with additional scenes will be screened from October. Attarintiki Daredi is a Indian Telugu-language comedy-drama film written and directed by "New scenes to be added to 'Attarintiki Daredi'?". Deccan.


Ryanair's new cabin baggage policy – introduced in an effort to silence its critics - is causing problems, with a lack of space in overhead lockers forcing up to half of passengers to stow their luggage in the hold.
The low-cost airline, until late last year, permitted passengers to carry on board just a single item of luggage. As part of its recent attempt to win over fliers, however, it now allows them to bring along a second smaller bag, measuring up to 35 x 20 x 20 cms.
But the move means space inside overhead lockers is in greater demand, and only the first 90 passengers are guaranteed to have their luggage placed in the cabin. Ryanair's 737s carry up to 189 people, meaning fewer than half are certain to travel with their bags.
The problem has also nullified another of Ryanair's new policies – fully allocated seating. It was introduced to eradicate the pre-flight scrum, where passengers begin queuing long before there gate opens to ensure they sit next to their travelling companions, but now fliers are forced to queue to ensure they are one of the first 90 people on board.
Telegraph Travel's Adrian Bridge reported on the problem earlier this month, following a flight to Rome. Now more passengers have criticised the airline over the restrictions.
"It's ridiculous, not least because it caused a massive queue at the gate - and they didn't even start boarding people for another half an hour," said Alex Gore, 29, from London, following a flight from Kerry to Stansted. "People spend all that time trying to fit their things into a small bag and worrying that it's too big and they will end up being charged.
Others have used Ryanair's Facebook page to express their displeasure.
Watford-based user 'Mr Marcoos' said: "So the queues at the gate which are no longer a problem due to allocated seating could be a problem again?"
'Rdglady' added: "That sounds like a recipe for disaster. I can just imagine the pushing to be in the first 90."
'Louise N', from London, wrote: "And this is the reason I won't be travelling with Ryanair, I don't need the hassle of making sure I'm the first there".
A Ryanair spokesman confirmed that overhead lockers have capacity for 90 larger cabin bags and that "when that limit has been reached, any remaining cabin bags are placed in the hold free of charge - in line with the policies of many other airlines".
Ryanair's low-cost rival EasyJet, for example, allows passengers to travel with a single bag measuring up to 56 x 45 x 25cm. However, it only guarantees that bags up to 50 x 40 x 20cm will travel in the cabin.
"Customers are free to bring their second smaller bag onboard, regardless of the cabin bag capacity, as these bags fit under the seats," he added. "The second free bag is part of a programme of customer enhancements Ryanair is continuing to roll out, including allocated seating, a new website, mobile boarding passes, and a new app."


Introducing the A10 Series High-Resolution Walkman®. The greatest name in portable music meets the latest standard in premium audio.
It has the capacity to expand the memory to a decent maximum size as well which is also a great selling point.
There's 16GB on board, but I stuck in a 32GB memory card which stores more than enough hi-res files to keep me occupied for a few months.
The file storage capacity with a 64Gb microSD card is more than I could possibly fill.
Navigation on the screen is clear and concise.
Very pleased with Sony Walkman mp3 player it works well and has great storage potential.
it looks very sleek and stylish - defninitely some design improvements overearlier models.
This is a neat and tidy piece of kit and is smaller than it looks in the photos (about the size of an iPod).
I got it unboxed I saw that it looked even better in the hand. Quite light,fairly small and from what I can see really well made.
It's a lovely little black monolithic piece of design. It really won't take up much space in your pocket, bag, purse, bag, sack or secret safe.
The design, feel and materials used in the device are in my opinion spot on.
Great sound with all the headphones I've tried. Excellent depth and sound space.
Nice inteface, does exactly what it's supposed to, without any other guff present on Android and Apple devices.
Drag and Drop transfer of music, no software required (and you can use it to transfer music between computers).
I use the Bluetooth function with my stereo in my living room and the sound is quite literally incredible!
I also have NFC headphones and this device supports NFC pairing - just place the headphones by the back of the device and they start pairing.
Battery Life is stellar, even when playing Hi-Res files.
I literally use this daily and it's battery life is absolutely brilliant, which is another considerable factor of supremacy over the lowly ipod, and one of many in my opinion.
Battery life is so good, you're not hunting for a charge all the time.
Battery life is amazing, it lasts weeks without needing charging.
The battery has been one of the most pleasing aspects of this purchase!


Here is the second part of pictures from the Classic Gala in Schwetzingen. Additionally in the list are some participants of the Classic Days 2018, Schloss Waldthausen marked with (OCRM).
This 1934 Bugatti Type 57 Stelvio Cabriolet gained the second place in the "Grand Prix" category of the Classic Gala.
This 1938 Talbot-Lago T150 C Cabriolet gained the third place in the "Grand Prix" category of the Classic Gala.


text:
Q: ColdFusion/Linux multipart/form-data encoding file upload issue I'm posting a form in ColdFusion on Linux.  Form has a file field.  CF requires the enctype="multipart/form-data" attribute on the form tag.  If I have this, I get a "JRun Servlet Error - 500 No such file or directory"
If I take the attrib out, the form posts and I get the CF "enctype=multipart/form-data" error.
What to do?
Here's a stripped version of the form:
 <form action="post.cfm" name="form2" id="port_form" method="post" enctype="multipart/form-data">
      <input type="text" id="name" name="name" value="#port_name#">

      <input type="file" id="before" name="before">

      <input type="hidden" name="port_id" value="#port_id#" />
      <button type="submit" name="post"> Post Portfolio Item </button>
 </form>

Here's the page I'm posting to (post.cfm)
 <cfif form.before neq "">
    <cfinvoke component = "#application.cfcPath#.file" method = "upload" returnVariable = "beforeFile" theField="before">
 <cfelse>
    <cfset beforeFile = ''>
 </cfif>

 <cfif form.after neq "">
    <cfinvoke component = "#application.cfcPath#.file" method = "upload" returnVariable = "afterFile" theField="after">
 <cfelse>
    <cfset afterFile = ''>
 </cfif>

 <cfinvoke component = "#application.cfcPath#.portfolio" method = "post" beforeFile="#beforeFile#" afterFile="#afterFile#">

 <cfif form.port_id eq 0>
    <cfset message = "The Portfolio Item has been successfully inserted.">
 <cfelse>
    <cfset message = "The Portfolio Item has been successfully updated.">
 </cfif>

 <cf_forward fuseaction="#fusebox.circuit#.home" message="#message#">

A: Possible reason is that server can not find the uploaded temp file.
Have you tried to make upload without component wrapper?
Simply
<cfif StructKeyExists(Form, "before") AND Form.before NEQ "">
<cffile
    action="upload"
    filefield="before"
    destination="#AbsPathToStoreFile#"
    >
</cfif>

<cfdump var="#cffile#">

If this fails maybe you'll be able to see more details.

A: You've probably already tried this, but have you tried all upper-case or all lowercase in your paths and file names?  Sometimes CF will mangle the upper/lower case thing.

A: I'm wondering if the temp folder that CF is trying to save the file to is either inaccessible (permissions) or not configured properly.
You should try using the CFFILE tag and specify a folder you have access to.

redpajama_set_name: RedPajamaStackExchange


However, we do see developments and what sells the most. We can not make a claim as to what is wonderful and what is not neccessarily due to the fact you can find a lot of discrepencies. So don't just take the subsequent CPAP masks as being a suggestion but do your research and figure out if possibly the subsequent masks will be just right for you.
The Quattro Air may be the lightest total facial area mask in the marketplace, offering the established functionality and dependability in the Mirage in the drastically lighter, extra at ease mask that is definitely user friendly.
Metrocare Home Medical & Rehab Equipment, Inc.
MADISON, WI. April. 24, 2019 – The Wisconsin Economic ... the Madison-based Wisconsin Taxpayers Alliance (WISTAX) with the Milwaukee-based Public Policy Forum (PPF) in 2018.


text:
Other State
Phto Gallery
Home National Innovation is the buzzword of 21st century, says PM Modi
Innovation is the buzzword of 21st century, says PM Modi
Prime Minister Narendra Modi has said, innovation is the buzzword of 21st century and called upon the youngsters to innovate in India and Innovate for humanity.
Addressing the 56th annual convocation of Indian Institute of Technology (IIT) Bombay today Mr. Modi said they can contribute towards mitigating climate change, ensure better agricultural productivity, cleaner energy, water conservation, combating malnutrition and effective waste management.
Mr. Modi affirmed that the best ideas will come from Indian laboratories and from Indian students. He said that the degrees which have been conferred on the IIT students today is a result of their dedication and commitment. But real challenges are awaiting them ahead.
The Prime Minister said that IITs have built brand India globally and they have conceptualised to contribute to nation-building through use of technology.
He said students who passed out from IITs are actively contributing to the development of the country and they are also contributing in the startups. Mr. Modi said, the nation is proud of the IITs and what IIT graduates have achieved.
The success of IITs led to the creation of engineering colleges around the country. He said the students were inspired by the IITs and this led to India becoming one of the world's largest pool of technical manpower.
Later, Mr. Modi also inaugurated the new building of the Department of Energy Science and Engineering; and Centre for Environmental Science and Engineering at IIT Bombay.
Previous articleBJP President Amit Shah slams Mamata Banerjee, Rahul Gandhi for opposing NRC in Assam
Next articleMumbai court issues summons to Nirav Modi's siblings under fugitive act
Adani Foundation starts free-ambulance service, patients will get timely treatment.
'You are global only if you are local'; MP Mahua Maji
Vice President calls for a 'spiritual renaissance' to promote Indian civilisational values of unity, peace and social harmony
Adani Foundation starts free-ambulance service, patients will get timely treatment. January 23, 2023
iM9mfR January 11, 2023
Workshop on statistical tools begins at BAU January 6, 2023
PPVFRA notifies BAU as Centre for entertaining compensation claims of farmers December 22, 2022
World Science Day celebrated in AUJ November 11, 2022
AUJ host UGC STRIDE Interdisciplinary Workshop on Approaching Adivasi Life November 5, 2022
ACIACJ begins in AUJ October 14, 2022
A reason to listen to your Heart October 11, 2022
7th Orientation Programme of the 2022 batch begins at Amity University Jharkhand September 28, 2022
AUJ host Kavyarchan September 19, 2022


text:
Carnegie Council for Ethics in International Affairs
Iran Nuclear Threat: Fact or Fiction?
U.S. Global Engagement Initiative
David C. Speedie
Founder and Former Director, U.S. Global Engagement Program
Carnegie Council's U.S. Global Engagement Initiative (USGE) seeks to generate wider discussions on U.S. foreign policy in order to move ethical considerations to the center of policymakers' thinking.
Senior Fellow David Speedie interviews Dr. Gareth Porter, scholar, journalist, and skeptic concerning U.S. claims of an Iranian nuclear weapons program.
DAVID SPEEDIE: I'm David Speedie, director for the program on U.S. Global Engagement at the Carnegie Council for Ethics in International Affairs, and this is the latest in our Ethics in Security broadcasts.
Today we are delighted to have as our guest Dr. Gareth Porter. Gareth Porter is an historian, policy analyst, investigative journalist. He is an articulate anti-war spokesman, going back to the days of the Vietnam War when he was the Saigon bureau chief of the Dispatch News Service. He is a graduate of the University of Illinois, University of Chicago, and has a Ph.D. from Cornell University in Southeast Asia studies. He has taught at the City College of New York and American University, and has been published in a number of leading journals such as Foreign Affairs, Foreign Policy, Al Jazeera English, Huffington Post, and The Nation.
Gareth Porter, welcome to the Carnegie Council, and thank you for joining us.
GARETH PORTER: I'm so happy to be on the show, thanks very much.
DAVID SPEEDIE: Excellent.
We're focusing today on your most recent book titled Manufactured Crisis: The Untold Story of the Iran Nuclear Scare. The subject of our conversation will, of course, be Iran.
Before we get to some of the particulars of the book, Dr. Porter, we're at a very interesting point in the P5+1 negotiations in Geneva. Obviously, this has been a little bit, as it were, knocked off the front page by events in Ukraine and Iraq and elsewhere, but we're rapidly approaching, within a week, the July 20 deadline for a deal on the joint policy action that was agreed upon last November. That would allow Iran to enrich, under strict conditions, the reactor in Arak. How do you see the situation at the moment in Geneva, and the prospects for some kind of July 20 breakthrough? [Editor's note: On July 18, the talks were extended for four more months.]
GARETH PORTER: I have to say that I've been tipping a bit back and forth over the past week or so, thinking that if there is indeed sufficient political will on both sides, that they could, in fact, reach a final, sort of last minute agreement. But, I think, realistically, it looks very unlikely at this moment that that's going to happen. Although there is very strong interest in both sides in getting an agreement, there is also a gulf that is quite wide between the two perspectives on this issue of Iran's rights, the international legal right to enrich, as well as the degree to which Iran can and should be trusted, from the American point of view, with an industrial scale enrichment program.
The historical background that I cover in my book is extremely relevant to understanding why—despite the very strong interest on both sides, and, I think it's fair to say, a common interest in reaching an agreement, because failure to reach an agreement has very high costs to both parties—why they are, at this moment at least, not ready, really, to sign on to a common text.
DAVID SPEEDIE: As I understand it, in that regard—not that the points of difference or the points of contention are purely technical—but a lot has been conceded, its seems to me, on both sides, particularly by Iran. What is the main stumbling block at the moment, as I read it, tends to be the origin of the fuel intended for nuclear energy reactors. Iran wants to supply, or to develop its own fuel supply; the P5+1 wants Iran to import the fuel. Is that right?
GARETH PORTER: That is essentially the main stumbling block at this moment, correct. It's a bit more complicated than that because I think that the Iranians are prepared to agree to some kind of compromise in which they would wait some years before they begin to move to an industrial-scale enrichment capability. The United States, at this moment, appears not to be prepared to do that. I think there is a way to compromise between the two sides that would involve this two-stage solution, which the Princeton Group has put forward, a group of scholars at Princeton University.
DAVID SPEEDIE: That's Frank von Hippel and company. [Editor's note: See von Hippel's 2010 Carnegie Council discussion, along with Roald Sagdeev: Beyond the NPT.]
GARETH PORTER: Exactly. Von Hippel and his colleagues have suggested that if you insert into the agreement a provision that would put off the decision about a longer-term enrichment capability for, let's say, six to eight years, that it might be possible then for both sides to view this in a much different context—with more trust on the U.S. side of Iran, and more trust on the Iranian side of that they're not going to be cheated or they're not going to be manipulated by the parties to the P5+1. So, in other words, it would afford more scope for a compromise that is satisfactory to both sides if they were able to do that.
DAVID SPEEDIE: The point being that Iran, basically, on the basis of past history, does not necessarily trust the foreign fuel supply.
GARETH PORTER: That's exactly right. The Iranians have good reason to have a healthy distrust of the Russians, in particular, because as I've written recently in a piece on the subject, in 2005, 2006, 2007, the Russians were very much in the camp of the United States and the P5+1 in putting pressure on Iran to cease enrichment entirely. That was the objective at that point. The Russians had an agreement with the Iranians to supply nuclear fuel for Bushehr, but they, in fact, did manipulate those supplies very deliberately to put pressure on the Iranians, precisely on this issue of trying to get them to stop enrichment entirely. That's why Iran, I think, quite honestly, has a very serious distrust of relying on Russia for their supply of fuel for the Bushehr reactor.
DAVID SPEEDIE: That's a good segue into the book, and again, the title—Manufactured Crisis: The Untold Story of the Iran Nuclear Scare. There are at least three arresting words in that title, Gareth: manufactured, untold, and scare. At one point you referred to this as an alternative narrative. Please give us the highlights of what this alternative narrative means and where it takes us.
GARETH PORTER: It is an alternative narrative and that is necessitated by the fact that over the last decade in particular—but for even a longer period if you really go back to the roots of this problem—the news media have reflected official views coming from the U.S. government, in particular, that Iran has always, from the very beginning, had the intention of manufacturing nuclear weapons and that their civilian nuclear program has been nothing more than a cover for that nuclear weapons intention.
That point of view, that interpretation of Iranian intent in its nuclear program, has been persistently reflected in one story after another—of course, reflecting official statements, but also leaks to the news media, as well as simply the way in which each turn of events, including a very long series of reports from the International Atomic Energy Agency, the IAEA. That is to say, the news media is reporting those reports, in many cases, in a way that accentuates the necessity to distrust Iran's intention with regard to the whole question of nuclear weapons.
So this—what I call a false narrative—has unfolded year after year and, of course, that means that there's layer upon layer of misinformation, which has been absorbed by the public in the United States, and I must say, in the rest of the world, where readers are following newspapers and watching television. This constitutes a very powerful impact on public opinion with regard to the nuclear program of Iran, which is almost entirely false. It's really quite an astonishing phenomenon in my view. It goes well beyond anything else that I can think of—except for a sort of enduring Cold War myth—in terms of shaping public opinion in a way that is almost completely unquestioned in the United States and elsewhere.
DAVID SPEEDIE: Clearly, recent history and even more recent events in Iraq have revived elements of discussion of what got us into Iraq, and clearly, the whole discrediting of the WMD [weapons of mass destruction] Iraqi program, and some false reporting—you bring the media into this, as part of this misrepresentation of what Iran is doing—that happened with Iraq, too; the yellowcake fiasco from Niger, as I recall. Is there some sort of analogy here? Don't we learn from these false alarms?
GARETH PORTER: There is absolutely an analogy and more than an analogy, in fact. What I document in my book is that the very same people who were pulling the wool over the eyes of the American people with regard to creating a false intelligence dossier on Iraq, on weapons of mass destruction in Iraq, were also working on doing the same thing on Iran. It wasn't precisely the same people who were responsible for the two different issues within the Bush administration, but it was the same group of neoconservatives who had the intention, in both cases, of laying the political groundwork for what would be the use of military force in their planning, first of all, against Iraq. That was to be the basis, then, for a much broader strategy of the United States of preparing the ground for, ultimately, regime change in a number of countries in the Middle East, the final crowning glory of which would be regime change in Iran.
In this case, it was under secretary of state John Bolton, who was in charge of the Iran dossier, and I document in my book the way in which he maneuvered, beginning in 2003-2004, to try to move the Iran file out of the IAEA, where the then-director general Mohamed ElBaradei, was viewed, quite appropriately, as a stumbling block to the strategy, and move it to the UN Security Council, where the United States could either get support for punishing Iran in ways which could conceivably involve military force, clearly, or if that failed in the Security Council, then prepare the ground for a unilateral military action against Iran. John Bolton himself has said in his own memoirs that he was convinced that the use of military force would be necessary.
What I document in the book is a strategy, which Bolton certainly worked on in concert with the Israeli government in 2003-2004, to prepare an intelligence dossier that would indict Iran as having a covert nuclear weapons program. So that is the origin of this set of documents, which some have called the "laptop documents," which have been so central to building the case from 2004 to 2011, I would say, that Iran, in fact, was hiding a covert nuclear weapons program.
I have an entire chapter in the book about the real origins of the "laptop documents" and you can trace them through the Mojahedin-e-Khalq [People's Mojahedin of Iran, MEK], which I show having given those documents to the German Intelligence Agency—from the MEK to the Germans, but from Israel to the MEK. There's a whole story about how these documents actually came from Israel and how they were really, clearly not authentic, because you can find traces of contradiction between things that are in the documents and actual facts that can be independently verified.
DAVID SPEEDIE: MEK, is course, the anti-Tehran regime terrorist organization that we recognized, or declassified, from the terrorist list in 2012, as I recall.
GARETH PORTER: That's right. The Mojahedin-e-Khalq was an armed terrorist organization that carried out terrorist bombings within Iran. They were expelled from Iran very early in the Islamic Republic's history, and then moved to Iraq, where they were given shelter and used by Saddam Hussein in the war against Iran. Finally, after that war, they made new arrangements with Israel.
DAVID SPEEDIE: As you say in the book, also though, Gareth, the origins of this, of course, go back well before the period we've just been discussing, the last decade or so. I was struck, particularly in 1989, when there was a period where George H. W. Bush—when Iran intervened in the hostage-holding by Shia forces in Lebanon, the Iranians helped secure a release and it looked like President Bush wanted some breakthrough in relations, but there was some sort of abrupt reversal of that whole process. Give us some illumination of that.
GARETH PORTER: Yes, this is a very important episode in what I call the political origins of the nuclear scare in the United States. From all evidence, what happened to disrupt the intention of President George H. W. Bush to reciprocate the Iranian help in freeing American hostages from Shia militia organizations in Lebanon, was the end of the Cold War. Of course, the effect of the end of the Cold War—and even before it actually was completed with the collapse of the Soviet Union, it was clear to the high-ranking officials in the Pentagon and the CIA that this was about to happen. So they were in a panic about how to really prevent the collapse of their budgets and programs, which would have meant that they would have become shadows of their former selves, as it were.
I document the fact that the CIA's leadership in the late 1980s and through 1991-92 came up with the idea that the new global threat to American security, which would be the equivalent, or the closest thing to the equivalent to the Soviet threat during the Cold War, would be the threat of the proliferation of weapons of mass destruction.
Of course, in that regard, Iran was pointed to as the "poster country," if you will, for that threat. More than any other country, it was Iran that was viewed as the best candidate to replace the Soviet threat with regard to a justification for these programs and budgets, particularly for the CIA but also for the Pentagon. It was Robert M. Gates, who was the newly named director of the CIA in 1991, who articulated that case before the intelligence committees in the first month of his tenure in that position and really made the case that we need to reallocate the funds that we previously allocated to following the Soviet Bloc to the issue of weapons of mass destruction. That means, in particular, watching like a hawk the progress of the Iranian nuclear program.
DAVID SPEEDIE: One can't help, however, thinking about taking Iran on the one hand, and North Korea on the other, if you're looking for a poster child. Here's clearly a crazy regime—well a series of crazy regimes handed down from within the family, as it were; a problem nuclear weapon country with a nuclear weapons program, with a series of bellicose actions, including lobbing missiles over Japan and South Korea; the threat of developing a long-range capacity for delivery of these weapons. Why the focus on Iran? North Korea only seems to sort of come into our ken, as it were, when there is a serious, war-like episode on their part. What's going on here?
GARETH PORTER: This is very complicated, but there are a number of reasons why Iran is the political choice for the U.S. national security state. One, of course, is the fact that the United States already had a history, in Iran, of having the U.S. client state of the Shah overthrown by a regime that was violently opposed to U.S. policy in the Middle East. That, of course, laid the groundwork for a large-scale hostility within the U.S. national security state toward Iran.
Then, of course, there's the Israeli connection as well. By 1993, the Israeli government had made the decision politically to target Iran, or to identify Iran as the existential threat to Israel for domestic political reasons, essentially, which I explain in the book, not because there was real evidence that Iran was going for nuclear weapons, much less that it was targeting Israel at that point, far from it. The Iranians were not, at that point, even close to talking about Israel as an enemy of Iran, a sworn enemy of Iran.
That Israeli connection with U.S. policy certainly plays a key role, which I talk about in the book, of being crucial, particularly in the unfolding of the Clinton administration policy toward Iran. It was no question that that was a key factor.
DAVID SPEEDIE: I want to get on to broader interests that the United States and Iran may have. We understand, okay, there's the U.S. and its allies, and particularly Israel, and the perceived sort-of existential threat, but what about the IAEA? You mentioned that Mohamed ElBaradei was a stumbling block for the United States. But the IAEA has also, am I not correct in saying, pointed to some, at least, withholding of information on the part of the Iranians that has aroused suspicions?
GARETH PORTER: You are correct that that is the public position taken by the IAEA, particularly since the ElBaradi period. He left in late 2009. It did begin, in the final year-and-a-half or so of the ElBaradei period of the IAEA, but it was particularly prominent in the post-ElBaradei period of the IAEA that the agency alleged that Iran was refusing to cooperate with its investigation of these so called "laptop documents."
I thoroughly examined this whole issue, and I'm able to reveal in the book that what actually happened was that in 2008, when ElBaradei's work program was really completed and ElBaradei essentially cleared the files or closed the files on a whole series of issues that had been investigated previously by the IAEA—the issue then became, "What about these documents that had been turned over to the IAEA by the United States?" At that point, Olli Heinonen, who was the head of the Safeguards Department, was working very closely with the Bush administration to promote this whole idea that Iran was hiding something, refusing to explain these documents. I show that there was really very tricky language used in these IAEA reports, beginning in May 2008, suggesting that Iran was hiding something, when in fact, the Iranians were doing their best to provide whatever information they could, in response to the queries from the IAEA.
Later on, you have the IAEA actually putting forward a whole new report, a whole new dossier based on documents, which came directly from Israel. This is simply not widely known. The agency never revealed that the documents came from Israel, despite that ElBaradei reports in his memoirs that they did, in fact, all come from Israel. So there's a lot of deception involved in the IAEA's role, particularly beginning in 2009, and with the 2011 report of the IAEA, which I talk about in the book.
DAVID SPEEDIE: Finally, let's focus on implications of what may or may not happen within the next week and beyond in Geneva. What are the "no deal" implications for both President Obama and President Rouhani in Tehran? Obviously President Obama has sent a pretty high-level delegation to Geneva. He wants this to work. Rouhani, of course, has his own hard-liners to combat. The Supreme Leader, I think, has expressed skepticism about the talks in Geneva. Also, recently—I think last week—the foreign minister of Iran, Mr. Zarif, has expressed the devout wish that we've reached some resolution and moved to other regional priorities that Iran and, indeed, the United States might share.
What do you see as the implications of "no deal," if the worst happens for both the United States and Iran? Where are the opportunities, if we can get beyond this?
GARETH PORTER: If that happens, if there's no deal and that seems most likely at this moment, I think we're in uncharted territory. Nobody really knows how this is going to unfold. What we do know is that Congress will pass new sanctions, and that there will have to be some kind of reaction from Iran. Then you get into a tit-for-tat process, which is inherently dangerous. Beyond that, it's very difficult to predict exactly how it unfolds.
But, I think we have to understand that this is really the outcome of what I talk about in my book as the failure of the United States, in particular, to face the reality, the truth about the Iranian nuclear program. From the very beginning, there was a predisposition on the part of the U.S. national security state to assume that Iran was going to go for nuclear weapons, and therefore to interpret every piece of the most ambiguous evidence, really, as evidence of that intent.
Really, a crucial issue here, which has been completely overlooked in the false narrative of the Iranian nuclear program, is what happened during the Iran-Iraq War. I think this is especially important for your listeners, because it involves the question of the ethical response of Iran to the question of weapons of mass destruction. Because during that war, Iran was subject to eight years of chemical weapons attacks by Iraq. The fact is that Iran never responded, never retaliated with chemical weapons. It never even produced chemical weapons, to the astonishment, I think, of the rest of the world, and to the point where the rest of the world has never quite been able to believe this.
But, this is one of the reasons that I go into in the book—to believe that there was a fatwa by Ayatollah Khomeini, which forbade the use of chemical weapons. That's the only explanation for that failure to retaliate against the chemical weapons attacks. That, I believe, provides the best evidence, irrefutable evidence that Shia jurisprudence that is practiced by the Shia regime in Iran, primarily, of course, through the Supreme Leader of Iran, is a an absolute block to the production chemical and biological and nuclear weapons by Iran. This is a fundamental fact that has been ignored—I think, quite deliberately—by the United States and other Western governments in their assumptions that Iran must be interested in weapons of mass destruction.
DAVID SPEEDIE: Finally, just a quick word on if—let's be optimistic for just a second—something productive does come from Geneva, the prospects for U.S.-Iran cooperation. I would imagine anything from the situation on the eastern border of Iran with Afghanistan, instability in that country, the narcotics trade, regional crises at large—there are possibilities here, if we can get beyond this, yes?
GARETH PORTER: You're absolutely right. That is precisely why it would be so wise for the United States to adopt the positions that we should have a hiatus of some years—perhaps as much as eight years—in which to allow the passions of the past to cool; that is to say, the conflict of the United States and Iran, to cool, and for both sides for realize more clearly, that they can work together and that it makes no sense whatsoever to allow this false narrative of the past to prevent an agreement on a compromise and to begin to allow the continuation of what has already been, in effect, strategic agreement between the United States on a whole series of issues, not the least of which, of course, is the threat from Sunni jihadism in the Middle East.
DAVID SPEEDIE: Our guest has been Gareth Porter, author of The Manufactured Crisis, the Untold Story of the Iran Nuclear Scare. Dr. Porter, thank you so much for being with us and for so much food for thought.
GARETH PORTER: Thank you so much for your interest in the book.
JUL 19, 2012 • Article
U.S.-Iran Relations: Exiting the Cul de Sac?
Leading a coalition in a relentless campaign of sanctions against Iran, the U.S. has the upper hand. Therefore it should make the first move ...
Ethics Empowered
Using the power of ethics to build a better world
Sign up for news & events
[email protected] 917-742-2113 170 East 64th Street
© 2023 Carnegie Council for Ethics in International Affairs


If you're ready to supercharge your health, but can't make the event in person, you can now access the seminar on demand for 18 months*!
That means you can access the Transform YOUR Health seminar video on demand, and watch it as many times you want, for up to 18 months!
This is an amazing opportunity to get access to Dr. Terry Wahls seminar that could change the way you look at your own health forever!
BUY THE ON DEMAND STREAM NOW!


Walker Edison - TV Stands - W70UBC22AG - What's old is new again with this urban reclaimed 70 in TV stand. Console features four drawers and concealed cabinet for ample media storage. Its vast size combined with style and function accommodates most flat-panel TVs up to 70 in. Constructed of powder-coated steel and ash grey wood, offer a beautiful two-toned finish for a desirable piece.Constructed of High-Grade MDF, Durable Laminate, SteelAsh Grey FinishUrban, reclaimed designHigh-grade MDF and durable laminatePowder-coated steelSolid, sturdy stand supports 250 lbs.Accommodates most flat-panel TVs up to 70 in.Four large storage drawers and private cabinetAmple storage space for components and mediaShips ready-to-assemble with necessary hardware and toolsSpecifications:Dimensions: 22 H x 71 W x 16 DWeight: 121 lbs.


We take pride in our programs and self defense system. Therefore, tuition rates will be shared in person or during the complementary trial class.
We focus on helping our students become safer and stronger. No McDojo nonsense! Belt tests are held once per year if the student has earned it & no ridiculous cancellation fees!


text:
Burbank Middle Schooler Dies After Accident at Ski Bluewood
Townsquare Media
Townsquare Media Published: January 26, 2014
It is with a heavy heart that we bring you this news. According to a report from KNDU, 14-year-old Hunter Connor died on Saturday, Jan. 25 after a snowboarding accident at Bluewood. Connor was an eighth grader at Columbia Burbank Middle School.
Ski Bluewood Director of Business Operations, Brandy Ream, said ski patrol was called at 12:15 p.m. on reports of an injured snowboarder. When they arrived to the top of Country Road (a beginners run) the boy was conscious and speaking. He told them he had caught an edge and fallen face-forward. According to the ski patrol he was not wearing a helmet.
Ski patrol continued treatment until the ambulance arrived at 1:45 p.m. Ream said the boy was still conscious at that point.
As of Sunday afternoon, the hospital was "in conference" going over the events of the day.
[Via KNDU]
Filed Under: bluewood, death, skiing, snow, snowboarding
Categories: Sports, Tri-Cities News


text:
Start the radio
born on 27/7/1926 in Minneapolis, MN, United States
died on 21/12/2010 in Nooksack, WA, United States
Links jazzprofiles.blogspot.ch (English)
Biography Biography
Jack Tracy (July 27, 1926, Minneapolis, Minnesota – December 21, 2010, Nooksack, Washington) was an American jazz producer and journalist.
Tracy enlisted in the Navy in World War II and served as a medic treating and caring for the returning wounded. When he graduated from the University of Minnesota, love for words and music led him to a job in Chicago at Down Beat magazine, where he was editor from 1953-58.
Tracy left the magazine to produce for recordings for the Mercury, Argo, Limelight, and Liberty record labels. In 1959, he worked for record label head Leonard Chess of Chess Records. In 1961, Quincy Jones convinced him to rejoin Mercury as an A&R man in Los Angeles. Artists he worked with included Dizzy Gillespie and Sarah Vaughan, Roland Kirk and Oscar Peterson, Woody Herman, Cannonball Adderley, John Coltrane, Del Close, Harry Nilsson, Mike Nichols and Elaine May, and Terry Gibbs. In 1963, he collaborated on an anecdotal memoir of jazz humor, Laughter from the Hip.
Obituary, Los Angeles Times from 12/29/2010 - 1/2/2011, on legacy.com
This page was last modified 07.06.2013 14:23:30
This article uses material from the article Jack Tracy from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.
Data-Privacy | Impressum | Contact
Heart Explodes


With 5-7 new ICOs being announced every day, not all of which manage to successfully raise the amount of money needed for their projects, potential investors need access to reliable information about upcoming and current ICOs. Enter Token Report, which is dedicated to not only bringing that information to potential investors but also works to help ICOs that are less well known but have a great potential reach a larger audience.
They do this through the risk summary report that they developed, which looks at many different criteria–including whether or not tokens are securities as determined by the Howie Test, sale momentum, access to major exchanges and more.
Token Report also provides basic information about tokens, such as the projects they are funding, the team, and whitepapers. Moore also discusses his thoughts on what is currently happening in the crypto-space right now–a somewhat difficult question, given how fast things change–and what he sees as the future of the industry.
For more information, visit www.tokenreport.com.


text:
YouNerded
Who Works Here?
Flash Pieces
Nerd Issues Weekly
DorkDuo
June 29, 2016 in Drama // 'Preacher' Will Return to AMC in 2017
June 14, 2016 in E3 2016 // E3 2016: Nintendo Treehouse Review
June 14, 2016 in E3 2016 // E3 2016: Sony Press Conference Review
June 14, 2016 in E3 2016 // E3 2016: Ubisoft Press Conference Review
June 13, 2016 in E3 2016 // E3 2016: Microsoft Press Conference Review
Home » Gaming » E3 2014 » Sony Announces 'Uncharted 4' at E3 2014 Press Conference
Sony Announces 'Uncharted 4' at E3 2014 Press Conference
Posted on June 9, 2014 by Dev Allen in E3 2014, Gaming // 1 Comment
"Uncharted 4: A Thief's End" was revealed today during Sony's E3 2014 press conference.
The game was first revealed one day before the PS4 launched at an event. At that time there was no official name, but rather just a teaser and the title "Uncharted." This was Sony's "one more thing" surprise, tail ending their E3 show today.
Nolan North returns as the voice of Nathan Drake who is seen in the trailer. Who is heard but not seen is actor Richard McGonagle who plays Sully. "One last time" is the line uttered by the two as Drake ventures into a luscious green jungle reminiscent of the first game "Uncharted: Drake's Fortune," released back in 2007. We just get a visual of Drake and no other characters like Elena or Chloe.
A couple things has happened behind the scenes at Naughty Dog that has caused shake-ups. First we heard of lead writer Amy Hennig leaving, who has been writing for Naughty Dog since the "Jak and Daxter" era and has since moved to Visceral to work on the next "Star Wars" game. Also departed since the announcement is former game director Justin Richmond. And that voice you hear in the teaser belongs to Todd Stashwick who was let go by Naughty Dog. Neil Druckmann and Bruce Straley are now leading the project and this is the result.
After the storm passed, it brought fans to this moment of the first look at the cinematics of the game. Expect "Uncharted 4: A Thief's End" to release in 2015.
What was your reaction to the trailer? Do you have any predictions for the game? Let us know in the comments below.
YouNerded's Latest
The Night Of: "The Call of the Wild" Review
Vice Principals: "The Foundation of Learning" Review
The Night Of: "Ordinary Death" Review
Joe Hill's 'The Fireman' Review
How Speedrunning Changed My Perception of Games
Vice Principals: "Circles" Review
The Night Of: "Samson and Delilah" Review
'Batman: The Killing Joke' Review
Vice Principals: "Run for the Money" Review
The Night Of: "The Season of the Witch" Review
About Dev Allen (136 Articles)
I'm a robot, majoring in happiness and minoring in personality. I generated YouNerded.com. A boy has no name, but you can follow him @DevPointO.
E3 2015 Hype: 'Uncharted 4: A Thief's End' | YouNerded
Press any button to START Cancel reply
Search Younerded.com
Are You Groot?
Go ahead and enter your email address to subscribe to our entertaining posts.
Follow YN
Yes, We Have Instagram
We're on Facebook Too


Though, if you need to play with the multiplayer, then you simply need to purchase LotV and you are going to be set. You don't require any prior versions of Starcraft II as a way to play. Each Quest provides an excellent reward to you but in addition might be a pokemon.
Buy cheapest runescape gold to cope with difficulties. You must have no amulet equipped.
As a remedy to earn the mage arena training minigame more relevant in the game rather than to permit the Infinity Robes place to grow into pointless, why not produce a bonus effect a player can receive if they're wearing the complete infinity robes. In order to execute my way you will should finish The Knights Sword Quest, this is quite an easy quest and on completion you're going to be rewarded with 12,725xp in Smithing that will provide you with a Smithing amount of 29.
Once you obtain the Alkahest you will expect a weapon which may be utilized in the enchantment that's within level range. In addition to this, to which, there is a player equipped to learn that the game should supply. This skill can make you quantities of money, based on how fast you would like to gain 99 inside this ability.
Each moment when playing, the player can locate their adrenaline rushing. It didn't take long to understand that playing a game isn't nearly as fun as playing with your buddies. Who can comprehend this greater.
If you would prefer the accurate price check, run the initial two methods and you'll be useful to go. The price is minimal and you've got access to a good deal of advantages. Also make sure to ask any questions if you're seeking to purchase gold.
The mechanics they inspire include social competition, but in addition collaboration as goods may be challenging to attain on your own. Each individual is attempting to create a balance between perform and their work. Woodcutting is known one of the simplest skills to master Runescape and this is because of the brief period of time and little effort it requires to get to 99.
Not everyone will be honest. Always double check any trades if it seems too fantastic to be true or your going to lose a great deal of isk. This way that is next could be going a bit far, but it definitely is a great ways..
During exactly the same calendar year, the first pay-to-play service over the net is released. If you are knowledgeable about electronic marketing, you likely understand that conversion rate optimization is important for the success of any on-line business.
This lens is devoted to reviewing online gaming websites which provide a cribbage option. The number process is called base-10. Likewise, it gives lighting system which may boost a sense of flexibility and functionality.
As a gamer, you're exposed to a wide choice of games that permits you to explore in depth aspects and facets of gaming. Nonetheless, the PVP facet of OSRS is far extra important due partly to the far more affordable clans which exist in that game. This digital reality game has grown over time.
I believe that's going to be a challenging support to crack. Actually, when attempting to inject a DLL into the customer, it will only crash with no error code. The blueprint copy includes the 2 runs of Civilian Afterburner you will have to make them using the 1 resource they require which is a part of Tritanium.
The upgrade is purely cosmetic and does not have any influence on the stats. During this period that is identical games start to catch the eye of Americans. It comes in many different different ranges and scale.
His potion will restore 8 hearts, so while you're there you may want to grab some. Magicks cannot be used together with spells that were normal. There are amulets and rings that are developed for this.
Do so and you're going to uncover a secret door that could be utilised to speak to the lair through the Karamja volcano in Musa Point should you die. Get rid of all the boulders but not any that are in the specific colour of your drumstick! As stated in the preceding section, it is uncommon to locate gems while mining for different ores.