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Spirit of the West
Arts, Gifts & Decor
Western Shops & Supplies
Rodeos & Stampedes
Features & Stories
AUDITIONING HORSES
Story by Trudy Frisk
Photos courtesy of Larry Foss
Larry Foss settled back into the armchair at Cowboy Coffee, and looked off into the distance recalling the years he's spent preparing horses for parts in movies and TV shows. He's trained them, trucked them, positioned them and their riders or drivers just right for directors of photography. He's scouted locations. He and his crews have done live historical re-enactments notably the Billy Miner train robbery outside Kamloops.
Larry ,who has a ranching background, is also a performer and producer. As one of the few working cowboys who's also a member of ACTRA he knows what a director is looking for.
It begins with questions. What do you need the horses for? Will they be in a movie, a music video, will they be inside or outside? What do you want the horses to do? Do you need a cutting horse or a rodeo horse? What's on the call? One horse or fourteen horses? How many in each shot? If it's a team of horses that you're trying to get a film part for, what action's required? Will it be in a parade? Maybe there's a special start, a distance
shot of a rider on a horse.
Gordon Tootoosis and Larry Foss (on horseback) and
Dave Longworth (in front) getting ready for Legends Of The Fall
There's more. " What colour is the director of photography looking for? Do all the horses have to match? Do you want people on these horses or do you want to be chasing them? If they're going to be ridden, then you have to find people to ride them. That means you have to verify the qualifications of the people. Are they good riders? Are they stunt riders, good handlers of horses? Are they ground people only or they actually going to be on the critters?"
"You audition the riders like you audition the horses. Any riders who had a good reputation wouldn't have to audition."
Now Larry will go try the horses or pick horses out of a herd. Then he auditions the horses being picked. Ït's not for every horse" Larry pointed out when asked about the 2002 Billy Miner re-enactment. Of the seventy horses which tried out, only fifteen were able to do the job. Horses which got the parts had to be both agile and calm. They couldn't be frightened by the blanks being fired nor by the noisy, hissing monster they rode beside. During auditions the train was run back and forth past the horses to see how they reacted. These are multi-talented horses, Larry emphasized. They have to put on speed during the robbery then gentle down enough for children to pat them a few minutes later. The train robbery horses were being groomed for TV and movie parts so they were rotated.
When Larry's working with horses he doesn't know, the first step in auditioning them is to put a saddle on them. Ïf you've got a saddle on it and it isn't bucking, obviously it's trained. The trouble is, you don't know how it was trained. Now I get someone to lead the horse and I stand in front of it and clap my hands and study the horse. How startled is it? Is it jumping and pulling back? If it's ok, then I go behind it and clap my hands to see how fast it turns around. "
""It's the same thing with gun shots. Try them from behind and see how the horse reacts. If it's ok, I get on the horse and try the gun again, with not too loud a sound. If it doesn't buck you off, that horse trusts you."
"If it's doing outstanding, then put it by a moving steam train, stage coach, or car. All have different sounds and are different sizes. There's a big difference between a moving motor bike and a moving semi. If you can take something like that close to them, the horses trust you not to let the machine run over them."
Sometimes you need more than one horse for the same role. " If it's a star horse, a main character horse, now we need a double. That's a horse of the same colour, either born or dyed that colour. If the star horse falls on its nose, can it continue? Did the horse get really scuffed? If so, it needs the double to come in. You keep it close to you in case it's needed in a hurry. How well trained does the main star have to be? That's also a factor in choosing its double."
"The number of horses needed is a big thing. Do they all need riders on them? Do they need stunt riders? Stunt is worth more money to the producers. If it's an elaborate stunt, the horse goes up a notch because now it's a stunt horse. That goes on its resume."
" There's no such breed as 'best film star horse'"" says Larry. " The question is, do you need a good jumping horse, cutting horse, or running horse?"
When it comes to gender, geldings are the most popular, for obvious reasons. Mares out of season are also used. There are exceptions. The Moscow Circus, for which Larry worked during its 1975-1976 North American tour, used stallions exclusively.
Larry as the Headless Horseman at the 2141 Kamloops Heritage Railway
Calmness can't be over-emphasized. As the 'Headless Horseman' performing with the Kamloops Heritage Railway, Larry carried a torch with a live flame. A horse's instinct is to flee from fire. Not only did his horse have to get used to a headless, black-caped rider, it had to accept the fire. It took persistent training to get the horse accustomed to fire.
Sometimes Nature interferes. When Larry and his crew worked on Eaters Of The Dead, a movie about ancient times one thousand years ago, the horses carried torches. Filming took place on Vancouver Island. It rained every day. The torches were gas torches so they could be controlled a bit, but it was not ideal. "You can't hand every rider a torch for another shot."
For his Headless Horseman routine Larry cut up a broomstick, covered it in mesh wire, put some old socks in heating oil, tightened them onto the broomstick and set the combination on fire.
Having carefully chosen calm, reliable horses, it seems paradoxical to spook them, but how else would you get a run-away stage coach? "When there are four up on the stage-coach and it's going around the corner, the horses have to be spooked." There are several ways. If the team is pulling something and the back of the stage coach goes up, as a guy jumps out of the stage, it will frighten them. If three bandana-wearing outlaws are chasing the stage, two of them shooting at it, you set up the shot by the turn and wave something to spook them. Trouble is, after several takes, the horses get used to it and you have to find another way of scaring them; maybe jingle something. The driver can do that, and the horses can't see it."
Larry and his crew working on Eyes Of A Cowboy
"Production companies make sure the camera is in the right location. There's supposed to be one shot and one shot only. If they didn't get it and the crew has to bring back the stage coach, the horses and five wranglers, then, either they pay, or the production company doesn't need it that bad."
Larry hired ninety percent of the horses he supplied. "Most horses you audition are horses you don't own. If you're putting a lot of time in retraining the horses, you're going to want to get the money for it. " Depending on the contract, he will rent horses for thirty days, so much per day. There may be bonuses, like bales of hay or new shoes. Acting horses can wear out their shoes fast.
Do horses enjoy acting? "Some do. It can be a problem if the horse starts anticipating, when it get so used to hearing "Action" that it starts moving before the director says to. It's easy for human actors to hold back; not so with a horse if it's hearing 'Action' forty times a day. It thinks it knows what's coming and decides," I might as well get going." The director has to change to "Go!" to outwit the horse.
"Horses get to like the attention. If they're picked for another part, they at least know a lot about what they did before and remember it. "
In training the horse's rewards are grain, sugar lumps or sweet feed. What reward works for people? Larry doesn't hesitate: "Cash!"
Some problems can't be anticipated; like the tough Western star who was allergic to horses. Since it's just about impossible to find a non-allergenic horse, the answer is to thoroughly wash the horse, keep it clean, try to take the smell of horse away.
Most of Larry's professional work has been with horses. He did have that time with the Moscow Circus. Plus he set up a Kodak commercial with reindeer, and from 1994-1996, performed at the T.R. Reindeer Ranch north of Clinton, B.C.
Larry/Santa choosing his reindeer
"Reindeer are not as easy to train as horses. They're more temperamental. First you have to get their respect. They'll remember and work with you as long as there's not a lot of standing around. They don't really care for standing around. Their attitude is, ''Get the shot so we can go home and eat!" Also, reindeer have those antlers. You can be three or four feet away from the animal but still get clipped with its antlers any time it turns its head."
For the Kodak commercial, to be used during an American football game, the director first wanted four reindeer hooked to a sleigh, then changed his mind and wanted them running loose in four feet of snow at the location east of Revelstoke. Question was , what would they be running after? Larry rubbed their noses with grain and sent them out to follow his friend, Holly, a fast runner, who was carrying a can of grain. The film-makers got the shot they wanted. Now the problem was catching the reindeer. They caught three. The fourth wouldn't come. "It probably thought this was its last chance for freedom. 'Look at those mountains! What a view!'" Finally it rejoined the others.
Another success.
In April 2007, while auditioning a new horse, Larry was badly injured. "It was the wrong horse. I was trying it out to see if it could be used for the show train. I didn't know it had been a race horse. It reared up and fell back on me." It's taken time and therapy but Larry's ready to begin doing a little riding this May. He's anxious to get back working as an entertainer, and animal co-ordinator. He can be reached at Box 1132, kamloops.
Other articles by Trudy Frisk
© 2020 Interactive Broadcasting Corporation


A MUST VISIT. Since opening in late 2017 this Japanese restaurant has enjoyed incredible patronage. By 'word of mouth' locals have come out of the 'wood work' so to speak to enjoy a wonderful dining experience operated by a very professional team of Japanese chefs supported by knowledgeable staff. Play it safe and make a booking rather than take your chance to just show up. It is a very popular restaurant, just ask the locals. PLUS its BYO!
The 2016 BIG4 Bungalow Park MAKAI Cup was conducted in ideal conditions on Saturday February 13, with a strong nor-east wind whipping up the ocean allowing the paddlers to 'surf the waves' with their sleek crafts in their downwind 22 Km race from Sussex Inlet to Ulladulla Harbour.
The peloton comprised 98 paddlers that included the 2015 NZ Sportswoman of the year Teneale Hatton.
Members from visiting clubs were in awe of the local organisers who did a marvelous job with 30 support boats and crew in the water plus the Navy Helicopter providing overhead surveillance.
Summary: Situated across from the beautiful Ulladulla harbour, this restaurant offers an extensive menu, great food, friendly staff in a relaxed ambiance.


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Пётр Константинович Корытников (31 июля 1892 года, Нижний Новгород — 3 ноября 1993 года, там же) — советский военачальник. Генерал-майор (1940 год).

Биография
Пётр Константинович Корытников родился 31 июля 1892 года в Нижнем Новгороде.

Первая мировая и гражданская войны
В 1914 году был призван в ряды Русской императорской армии. С ноября 1914 года - рядовой 185-го запасного пехотного батальона в Смоленске. В августе 1915 года окончил 7-ю Московскую школу прапорщиков и был назначен командиром взвода. Воевал на Западном фронте. В 1917 году произведён в чин поручика в 236-м запасном пехотном батальоне в г. Орёл. В 1917 году демобилизован.

В феврале 1918 года вступил красногвардейцем в Чарджоуский городской отряд, а в мае 1919 года был назначен на должность председателя штаба этого же отряда.

В 1920 году назначен на должность военного руководителя Чарджоуского уездного военкомата, в апреле — одновременно на должность председателя комиссии этого военкомата по борьбе с дезертирством, в июле — на должность помощника военного руководителя Бухарского областного военкомата в городе Новая Бухара, в августе — на должность помощника командира отдельного Дзиганского кавалерийского полка, а в апреле 1921 года — на должность адъютанта 15-го кавалерийского полка (8-я кавалерийская бригада, Туркестанский фронт), затем исполнял должность помощника командира 3-го кавалерийского полка (1-я кавалерийская бригада). Принимал участие в боевых действиях против басмачей.

Межвоенное время
В июле 1923 года назначен на должность командира 31-й кавалерийской бригады (11-я Гомельская кавалерийская дивизия), с декабря исполнял должность начальника штаба 13-го стрелкового корпуса, дислоцированного в городе Каган.

С июня 1924 года служил на должностях командира 43-го кавалерийского полка, а затем командира 1-й кавалерийской бригады, а в мае 1925 года был назначен на должность помощника начальника строевого отдела штаба Туркестанского фронта. В 1926 году был направлен на учёбу на кавалерийские курсы усовершенствования командного состава в Новочеркасске, после окончания которых в 1927 году служил в штабе Среднеазиатского военного округа на должностях помощника начальника строевого отдела и отдела боевой подготовки.

В 1930 году назначен на должность военного руководителя Среднеазиатского коммунистического университета, расположенного в Ташкенте, в 1932 году — на должность начальника штаба военно-транспортного факультета Ленинградского института путей сообщения, а затем — на должность преподавателя тактики Военно-транспортной академии РККА.

В 1933 году окончил Военную академию РККА имени М. В. Фрунзе.

В сентябре 1937 года Корытников был направлен в Испанию, где принимал участие в боевых действиях в ходе гражданской войны. После возвращения в 1938 году был назначен на должность начальника штаба Забайкальского военного округа, а в июле 1940 года — на должность начальника штаба 2-й Краснознамённой армии (Дальневосточный фронт).

Великая Отечественная война
С началом войны Корытников был назначен на должность заместителя командующего 2-й Краснознамённой армией, в августе 1941 года — на должность заместителя командира, затем исполняющего обязанности командира 27-й запасной стрелковой бригады, в январе 1942 года — на должность заместителя командующего войсками 2-й Краснознамённой армии, а в июле 1943 года — на должность командира 88-го стрелкового корпуса (Дальневосточный фронт), выполнявшего задачи по охране советской государственной границы на Дальнем Востоке.

В марте 1945 года был назначен на должность заместителя командующего 1-й Краснознамённой армии, после чего участвовал в подготовке войск армии к советско-японской войне.

Послевоенная карьера
С 9 августа 1945 года находился в распоряжении Главного управления кадров НКО, затем был назначен на должность начальника Арзамасского военного пехотного училища, в январе 1946 года — на должность заместителя начальника Высшей офицерской школы штабной службы Красной Армии по учебной и научной работе — начальника учебного отдела. Однако в январе 1947 года школа была расформирована, после чего Корытников находился в распоряжении управления кадров ВС. В марте того же года был назначен на должность начальника кафедры общей тактики Военного педагогического института Советской Армии, а в сентябре 1947 года — на должность начальника кафедры военных дисциплин Военно-медицинской академии имени С. М. Кирова в Ленинграде.

В августе 1958 года вышел в отставку.

Умер 3 ноября 1993 года. Похоронен в Нижнем Новгороде на .

Воинские звания
 Полковник (4.12.1935)
 Комбриг (21.01.1939)
 Комдив (4.11.1939)
 Генерал-майор (4.06.1940)

Награды
 Орден Ленина (21.02.1945);
 Четыре ордена Красного Знамени (14.10.1924, 3.11.1944, ...);
 Орден Отечественной войны 1-й степени (11.03.1985);
 Орден  Красной Звезды 1-й степени (Бухарская народная советская республика, 28.10.1924)
 Медали.

Память

Примечания

Литература

 Соловьев Д. Ю. Все генералы Сталина. Том 6. — М., 2019. — С.46-47.

Царские офицеры на службе в РККА
Выпускники Военной академии имени М. В. Фрунзе
Преподаватели Военно-медицинской академии
Участники Первой мировой войны (Россия)
Участники Гражданской войны в России (красные)
Кавалеры ордена Красной Звезды Бухарской НСР
Участники гражданской войны в Испании (сторона республиканцев)
Пехотинцы Великой Отечественной войны
Командиры бригад в Великой Отечественной войне
Начальники штабов в Великой Отечественной войне
Командиры корпусов в Великой Отечественной войне
Члены КПСС
Столетние долгожители России

redpajama_set_name: RedPajamaWikipedia


Regulation Yohji Yamamoto's bomber-style coat is cut from black wool melton finished with rib-knit trim. Featuring an oversized fit, the style captures the avant-garde feel of the Japanese label.
90% wool, 10% nylon. Lining: 100% cupro. Trim: 65% acrylic, 30% wool, 5% polyurethane.


Nestled away in the Violence Against Women Reauthorization Act of 2013 (VAWA 2013), which was signed last week by President Obama and is otherwise a very good law, exists a provision that may significantly broaden the already overly expansive federal stalking law.
The original statute, interestingly enough, was the law Paula Broadwell was suspected of violating when the FBI investigation uncovered the Petraeus affair last year, which I wrote about here. Right now, the statute covers two different types of conduct.
Second, and troublingly, Congress expanded the law in 2006 to cover what has colloquially become known as "cyber-stalking." Under current law, anyone using any "interactive computer service" with the same intent as described above or with the intent to "place a person . . . in reasonable fear of the death of, or serious bodily injury to" that person or a close family member in a way that causes "substantial emotional distress to that person or places that person in reasonable fear of the death of, or serious bodily injury" is guilty of the offense. In other words, if you send someone threatening emails with the requisite intent and it causes them "substantial emotional distress," you've broken the existing law.
Importantly, one federal court has already found that the existing law can violate the First Amendment when used to prosecute nasty tweets. In United States v. Cassidy, which I wrote about here, the defendant tweeted and blogged offensively about a religious figure in Maryland. The prosecutor alleged only that the defendant intended to "harass" and cause substantial emotional distress and succeeded in causing such distress. The court held that such conduct could not present a crime. "[W]hile [defendant's] speech may have inflicted substantial emotional distress," the court wrote, "the Government's Indictment here is directed squarely at protected speech: anonymous, uncomfortable Internet speech addressing religious matters."
VAWA 2013 makes two major changes to the statute as now stands, and as it stood in Cassidy. First, section 107 helpfully removes the "substantial emotional distress" trigger in the intent standard, but still allows for prosecution when the defendant acts with the intent to "harass" and/or "intimidate"—which are still unconstitutionally overbroad. Vigorous business negotiations, for instance, are all about the subtle (or not so subtle) art of intimidation. Tweets critical of a large corporation accused of wrongdoing are designed to harass. One has to imagine that the recent sequester negotiations between the Republicans and White House included more than a few emails that were sent with the intent to "intimidate" the recipient, and that did, in fact, cause "substantial emotional distress."
Second, VAWA expands the statute to cover conduct that would be "reasonably expected" to cause substantial emotional distress. So, if an individual is tweeting or blogging with the intent to "intimidate" or "harass" another person, and the speech is of the type—like that in Cassidy—that would be "reasonably expected" to cause that emotional distress, the blogger or tweeter has committed a serious federal crime, even if the target never sees the tweets or blogs.
The sponsors of the expansion undoubtedly had noble intentions, and federal stalking laws are notoriously under-enforced even when there are terrible things happening that absolutely should be prosecuted. Here, however, by opening the door to the criminalization of ugly messages that are never even read by the intended recipient, Congress has exacerbated the problem, and it's a matter of time before we see another case similar to Cassidy.
Learn more about free speech and other civil liberty issues: Sign up for breaking news alerts, follow us on Twitter, and like us on Facebook.
There is still a need to protect women from emotional distress and harassment and noxious injury when a man chooses to monitor or follow her whether through cyber practices or other means. Somehow this must be addressed or men can get away with...? If it isn't abated early it could lead to something more egregious. Our freedoms are not defined if they intend to harm someone.
This new stalking law is an inappropriate law and should be thrown out. In assault, if someone does not see the assault, then assault did not occur. This should be the same for online messages. If someone does not see the message, the message did not occur. For the police to find the message could be considered entrapment. Stalking laws stem from assault laws.
The thing that bothers me about this crime is the police will throw a person on the ground and drive there knee into ones back. All for a pot seed, and then arrest them and the court will put them in jail for 10 or maby 15 years. But when it comes to stalking people can die, before they will move. To me that's a crime in it's self!
I am a social media harassment victim. I was stalked for over 25 months, provable with emails, screen shots, and other evidential items. This law could have helped me however if I had known about it. I went to the local police and instead of helping me the detective believed this very unstable woman whom I never met and do not know and who lives in PA, because she befriended herself to his high school sweetheart and other personal friends.
The issue has now become one of police collusion and entrapment. I am available to be a test case for this law.
Cyber bullying, bullying on steriods, organized stalking, whatever you want to call it, it's real, and it's happening all over the world.
Governments are doing nothing to stop it. People who are victims of stalking by one person get help. People who are victims of stalking by multiple people, especially if those people are total strangers, get no help whatsoever.
If you or someone you know is being stalked by multiple strangers, search fight gang stalking dot com.


text:
SYNONYM

#### According to
Index Fungorum

#### Published in
Verh. zool. -bot. Ges. Wein 30: 337 (1880)

#### Original name
Parmelia subprolixa var. angusta Kremp.

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
Killarney's forgotten soccer club who had a 'sexy' but unfortunate name
Adam Moynihan
In the summer of 1975, a band of wide-eyed teenagers with dreams of conquering Kerry soccer formed a new club called the Killarney Rangers. A little over a year later, they were gone. This week Adam Moynihan spoke to former players Diarmuid O'Donoghue and Tom Griffin about Killarney's forgotten team.
Who were the Killarney Rangers?
Tom Griffin: We all came from the Franciscan Youth Club, which was very strong at the time, and most of us were in the Parish Hall Youth Club as well. We were all mates.
Diarmuid O'Donoghue: Yeah, there was a gang of us. We were all from within a two-mile radius of Killarney. There were fellas from the Park Road, we had town fellas like Mike Buckley, and myself and my brother Donal were the farthest out. We had five-a-side indoor soccer teams that played in the Parish Hall.
TG: That was a big thing at the time. Every year there was a big indoor soccer tournament. Kelly's Villas were the kingpins; they were always the team to beat.
DOD: We were the rivals as such. We were mostly Legion but we had Mike Buckley, Colm Galvin and Jerry O'Leary as well who would have all been Crokes.
TG: There was a Franciscan Friar here in town, Fr Vivian. He was very involved with the youth club. He moved on to Waterford and in 1975 he contacted us about doing an exchange. So off up to Waterford we went and part of the day was a soccer match between ourselves and the local club. We thought we were something special after that so we said, "why not go into the league?" That's kind of where the whole thing came from.
What made you want to form your own team? Why not join Killarney Athletic?
DOD: We were too young. We were only kids at the time. You're talking 16/17/18. We didn't even think about joining them.
TG: Athletic were very supportive, though. They played us in challenge matches ahead of our first season in the KDL.
'Rangers' is a rather unusual name for an Irish soccer club. What was the thinking there?
DOD: We had no idea about Glasgow Rangers and Glasgow Celtic. It was just a sexy name.
TG: We were thinking more in terms of the Texas Rangers than Glasgow Rangers!
DOD: We were also oblivious to the fact that Canon Michael Lyne, one of the Lynes of Cleeney and a great Legion man, was the patron of Glasgow Celtic. We didn't know any of that. They were probably thinking to themselves, "Killarney Rangers?!"
TG: We did everything wrong that we could do wrong. What people might not realise now is that we were only just after coming out of the ban (on members of the GAA playing or attending foreign sports). I think '71 was when the ban was lifted. The GAA was still totally and utterly dominant. The attitude of the old lads in the cloth caps was very much, "keep these boys down".
[caption id="attachment_32576" align="aligncenter" width="824"] Diarmuid O'Donoghue and Tom Griffin looking back at an old Rangers team photo from 45 years ago.[/caption]
Diarmuid, you went on to have a fine Gaelic football career and you lined out with Kerry during the Golden Years. Was anything said to you about playing soccer?
DOD: No. My father (Jameso) was the chairman of the Legion at the time but he never said a word to me. Can you imagine the hassle he must have been getting in the pub or above in Legion from staunch GAA fellas?
Did the soccer ever clash with the football?
TG: We probably weren't on the go for long enough to actually get into confrontation.
DOD: And we were a bit young. We were just on the periphery of the Legion seniors so it wasn't a big issue.
Where did the black and green kit come from?
DOD: That's a good question now. Two interesting facts about the jersey. First of all, it was not Irish-made, which would have been a big thing at the time. And secondly, one of our fellow Legion clubmates, Weeshie Fogarty, wore one of those jerseys when he refereed intercounty matches.
Really? That's amazing.
[caption id="attachment_32575" align="aligncenter" width="800"] The great Weeshie Fogarty sporting a Killarney Rangers jersey while refereeing a match between Cork and Dublin. Also pictured are Billy Morgan and Tony Hanahoe.[/caption]
TG: I'll tell you another good one. We had two teams in the Parish Hall five-a-side: an 'A' and a 'B' team. We discreetly made ourselves the 'B' team and the other lads the 'A' team so they'd think they were the best! The two sides met in the semi-final so there had to be a change of jerseys, and we got our hands on a set of Legion ones. We won the toss and because all the Crokes boys were on the 'A' team, we put them in the Legion jerseys! The 'B' team won the tournament out in the end.
Brilliant. Where did the idea for the design come from?
DOD: It was Legion and Crokes, basically. That's what it came down to. Green for Legion and black for Crokes. We had black shorts and black and green socks.
TG: Most of the time, it was whatever socks came out of the washing machine.
Where did you play your matches?
DOD: Up by St Finan's. When you go up Lewis Road and turn back the avenue towards the hospital, in there on the right-hand-side.
What was it like inside there?
DOD: Muck.
TG: Yeah, all the pitches were poor at that time. It was by no means the worst pitch in the county.
And how did you fare in the Kerry District League?
DOD: I'll put it this way to you: we were all tip-tappy. We thought we were fantastic but we were playing in muck and gutter in Division 2 against (Gaelic) football teams. Scartaglen, Ballydesmond, the Bower from Rathmore… They kicked the s*** out of us.
TG: They didn't have much skill but they had the physical strength. We were all throwing shapes like we were superstars in the making. That summer in '75 we played a couple of challenge games and also in a youth club competition out in Millstreet. We felt we did okay. Before we entered the league, we figured that we were as good as, and maybe better than, what was already out there.
DOD: We lost more league games than we won, we'll put it that way.
Who were some of your key men?
DOD: Joe Howe was a very good player. Colm Galvin too. Mike Buckley was good. Eamon Murphy was our oldest player at 19. He was one of the centre backs. Very lithe but he could get up for a ball. His brother, Mike, would have been with him at the back. And, of course, Ray Hoctor was there as well.
TG: When we started we used to play Ray centre half. For us, he was as big and as strong as we had. And sure he went on to become one of the best centre forwards in Kerry for years.
The team broke up in 1976. What happened?
DOD: I would say lack of organisation and immaturity.
TG: And the age profile as well. A lot of lads were doing the Leaving Cert so they were going off to college and work. The structure just wasn't there to keep it going.
DOD: The league gave us a chance and it was a case of sink or swim. We sank.
And Killarney Celtic were founded that very same year. Did many Rangers players make the switch to the Celts?
DOD: It was more or less half and half. Some went to Celtic and some went to Athletic. Joe Howe, Mikey Lyne, Ray Hoctor and myself would have been Celtic and Mike Buckley, Pat and Jimmy Reen, Colm Galvin and Tom went to Athletic.
TG: I went to Celtic first, actually!
How did Celtic manage to succeed where Rangers had failed?
DOD: They had a lot of Spa boys which gave them more numbers. And they were more organised. They probably learned from everything that we did wrong.
TG: They had a couple of older heads as well. Guys like Byron Holmes and Bill Healy. They were just a little bit more mature and they were sticking around, whereas our fellas were going away. I think there was a groundswell of feeling that there was room for another team in the town. We probably started it but Celtic went on and did it better.
All in all, do you have happy memories of your time in the green and black of the Killarney Rangers?
DOD: It was great. We really enjoyed ourselves. We carried a big bus to our matches and the women in the youth club used to come along with us.
TG: The groupies! It was brilliant, Adam. Playing with your best mates around you and not a care in the world. The craic before and after the matches was magic. Great memories.
Main photo: The Killarney Rangers team that lined out in the 1975/76 Kerry District League. Back: Joe Howe, Neilie O'Keefe, Mike Buckley, Donal O'Donoghue, Jimmy Reen, Mike Murphy, Mikey Lyne and Mike Hickey (referee). Front: Ray Hoctor, Pat Reen, Eamon Murphy, Colm Galvin, Diarmuid O'Donoghue, Tom Griffin and Paddy O'Donoghue (manager).
The Killarney Rules: Important soccer laws came from meeting in Killarney in 1905
Kerry's forgotten Olympian who was inches from glory
The Boggeragh Rallysprint, organised by Cork Motor Club and based in the forest complex of the same name, took place over the Christmas break.
Based near the village of Nad, the event attracted a strong 60-plus car entry and was won by West Cork driver David Guest and his Millstreet co-driver Liam Moynihan in a Ford Fiesta Rally 2. The latter is a member of Killarney and District Motor Club.
The first all-Killarney crew to make the finish were David Fleming and Kieran Doherty in their Honda Civic. The Killarney-based crew finished 20th overall on what was only their second time competing on a gravel rally.
World Rally Championship launch
The new Ford Puma Rally1 Hybrid that Craig Breen and Paul Nagle will drive in this year's World Rally Championship is set to be unveiled on Saturday in Austria.
The World Rally Championship will undergo major environmental changes this year when new technical regulations drive the series towards a more sustainable future.
The season launch takes place at Red Bull's headquarters near Salzburg ahead of the first round of the WRC, next week's Rallye Monte Carlo, as a new era for the sport dawns.
Breen and Nagle will be in attendance and the launch will be live streamed on WRC.com
Motorsport wp (936 kB)
Killarney Valley AC continued their upward curve last Sunday when they entered men's and women's teams in the prestigious National Indoor Track and Field Championships, which were held in Abbotstown in Dublin.
Despite going up against the best of the best in terms of Irish athletics, the Killarney Valley contingent gave a good account of themselves at the state-of-the-art National Indoor Arena, with coaches Tomás Griffin and Con Lynch coming away with plenty of positives to reflect upon.
The women's team was comprised of Sarah Leahy, Ciara Kennelly, Alison Butler, Grace O'Meara, Ellen Moloney and Melissa Ahern, while the men's team included Conor Gammell, Oisín Lynch, Kevin O'Callaghan, Sam Griffin, Jason O'Reilly, Dara Looney and Darragh O'Leary.
The nature of the team event presents a number of challenges and opportunities for the forward-thinking club, as coach Tomás Griffin explained to the Killarney Advertiser this week.
"The indoor league is senior elite level so you're competing against really strong athletes, including some Olympians," Griffin said. "Part of the criteria is that you try to cover as many of the events as you possibly can within all of the athletic disciplines. You compete as a team, as opposed to normal athletics competitions which are very much based on the individual.
"If you are 16 or you turn 16 in the year of competition, you can participate. That allows us to give our up-and-coming athletes the opportunity to compete as part of a representative team alongside our more established, older athletes.
"There are two rounds with half the events in all disciplines covered in Round 1 and the other half in Round 2. Last week in Round 1 the track events were the 50m sprint, the 200m sprint, and the 800m, along with the 4 x 400m relay. So, for those events alone, you have to have sprinters and you have to have middle distance athletes all stepping up to compete against one representative from all the other clubs.
"The field events were the shot putt, the long jump, and the pole vault. You can see there you've got to have a pretty diverse club that is trying to focus on as many disciplines as possible on the development sides of things."
Individual athletes earn points based on where they finish in their event (12 points for first etc.), with points tallied together to make up the team's overall total. There are 12 clubs vying for the women's title and 13 fighting for the men's. After Round 2, which takes place on January 23 in Athlone, the top six clubs will advance to the finals.
The demands that such a competition place on a club mean that it is a major achievement to be able to take part at all. Apart from Killarney Valley, Leevale AC from Cork were the only other club in Munster who fielded a team.
"For us to have enough athletes of that age or above, that are competent enough in their disciplines to be able to represent us and compete – and score – is a significant breakthrough. We scored quite well across some of the events. There were some events that we struggled to cover because we're still trying to develop the full range, but as a club we know that we need to develop those disciplines.
"And we have some younger athletes who are 13 or 14 and they're now learning pole vault, for instance. If we can maintain the momentum then we will have pole vaulters in a couple of years' time."
Griffin says the Killarney Valley competitors really enjoyed the experience, while also putting in some impressive performances.
"They loved it. The bigger powerhouse clubs have very high-profile athletes at their disposal; there were four Olympians whom our athletes got to compete against and interact with.
"Our own Sarah Leahy did exceptionally well in the 60m sprint. She ran the joint fastest time in the league, a personal best of 7.61 seconds, which is the fastest she has ever run 60m indoors.
"In the men's 60m sprint, Conor Gammell made the top five and ran a personal best. We also had Sam Griffin, who is normally a long jumper, who ran a personal best of 7.58 seconds. He finished third in his race. Dara Looney, another long jumper who was doubling up on sprints, finished fifth and also had a personal best.
"Melissa Ahern, an up-and coming sprinter, ran 8.43 seconds, and Ellen Moloney, who was a first-timer at this level, ran a personal best as well. We have a good batch of sprinters competing and it's good to expose them to this level.
"Alison Butler scored some valuable points for us in the 800m, and in the men's 800 Oisín Lynch ran a massive personal best. Our shot putt thrower Kevin O'Callaghan is new to athletics; he had to throw an adult shot (7.2kg) for the first time and he did well, scoring five points for us. In fact, he threw the heavier weight nearly as far as he had been throwing the lighter weight."
Griffin was keen to stress the importance of each individual team member to the overall group effort and whatever happens in Round 2, he is convinced that entering the competition will have huge benefits in the long run.
"We set ourselves of goal of having a team at National League level by 2023 so we're a year ahead in that regard. It shows that we're on the right trajectory."

redpajama_set_name: RedPajamaCommonCrawl


Kinma Play Group runs on Mondays during term time. We hope to see you there!
Kinma Play Group runs on Mondays in term time.
We look forward to you joining us for Kinma Play Group - a creative, encouraging and nurturing environment which provides opportunities for unstructured play and open ended learning for children from 0-5.
Play Group is the place to find valuable support and friendship of other parents, and a time to relax for a coffee and chat.
Play Group operates from our multi-purpose meeting space and large outdoor playground in a beautiful bushland setting, every Monday during term time, 9:30am-11:30am.
Visits are $3 / family to cover morning tea and supplies. There are no membership fees.
There is no need to book or to commit to a full term. Simply come along on any Monday during term time that suits you and your child.
Please bring a sunhat, change of clothes and morning tea for your child. Please do not bring any nuts or nut butter.
We encourage that you bring them in clothes that wash well or are not their "Sunday best".
Feel free to help yourself to tea or coffee in the kitchen. We ask that you please clean up after yourself in the kitchen.
There is no official roster for morning tea, however the odd bit of home baking is always much appreciated!
For more information please contact Julie Carr on 9450 0738.
Kinma values a school environment that strives for each child to achieve his or her full academic, physical and social potential in a supportive, stimulating learning environment.


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SinoMab Commenced Construction of its China Headquarters
พฤศจิกายน 23, 2020 PAKPAO	campus, china, headquarters, pharma, sinolink
HONG KONG, Nov 23, 2020 – (ACN Newswire) – SinoMab BioScience Limited ("SinoMab" or the "Company", stock code: 3681.HK), a Hong Kong-based biopharmaceutical company dedicated to the research, development, manufacturing and commercialization of therapeutics for the treatment of immunological diseases, is pleased to announce that SinoLink Pharma (Suzhou) Limited ("SinoLink Pharma"), a wholly-owned subsidiary of the Company, held a commencement ceremony of its new campus on 20 November in Suzhou Industrial Park, marking the official commencement of construction of SinoMab's China headquarters.
SinoMab China headquarters – SinoLink Pharma new campus commencement ceremony: Dr. Shui On Leung, the Executive Director, Chairman and CEO of SinoMab (right 3rd); Mr. Jing Qiang, the Executive Director and President of SinoMab (left 3rd)
SinoMab China headquarters – SinoLink Pharma new campus preview
SinoMab plans to invest 1 billion on the construction of the new campus of SinoLink Pharma in the next 2 years, which will become the Company's China headquarters. The total floor area amounted to 70,000 sq.m., including manufacturing shop, pilot plant, R&D center, quality inspection center, clinical study center, administration building, and biological reaction workshop with a capacity of 38,000 litres. The civil construction is expected to be completed by the end of 2022. Upon the completion of construction, the new campus will be able to produce 2.5 to 3.0 million bottles of mAb injection per year, representing a relatively high level in the industry.
SinoMab possesses an extensive drug candidate pipeline based on mAb, targeting on the treatments of various immunological diseases. The Company's flagship product, SM03, a potential global first-in-target anti-CD22 mAb for the treatment of Rheumatoid arthritis (RA), is currently in phase III clinical trials in China and expected to be commercialized by the end of 2021. One of the Company's key product, SN1011, has received the Investigational New Drug (IND) approval from the National Medical Products Administration of China. The IND approval would enable the Company to conduct comprehensive clinical development programs for the treatment of systemic lupus erythematosus (SLE) in China. And the Company plans to initiate the phase I clinical study in China in the near future.
Dr. Shui On Leung, the Executive Director, Chairman and Chief Executive Officer of SinoMab, said on the commencement ceremony: "SinoLink Pharma is SinoMab's headquarters of R&D, manufacturing, marketing and operation and the industrialization base in mainland China. The commencement of construction of the new campus marks the new start and journey of the Company's next 'Five Years' Plan'. As the smooth progress of the clinical trials of SM03, our flagship product, and SN1011 entering clinical stage, the Suzhou new campus will provide a platform and guarantee for our drug candidates' R&D progress and commercialization in the Chinese market acting as our headquarters in mainland China, R&D center and the most important manufacturing base. Looking forward, we will insist in independent innovation, accelerating R&D and commercialization and strengthening global cooperation and technical innovation based on our existed drug candidates and R&D capability, to become an important force in the global healthcare industry."
About SinoMab BioScience Limited
SinoMab BioScience Limited ("SinoMab" or the "Company", stock code: 3681.HK) is dedicated to the research, development, manufacturing and commercialization of therapeutics for the treatment of immunological diseases. The Company's flagship product SM03 is a potential global first-in-target mAb against CD22 for the treatment of rheumatoid arthritis and is currently in Phase III clinical trial for rheumatoid arthritis in China, which has been recognized as one of the significant special projects of Significant New Drugs Development of the Twelfth Five-Year Plan Period and the Thirteenth Five-Year Plan Period. In addition, the Company possesses other potential first-in-target and first-in-class drug candidates, some of which are already in clinical stage, with their indications covering rheumatoid arthritis, systemic lupus erythematosus, non-Hodgkin's lymphoma, asthma, and other diseases with major unmet clinical needs.
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The Special Region of Yogyakarta is a Special Region at the provincial level in Indonesia which is a fusion of the State of the Sultanate of Yogyakarta and the Duchy of Paku Alaman. The Special Region of Yogyakarta is located in the southern part of Java Island, and borders the Province of Central Java and the Indian Ocean. This Special Region has an area of 3,185.80 km2 consists of one municipality, and four districts, which are further divided into 78 sub-districts and 438 villages.
Semarang City is the capital of Central Java Province, Indonesia as the fifth largest metropolitan city in Indonesia after Jakarta, Surabaya, Medan and Bandung.
The city of Surakarta also called Solo or Sala, is an autonomous region under the Province of Central Java, Indonesia.
Upon arrival in Jogja Airport in the morning, meets and greets then drive to Prambanan temple which is a Hindu temple with its Rara Jonggrang legend, then visit the cliff of Breksi which it's one of the most popular tourist destination Lunch in. Dirive to the city check in Hotel. Dinner at local resto.
Check out from hotel in Jogja then drive to Borobudur to enjoy the splendor of the largest Buddhist temple in the world with its beautiful stupa and relief. Next trip to Ambarawa to visit Ambarawa Railway museum and take a diesel locomotive rail travel excursion with Ambarawa - Tuntang - Jambu - Ambarawa route. Along the train line you will enjoy a very strong countryside feel. Lunch at local resto then drive to Semarang, check in hotel. Overnight in Semarang.


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Mick Ralphs's top 5 tips for guitarists
By MusicRadar 2016-09-27T09:39:00.27Z Guitars
Bad Company man talks gear, recording and more
(Image: © Will Ireland/Future Publishing/REX/Shutterstock)
When MusicRadar speaks to Mick Ralphs, the veteran guitarist is preparing to re-join his Bad Company bandmates for their first UK tour in six years.
Ralphs sat out the band's US summer run, with the UK-based 72-year-old citing the rigours of long transatlantic touring as the reason behind the decision.
But, he is raring to go as Bad Co prepare to hit the UK's arenas this month.
"It's heartwarming that we're playing in arenas again," Mott The Hoople founder Ralphs says. "When we started off all those years ago, we never thought all this time later we'd still be playing these songs. I have to say, though, I did listen to some of the old stuff yesterday in the car and it sounded remarkably fresh. It doesn't sound dated at all.
These songs never feel stale; they always feel vibrant and relevant and we play them with the same passion and energy
"That's amazing really because these songs are from 30 or 40 years ago. It's nice to sit back and listen to the old material ahead of the tour, because once an album is done I don't really ever listen to it. I just hear them on the radio every now and then and think, 'Oh, that sounds quite good.'
"These songs never feel stale; they always feel vibrant and relevant, and we play them with the same passion and energy. We're not churning it out; we go through the whole performance as if it's all new because it is all exciting to us.
It may be 20 years since Bad Company's last studio album, but Ralphs reveals that he would be open to working on new material as well as playing more shows after the UK dates.
"I'd like to think we'll do more [shows] after this tour," he says. "Maybe we'll sit down and discuss what to do next year. I'm still writing songs - I try out new songs with my blues band. It would be nice to talk to Paul and Simon about it all, and I'd like to do more."
As a man with almost 50 years of experience at the top under his belt, Ralphs has plenty of wisdom to share, so that's exactly what we asked him to do. Here, we present Mick Ralphs' top five tips for guitarists.
Paul Rodgers talks Free, Bad Company and Paul Kossoff
Mick Ralphs talks Mott The Hoople, Bowie and blouses
(Image: © REX/Shutterstock)
1. Get a decent amp
"What I have learned over the years is that the most important link in the chain of your sound is the amp. But when you're young all that you think about is which guitar you want because they look so cool.
"A lot of people have a Les Paul or a Strat or whatever and want to sound like their favourite guitarist, but the amp is so important. The amp is the ugly duckling.
You can put a not very good guitar through a good amp and it'll sound great. But if you put a great guitar through a crappy amp it will sound crappy
"Most people don't ogle over amps but I have found in my experience that if you get an amp that sounds good it will make you play better.
"You can put a not very good guitar through a good amp and it'll sound great. But if you put a great guitar through a crappy amp it will sound crappy. When you start off playing, you doodle pictures of Fenders but the amp is a secondary thought. You should research the kind of amp that you need for whatever you're doing and make sure you find that one that is right for you."
2. Experiment with tunings
"As a writer, you need to play for the song and what suits the song rather than thinking, 'Oh, it's lead guitar time coming up.'
"I always think about what the songs need, and in the case of Can't Get Enough it wasn't written in Open C; it was written in Open G. When I started working on it with Paul [Rodgers], he asked if I could change the key to suit his voice.
"We tried different keys and ended up with C. I thought, 'How the hell do you have a guitar tuned to C?' I put lighter gauge strings on it and tuned it up to a chord. That came about by accident because I had done a demo for it in G years before I met Paul when I was in Mott The Hoople.
"I liked open tunings - Joni Mitchell was the ace for open tuning. You can tune the guitar to anything that you want as long as it sounds all right. I've worked with David Gilmour as well, who of course works with different tunings. It's very important to be creative with your tuning."
(Image: © Jason Sheldon/REX/Shutterstock)
3. Collaborate with friends
"I have been fortunate to work with some fantastic people. A lot of that is by chance. Paul and I happened to tour together while I was in Mott The Hoople and we became friends and that was the basis for Bad Company.
"It wasn't planned - we just happened to get along and he liked some of the songs I had written. He's a great singer, though, and can make anything sound good.
"David Gilmour was a neighbour of mine and that's how we started working together. It almost always started with a friendship."
4. Choose the right bandmates
"You have to be open and flexible to the people you're working with and the other people in your band.
"I've done a couple of rock 'n' roll fantasy camps. You get given five or six people and you have to turn them into a group within a week. It's so important to be aware of what people can and can't do. That way, you end up with a whole that is better than the sum of the parts.
When we put Bad Company together, it was all about the chemistry we had as people as much as our ability
"That's true of any band. So many big bands have had people go off and do solo albums, and so often it never sounds as good as the group that they've come from.
"When we put Bad Company together, it was all about the chemistry we had as people as much as our ability. It took us ages to find the right bass player for Bad Company, and we tried a lot of really good bass players out, but for some reason Boz [Burrell]'s personality really clicked with us.
"It's so important to get along with people in your band and have the same sense of humour, then the music comes naturally. I've seen so many bands that were put together on paper because of their names and they haven't worked. It's a misconception that putting so and so with so and so is guaranteed to be great. It has to work on a personal level as well as a technical level."
5. Don't be overawed in the studio
"You can't get intimidated when you're recording. When I first went into the studio, I was a bit overwhelmed with all of that gear and everything else in there.
"If you're going in as a band, you have to just be as you are as a band and be natural. All of that equipment is there to make you sound good, and there are engineers on tap to press the buttons, so all you need to do is to play. You just have to relax and be yourself.
"The first Bad Company album was done in two weeks - you just need to get in and play. We did that album in a mobile studio. That helped, because we were in this empty house with the equipment in a trailer so we didn't have the hassle of driving into the studio; we were on location.
"It was a very creative environment, and we did the first three albums like that. We were living together there and we got a lot done because we weren't going home; we were chatting things out."
Bad Company's UK tour kicks off in Leeds on 15 October. Visit www.badcompany.com for more details.
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2018 was essentially a large on-fire trash can, so like all of us, Cardi B and Offset are looking for a fresh start in the New Year.
A source close to the couple is reporting to TMZ that a reconciliation is in the works. The two were apart for New Year's Eve since Cardi was touring in Australia and New Zealand, but the outlet reports the two have been talking "nonstop" and have whole-hearted intentions to work on their marriage. Offset is apparently working hard to change his ways, and Cardi B is receptive because she misses their relationship.
Cardi and Offset initially split over reports of infidelity on the Migos rapper's part. Cardi announced via Instagram on December 4 that the two were in the process of getting a divorce, but the clip was later deleted from her feed. Offset made a surprise appearance interruption at Cardi's Rolling Loud Music Festival set less than two weeks later, rolling out a wall of apology flowers that read "Take Me Back Cardi."
Even though Cardi didn't seem too pleased to be interrupted at work (duh), the two were seen photographed riding jet skis in Puerto Rico together less than a week later—sparking serious "back together" speculation. It sure sounds like that speculation was warranted, now.


1028 Foodplace offers food related services and they are located in Davao Del Sur, Philippines. You can contact them on phone on 63 921 641 6755 or you can visit them at their address in Davao Del Sur which is Door 10, Fdlc Building, Kilometer 5, Matina Crossing, Talomo, Davao City, Davao Del Sur. 1028 Foodplace listed activity in PhilippinesYpages is fast food shop .


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Why sequels are always better than the original
Like many people this week, I've just come back from the cinema, where I saw "Frozen II". And it got me thinking about a theory I've been holding on to for a while: That sequels are pretty much always better than the originals. The vast majority of the time, when you see a film or a book that has "II" or "Part 2" or "The Reawakening" or similar appended to its title, you know you're in for one hell of a good ride.
And as we all know, this effect is only magnified the longer a series of sequels goes on. They just keep getting better, and better, and better…
Now, I imagine some of you are gagging at this point. What do you mean?! Originals are better!
Well, yes. Most of us think this. But although most people agree that sequels are never as good as the originals in a series, they tend to obtain higher scores from audiences.
While this seems paradoxical at first, it actually makes a lot of sense. Let's take a look at two popular series of books that were turned into movies, and see what I mean: Harry Potter and Twilight.
And then, we'll look at two series that exhibit a very different kind of pattern – the Hunger Games and Game of Thrones – and talk about why.
Aside from a few lumps and bumps, we can see an overall rising trend in reader and audience ratings of the Harry Potter series, below. (Scores are taken from Goodreads for the book series, and from IMDB for the movie series. IMDB ratings have been converted to a score out of five).
Readers rated the final book in the series (indicated in the graph as HP7, which received a score of 4.61) more highly than they did the first book (indicated in the graph as HP1, which received a score of 4.47). The box set (indicated in the graph as HP8) was even more highly rated again.
The same pattern is observable for the movies – apart from a few lumps and bumps, audiences rated the movies more favourably as the series went along. Part 1 of HP 7 received a score of 3.85, which is higher than the first film's 3.8, and Part 2 was the highest-scoring film of all, at 4.05 (giving the film adaptations of book 7 an average score of 3.95).
The Twilight series
The first two books in the Twilight series are rated 3.5 on Goodreads. Book three is rated 3.6, and book four is rated 3.7 – even though most fans agreed that the earlier books were better.
While the movies aren't quite as clear-cut, it is still true that the final movie (indicated in the graph below as T5) was more favourably received by audiences than any of the preceding films. Like the final instalment of the Harry Potter, the last book in the Twilight series was transformed into two films (Breaking Dawn Part 1 and Part 2), which averaged a score of 2.6 from audiences on IMDB – the same score asthe first movie, Twilight received. Critics, on the other hand, were much less impressed by the later movies in the series. Breaking Dawn's two parts received an average score of 48.5 on Metacritic (compared to Twilight's 56).
Are sequels really better?
If we just looked at the aggregate scores of the books and movies in these series, we'd be included to conclude that yes, sequels are generally better than the originals.
But there's an important bias occurring here: selection bias.
In a free society, we choose what books to read, what films to see. We choose whether to go online and rate them afterwards.
And then, we choose whether to go and buy the next book. Or see the next film.
The people who picked up Harry Potter and the Sorcerers Stone and didn't enjoy it might have left a negative review, and then never bothered with another Harry Potter book again. Meaning that their negative views of the boy wizard as a character, or JK Rowling as a writer, are not counted against Harry Potter and the Chamber of Secrets, or any of the other books/films.
Those who thought HP1 was okay, but didn't enjoy HP2 might have given up on the series at that point.
And those who thought HP1 was good, HP2 was okay, but didn't like HP3 might have given up at that point.
At every stage of the series, readers and viewers who dislike the series are dropping out, which means a higher proportion of those still reading/watching are dedicated fans. Yes, some people hate-read/watch (Twilight certainly received a lot of this). But most people don't want to waste their time or money on things they don't think they're going to enjoy.
Thus, the further along you get in a series, the more enthusiastic the average fan is, simply because the less enthused ones opt out.
Consider the Harry Potter series: book 1 Harry Potter and the Sorcerer's Stone has over six million ratings on Goodreads, and a score of 4.4 stars. Book 7 Harry Potter and the Deathly Hallows has just over two million at time of writing, and a score of 4.61.
Or Twilight: book 1 Twilight has over four million ratings, and a score of 3.59. Book 4 Breaking Dawn has just over one million at time of writing, and a score of 3.7.
Why 'worse' books get 'better' ratings
Of course, it is difficult to say objectively that a book or film is "good" or "bad". But the selection bias that occurs does help to explain the growing divergence in audience and critics' scores that sometimes occurs.
Film goers and film critics were generally in alignment as far as opinions on the Harry Potter series is concerned. Both audiences and critics gave Harry Potter and the Deathly Hallows: Part 2 the most positive rating of the series, followed by HP3, and then HP4. Both agreed that HP2 was the weakest film in the series, followed by HP1. The only slight divergence was when it came to Harry Potter and the Deathly Hallows: Part 1: which fans considered the equal third-best film of the series, while the critics considered it to the third-worst film, only slightly ahead of HP1 and HP2.
The Twilight series, on the other hand, exhibits a rather different pattern. While both fans and critics agreed that the T2 was the weakest film of the series (a second-movie slump similar to that exhibited in the Harry Potter series), they diverged quite sharply when it comes to rating the best. The final Twilight film, Breaking Dawn: Part 2 was considerably more favourably rated by IMDB users than any of the preceding films, but as far as critics were concerned, it received fewer favourable reviews than either the T1, or T3, making it the second-weakest film of the series.
Thus, while it may be true that sequels often have higher ratings than their originals, these audience ratings are less and less reliable the further we get into a series.
That is, if you understand them as an indication of the book or film's overall quality and its appeal to a mainstream audience.
If you want to know whether a certain instalment in a series satisfies its target audience, then the further along in a series that a book or film is, the more likely it is that the remaining audience/reader reviewers are discerning fans.
What's up with the box sets?
It's worth noting one other seemingly unusual feature of readers' reviews which can be explained by this phenomenon: the inordinately high scores readers award box sets.
It would seem logical to assume that the Harry Potter box set would receive a rating of around 4.55, given that is the average of the Goodreads scores for Harry Potter books 1-7. At a minimum, we'd expect the rating to fall somewhere between 4.41 and 4.61 – that is, somewhere between the highest and lowest scores achieved by the individual books in the series. Instead, we find it rated 4.78, much higher than any of the individual books received.
Likewise, it would seem logical to assume that the Twilight box set would receive a rating of around 3.6, given this is the average of the Goodreads scores for Twilight books 1-4. Again, at a minimum, we might expect the rating to fall somewhere between the lowest and highest scores achieved by the individual books in the series – so between 3.53 and 3.7. But instead, the Twilight box set received a score on Goodreads of 3.89 – again, much higher than any of the individual books received. In fact, some of the special edition box sets have scores as high as 4.35!
Is the whole (of a series) really greater than the sum of its parts?
I'd like to propose an alternative theory: that those who spend great wads of cash on collectible editions and box sets of books are those who are already fans, or at the very least, are closely aligned with the target audience. They're people who watched all of the movies and just know they'll love the books. They're kids who read one or more of the books from the library who begged their parents for the whole series for their birthday. They're people who own some or all of the books already, but want the nice box this set comes in, or they're collecting all the different covers.
Very few people who aren't sure they're going to like Harry Potter or Twilight would have bought the whole box set. The financial barrier is simply too high. A special-edition collectible box set of Harry Potter retails for $299 on Amazon. If you were new to the series, wouldn't you be more likely to buy the paperback of the first book for $8.74? Likewise, a limited-edition white hardcover box set of Twilight currently retails for $98.91 on Amazon. If you were just trying the series out, why wouldn't you get the regular paperback for $11.72 instead?
Additionally, even many of those who do own the box set probably don't bother rating the box set if they've already given ratings to one or more of the books in the series individually.
But superfans probably will.
The power of superfans
Admittedly, this is an extremely small sample of just two book/film series. But to compare with a couple of other series off the top of my head: all three books of The Hunger Games hover around the four-point-something mark (4.33, 4.29 and 4.03), with almost six million ratings for the first book, and just over two million for the last, but the box set has a score of 4.48 on Goodreads.
The Game of Thrones series also hovers around the four-point-something mark (4.45, 4.41, 4.54, 4.13, 4.32, 4.41, 4.39). Interestingly, book 1 has 1.8 million reviews, compared to just 1,430 for GOT7. That's an even sharper drop off in readership than either the Harry Potter or Twilight series saw between their first and last books…
Why such a sharp decline? Well, in case you hadn't noticed, A Dream of Spring hasn't been released yet. In fact, earlier this year author George RR Martin stated that he hadn't even started writing it.
Imagine that. Over a thousand reviews, and a rating of 4.39, for a book that not only hasn't been released, but that doesn't exist yet.
Meanwhile, box sets of Martin's six existing GOT books have a score of 4.7 – again higher than the average score, or any of the individual books' ratings.
It is worth noting, though, that both the Hunger Games and the Game of Thrones series do not adhere to the same patterns of consistently rising scores as the series progresses which we saw for both Harry Potter and Twilight.
While, as we might predict based on the above analyses of Harry Potter and Twilight, both book series have box sets that are much more highly rated by readers than any of the individual books (HG4 and GOT8 in the below graphs), the overall trend of these series is downhill.
For the books, HG1 received better ratings than HG2, which in turn received better ratings than HG3. The first two films received scores in the 7 range on IMDB (which converts to scores above 3.5), while the second two films received scores in the 6 range (which converts to scores around 3). The final film was not only rated less favourably than the first, but less favourably than any of the earlier films in the series.
The chart for GOT appears messy in large part due to the factors mentioned above. Additionally, we should not expect the book and TV series lines to mirror each other as closely as the Harry Potter, Twilight and Hunger Games book and film lines generally correlate, because the GOT book series and TV series are quite different in terms of their content. However, if we remove the book line scores for GOT7 (the as-yet unwritten, unreleased "book" which has inexplicably gathered many times the reviews most independently published books will receive in a lifetime!) and the for GOT8 (the box set which artificially inflates the line) we can see that both the book series and TV series appear fairly flat, other than a bump for the TV series, and a pit for the book series in GOT4. That is, up until we get to the end of the TV series, where there was not only a sharp decline in the number of episodes produced (dropping from 10 per season in GOT1-6 to just 7 in GOT7, and 6 in GOT8) but also in the audience's evaluations. GOT8 is by far the worst-rated season of the Game of Thrones series, with an average score of just 3.21. The series finale was the single worst-rated episode of the whole eight years, with a score of just 2.05 out of five.
Admittedly, even at its worst, GOT was a massively successful – and popular – series. The series has an overall score of 9.4/10 on IMDB, and it is currently the eighth-highest-rated TV series on the platform. Likewise, the Hunger Games series achieved not only sales but ratings from fans that most of us authors can only dream of. But if we understand the increasing selectivity of audiences tuning in to TV series, or going to the cinema, or buying books correctly, then what we'd hope to see is a pattern more like that of Harry Potter. For a series to be delivering consistent quality, its ratings should actually be going up over time. That is, in order for a sequel to be considered as good as the first book or movie, it should actually have a score that is higher than the first book or movie received from audiences, because there are fewer reviewers who don't like the author/series/genre in general detracting from the overall score.
Different reviewers, different roles
The same is not true, however, when it comes to critics, because generally, approximately the same number of critics review each film in a series. Metacritic compiles reviews from 36 critics for the first HP film, and 41 for the last (that is, the number of reviewers actually increased slightly). The numbers stayed relatively stable for Twilight, too: 38 critics' scores are collected for the first Twilight movie, and 31 for the last. Similarly, 49 critics' reviews are collated for the first Hunger Games movie, and 45 for the last.
While much has been made of the rise of online review platforms and the power of the consumer, I do not believe professional reviewers to be obsolete. On the contrary, professional and amateur reviewers complement each other wonderfully.
Even more crucially, in a time when it seems every author is being encouraged to turn every book into a trilogy, and then those books go on to become films that are split into even tinier pieces, comparing audience and critic scores can help us understand how good a series really is.
Audiences and professional reviewers both play a critical role when it comes to reviewing books, films, and television shows, and the longer a series goes on, the more distinct their roles become. The aggregate audience scores produced by enormous platforms like Goodreads and IMDB have the power of big numbers behind them. What is more, they tell us whether people like us – the fans of something – are continuing to have their expectations met by that series. On the other hand, professional critics provide those who are new to the series a potentially less biased view of how it compares to other works and whether it maintains its quality over the long run. By understanding how these scores are calculated and the inherent biases in them, we can better interpret reviews of our favourite media, and appreciate the distinct roles of different kinds of reviewers.
Tagged Movies, Reviews, Sequels, Series
What makes an unsuccessful blurb?
How the numbers are stacked against indies and small publishers
2 thoughts on "Why sequels are always better than the original"
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I Mr.Deepak Kanani the Chairman & CEO of Dazzy Food Industries had started distribution business of confectionary into the year of 1995 from Baroda- Gujarat. I am duly supported by my highly efficient two brothers Mr.Tushar Kanani & Mr.Ashok Kanani.
From the day one my motive was to sustain and grow gradually into the market with one strategy and that was "To Deliver the Best'.
Eventually by putting all worthy efforts, I have established myself & my company's business into the Confectionary Trading Market of Gujarat.
With wide exposure, deep understanding and insight of this business I thought of starting my own production house. This dream came true in the year 2002. I named the Company 'Dazzy Food Industries'. Starting from the literal production of Lolly-Pop, gradually Dazzy Food Industries entered into many more other products. This basket includes Chocolates, Hard Boil Candy, Center-Filled Candy, Toffees & Eclairs.
The Unanimous Moto of all these companies was to expand Horizontally & Vertically. Horizontal growth includes enhancement & improvement of qualitative product. Vertical growth mentioning to deep penetration of company's product into each corner of emerging markets of India.
My main aim is to bring a lot of new innovations into the field of confectionaries. Keeping that aim in mind, we started developing a totally new & different range of Products & Packaging which became an instant bestseller into the market from the day one. Today, we are the only company which makes this kind of Product & Packaging. It is our best selling product since last 3 years.
Today 'Dazzy' has become an 'Eloquent' brand. Currently our business network is having widespread pan India and growing further exponentially.


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IMF Says Dubai May Need To Do More To Avert Property Bubble
IMF official asks Dubai officials to look at stricter measures such as those used in Singapore and Hong Kong to cool property market.
Dubai may need stronger measures to counter property speculation in the emirate, a senior International Monetary Fund official said on Tuesday as it warned again about a potential real estate bubble.
Growth in the Gulf emirate, the region's trade and business hub, picked up strongly last year as the government committed to real estate projects worth tens of billions of dollars following a property market crash in 2008-2010.
Masood Ahmed, director of the IMF's Middle East and Central Asia department, said the Fund had welcomed moves last autumn by Dubai's government and central bank to cool what could become a "speculative increase" but that more was needed.
"Our own view is that these measures are good but if you look at what's happening in the market it's time to consider stronger measures," Ahmed said in a presentation on the regional economic outlook. "Particularly in terms of ways to discourage quick turnaround – what people refer to as flipping of real estate in Dubai."
A strong rebound in the Dubai property market over the last year has brought a resurgence in "flipping", where investors buy and sell mostly unbuilt properties in quick succession to make speculative profits.
Dubai, one of seven United Arab Emirates, said in September it would double a registration fee charged on real estate transactions to 4 percent to prevent excessive speculation.
In October, the UAE central bank imposed limits on mortgage loans but the restrictions were not as stringent as first planned after lobbying by the banking industry.
Property prices in Dubai, known for ambitious projects such as the world's tallest tower and man-made palm-shaped islands plunged more than 50 percent between 2008 and 2010 after a speculative bubble burst, pushing the emirate close to default.
Ahmed mentioned Hong Kong and Singapore as examples for what Dubai could consider doing: "In the case of Hong Kong, they imposed a 15 percent fee on transactions of real estate that were turned around (re-sold) within six months."
"In the case of Singapore, for certain types of real estate that were turned around within a year the fee was 30 percent."
The value of real estate transactions in Dubai jumped 53 percent last year, to more than 236 billion dirhams ($64.3 billion). Selling prices for residential property rose by about a third in the first three months of 2014 compared with a year before, prompting the IMF to warn of a possible bubble.
"In terms of macroprudential measures, it is time to be vigilant," Ahmed said. "But perhaps if it turns out that there is a big increase in lending to real estate – so far it is mostly a cash market – there would be the time to look at the additional measures for macroprudential as well."
Deputy Central Bank Governor Mohammed Ali al-Falasi, who attended the IMF presentation, declined to comment when asked by Reuters if the central bank was considering taking any action.
Dubai's economy is expected to grow by about 5 percent this year, a similar pace to 2013.
Dubai accounts for a quarter of the total output of the UAE's economy. Oil-powered Abu Dhabi is responsible for around 65 percent of the federation's output.
The UAE, one of the world's top oil exporters, has yet to release 2013 GDP data. Analysts polled by Reuters in January expected 4.3 percent growth in both 2013 and 2014.
Ahmed said the IMF was likely to raise its current 2014 growth forecast of 4.4 percent for the UAE given strong growth in the non-oil sector, particularly in Dubai.
Business activity growth in the UAE non-oil private sector rose to a record high in April, data showed on Tuesday, while 2013 saw double-digit growth in both tourist numbers and the number of new trade licences.
Mohamed Lahouel, chief economist at the Dubai Department of Economic Development agreed with the IMF's view on property.
"It's certainly speculation that is going on in the real estate market today. What worries me is that … it's human greed that's driving that," he said at the same event.
"It's very important for Dubai to worry about the impact of speculative demand. It may speed up economic activity for four or five years and then we end up suffering."
Ankush Chibber May 6, 2014


We join our hero as he seeks aid in his quest to save truth, science, and western civilization itself.
OUR HERO: Sir! Sir! Am I to understand you are a philosopher?
ANALYTIC PHILOSOPHER: Why, yes, that is my trade.
OUR HERO: And are you one of those—one of those villainous characters who believes that truth is relative, or there is no such thing as reality, or what have you?
ANALYTIC PHILOSOPHER (offended): I should say not. Truth and reality are the whole point of our enterprise!
OUR HERO: Forgive me. I have just finished watching several videos on YouTube which have disclosed some rather alarming revelations about the state of our culture. Were you aware, sir, of the pervasiveness of postmodernism?
ANALYTIC PHILOSOPHER: Don't even get me started. All these "critical this" and "critical that" fields, the impenetrable prose…believe me, my colleagues and I are well aware of the problem.
OUR HERO: It is a great relief to hear you say that. Did you know, for instance, that they do not think one can merely observe reality? As if I couldn't just reach out and touch this table right here, right now!
ANALYTIC PHILOSOPHER (smirking a little): Well, what you're saying is naive empiricism. Everyone knows that doesn't work. But the postmodernists certainly go too far.
OUR HERO (uncertain, but pressing on): Yes…for example, they think that knowledge is merely a product of social relations! As if science itself just rested on the flimsy basis of trusting one another and behaving in a trustworthy manner! But any schoolchild knows that with the scientific method you can directly test hypotheses!
ANALYTIC PHILOSOPHER (growing smug): Well…that's just naive realism. Knowledge is a product of social relations, though I wouldn't say "merely".
OUR HERO (baffled): What are you saying?? Are you one of them?
ANALYTIC PHILOSOPHER: Come now, read a book once in a while. Philosophers like Sir Karl Popper, for instance, are very popular with scientists themselves, and he agreed with every word of what I have just said to you. That's not the problem at all.
OUR HERO: Then…then what is the problem?
ANALYTIC PHILOSOPHER: Well those damned continental postmodernists just don't see that [long angry rant fleshing out a set of highly technical distinctions]. I mean, whatever happened to basic academic standards?
NEXT TIME: Having discovered how deeply the cancer of postmodernism has spread even among its critics, our hero must venture into the Intellectual Dark Web to find his true allies in this glorious struggle.
Insofar as Reformation theology relies on this principle in interpreting Scripture, it remains bound to a postulate that is itself based on a dogma, namely that the Bible is itself a unity.
I have recently begun to read Jacobin Magazine, as a scout might enter the boundaries of an enemy encampment. A few days ago they posted a review of Marx's Inferno, a book I had seen mentioned in my web community a few times. The central conceit of the book, apparently, is that Marx used the basic structure of Dante's Inferno in the way he unfolded his arguments in the first volume of Capital.
My most serious objection is that Roberts isolates Volume 1 of Capital as a standalone text and seeks to interpret it by ignoring its relation to Marx's other works. He does so on the shallow but convenient grounds that these other works were not prepared for publication and therefore not definitive. I suspect that the isolation of Volume 1 rests on the fact that the Inferno analogy simply doesn't work with the content of the other two volumes of Capital .
He locates their difference of interpretation in their model of Marx. The critic views Marx as an "explainer" who is distilling his findings to a broader audience.
My Marx, by contrast, is an arguer. He doesn't have a fully-worked out theory in his back pocket. Instead, he is oriented by a set of disagreements with the classical political economists, and with his fellow socialists, and is working out, in Capital, as full-fledged a response to those disagreements as he can. The literary form of his intervention is not a costume he dresses his theory up in; it is the form of the theory itself. His audience knows very well what he is talking about, because he is not descending upon them from the mountaintop, but responding to on-going arguments and controversies within the socialist and workers' movements. The metaphorics of Marx's text – the vampires and werewolves, Lazarus and Moses and the prophets, machine-gods and automata – are commonplaces. They show up again and again in socialist tracts from both sides of the Channel. What is unique to Marx is the use to which these commonplaces are put, and the elaborate interconnections among them.
One of the crucial questions in phenomenology and hermeneutics is what the relevant horizon of meaning is, within which some specific text is given its sense. The critic argues that Marx's entire body of work, published and unpublished, trumps any one work standing on its own. The author, by contrast, argues that the public field into which volume 1 was published provides the most appropriate context.
"Horizon" refers to boundaries, but like the horizons of vision they do not bound all that could be seen. Marx's other works are connected to yet others; ones that are directly mentioned in the texts as well as ones that were influential but did not get mentioned. And those texts, of course, were influenced by yet others, many of which Marx never read himself. And out and out.
The same holds for the disagreements and controversies he was responding to. If you had asked Marx to set out and draw a circle around the participants in these scholarly and political conversations, he could not have. He may have drawn it around the people he himself had read, or at some arbitrary point beyond them. But any participant would form a link to others, who formed links to others, going back to before any of the current participants were alive. If you look too hard, the "conversation" disappears into history itself.
But how can we do this? What is the whole speech-situation? Jacques Derrida replied that because context is boundless, we cannot possibly know enough of it to determine if we have learned all of the relevant context. The speech-situation is too large, the relevant details too hidden behind the horde of irrelevant ones. If you stare at the speech-situation too long, it too melts away, deconstructed without mercy.
What are we to do? If we need the whole to interpret the part, and the whole is either infinite or in any case too large for human comprehension, then can we interpret anything?
We bring our prejudices to the texts we read and the conversations we have. These prejudices are shaped most directly by "our place within a historical series of persons" with whom we have already interacted. But these people are, as mentioned, influenced in turn, and under scrutiny the influence ultimately melts into the many currents of history. The currents are fluid, but we, with our prejudices in this moment, are concrete. We take concrete actions, come to concrete understandings and establish concrete relations. We engage in concrete practices that form the basis of concrete communities.
Or so it feels to us, and so it must for us to carry on. We're aware that there are peripheries to these communities, we may even be aware how vague and porous they are. But many imagine they could find reasonable boundaries, if they had the time and inclination to perform a systematic study of the matter. They are wrong, but that hardly matters. They recognize the game, they recognize and are recognized by the players, and that is enough—enough for books to be written and read and understood, enough for men and women to marry, "putting to rest all anxieties with respect to legitimacy, and ushering in new anxieties." Enough to be active in the community of scholars, of gamers, of young mothers in the neighborhood.
Except for when people do attempt a systematic study. Our understanding of social space is implicit, similar to our understanding of how to navigate a familiar neighborhood without a map. But unlike physical geography, attempts to map our implicit social space influence the very thing under study. And so those theorists who approach the study of community with the prejudice that there is an essential, rational meaning of the word, and that each community is discrete and can be mapped, may end up doing a lot of damage along the way. That, in any case, is the story of the 20th century's great tragedies, perpetuated by men who imagined themselves to be social engineers and scientists.
When you approach the question of community as an engineer or scientist, the experience of community melts away entirely. Cold, logical axioms are all that remain, taking the place of authentic understanding.


OVER A Thousand Western TV show episodes to Watch FREE!
In the above photo, Dad (Roy Rogers) and Trigger (his palomino) get their footprints in cement in the courtyard of Graumann's Chinese Theater.
If you have been following my posts, you know that Little Trigger was the horse that made personal appearances (parades, stage shows, etc.) and Trigger (the Old Man or the Old Horse) appeared in movies and on television. BUT, when it came to being immortalized in cement, Trigger is the one that Dad chose.
He truly loved that horse!! While he and Little Trigger had a sort of love/hate relationship.
Standing directly above Mom (Dale Evans Rogers) is Pat Brady. Dad's sidekicks on the RoyRogers TV Show and in several of Dad's Republic Studios movies. Kneeling at Mom's right, holding Trigger's hoof, is Glenn Randall, Trigger's trainer.
The slab with Trigger's hoof prints and Dad's boot prints is still there at Graumann's on Hollywood Boulevard.


text:
Krystyna Wachelko-Zaleska, Krystyna Wachelko (ur. 24 stycznia 1954 w Krakowie) – polska aktorka teatralna i filmowa.

Życiorys
W 1976 roku ukończyła studia na PWST w Warszawie. Występowała na scenach następujących teatrów:
 Teatr na Woli (1976–1977)
 Teatr Dramatyczny w Warszawie (1977–1992)

Filmografia
 1975: Personel – dziewczyna w pociągu
 1975: Wieczór u Abdona – Antonina, służąca Abdona
 1976: Niedzielne dzieci – Jolanta Górka
 1977: Coś za coś – dziewczyna z wózkiem na klatce schodowej
 1978: Aktorzy prowincjonalni – aktorka Daniela
 1978: Okruch lustra
 1978: Roman i Magda – Weronika Matwiejczuk, dziewczyna Romana z czasów studiów
 1978: Ślad na ziemi – Joanna, dziewczyna Gerarda Jasparskiego (odc. 5)
 1979–1981: Przyjaciele – Olga Osadowska (odc. 1, 2, 4 i 5)
 1980: Constans – celniczka
 1980: Punkt widzenia – Olga (odc. 6 i 7)
 1981: Stacja – dziewczyna
 1981: Ślepy bokser – Krzysia, sekretarka Gołyźniaka
 1982: Śpiewy po rosie – Jadźka
 1983: Nie było słońca tej wiosny – Monika, żona Piotra
 1985: Medium – farmaceutka
 1985: Temida – Stefania Stolarska (odc. 2)
 1989: Ostatni dzwonek – profesor Mariańska
 1992: Białe małżeństwo – kuzynka Bianki
 1993: Pora na czarownice – Małochowa
 1997: Zaklęta – Justyna
 2001–2002: Marzenia do spełnienia – Krycha
 2011–2013: Głęboka woda – Agata "Terenia" Dobrzyńska (sezon I, odc. 5; sezon II, odc. 5)

Teatr telewizji
Ma na koncie wiele ról w spektaklach teatru telewizji. Zagrała m.in. rolę Aliny w "Balladynie" (1982 r.) i Panny Młodej w "Weselu" (1981 r.)

Dubbing
 1985–1991: Gumisie –
 Ursa,
 kobieta na targu (odc. 17),
 mama Miltona (odc. 56)

Nagrody i odznaczenia
W 1977 roku otrzymała nagrodę za rolę kobiecą w filmie Niedzielne dzieci podczas Festiwalu Filmów Autorskich w Bergamo.

Linki zewnętrzne

Absolwenci Akademii Teatralnej im. Aleksandra Zelwerowicza
Polskie aktorki filmowe
Polskie aktorki teatralne
Urodzeni w 1954
Ludzie urodzeni w Krakowie


Uno The Activist is back, and this time, he's brought the homie Rich The Kid along for the ride. Uniting in an all-white warehouse, the pair frolic about in a relatively straightforward manner, simply basking in the lavish reality of their lives. The simple joys of climbing a mobile staircase, standing on a ladder, and biking with lackadaisical swagger are all present and accounted for. Some nifty computer animation gives the clip futuristic charm, fitting with the sterile layout of the setting.
The clip remains straightforward in nature, yet contains a general feel-good vibe. Perhaps such feelings are bolstered by the delightful synth woodwind and piano arrangement. Either way, it's clear that the bromance between both rappers is strong. For better or worse, they opted for two separate bikes in lieu of the classic two-seater. Peep the clip now, and sound off below.


This weekend down in Austin, Texas, GUZU GALLERY will be hosting an all new music themed exhibit. It's a follow up to last years successful show and it's called "Deep Cuts 2." The concept is simple, they asked each artist participating to pay tribute to a beloved music icon, cult hero or legend in the form of an album-sized screen printed poster.
Each print is uniform in that they are all 12.5″ X 12.5″ prints, (album cover size) and each one will only run you a reasonable $25! Here is what Guzu had to say about the event over on their site.
Austin, Texas…the "Live Music Capital of the World." On any given night you can find live music playing up and down the streets of downtown Austin. Add to this the annual music festivals and rich history of the city's music scene and you begin to understand where Austin gets its well-deserved moniker. This fall, we pay homage to our hometown's strong musical tradition with a sequel to last year's successful music-themed art show, Deep Cuts.
If you are in the Austin area, the opening reception is Friday, September 26th from 7-10PM and the exhibit will remain on display until October 20th. For those of you that can't make it to the gallery, artwork will be available on the official GUZU GALLERY STORE beginning Monday, September 29th around Noon CST.
This entry was posted in Event, Music, Posters and tagged David Bowie, Deep Cuts 2, Guzu Gallery, Joy Division, music tribute, NIN, Sal Gabriel, The Misfits. Bookmark the permalink.


Hi I'm new here & wanted to say HELLO to everyone!
I'm glad you're still penniless - while I make Money giving away this FREE ebook!
I hope you will have a nice time here at XavierForum.com.
Hello, Also i am new here. I want to share my views with all of you.


Join us for this post brunch, Sunday funday afternoon workshop in celebration of three of Dani's favorite things... cookies, bubbles & besties! Learn how to ice 4 of our current favorite cookies while sipping coffee or bubbly with your besties! In this class we will ice a house heart, a champagne, a peace sign and the sloth. As in all of our cookie workshops, Dani provides a step by step "how to ice" demonstration of each cookie, then each participant decorates their own version. Icing, decorating candy and all supplies included.
Participants take home a box of cookies they decorated. Ages 16 and up welcome. BYOB welcome for those 21 and up. Our cafe will be open serving coffee, hot chocolate and cookies. Registration for this event will close Wednesday, March 20th. 12 spaces available.
We are happy to accomodate any cookie and/or cookie decorating kit pre-orders. Please contact us.
Cookie Allergy Disclaimer: Sweet Dani B cookies are preservative free and are baked with the freshest ingredients... butter, eggs, sugar, flour, and a few secret ingredients that make them extra yummy. Our recipe does not include nuts but our cookies and icing are made in a kitchen where nuts are present. In the workshop we will be using various candies to decorate our cookies as well as royal icing which is made with sugar and meringue powder.
Seating in this workshop is for paid ticket holders only. Due to our limited capacity, we can not acommodate any extra guests. If you are bringing a child to our Galentine workshop, we ask that you participate with them.
Timing Please arive 5 to 10 minutes before class. Due to our limited capacity, we can not acommodate any earlier arrivals.
Photo Release: We take lots of photos in our workshops. Please let us know if you prefer not to be photographed.
Parking: Parking in Asbury Park is pay at the meter parking. You can also download the ASBURY PARK app.
Dining In the Area: If you are attending this cookie workshop and would like to grab a post cookie workshop bite do not miss the deliciousness of the restaurants in Asbury Park! There are many restaurants in walking distance to our shop, and others that are just a 5 minute drive away. Email us for brunch recomendations! We have many!
Refunds: Due to limited seating and the individual prep work required for each cookie icer in attendance, our cookie workshops are non-refundable. If you are unable to attend, you are more than welcome to transfer your seat to someone else. In some cases, we can pack up your cookies to go for you to DIY at home as an alternate option to transferring your seat, but we are otherwise not be able to offer refunds. Let us know if you are unable to attend a workshop you have registered for and we can discuss options.


JoyAmaze® Hartwéll™: Rich in fibers. Delicious in taste.
Dietary Fibers from vegetable and fruit such as tomato, carrot, beetroot and lemon are both soluble and insoluble. Human body benefit most when they consume different variety of high-fiber foods as each type of natural produce contains different amount and types of fibers to support overall health, not just the digestive system.
Insoluble fibers could not be broken down by the digestive system, or may just partly digested by certain bacteria in the gut. This type of fibers promotes the movement of food through your digestive system and increases stool bulk to prevent constipation.
Soluble fibers. This type of fibers dissolves in water to form a gel-like substance. Lemon and berries such as elderberry, blackcurrant, strawberry, hawthorn berry, blueberry, raspberry are rich in soluble fibers and is important in helping to lower blood cholesterol and glucose levels. The fibers sourced from a variety of berries also has been proven to hinder cardiovascular diseases, if taken daily. Hawthorn berry is also discovered to able to lower blood pressure in people with diabetes.
Prebiotics are non-digested fibers, selective fermented by probiotics, the intestinal-dwelling good bacteria in specific parts of the colon. It selectively stimulates the growth or activity of probiotics in the digestive system, help the body to maintain a healthy amount of gastrointestinal microflora, their functions, and the efficiency of the digestive system.
Maltodextrin is a soluble fiber, usually from corn or wheat and sometimes used as a sugar substitute. It helps maintain bowel movement regularity, therefore help prevent constipation. It also helps optimize the blood glucose level and insulin level.
Inulin is a type of soluble fiber and acts as prebiotic, feeding and boosting the number of the intestine-dwelling beneficial bacteria and halt the growth of the harmful ones. Maintaining the optimum level of beneficial bacteria is important as they involve in the production of B vitamins and produce acids such as lactic and acetic acids to maintain the acidity of the intestinal environment.
Inulin can supply the body some energy as it contains more than ¼ of food energy of carbohydrate. This fiber is also important to help the body absorbs important minerals – calcium and magnesium.
It is important to note that inulin can cause bloating and stomach discomfort in some people, therefore it is advisable to introduce the fiber gradually in daily diets.
Isomalto-ologosaccharides (IMO) is a soluble fiber, stimulates and promotes growth of Bifidobacterium and Lactobacilli known as the good bacteria, inhibit the growth of pathogenic (bad) organisms in the large intestine. This improves the environment of intestinal microflora which the lower risk of infections and diarrhea, and may lead to improvement of immune system response.
Short chain fatty acids production through fermentation of IMO has been shown to promote calcium and phosphorus absorption in the intestine. The uptake of calcium and magnesium is crucial to build strong bone structure.
Barley Beta-glucan nearly mirrors oat beta-glucan in its cholesterol and lipids lowering effects, providing protection from heart related disease. And just like oat beta glucan, barley beta glucan is approved by US FDA to be use for reducing blood sugar level. Most importantly, even when consumed in high doses, this fiber is safe and non-toxic to the body.