In this week's Abundance Insider: Self-driving Singapore taxis, a solution to Wi-Fi spectrum crunch, and autonomous soft robots without electronics.
What it is: Singapore officially hosted the first self-driving small-scale taxi fleet offered free to the public, thanks to a company called nuTonomy -- beating Uber's plan to debut in Pittsburgh next month. NuTonomy plans to grow its mini fleet of six into a fully functioning, autonomous fleet by 2018, with the hope that urban cities around the world adopt its model and ultimately help decongest overcrowded urban roads.
What it is: In a few days, becoming a commercial drone pilot will be almost as easy as getting a driver's license. Technically, the public has been able to commercially fly drones since 2014 with an exemption from the Federal Aviation Administration; however, the new federal rules remove this restriction and enable licensed drone pilots to execute a much wider range of personal and commercial applications. The FAA's new mandate also highlights the drone specifications required for flight, including weight, altitude, flight zoning limitations and drone proximity to crowds. "The vast majority of commercial uses that we can think of fall into that space perfectly," says Chris Anderson, CEO of drone manufacturer 3DR, to MIT Technology Review. "It's a nice alignment between what's safe, what the FAA feels is an easy thing to do now, and what's commercially attractive."
What it is: Researchers at MIT's Computer Science and Artificial Intelligence Laboratory have created a new Wi-Fi system that solves a critical issue: spectrum crunch. This phenomenon occurs when Wi-Fi signals interfere with each other in a restricted environment -- for example, you're at a football stadium for a game, and your smartphone data speed is unusably slow. At the heart of the MegaMIMO system (short for Multiple Input, Multiple Output) is an algorithm that helps routers transmit data on the same wireless spectrum with minimal signal interference. The system performs up to 10 times better than traditional Wi-Fi setups in high-traffic conditions.
What it is: Aloft Hotels recently rolled out the first voice-activated hotel room. Now guests can adjust their room's temperatures, turn lights on and off, and request services using their voice. Behind the scenes, Aloft's app, Apple's Homekit and Siri work together to carry out all commands preceded by a familiar phrase to iOS users: "Hey Siri."
What it is: Ph.D researcher Mehzeb Chowdhury from Durham University in the U.K. hopes to modernize the way jurors evaluate a physical crime scene with his NASA-inspired MABMAT rover. The $400 robotic imaging system uses open-source software, two inexpensive microcontroller boards, Arduino and Raspberry Pi to capture high-res, 360-degree footage of a scene. Jurors can play and interact with the resulting VR footage on smartphones using Google Cardboard or any standalone VR headset.
What it is: Researchers at Harvard University have just released the first autonomous soft robot, dubbed the Octobot due to its resemblance to the sea animal. The robot is completely chemically powered: its pneumatic-based system is fueled by hydrogen peroxide, and a microfluidic logic base governs the robot's critical chemical reaction. As the hydrogen peroxide decomposes into gas, it triggers actuators, which regulate the flow of gas and fluid to inflate the robot's arms.
What it is: Smartphone apps are making strides to help improve the ease and reduce the cost for people to get better vision. With advanced technology systems and smartphone add-ons, a few key companies are helping people "see" with the assistance of their phones. This Fast Company article features the top players and their innovations.
What it is: Silicon Valley may be competing against the Midwest to maintain its tech dominance. This Venture Beat article shares two key data points on the future of the Midwestern United States: entrepreneurs are building more billion-dollar startups in the Midwest today than in the past 50 years, and more computer science degrees come from the Midwest than any other region or country in the world.
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text:
Mother and uncle of fatally beaten boy held without bail
DAVID DISHNEAU Associated Press
The mother and uncle of a 9-year-old boy who police say was fatally beaten over a missing birthday cake have been ordered held without bail.Twenty-six-year-old Oriana Garcia and her 23-year-old brother Jacob Barajas appeared in court Wednesday afternoon in Hagerstown. They were charged Monday with second-degree murder and first-degree child abuse in the death of Jack Garcia. Police say Jack was beaten by Garcia's boyfriend, Robert Wilson, June 30 after Barajas handcuffed the boy. Barajas told police Wilson suspected Jack of stealing a birthday cake belonging to Wilson's daughter. The boy died five days later. Police say Garcia approved of harsh discipline for Jack. And they say she delayed his care for hours by sending away an ambulance.(This story will be updated. A previous report by the Associated Press from July 14 appears below.)____________________________A 9-year-old boy who was fatally beaten over a missing birthday cake had been handcuffed for up to three hours a day for a week before the deadly assault, according to court records released Tuesday in Maryland.A doctor who examined Jack Garcia before the boy died concluded his head injuries and extensive bruising came from numerous beatings and were consistent with torture, police said. Jack Garcia's mother, Oriana Iris Garcia, 26, approved of her boyfriend and brother handcuffing her son because "she was trying to teach Jack not to steal," Hagerstown Police Detective Shane Blankenship wrote in charging documents. The boyfriend, Robert Leroy "Roy" Wilson, 30, also disciplined Jack by slapping him in the head, boxing with him with padded gloves and hitting him in the leg with a bamboo sword, Garcia's brother Jacob Andrew Barajas told police. Barajas, 23, said all three adults also made Jack eat food he had stolen "until he was sick of it," and "used exercise to help Jack focus better," the court records say. They all lived in the apartment where Jack was assaulted June 30. He died July 5. The documents detail second-degree murder and first-degree child-abuse charges against Garcia and Barajas. They were arrested Monday by police who say they had been preparing to leave town. Bail for each is set at $5 million. Neither has a defense attorney listed in court records. They told investigators that Wilson inflicted the fatal injuries after Barajas had handcuffed Jack because he was suspected of stealing a cake belonging to Wilson's 2-year-old daughter. Wilson is being held on assault and child-abuse charges that were leveled before the boy died. His bail is set at $1 million. Wilson's public defender, Joshua Street, didn't immediately return a phone call Tuesday from The Associated Press. Jack's uncle told police that after the boy went unconscious from the beating, he placed him in a seated position on the floor and handcuffed him behind his back to a dining-room chair, using a bicycle lock as an additional restraint. Then, after Wilson went to get Garcia from her job at a Ross Dress for Less store, Barajas called 911 to say Jack was having trouble breathing. When the paramedics arrived, Garcia sent them away, saying the boy was only "congested" and didn't need medical attention -- even though he was still unconscious, police say. The boy's mother told police Jack began "fading in and out" but not talking, so she tried to give him water. But she became alarmed when he started gurgling with every breath, so Wilson called 911 at 10:37 p.m., more than five hours after the first 911 call. Paramedics wanted him airlifted to Children's National Medical Center in Washington but foul weather delayed the flight. He was taken to a local hospital and transferred to the Washington hospital sometime after midnight. The allegation that Garcia was complicit in Jack's beating didn't ring true to her former boyfriend, Daniel Fletcher. "She was a loving mother," Fletcher said in an interview outside the apartment. He said Garcia favored time-outs over corporal punishment when they were together because she had read that physical punishment can make a child more aggressive. Fletcher suggested Garcia must not have known how seriously Jack was hurt when she sent the ambulance away. "I don't believe for a second she would have sent them away, knowing that he was in peril, that he was injured the way he was," he said. Fletcher, 35, a market researcher now living in Orem, Utah, said he lived with Garcia and Jack for five years in Arizona and in Goleta, California, before she met Wilson online and moved in late February to Davis' apartment in Hagerstown. Fletcher said he flew to Maryland Saturday for Jack's funeral. "He wasn't my boy but he was pretty much the only son I had," Fletcher said.
HAGERSTOWN, Md. —
The mother and uncle of a 9-year-old boy who police say was fatally beaten over a missing birthday cake have been ordered held without bail.
Twenty-six-year-old Oriana Garcia and her 23-year-old brother Jacob Barajas appeared in court Wednesday afternoon in Hagerstown.
They were charged Monday with second-degree murder and first-degree child abuse in the death of Jack Garcia.
Police say Jack was beaten by Garcia's boyfriend, Robert Wilson, June 30 after Barajas handcuffed the boy. Barajas told police Wilson suspected Jack of stealing a birthday cake belonging to Wilson's daughter. The boy died five days later.
Police say Garcia approved of harsh discipline for Jack. And they say she delayed his care for hours by sending away an ambulance.
(This story will be updated. A previous report by the Associated Press from July 14 appears below.)
A 9-year-old boy who was fatally beaten over a missing birthday cake had been handcuffed for up to three hours a day for a week before the deadly assault, according to court records released Tuesday in Maryland.
A doctor who examined Jack Garcia before the boy died concluded his head injuries and extensive bruising came from numerous beatings and were consistent with torture, police said.
Jack Garcia's mother, Oriana Iris Garcia, 26, approved of her boyfriend and brother handcuffing her son because "she was trying to teach Jack not to steal," Hagerstown Police Detective Shane Blankenship wrote in charging documents.
The boyfriend, Robert Leroy "Roy" Wilson, 30, also disciplined Jack by slapping him in the head, boxing with him with padded gloves and hitting him in the leg with a bamboo sword, Garcia's brother Jacob Andrew Barajas told police.
Barajas, 23, said all three adults also made Jack eat food he had stolen "until he was sick of it," and "used exercise to help Jack focus better," the court records say.
They all lived in the apartment where Jack was assaulted June 30. He died July 5.
The documents detail second-degree murder and first-degree child-abuse charges against Garcia and Barajas. They were arrested Monday by police who say they had been preparing to leave town. Bail for each is set at $5 million. Neither has a defense attorney listed in court records.
They told investigators that Wilson inflicted the fatal injuries after Barajas had handcuffed Jack because he was suspected of stealing a cake belonging to Wilson's 2-year-old daughter.
Wilson is being held on assault and child-abuse charges that were leveled before the boy died. His bail is set at $1 million. Wilson's public defender, Joshua Street, didn't immediately return a phone call Tuesday from The Associated Press.
Jack's uncle told police that after the boy went unconscious from the beating, he placed him in a seated position on the floor and handcuffed him behind his back to a dining-room chair, using a bicycle lock as an additional restraint. Then, after Wilson went to get Garcia from her job at a Ross Dress for Less store, Barajas called 911 to say Jack was having trouble breathing.
When the paramedics arrived, Garcia sent them away, saying the boy was only "congested" and didn't need medical attention -- even though he was still unconscious, police say.
The boy's mother told police Jack began "fading in and out" but not talking, so she tried to give him water. But she became alarmed when he started gurgling with every breath, so Wilson called 911 at 10:37 p.m., more than five hours after the first 911 call.
Paramedics wanted him airlifted to Children's National Medical Center in Washington but foul weather delayed the flight. He was taken to a local hospital and transferred to the Washington hospital sometime after midnight.
The allegation that Garcia was complicit in Jack's beating didn't ring true to her former boyfriend, Daniel Fletcher.
"She was a loving mother," Fletcher said in an interview outside the apartment.
He said Garcia favored time-outs over corporal punishment when they were together because she had read that physical punishment can make a child more aggressive.
Fletcher suggested Garcia must not have known how seriously Jack was hurt when she sent the ambulance away.
"I don't believe for a second she would have sent them away, knowing that he was in peril, that he was injured the way he was," he said.
Fletcher, 35, a market researcher now living in Orem, Utah, said he lived with Garcia and Jack for five years in Arizona and in Goleta, California, before she met Wilson online and moved in late February to Davis' apartment in Hagerstown.
Fletcher said he flew to Maryland Saturday for Jack's funeral.
"He wasn't my boy but he was pretty much the only son I had," Fletcher said.

redpajama_set_name: RedPajamaCommonCrawl


text:
Ambrose a two-year commitment for Penske
> Misc > Featured
By Stefan Bartholomaeus
Friday 27th February, 2015 - 5:56pm
Roger Penske and Team Penske president Tim Cindric track Marcos Ambrose's progress from the team garage
Roger Penske has underlined his belief that Marcos Ambrose will prove a competitive force in his second V8 Supercars career, revealing that DJR Team Penske holds a two-year contract with the Australian.
Penske addressed media at today's Clipsal 500 Adelaide, which marks his first visit to a V8 Supercars event since taking a 51 percent stake in the new DJRTP joint venture.
The American racing and business giant arrived at the circuit to see Ambrose qualify 24th in the 25 car field for both of Saturday's races.
Admitting that Team Penske's reputation is on the line with its V8 Supercars effort, Penske stressed a need for patience during what he terms a learning year for both team and driver.
"With the commitment that these other teams and drivers have, you just can't walk in (and win)," noted Penske when asked of his faith in Ambrose.
Penske outlined modest short-term goals for the team as the American side of the operation learns the intricacies of the championship.
"We'd like to be in the top half by the end of the season," he said.
"I know that Marcos, his learning curve is still like this (steep) and we as a team are doing exactly the same thing.
"I don't want people leaving here today thinking that we are thinking we'll be on the podium every weekend. That's simply not going to be the case.
"But we want to be a first class team. We're here to compete and I can tell you that we will put the tools and the people together to try and be a winner over the next couple of years."
"This isn't a short term stay I can tell you that," continued Penske.
"If you look at our history, over the years each series we've gotten into we've stayed there.
"We've had good success obviously this past weekend at Daytona, but that's because we started with a group of guys that wanted to win.
"We don't have anything special. We have the same car everyone else does and it isn't money that you come to racing with. I've seen for 50 years that's not what it takes.
"It takes the people and that's what we're going to try and develop here over the next several years as we try and compete in this sport."
Whether the team returns to a two-car format next year is not expected to be decided for several months.
The squad is operating without factory backing; a situation that appears unlikely to change before further clarity is provided on V8 Supercars 2017 rule package.
Penske hinted at the possibility of fielding wildcards at this year's endurance races, but won't go back to two cars full-time unless it makes business sense.
"I think that before we run two cars, we need to understand the magnitude of the challenge and the competitive landscape here in V8 Supercars," he said.
"To me we can focus more on one driver and one team. Remember this is melding two organisations together.
"I said to Dick (Johnson), 'as much as we want to run two, we'll have endurance races where we can have two cars'.
"But at this particular time it's one car. It's funded properly with a good driver and we're building a great team.
"It's about the way we do business. We didn't come here with a steamroller, we came here with a car and a driver to try and compete fairly and squarely.
"Our reputation is on the line and that's what I like about it. Nobody gives you these wins. You've got to earn it. And that's what we're going to try and do here."
Ambrose will start both Saturday races in 24th place


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In a bold display of a commitment to objective journalism and solidarity with an NBR journalist, today has seen a landslide of journalists and media companies withdraw entries from the EY Business Journalism Awards after a badly handled conflict of interest.
The awards acknowledge achievement and promote career success for individuals and raise the profile of journalism in helping to build trust and confidence in the markets. However, it's done little to build trust and confidence in its own practices after it disqualified an NBR article that was critical of one of EY's clients.
NBR editor Duncan Bridgeman took to the keyboard this morning to explain a story by its journalist Karyn Scherer exposed "questionable sales tactics and dodgy accounting at photocopier and printing company Fuji Xerox New Zealand"—which was one of EY's audit clients. With such a conflict of interest, the story was disqualified.
With NZ Listener journalist and judge Rebecca Macfie's suggestion that the two EY judges simply remove themselves from the judging ignored, she was prompted to resign.
"If I'm invited to be a judge and assess the work of journalists on the quality of their journalism and their investigation and their writing and find that a story can't be included or judged on its merits because of internal commercial conflicts it was pretty straight forward for me, I couldn't be a part of that," she told NBR.
Macfie shared the judging panel with EY chairman Alan Judge, former EY Australasia managing partner Rob McLeod and New Zealand Initiative chairman Roger Partridge. It's understood they have not followed in Macfie's footsteps.
The NBR has show solidarity with its journalist by withdrawing all entries from the awards.
"With the awards tainted by the disqualification, NBR cannot participate further and has decided to withdraw from the competition," said Bridgeman.
Since NBR's decision, media organisations and journalists have one by one been following suit and this afternoon.
The announcement was quickly endorsed Herald investigations reporter Matt Nippert, who is a former winner and was a nominee this year.
As a winner at these awards in the past, nominated again this year, I wholeheartedly support NZ Heralds withdrawal. https://t.co/JmvwOt4eNE.
Fairfax Media New Zealand also joined the boycott later in the day, similarly pulling all its entries.
Anusha Bradley had also heard enough to make up her mind to withdraw her entry after speaking to Macfie. The senior journalist at Radio New Zealand tweeted her decision.
The tweet suggests judging across a number of awards is at risk of being influenced but from what we've seen today, entrants are not going to stand for it.
Corporate money may have a growing role in journalism as a funding solution, however, journalists are resistant to it infiltrating editorial stories so much so that sponsored content-type labelling has become common practice to allow a separation between what has and has not been influenced. This is evident in other media awards, like the Magazine Publishers Association Awards which acknowledges the advancements in journalism with separate ' Best Content Marketing Campaign' and 'Best Owner Media/Custom Publishing' categories while recognising strong editorial-driven work throughout the rest.
And while the EY Business Journalism Awards has done itself an injustice, New Zealand journalists have proven their commitment to objectivity and recognition of quality journalism.
Some of the criteria the awards recognise are fairness and balance, and exposure of a secret or wrongdoing and with today's events, it's clear that's a priority of this country's journalists and media companies.
Should there be any entries left, the awards will be held on 31 August and category winners will receive a cash prize of $1000.


I was in Los Angeles a few weeks ago for WWE's SummerSlam pay-per-view. It was a big trip for me because now I've attended all four of WWE's legendary shows, a goal I made for myself when I was a kid. It took me 24 years but I finally did it.
I was particularly excited for this one because SummerSlam has always been one of my favorites. I have a lot of great memories dating all the way back to when Miss Elizabeth helped the Mega-Powers defeat the Mega-Bucks in 1988 (by ripping off her skirt, no less).
For a long time my favorite moment was when Randy Savage married his longtime sweetheart Miss Elizabeth in 1991. Oooh yeah! (Yes I know they were married in real life, and soon divorced…) Macho and Liz will always be my favorite pair, and I've always loved televised wrestling weddings for some reason, so this was really special.
I never thought this moment would be topped because I never thought a female performer could mean more to me than Miss Elizabeth. But then during SummerSlam 2008, after Beth Phoenix and her partner Santino Morella won their respective titles in a mixed gender match, Beth scooped him up and carried him all the way to the locker room. And, to my amazement, she carried me right along with her.
At that time I had actually taken a break from wrestling because of other commitments. But my friend convinced me to watch, and during the mixed gender match my first reaction was "what a waste of time". Next thing you know Beth hits the Glam Slam, and I thought "hmmm…interesting".
As disappointed as I was that night, I was very excited because I CARED about pro wrestling again. Wrestling is really fun when you care about the characters. Match results come and go, but the characters themselves endure. I started watching WWE in 1985 and I've gone through phases where I ignored the programming (college, work, marriage, and kids will do that to you). Now I was excited about wrestling again. I owe that all to Beth.
Since I was going to be in attendance this year I was hoping for a new favorite SummerSlam moment. That didn't happen because there was no real Divas action to speak of (no, I'm not counting dancing with Kevin Rudolph). AJ's role is great, and Aksana, Eve, and the Funkadactyls get some screen time, but the role of women has changed since Miss Elizabeth escorted the "Macho Man" to the ring. Now I expect women to settle their differences in the ring. So what I really wanted at SummerSlam was some actual wrestling!
The girls were involved in the Axxess sessions and autograph signings all weekend, but to not include any of them in SummerSlam, especially the Divas champion, hurts the credibility of the division. Layla will defend against Kaitlyn at "Night of Champions", but those shows eventually get swept away by history. SummerSlam was a missed opportunity because you never know when a showcase match will make a big impact on someone in the WWE Universe. I'm proof of that.
← Previous Story AS I SEE IT – The Scariest Night in Wrestling History?


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text:
Q: How to initialize this array in a clean way? I am trying to initialize this array in C++ :
C++
#include<iostream>
using namespace std;

int main(){
int arr[100];
int i = 10;
    while(i){
        cin >> arr[--i];
    }
return 0;
}

This initializes the array perfectly, but it returns a negative status. How can I solve it?

A: The status code means the program didn't get to the last line of your main() function (where it should be return 0), but got killed instead. I guess you just stopped it with CTRL+C.

redpajama_set_name: RedPajamaStackExchange


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General Wade Eiling
General Wade Eiling, sometimes known as The General, is a villain who appears in comics published by DC Comics.
He first appeared in Captain Atom #1 (March 1987), and was created by Cary Bates and Pat Broderick.
Fictional character biography
Wade Eiling is a military tactician who blackmails the accused Nathaniel Adam into participating in the atomic experiment that turns Nathaniel into the nuclear being Captain Atom, and causes Adam to disappear for 18 years. This is considered a failure by Eiling and Heinrich Megala, the project's main scientist. They would attempt the experiment again, which ends up with the creation of Major Force.
During the 18 years in which Adam is gone, Eiling marries Adam's wife and acts as father to his two children. Eiling also manipulates Captain Atom into serving the military. His first attempts, a chance for Adam to view his children in exchange for retrieving a lost submarine, falls apart in issue #3 of the 1980s Captain Atom series. This embarrasses Eiling in front of his superiors. The same issue details the cover story for Captain Atom that Eiling helps create, one that is, in his words, "a scenario just far-fetched and hokey enough to sound authentic". His continuing conflicts with the title character were a major focus of the 1980s Captain Atom series. Eiling would also form an intensely adversarial relationship with Megala.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/General_Wade_Eiling
Field Marshal George Wade PC (1673 – 14 March 1748) was a British Army officer who served in the Nine Years' War, War of the Spanish Succession, Jacobite rising of 1715 and War of the Quadruple Alliance before leading the construction of barracks, bridges and proper roads in Scotland. He went on to be a military commander during the War of the Austrian Succession and Commander-in-Chief of the Forces during the Jacobite rising of 1745.
He is perhaps best remembered today for his destruction of many miles of Hadrian's Wall to the west of Newcastle upon Tyne, flattening it and using its foundations as the core of his Military Road in Northumberland. This was a response to the Jacobite rising of 1745.
Born the son of Jerome Wade in Killavally, Westmeath in Ireland, Wade was commissioned into the Earl of Bath's Regiment on 26 December 1690 and served in Flanders in 1692, fighting at the Battle of Steenkerque in August 1692 during the Nine Years' War and earning a promotion to lieutenant on 10 February 1693. He transferred to Sir Bevil Granville's Regiment on 19 April 1694 and was promoted to captain on 13 June 1695.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/George_Wade
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Dexter reboot casts The Flash star as its main villain
Digital Spy 06 Jan 2021
A veteran of the screen, he's known to fans of The Flash as General Wade Eiling and has starred in ......


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Don't shoot the violinist
Huddersfield Contemporary Music Festival 2010
Reviewed in the Times Literary Supplement, December 17
Until relatively recently, the music of Enno Poppe was not well known in this country, but it has been a regular fixture at Huddersfield since Graham McKenzie became director of the Contemporary Music Festival in 2006. Poppe's profile maps neatly onto McKenzie's programming ambitions, which have been both to embrace elements of the experimental fringe, with its emphasis on sound art and visual display, and to strengthen connections with the ascendant generation of composers from Northern Europe. Drawing on his education in composition at the Hochschule der Künste in Berlin, and in electroacoustic, synthetic and algorhythmic techniques at the city's Technische Universität, Poppe, now forty-one, has assembled a diverse catalogue, ranging from tightly knit, process-driven works – often with pithy, suggestive titles, such as "Rad" and "Herz" - to more expansive pieces for larger ensembles. Interzone, a multimedia concoction based on the sheaf of writings by William Burroughs which bears the same name, is probably his most ambitious work to date. Since hearing its first performance at the Berliner Festspiele in 2004, McKenzie has wanted to bring it to Britain.
Interzone opened proceedings with a single performance in Bates Mill, a former textile warehouse which, despite a noisy heating system and ankle-snapping draughts, has become one of the festival's best venues. It has taken McKenzie four years to arrange this performance, and no wonder, for in addition to the twelve-strong force of Ensemble Mosaik the work requires five vocal soloists, a further speaking and singing voice part, an elaborate electro-acoustic rig with a battery of carefully positioned speakers, and two sets of paired projection screens controlled by the video artist, Anne Quirynen, and a technician.
The room buzzes with electrical and nervous energy. The first thing we hear, however, is a disconcertingly understated voice, coming from a figure on one of the screens: "Like Spain, I am bound to the past", it begins, without a hint of the mock grandeur of Burroughs's opening, the diction pared to the bone. "One morning you wake up and notice: this is the day you see through compound eyes. It takes some time to realize: you may or may not close your eyes, but there is no way back."
Burroughs derived the word "interzone" from the international zone in Tangiers, where he lived in the 1950s, and used it for a collection of writings, some of which found their way into his first novel Naked Lunch (1959). Although Tangiers itself figures in the text (which has been adapted into an English and German libretto by Marcel Beyer) and in Quirynen's multilayered films, Poppe's notion of Interzone is more concerned with cities in general and what the composer calls "interstices" – the kinds of perceptual thresholds which are most readily experienced when we find ourselves lost in an urban environment. Quirynen's collaged cinematography is appropriately restless, so that although streets and buildings can be made out as streets and buildings, our recognition of them is never allowed to stabilize. Signs of life appear, recede and reappear, leading to the two final scenes in a Tangiers souk and by a war-damaged wall. In both, our attention is drawn to central female figures, to whom clear visual and emotional access is blocked. We cling to fragments of facial expressions, our ability to sympathize and to identify thoroughly dismantled.
Poppe's music follows the same design of bewildering collage, but each episode is painstakingly conceived. As in his other compositions, Poppe works by establishing and breaking patterns, using precisely articulated rhythmic motifs alongside and within areas of colour and timbre that vary from ghostly, semi-wordless voices to the swirl of a recorded electronic track. The ensemble is biased towards single reed instruments, with three clarinets and two saxophones, making for an eerily unbalanced sound that softens when broadened out by accordion, horn and flute. The Algerian setting is referred to by a reedy muezzin motif, the microtonal structure of which is absorbed into the overall harmonic spectrum; though dense and complex, the musical language is rarely dissonant, more usually simply amorphous. As with the video, the final two episodes, which consist of a violent frenzy of reeds and percussion followed by a luminous duet for soprano and saxophone, gesture towards an emotional climax – although the emotion, oscillating between fear and desire, is hard to pin down. Poppe had not conducted Interzone himself before this year, but his lead in Hudderfield was impressively clear. And in a work in which everything seems to wrestle with its opposite, his gangly figure, with its mop of red hair and apparently elongated arms, made for a striking visual antidote to the brightly lit and immaculately composed Omar Ebrahim, the narrator on stage and on film.
If much of Western music, with its studied culture of close listening to harmonic and thematic "argument", may be considered in terms of the sense of individual power and common freedom won by its audience, then Interzone can perhaps be approached as a study of powerlessness, of our failure to grasp phenomenal particulars. By turns aggressive and seductive, Poppe and Quirynen's audio-visual conjuring of "compound eyes" is a tour de force. And though it may be too soon to call this Interzone a masterpiece, the sense of its having forced entry to an aesthetic sphere from which, as Burroughs put it, "there is no way back", is palpable. At the very least, it should provide a beacon for composers and audiences who wish to see video technology abetting rather than obstructing artistic intention.
Power relationships of a different kind were explored in a concert given later the same evening by the Bozzini Quartet, in which the first two quartets by the German- Argentine composer Mauricio Kagel (1931–2008) were interspersed with two works by the Irish composer Jennifer Walshe. Both Walshe's "blurt", from 1997, and the newly composed "Marlowe S", begin where Kagel leaves off in his inside-out approach to the genre. The Kagel pieces – from the mid- 1960s – unravel the performance and conversational gestures at the heart of quartet playing, and call for a range of extended techniques, the musicians occasionally exchanging bows for knitting needles and serrated wooden rods. But Walshe's two pieces raise the stakes further by turning musical performance into theatrical psychodrama. The four instrumentalists are required to enter at different times, experiment with different seats and also to interfere with, or assist, each other's playing. The cellist has the most fun, turning her instrument upside down before eventually pointing a gun at the first violinist – with an added frisson lent by the fact that, in this case, the cellist and violinist happen to be married. Though more performance art than music, Kagel's now dated idiom and Walshe's spry contemporary spin were given the full benefit of the doubt by the Bozzini's customarily spirited delivery. The concert made an interesting counterpoint to the festival's other main string quartet concert, in which the Arditti Quartet performed Brian Ferneyhough's latest essay in the genre.
The Ardittis have been responsible for the premieres of each of Ferneyhough's six string quartets. The latest, which was given its first performance in Donaueschingen a month before coming to Huddersfield, contained some surprises: its supersaturated expressivity and tangled polyphony yielded moments of stasis and even the occasional consonance. The problem was that you would barely have known it from the performance. So fluent have the Arditti Quartet become in taming the virtuosic heights of composers like Ferneyhough, that they often appear to skate over the music's purposefully abrasive surfaces. The result is that the expressive intensity and technical density so highly prized in high modernist circles, on account of these qualities' supposed resistance to commodifiable fluency, can come to seem almost routine. This becomes a problem when one considers that the Arditti Quartet, with their impeccable pedigree and long record of delivering and setting down definitive accounts of works by Feldman and Xenakis, Lachenmann and Ligeti, necessarily exercise an extraordinary influence over the soundworld and technical vocabulary of the contemporary string quartet.
It was good then, that a second concert, showcasing three parts of an ever-expanding work by the Norwegian violinist and composer Ole-Henrik Moe, showed the quartet at their fearless but committed best. This possibly owed something to the fact that Moe, who intended to appear alongside the quartet in the new, third part of the work, had been taken ill. As a result, the quartet's former second violinist Graeme Jennings, on the strength of a few hours practice and a single rehearsal, stepped in to play the solo part of "Lenger". The new movement has all the players circling around the highest reaches of their instruments in a tremolando so sustained and rapid that even the best technique is put under severe pressure. That pressure, though, achieves a staggering release in the concluding passage, in which static, barely audible chords seem to lift the texture with irresistible force, as if someone has tripped a zero-gravity switch.
Moe is one of a growing number of Scandinavian composers who bring humour to the otherwise fairly serious business of contemporary art music. The presence of the Danish composer Hans Abrahamsen and the Norwegian Rolf Wallin added further to the welcome sense that Huddersfield's winter mists are increasingly dappled by northern lights.
Abrahamsen's Schnee (snow) is a series of intricately structured and textured canons for the Ensemble Recherche. Lasting almost an hour, it is a contemplative work which, like Interzone, makes demands on its performers' sense of rhythm and on audiences trying to follow its closely worked logic. But unlike Poppe's collage, Schnee produces no sense of moody uncertainty. Rather, as the counterpoint weaves between instruments arranged in pairs around a central percussionist, one feels delightfully light-headed. Rolf Wallin's recent work, by mild contrast, seems lighthearted. In a well-sculpted programme given by the London Sinfonietta, three works by Wallin – presented alongside solo pieces by Xenakis and Lachenmann, and Sciarrino's brief "Quintettino" – underlined his stylistic roots as well as his playful originality.
The final pleasure of the festival was Rebecca Saunders's Chroma, written in 2003 for the vast spaces of Tate Modern's Turbine Hall. Saunders deploys her players and instruments – a standard ensemble with piano and several percussion rigs, but also a series of clocks and miniature music-boxes – in such a way that the coincidences of sound articulate and reshape our sense of space, which changes as the players move about the auditorium. Made up of "sound-surface" fragments, Chroma amounts to a four-dimensional jigsaw puzzle. And although a far cry from the austerity of the Turbine Hall, Huddersfield's town hall, with its rich acoustic and (like the music) highly decorated interior, proved an ideal venue. Certainly, the members of the German ensemble musikFabrik appeared to have no difficulty negotiating the tight staircases separating the main hall from the upper galleries. Best of all, they performed Saunders's work twice – very much the icing on the frozen architectural cake.
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The warped and the woof


Jack White's Third Man Records has announce the release of the first three records in its Document Records reissue series. The releases include volume one of the completed recorded works by Charley Patton, Blind Willie McTell and The Mississippi Sheiks. Georgia's Blind Willie McTell is getting the reissue treatment along with the legendary Mississippi Delta bluesman Charley Patton and the 1930's guitar and fiddle group from Bolton, Mississippi – the Mississippi Sheiks. Below, listen to a sampling of songs and watch a video about the series.


These tags attach easily to your items and can double as merchandise labels and price tags. Each tag is made of sturdy 10-pt paper that can withstand repeated handling.
Made of tough 10-pt paper that can endure touching and handling.
Doubles as a merchandise tag and price label.
Plain design is unperforated for customizable use.
size 1 3/4" x 2 7/8"


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Q: How would one create a Clojure Lint? One example of a common Clojure programming error is expecting a lazy expression to be evaluated for side-effects. On the surface it appears checking for unused lazy expressions would be helpful. What would be the best approach to identifying this and other common mistakes? Should the core compiler check for these situations, or should it be the domain of a lint program to detect? What would be a good way to start the implementation?

A: How about:

*

*Multimethods with no :default method

*Missing documentation strings

*In cases where the argument to a function is always the same type, suggesting type hints
on arguments

*Pointing out multiple copies of identical anonymous functions

*Pointing out tail recursion and suggesting restructuring

*Using a macro where a function would suffice

*Unused arguments, especially & rest type arguments

*Where a function will use BigNums
instead of just ints or floating point

Not sure how these checks would be implemented, but they would sure save me from myself a lot of the time.

A: A couple of ideas just to get things started; it could detect lazy code that can never be realized, or point out areas where reflection will be used. Though in general is clojure a little young as a language to express a common set of provable mistakes?


Where do you turn when need someone to 'help me with my homework'? If you are like many students, then you do not know about the many resources available for help. The good news is that if you have landed on this page, you are taking the first step in the right direction toward school success. On this blog, you will find countless tips that can take you from the average struggling student to the top of your class.
Every writer on this blog has been a student at one time. This has given them invaluable experience. Now, they have a goal to pass on this information to students like you—those who want to excel, but who want to keep their sanity about them. Yes, it is possible to hit the books and do everything the way your teacher tells you to earn a grade. However, why should you do that when there are so many newer, more innovative tools and techniques that make success easier?
As you read through this blog, you are learning tips and techniques that will help you find balance in life. You will have more free time, because you now have access to the information that other students wish they would have known as a student. This means when you sit to do your homework, you can complete it more quickly, more successfully, and more easily than before. This will give you free time, so you can enjoy your life while you are young.
As you read through this blog, you are learning tips and techniques that will help you find balance in life. You will have more free time, because you now have access to the information that other students wish they would have known as a student.


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Platon Petrowitsch Beketow (; *  in Simbirsk; †  in Moskau) war ein russischer Verleger.

Leben
Beketow stammte aus einer Familie türkischer Herkunft. Sein Vater Pjotr Afanasjewitsch Beketow war Gutsbesitzer und heiratete in zweiter Ehe die erbberechtigte Tochter Irina Iwanowna (1741–1823) des Millionärs Iwan Semjonowitsch Mjasnikow, wodurch er Besitzer eines riesigen Vermögens wurde. Beketows Onkel Nikita Afanasjewitsch Beketow war Favorit der Kaiserin Elisabeth.

Beketow absolvierte ein Internat in Simbirsk und Kasan zusammen mit seinem Vetter Iwan Iwanowitsch Dmitrijew. Als im Herbst 1773 sich die Armee Jemeljan Iwanowitsch Pugatschows näherte, zog die Familie Beketow nach Moskau. Dort wurde Beketow 1774–1776 weiter im Internat des Professors der Universität Moskau Johann Matthias Schaden ausgebildet wie auch sein entfernter Verwandter Nikolai Michailowitsch Karamsin. Im September 1776 trat Beketow als Sergeant in das Semjonowski-Leibgarderegiment in St. Petersburg ein, das er im Januar 1788 als Premiermajor verließ. 1791 trat er in den Dienst des Heroldsamts des Senats in St. Petersburg.

Ab 1798 lebte Beketow in Moskau, wo er sich für das Sammeln und Herausgeben von Porträts und Büchern begeisterte. 1801 eröffnete er seine eigene Druckerei, die als eine der besten in Moskau galt. Hier wurden Werke russischer Autoren gedruckt, so von Michail Matwejewitsch Cheraskow, Ippolit Fjodorowitsch Bogdanowitsch, Nikolai Iwanowitsch Gneditsch, Wassili Andrejewitsch Schukowski, Denis Iwanowitsch Fonwisin, die er selbst redigierte. 1801 und 1811 gab er trotz Verbots Werke Alexander Nikolajewitsch Radischtschews heraus. Bei seiner Arbeit bemühte sich Beketow, der Vorgehensweise Nikolai Iwanowitsch Nowikows zu folgen.

Beketow stellte sich die Aufgabe, einen Sammelband mit den Porträts der hervorragenden Persönlichkeiten Russlands herauszugeben. Dazu legte er sich eine Sammlung von mehreren Hundert authentischen Porträts in Form von Gemälden und Grafiken an, wobei er keine Kosten scheute. Für die Anfertigung der Druckgrafiken richtete er eine Graveurschule ein, in der unter der Aufsicht des Graveurs Alexei Agapijewitsch Ossipow (1770–1850) eigene und von anderen gekaufte leibeigene Bauern mehr als 300 Druckplatten gravierten. 1801 veröffentlichte er den Pantheon russischer Autoren in Form von 4 Heften mit 5 Porträts pro Seite und Nikolai Michailowitsch Karamsins Text. In den folgenden 20 Jahren bereitete er eine Gesamtausgabe in 4 Teilen mit je 50 Porträts vor. Es erschien jedoch nur der erste Teil, der vom Publikum nicht angenommen und nur in kleiner Auflage gedruckt wurde. Nach Beketows Tod wurde die kostbare Sammlung von 306 Kupferplatten für 8500 Rubel an die Brüder Kirejewski verkauft, die dann auch nur einen kleinen Teil veröffentlichten.

Abgesehen von den Porträts gab Beketow 1810 eine Beschreibung in Ansichten der Feier der Hochzeit Zar Michaels I. mit Jewdokija Lukjanowna Streschnewa 1626 heraus. 1811 wurde Beketow zum Vorsitzenden der Moskauer Gesellschaft für Geschichte und russische Altertümer gewählt.

1812 richtete ein Brand in Beketows Druckerei und auch in seiner Bibliothek und Sammlung große Schäden an. Beketow zog sich darauf in seine Datsche beim Simonow-Kloster am Rande Moskaus zurück, wo er verarmt bis zu seinem Tod lebte. Sein Amt als Vorsitzender der Moskauer Gesellschaft für Geschichte und russische Altertümer nahm er mit großer Tatkraft bis 1823 wahr. Um 1820 bekam er mit einer Leibeigenen einen Sohn, der Alexander Ketow genannt wurde. Beketow gab seinem Sohn eine gute Erziehung. Alexander Ketow lernte das Zeichnen bei Alexander Petrowitsch Nekrassow und das Gravieren in der Graveurschule bei A. A. Ossipow. Ketow liebte die Jagd und durfte in dem Tjufelewa-Hain jagen, der Beketows Schwager Alexander Dmitrijewitsch Balaschow gehörte.

Weblinks

 Katalog der Russischen Nationalbibliothek: Бекетов, Платон Петрович

Einzelnachweise

Verleger (19. Jahrhundert)
Verleger (Russland)
Russe
Geboren 1761
Gestorben 1836
Mann

redpajama_set_name: RedPajamaWikipedia


"DeMolay meant a great deal to me in my late adolescent years in Sanford, Florida. My high school principal, G.E. McKay, guided us in our DeMolay work. Those influences taught me about character, about holding your faith, about truth, and keeping your word. I shall always be grateful to Professor McKay and to DeMolay. I was blessed to have such guidance at such a period in my life. I pray such good influences may come to more and more teenagers today in these troublesome times."


In honor of Nelson Mandela's 100th birthday, the South African choir's "Songs of the Free" tour will feature Mandela's best-loved freedom songs and gospel music, as well as seasonal favorites.
Ready to be inspired? The Soweto Gospel Choir's "Songs of the Free" tour will make a stop at the Regina A. Quick Center for the Arts on December 5 at 8 p.m. for a concert of incredible vocals and uplifting songs in celebration of Nelson Mandela's 100th birthday.
The two-time Grammy Award-winning Soweto Gospel Choir has been spreading joy across the globe for nearly two decades. The group has shared the stage with some of the biggest names in music including U2, the late Aretha Franklin, Stevie Wonder, Robert Plant, Celine Dion, Red Hot Chili Peppers, and Josh Groban. The dynamic choir performs both traditional and contemporary music, adding its unique feel and interpretation to both.
The "Songs of the Free" performance will feature six of South Africa's 11 official languages in songs with rich harmonies, earthy rhythms, a lively four-piece band and a percussion section. The Soweto Gospel Choir is eager to share its uplifting message of hope, faith, and joy with audiences new and old on this special return visit, as they celebrate the legacy of the great Nelson Mandela.
At this performance, and in partnership with the Quick Center, the Fairfield University Student Alumni Association will be collecting new teddy bears and stuffed animals (or monetary donations to purchase the toys) for their 20th Annual Teddy Bears with Love Drive. The students will distribute these gifts to local children's hospitals and charities across the country this holiday season.
Soweto Gospel Choir's "Songs of the Free – A Celebration of Nelson Mandela" is sponsored by the Westport Inn, WPKN, and Morris Media. Tickets are $55, $50 | $35 for Quick Members. For more information or to reserve your seat, visit www.quickcenter.com or call the box office at 203-254-4010 or toll free at 1-877-ARTS-396.
"Songs of the Free — A Celebration of Nelson Mandela"


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SnapThirty
Anime, Manga, Video Games and Pop Culture
Film/Television
SnapSeries
Coming Video Game Attractions
Going Over
Humble Opinions
Humble Anime Opinions
Humble Manga Opinions
Humble Movie Opinions
Humble TV Show Opinions
Humble Video Game Opinions
Anime In Retrospect
Laconically Speaking
Laconically Speaking Anime
Lost in Mistranslation
Season's Writings
Anime Season's Writings
Journey to the West (Of Japan) Travelogue
Waxing Inquisitive
SnapShop
Anime Humble Anime Opinions Humble Movie Opinions Humble Opinions
A Young Girl's Heart – Mary and the Witch's Flower – Humble Opinions
by Kane Bugeja
You're a witch, Mary
Magic is, for lack of a better word, magical. A five letter excuse for people to forget the limitations of the world and let their imaginations run free. No longer confined by the rules of physics, a single being can fly freely through the air and dance flames across their hands. Of course, the human imagination can only stretch so far, inevitably resulting in the misuse of magic, in the creation of an antagonist. But hey, what's an adventure without a bad guy to clock in the jaw? Which may or may not be a literal statement…because magic.
Unless you have been living under a proverbial, or painfully literal, rock for the past few decades, Studio Ghibli is a pair of words you know. Lauded by many as the pinnacle of animation, their film catalogue has a prominent place in many a fan's collection and in many a fan's hearts. But, Studio Ghibli did not make MAry and the Witch's Flower, so why do I remind you of them? Well, Studio Ponoc is a fresh faced company born from employees of the aforementioned Ghibli. Now, whilst I am not the biggest fan of direct comparison, this is not a pedigree marketing wishes you to forget. Not that eagle (or lesser bird) eyed viewers wouldn't notice a striking similarity between the art styles of both studios, which is arguably the selling point of this film. Well, not arguably, it is. Decency compels me to add some level of hesitancy to declarations, but it is fairly clear to see that the visual aspect of this film is the heaviest hitter in its line-up.
It's the only way to travel
From the second the film opens, the Ghibli-cum-Ponoc style is on display. Frenetic flames, strange characters and bursting colours dominate the the prologue. Without even providing a moment to absorb the baseline of the world, an onslaught of visuals resounds, yet never overwhelms. Though certainly odd to see a magical hazmat suit spew forth a flock of flying fish, their appearance produces a sense of delightfully confusing wonder…which becomes only slightly terrifying when they begin to peck(?) at the main(?) character. Even with this uncertain fear and striking visual sequence, a sense of mystery purveys. A series of events led to this in-media-res opening, events that seem rather important considering there are currently two colours of fire currently burning a building to the ground and a witch making a beeline in the opposite direction. Unfortunately, the answers to these questions will not be addressed for quite a while in the film and even then they aren't so much elaborated upon, as they are answered by virtue of how obvious every revelation is.
In leaving the prologue behind, Mary and the Witch's Flower loses a fair amount of momentum. Though Mary's life is intentionally presented as a slow, and decidedly dull, country one, the amount of time spent doing so is a touch excessive and becomes exceedingly moreso as the events that follow unfold. As the film speeds through the actual plot, it becomes more and more apparent that time management is not the film's strong suit. This isn't even only about the "Mary is Bored" opening plotline either, her initial introduction to the world of magic is also rather rushed and, ultimately, pointless. The irony of this film's pacing, however, is that you don't realise it is off until it has already passed by. When first watching Mary's country life, it presented a quaint and charming atmosphere, albeit a little sparse on character, which truly supported the apparent innocuousness of picking a simple flower. Her first arrival at Endor College (the magic place) was free in the zaniest of ways and provided no end of visual elements to gawk at. But afterwards, these feelings left me. Her days in the country seemed to dominate a too large portion of the film, her tour of the school was hollow and quick and neither maintained the weight they once held. Sure, individually they are lovely vignettes that would make anybody smile and get a nice warm feeling in their heart, but together they lack a sense of cohesive storytelling. Which is another unfortunate flaw in this film.
Shot of like a rocket, that raccoon
Though and undeniably pretty film, Mary and the Witch's Flower is an almost unrewardingly simple experience. As I briefly mentioned before, the plot doesn't so much propel itself forward, as it does stumble into the path of least resistance. Depth is traded for rapidity and moments that possess the potential to be poignant are forgotten as soon as they appear. A physical representation of this practice comes in the character of Flanagan. First to greet Mary in the world of magic an a charmingly energetic chap, Flanagan essentially walks Mary into the story proper. However, he exists for little other reason. Despite making it known he could, and seemingly wishes, to teach Mary about handling the broomstick that carried her, he never does. Despite seeming like a friend who will guide Mary through this strange new world, he is given very little screentime following his introduction. Perhaps the worst element left by the wayside, however, is Flanagan's past. Upon reading the number one rule of Endor College, "Tresspassers will be transformed", Flanagan gives a very brief and mournful look. Given that Flanagan is some kind of raccoon man, this implies a rather interesting backstory for this lovably inviting character…which is never again mentioned. There is even a point where some magical transformations are specifically reversed and Flanagan is never brought up. Sure, not every sentence can lead into its own plotline, but this one just seems rather important to forget completely. The antagonists even mention Flanagan by name once, pointlessly connecting him further to the story. And speaking of pointless…
Mary and the Witch's Flower stumbles over the line of world building and pointless information. Did the adults in Mary's life need to be busy in order for her to wander into the forest unattended, allowing her to find the titular bloom? Probably. Did the entire town need to be going to the funeral of the the Mayor? No, definitely not. Why such a big event? Why something so needlessly separate from the storyline? The townsfolk, who tally in at a whopping four, are barely given screentime as it is, her aunt could've simply told Mary to enjoy her day seeing the town and the plot would have unfolded normally. IS this nitpicking on my end? Most likely, but the film just accrues the little blighters and they become increasingly hard to ignore. Like the fact that Mary's likeness to the witch in the prologue is never mentioned once, made even more egregious by the apparent rarity and legendary status of witches who sport red hair. Or the fact that, after sneaking into the antagonist's lair towards the film's climax, Mary simply walks around in the open, the villains never trying to stop her. Plenty of other inconsistencies plague the film, however they are on a scale of increasing minuteness and I am honestly bumming myself out. I want to like the film, and to a certain extent I do, but there are just all kinds of details that hold it back.
A truly troubling body of water
Ia I had to use one word to describe Mary and the Witch's Flower (which I clearly don't), it would be charming. Despite my snowballing complaints, this is a fun film that never ceases to impress your eyes. Even the sandwich Mary eats for lunch looks good. However, if you come into this film looking for a simple, yet sharply written story of adventure and growth, you will be disappointed. Mary begins the film as a helpful, compassionate girl whose only flaw is her rashness. However, that very same rashness is what enables her to save the day and is even noted by her aunt as her most endearing feature. Even Peter, the other child in the film, remains constant throughout, beginning and ending the story as a sweet boy who works around town to help his mother make ends meet. Mary's aunt remains remarkably dull, the gardener Zebedee (which is the coolest name ever) continues to garden and the antagonists are never hinted at having learned their lesson, nor do they receive comeuppance of any serious weight. It's all just so…hollow. With this in mind, and analogies being a stalwart companion of explanation, I simply leave you with this: Mary and the Witch's Flower is akin to a stained glass window, lovely to look at, but ultimately stationary and unchanging.
Prepare to be whisked away to a world only a Madman could dream of and only one Little Broomstick reveal
TagsHumble Opinions • Mary and the Witch's Flower • Studio Ponoc
About Kane Bugeja
Spinner of tales, weaver of words and renowned hyperbolist
1 comment on "A Young Girl's Heart – Mary and the Witch's Flower – Humble Opinions"
murgatroid
They do return to Flanagan's story. The last scene with Flanagan in it reveals that he is the student on whom the previous failed experiment was performed


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I. Lancer Cruise Ship Docking Berth
11/23/2052 At the Hilton Orbital Resort
Alarm bells were ringing throughout the Hilton Resort. Apparently there had been a shooting. A U.S. Senator was in custody but security believed there was an unknown accomplice on the loose.
The scene was one of quiet pandemonium. People in ones, twos, some with kids in tow, lugging suitcases and carry-bags to the boarding ramp of the Lancer Cruise Ship. All of them seemed subdued and yet excited, even agitated. They knew they were embarking on a one way voyage to an unknown future. All of them were leaving behind something — jobs, loved ones, a lifetime's worth of accumulated possessions. Even security and certainty — as much as a UNWG controlled government allowed — was behind them.
It is perhaps testimony to the — try as the United Nations World Government might attempt to quell it — indomitable spirit of adventure and courage of mankind that so many ordinary folks could pack a bag on a moments notice and abandon their way of life to start a new one, on another world, where hardship would be the norm.
Two armed StelCo agents checked off the arrivals and ushered them into the main cabin of the Lancer. Both had themselves been screened, had consented to the trip, and most importantly had been approved by Robert James Hamilton himself to aid the exodus from Earth and to accompany — to become — colonists themselves. Steven Fallon was six-foot in height, only 30-years-old, and with wavy blonde hair. He looked at the line of travelers waiting to board and said to his partner, Glenda Cumberland, "This boat can't hold all of these people. The Lancer is designed for 60 people and I've already counted twice that many."
"It will have to do, Steven," she replied, sweat showing on her chocolate colored brow. Like many women these days, she shaved her head and was actually the same height as Fallon. "Mr. Hamilton's orders were specific — take everyone we can to The Mayflower."
The next man in line was tall and looked too old to survive even the journey to Titan Docks. Glenda said, "What is your name, Sir?"
"Er, Brice Halsworthy. I'm a retired teacher," the gentleman replied.
"yes, here you are," Glenda said, reading down the passenger list, "hurry on board." she watched him shuffle up the ramp as a couple moved forward to take his place at the head of the line. She said, "Steven, you ever actually meet Mr. Hamilton?"
"No, no. Can't say I have. Just seen him on the vid-screen."
At that moment, a breathless UNWG agent rushed up to the StelCo guards shouting, "This ship is not to take off until we search it."
"We're due to leave in 10 minutes," Steven Fallon said scornfully to the agent, "How long will that take?"
"I'll be back with others in a while. You wait until then," the UNWG agent commanded. With that, he turned and ran off down the corridor.
Glenda looked at Steven for a moment and then turned to the people in line and said, "Everyone on board NOW! Just get on board, stow your carry-on bags and take a seat. There are more of you than seats so some must sit in the dining area, the bar, wherever you can find a spot. There are 30 cabins. Double up in them as well. We take off now."
"Let's go, people, hurry!" Steven bellowed in support. Into his wrist-pad he called to the pilot, "we have to go now, Larry. Start the engines and on my signal, get us out of here!"
It was a near stampede up the ramp but within a few minutes everyone had parked themselves somewhere and the Lancer gave a shudder as the nose of it edged out of the docking berth. Glenda had positioned herself in the main gallery of the ship and wondered how — at last count — 175 people would get along for the several days voyage out to the Titan Docks. Into her wrist-pad she said, "Steve, did everyone's gear get stowed on board?"
"I think so," he replied, "but it's too late now if it didn't."
The Lancer began picking up speed. Indeed, it was new, one of the fasted tour ships ever built, with four DEE-HEE Engines providing speeds near 1/3 liears a possibility in open space. That was faster than most UNWG patrol ships could muster even on a good day. Looking out one of the triple-paned zirconium windows, Glenda could see that the pilot, Larry Monroe, was accelerating the ship for all she was worth.
As the ship pulled away, it also began slowly rotating to provide a modicum of centrifugal gravity so people could walk around. Everywhere there was the animated chatter of people introducing themselves, inspecting their surroundings, looking through the windows at the shrinking Hilton Orbital Resort.
"Glenda?"
"Yes, Steven," she replied into her wrist-pad.
"Put the wall-vid on, to the news; it's bad."
"Shit," she thought to herself, "What now?" She weaved her way through the crowd and activated the large wall-vid just as the newscaster was saying:
"Again, an anonymous source within the UNWG has confirmed that Robert James Hamilton, one of the solar system's wealthiest financiers and industrialists has been killed by UNWG forces as he was lifting off in his personal cruiser from his home in Renton, Washington. His cruiser was about 4000 feet in the air when destroyed by several neutrino-laser blasts fired from a UNWG planet security hopper. The source tells us that Hamilton was suspected of financing an expedition to another star; a clear violation of UNWG regulations that all interstellar travel be approved and supervised by the World Government. In point of fact, no such permission has ever been given for such journeys. No such journey has ever been attempted. There's no telling what impact this will have on StelCo stock, or even on future operations of the company. UNWG leaders have been trying for sometime to "nationalize" the company to insure a steady, inexpensive supply of Helium-3 fuel. We're awaiting comment from company officials at their headquarters in Saturn orbit."
There was a hush from the crowd of future colonists and Glenda herself became queasy at the thought that the mission to Alchibah might be over even before it started. Then everyone started talking at once as everyone thought about the impact the news might have. Would they have to return to Earth? Would they be arrested?
Glenda's fears were put on hold when a woman approached her and said, "Miss?"
"Yes? Please call me Glenda."
"Thank you. My name's Marty. Does this–," she turned for a moment toward the vid-screen, "–mean the voyage is off?"
Glenda paused for a moment, took a deep breath, and tried to think how to reply. Just then, in what could only be described as an act of providence, the pilot's voice came over the loudspeakers.
"Ladies and Gentlemen, and off-spring, future colonists, this is your tour-ship captain, Larry Monroe. I am aware that news of the death of our benefactor, Robert James Hamilton, has reached all of you by now. You're probably wondering what this means to the voyage to Alchibah. I, as well as your temporary stewards, Glenda and Steve, were all heading out to the new world, the new beginning, with you. We still are!"
A cheer went up from the crowd. Captain Monroe continued:
"R.J. Hamilton made it very clear that come-what-may, with or without him, The Mayflower sails as soon as we board her. This act of aggression, his murder by the UNWG is just another example of why we MUST succeed. They will try to stop us. The Lancer will be up to top speed in a little less than two hours and then we have the ability to outrun any of their patrol ships. If they're looking for a fight, we'll give them one. Pardon my french but Fuck the World Government, we're out-a-here!"
Another cheer from the crowd, with much hugging and fists held defiantly in the air. Glenda turned back to the woman, Marty, and said, "There you go! I think everyone could do with a little champagne about now, maybe even the children if their parents allow it. Would you help me serve it?"
"With pleasure!"
II. Thirty Minutes Later,
In the Lancer's Pilot's Control Room
Captain Monroe, like most pilots who had cut their teeth in the early days of space travel when living quarters were tiny compared to on ships today, was shorter than most men, only 5′7″, but 48-years-old he still had the build of many of them who worked-out in the gym to excess to compensate for the long periods of reduced or no gravity. He still had all of his jet-black hair and also affected a handle-bar mustache, something of an anachronism in this day and age. He had been flying space cruisers and tour ships for 15 years, ever since he was dishonerably discharged from the UNWG Planet Patrol for refusing to arrest asteroid home-stake-claims miners who refused to comply with World Government regulations on "diversity quotas" in hirings in all industries. He believed that you should be judged by your ability and actions, not any other factor. He found a sympathetic employer in StelCo Industries and has been loyal to a man he's never actually met, R.J. Hamilton, ever since.
His co-pilot and engineer, Arte Clark, was much the contrast. A farm boy from Nebraska who worked his way through Astro-College, and immediately upon graduation three years ago had been recruited by StelCo. He was 6 1/2 feet tall, had skin as fair as pink rose, and shaved his head and face clean.
Arte caught Monroe's attention with, "Looks like you're going to get that fight, Captain. WG ship coming at us from the port side, and in a hurry. They're hailing us."
"Attention, Tour Ship Lancer, Attention. You are ordered to power-down your engines and allow a boarding party to search your ship. Repeat, power-down your engines, we are coming on board to search for an accomplice in a murder that occurred at the Hilton. "
"Arte, turn off the radio for a moment, I'm going on ship's intercom."
Ladies and Gentlemen, fellow colonists, please take your seats and secure yourselves. It appears we're about to rumble."
Oddly enough, this seemed to please the crowd which sent up another round of cheering as they buckled themselves and their children in. It would seem that everyone knew they were in this together and, because most of them had been chosen for their shared libertarian-dissident spirit, felt that it was better to die on their feet than to serve on their knees as the saying went.
"Okay, Arte, we'll keep accelerating and don't bother replying to the Goonies."
"Hey, I like that, Captain. Goonies. That's a keeper." Arte pondered for a moment and added, "They will fire upon us, you know."
"Attention, Tour Ship Lancer, Attention. We are the United Nations World Government and we order you NOW to power-down and allow us to board. Failure to comply will leave us no choice but to fire our neutron-lasers at you. This is your last warning."
Arte Clark looked apprehensively at Monroe, "Uh, Captain…"
Monroe smiled at Clark and said, "Arte, you've got to relax. This is your first trip in the Lancer. It's time you found out how old R.J.'s mind worked. This is no ordinary Tour Tub. We have the same ASRS — All Spectrum Radiation Shields – the Goons have. They don't know that, yet. We also have something they don't have–"
A sudden jolt interrupted Monroe, travelled through the ship, knocking over passengers' computers, plastic champagne glasses, children's crayons. Everyone became silent. Another blast followed.
"Well, Arte," Monroe said, "looks like they don't plan on waiting any longer. Flip up the cover of that console between us and I'll show you something you've never seen before."
Clark removed the black plastic cover and noted an array of buttons, switches, a joystick, and four small vid screens showing outside the ship, all with glowing-red crosshairs. "What is this, Captain?"
Another blast from the Goon Ship rattled through the Lancer but her shields held. Besides, she was a big ship compared to the puny Goon patrol cruiser.
"Watch and learn, Arte. Sometimes a primitive offense can defeat a modern defense.
Two blasts in quick succession hit the Lancer. Clark looked at his radar screens and said, "Captain, there are two Goonies out there now and our shields are down to 67%. If you or R.J. have something up your sleeve, please show it–"
Glenda's voice came over the com, "Captain, the colonists are getting nervous. The WG shots are getting stronger."
Captain Monroe's hands began working the new console, bringing the Goonie Ships into view on two of the small vid-screens, centered in the red crosshairs. He then punched two red buttons and within seconds one Goonie Ship exploded and the other was suddenly without it's engine tail. He re-aimed the crosshair and fired again. The second ship blew into pieces in all directions.
He recovered the console and, speaking into the com said, "So Glenda, what's for dinner?"
Even over the com he could hear the roar of approval from the colonists. Beside him, Clark said, "Wow! What just happened?"
Captain Monroe gave an even bigger smile and said, "You're too young to remember how wars used to be waged, with real guns. In fact, you grew up in a time when ordinary citizens were no longer permited to own them. The various defense forces of the World Goon Government used large caliber — you might not ever have heard that word –"
"Captain, I know what guns are."
"Sorry, that was a bit condescending. Anyway, for the last 30 years, all UNWG space ships — indeed even their ground forces — have only been equipped with lasers, tasers, zap-guns, and other variations that emit various forms of electromagnetic energy. Since personal craft that you or I would own as well as commercial vessels have never been equipped with any form of weapon, much less any defense, the Goonies have come to rely solely on their zap-arms and the ASRS shields. R.J. Hamilton was a genius and outfitted the Lancer with four gyro mounted 100mm guns and their incendiary, explosive ammunition that he, er, appropriated from a decommissioned early century naval ship.
"They never had a chance. The rounds we fired at them could care less, so-to-speak, about energy shields. As my Uncle once said, 'Never bring a knife to a gun fight.'."
III. In the Ship's Lounge
The various colonists had broken into different groups. Some of them were gathered in the lounge, animatedly discussing the fight with UNWG forces they'd just been through. They were also sipping on drinks a little stronger than champagne. It was basically "serve yourself" since Glenda and Steven were otherwise occupied and the Lancer didn't have a full crew on board. One colonist who introduced himself as Tim Watson was acting as bartender and turned to the elderly gentleman with scraggly hair, saying, "So, Pops, what's your name? Care for another martini?"
Smiling, the old man said, "Well now, my, er, real name is Brice and I was a professor of history in a small mid-western college. I'm retired now of course. And yes, I think another martini would put me in the mood, as it were."
Another of the crowd around the bar, a young man with piercing eyes, content to sip on club soda said, "A history teacher. You're kind of old. What can you bring to the table where we're going?"
A couple who had identified themselves as Mariana and Andrew Stuart both chuckled and she said, "Now Jack, be nice. There's a place for everyone–"
"Actually," the older man said, "I know a lot of things about a lot of things but besides, someone has to chronicle what we're doing. Our children's children's children will want to know what brought us to the new planet, how we formed a government, what led up to their present situation. I rather fancy being the historian for the group."
"Well then," the young man Jack said, "I dub thee 'The Historian'."
A middle-aged fellow, Dave, turned to Tim Watson and said, "Another beer, my good man."
There were several others there and they soon began introducing themselves to each other and discussing everything under the Sun, or rather, the stars. Unobtrusively, the one dubbed The Historian decided this would be a good time to turn on his wrist-pad microphone and perhaps record for time immemorial the early comments of some of the colonists.
–From The History of Colony: Alchibah
3rd Edition, 2088


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Football NewsGeremi says Chelsea will not sell Romelu Lukaku
Geremi says Chelsea will not sell Romelu Lukaku
Belgian footballer Romelu Lukaku offers no indication that he wants to get out of the blues, Geremi argues, with the forward still giving up on the back of the controversial interview.
What did Geremi say about Romelu Lukaku?
Romelu Lukaku suggested that he would like to return to Inter at some point soon and was disappointed with Tuchel's tactical system at Stamford Bridge. Subsequently, the 28-year-old was thrown off in a Premier League crystal clash with Liverpool, ahead of his return to the semi-final Carabao Cup derby with Tottenham, and former Blues midfielder Geremi believes the issue that has been ripped out of proportion is already sweeping under the carpet in west London.
When asked if Romelu Lukaku made a mistake, apparently speaking against his current club, Geremi said that he was a little surprised. As former Blues player Geremi knows, there are many situations like this. But when Geremi watches Romelu's latest performances, his attitude is great. The former Blues did not watch him at the training ground but on the serve, after the match against Tottenham, he shared the victory with the fans. Romelu Lukaku gave 100 percent.
What Geremi read and heard was not what he saw. "If you're not happy, why are you going to fight? You can't lie to yourself and you won't have the same motivation." – said Geremi. It is also not good for a club to keep players who lack motivation and ambition. But when Geremi looks at Romelu, there may have been a misunderstanding or misinterpretation of what he said.
Lukaku is one of the best in this position.
Chelsea head coach Thomas Tuchel has already moved to rule out any chance of Chelsea parting with a player they invested £ 98m in during the 2021 summer transfer window. The proven performer is believed to have a critical role to play in both short and long term plans at Stamford Bridge, with his pedigree engulfed by a club that is crying for another scary number nine. Geremi once played alongside one of the very best to fill that role – the Ivorian mascot Drogba – and he believes Romelu could be just as important for the 2021-22 Blues class.
The ex-Cameroonian international has said there is no doubt that he is one of the strongest center-forwards in the world. For Chelsea, when you watch football around the world, Romelu is one of the best in this position. It would be a huge loss for Chelsea to lose that player. According to Geremi, not only is he a Chelsea fan, but he thinks they have to keep him. Romelu Lukaku must stay. Geremi is not in order to see what is happening, but watching him, he does not see any problems.
Chelsea, who has one leg in the Carabao Cup final after a 2-0 win over Arch-rivals Spurs, will return to the domestic cup competition when facing Chesterfield in the third round of the FA Cup on Saturday before taking on a return date with Tottenham and a Premier trip. leagues to the Man City table.