text:
#ifndef GUIDER_H_INCLUDED
#define GUIDER_H_INCLUDED

enum GUIDER_STATE
{
    STATE_UNINITIALIZED = 0,
    STATE_SELECTING,
    STATE_SELECTED,
    STATE_CALIBRATING_PRIMARY,
    STATE_CALIBRATING_SECONDARY,
    STATE_CALIBRATED,
    STATE_GUIDING,
    STATE_STOP, // This is a pseudo state
};

enum EXPOSED_STATE
{
    EXPOSED_STATE_NONE = 0,
    EXPOSED_STATE_SELECTED,
    EXPOSED_STATE_CALIBRATING,
    EXPOSED_STATE_GUIDING_LOCKED,
    EXPOSED_STATE_GUIDING_LOST,

    EXPOSED_STATE_PAUSED = 100,
    EXPOSED_STATE_LOOPING,
};

enum DEC_GUDING_ALGORITHM
{
    DEC_LOWPASS = 0,
    DEC_RESISTSWITCH,
    DEC_LOWPASS2,
};

enum OVERLAY_MODE
{
    OVERLAY_NONE = 0,
    OVERLAY_BULLSEYE,
    OVERLAY_GRID_FINE,
    OVERLAY_GRID_COARSE,
    OVERLAY_RADEC,
    OVERLAY_SLIT,
};

struct OverlaySlitCoords
{
    wxPoint center;
    wxSize size;
    int angle;
    wxPoint corners[5];
};

enum PauseType
{
    PAUSE_NONE,     // not paused
    PAUSE_GUIDING,  // pause guide corrections but continue looping exposures
    PAUSE_FULL,     // pause guide corrections and pause looping exposures
};

struct LockPosShiftParams
{
    bool shiftEnabled;
    PHD_Point shiftRate;
    GRAPH_UNITS shiftUnits;
    bool shiftIsMountCoords;
};

class DefectMap;

/*
 * The Guider class is responsible for running the state machine
 * associated with the GUIDER_STATES enumerated type.
 *
 * It is also responsible for drawing and decorating the acquired
 * image in a way that makes sense for its type.
 *
 */

class GuiderConfigDialogCtrlSet : public ConfigDialogCtrlSet
{
    Guider *m_pGuider;
    wxCheckBox *m_pEnableFastRecenter;
    wxCheckBox *m_pScaleImage;

public:
    GuiderConfigDialogCtrlSet(wxWindow *pParent, Guider *pGuider, AdvancedDialog* pAdvancedDialog, BrainCtrlIdMap& CtrlMap);
    virtual ~GuiderConfigDialogCtrlSet() {};
    virtual void LoadValues(void);
    virtual void UnloadValues(void);

};

class Guider : public wxWindow
{
    // Private member data.

    wxImage *m_displayedImage;
    OVERLAY_MODE m_overlayMode;
    OverlaySlitCoords m_overlaySlitCoords;
    const DefectMap *m_defectMapPreview;
    double m_polarAlignCircleRadius;
    double m_polarAlignCircleCorrection;
    PHD_Point m_polarAlignCircleCenter;
    PauseType m_paused;
    ShiftPoint m_lockPosition;
    PHD_Point m_ditherRecenterStep;
    wxPoint m_ditherRecenterDir;
    PHD_Point m_ditherRecenterRemaining;
    time_t m_starFoundTimestamp;  // timestamp when star was last found
    double m_avgDistance;         // averaged distance for distance reporting
    bool m_avgDistanceNeedReset;
    GUIDER_STATE m_state;
    usImage *m_pCurrentImage;
    bool m_scaleImage;
    bool m_lockPosIsSticky;
    bool m_fastRecenterEnabled;
    LockPosShiftParams m_lockPosShift;
    bool m_measurementMode;
    double m_minStarHFD;

protected:
    int m_searchRegion; // how far u/d/l/r do we do the initial search for a star
    bool m_forceFullFrame;
    double m_scaleFactor;
    bool m_showBookmarks;
    std::vector<wxRealPoint> m_bookmarks;

    // Things related to the Advanced Config Dialog
public:
    class GuiderConfigDialogPane : public ConfigDialogPane
    {
        Guider *m_pGuider;
        wxCheckBox *m_pScaleImage;
        wxCheckBox *m_pEnableFastRecenter;

    public:
        GuiderConfigDialogPane(wxWindow *pParent, Guider *pGuider);
        ~GuiderConfigDialogPane(void) {};

        void LoadValues(void) {};
        void UnloadValues(void) {};
        virtual void LayoutControls(Guider *pGuider, BrainCtrlIdMap& CtrlMap);
    };

    OVERLAY_MODE GetOverlayMode(void);

public:
    virtual GuiderConfigDialogPane *GetConfigDialogPane(wxWindow *pParent)= 0;
    virtual GuiderConfigDialogCtrlSet *GetConfigDialogCtrlSet(wxWindow *pParent, Guider *pGuider, AdvancedDialog *pAdvancedDialog, BrainCtrlIdMap& CtrlMap);

protected:
    Guider(wxWindow *parent, int xSize, int ySize);
    virtual ~Guider(void);

    bool PaintHelper(wxAutoBufferedPaintDCBase& dc, wxMemoryDC& memDC);
    void SetState(GUIDER_STATE newState);
    void UpdateCurrentDistance(double distance);

    void ToggleBookmark(const wxRealPoint& pt);

public:
    bool IsPaused(void) const;
    PauseType GetPauseType(void) const;
    PauseType SetPaused(PauseType pause);
    GUIDER_STATE GetState(void) const;
    static EXPOSED_STATE GetExposedState(void);
    bool IsCalibratingOrGuiding(void) const;
    bool IsGuiding(void) const;
    void OnClose(wxCloseEvent& evt);
    void OnErase(wxEraseEvent& evt);
    void UpdateImageDisplay(usImage *pImage=NULL);

    bool MoveLockPosition(const PHD_Point& mountDelta);
    bool SetLockPosition(const PHD_Point& position);
    bool SetLockPosToStarAtPosition(const PHD_Point& starPositionHint);
    bool ShiftLockPosition(void);
    void EnableLockPosShift(bool enable);
    void SetLockPosShiftRate(const PHD_Point& rate, GRAPH_UNITS units, bool isMountCoords, bool updateToolWin);
    bool LockPosShiftEnabled(void) const { return m_lockPosShift.shiftEnabled; }
    void SetLockPosIsSticky(bool isSticky) { m_lockPosIsSticky = isSticky; }
    bool LockPosIsSticky(void) const { return m_lockPosIsSticky; }
    const PHD_Point& LockPosition() const;
    const LockPosShiftParams& GetLockPosShiftParams(void) const { return m_lockPosShift; }
    void ForceFullFrame(void);

    bool SetOverlayMode(int newMode);
    void GetOverlaySlitCoords(wxPoint *center, wxSize *size, int *angle);
    void SetOverlaySlitCoords(const wxPoint& center, const wxSize& size, int angle);
    void SetDefectMapPreview(const DefectMap *preview);
    void SetPolarAlignCircle(const PHD_Point& center, double radius);
    void SetPolarAlignCircleCorrection(double val);
    double GetPolarAlignCircleCorrection(void) const;
    bool SaveCurrentImage(const wxString& fileName);

    void StartGuiding(void);
    void StopGuiding(void);
    void UpdateGuideState(usImage *pImage, bool bStopping=false);
    void DisplayImage(usImage *img);

    bool SetScaleImage(bool newScaleValue);
    bool GetScaleImage(void) const;

    int GetSearchRegion(void) const;
    double CurrentError(void);

    bool GetBookmarksShown(void) const;
    void SetBookmarksShown(bool show);
    void ToggleShowBookmarks(void);
    void DeleteAllBookmarks(void);
    void BookmarkLockPosition();
    void BookmarkCurPosition();

    void Reset(bool fullReset);
    void EnableMeasurementMode(bool enabled);
    void SetMinStarHFD(double val);
    double GetMinStarHFD(void) const;

    // virtual functions -- these CAN be overridden by a subclass, which should
    // consider whether they need to call the base class functions as part of
    // their operation
private:
    virtual void InvalidateLockPosition(void);
public:
    virtual void LoadProfileSettings(void);

    // pure virtual functions -- these MUST be overridden by a subclass
public:
    virtual bool IsValidLockPosition(const PHD_Point& pt) = 0;
private:
    virtual void InvalidateCurrentPosition(bool fullReset = false) = 0;
    virtual bool UpdateCurrentPosition(usImage *pImage, FrameDroppedInfo *errorInfo) = 0;
    virtual bool SetCurrentPosition(usImage *pImage, const PHD_Point& position) = 0;

public:
    virtual void OnPaint(wxPaintEvent& evt) = 0;

    virtual bool IsLocked(void) = 0;
    virtual bool AutoSelect(void) = 0;

    virtual const PHD_Point& CurrentPosition(void) = 0;
    virtual wxRect GetBoundingBox(void) = 0;
    virtual int GetMaxMovePixels(void) = 0;
    virtual double StarMass(void) = 0;
    virtual unsigned int StarPeakADU(void) = 0;
    virtual double SNR(void) = 0;
    virtual double HFD(void) = 0;
    virtual int StarError(void) = 0;

    usImage *CurrentImage(void) const;
    wxImage *DisplayedImage(void) const;
    double ScaleFactor(void) const;

    virtual wxString GetSettingsSummary();

    bool IsFastRecenterEnabled(void) const;
    void EnableFastRecenter(bool enable);

private:
    void UpdateLockPosShiftCameraCoords(void);
    DECLARE_EVENT_TABLE()
};

inline bool Guider::IsPaused(void) const
{
    return m_paused != PAUSE_NONE;
}

inline PauseType Guider::GetPauseType(void) const
{
    return m_paused;
}

inline bool Guider::GetScaleImage(void) const
{
    return m_scaleImage;
}

inline const PHD_Point& Guider::LockPosition() const
{
    return m_lockPosition;
}

inline GUIDER_STATE Guider::GetState(void) const
{
    return m_state;
}

inline bool Guider::IsGuiding(void) const
{
    return m_state == STATE_GUIDING;
}

inline bool Guider::IsCalibratingOrGuiding(void) const
{
    return m_state >= STATE_CALIBRATING_PRIMARY && m_state <= STATE_GUIDING;
}

inline int Guider::GetSearchRegion(void) const
{
    return m_searchRegion;
}

inline bool Guider::IsFastRecenterEnabled(void) const
{
    return m_fastRecenterEnabled;
}

inline double Guider::GetPolarAlignCircleCorrection(void) const
{
    return m_polarAlignCircleCorrection;
}

inline void Guider::SetPolarAlignCircleCorrection(double val)
{
    m_polarAlignCircleCorrection = val;
}

inline usImage *Guider::CurrentImage(void) const
{
    return m_pCurrentImage;
}

inline wxImage *Guider::DisplayedImage(void) const
{
    return m_displayedImage;
}

inline double Guider::ScaleFactor(void) const
{
    return m_scaleFactor;
}

inline bool Guider::GetBookmarksShown(void) const
{
    return m_showBookmarks;
}

inline double Guider::GetMinStarHFD(void) const
{
    return m_minStarHFD;
}

#endif /* GUIDER_H_INCLUDED */

redpajama_set_name: RedPajamaGithub


Modern New Delhi, or New Delhi as it is called, centers around the Rashtrapati Bhawan. It is architecturally a very impressive building standing at a height, flowing down as it were to India Gate. This stretch called the Rajpath is where the Republic Day parade is held.
The Lotus Temple, situated in South Delhi, is shaped like a lotus. It is an eye-catching edifice worth exploring. Built by the Baha'i community, it offers the visitor a serenity that pervades the temple and its artistic design.
Jantar Mantar is the ancient clock through which people used to keep track of time according to the various positions of the sun.
A memorial inscribed with the names of the valiant Indian soldiers who laid down their lives in World War I. The green, velvety lawns at India Gate, particularly, are a popular evening and holiday rendezvous for young and old alike. A must visit place in New Delhi.
The Qutab Minar is located at a small village called Mehrauli in South New Delhi. Qutub-ud-din Aibek of the Slave Dynasty, who took possession of New Delhi in 1206, built it. It is a fluted red sandstone tower, which tapers up to a height of 72.5 metres and is covered with intricate carvings and verses from the holy Qur'an.
Red Fort- a fascinating building, built with red sandstones is an example of the rich Mughal architecture. Red Fort is a venue to the Independence Day parade of India.


GenZ Publishing has launched an exciting new contest to find the 'Writer of the Generation.' It could be you!
If you need writing motivation, you can read GenZ's list of Five Reasons to Write.
GenZ Publishing is getting ready to launch our book catalog in the new year. If you would like to see your name in our books, to be featured on our website, or even to have a guest spot on the GenZ Podcast, this is your chance for a limited time!
You can also find GenZ Publishing on social media for exciting opportunities, community, and writing inspiration on Twitter @GenZPub and on Facebook GenZ Publishing. Become a part of the new generation of publishing and spread the word!


The following are questions we are frequently asked about the Academy. If you have a question that is not answered here, please use our online question form and we will get back to you right away.
What is the Jon Wayne Academy For Technical Excellence?
Jon Wayne Academy is San Antonio's premiere HVAC training facility. Our primary purpose is to provide San Antonio and surrounding areas with top notch HVAC training. Our primary training program teaches a student everything they need to know to become a qualified entry-level installation technician. We also offer shorter training programs that cover A/C Mechanical, A/C Electrical and Proper Installation Practices for those who are only interested in those aspects of the industry. To learn more about all the courses we offer, see our Course Outline.
What kind of person is Jon Wayne Academy beneficial for?
Our curriculum is ideal for many different people. It can be ideal for those just graduating high school and who want to get started in a new career field right away. It is helpful to those who may already work for a HVAC contractor or building company and who would like to learn the HVAC trade more fully.
Our training is also beneficial to those who manage large properties where maintenance of HVAC equipment is regularly needed (ie. apartment complexes). We have also had students who were retired and just wanted to learn how heating and air conditioning works.
Our classes can also be helpful for those who already have an education or experience in another profession but want to move into a trade that is more reliable and in demand regardless of where the economy is headed.
What previous experience is required to attend the Academy?
None. We take students who do not have any real world experience whatsoever. This includes those coming straight out of high school. We do require that each student be able to read and write and follow the course material.
At the end of this course the student will be ready for job opportunities in the residential HVAC industry as well as some construction jobs and industrial service maintenance positions. An ideal first job for our candidates is working as an entry level installation technician.
How far can a graduate advance in their career?
With the right attitude, a graduate can advance into a service technician running service calls alone within two years time. It all depends on your attitude and willingness to learn. Getting NATE certified and acquiring other certifications can also help you advance faster and earn better pay as well.
NATE stands for North American Technical Excellence. They are the leading non-profit certification program for technicians in the heating, ventilation, air-conditioning, and refrigeration (HVAC/R) industry and the only test supported by the entire industry. Once you have graduated from Jon Wayne Academy you can begin preparing for NATE certification. Visit the NATE website to learn more about this certification program.


Cisco® updated their vulnerability advisory on Monday, February 5, 2018 after identifying "additional attack vectors and features that are affected." What does this mean? If you patched last week, you may need to patch again. Be sure to read the advisory notice carefully to find out if your environment is at risk.
Earlier this week, Cisco revealed that there is a security vulnerability in the Cisco® ASAs, exposing these firewalls to remote attackers. Of course, now we all know about it, as does anyone who may want to exploit this opening. The good news: Cisco has released a critical update to address the issue. The bad news? There is no other workaround, so affected devices must be updated to be secured, and now you're in a race against anyone who may be trying to take advantage. It's worth noting that some FirePower devices are affected also, so read the Cisco post in detail to help ensure that you know where your vulnerabilities may lie.
Once you've identified affected devices, you can use Network Configuration Manager (NCM) to easily schedule, patch, and monitor your ASA devices using the firmware upgrade process. Are you running multi-context ASAs? No problem. The firmware upgrade path supports both single- and multi-context upgrades.
In this industry, it doesn't take long to realize that discovering vulnerabilities of this nature—and subsequently addressing them—is a standard part of the job description. Having the right tools available can make a notable difference in how long your network is exposed and how much effort is required to remediate issues.
Were your devices affected? Have you already updated, and if so, did you use NPM and NCM to do so? Use the comments to tell us how it went. Were you affected but don't have NPM or NCM? Download free 30-day trials of Network Performance Monitor and Network Configuration Manager today and see how they can help.
Did you know that SolarWinds added a new Network Insight™ feature for Cisco ASA in the NPM 12.2 and NCM 7.7 releases? Learn about all the functionality included in Network Insight for Cisco ASA.
Config Issues Got You Down?
Were you affected by an internet connectivity outage earlier this week? This outage affected users across the U.S., and originated from Level 3, an ISP recently acquired by CenturyLink®. Because Level 3 also provides infrastructure to other internet providers, some Comcast®, Spectrum®, Verizon®, and AT&T® users experienced outages as well.
A configuration error? That's what I thought when I first read this. There are many crazy ways connectivity issues can occur, from rats chewing through cables to your standard PEBKAC error causing a user to holler, "the internet is down!" But configuration errors? This is an easy one to address.
"On Monday, November 6th, our network experienced a service disruption affecting some customers with IP-based services. The disruption was caused by a configuration error. We know how important these services are to our customers. Our technicians were able to restore service within approximately 90 minutes."
Are YOU ready to ensure that something like this doesn't happen to you? With SolarWinds® Network Configuration Manager (NCM), you can rest easy knowing that you are prepared. Even if a config error does occur, you can quickly rollback to a known-good config that you have saved, thanks to NCM's automatic backups. If you need to make updates across devices, you can easily push bulk changes. And no need to worry about someone else messing with your configs—you can control who can make changes, and what kind, directly from the NCM console.
While we can't help you with rats chewing your cables, we CAN help with your config management. Download a free trial of Network Configuration Manager today.
What are some of the craziest causes of connectivity issues that you've encountered?
DO YOUR FIREWALLS HAVE ACCESS CONTROL LISTS OR OUT-OF-CONTROL LISTS?
Do you badge in and out of your office each day? That electronic lock should be doing two things: making sure you can get in (and get to work), and keeping people who shouldn't be there out. If the permissions aren't right, you could be blocked from entering. Or, worse, people who aren't authorized could walk right in. This is what happens if the Access Control Lists (ACLs) on your firewall aren't properly configured. Valid traffic could be blocked, or unauthorized traffic could slip through. This can impact productivity and even be a security risk.
ACLs can be hundreds or even thousands of lines long. They may have been set up years ago and been modified too many times to count. Are you confident that they are controlling the traffic the way you want? Do you need deeper network insights to see what is really going on?
Reviewing your Access Control Lists can be a tedious task, but the latest release of SolarWinds® Network Configuration Manager (NCM) makes it easy. This release introduces a new feature, Network Insight™ for Cisco® ASA, so you can easily review and audit ACLs for your Cisco ASA firewall.
You can't control it if you don't know you have it. First, take a look to see what Access Control Lists are set up. The network insights you get with NCM will allow you to view all ACLs configured on the ASA. See if you have an ACL that was configured but never applied. Do you have ACLs that were set up so long ago that none of the original creators are still around?
An ACL may be configured correctly but assigned to the wrong zone, reducing its effectiveness. Are your ACLs assigned to the correct zones? What interfaces are assigned to those zones? Review where your Cisco ASA ACLs are assigned to maximize their strength.
Do you have rules in place that are never used, or rules that are getting hit all the time? Use NCM's ACL Rule Browser to browse to object group definitions, search and filter within your ACLs, and view the hit count for individual rules to debug your access rules. Rules that are never hit may have been superseded by other policy changes. Rules that are getting hit all the time may indicate a need to refine the rule. With increased network insight you can optimize the ACL rules on your Cisco ASA.
Access Control List rules are applied in the order they are listed. When a rule is overridden by a previous rule that does a different action, it is a shadow rule. A rule that is hidden because a previous rule does the same action is a redundant rule. For example, your office wants to let in anyone who is an employee, but not on the weekends. If the badge reader checks "let in all employees" first and then checks the day of the week, the weekend rule is a shadow rule. It will not matter because the door unlocked after confirming it was an employee who was trying to enter. You can reduce security risks and help ensure your ACLs are working as intended by identifying shadow or redundant rules.
It can be difficult to troubleshoot ACL config issues. Network Configuration Manager helps make this process easier with side-by-side ACL config comparisons on your Cisco ASAs. You can compare an ACL to a previous version on the same node, or compare to other nodes, interfaces, or to a different ACL. Identify errors and verify consistency with Network Insights for Cisco ASA.
By working through this simple checklist, you can restore confidence that your firewalls are effectively managing the traffic flow in and out of your network. You can try Network Insight for Cisco ASA in the latest release of Network Configuration Manager. With a free, 30-day trial of NCM, you can see for yourself how easily you can bring your ACLs back under control. Look like a firewall expert without having to be a firewall expert!


text:
Disease in wheat will increase in the future climate
September 13, 2017 agriculture research
Higher levels of carbon dioxide in the atmosphere might be good for plants under certain conditions but new research has also shown that it is also good for the diseases.
A study published recently in the scientific journal Virus Research shows that increased levels of carbon dioxide (CO2) could lead to higher levels of virus in wheat.
The research, funded by Agriculture Victoria and Grains Research Development Corporation shows a virus which already causes damage to wheat crops could do even more harm as levels of carbon dioxide increase in the atmosphere.
Dr Piotr Trebicki's work involved measuring the incidence of aphid transmitted, yellow dwarf virus in wheat. Different amounts of carbon dioxide were given to various wheat plots in a Free Air Carbon Dioxide Enrichment facility at Grains Innovation Park at Horsham.
The incidence of the yellow dwarf virus rose under elevated levels of carbon dioxide when compared to the current atmospheric conditions, as much as 34 per cent.
But the scientists are yet to work out exactly why this is happening.
"The mechanism behind increased yellow dwarf virus incidence under elevated carbon dioxide levels is not well understood," Dr Trebicki said.
He said increasing carbon dioxide levels in the atmosphere in future years would affect plants and their interactions with pests and diseases.
"This is the first study that reports on the natural incidence of yellow dwarf virus in the field, under varying carbon dioxide levels, both ambient and elevated," Dr Trebicki said.
"Over four growing seasons, and across four different virus strains and multiple wheat cultivars, virus incidence was higher under elevated carbon dioxide levels compared to current atmospheric levels.
"As virus infection can significantly reduce grain yield and quality, further research to understand the mechanisms involved is critical to maintain or increase future food production.
"There is real merit for further research to determine if virus incidence increases as a result of elevated carbon dioxide levels and to better understand what is happening."
Source: Agriculture Victoria
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redpajama_set_name: RedPajamaCommonCrawl


Wayland's elementary schools offer a comprehensive general music program with a curriculum designed to provide a solid foundation in the elements and principles of music and hands-on performing experience. With regular weekly lessons, students are engaged in activities such as listening and responding to music, movement and dance, vocal and instrumental performance, and creating original music. Lessons are designed to foster development of skills in areas such as beat competency, vocal production, music literacy, and performance technique. Class activities also focus on promoting cooperation through musical exchange with others and greater understanding of the historical and cultural aspects of music. Throughout the course of the K-5 General Music program each student will be exposed to a wide variety of musical genres, styles and traditions and will be encouraged to explore personal avenues of musical expression.


text:
The Show Must Go On: Costumes Stolen From 'The Nutcracker'
The value of the stolen costumes hasn't been determined, but is estimated to be in the thousands of dollars
Fairfax Media via Getty Images
A Rhode Island ballet company says its annual production of "The Nutcracker'' will go on as scheduled despite the theft the title character's mask and costume, the Sugar Plum Fairy's tutu and other costumes.
The Festival Ballet Providence's costumes were discovered missing from a Pawtucket warehouse last week.
Artistic Director Mihailo Djuric says while "a significant blow,'' the theft has made the dancers determined to make this year's performance extra special.
The latest news from around the state
Rhode Island Jan 22
RI Woman Takes Legal Action after Teen Daughter's Arrest
Rhode Island 22 hours ago
State Says Child's Death the Result of Maltreatment
He has contacted ballet companies across the nation to see what is available to borrow, and several have stepped up.
The value of the stolen costumes hasn't been determined, but is estimated to be in the thousands of dollars. Police are investigating.
The company has been performing "The Nutcracker'' for nearly 40 years. The show opens Dec. 16.


The Yachtlogic team provides professional captain service for the short or long term. Our captains have the experience, knowledge and skill to properly operate and maintain a vessel while underway or at the dock.
Yachtlogic captains have years of experience in the best charter boat cruising grounds of the world including: Caribbean, Pacific Northwest, Alaska, Mexico, Central America and East Coast. Ocean passages include to and from Hawaii and trans-Atlantic.
captain who is in need of some time off.


1 input to 8 buffered and isolated outputs. LED signal indicators show signal and loss of signal for each channel. Extends audio and S-video up to over 200'.
1 input to 8 buffered and isolated outputs. L.E.D. signal indicators show signal and loss of signal for each channel. Extends audio and S-video up to over 200'. RCA/SVHS jacks IN/OUT. This product is perfect for multi-TV demo's, CCD camera feeds, and home theater systems. AC adapter included.


text:
Economy December 20, 2021 | 4:30 pm
Brewery anticipates unavailability of products on December holiday
An operator looks at a bottle of Presidente beer. ( External source )
The company has only received 57% of the bottles ordered abroad this year
The Dominican National Brewery anticipates consumers that could experience the unavailability of their products on the December holiday due to the lack of containers and invite them to return the bottles to make up for the lack of these containers.
"Once again, we appeal to the understanding of our clients and consumers and we invite them to also be part of the solution through the return of packaging. The culture of returnability will only be possible together with our strategic partners and our consumers," said Cándida Hernández, vice president of Marketing and Brewery Strategy, in a press release.
The company emphasizes that the global logistics crisis remains latent. Proof of this is that -to date- Cervecería has only received 57% of the bottles ordered abroad by 2021 (2% more compared to the last report issued in October), something that still prevents meeting the current demand and the one expected for the end of the year holidays.
"But this situation not only impacts Cervecería or Presidente beer. It also affects other products in the beverage sector and other industries with high demand for products in December, such as toys and certain seasonal foods, impacted by the problems it presents. the global supply chain and the limitations of shipping," the company highlights.
Efforts to overcome shortages
The company projects that the revival of the local glass industry is close to becoming a reality. It informs that the agreement signed between Cervecería Nacional Dominicana and Caribbean Glass Industry "begins to bear its first fruits."
"The first sample bottles have already been produced, good news as a result of months of constant work between the two companies," he says.
"These containers, today with a transparent presentation, because they are first samples, currently go through a testing process in the Brewery production line to validate compliance with all the required technical specifications, a stage that could last a few weeks and that, at the same time it is necessary to guarantee the proper operation of the furnace for the next few years," says the note sent to the press.
Transparent bottles made as a sample. ( External source )
"Challenging weeks still await us. Our consumer could experience unavailability situations due to the lack of packaging on the December holiday. For this reason, these steps that we are taking are of the utmost importance to gradually increase production," Hernández said.
The Brewery reiterates that it continues to make all efforts to increase the availability of containers. He points out that the first samples produced by the Caribbean Glass Industry, the increase in payment for the repurchase of empty bottles, and the "Again a cold" campaign, which encourages consumers and businesses to promote the return of packaging, are some of the efforts.
People…recycle…how hard is it ?!…Whos in charge ?!…Dominican republic had better recycling program 40+ years ago than now…Unbelievable…!!!
Peter Harris
I walked by a house in Guayacanes today with a pile of bottles stashed outside. Lying in the dirt. Offer more money and you will returns happen.


Justin Henin-Hardenne defied the laws of nature for 81 magical minutes to bring world number one Kim Clijsters to her knees and capture a first US Open crown.
Justin Henin-Hardenne defied the laws of nature for 81 magical minutes on Saturday to bring world number one Kim Clijsters to her knees and capture a first US Open crown.
That she was even able to compete in the final of the last grand slam of the year was a minor miracle in itself. That she played near-perfect tennis to win 7-5 6-1 is the stuff of folklore.
It was a performance that won the 21-year-old a cool $1 million but, to Henin-Hardenne, it was priceless.
"It is such a great feeling. I am so happy right now ... two grand slams in the same year I can't believe it," she said.
"I tell you, I am the happiest woman in the world right now. It has been a terrific two weeks."
Never mind that a representative of sponsor JP Morgan Chase blundered by asking the crowd to congratulate "Christine" Henin-Hardenne before the trophy presentation.
This victory puts her name up there with some of the sport's greatest comeback artists and installs her as world number two on Monday -- still behind Clijsters but closing fast.
It was an incredible achievement considering just hours earlier she had lain exhausted on a bed in the Flushing Meadows infirmary with an intravenous drip in her arm, suffering cramps and dehydration.
While Clijsters had been tucked up in bed on Friday night, Henin had been locked in battle with a tigerish Jennifer Capriati in a three-hour semi-final stretching into the early hours of finals day.
Such was the state of Henin-Hardenne as she limped off court to a standing ovation that there were very real fears she would not be able to take her place on court for the Super Saturday showdown.
But 21-year-old Henin-Hardenne is hewn from tougher stuff than that.
"I went to sleep at 3.45am and then I was awake at 8.30am," she said of her preparation.
"Tried to sleep a little bit more until 11.30am but it was very hard because the match was still in my mind.
"But I think the trainers and the doctors did a great job. I believed in my chances. I went on the court to win the match and it worked pretty good."
The determination she showed comes as no surprise to anyone who knows her, for her sublime God-given talent is backed by a steely temperament.
It is a temperament that steered her to beat Clijsters in the final of the French Open earlier this year and one which on Saturday made Clijsters' world number one ranking appear little more than an arithmetical error.


text:
Peter Smith – 'My life in Fleet Street'
By Will Carleton September 6, 2011 October 24th, 2019 Will Carleton
Peter Smith ex Fleet Street photographer and photo editor has contacted the PPHP from South Africa where he is retired…. he still shoots for pleasure and loves his life in SA. He is back in the UK next year to visit family and will be fitting in a visit to a Fleet Street pub with friends..the PPHP is looking forward to a few beers and more memories.. Here is his story:
My life in Fleet Street By Peter Smith
It was a cold grey November morning in 1949 when I stepped off the train at Chancery Lane Station and made my way down Shoe Lane in to the hub bub of Fleet Street. Even at that time in the morning it was a hive of activity. Lorries loaded down with giant newspaper rolls off loading them at the back door of the national newspapers ready to go on the presses. Dodging between the newspaper vans delivering the first evening editions became an art that one had to learn very quickly!
After negotiating a few bundles of papers thrown from the vans I ran in to Salisbury Court and found the entrance in an alley way leading to St Brides Church and gingerly poked my head around the door. "Come in lad, just don't stand there" came a friendly voice peering over a newspaper. It was Mr Jones, Picture Editor, Jonah, as he was fondly known by his colleagues and whom I had met the week before during my interview. I was introduced to the head messenger boy, "he will show you the ropes"; he said and left to carry on with his work. And so I started my career as a messenger boy with the Associated Press Photos at the age of sixteen earning the princely sum of £2.10 shillings a week. One of my priority duties was to get a regular supply of tea for the photographers who had just come back from an assignment. Boy! Get the tea-I would grab an old enamel jug, the photographer would give me sixpence and I would go across the road to Manzies and get the tea as well as thick buttered cheese rolls.
I had taken an interest in Photography at the age of fourteen when I bought a second hand camera in a junk shop and was determined then to someday be a press photographer and where better to start, Fleet Street the hub of the newspaper industry.
AP Photos
AP Photos, the American agency, were at that time housed in a ground floor room at the back of the Press Association/Reuters building at 85 Fleet Street. They had been bombed out of their offices during the war and were awaiting completion of their new building on a bomb site in Farringdon Road conveniently situated next door to the Hoop & Grapes.
I sat on a wooden bench with other messengers who began to explain to me my duties. Photo agencies supplied news and pictures to the newspapers. At that time there were a number of them, some specialising in sport, others fashion, but the majority dealt in hard news gathering, AP, Press Association/ Reuters Photos as it was known then, (it was later in the sixties that Reuters broke away and had their own independent photo agency). Planet News, Keystone, London News Agency (LNA), International News Photos (INP), Barrats, Sport & General to name but a few. The competition was fierce as in those early days one was only paid by their results; contracts with newspapers were still in their infancy.
RUNNER BOY
My task as a runner boy was to try and get pictures round to the newspapers picture desks before the opposition. Many a time, when you met up with one of the opposition boys you would try and grab his photos and push them down the nearest drain.
Most of the agencies worked on sale and return and it were usually the first picture on the picture editor's desk that would make the sale. The editor would sign for the picture, which meant the agency would recoup a print fee and if it was used in the paper then a publication fee would be paid according to a scale, depending on the size of the picture, 12 sq inches, 30 sq inches, 50 sq inches and so on.
Racing against the clock!
Besides all the National Dailies there were three main evening newspapers, The Star, Eve. News and Eve Standard.It was nothing for them to have as many as six editions each, the editors hungry to fill them with pictures and with deadlines to meet there was always this constant rush to get the pictures round to them as fast as possible.
We were now in our brand new building in Farringdon Road, the photos department in the basement. Colonel Butler was bureau photo chief, a pipe smoking American with a broad accent, "Saaaay Smitty"! as he would greet me, "how's it going"?
KING'S FUNERAL
My early recollection of major stories was King George V1 funeral. I was asked to help the photographer, by carrying his equipment, ladders for elevation, plus his heavy camera bag. We were at our position outside the Abbey at 5 o'clock in the morning to beat the crowds of sightseers that had already started to arrive. The photographer poised on his ladder, waiting for the moment of the procession to pass. This would have been about 11am, six hours of waiting!! He would then hand me the slide, (one would have been lucky to have managed to get off two exposures), no such thing as motorised cameras! I then dashed to St James Station and on the tube to Blackfriars and ran as fast as I could to the office.
The "RUSH"!
"RUSH"! I would shout as I entered the photos department. Everything would stop, the despatch clerk would time stamp the moment I came in. A darkroom technician would grab the slide and disappear in to the darkroom, it would take about two minutes to develop the plates, and the developers would have been warmed up ready before hand. As soon as the plate was fixed a bell would ring and the picture editor would view the wet negative through a light box, he would then shout out instructions on how many prints he would want, on something as large as the King's funeral, hundreds of prints would be made.
But first, just three quick prints would be done for the evening paper editions, the Star, News, and standard. Usually 10×8 inches prints would be made, but could be as big as 15×12 if it was a good picture.
The printer would set up the negative in his enlarger and make three prints, the developing boy would develop and fix them and throw them out into a tank of water where again boys would be ready to give them a quick wash, the boys would then dash round the papers. The despatch clerk would time stamp the last boy out and the whole operation would take about seven minutes, if it were longer then there would be an inquest the next day.
Print drying!
There were wonderful methods of drying in those days. For prints that were going abroad or to magazines, these could be handled with more care and washed thoroughly. The prints were put on glazing machines, these were huge heated drums with a high polished chrome surface and the prints would be put on a conveyor belt and would come off all beautifully glossy. To keep these drums clean we used to use amylasitate, it smelt like pear drops, you always knew when you were in a photographic department with that constant smell.
Or just set fire to them!
The other method of drying was 'roughdrying', a large heated drum with just a cloth conveyor belt. But even that took too long when it came to a Rush. So the wet prints would either be put between sheets of blotting paper and the boys would take off round the papers, or some would go to the extreme and soak the prints in methylated spirits and hold them over a gas ring. God help you if the print caught fire and had to be done again, you would get a clip around the ear from the printer, never mind that your hand and arm might be on fire! Can you imagine the Health and Safety people allowing it to happen today?
Not only was it the job of the agency to feed the National newspapers, but papers in the provinces and abroad. Packets of photos taken that day would be despatched by train to the provinces from Euston, Kings Cross & St Pancras. It wouldn't be the first time I had to run down the platform as the train was leaving and hand the guard a bundle of envelopes for Manchester, Glasgow or Birmingham. Despatch riders were also employed to collect film from photographers or take packets of pictures to airports. Croydon was still operating at that time with Flights to Europe.
For major stories pictures would be sent or received by a wire photo machine. Dedicated telephone lines in to newspaper offices in Europe could receive photos within minutes and have them in their papers that same day. For countries like Australia, Russia, New York, pictures would be sent by Radio and picked up or delivered to Cable & Wireless situated on the Embankment.
I was now responsible for checking for publications in all the newspapers, not just the National evenings and dailies, but all 180 odd provincial newspapers that had offices in Fleet Street from the Dundee Courier to the Birmingham Post & Mail.
I was given a small suitcase full of picture files and would wade through all the editions to find any outstanding publications. These would be duly noted and handed to the accounts department for payment. It was a frustrating job, but on the good side the hours were 9-5 with weekends off allowing me to get out and take pictures in my own time.
Taking my first pictures.
I had bought my first press camera a second hand 9x12cm Palmos plate camera (which I still have), and was eager to get out and prove that I could take pictures.
I had learnt very quickly that if you wanted to get on you had to prove to the picture editor that you were capable of standing up to the pressures of the job. It was no good thinking they would hand you a job as press photographer there was far too much competition amongst us lads for that to happen.
It was a question of badgering the Assignment editor to send you on anything, a football match or film premieres which were quite popular in those days. The London Zoo was another favourite just to try and get something unusual. This meant buying him a drink in the Hoop & Grapes and many a night I had slithered off the bar stool and curled up on the floor!
I recall the first football match I was allowed to cover it was Millwall, no such luck to get the big games they were reserved for the senior photographers.
Undaunted I set up my position ten yards from the goal post alongside other photographers and trying to look the part and not be nervous.( Yes those were the days when you could sit along the goal line).
At half time after having exposed a few plates I dashed back to the office with what I considered were the best pictures of the day. As I sat on the train I visualised my pictures in all the Sunday papers! How wrong could one be and what a shock was awaiting me! I went in to the darkroom and carefully developed my precious images and rang the bell for the picture editor to come round.
"What the hell have you got Smith", was the curt greeting I received. "Some good football pictures Sir", I meekly replied. "Humph will see about that"! He held up my precious glass plates to the light box and slowly and deliberately one at a time dropped them crashing to the floor, muttering on his way out, about young upstarts wasting his time.I was left to pick up the pieces of my ego and the remnants of my afternoons work besides receiving a clip around the ear from the darkroom chief for messing up his nice clean floor.
It could have been easy to have given up, but I was determined to carry on until one day he begrudgingly said, "I suppose that's not bad Smith" and the picture was issued. That was the start of getting on the first rung of the ladder; the next step was to get a publication! Only a small minority of pictures issued would appear in the papers.
The Darkroom
A vacancy had occurred for a developing boy in the darkroom and although it meant back to shift work again it gave me another opportunity to learn some darkroom skills.
Developers and hypo's, in those days were made up by the developing boys, awful potent stuff that would stain your finger nails brown. Each office would have their own jealously guarded recipe. Sodium Carbonate, Metol, Hydoquinone, Potassium Bromide and Hypo, (Sodium Thiosulphate), to 'Fix' the negative or print. Large demijohns were used to store the solutions.
Film/Plates
Back in the late 40's early 50's the fastest plate was 200 ASA; they came in boxes of 12, packed back to back. You had to fiddle about in the dark and make sure the emulsion was facing the right way when you put them in the slide. One way of testing this was to lick the corner of the plate with your tongue; if it was sticky then it was the coating on the back. Later 5×4 cut film came in to use, Kodak Tri-x Panchromatic sheet film; Panchromatic Type C; ASA 200 daylight; and ASA 160 in Tungsten lighting were the norm. This had a little notch at the bottom right corner so you would know which way the emulsion was facing, progress indeed!
The important thing was to obtain an image and if it meant heating the developers up so be it, but not too much that it would melt the emulsion as you would be in trouble again.
The enlargers were huge horizontal contraptions, made of good old mahogany, with brass lenses and huge ten-inch condensers, some still had their arc lighting, that hadn't yet been converted to electricity. It was built on runners, which could easily slide back and forth, depending on the size print you wanted to project on to the easel. The bench could also be used as a bed if you missed the last train home!
The next major story to come along was the coronation. I can remember developing literally thousands of prints. We would virtually be working round the clock and would sleep on the enlarger benches; there was no chance of going home.
A move in the right direction
I was becoming frustrated and feared I could spend the rest of my life in the darkroom if I didn't do something about it. Many of my colleagues opted to go freelancing, but I didn't feel confident enough to do that just yet.
An opportunity arose to be head of darkroom at International News Photos, (INP), in Shoe Lane an increase in my wages was also an incentive for moving. The work was very similar to AP darkroom, but I had more opportunity to go out and take pictures.
TAKING PICTURES – MARILYN
My first real break came one evening when I was on late shift in the darkroom. It was September 1956, a call came through that Marilyn Monroe was at the Palace Theatre with her husband Arthur Miller for the performance of the Berliner Ensemble. This was her first public appearance since the announcement of her illness and since she stopped work on her film. There were no photographers around and so I was told to go and get a picture of her. It was the interval and I was waiting for her to take her seat and as she appeared I got a picture of both of them. The daily Express paid 20 pounds for the picture, three times what I earned in a week. The next morning, Ted Taylor, the boss called me in to his office and said I did a good job but would not pay me any of the money, as I was not officially yet a photographer, tough times!
There were a lot of chances to take visiting stars, in the early fifties, Bridgette Bardot, ,Zsa Zsa Gabor and many others. Another opportunity came one evening when I received a call at home that Liz Taylor and her husband Richard Burton were in my local pub! Burton was having a quiet drink with his niece who was getting married the next day. I slipped along to the pub and took a shot of all three of them sitting quietly in the corner. The next day was the wedding and every photographer from the 'Street' was outside the church.
I still felt at that stage I wasn't getting anywhere fast. I was keen and impatient and so I made the decision to leave Fleet Street and go and work on a new Westminster Press/ Thomson evening paper in Slough as Chief Photographer.
Then in 1973 the opportunity came for me to go back in to Fleet Street and to take up the post as assistant picture editor at the Press association. It was ironic that I was about to step in to the same building and only across the archway where I first started in 1949 where AP was housed and was now the PA Library. This time I went in the front entrance of 85 Fleet Street with its grandeur marble entrance
Now I was back in the mad house again, where the pace was a lot quicker. It took some time for me to adjust having been away from the real action.
It was the time of the IRA bombing of London and one of my duties was to be on standby call during the night, at home, in case of any major stories breaking. I hadn't been at PA long when the phone rang at 3 in the morning it was the night news editor.
Now he was one of these very abrupt excited types and the conversation went something like this. Remember I was still half asleep. "Hello"! "A bomb has gone off in Regents Street"! Bang went down the phone. I thought now have I dreamt this or did someone say something. So I phoned the office back to confirm what he said and I got the same curt message "Don't you listen, a bomb's gone off in Regent St I haven't got time to talk to you".
So I am now left with the decision to get a photographer out of bed in the middle of the night to wander down Regent Street and see if anything had happened and report back to me if it was serious. At the height of the bombing campaign this would happen about two or three times a night, no sooner had you dealt with one explosion and another would be reported the other side of town and remember one had to be back on duty in the office by 8 the next morning. This was my initiation back in to Fleet Street.
Being a picture Editor was a totally different kettle of fish than being a photographer. Both had their responsibilities but it was the duty of the picture editor to assess a situation and decide whether it was worth covering, (a) because of its news value and (b) cost value. The latter was the hardest decision to make. To try and explain to the editor in chief, at conference the next morning, that you had spent a few thousand pounds that night, on a story that hadn't materialised, was not the best way to get in to his good books. But Woe be tide you if you had decided to ignore the story and turn over and go back to sleep, only to find the next morning the papers were full of pictures of the incident. Only Editor's in Chief are allowed to have hind sight on their side!
CUP FINAL… and can't see a thing!
I can remember the first time 'I went out', in charge of a team. It was to the Cup Final at Wembley. Unions were very much in control, which meant, besides the photographers, a darkroom technician had to come along to process the films and a wireman to send the pictures across on a dedicated telephone line and back to the office.
I was trying to make an impression that everything was under control and wanted it all to go smoothly. The others of course had done it many times before and just looked at each other as much to say he will learn.
This may sound very exciting going to a Cup Final, but I can assure you will be lucky if you see a ball being kicked.
Our darkroom was in the famous round towers, right at the top of the stadium, (now sadly demolished to make way for a new stadium). We had to climb with all our equipment up a twisting iron staircase to the roof.
Apart from not being able to see what was going on we were also at the mercy of the pigeons. We had our own darkroom, which was about the size of one of those old-fashioned police boxes, or a Dr Who Tardis..We had a portable table for the wire machine and a table for my typewriter.
The idea of all this was to get pictures out to the papers as quick as possible. It would have taken far too long for even a despatch rider to get back to Fleet Street through the London traffic so it was quicker to wire the pictures back. Again we are talking about meeting deadlines and some of the evening papers would have a late Cup final edition, allowing an early picture of the game to go in the paper along with the
The kick off was 3 0'clock and it was imperative that the photographers had a picture of sorts in the first five minutes. A boy would be standing by to take the film from the photographer and run like mad to us in the roof where we would be waiting to develop the film, I would then select the negative to be printed and the wireman would send it across. The first picture had to be in all the newspaper offices by 3.30
otherwise all hell would break loose.
It was coming up to 3 0'clock and the teams were about to come out. We had set up the equipment long before and now would be eagerly awaiting the first pictures when I could hear my wireman trying to speak to the office," Hello PA! Hello PA"! So I ambled across and in a high pitch nervous voice and trying to stay calm said is everything ok? "Nope can't get thru to the office ain't got no line" and he sat down and
arried on reading his Mickey Spillane novel. "So what are you going to do about it I screamed"? He looked up at me "nuffink ain't my problem" and buried his head back in the book. I flew down three flights of stairs to the nearest pay phone and phoned the office,(no cell phones)! I was now in a state of panic. "We haven't got a line through I shouted".
What has to happen, most newspapers and agencies have a dedicated line already installed at all major venues. It is then just a matter of speaking to the company a few days before the event to 'book the line' as it's called. Someone had forgotten to do this. So there were frantic calls to get this fixed up.
The line came through just as the runner boy came up the stairs with the film so in the end all was well. But if you ever have a constipation problem believe me this sort of crisis will soon sort the bowel movement out, better than any tablets.
A few years later we moved our darkroom nearer the pitch, this was a great improvement. Instead of having to run up flights of stairs we were only a few yards from the goalmouth. This of course made it easier and quicker to retrieve films from the photographer and to save vital minutes. The problem and there was always problems, was that before we had to dodge pigeons now we learnt we were directly beneath the toilets and during half time the toilets would overflow and seep through the sealing. It is quite difficult to type holding an umbrella over ones head at the same time. It certainly brought home the saying being Shit—0N—from a great height!
ANYONE FOR TENNIS!
Wimbledon fortnight was similar. We had a darkroom under number two court. There would be a team of eight photographers covering the courts, a wireman, darkroom technician an assistant editor and me. During the fortnight we would get through 400 rolls of 36 exposure films, each neg would be scrutinised through a magnifying glass, no time to make prints, and then wired back to the office and round the
Once the unions had gone in the eighties the developing and wiring was left to either the photographer or the picture editor. By then new technology was in and we were using colour film.
Other on the spot decision, which comes to mind, was the Lockerbie disaster. We all know where Lockerbie is now, but when you receive a call with scant information that a plane has gone down in a town called Lockerbie, you think where on earth is Lockerbie?
It was nine in the evening and most of us were soon thinking of bed, no chance of that! A frantic look on a map to see that our nearest photographer was in Glasgow. So I sent him on his way to assess the situation. In the early stages, you don't know whether it is an airliner, a small plane, or an RAF fighter that's gone down. You are desperately searching for more information and from home it's not an easy thing to do.
The main information always comes from TV bulletins and one can quickly start to assess the situation. It soon became obvious that it was big! So I then sent our next nearest man, in this case from Manchester to get up there fast! Then all hell broke loose with bulletins and calls stating that an airliner had gone down on a village. You start to phone every possible photographer, freelancers, anyone who can take pictures, promise them the earth, pay them a fortune, but get up there! The next thing is to organise your own staffers from London to start making their way to Lockerbie. Hotels have to be booked, telephone lines laid on, darkroom facilities have to be found. All costing big money and has to be accounted for. You can't budget for a situation like that.
POPE'S VISIT
My next challenge I was asked to organise the photographic positions for the Pope's visit to Ireland and Britain in 1982. This was a major task, it meant me travelling the length and breadth of England, Wales and Scotland to visit the towns the Pope was going to visit. Having meetings with the local constabulary and council officials, walking round the sights and suggesting where we wanted our photographic positions. Having to travel all over Ireland and doing the same there, talking to the Bishops and arranging positions.
KEEPING UP WITH HIS HOLINESS
The two major problems with something like this, where you have the Pope visiting lots of different places in a day, was trying to keep up with him.
He was ok he just jumped in to a helicopter and made his way to the next venue we had to pack up all our equipment and drive like mad to get there. Of course this was impossible so I had to organise three teams all leap frogging so we would always be one jump ahead of him.
I remember I was in Ireland and our first task was to cover the Pope arriving at the airport and kissing Irish soil. We had a position on the roof of the car park with the make shift darkroom two floors down. All this had been arranged with the blessing of the local Garda and authorities weeks before.
At 4 0'clock in the morning we arrived at the gate of the airport only to be met by a police officer who had never been told about us having a position on the roof and was in no way going to let us in. It was stomach- churning time again and I didn't fancy rushing to the toilet, so after a few choice words he reluctantly let us through.
One of the ploys used to get film from a high building to the ground floor was instead of rushing down the stairs and breaking ones neck was to devise a bucket on the end of a fishing line and lower it over the side. This works fine providing you know the opposition is not lurking somewhere on a floor in between, otherwise there would appear a hand clutching a pair of scissors cutting the line and you watching your films going to the bottom.
Our next port of call was the small village of Knock on the West coast of Ireland, where the Pope was to visit later that day. Knock is where all the pilgrims visit and is quite famous. The village consists of a church and five pubs; it now has its own airport that the Bishop managed to persuade them to build.
Security was obviously very tight, we had hired a couple of cars and we got about as far as the outskirts of Knock before the police pulled us over and said we would have to walk the rest of the way. We abandoned the cars in a farmer's peat bog. You can imagine the farmer the next morning after a heavy night drinking saying to Paddy I don't remember any cars!!
There must have been well over a hundred thousand pilgrims all wanting a sight of the pope. When it was over we had to get to Limerick further down the coast for the Pope's visit early the next morning. We packed up everything looked outside and new there was no chance of ever getting back to the cars. We jumped on a coach which took three hours crawling through the crowds and we wound up at a railway station in the middle of the night and jumped on a train that I swear took us all the way back to Dublin to come all the way back to Limerick. We arrived at Limerick station with about half an hour to spare. Someone had thoughtfully laid on a removal van for us so we all piled in the back and got to the racecourse where the Pope was about to arrive by helicopter. As you can imagine we were quite shattered after that trip.
New technology started to come in the eighties, more and more colour photographs were being used. Suddenly computers were stuck in front of us, new ways of transmitting pictures came about and it was the end of the unions after a lengthy struggle.
Newspaper bosses realised there was no need for costly print works anymore, everything was going hi tech and the newspapers started to drift away from Fleet Street to cheaper and more modern accommodation. Telegraph and Mirror moved to Canary Warf in the Docklands, The Daily Mail to Kensington, and the Express across the river to the other side of Blackfriars Bridge. The Press Association sold off their building to Reuters and moved to Victoria. The old Telegraph and Express buildings are listed and now occupied by city firms.
We were now at the forefront of new technology and it was a nightmare. I was having to travel to Paris two to three times a month to look at computers the French had designed; it was a bit like the blind leading the blind. Everybody was doing their own thing and not quite sure what the end result would be. AP had their own system that wasn't compatible with the French, so we couldn't send or receive pictures to each other. Then of course some of our clients were rather slow to take on the new technology, which of again slowed us up; we could only be as fast as our slowest client.
50% of the old staff had now gone but the same workload had to be carried on the shoulders of those fortunate to still have a job.
If you recall in the early days when I was covering football match at Wembley. There was a Picture Editor, a photographer or photographers, darkroom technician and a wireman to send the pictures back to the office. Now the wireman has gone and the picture editor's roll is to wire the pictures back on this new fan-dangled machine that he has only seen once. These machines incidentally were the size of a medium suitcase and cost pounds 23000 each, two years down the line and you couldn't give them away as doorstops.
I remember my first experience with one of these contraptions. I was told to go to Penzance and wait for the Royal Photographer to come from the Scilly Isles where Diana and Prince Charles and William and Harry were spending a few days.
We had been given 12 hours notice from the Palace that our Royal photographer should be on the Island to take exclusive pictures of the royal couple and that PA were to be responsible in circulating the pictures round the world.
That was fine except there was a tube strike planned for the next day, which meant I had difficulty getting in to the office. Normally I travelled to work by tube everyday, which would take from door to door about hour and half. British Rail was still running so I had to get in the car and drive to the nearest British Rail station, leave the car and get as far as Euston. Then I had to get a cab from there to the office.
Because of the chaos we had hired a car to take all our equipment to Heathrow where we jumped on an Islander, a small plane holding about 20 passengers, which took us as far as Plymouth. From there we had hired a small 3 seater Cesna to fly us down to Penzance.
You know when you come out of an airport you are faced with a sea of faces and people holding placards up with Mr Jones, or Mr Brown, well we jumped off the plane at Plymouth and ran across the tarmac where this Biggles type character with early 1900's flying helmet, was holding up a card with Mr smith PA. So we piled in to his plane and we hedge hopped down to Penzance, where we had a taxi waiting for us to take us to the hotel.
The photographer arrived from the Scillies about fifteen minutes later and I took his film to the nearest Foto fast centre, which of course didn't know that they were about to develop the most important pictures of a lifetime. They thought I was bringing in my holiday snaps and said they would be ready in an hour Sir. I said no I want them in ten minutes, explained that they were very important and they would see why when they had developed the film. Of course when the film came out of the machine and they saw whom it was they just stood with their mouths open. I thanked them for their effort grabbed the film and went back to the hotel and started editing the pictures to put on the machine. All went well and now we had to get the film back to the office.
By that time I had missed the last train back to London so I had to hop on an all stations to Swindon, which got me to Swindon at 1 o'clock in the morning. I then sat and waited for a train to come in and I eventually made the office at 6 o'clock that morning. So you see it can be rather a long day!
D-DAY (PIC)
My last and biggest task came just before I retired and that was to organise the photographic positions for the Commemoration of D-Day on June 6 1994 and the following year the celebration of the end of the war.
By that time I was in charge of running the photo desk and I was also the Secretary of the Wire Photo Association,(WPA), looking after the photographic interests of not only the Press Association but also the three major world agencies AP Reuters and AFP.
This would entail me talking with Downing Street and Buckingham Palace on all rota assignments concerning the coverage of the Royal family and the Prime Minister.
The Queen Mother's funeral arrangements
One of my tasks was to help advice on the QM's photographic funeral arrangements. It had come to the Palace's notice that the QM was well in to her eighties and nothing had been arranged for a state funeral. A committee was set up with Buckingham Palace Press Officers, Police, Public Works, and members of the press representing the newspapers and agencies- NPA representing the photographic needs of the National newspapers, WPA representing the main agencies, the News Paper Society representing the Provincial Press and a representative for the magazines.
This meant we had to annually walk the route from the QM's home, Clarence House, down the Mall, through Horse Guards, into Whitehall and on to the Palace of Westminster for her lying in state before going on to Westminster Abbey for the service. All the camera positions had to be organised along strategic parts of the route, stands had to be prepared and made ready with agreements on how many photographers to each stand depending on the size. Positions in the Abbey had to be agreed, everything being on Rota meant that the agencies had priority, newspapers next, followed by magazines and the provincial press, then the influx of foreign journalists.
This survey had to be carried out summer and winter to make sure trees along the Mall did not have to be pruned back in case they were blocking the view. Little did we know at that time that all these plans for the QM would be used for the sudden and tragic death of Princess Diana.
Best laid plans of…..!
Planning for the D-Day commemoration started six months before and necessitated in a lot of meetings with Downing St, Buckingham Palace, Foreign office officials even the Prime Minister as well as all the armed services.
It also incurred a lot of travelling around the South Coast, especially to the Portsmouth area, Eisenhower's HQ and other sites where the Queen and the Prime Minister would be visiting.
It also meant trips across the Channel to Normandy beaches, to the port of Caen, Arromanche where the British forces landed, and where the Queen would inspect a parade of the veterans with a backdrop of some of the old landing craft.
Omaha beach where the Americans lost so many men on the first day of the invasion and to the American war cemetery, overlooking the beach with its 9000 white crosses and where President Clinton would pay his respects.
Then on to Bayeux, the British war cemetery where the Queen and President Mitterand would lay a wreath to the war dead.
All these places had to be carefully planned so as to get the best available camera positions.
Hotel rooms had to be booked, talks with the local Mayor to find rooms to develop the films and send back the pictures, access to water and power points, telephone lines had to be arranged with the local post office, and have you ever tried to doing this not speaking a word of French and they not speaking much English either.
By the time June arrived every newspaper and agency photographer knew exactly where their positions were. Some we had flying over the Royal yacht and the armada of little boats as it left Southampton waters, others were already in France, waiting for the Queen to arrive.
It is no good having the best pictures in the World if you can't get them back to your office. You might as well throw them in the bin, (see D-Day foul-up).
As I was the organiser I had to be in France and I went across the Channel on the escort Frigate to the Royal Yacht with a Daily Telegraph photographer. We lashed our cameras on to the railings and filmed the event as it unfolded in front of us. It was a memorable sight an armada of small boats escorting the Royal Yacht out of Southampton water with world war two planes flying overhead. It had been arranged that a helicopter was to take our films off the ship and fly them back to Portsmouth, where arrangements had been made with the office to collect them. Like all well laid plans, no one had told the Captain and we carried on sailing to France with our films still in the cameras and me nearly being put in the Brig for telling the Captain in no uncertain manner that he couldn't organise a P,.., in a brewery!
We had missed all the deadlines and as I said earlier-You could have the best pictures in the World, but if you can't get them back to the office, you may as well throw them overboard.
We arrived in Caen quite late after finding a drunken French pilot to escort the ship up the narrow channel to the town of Caen.
We had made arrangements, on an earlier visit, to stay overnight at a Gites in the grounds of a huge Chateau, about an hour's drive from Caen. It was a beautiful place, if one was on holiday, but all we had time to do was to get our head down and at four in the morning we loaded up the car and was on our way to our positions. I was covering the Queen and Mitterand laying a wreath at the British cemetery in Bayeux while the others made their way down to the Normandy beaches at Arromanche.
The plan was for the Queen to visit Bayeux first then she would make her way to Arromanche. After I had taken my pictures and wired them back to London, from a small office near the cemetery, we were supposed to have a coach take us down to Arromanche to meet up with the others.
You have to remember that security was tight and the police had blocked off all the roads. When we went to find the coach we were told they had gone, they hadn't bothered to wait for us. So we jumped in to our hired car and started to drive down not knowing how far we would get before a Gendarme would stop us. We had ignored all the no entry signs and we thought our luck was holding until we came round a corner straight in to a manned checkpoint. Luckily I was still looking reasonably smart I had a blazer on and a neckerchief, loads of passes round my neck and as we drew up alongside the Gendarme I muttered veteran, Oui! (I must have looked old and tired by then) and he saluted and let us through.
I met up with the crew in a schoolhouse that we had taken over, got some good pictures of the Queen and Duke talking to real veterans and wired them back to the office.
The end of my career
June 1996 and it was time for me to leave the business after nearly 50 years involved in press photography. We had sadly said goodbye to Fleet Street and had been in our new offices for a year. Changes were all ready starting with a new editor in Chief coming in and making some drastic changes. New technology was breaking out with the advent of digital cameras, no more film, no more darkroom, just a photographer with a laptop and a cell phone sending his photos back to the office from anywhere in the World.
What of the future
85 Fleet Street was my home for so many years and carried such fond memories. The Sculpture over the front door of "The Herald" by William Reid Dick, the winged female figure seated on a globe blowing her trumpet is now silent; the grand old building is awaiting new tenants. Where I started in 1949 in Salisbury Crt now houses a fancy restaurant.
Some of the old watering holes in Fleet St still remain, The Bell, El Vinos, The Hoop & Grapes, but cater for a different clientele, but it will always remain Fleet Street to the press although they have moved on.
So what of the future- technology is moving at a tremendous pace so who can guess what is ahead of us? Some has been good, some bad with the sad closure of Murdoch's N.O.W.
The press cameras of the 40's & 50's
There have been press photos recorded as far back as the 1860's, but mainly used in magazines. Newspapers still preferred the written word Most press cameras of that period and earlier where of large format due to the poor quality of the inks and paper.
It wasn't until after the war did photos start to play an important role in newspaper publishing. Even then, compared to today's high standards, it was just a hardly recognisable inky black smudge across the page. One of the earliest press cameras I recall on joining Fleet Street in 1949
was the Contessa Nettal and the Palmos, (shown here); both were 9x12cm and used glass plates.
It came with a focal plane shutter, known as a 'Back Blind'. It had different size slits which determined how much light went on to the plate. After deciding on the right slit for the occasion, a spring would then be adjusted to determine the shutter speed, the tighter the spring, the faster the blind would travel across the plate. Focusing was mainly done by guess work, each photographer putting his own yardage on to a metal groove to determine the right distances, 2 yards, 3 yards, 5, 7, 10 and infinity. The camera was equipped with a Carl Zeiss Tessar 4.5 lens and if a flash was to be used then a Compur shutter would be screwed on to the front with a make shift triggering device that would fire the flash bulb as the shutter opened.
The Speed Graphic
The American press had the 5×4 Speed Graphic which became the Rolls Royce of press cameras up until the late 50's. It came in a large leather case with velvet lining and pockets to hold the mahogany tripod, 12 Double Dark slides, flash and plates. It was extremely heavy to carry around. The case had an extra usefulness, as a seat, or for extra elevation. It came equipped with a parallax view finder. built in range finder. two shutters-a 'Back Blind' and a Compur shutter with a solenoid attached to fire the flash.
The Long Tom
The 48inch
I found this old camera in the basement of PA when we were about to move out of 85 Fleet St in 1995. I and a colleague manhandled it up to
the roof and with some old film stock 'fired' it up. To be able to take photos from a distance during that period necessitated in a custom built camera. The Long Tom was made up from a lens off a wartime reconnaissance aircraft and bolted in to a light-tight box measuring 48inches. At the business end a Graflex body was attached to take the slide. The camera was mainly used for taking photos of the Royal Family on the balcony of Buckingham Palace from the Queen Victoria Memorial, some 300 yards away. It was also used for major sporting events-The Derby for when the horses came around Tattenham Corner, (only the one opportunity to get a shot before the horses had gone past) and Cricket at Lords and the Oval.
This picture of St Paul's was taken from the roof of 85 Fleet Street, nearly 600 yards away.
—-ENDS——
This article is copyrighted to Peter Smith Some of the images of Peter may have come from PA staffers, if you notice your copyright please let me know and I will credit duly.
If you would like to contact Peter please drop me a line will { at } pressphotohistory.com and I will pass your details on.
UPDATED 1 Jan 2013:
John Broomer writes:
The following information regarding 28″ and 48″ cameras came from Mr. Ronald Hall, ex-Director of Sport & General it was written on the 18th May, 1980.
" I think the date of these to be around 1920/25 and they were purchased from First War disposal sale.
Both cameras consisted of a lens fixed onto a baseboard with supporting ribs and boxed in plywood with half plate (48″) and 5 x 4 (28″) reflex camera mounted onto the baseboard. They could have been made up by Ince Bros or Thirkettle who did work for S & G at this time.
I am not definite about any of this as I did not work at S & G until 1922 and it was some years before I became interested in cameras. I do not have a recollection of the Long Tom being at Essex Street.
50″ Telephoto purchased from Ross-Dallmeyer or Wray around 1950/55. I cannot remember now which firm made this lens but it will be marked on the lens. About this time several papers were looking for a long focus like our 48″ but it must be lighter and smaller and they got the manufacturers cracking – the result was five of these were made by above. We had one the rest went to newspapers. Only the lens was supplied, I think F200 and you had to make it up into a camera yourself. I took ours to a firm Gandolfi, a half plate stand camera specialist in Peckham. They made a baseboard and ribs to hold the lens and we supplied a half plate reflex camera to be fixed to the base. It was then boxed in with 3-ply wood. After using this for one season at Lords we re-designed it slightly substituting a metal box made by Metal Box Co.
My sister is pretty sure the two gentlemen mentioned below are sadly no longer with us…
Mark Seymour and Ken Saunders could help with more details which were based on the theory of the 48″ but less weight. I know they could help with stories of the hard work and sweat and accidents entailed in getting them into position at Lords, Leeds, Manchester, Epsom, etc.
Now when I see photographers using the latest in telephoto equipment I realise more what heroes the S & G boys were."
Peter Smith visited Fleet Street in the summer of 2012 and met up with a few friends.
"Hi Will good to hear from you. Yes we had a good turnout, any excuse for a drink, see attached, that's me front row sitting fourth from left, I'm sure you recognise some of the other faces."


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HELLYEAH premiere new track "333"
Photo by: Will Felch
HELLYEAH have premiered the music video for a brand new track titled "333". The song is taken from the band's upcoming full-length, which features the final recordings of late drummer Vinnie Paul. Vocalist Chad Gray said of the new single:
"Vinnie originally came up with the idea for '333'. A lot of people may think Vinnie was just a drummer, but he was much more than just a badass, slamming, smashing drummer. He understood production and composition and he was very much a contributor to the writing process.
This song was his baby; it belonged to and came from him. Unfortunately, by the time I was ready to actually write the lyrics, it was after Vinnie had passed. The lyrics embrace and recognize the feelings that most metal fans have. Being treated like outcasts and being judged for the way we look or dress. It's a reminder to all the metal fans that no matter what, you will always have a place in our worldwide metal community. With that said…Welcome to the family! We're all the root of half evil reppin' 333!
I love '333' and what it represents — being half evil. It was a part of Dime (Darrell Abbott) and (brother) Vinnie before HELLYEAH was formed and very much became a part of HELLYEAH as we carried the torch for Dimebag. They were both so accepting of me and many others, and they taught us to treat people with respect, dignity and humility."
The effort is due this summer via Eleven Seven Music and is available for pre-order here. Additional details regarding the album are pending.
HELLYEAH will be performing a one-night only special concert celebrating the life and legacy of Vinnie Paul at the House of Blues in Las Vegas, NV on Saturday, May 11th. A portion of the profits from ticket sales will be donated to the American Heart Association. Tickets are available at this location.
Tags: 333 Eleven Seven Music HELLYEAH Will Felch
A/V News	1 comment Josh_Doe
← BRKN Love sign with Spinefarm Records; debut new track "Shot Down" Devin Townsend releases animated video for new track "Evermore" →
HELLYEAH, Nonpoint, and Deepfall
Bad Wolves announce sophomore effort N.A.T.I.O.N.; debut video for "I'll Be There", stream new track "Killing Me Slowly"
HELLYEAH streaming new track "Perfect"
In Flames share lyric video for "Voices"
Metallica announced for Welcome To Rockville, Epicenter, Sonic Temple, Louder Than Life, & Aftershock
Of Mice & Men share full stream of Earthandsky
Issues premiere video for new track "Flexin"
Copyright MetalNerd 2016


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On the East End, the Humble Blowfish Mounts a Comeback
By Charity Robey| April 17, 2018 | Photos by Charity Robey & Tara Israel
So many of the East End's best restaurants are serving blowfish again. Good news for the locals who grew up eating it.
Chet Kent shows off a fully inflated blowfish. • Photo by Tara Israel
A just-caught blowfish looks like a medieval weapon. Only after it is cleaned and dressed does its gustatory charm come through. A frightened blowfish will inflate itself to comical proportions, turning into a rotund, spiny orb, but when it's cooked the meat is the size and shape of a drumstick, the flesh firm and sweet. Generations of Long Islanders have been taught to grasp a fried blowfish by the tail, and nibble the delectable thing like a chicken leg.
Also known as northern puffers, for a decade or more they were scarce, but in recent years they have been making a comeback, and are available in restaurants and fish markets from early spring through the fall.
"I think of blowfish as Long Island frog legs," says Stephan Bogardus, chef at North Fork Table & Inn. "It's fantastic to see the resurgence of blowfish, to see their numbers increase."
He includes a blowfish fricassee in his tasting menu. He pan-roasts the fish, and serves it with horseradish and a sauté of spring vegetables; radish, asparagus, spring onion.
Septuagenarian Long Islanders remember catching them by the bushel when they were kids. One Shelter Island old-timer says he and his friends used to sell them for 5 cents each to Claudio's in Greenport. Whatever he didn't sell, his mom would sauté in butter in a cast-iron skillet.
Blowfish was known as "sea squab" in the 1940s, and the reference to poultry stuck; even today people refer to blowfish as "chicken of the sea." Found in shallow water, they swim with a paddling motion, and although spiny when inflated, you'd have to work at it to be injured by a blowfish (stay away from the four teeth in its beak-like mouth.)
Cleaned blowfish, ready to cook. • Photo by Charity Robey
Kids who grew up on the East End of Long Island used to have plenty of marine life for company when they went for a swim, including blowfish. Tim Purtell recalled childhood summers on Shelter Island in the 60s and 70s. "In June," he says, "the blowfish would nibble my toes; there were crabs, skate, horseshoe crabs, sand sharks. In the fall the scallops would scratch my legs and wash up on the shore, there would be so many."
Blowfish are such lousy swimmers a child can catch one with bare hands, but Nanette Lawrenson, Executive Director of the Shelter Island Historical Society, said she and her siblings caught them at Crescent Beach with a seine net. "They were everywhere. When we tickled their stomachs, they blew up. I learned how to clean a blowfish when I was seven years old; cut off the head, pull the skin off and all the meat is right around the tail."
Donnamarie Barnes, the archivist at Sylvester Manor on Shelter Island, recalls catching blowfish in shallow water when she was a child. Barnes grew up spending summers in Ninevah, a beach community near Sag Harbor, where she learned to love blowfish with a fervor reserved for those who gather their own dinner. While the fathers worked in the city, their families stayed at the beach. "When the money ran out," Barnes recalls, "the mothers would send us into the water saying, 'Time to go fishing.'"
"You could kick them around like a football," says Jean Ely, remembering blowfish on the South Fork beaches in the 70s. "They were big and spiny–and so delicious." Jean Ely remembers blowfish being so plentiful and cheap they were considered "trash fish." No matter. Everyone still loved to eat them.
Charlie Poliwoda, a fishmonger at Southold Fish Market, prefers a rod and reel with a bobber to catch blowfish from a boat. "They don't fight, and they don't puff up unless they feel threatened."
A plate of fried blowfish. • Photo by Charity Robey
In the summertime, John Tehan runs a fishing charter out of the Island Boatyard on Shelter Island, taking clients out on day trips to prime local fishing spots to catch porgies, fluke, and bluefish, which he scales and cleans for them to take home at the end of the day. Blowfish are not included in the deal. For years, John brought any blowfish caught on his boat home to his mother. Now that she has passed, he eats them himself. "I had to explain to a seven-year-old girl that there is a blowfish tax on my boat. Her family got a whole cooler full of fish, but I keep the blowfish."
Local chefs who cook blowfish like to serve them as appetizers because of their drumstick shape and single central band of cartilage down the middle, a cocktail toothpick thoughtfully provided by nature.
Keith Bavaro, owner of SALT, a restaurant on Shelter Island, remembers a legendary blowfish preparation that Anthony Rando, former chef at Sweet Tomatoes, an Italian restaurant on the Island made: Blowfish Puttanesca. "It always sold out halfway through dinner service. Locals would order two right when they arrived because they didn't know when it would be back on the menu." Nowadays Bavaro buys blowfish for his restaurant whenever he can get it. SALT Chef Darren Boyle likes to fry blowfish like chicken wings and serve them with a classic remoulade.
The Japanese variety of blowfish called fugu is a delicacy notorious for containing potent neurotoxins in several of its organs. Fugu can only be safely cleaned by specially trained and certified fish cutters. The northern puffers caught in the mid-Atlantic coastal waters of the United States are safe, since they do not eat the things that create poisons in Japanese blowfish. The toxic blowfish are 6739 miles from here—the best argument I've ever heard for eating local fish.
This story was originally published in March 2017.
When ICE Detains One of Your Food Community's Own
It's Time to Eat Your Lawn
Chef Stephan Bogardus Is Leaving North Fork Table & Inn
5 Quintessential East End Winter Dishes
Long Island Cheese Pumpkin: What Your Traditional Pumpkin Pie Is Missing


Actress Rysa Saujani, 14, says playing the "innocent years" of actress Sunny Leone's life in her upcoming show was emotionally challenging.
"I am playing her innocent years between the age around 12-13 up to 15. I felt like the role was emotionally very challenging. I always wanted to play such types of roles that had a lot of emotional depth," Rysa, who will be seen as Sunny's younger version in ZEE5's show "Karenjit Kaur - The Untold Story Of Sunny Leone", told IANS.
It required a lot of preparation.
"Before arriving on the set, I did regular Skype calls, and felt like that helped me to understand young Sunny's journey a lot more. I was able to have my questions cleared which allowed me to act in my best ability," said the young England-based actress.
She is all praise for Sunny whose real name is Karenjit Kaur Vohra.
"I have nothing but respect for her. She has always been very gracious and made me feel comfortable," said Rysa.
On learning from the life of the former adult film actress, she said: "Within my family, especially, we don't have the right to make any judgements about someone. This (the show) reemphasized the belief that I had.
"She is one of the most genuine people I have ever met."
Rysa doesn't watch a lot of Hindi movies but featured in the 2017 Bollywood film DOBAARA: SEE YOUR EVIL as the younger version of actress Huma Qureshi.
"After doing 'Dobaara...', I felt that acting was something that I really wanted to do," said the Dubai-born actress.
"I am still in school and doing my education in England. I do really care about my grades and want to do well. So, because of my education it is better for me to stay in London," she said.
The winner of the Face Of The Globe Pageant 2014 - People's choice award is looking forward to attending an acting school in Los Angeles later this year.
"I am also keen to continue in Bollywood and try going to Hollywood if possible."
Talking about her favourite actresses, she said: "Emma Watson. She has been such an inspiration. Her acting is so realistic. The characters that she plays look so real. I want to do something like that where people believe that I am that character."


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Rudolf Schrader (also spelled Rudolph) (March 17, 1875 – January 18, 1981) was an American gymnast who competed at the 1904 Summer Olympics in St. Louis. As a member of the Turnverein Vorwärts club he placed seventh in the team all-around and participated in three individual events, his best finish being 68th in the gymnastic triathlon. Born in Germany, Schrader moved to the United States at the age of 15 and worked as a cabinetmaker while training as a gymnast. After the Olympics he joined Sears and remained with them until his retirement at the age of 65. Until he was surpassed by Walter Walsh in March 2013, Schrader was the longest-lived Olympian, having died in January 1981 at the age of 105.

Early life
Schrader was born in Magdeburg, Germany on March 17, 1875. He joined the Arbeiter Turnverein gymnastics club and took up a job as an apprentice cabinetmaker, but later traveled to Chicago with financial backing from relatives who already lived in the United States. There he soon joined the Turnverein Vorwärts club and resumed his participation in gymnastics, working as a cabinetmaker to repay his passage debts.

Athletic career
Schrader participated in his first local Turnfest, a German gymnastics tournament, as a senior in 1895 and his first national one in 1897. After participating at the 1900 national Turnfest, he competed in the 1904 Summer Olympics, where he finished seventh out of thirteen American clubs in the men's team event. Individually he placed 84th in the men's all-around, 68th in the gymnastic men's triathlon, and joint-95th in the athletic men's triathlon. He later held several administrative positions on the boards of various athletic clubs.

Later life
Schrader worked as a cabinetmaker for Sears from 1906 until his 1940 retirement. He turned 100 in March 1975 and was still riding a bicycle at the age of 103. He died in Berwyn, Illinois on January 18, 1981, at the age of 105 years, 307 days, making him the longest lived Olympian. He held that title for over 32 years, until he was surpassed in age by Olympic shooter Walter Walsh of the United States in March 2013.

References

1875 births
1981 deaths
American gymnasts
German emigrants to the United States
Olympic gymnasts of the United States
Gymnasts at the 1904 Summer Olympics
American centenarians
Men centenarians

redpajama_set_name: RedPajamaWikipedia


The best way to start off the work week? By taking a "smallish nap or two", obviously! When in doubt, ask Winnie the Pooh for advice – he's one wise bear! (P.s. Betcha didn't know Winnie the Pooh's real name is Edward Bear? ??) // Wallpaper available in computer, iPad + iPhone sizes!
Enjoy flaunting your amazing, cool, napping-extraordinaire self with these wallpapers! Happy Monday!


Doing makeup is every woman's fundamental right but going to sleep without removing is a sin. If you are a makeup freak, you must be able to relate with the trouble of finding the products that are non-detrimental to your skin. You have to go through this trouble for makeup remover wipes too as they can be as harmful as the makeup products can be. So, why not have your own DIY makeup remover wipes?
Using homemade makeup remover wipes is safe, as you surely know that no toxic chemicals have been used while manufacturing these wipes.
It is way cheaper to make your own remover wipes as compared to the off-the-shelf wipes. If you are concerned about quality, then the wipes available in market can take a toll on your wallet.
You don't have to go through the hassle of going to the market and finding the brand that suits you and that you are sure about to be safe.
It is fun to make stuff at home with little effort and little money and then watching 100% results as well.
When you are applying natural ingredients like oil to your face, it will make your skin healthy and bright.
Take 10 paper towels and cut them in half. Pour two cups of water in a tight-lid jar. Add 3 tablespoons of olive oil, 1 tablespoon of witch hazel, and 25 drops of lavender oil. You can use any essence oil of your choice. Stack the towels in a tight-lid jar after folding them into small squares.
Tip: Go for a wide-mouthed jar, it will save you from a lot of trouble. Stir the jar with fork to get the paper towels completely soaked in the solution. Now, close the jar with the lid and shake it. It is ready to use.
When you want to remove your makeup, just take out one paper towel and rub it on your face gently in circular motion. Close the jar when you are done so that the mixture does not dry out.
These wipes will not only remove the makeup smoothly and swiftly but also will ensure that you are not having any solution in your eye or in skin pores. Moreover, these wipes will prevent clogging, acne, or any other skin conditions that may rise using chemical containing wipes.
Note: You may start having acne at first time, but you need not to worry. It will be temporary as your skin is throwing the toxins away.
These makeup remover wipes can be used for more than a month, but it is advisable to start the fresh batch every month.


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Jon Krakauer (Brookline (Massachusetts), 12 april 1954) is een Amerikaans alpinist, journalist en auteur van non-fictie, met name over het buitenleven en alpinisme.

Bibliografie
 Eiger Dreams: Ventures Among Men and Mountains (1990), vertaald als Dromen van de Eiger: het gevecht met de berg
 Into the Wild (1996), vertaald als De wildernis in
De wildernis in is het relaas van het leven en overlijden van de jonge avonturier Chris McCandless. Als pas afgestudeerde, maakte McCandless een soort zwerverstocht door Amerika die hem uiteindelijk fataal werd. McCandless overleed in de wildernis van Alaska. Aanvankelijk schreef Krakauer een artikel in Outside, een Amerikaans vakblad. Door het grote succes verwerkte Krakauer het verhaal tot een boek. Hij interviewde mensen die McCandless ontmoette op zijn tocht. Doch, in het voorwoord zegt Krakauer dat sommige stukken verzonnen zijn, maar dit wordt nooit verduidelijkt.
 Into Thin Air (1997), vertaald als De ijle lucht in: het verslag van een huiveringwekkende Mount Everest-expeditie
 Under the Banner of Heaven: A Story of Violent Faith (2003), vertaald als In de ban van de hemel: een verhaal over gewelddadig geloof
 Where Men Win Glory. The Odyssey Of Pat Tillman (2010), vertaald als De held
 Missoula (2016)

Verfilmingen
Van Into Thin Air werd in 1997 een tv-film gemaakt: Into Thin Air: Death on Everest
vervolgens werd er in 2015 een een tweede verfilming gemaakt van Into Thin Air:Everest
Into the Wild werd in 2007 verfilmd door Sean Penn

Amerikaans journalist
Amerikaans schrijver
Amerikaans klimmer


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Editor's note: All names have been changed.
At the entrance to Nyarugenge Prison in Kigali, Rwanda, armed guards stand beside painted letters that read, "No Corruption." Through the gates, I spot guards escorting inmates around. Prisoners wear pink if they are awaiting a sentence, and orange if they are serving one.
This entry was posted in Interviews, Journalism, News Stories, Photography, Travel on June 30, 2014 by Sally Hayden.
This entry was posted in Features, Interviews, Journalism, News Stories, Photography, Travel on June 23, 2014 by Sally Hayden.