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On May 22, 2018 January 9, 2019 By Mary Anne
If only King Louis XIV had asked questions when he had heard the rumors about some Sacred Heart messages for him …through a visionary at Paray-le-Moyal. The King had already been communicating with St. John Eudes. He was growing older and weaker at this time.
But only Father Le Chaize, the Confessor of the King, to whom St. Margaret Mary Alocoque had sent a letter, in which was written, for the king, the exact requests of the Sacred Heart knew. Father Le Chaize, failed to give them to the King. His reasons were fear of his superior.
His Superior … in the Jesuit order … was hostile to the events occurring in Paray-Le-Moyal. Father Le Chaize was a good Priest.
His Superior had already chastised severely another Jesuit, Father Croisset, for writing about the apparitions and propagating them.
The chain of events could have been so different. Even to this day. The letters of Margaret Mary can be found in Google transcribed e-archives.
Here are some of the letters from St. Margaret Mary which Father Le Chaize had:
"Inform the eldest son of my Sacred Heart that he will secure his birth into grace and glory by the consecration he will make of himself to My adorable Heart … and through his mediation, that of the great ones of the earth. He (the Sacred heart) wishes to reign in his palace, to be painted on his standards and to be graven on his arms to render them victorious over all his enemies, by bringing these proud, arrogant heads under his heel and effect his triumph over all the enemies of the Church." This was to include Freemasonry which was rearing it's head. From: Utopia Nowhere by Solange Hertz
This is the Canadian Flag which flew for a time with the Sacred Heart emblem.
Our Lord had desired a a building to be erected in which would be displayed an image of the divine Heart, in which the King and his court could formally consecrate themselves. It was not until the reign of Pope Pius IX that a formal cultus was established to the Sacred Heart of Jesus. "
Utopia Nowhere Solange Hertz p. 131
France was hurtling towards the reign of terror!
SIMILAR REQUESTS WERE MADE TO THE PAGAN EMPEROR CONSTANTINE LONG AGO. HE LISTENED. The Message from God runs along a similar vein as King Louis XIV's messages had:
Constantine Sees a Cross in the Sky: "Amidst the fiercest and most general persecution the Church has ever known, God, who sets bounds to the fury of the wildest storm, had decreed the triumph of His Church over the powers of the world. Diocletian was Emperor of the East and Maximian of the West. In the year 303 the former published at Nicomedia an edict, in which he commanded the churches to be pulled down, and the holy scriptures to be burnt. Maximian had already preceded him with characteristic ferocity in the West, where the persecution had long raged. Torments previously unknown were employed to intimidate the Christians. They were suspended by the feet over a slow fire; they were stripped naked, and with a fork stuck through one leg, left to expire by lingering torture; sharp reeds were thrust beneath their nails; their flesh was scraped from the bone with broken pots, and molten lead poured into their open wounds.
It came about that Diocletian and Maximian were compelled to relinquish the purple to Constantius Chlorus and Galerius, who had long held the second rank as Caesars. Constantius Chlorus was the first instrument in God's hands to pave the way to the peace and triumph of the Church. Constantius Chlorus died in 306 and was succeeded by his son, Constantine.
The young new Emperor was about thirty one years of age, of handsome form, with good abilities, and a wisdom in advance of his time. He was a pagan. He offered sacrifice in the temple of Apollo, probably at Autun in France.
Maxentius, the son of Maximian, desiring to subdue the whole West to his obedience, declared war on Constantine, and sought to secure victory to his arms by practicing the most cruel and abominable superstitions. Constantine, whose forces were far inferior to those of his adversary, feeling the necessity of aid from on high, bethought him of the Christians' God, and prayed that He would reveal Himself to him, and give him victory in the battle. His prayer was heard. At noonday, while he was marching at the head of his army, a cross of fire was seen in the calm and cloudless sky, and on it these words: In hoc signo vinces – "Through this sign thou shalt conquer." It was visible to the entire army.
During the night our Lord appeared to him and commanded him to make a standard like the cross he had seen, and to bear it at the head of his troops. Accordingly he caused one to be made of costly materials, covered with gold. On its top was a regal crown blazing with jewels and bearing the first two letters of the word Christ. It was called The Labarum. Chi Rho (Gr. Christ)
Fifty of the bravest soldiers were chosen to guard it and bear it by turns. Constantine, meanwhile, sent for Christian bishops. He inquired of them the meaning of the vision he had beheld, and received from them an exposition of the doctrines of the faith. Then, confident of the Divine protection, he marched to Rome , where he attacked and utterly defeated the tyrant maxentius, who was drowned in the Tiber while attempting escape.
Constantine marched to Rome and she opened her gates as he entered in triumph. He did not at once become a Christian, or even a catechumen. He published an edict of toleration; and although he does not appear, in the first instance, even to have contemplated the abolition of paganism, nevertheless he placed various restrictions on its exercise, forbidding the abominable sacrifices performed in private dwellings, and afterwards demolishing certain of the temples where immoral rites were practiced.
He recalled the Christians who had been banished, restored the churches, enriched them with magnificent ornaments and vessels, honoured the ministers of religion and conferred upon them special privileges. He gave the Pope, who had been the special object of hatred and persecution, the palace of Lateran, and turned an adjacent palace into a church. This is the beginning of the patrimony of St. Peter; it is now the church of St. John Lateran.
The affrighted Christians could scarcely believe for joy. Their religion protected by the emperor, their worship held in honour, their churches glowing with splendor, their confessors liberated, their exiles recalled – they could but exclaim, "This is the Lord's doing and it is marvelous in our eyes." Manual of Church History No Author Circa 1870
Down through the ages, we have had apparition after apparition. Approved by the Church. And then, apparently, put in mothballs like La Salette and Fatima which proclaimed our destiny to us if certain instructions were carried out. They were not.
The tsunami which approaches our beautiful Ship of State is the Popes doing and it is perilous in our eyes …..


Shearing Pinx / Twin Crystals Split CS is out now!
Two of Vancouver's hardest working bands, i remember hearing about Shearing Pinx playing the Smell back in the day. Twin Crystals are unstoppable, i first met the guys when they began what i think was their first ever US tour. They were using borrowed equipment the whole trip minus their synth and a guitar they bought at a pawn shop. Shearing Pinx delve into a slow burning free jam that encompasses their ability to show restraint and precision, while Twin Crystals stray away from their perfected punk sound to deliver heavy doom in the only way Twin Crystals can.


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The Escapist Portal > The Escapist Forums > Gaming Discussion
Hating a game because it's popular vs hating because it's actually bad?
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sgy0003
1 POSTED: 5 Mar 2018 00:50
There are a lot of games from the past and present that garners hate from gamers. These games are usually hated because of technical, gameplay, or method of monetization. However, there other games that get unfair and honestly over-hatred, just because it's popular.
For example, while Modern Warfare series was hated by everyone I know, almost all of them said"Because it's the same shit every year" and did not provide with a good reason for them to hate the series. The irony was I saw them playing those games after school on their xbox 360. I actually enjoyed the MW series because the campaign was actually written well (when you get past the action sequence), and the multiplayer did provide hours of entertainment.
The hatred for Black Ops 3, and Infinite warfare was understandable because I played and agreed the futuristic setting was kinda stupid. The grounded "realistic" combat was nowhere to be found and what we had now was wall running, lasers, robots, and ridiculous killstreak/class abilities. I know I get easily provoked, but man those futuristic games really made me scream.
Dragon Age 2 was also hated by the majority. I mean sure, the world wasn't as expansive or the companions weren't as interesting, but I still found the city of Kirkwall to be very detailed compared to Denerim from the first game. The combat felt faster and UI and skill trees felt cleaner.
I did not hate Dragon Age: Inquisition on my first playthrough, but after reading and listening to all the negative feedbacks I slowly switched over to the other side. The Character creation is lame, each world was essentially empty, making the game feel like single-player MMO, and the story ended in a very open note.
Mass Effect 3 was and probably still is hated for that ending. But ask yourself; Did you hate the game because it was actually bad, or did you hate it because of the ending? With exception of the ending, the actual game felt really polished. All the characters I've known for previous two games, all the words I've said, and all the actions I've taken had consequences of how ME3 turned out to be. The combat was seriously good.
Mass Effect Andromeda, on the other hand, I completely agree with negative criticisms. The player character looks god awful, characters are boring, exploration feels empty(although the worlds themselves are pretty to look at), and the fact that they pretty much started from square one annoyed me. And they STILL didn't let the players play as the other race (multiplayer doesn't count). Why not? If this was an attempt to grab new fans to the series, don't you think playing as other races would be a good way to explore their culture, politics, and way of life?
Hawki
sgy0003:
I agree there, but the same phenomeon extends to multiple forms of media - books, movies, comics, etc.
That said, what counts as valid criticism is going to differ from person to person. I was baffled as to the backlash to Infinite Warfare, but I say this as someone who's barely played CoD, so it isn't fair for me to say. Likewise, I know that CoD is a punching bag of sorts, but I try to avoid generalizing myself, though I may not always be successful.
Kyrian007
Just because something is popular, doesn't mean that hatred for it isn't completely justified. Not everyone is going to like what "you" (anyone really) like... and their opinion is just as valid as yours. There are lots of really vocal haters of some games I really love. Fallout 3 and 4 spring to mind. It doesn't mean their opinions are "wrong" and the games are just "over hated..." I can think of several valid criticisms of both. They just aren't dealbreakers for me. I may not agree with the haters, and their opinions aren't going change mine. But if someone else agrees with a gripe that is a dealbreaker for them... really who am I to judge. If I don't like something and its hugely popular... They aren't "wrong" and the game isn't "over hyped or over loved..." it just shows me that a lot of people sometimes have pretty bad taste in games.
Catfood220
I wouldn't say that I hate the games that keep doing the same thing over and over again, like the Call of Duties and Assassins Creeds, I would say that I am more indifferent to them. I mean, I can't actually hate something that I never have any intention to play.
Arnoxthe1
The hatred for Black Ops 3...
BO3 was when they utterly ruined the multiplayer side of BO for me, but not for the reasons you'd think. For one, they put in these shitty after-game taunts that CANNOT be skipped and last at least 15 seconds. And THEN they decided to crowbar progression into Private Games where it used to be the place you could depend on to play with bots or your friends with all the stuff unlocked. Now? No longer.
B-Cell
The thing is. most of popular games are bad. they are praised by critics because they are paid.
especially games from EA, Activision, Ubisoft and Rockstar.
the mid tier developers know how to make good gameplay and level design than those 4 giants combine.
Infinite Warfare was really fun, cod is at its best when it does future stuff... or COD4. Blops 3 was... ok, I didn't really like how the wall running felt, it was done better in Infinite Warfare, but I still think the most that COD needs for movement is the double jump jetpack and sliding from Advanced Warfare.
Mothro
Hype turns me off especially when people are hyped over trailers of unreleased games. Skyrim and Breath of the Wild fall into this category. People were calling Skyrim Game of the Year in June of 2011 after they saw it revealed at E3, fuckin' stupid! Breath of the Wild was so talked about that I was sick of hearing about it BEFORE it launched. OMG! Another open world game, it's the best thing since.....Skyrim.
Other times the hype works against a released game. For example, by the time I got around to playing Dark Souls I was sick of hearing about it in every fuckin' thread on every fuckin' gaming forum. It did not live up to the hype, how could it. I bought a Switch a week ago and Super Mario Odyssey is in my collection but I haven't played it yet. The only reason I mention this is because the game is not hyped like you would expect which surprises me. It will help the game I imagine to not be hyped.
CaitSeith
Bad example. The complains about Mass Effect 3 come more from their fans than from haters (really, a better example of hating what's popular is Skyrim haters). I have pointed this out before. Although the Vangard class gameplay in ME3 was the most fun of all the series, but the original ending was more unsatisfying and disappointing than I ever expected (I played it the first time in 2015 without the extended ending as spoiler-free as possible). The closest comparably unsatisfying ending I have played has been Metroid: Other M (where you don't even get to shoot the boss in the final battle). At least that one had post-game content, an extra boss and the traditional escape sequence to wash away some of the bad taste; while in ME3, there was nothing after the disappointment (well, unless you put the extended ending, that at least serve to savage some of it). But they both share one thing in common: the more you are invested in the series, the worst those endings will look.
Dismissing valid criticism about ME3 because "people hate popular things" is a misinformed stance.
Silentpony
10 POSTED: 5 Mar 2018 13:03
I don't hate games for being popular, even games I personally don't enjoy. I hate devs and gamers who demand every game be exactly like that popular game.
I hate that because the Devs wanted to get in on the E-sports scene, Dawn of War III was turned into a 40k DOTA skin.
I hate that because Markiplier is a meme-God, Resident Evil 7 was turned into an Outlast clone so he can make memes.
I hate that because PUBG is popular with streamers, Red Dead Redemption is getting a battle royal mode.
But I don't hate those games, I hate what was done to them.
Xprimentyl
Catfood220:
Pretty much this, but I had to strike out Ass Creed; I genuinely DO hate that franchise. Despite having all of history as source material, Ass Creed pretty much ran out of ideas after the second installment, but still manages to pump out games at a near offensive rate. What's worse, they walked into a spider web spun of gold with Ass Creed 4 and its pirate and sea-faring stuff, but were all too ready to shoo it all away like a nuisance and proceed to shove more same-y Ass Creed busy work down our throats. FUCK Ass Creed.
One game I am curious why people hate so much is Halo 2. I [was*] a fan of the franchise pretty much since the beginning, and at the time (and imho,) Halo 2 improved on Halo: CE in every way not to mention helped pave the way for the popularity of multiplayer gaming as we know it today. I didn't mind the cliffhanger ending; if anything it served to wet my palette for Halo 3. Cliffhangers have a been an effective (if frustrating) literary tool forever; I don't know why Halo 2 is regarded as some gross offender for using one. Another complaint leveled at it is the levels with the Arbiter. I didn't mind the playing as the Arbiter at all and it was actually nice to see the war from the perspective of the enemy as [he] comes to realize the truth. I loved everything about Halo 2, so imagine my surprise when I see a lot of people listing it as the worst of the franchise especially when the atrocity* that is Halo 5 happened. FUCK Halo 5.
Silentpony:
You remind me of my friend, who hates that Metroid Prime was turned into a FPS. I don't know about you and those games, but in my friend's case he never played Metroid Prime because of that; and I feel sad that he missed such great series.
Oh dear god no. If anything, the ending being '14 year old's first fanfiction after watching Battlestar Galactica' bad whitewashed the rest of the game's writing and presentation, which was quite awful immediately as the game started with the stupid speech that contained stuff like 'we figh or we duy!!!', the Michael Bay dumb action opening with everything blowing up and the random shitkid you're supposed to care about for the sake of shallow melodrama.
It was awful through and through. The ending being awful enough that a lot of normally blind fans noticed it resulted in a hilarious defensive hyperbole where instead of being critical of the prior sequences and realising that the entire game was poor and they let things slide due to hype, they instead stuck their fingers in the ears and started shouting 'the rest of the game was GREAT, 95% WAS THE BEST EVER, PLEASE DON'T TAKE THAT AWAY FROM ME BY MAKING ME THINK ABOUT THE REST OF THE GAME TOO'.
So no, it's not hated because it's popular. Quite the opposite, it's an exceptionally poorly written game laden with awful dialogue and presentation, that people are able to pick apart at ease. A fact that the obsessive however, can't handle, so they repeat platitudes like '95% masterpiece' in the hopes that it eventually becomes true, if all the meanies, I meant 'haters' who are critical of their object of affection shut up and go away.
Xprimentyl:
One game I am curious why people hate so much is Halo 2. I [was*] a fan of the franchise pretty much since the beginning, and at the time (and imho,) Halo 2 improved on Halo: CE in every way not to mention helped pave the way for the popularity of multiplayer gaming as we know it today. I didn?t mind the cliffhanger ending; if anything it served to wet my palette for Halo 3. Cliffhangers have a been an effective (if frustrating) literary tool forever; I don?t know why Halo 2 is regarded as some gross offender for using one. Another complaint leveled at it is the levels with the Arbiter. I didn?t mind the playing as the Arbiter at all and it was actually nice to see the war from the perspective of the enemy as [he] comes to realize the truth.
On those notes:
-Speaking personally, I did prefer H1's multiplayer. H2 is argubaly better "objectively," ranging from vehicle damage, to dual wielding, to the pistol being appropriately nerfed, but H1's multiplayer had a charm to it that H2 didn't have for me.
-I don't mind the Halo 2 cliffhanger, but I can imagine why people are put off by it. Doesn't help that Halo 2 promised that the battle be on Earth, except we leave Earth early on in the game. So now that we're back at Earth, the game just...stops. Just like that. Think of film trilogies, such as Lord of the Rings or Star Wars. While Fellowship/New Hope, Empire/Two Towers do end with "to be continued" feelings, they do their endings gracefully. Halo 2's ending is very jarring in terms of its pacing. So when that's the last thing you're left with, it can colour perception of the product.
-Of the original trilogy's singleplayer, I'd say that Halo 2 has the best story, but the weakest gameplay, and the Arbiter is the reason for both. Storywise, it's good, as he undergoes a character arc, and we get some insight into the Covenant. Gameplay-wise, apart from the Great Schism levels, I find it tedious. The levels aren't as well designed, they're pondrous, and they just don't engage me as much. Speaking personally, on the gameplay side of things in H2, I can only enjoy about half of it. Halo 3 had some dud levels as well, but they were the exception rather than the rule.
I loved everything about Halo 2, so imagine my surprise when I see a lot of people listing it as the worst of the franchise especially when the atrocity* that is Halo 5 happened. FUCK Halo 5.
Halo 5 is to me what Halo 2 is to you - a game I'm baffled about why people dislike it so much. Especially after the "attrocity" that was Halo 4.
Granted, none of these games are as lacklustre as ODST, but that's at least a spinoff.
CaitSeith:
Really dislike Metroid Prime myself. It's not because it's an FPS, it's because of a plenthora of reasons that make the game a chore to play. And that's just Metroid Prime I'm talking about. I've also had the misery of playing Hunters. :(
I actually had no problem with the Prime series, because it wasn't following a trend. They were just exploring new ideas and changing up the formula, which I'm not against.
Now if the next Metroid Prime was called Metroid Prime: Melee, and was a FPS class based multiplayer arena shooter, with a wide variety of cartoony, wacky and marketable stereotype characters including the sexy waifus, blue haired girls, gamer girls, a fat dude, one or more gay and/or transgender characters, macho badasses, a robot or two, Freddy Fazbear, Tyrion Lanister, zombies, the little Twitch ghost icon, and fucking Ugandan Knuckles, yeah I might agree with your friend and not play that one.
trunkage
MC1980:
And yet ME2 gets a free pass because its ending was good. In fact, 80% wasn't good at all. "There's a big destructive enemy somewhere out there. I know what I will do. Chase down thugs on Illium and track down a rogue AI (a repeat from the first game, mind you)" says Shepherd. How does much of ME2 make sense.
I still like ME2, and Horizon is the best stage of the series, way better than the Suicide Mission. But blind like of games like this makes me point out flaws more (you might have seen my previous work with the Witcher 3 and New Vegas)
trunkage:
Hey, I was staying on topic, ME2's main story being exactly as bad as 3's was not really conducive to bring up. But, I do agree, so cheers!
jademunky
For example, while Modern Warfare series was hated by everyone I know, almost all of them said"Because it's the same shit every year" and did not provide with a good reason for them to hate the series.
This IMHO, is good enough reason. I loved COD 2 and the first Modern Warfare. COD 2 because it finally gave us that polished cinematic WWII game we all wanted. MW because it felt fresh and interesting, took the series in a new direction that did not use nostalgia as a crutch and had some genuinely shocking story moments.
The sequels and CODBLOPS OTOH, while they would've been fine if they existed in a vacuum, felt like I was treading the same ground all over again with slightly different environs, foreign accents, guns and shocking atrocity.
Think about it another way: I loved Dynasty Warriors 5. Loved it, would play again if I knew where it and my PS2 were. I did not buy #6 or any of the other sequels or spinoffs nor did I play any of the games before 5 for more than half-an-hour. It's not that I have not had the opportunity to buy one of the sequels hella cheap, just no interest in doing so because I have not seen a hint of anything new that would do anything but replicate the same experience I had already paid for.
A fact that the obsessive however, can't handle, so they repeat platitudes like '95% masterpiece' in the hopes that it eventually becomes true, if all the meanies, I meant 'haters' who are critical of their object of affection shut up and go away.
I want to disagree with you but then I remember abandoning the game 60% in while I played the first 2 to completion twice. Also, my imported character had evidently come down with a bad case of Mono in the interim period between sequels because he now had chipmunk cheeks.
I actually kinda like this idea.
Before you banish me to the moon, hear me out. I wouldn't want Metroid Prime 4 to be this (then again, I'd like Metroid Prime 4 to be different from previous entries, period), or this to be the be all and end all of Metroid, but I could see this working. Have a Metroid arena shooter game where weapon pickups are the equivalent of 'modes' for beam weapons (machine gun equivalent, rocket equivalent, sniper equivalent, etc.), where the character roster isn't what you described, but Samus and other bounty hunters (get the cast from Hunters, add some more, perhaps even dredge up some EU ones). Hunters kind of dabbled with this idea (poorly, IMO), but in theory, I could see this working as a decent Metroid spinoff.
Hawki:
If I had to pick a trending game genre for the next Metroid to copy, I'd go with survival horror, circa the first Dead Space. I think there is untapped gore, fear and desperation in the Metroids invading a facility and viciously murdering the staff or converting them to alien zombies, especially given the whole bio-weapons government program stuff.
Cold Shiny
What about hating a game because its popular AND bad?
Cold Shiny:
Why hate a game (or anything) just because it's popular?
I mean, I get why, I'm guilty of that myself to some extent, but speaking objectively, there's no reason to dislike something just because it's popular.
Honestly I have no hatred for something that's popular. If its a popular game, there's a 50% I'm playing it. WOW, COD4, Arkham Asylum, Shadow of Mordor, Dawn of War series, Amnesia, Halo, fuck me in FNAF. I've played and enjoyed them all.
The only thing about popular games that are ever worth criticizing are the fans, who can be obnoxious and/or condescending(Looking at you, SoulsBorne git-gud fans) and devs who radically change previously established series to attempt to follow trends.
Jim Sterling for all his faults said it best, there are trend setters and trend followers, and the setters will always be more popular than the followers. That's what makes them different. People already had WOW, they didn't want another MMORPG.
Okay, I agree with this in principle, but I'd point out the following caveats:
-WoW is an example of both a trend setter and trend follower. It's true that multiple MMOs tried to chase the WoW gravy train (and mostly failed), but WoW was built off EverQuest in terms of its ideas. WoW itself is also an example of a series changing genre in the process (RTS to MMO).
-Trends can be followed, but a genre can be developed in the process. The era of "Doom clones" is such an example. That hasn't changed (it was hero shooters not too long ago, now it's arguably battle royale stuff), but we can still get positive stuff from it. To use another Blizzard game, do you think HotS would exist if it didn't build off what games like LoL and DotA established? The MOBA craze came and went, but even if other companies tried to cash in on its popularity, we did get standouts in the process (HotS, Smite, etc.)
That's trending? Maybe first person horror, but the Dead Space style doesn't seem to have many copycats.
Even then, how would it work? The metroids suck the life out of you, they don't convert you into alien zombies or whatnot (maybe you're thinking of the X?) Also, the aesthetics of Metroid aren't really suited for horror. Course you could just tone down the aesthetic, but then we're getting even further away from the core series.
NOOOO!
I'LL BE BACK! BE IT A THOUSAND YEARS I'LL BE BACKKKK!
altnameJag
The too 40 is called that for a reason. That it doesn't match my personal aesthetic isn't cause enough for criticism.
That said, I'm more than willing to talk about the reasons I don't like the top 40.
But just being there isn't enough.
Phoenixmgs
I don't think people actually hate most games that they claim "suck" but they just find them to be bad games. When every game is getting scores of 80+ by critics (it's actually an accomplishment to release a AAA game that scores below an 80 nowadays), saying a game is average (5/10) or even below average seems like you're some massive contrarian when your're really not. Not liking a movie that got a 90+% on the Tomatometer isn't a big deal because opinions vary wildly with movies and there's most likely several movie critics that shared your general sentiments. There's more negative reviews for Ghostbusters than there is for Final Fantasy XIII for example (with FFXIII having more total reviews to boot). I found Witcher 3 to be a below average game because none of the gameplay was actually good to me. I didn't HATE the game, but scoring it a 4/10 seems like I'm taking a shit on it. The only games I think I truly hate that I've played are Max Payne 3 and Danganronpa.
I hated how COD4 influenced basically every single shooter. The MMS era of shooters were so bad and so same-y at the same time. I enjoyed COD4 campaign and multiplayer for what they were but they weren't nearly that great even then. The campaign was paced so well that you could forgive the very extreme linearity of it all. The multiplayer also dropped at the perfect time as online just started to explode as online wasn't nearly as prevalent/important the previous gen. COD4 influenced unlocking of weapons and stuff that online games don't need and the killstreak mechanic doesn't encourage good playstyles and even makes the game less dynamic and more formulaic. Then, everyone else copied that shit ad nauseam; shooters greatly lost skilled movement/mobility.
Andromeda's story premise never made any sense, which was the main reason I didn't give 2 shits about it before any of negative stuff came out. Just fleeing to another galaxy to avoid the reapers makes no sense. So, the reapers only care about stopping synthetics from killing organics in one single galaxy in the whole universe not even thinking that if you let every other galaxy basically "run free" that there will be synthetics that advance enough to overtake the Milky Way and the reapers themselves at some point. Either that or the reapers would just come by your new andromeda galaxy so you'll have to face them anyway. Not to mention, the Mass Effects were basically the rare breed of RPG that gave you all the good stuff without any of the bad stuff but doing the open world/planets thing like every other game and probably having hundreds of lame quests instead of the much fewer and more impactful quests of previous MEs.
Phoenixmgs:
Just fleeing to another galaxy to avoid the reapers makes no sense.
The Andromeda Initiative was founded well before the Reapers became known. It becomes part of the project's impetus, but it's not its catalyst.
So, the reapers only care about stopping synthetics from killing organics in one single galaxy in the whole universe not even thinking that if you let every other galaxy basically "run free" that there will be synthetics that advance enough to overtake the Milky Way and the reapers themselves at some point.
That's in keeping with their programming, since they were reacting to a perceived situation within the Milky Way. There's no evidence of their 'mandate' expanding to other galaxies.
Either that or the reapers would just come by your new andromeda galaxy so you'll have to face them anyway.
And how practical is that?
Space is big, okay? Really, really, REALLY big. So big that even in a setting with FTL travel, it took the Arkships 600 years to reach Andromeda (ergo, travelling at 4228 light years per year, and still taking six centuries to reach their destination). We know the Reapers like outside the Milky Way galaxy, but it's never stated how far outside the galaxy that is, and it takes them three years to reach the Milky Way even with their advanced FTL tech.
Whatever problems Andromeda may have had (can't say, haven't played it), I don't have an issue with its premise.
Seth Carter
More or less this. Hate is a strong term, and more often used defensively by the fandoms of said popular games then the actual people who have critical opinions of the games.
Hate is like, what I'd reserve for something like Ultima 9, a buggy (and at launch literally unplayable, and that was when you had to register the game via mail to get a patch sent to you on a floppy disk) unfinished mess, that even in the individual components they tried to jam together into something coherent contradicted or regularly got its own series history wrong.
Even the dumpster fire of asset flip junk on Steam doesn't really merit hate. Stuffs there, and its a nuisance to trying to find actual games, but there's no emotional value to it, just a general acknowledgement that its there and probably shouldn't be.
There's the bologna sandwich sort of AAA mainline games. Your CODs and Assassin Creeds and most of the rest. A simple easily executed product that serves its purpose, but will never be gourmet, and has no aspirations to do so. They don't anything so ambitious as to get it wrong in such a fashion to inspire actual heavy problems.
There are popular games that have merited criticisms where their game design doesn't seem to match their other scopes. Which seems like you're tackling this thing that folks love, but really you're just approaching it from a different priority set. The scope or presentation of GTA 5's sandbox compared to its 10 years out of date third person shooter gameplay. An obvious commitment to writing and polish in Witcher 3, but a fairly barebones generic ARPG combat system, and "Witcher sense" being a weird addition, since they clearly can design environments and shouldn't need the glowy highlight nonsense.
Then there's the popular games where there can be vastly different perspectives based on the platform or even timeframe you played it on. PS3 Skyrim was unplayable with a memory leak error for months. Xcom 2 launched with a ton of issues for many people (while others apparently could run it fine). Any of the barrage of ports that took a lot of patching to iron out, from Dark Souls to Arkham Knight would have drastically different impressions by those who dealt with the original experience to those who came to the repaired version later. Or the ever popular early access model, where huge changes happen to games, to the extent people haven't even played the same game. You could take Fortnite right now, and people who play the PvE wonder why the BR is horrifically stripped down bones of the game, missing classes at all, and tons of guns, traps, and gadgets.
RobertEHouse
To be honest i cannot stand any of the modern Final Fantasy games at all. Personally i think the whole series has become a little too over hyped with little substance. The games are ad-washed with characters that remind me of people that just had too much plastic surgery.Watching these artificial characters look more in line as a j-pop or K-pop bands trying to act tough. Never allowed me to actually take any of the games stories or characters seriously enough to enjoy the game. Sure one version might be better then the next, yet again i am still looking at a strange art style which is taking me out of the world.
Souplex
Many bad games simply fly under my radar. A game needs to be both popular and bad to warrant my hatred.
For example, while Half Life 2 wasn't that bad (a mere D+/65/100 which is still a passing playable game) I despise it because it represented everything wrong with gaming at the time.
Believe you me, when 343 took over the franchise, I was pretty hesitant, but they showed me with Halo 4 and the Master Chief Collection that they had the due respect for and understanding of the legacy of the franchise and could do it justice; my leeriness was assuaged. But with Halo 5, they betrayed that confidence.
Most else could be forgiven had they not literally back-seated the Master Chief for the majority of the game; that's honestly 90% of my ire with Halo 5. Halo 4 humanized both the Chief and Cortana in a way the previous games hadn't, so I was looking forward to seeing that develop. But nope, Halo 5 drops us in the seat of some new schmuck, a glorified cop, to track down the HERO we've been playing for over a decade who's apparently gone... rogue? Excuse us? As if we don't fucking know better?! For all intents and purposes, Halo 5's story is little more than an indictment of everything we've done throughout the course of the franchise, so 343 wanted us to prosecute ourselves? We're just expected to warm up to some new, clueless fuck-wit asshole in the lead for the majority of the 6th major installment of a flagship, console-selling franchise like it's the next natural progression of the story we've lived since day 1? Thoughtless at least; unforgiveable, to be sure.
This gripe is admittedly a fanboy-ish one; I could have done without the focus on squad-based game play. I'm sorry, the Master Chief fell from fucking SPACE, hit the goddamn ground, dusted off his britches and was back to killing Brutes within minutes; how do they rationalize that now, he's essentially a turtle on its back when he takes too much damage? He never needed another Spartan to kiss his boo-boos and give him a pep talk to rejoin the fight every time his shields went down; believe me; I was THERE. If they wanted to give "Spartan" Locke help, fine, but the Chief doesn't need brain damaged AI to babysit while he goes about the general badass-ery of which he's a tried- and-true veteran.
After those gross missteps, they shoved their heads even further up their asses, took the beloved multiplayer and laced it with pathetic, sleazy, money-grubbing microtransactions hiding character customization behind a paywall and random chance. In my mind, this was akin to 343 turning a supermodel into a prostitute replete with the sunken eyes and track marks indicative of heavy drug use.
Agreed, ODST was lackluster, but it didn't purport (much less try) to be "Halo 4"; it took its place as a tangential diversion within the larger Halo universe which is what Halo 5 deserves at BEST if it deserves anything at ALL. Halo 5 was pretty much everything I hate about modern gaming. Without sounding entitled (contrarians can sheath your quills now,) I was highly disappointed to see 343 change gears so drastically and crassly over the course of only two games. They took a franchise of legend, which by name alone is guaranteed to sell like fucking hotcakes, and cheapened it in nearly every way possible, then had the balls to tack on sleazy microtransaction bullshit-ery.
My friend considered that as Metroid Prime pursuing the FPS trend.
I hated how COD4 influenced basically every single shooter. The MMS era of shooters were so bad and so same-y at the same time. I enjoyed COD4 campaign and multiplayer for what they were but they weren't nearly that great even then. The campaign was paced so well that you could forgive the very extreme linearity of it all. The multiplayer also dropped at the perfect time as online just started to explode as online wasn't nearly as prevalent/important the previous gen. COD4 influenced unlocking of weapons and stuff that online games don't need and the killstreak mechanic doesn't encourage good playstyles and even makes the game less dynamic and more formulaic. Then, everyone else copied that shit ad nauseam; shooters greatly lost skilled movement/mobility..
The Success of COD4 lead to destruction of FPS genre. it was released at the time when far superior FPS like Stalker and Crysis were releaed but COD4 was what praised most.
a 4 hour scripted and linear game praised over ambitious, deep, innovative game like STALKER. in a same year.
Im glad the popularity of MMS has died thanks to MOH warfighter. now developers are making FPS rather than copying MMS.
So do I. It came out a year after Halo which I think really started the trend on consoles.

redpajama_set_name: RedPajamaCommonCrawl


text:
Human Relationships
Home » Wellness » Sayings » Captain Fantastic: Food for Thought
Captain Fantastic: Food for Thought
Giordano Bruno - His Best Phrases
Tirso de Molina - Five Love Quotes
Five Daniel Kahneman Quotes to Reflect On
There are some movies full of inspiration, and Captain Fantastic is one of them. This movie will move just about anyone, no matter what your personal tastes are. And on top of that it doesn't try to hide its desire to be provocative or make the viewers feel like the ground under their seats is shaking. It's a bold movie that touches on controversial subjects like American culture and independent education. It takes radical, critical positions on things, but it's also sincere and open to criticism.
There are a lot of different interpretations of Captain Fantastic we could make from a psychological point of view. But in this article we're going to focus on some of its psycho-cultural aspects. That is, we'll describe how some of the behaviors in the film might seem strange or eccentric to you, but are actually common in other cultures.
If you still haven't seen Captain Fantastic, this article might make you want to. But we also want to point out that this article contains SPOILERS. At the same time, we've also tried to make sure there are as few as possible so the movie doesn't lose any of its surprise value for anyone watching it for the first time.
A fantastic ritual
The movie starts off with blood. The oldest brother shows up on screen hunting a deer with nothing but a knife. That might be a confusing image, and while you're watching you might even wonder why exactly it starts this way. To understand it you have to turn to the cultures that have initiation rites for adulthood.
A lot of cultures have initiation rites. There's the quinceañera in Mexico, for example. These rituals, which are almost never the exact same and happen at different ages in every culture, mark the beginning of adult life. Doing these rituals makes the boys and girls aware that their childhood is over and they have to start acting like adults.
We've lost these rituals in modern society, and that has lead to confusion. A lot of people aren't really sure when they become adults. For example, in the United States they see adulthood as starting at 18 years old. But people also aren't allowed to drink at that age yet. So then they see people that age as responsible enough for some things but not others, which can lead to confusion.
On top of that, the rituals (especially the hardest ones) help create a bond between people. In the case it's the deepest bond there is, between family members. If the people involved weren't family members, the ritual would help create a strong relationship known as "psychological kinship."
A fantastic education
There's a key idea to education that this strange father sticks to with his kids: he always tells them the truth. He never lies to them, no matter how controversial the subject, or how many other questions his answer might lead to. It's a kind of education that doesn't beat around the bush. He talks to them about their mother's illness and death without hiding anything, and he also talks to them openly about sex. He never rejects their emotions, and they all get similar treatment no matter how old they are or what their gender is.
In western societies (and a lot of others), sex and death are taboo subjects. People explain them to small children with myths and metaphors that calm down their need to know. So storks are where babies come from and we go to heaven when we die. In that same way, those societies tells us to shape our emotions so that we don't express them publicly, only when it's socially acceptable. They have common sayings like: "men don't cry, crying is for girls," "if you look sad people will think you're weak," or "don't laugh so loud, it's rude."
We should tell the truth
But this is not true in all societies. For example, the people of Chile are characterized by a kind of "femininity." They're usually very expressive with their emotions because they always give people space and a chance to talk about them and make sense of them. This probably comes from their Quechua-Aymará past.
And scientists have also shown that not telling children certain things just confuses them. This means that giving them answers even before they ask can boost their self-esteem. They'll feel very brave when they manage to understand a subject that makes them uncomfortable. For example, Tibetan culture is one that sees it as very important to talk openly about death, and Norway is one country where they allow very clear sex education programs.
An indulgent captain
It seems like towards the end of the movie the head of the family (the father) understands that his kids need to mix in with society. That's why they make a reference to how the kids go to a normal school and are in contact with other kids their age. But the oldest sibling, who was accepted by some of the best universities, decides to go to an African country to work as a volunteer and see the world.
Both of these things are very similar to a common practice in Amish culture called rumspringa. It means leaving your community around 16 years old until you make a decision. That is, a decision about whether you want to go back to your people and stay with them forever, or on the other hand, if you want to leave. There's no specific time limit for deciding, and you can go years before you make your choice.
The point of this practice is for the young people to be able to see other ways of life. Amish society has a lot of restrictions: they don't use electricity, and they have very strict rules. Young people use this time to go out into the world and do things that aren't allowed in their community. It's also a time for courtship, so they'll go looking for a partner too. After rumspringa, most Amish people decide to go back to their people.
That's all, folks… everything else is in Captain Fantastic
Even though there are a lot of scenes in Captain Fantastic that would be great for discussions and comparisons between different fields of psychology, we have only focused on a few. Probably the biggest question the movie asks is whether there's a different way to educate people. And if that's the case, maybe there's a different way to live.
We think you should watch Captain Fantastic if it intrigues you and makes you uncomfortable. Or if you're ready to look at the world from a different angle. Maybe what's behind that door will be seem amazing to you, and maybe it won't. But what there's no doubt about is that you'll have a great time watching.
How Do We Relate to Cultures Different from Our Own?
There tends to be very little talk about cultural intelligence and a lot about emotional intelligence. Read more »
The Best Things Plato Ever Said about Understanding the World
There was a time when Ancient Greece meant splendor and wisdom. Philosophers like Plato coexisted with poets, mathematicians, astronomers, and other scholars. However, there was no one better than Plato to express the thoughts of his generation. The best things…
Five Timeless Baruch Spinoza Quotes
Most Baruch Spinoza quotes are both simple and deep at the same time. Many philosophers, such as Hegel and Schelling, held him in high regard. In fact, when compared with most philosophers of such complex prose, Spinoza's assertions are quite…
Don Juan Manuel: Five Quotes
Don Juan Manuel was a writer who lived during the Middle Ages. Many consider him the first representative of medieval prose fiction. Furthermore, in this article, we wanted to collect some of the most important quotes by Don Juan Manuel.…
Antonio Gramsci: Seven Memorable Quotes
Many of the quotes written by Antonio Gramsci have a rather particular charm. Almost all of them represent the perfect mix of politics, philosophy, and poetry. His quotes are a good representation of what he was: a versatile and passionate…
The 7 Lessons of Bushido, the Way of the Warrior
Japanese culture goes back thousands of years. Over its long history it has put a large emphasis on virtue in battle. A Japanese warrior, unlike in other parts of the globe, has to be full of virtue to be honorable. The…
The Meaning of Life According to Viktor Frankl
The meaning of life according to Viktor Frankl lies in finding a purpose and taking responsibility for ourselves and other human beings. By having a clear "why" we can face all the "how" questions of life. Only by feeling free…
Intimacy and Privacy – The Right to Protect It
The need to protect one's intimacy and privacy is innate in every human being. One must understand certain things about individuality in order to develop one's identity and personality. Thus, it's understandable for human beings to want to have a…
Spiral Curriculum – What Is It?
The spiral curriculum is about teaching a methodology proposed by the Singapore math method. Its goal is to help students deepen their knowledge progressively. But how can one achieve it? The Singapore math method is a methodology designed by the…
The Myth of Aphrodite and Ares
The myth of Aphrodite and Ares is one of the most interesting in Greek mythology. Let's start off by saying that Aphrodite was the goddess of beauty and sexual love. She emerged from the sea and was more beautiful than…
What's the Deal with Animal Testing?
Animal testing in scientific research has a long history and still remains a common practice in scientific research. Approximately 115 million animals are used each year for these purposes. However, many people are against it. Even in ancient times, animal…
The content in this publication is presented for informative purposes only. In no sense is this information intended to provide diagnoses or act as a substitute for the work of a qualified professional. For this we recommend that you contact a reliable specialist.
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text:
package edu.berkeley.eecs.emission.cordova.tracker.verification;

import android.Manifest;

public class SensorControlConstants {

    public static String LOCATION_PERMISSION = Manifest.permission.ACCESS_FINE_LOCATION;
    public static String BACKGROUND_LOC_PERMISSION = Manifest.permission.ACCESS_BACKGROUND_LOCATION;
    public static String MOTION_ACTIVITY_PERMISSION = Manifest.permission.ACTIVITY_RECOGNITION;

    public static final int ENABLE_LOCATION_SETTINGS = 362253738;
    public static final int ENABLE_LOCATION_PERMISSION = 362253737;
    public static final int ENABLE_BACKGROUND_LOC_PERMISSION = 362253739;
    public static final int ENABLE_BOTH_PERMISSION = 362253740;
    public static final int ENABLE_MOTION_ACTIVITY_PERMISSION = 362253741;

    public static final String ENABLE_LOCATION_PERMISSION_ACTION = "ENABLE_LOCATION_PERMISSION";
    public static final String ENABLE_BACKGROUND_LOC_PERMISSION_ACTION = "ENABLE_BACKGROUND_LOC_PERMISSION";
    public static final String ENABLE_MOTION_ACTIVITY_PERMISSION_ACTION = "ENABLE_MOTION_ACTIVITY_PERMISSION";

}

redpajama_set_name: RedPajamaGithub


text:
201118-F-YW474-0051
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees recycle asphalt during a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. The joint training enabled the two units to synchronize training, tactics and procedures for RADR operations. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees recycle asphalt during a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. Joint training enables military units throughout the U.S. Indo-Pacific Command theater to integrate operations and innovate new training procedures. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct training on compact track loader saws during a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. The joint training exercise enabled the two units to exchange RADR knowledge and integrate training procedures. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. Despite having different mission requirements, Airmen and Seabees utilize similar training technical orders, and regular joint training enhances their interoperability in the event of contingencies requiring broad-spectrum force employment. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. Units throughout the U.S. Indo-Pacific Command theater conduct regular joint training in order to strengthen partnerships and interoperability. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. In order to adapt to constantly changing Pacific Theater mission demands, Department of Defense units throughout the U.S. Indo-Pacific Command theater train together in order to innovate training operations and enhance agile force employment capabilities. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. Despite having different mission requirements, Airmen and Seabees can utilize similar engineering technical orders, and regular joint training enhances their interoperability in the event of contingencies requiring broad-spectrum force employment. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Navy Mobile Construction Battalion 3 Seabees secure fiberglass panels together during a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. NMCB-3 is deployed across the Indo-Pacific region conducting high-quality construction to support U.S. and partner nations to strengthen partnerships, deter aggression, and enable expeditionary logistics and naval power projection. The battalion stands ready to complete assigned tasking, support Humanitarian Aid/Disaster Relief and Major Combat Operations throughout the area of responsibility. (U.S. Air Force photo by Staff Sgt. Peter Reft)
U.S. Air Force 18th Civil Engineer Squadron Airmen and Navy Mobile Construction Battalion 3 Seabees conduct a rapid airfield damage repair exercise Nov. 18, 2020, at Kadena Air Base, Japan. The joint training exercise enabled Airmen and Seabees to integrate training operations and build interoperability, further enhancing agile force employment capabilities for the U.S. Indo-Pacific Command. (U.S. Air Force photo by Staff Sgt. Peter Reft)
Air Force, Navy conduct joint RADR training
By Staff Sgt. Peter Reft
18th Wing Public Affairs
KADENA AIR BASE, Japan --
RADR Dirt Boys 18CES NMCB-3


text:
Q: How do I make a cooldown in Turtle? I'm making a game using Turtle, and need a throwing mechanic with a cooldown. I've tried to use the time module, but trying to classify the variables as int() or float() doesn't work.
def throw(throwcdstart,throwcd):
  if throwcd >= 2:
    throwcdstart = int(time.time())
    print('Thrown!')    #this is put here as a placeholder

throwcd = int(time.time()) - throwcdstart #this part is in a while true at the bottom, by the way

I've tried searching on here and Google, but the only results I got were for discord.py.
Edit: I forgot to say that I did set the throwcd variable as 2 at the start of my code.
Edit 2: There are also other things happening, like moving and enemy AI. I've tried to use things like time.sleep(), but it stalls the entire game when I do. I haven't tried math yet, because it seems pretty complicated.

A: quite cheekily formulated, because the question was asked very unclearly:
def throw(throwcdstart,throwcd):
  if throwcd >= 2:
    throwcdstart = int(time.time())
    mycooldown = 0.5 # seconds <==============
    time.sleep(mycooldown)
    print('Thrown!')    #this is put here as a placeholder

throwcd = int(time.time()) - throwcdstart #this part is in a while true at the bottom, by the way

redpajama_set_name: RedPajamaStackExchange


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The Food and Drug Administration announced Tuesday that it's taking a closer look at a common yeast infection pill that may cause miscarriages and birth defects.
The pills are not commonly prescribed to women in the US, where they are often advised to use creams or gels to treat yeast infections.
The pill, called Diflucan, known generically as fluconazole, can be prescribed for stubborn cases of yeast infections.
A Danish study published in January found that women who used the drug during the first six months of pregnancy were nearly 50% more likely than nonusers to have a miscarriage.
The higher the dose, the more likely the chance the patient will miscarry.
"The FDA is evaluating the results of a Danish study that concludes there is a possible increased risk of miscarriage with the use of oral fluconazole (Diflucan) for yeast infections," the agency said in a statement.
This isn't the first time the popular drug has been studied by the FDA. The agency said in 2011 that higher doses of fluconazole in early pregnancy may be linked with certain birth defects. It said at the time that a single 150 milligram dose appeared safe.
"Patients who are pregnant or actively trying to get pregnant should talk to their health care professionals about alternative treatment options for yeast infections," the FDA said.


text:
Apr 3, 2017 5:23AM EDT
Fergie Deconstructed This Runway Look From Head to Toe at the 2017 Daily Front Row Awards
By Charlie Carballo
Charlie Carballo
More Stories By Charlie
Paris Hilton, Kristen Bell and More Celebs Kick Up Their Heels for Santa
Under Armour and Curry Brand Celebrate 1-Year Anniversary by Wrapping 2021 With Three Product Launches
Kate Beckinsale Gets Sleek in Iridescent Velvet Skirt With Orange Sandals for Stella McCartney's Beatles Capsule Party
Fergie took a look from the runway and made it her own on Sunday at The Daily Front Row Awards in Los Angeles.
The singer hit the red carpet in a head-to-toe ensemble by Dsquared2 that included a ruffled mini dress and sandals from the label's spring 2017 presentation at Milan Fashion Week.
Fergie wears a head-to-toe look from Dsquared2's spring 2017 collection on the red carpet at the 2017 Daily Front Row Awards in Los Angeles.
CREDIT: REX Shutterstock.
Fergie wears Dsquared2's spring 2017 collection sandals on the red carpet at the 2017 Daily Front Row Awards in Los Angeles.
However, the shoe designer opted to play by her own style rules for the star-studded ceremony. Fergie's version of the look did not include the rich colors, intricate design and other details that were sent down the runway. Instead, she went for a pared-down version of the style.
Dsquared2's spring 2017 collection at Milan Fashion Week.
As for the heels, she removed some colors from around the eye ornaments and straps.
Fergie wears a head-to-toe look from Dsquared2's spring 2017 collection, and Kim Kardashian wears Givenchy at the 2017 Daily Front Row Awards in Los Angeles.
Kim Kardashian West wears an embroidered Givenchy dress with platform sandals on the red carpet at the 2017 Daily Front Row Awards in Los Angeles.
Fergie posed alongside Kim Kardashian and more boldface name celebrities at the soiree.
Meanwhile, Kardashian cut a chic figure in a white embroidered Givenchy dress teamed with peep-toe heels.
Nicki Minaj wears Versace's boots, belt and jacket on the red carpet at the 2017 Daily Front Row Awards in Los Angeles.
Nicki Minaj channeled Rapunzel with extra-long hair extensions that reached below her knees. The rapper rocked sleek blue Versace boots with red laces and chunky red block heels. She teamed the footwear with a black jacket from the brand. Fergie presented her with the Rebel Award during the ceremony.
Paris Jackson looked chic in a little black dress teamed with Sophia Webster's "Nicole" stilettos.
Paris Jackson wears Sophia Webster's "Nicole" stilettos on the red carpet at the 2017 Daily Front Row Awards in Los Angeles.
Click through the gallery to view more of the best red carpet style at the 2017 Daily Front Row Awards in Los Angeles.
The Daily Front Row


text:
[[missing key: search-facet.tree.open-section]] Eighteenth-Century Art (2)
[[missing key: search-facet.tree.open-section]] Nineteenth-Century Art (2)
Realism and Naturalism (1)
Ceramics and Pottery (2)
Gardens and Landscape Design (1)
Textiles and Embroidery (1)
Architecture and Urban Planning x
Eighteenth-Century Art x
Nineteenth-Century Art x
Rococo x
Richard John and Ludwig Tavernier
A decorative style of the early to mid-18th century, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria. The character of its formal idiom is marked by asymmetry and naturalism, displaying in particular a fascination with shell-like and watery forms. Further information on the Rococo can be found in this dictionary within the survey articles on the relevant countries.
The nature and limits of the Rococo have been the subject of controversy for over a century, and the debate shows little sign of resolution. As recently as 1966, entries in two major reference works, the Penguin Dictionary of Architecture and the Enciclopedia universale dell'arte (EWA), were in complete contradiction, one altogether denying its status as a style, the other claiming that it 'is not a mere ornamental style, but a style capable of suffusing all spheres of art'. The term Rococo seems to have been first used in the closing years of the 18th century, although it was not acknowledged by the ...
revised by Margaret Barlow
A renewed interest among artists, writers, and collectors between c. 1820 and 1870 in Europe, predominantly in France, in the Rococo style in painting, the decorative arts, architecture, and sculpture. The revival of the Rococo served diverse social needs. As capitalism and middle-class democracy triumphed decisively in politics and the economy, the affluent and well-born put increasing value on the aristocratic culture of the previous century: its arts, manners and costumes, and luxury goods.
Among the earliest artists in the 19th century to appreciate and emulate 18th-century art were Jules-Robert Auguste (1789–1830), R. P. Bonington, Eugène Delacroix, and Paul Huet. For these young artists the Rococo was a celebration of sensual and sexual pleasure and a product of a free and poetic imagination. Looking particularly at the work of Watteau, they sought to reproduce the Rococo capacity for lyrical grace, its sophisticated understanding of colour, and its open, vibrant paint surfaces in their work. These qualities can be seen in such re-creations of 18th-century scenes as Eugène Lami's ...


The world has changed a lot during the years since Thomas Fentiman founded the business and Fentimans have had to adapt to meet the demands of this world. Changes in the way people shop mean that we don't deliver door-to-door anymore and instead sell our beverages in retail outlets, bars and restaurants. We prefer to use motorised transport to make deliveries, rather than horses and carts and the old stone jars have been replaced by glass bottles. Some things have not changed however. The business is still in the Fentimans family and is owned by the Great Grandson of Thomas Fentiman and we still make our beverages by the time honoured method of botanically brewing the finest natural ingredients. Our production processes have been updated through the addition of mild carbonation to replace the carbon dioxide lost during pasteurisation, which gives the product a longer life.


text:
PSEC
New dashboard invites U of T community to engage with employment equity data
(Photo by Lisa Sakulensky)
The University of Toronto has made it easier to explore data on employment equity with the recent launch of an online Employment Equity Dashboard.
The dashboard enables users to explore five years of equity data gathered through its Employment Equity Survey, a data collection tool that offers an annual snapshot of how employees self-identify.
After redesigning the survey's content six years ago, U of T's Division of People Strategy, Equity & Culture (PSEC) is now seeking to significantly change how the U of T community engages with the employment equity data it collects.
For example, dashboard users can use the dashboard to filter by employee type, year, and campus. The dashboard – which substantially augments the university's annual Report on Employment Equity – also reintroduces access to equity data for CUPE 3902, Unit 1 employees, many of whom hold multiple jobs.
Kelly Hannah-Moffat, vice-president, people strategy, equity and culture, recently spoke to U of T News about the evolution of the Employment Equity Survey and how the new dashboard can support efforts to improve representation gaps among the university's employees.
How did the Employment Equity Survey start at U of T?
The university began administering an Employment Equity Survey in response to the Federal Contractors Program, designed to address inequalities in employment opportunity for members of one or more designated groups (the Employment Equity Act identifies four groups: Indigenous Peoples, women, persons with disabilities and members of visible minorities). The program requires Canadian employers to collect and report employment data through a voluntary self-identification survey. In addition to identifying gaps in representation, employers are responsible for taking steps to address these gaps in an intentional and meaningful way.
The University of Toronto has expanded our Employment Equity Survey over the years, recognizing the value of knowing the types of our employees who are and are not represented in our institution. For instance, we elaborated upon the Employment Equity Act's categories of self-identification, adding ethnocultural identities such as "Black" and delineating between evident and non-evident disabilities. In 2016, our division led a complete overhaul of the questions U of T employees and applicants are invited to answer. We also gave respondents greater agency, allowing them to choose multiple categories, revise answers and opt out of questions, if they wished.
Our current Employment Equity Survey is one of the most detailed in the post-secondary sector, but there is definitely room for improvement. I am excited about the changes we're undertaking now, and how they can impact the university's recruitment, hiring and retention strategies, our programming and funding, and many other areas of policy and practice.
What kinds of information does the most recent survey (2021) tell us about the composition of U of T's employees? Any notable trends?
In terms of the university's staff population, we saw an increase in staff who self-identified as Racialized or Persons of Colour, Black, Persons with Disabilities, 2SLGBQ+, and Trans. The self-identification data of our new hires also suggests that our staff increasingly reflect the diversity of the Greater Toronto Area. That is welcome news, as it means that we are building stronger connections to the communities that surround our three campuses.
On the faculty side, the number of new faculty hired who self-identified as Racialized or Persons of Colour was significantly higher this year than last. Many of these new faculty positions are supported by base budget funding from the Provost's Diversity in Academic Hiring Fund, which has provided funding for 160 diverse faculty hires (primarily Black and Indigenous faculty) since 2016. We need to sustain this focus on attracting and supporting candidates who are least represented at U of T.
How does the new Employment Equity dashboard connect to the recommendations of the Anti-Black Racism Task Force report?
The report called for a reassessment of how the university collects and presents employment equity data, and the new dashboard we've released makes an important first step in that direction. It represents "phase 1" in the dashboard's development: now that we have established the means to share the data in a dynamic way, we can work with our community to improve what data we collect – and how.
The dashboard is part of a larger "Employment Equity Project" that we initiated last year to support data-driven decision-making at the university. An advisory group of faculty, librarians, and staff is currently working to provide recommendations in two areas: data governance (considering who should have access to our employment equity data and what they should see) and employment equity survey content (focusing on ways to improve the current survey). We will have reports from the advisory group by the end of this summer and then will start planning enhancements to our dashboard. We expect to launch a revised Employment Equity Survey in 2023.
How do you see the dashboard evolving in future? What do you hope the dashboard will be able to tell us?
One of the discussions we're currently having is how to enable comparisons at a more granular level. In future, that could mean, for instance, that deans and other academic leaders could compare faculty and staff representation in their own unit with that in other units across the university. Having this degree of access – and insight – could help leaders make very informed and strategic decisions about recruitment and hiring, and to identify where new programs and policies would be needed to support every member of their unit.
Why is it important to improve representation among the university's employees?
This work has so many implications for who we are as a university and what kind of role we see the university playing within our local community and more broadly. It has implications for how we understand excellence in relation to the scholarship and work we do at this institution, too.
To distil all these many layers, I would say improving representation among our faculty, librarians and staff is necessary groundwork. It is an important way in which we can foster the conditions that allow diverse perspectives and lived experience to be shared and valued at this university.
Embracing difference, not uniformity, nurtures and sustains excellence. It can inspire new ideas, keeping us intellectually curious as a community and able to think more creatively about the world and our place in it.
I'd also say that if we support diverse representation among our employees, we are much better positioned to attract and – crucially – to support a diverse student population. We set our employees and students up for success if they can feel free to be themselves and become who they truly want to be.
Alison Kenzie
Kelly Hannah-MoffatDiversity and InclusionEmployment EquityEquity


text:
// Copyright 2021 The Chromium Authors
// Use of this source code is governed by a BSD-style license that can be
// found in the LICENSE file.

#include "chrome/browser/ui/views/autofill/update_address_profile_view.h"

#include "base/ranges/algorithm.h"
#include "chrome/app/vector_icons/vector_icons.h"
#include "chrome/browser/browser_process.h"
#include "chrome/browser/ui/autofill/save_update_address_profile_bubble_controller.h"
#include "chrome/browser/ui/views/chrome_layout_provider.h"
#include "chrome/grit/theme_resources.h"
#include "components/autofill/core/browser/autofill_address_util.h"
#include "components/autofill/core/browser/field_types.h"
#include "components/autofill/core/common/autofill_features.h"
#include "components/strings/grit/components_strings.h"
#include "components/vector_icons/vector_icons.h"
#include "ui/base/l10n/l10n_util.h"
#include "ui/color/color_id.h"
#include "ui/gfx/paint_vector_icon.h"
#include "ui/views/controls/button/image_button.h"
#include "ui/views/controls/button/image_button_factory.h"
#include "ui/views/controls/image_view.h"
#include "ui/views/layout/flex_layout.h"
#include "ui/views/layout/table_layout_view.h"
#include "ui/views/style/typography.h"

namespace autofill {

namespace {

constexpr int kIconSize = 16;
constexpr int kValuesLabelWidth = 190;

const gfx::VectorIcon& GetVectorIconForType(ServerFieldType type) {
  switch (type) {
    case NAME_FULL_WITH_HONORIFIC_PREFIX:
      return kAccountCircleIcon;
    case ADDRESS_HOME_ADDRESS:
      return vector_icons::kLocationOnIcon;
    case EMAIL_ADDRESS:
      return vector_icons::kEmailIcon;
    case PHONE_HOME_WHOLE_NUMBER:
      return vector_icons::kCallIcon;
    default:
      NOTREACHED();
      return vector_icons::kLocationOnIcon;
  }
}

// Creates a view that displays all values in `diff`. `are_new_values`
// decides which set of values from `diff` are displayed.
std::unique_ptr<views::View> CreateValuesView(
    const std::vector<ProfileValueDifference>& diff,
    bool are_new_values,
    ui::ColorId icon_color) {
  auto view = std::make_unique<views::View>();
  view->SetLayoutManager(std::make_unique<views::FlexLayout>())
      ->SetOrientation(views::LayoutOrientation::kVertical)
      .SetCrossAxisAlignment(views::LayoutAlignment::kStretch)
      .SetIgnoreDefaultMainAxisMargins(true)
      .SetCollapseMargins(true)
      .SetDefault(
          views::kMarginsKey,
          gfx::Insets::VH(ChromeLayoutProvider::Get()->GetDistanceMetric(
                              DISTANCE_CONTROL_LIST_VERTICAL),
                          0));

  for (const ProfileValueDifference& diff_entry : diff) {
    const std::u16string& value =
        are_new_values ? diff_entry.first_value : diff_entry.second_value;
    // Don't add rows for empty original values.
    if (value.empty())
      continue;
    views::View* value_row =
        view->AddChildView(std::make_unique<views::View>());
    value_row->SetLayoutManager(std::make_unique<views::FlexLayout>())
        ->SetOrientation(views::LayoutOrientation::kHorizontal)
        .SetCrossAxisAlignment(views::LayoutAlignment::kStart)
        .SetIgnoreDefaultMainAxisMargins(true)
        .SetCollapseMargins(true)
        .SetDefault(
            views::kMarginsKey,
            gfx::Insets::VH(0, ChromeLayoutProvider::Get()->GetDistanceMetric(
                                   views::DISTANCE_RELATED_LABEL_HORIZONTAL)));

    auto icon_view = std::make_unique<views::ImageView>();
    icon_view->SetImage(ui::ImageModel::FromVectorIcon(
        GetVectorIconForType(diff_entry.type), icon_color, kIconSize));

    value_row->AddChildView(std::move(icon_view));
    auto label_view =
        std::make_unique<views::Label>(value, views::style::CONTEXT_LABEL);
    label_view->SetMultiLine(true);
    label_view->SizeToFit(kValuesLabelWidth);
    label_view->SetHorizontalAlignment(gfx::HorizontalAlignment::ALIGN_LEFT);
    value_row->AddChildView(std::move(label_view));
  }
  return view;
}

// Add a row in `layout` that contains a label and a view displays all the
// values in `values`. Labels are added only if `show_row_label` is true.
void AddValuesRow(views::TableLayoutView* layout_view,
                  const std::vector<ProfileValueDifference>& diff,
                  bool show_row_label,
                  views::Button::PressedCallback edit_button_callback) {
  bool are_new_values = !!edit_button_callback;
  layout_view->AddRows(1, /*vertical_resize=*/views::TableLayout::kFixedSize);

  if (show_row_label) {
    auto label = std::make_unique<views::Label>(
        l10n_util::GetStringUTF16(
            are_new_values
                ? IDS_AUTOFILL_UPDATE_ADDRESS_PROMPT_NEW_VALUES_SECTION_LABEL
                : IDS_AUTOFILL_UPDATE_ADDRESS_PROMPT_OLD_VALUES_SECTION_LABEL),
        views::style::CONTEXT_LABEL, views::style::STYLE_SECONDARY);
    layout_view->AddChildView(std::move(label));
  }
  ui::ColorId icon_color = are_new_values ? ui::kColorButtonBackgroundProminent
                                          : ui::kColorIconSecondary;
  layout_view->AddChildView(CreateValuesView(diff, are_new_values, icon_color));
  if (are_new_values) {
    std::unique_ptr<views::ImageButton> edit_button =
        views::CreateVectorImageButtonWithNativeTheme(
            std::move(edit_button_callback), vector_icons::kEditIcon,
            kIconSize);

    edit_button->SetAccessibleName(l10n_util::GetStringUTF16(
        IDS_AUTOFILL_SAVE_ADDRESS_PROMPT_EDIT_BUTTON_TOOLTIP));
    edit_button->SetTooltipText(l10n_util::GetStringUTF16(
        IDS_AUTOFILL_SAVE_ADDRESS_PROMPT_EDIT_BUTTON_TOOLTIP));
    layout_view->AddChildView(std::move(edit_button));
  }
}

// Returns true if there is there is at least one entry in `diff` with
// non-empty second value.
bool HasNonEmptySecondValues(const std::vector<ProfileValueDifference>& diff) {
  return base::ranges::any_of(diff, [](const ProfileValueDifference& entry) {
    return !entry.second_value.empty();
  });
}

// Returns true if there is an entry coressponding to type ADDRESS_HOME_ADDRESS.
bool HasAddressEntry(const std::vector<ProfileValueDifference>& diff) {
  return base::ranges::any_of(diff, [](const ProfileValueDifference& entry) {
    return entry.type == ADDRESS_HOME_ADDRESS;
  });
}

}  // namespace

UpdateAddressProfileView::UpdateAddressProfileView(
    views::View* anchor_view,
    content::WebContents* web_contents,
    SaveUpdateAddressProfileBubbleController* controller)
    : LocationBarBubbleDelegateView(anchor_view, web_contents),
      controller_(controller) {
  DCHECK(base::FeatureList::IsEnabled(
      features::kAutofillAddressProfileSavePrompt));
  // Since this is an update prompt, original profile must be set. Otherwise, it
  // would have been a save prompt.
  DCHECK(controller_->GetOriginalProfile());

  auto* layout_provider = views::LayoutProvider::Get();

  set_fixed_width(layout_provider->GetDistanceMetric(
      views::DISTANCE_BUBBLE_PREFERRED_WIDTH));

  SetAcceptCallback(base::BindOnce(
      &SaveUpdateAddressProfileBubbleController::OnUserDecision,
      base::Unretained(controller_),
      AutofillClient::SaveAddressProfileOfferUserDecision::kAccepted));
  SetCancelCallback(base::BindOnce(
      &SaveUpdateAddressProfileBubbleController::OnUserDecision,
      base::Unretained(controller_),
      AutofillClient::SaveAddressProfileOfferUserDecision::kDeclined));

  SetTitle(controller_->GetWindowTitle());
  SetButtonLabel(ui::DIALOG_BUTTON_OK,
                 l10n_util::GetStringUTF16(
                     IDS_AUTOFILL_UPDATE_ADDRESS_PROMPT_OK_BUTTON_LABEL));
  SetButtonLabel(ui::DIALOG_BUTTON_CANCEL,
                 l10n_util::GetStringUTF16(
                     IDS_AUTOFILL_UPDATE_ADDRESS_PROMPT_CANCEL_BUTTON_LABEL));

  SetLayoutManager(std::make_unique<views::FlexLayout>())
      ->SetOrientation(views::LayoutOrientation::kVertical)
      .SetCrossAxisAlignment(views::LayoutAlignment::kStretch)
      .SetIgnoreDefaultMainAxisMargins(true)
      .SetCollapseMargins(true)
      .SetDefault(views::kMarginsKey,
                  gfx::Insets::VH(layout_provider->GetDistanceMetric(
                                      DISTANCE_CONTROL_LIST_VERTICAL),
                                  0));

  std::vector<ProfileValueDifference> profile_diff = GetProfileDifferenceForUi(
      controller_->GetProfileToSave(), *controller_->GetOriginalProfile(),
      g_browser_process->GetApplicationLocale());

  std::u16string subtitle = GetProfileDescription(
      *controller_->GetOriginalProfile(),
      g_browser_process->GetApplicationLocale(),
      /*include_address_and_contacts=*/!HasAddressEntry(profile_diff));
  if (!subtitle.empty()) {
    views::Label* subtitle_label = AddChildView(std::make_unique<views::Label>(
        subtitle, views::style::CONTEXT_LABEL, views::style::STYLE_SECONDARY));
    subtitle_label->SetHorizontalAlignment(
        gfx::HorizontalAlignment::ALIGN_LEFT);
  }

  auto* main_content_view =
      AddChildView(std::make_unique<views::TableLayoutView>());

  bool has_non_empty_original_values = HasNonEmptySecondValues(profile_diff);

  // Build the TableLayoutView columns.
  const int column_divider = layout_provider->GetDistanceMetric(
      views::DISTANCE_RELATED_CONTROL_HORIZONTAL);
  if (has_non_empty_original_values) {
    // Label column exists only if there is a section for original values.
    main_content_view
        ->AddColumn(
            /*h_align=*/views::LayoutAlignment::kStart,
            /*v_align=*/views::LayoutAlignment::kStart,
            /*horizontal_resize=*/views::TableLayout::kFixedSize,
            /*size_type=*/views::TableLayout::ColumnSize::kUsePreferred,
            /*fixed_width=*/0, /*min_width=*/0)
        .AddPaddingColumn(views::TableLayout::kFixedSize, column_divider);
  }
  main_content_view
      ->AddColumn(
          /*h_align=*/views::LayoutAlignment::kStretch,
          /*v_align=*/views::LayoutAlignment::kStretch,
          /*horizontal_resize=*/1.0,
          /*size_type=*/views::TableLayout::ColumnSize::kUsePreferred,
          /*fixed_width=*/0, /*min_width=*/0)
      .AddColumn(
          /*h_align=*/views::LayoutAlignment::kStart,
          /*v_align=*/views::LayoutAlignment::kStart,
          /*horizontal_resize=*/views::TableLayout::kFixedSize,
          /*size_type=*/views::TableLayout::ColumnSize::kUsePreferred,
          /*fixed_width=*/0, /*min_width=*/0);

  AddValuesRow(
      main_content_view, profile_diff,
      /*show_row_label=*/has_non_empty_original_values,
      /*edit_button_callback=*/
      base::BindRepeating(
          &SaveUpdateAddressProfileBubbleController::OnEditButtonClicked,
          base::Unretained(controller_)));

  if (has_non_empty_original_values) {
    main_content_view->AddPaddingRow(
        views::TableLayout::kFixedSize,
        layout_provider->GetDistanceMetric(
            DISTANCE_UNRELATED_CONTROL_VERTICAL_LARGE));
    AddValuesRow(main_content_view, profile_diff, /*show_row_label=*/true,
                 /*edit_button_callback=*/{});
  }
}

bool UpdateAddressProfileView::ShouldShowCloseButton() const {
  return true;
}

std::u16string UpdateAddressProfileView::GetWindowTitle() const {
  return controller_->GetWindowTitle();
}

void UpdateAddressProfileView::WindowClosing() {
  if (controller_) {
    controller_->OnBubbleClosed();
    controller_ = nullptr;
  }
}

void UpdateAddressProfileView::Show(DisplayReason reason) {
  ShowForReason(reason);
}

void UpdateAddressProfileView::Hide() {
  CloseBubble();

  // If |controller_| is null, WindowClosing() won't invoke OnBubbleClosed(), so
  // do that here. This will clear out |controller_|'s reference to |this|. Note
  // that WindowClosing() happens only after the _asynchronous_ Close() task
  // posted in CloseBubble() completes, but we need to fix references sooner.
  if (controller_)
    controller_->OnBubbleClosed();

  controller_ = nullptr;
}

}  // namespace autofill


Future mass transportation has to change if we're to cope with the number of motorized vehicles doubling to 1.3 billion by 2020. Cars are getting smaller, trains and buses are getting bigger and faster but what about the taxi? They're the "other" modes of public transport in mega cities like Tokyo.
The Taxi Tokyo concept takes theories set forth by Ford Motors about how mass city transport is to work in the near future. Imagine a taxi consisting of a drive unit and separate passenger unit. The passenger units sit at predetermined check points. People get in and set their destination, swipe their card, and wait for the timely drive units to dock and take them on their way. The computer interface even accounts for multiple passengers and destinations. Ultimately the first passenger is the one to decide who he/she lets in.


Im European using kg's not pounds.
1. When I create or edit my profile I enter a weight, in my case 63 kg.
2. I save the profile, go back to main.
3. Edit profile (something else, not weight).
4. Save and go back to main.
...And my weight is displayed as 28,6 kg.
Rinse and repeat and this occurs again.
I'm guessing im going mad or that something on fitdays end is jumbling up kg / pounds when profile is saved.
Same thing happens to me. Also, I can't set a weight goal under 100kgs.


text:
College of Communication, Fine Arts and Media
About Us Backback to Main menu
Submit a News Item
Undergraduate Programs Backback to Main menu
Credit Hour Policies and Procedures
Studios & Areas of Study
Graduate Programs Backback to Main menu
Student Involvement Backback to Main menu
About Our Ensembles
Opera Theatre
Festivals & Camps
BOCH Festival
Women's Jazz Composition Competition
Faculty Ensembles
International Touring Program
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Sound Health; Bringing Music to Medicine
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Student Recital Series
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Support Us Backback to Main menu
Support the School of Music
Support CFAM
The Maverick Marching Band
About the Maverick Marching Band
The Maverick Marching Band regularly entertains audiences across campus and travels extensively throughout the region performing in exhibition to thousands of high school students, parents, community members and the like. Members of the MMB have performed at the Holland Center for the Performing Arts, major community events, parades (including for a Presidential Inauguration), and the Midtown Crossing outdoor performance space in downtown Omaha as part of the End-of-Summer Concert Series sponsored by UNO. Interested in joining?
The MMB is mostly non-auditioned and includes: Piccolos, Clarinets, Alto/Tenor Saxophone, Trumpet, Mellophone/F. Horn, Trombone, Baritone, Tuba/Sousaphone, Percussion, Color Guard, and Twirlers (audition required). The Maverick Marching Band rehearses in the fall semester on Monday, Wednesday, and Friday afternoons from 4:45 PM-6:15 PM at the UNO Center Dome facility (shuttle service provided to/from rehearsals). All members of the Maverick Marching Band receive at minimum a $250 scholarship for their participation. Maverick Marching Band members must report to campus for Preseason prior to the start of classes.
Saturday morning, Aug. 21 has been added to the calendar for official MMB photographs! Students will report from 9:45-11:00 AM.
Joining the Maverick Marching Band
Apply and be admitted to the University of Nebraska at Omaha. If you are a non-UNO student that wishes to participate, please contact the Director of Athletic Bands, Dr. Joshua Kearney, directly by email at jskearney@unomaha.edu.
Complete the Maverick Marching Band Registration form linked here.
Take note of the Tentative Preseason Camp dates listed on this page. Marching Band members are required to attend!
Complete the supplemental Medical/Image Use form. Students under the age of 19 will need a Parent/Guardian to complete these forms.
Online $35 fee payment (consumable items, cleaning, repairs, etc)
In the coming weeks, prior to Preseason Camp, you will be contacted by Athletic Bands staff with further information regarding the 2021 Preseason Schedule, equipment checkout, supplies, etc. You may also find much of this information below under "2021 Season Information"
UNO Students must register for marching band in MavLINK. The course number is MUS 2750.
If you are interested in becoming a UNO MMB Twirler, you must complete an audition.
2021 Season Information
Welcome Letter & Detailed Daily Preseason Camp Schedule—NEW!
Supplemental Medical/Image Use Form
Tentative Performance Calendar (forthcoming)
Who can join the UNO Maverick Marching Band?
Membership in the Maverick Marching Band (MMB) is open to all students on the UNO campus. Instrumentalists in the MMB should have a moderate level of experience on a traditional band instrument. The MMB also includes Twirlers (audition required) and the UNO Color Guard (non-auditioned). You do not have to be a music major to participate! Members of the Maverick Marching Band have represented nearly all academic disciplines on campus. Non-UNO students are eligible for participation on a case-by-case basis. Email Dr. Kearney at jskearney@unomaha.edu for more information about participation as a non-UNO student. The MMB uses the following instruments: piccolo, clarinet, alto and tenor saxophone, trumpet, mellophone/horn, trombone, baritone, tuba, front ensemble/pit percussion, and standard battery marching percussion (snare drum, bass drum, tenor drum, cymbals).
Are there special guidelines for participating in MMB during COVID-19?
The faculty and staff at the University of Nebraska at Omaha are committed to the safety of all of our students, faculty, and staff. All rehearsals and performances will comply with the latest guidelines from the CDC, the Nebraska Department of Health & Human Services, and from the internationally-recognized Performing Arts Aerosol Study sponsored by the College Band Directors National Association and the National Federation of State High School Associations. For more information on UNO's COVID-19 response, please visit the Maverick COVID Response webpage.
Is there a Preseason Camp for members in the Maverick Marching Band?
Yes! Preseason typically begins 2 weeks before classes begin. Preseason activites are staggered with percussion starting first. Please review the dates at the top of the page for more information. A daily detailed schedule will be available soon.
Do I have to audition to be a member of the MMB?
Instrumentalists and members of the Color Guard do not have to audition to participate in the MMB. MMB Twirlers, however, are selected based on a successful audition (audition information forthcoming).
Am I able to move into UNO Student Housing/Dorms early in order to participate in Preseason Camp?
Yes! Contact the housing office for early move-in details. Email: unohousing@unomaha.edu | Dodge Campus: 402.554.6605 | Scott Campus: 402.778.6541
If I am planning to audition for other School of Music ensembles (SWE, percussion ensemble, etc.) am I allowed to miss some of camp for my audition? If so, is there a good time to schedule my audition?
Yes! We want students to feel free to participate in other ensembles in the School of Music. Please try to schedule your audition close to the lunch hour during preseason camp, and let the director know of your audition time in advance.
Do members of the Maverick Marching Band receive a scholarship?
Absolutely! Due to the generous support of the University, the UNO Athletic Bands are pleased to offer ALL UNO student members of the MMB a minimum $250 scholarship for their participation.
What if I don't own a flag, piccolo, mellophone, tenor saxophone, marching baritone, or tuba?
No worries! The UNO Athletic Bands have an extensive array of instruments available for check-out in order to participate in the Athletic Band program. Some instruments/equipment will be made available for students to check-out if desired prior to the start of the virtual preseason experience.
When and where does the MMB rehearse?
Typically, the MMB rehearses in the fall semester on Monday, Wednesday, and Friday afternoons from 4:45-6:15 PM at the Center Dome on UNO's campus (6808 Spring St, Omaha, NE 68106). More details regarding the regular 2021 MMB rehearsal schedule will be made available soon.
Is there a cost to participate in the MMB?
There is a nominal fee to participate in the MMB, not to exceed $35 plus the cost of any necessary supplies (reeds, flipbook, etc.). Fees may be paid at the link above.
Can I still do marching band if I'm an engineering major because of the conflict(s) that arise during Preseason Camp?
Yes! Let Dr. Kearney know of the conflict early so that accommodations can be made.
Can I still participate in marching band (MUS 2750) if I know I may miss some rehearsals because of my scholarship?
In most cases - yes! Let Dr. Kearney know of any potential conflicts in advance so that any appropriate accommodations can be made.
I am a Music Education major at UNO. Am I required to participate in the MMB?
All Wind/Percussion Music Education majors must participate in the MMB for 2 semesters in order to fulfill their degree requirements. String Music Education majors must participate for 1 semester, and there is no requirement for Vocal Music Education majors to participate in the Maverick Marching Band.
Help! You didn't answer my question!
Please direct further questions to Dr. Joshua Kearney, UNO Director of Athletic Bands, by email at jskearney@unomaha.edu.
Bands Home
The "Maverick Machine" Pep Band
History of the UNO Bands
Interested in Majoring in Music?
UNO Bands Alumni Registration
Athletic Bands: Dr. Joshua Kearney
Office: SPAC 225
Email: jskearney@unomaha.edu
314 Weber Fine Arts Building
6505 University Drive South
cfam@unomaha.edu
Writer's Workshop
UNO Theatre
KVNO


text:
José Carreras turns seventy-five
A great tenor turns seventy-five
The tenor José Carreras turned seventy-five on December 5th. and I have fond memories of my contacts with him. In 1995 I was commissioned to make a painting of him for the Birmingham Symphony Hall Collection, for a Royal Gala Concert on May 4th, to raise funds for the José Carreras International Leukaemia Foundation.
Against all odds, Carreras was cured of acute leukaemia in 1988. As he put it: "I was one of the lucky few". His recovery and his subsequent concerts to raise funds for research and awareness attracted global admiration. It was in tribute to his courage that Luciano Pavarotti and Plácido Domingo joined him in 1990 for the first of the famous The Three Tenors concerts.
José Carreras, watercolour, 84 x 56cm, 1995
Because José Carreras is a singer, everything revolves around his breathing. Despite the swirling colour, José's characteristically extended hands give great stability to the painting, like the base of a pyramid. Our eye is drawn up to where the apex of the pyramid should be, in the white space just in front of his open mouth, from which we expect to hear the sound of that powerful voice.
Uncannily, the timing of this commission coincided with the period when my wife, the cellist Vivian King, was in hospital with yes - acute leukaemia. The emotional pressure was enormous. Half the day at the studio, trying to finish the painting whilst expecting yet another phone call from the hospital, announcing a new crisis. José was a fellow musician whose survival was legendary. He sent us his good wishes, and I played his recordings to Vivian as she endured radiation and chemotherapy, giving us courage, inspiration and harmony. Think of Franck's 'Panis angelicus', Puccini's tragic aria 'E lucevan le stelle' (Tosca) and, in particular, 'Che gelida manina' (La Bohème).
This watercolour was literally painted with many tears, completed and signed on the day Vivian received rich-red new bone-marrow, a day of hope which alas, was not to be fulfilled.
I felt the need to make a contribution to the Carreras fund for leukaemia-research, so in October 1996 I joined José Carreras, Amanda Roocroft and the Hallé Orchestra for a huge fund-raising concert in Manchester. I painted fluid kinetic paintings live to the music: Lara's "Granada", Dvorák's "Song to the Moon", Verdi's "Brindisi" and a whole range of popular classics, all for the good cause. The amazing Martin† and Gillian Lawson co-produced this unforgettable event and immediately became dear friends and fans.


Smooth, Directed Light. The Zoom Reflector 2 provides you with a smoother, more accurate light spread. While this produces a much higher degree of light fall-off, it also means that stray light is nearly eliminated.
Adjustable. Just as its name suggests, this reflector enables fine-tuning of light spread by "zooming" the reflector forward or backwards on the strobe barrel across three positions. These positions offer a beam angle of 105º, 75º, and 35º.
Profoto Light-Shaping Tools. The White Softlight Beauty Dish Reflector is compatible with Profoto strobes with a four-inch barrel diameter, including the Profoto B1 500 AirTTL Battery Powered Monolight and D1 Air 500/500 Twin Monolight Kit.
Best With a Glass Dome. For best results, Profoto suggests using a strobe that features a glass dome to better reflect light. While many of their studio heads come standard with this, the B1 and D1 don't. If you need a dome, we offer the Profoto B1 / D1 Glass Dome as a separate rental item.