Builders needed! Big, detailed adventure map!
You can still post pics of your builds here, but it'll probably be easier to get accepted if you build on the server.
We are looking for talented builders to help us build a modded adventure map using the Conquest resource pack. The map is a classic fantasy adventure, and we wish to make maybe the best this community has seen!
We have already done a lot of building and there is much to explore, but we want to bring more people in so we can finish this project more quickly!
Newest (WIP) area: Deserty canyon.
Join the making of an unique adventure!
Thank you for your interest! But I'm afraid that your builds do not quite meet our standards.
We are still looking for more builders!
I'm assuming you build on a flat world (gives you more control then a generated one). I also doubt you build all the landforms block by block by hand (the details probably, but the general shape). If you use any tools, what are they?
We (as in the people applying) need to know what we're going to have to work with.
Yes, we build on a flat world. For terraforming we use WorldEdit (WE will not be available to most builders because of it destructive powers, only OPs) and we have WE CUI installed. We also use Metacycler for cycling through metadata stuff, and a plugin (forgot the name) for changing biomes.
As i mentioned most builders will not get access to the most powerful tools like WE in the start, but if you prove to be trustworthy we will consider giving you full access to the servers plug-ins.
I will be making the rough frames for builders to build on so I can control the size and progression of the map, and within these frames builders will be given large WorldGuard plots to work on.
We look forward to be seeing your applications! If several people are applying with you please post a lot pics and clearly label who has done which builds, thanks!
Are you still planning to apply? If not, what changed your mind?
Im busy working on my own map right now, although I do wish you the best of luck on this project.
Maybe you could PM me in the future if you want a beta tester.
can do a lot better if I put in more time.
It's called " need help with my map"


This print represents anatomical hand throught flowers and it's realized with the technique of linogravure etching.
The linoleography is an artistic printing technique of images and graphics on paper, cardboard or cloth by the use of a matrix obtained for engraving on linoleum. The term "linocut" comes from the name of the media (linoleum) and from the greek "grapho" (write).
Each linocut print is printed to order.Matrix is totaly carved by hand by myself with original illustration . Each print one comes out a little different due to handmade printing process.


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Home News Fred Onyedinma's double helps Wycombe into play-off final
Fred Onyedinma's double helps Wycombe into play-off final
The Chairboys claimed a 6-3 aggregate victory.
Fred Onyedinma scored twice as Wycombe held off a spirited Fleetwood to reach the Sky Bet League One play-off final following a 2-2 draw at Adams Park.
The Chairboys had taken control of the first leg, easing to an emphatic 4-1 victory at Highbury against nine men, and did enough to book their place at Wembley with a 6-3 aggregate success.
Fleetwood took the lead in the 22nd minute after an early period of pressure. The Wycombe defence cleared the ball straight into the path of Danny Andrew and he fired home to offer Joey Barton's side hope of a stirring comeback.
But Wycombe hit back just after the restart, with Onyedinma capitalising on a defensive mistake to level on the night and put his side firmly back in control.
The visitors regained the lead through Ched Evans' second penalty of the tie, only for Onyedinma to grab his second goal of the game at the death to seal his side's passage.
Wycombe will face Oxford in the final on July 13 as they attempt to reach the second tier of English football for the first time in their history.
The visitors started brightly as they looked to overturn the three-goal deficit, with Josh Morris and Andrew both sending efforts over the crossbar.
Just before the first-half drinks break, Andrew found his range, driving the ball low into the net to put Fleetwood in front.
Goalkeeper Alex Cairns, who had made two errors but saved a penalty in the first leg, was almost left red-faced once again. He came off his line to make a clearance, only to find Chairboys midfielder Nnamdi Ofoborh, whose 50-yard effort was pushed wide by the backtracking goalkeeper.
Fleetwood could consider themselves hard done by in the closing stages of the first half after a strike from Barrie McKay appeared to hit defender Anthony Stewart's arm as he blocked the attempt.
The home side extended their advantage in the tie at the start of the second half. Fleetwood's towering defender Harry Soutter diverted the ball into Onyedinma's path and the Nigerian ran onto it and slotted under Cairns.
The game was not level for long, though, with referee Darren Bond awarding Fleetwood another penalty after McKay was brought down by Joe Jacobson.
Evans sent goalkeeper Ryan Allsop the wrong way to make it 5-3 overall.
Shortly after the second drinks break, half-time substitute Adebayo Akinfenwa had a chance to put the tie firmly beyond Fleetwood, but his close-range effort was straight at Cairns.
In the final stages of the match and with Fleetwood going all-out for another goal, Onyedinma scored his second of the game to seal his side's passage to the final.

redpajama_set_name: RedPajamaCommonCrawl


text:
What is a Doombuggy, Anyway?
A trivia item known to most hardcore fans is the fact that the term "doombuggy" occurs only in the "breakdown spiel," when riders are told to remain seated in their halted "dooooombuggy," as X Atencio pronounces it (that's his voice). Theoretically, you could ride the HM your entire life and never hear the word.
Breakdown Spiel
Less well-known is the fact that "doombuggy" was used in press releases given out for the grand opening, so it's been an official term since Day One. It's a pun on "dune buggy," of course, firmly dating the whole business to the late 60's.
That is soooo groovy
Yes, but what is a doombuggy supposed to be? When it comes to conveyance vehicles, the Haunted Mansion is admittedly inferior to the Pirates of the Caribbean. The small boats you use to sail through an imaginary Caribbean port town are perfectly suited to the world you are entering, requiring minimal suspension of disbelief. That's how you would do it, if you were really in a position to do it. But I've never heard of a real haunted house with a string of pods snaking through it.
The Ghost Host refers to them as carriages, but I'm not inclined to take that too literally. If they're carriages, where are the wheels? Like the prohibition against flash photography and the mention of safety bars, it's a concession to reality that you're supposed to tolerate as part of the price of having an experience like this. Guests need to be informed in advance that they're going to be getting into a vehicle and had better be ready to pair up with "two or three loved ones." "Carriage" is just about as neutral a term as you could expect under such circumstances. What else could he call them? "Vehicles"? "Conveyances"?
But within the imaginative world of the HM, the doombuggy must be something, right? I've heard it all. "It's a hearse." "It's a coffin." "It's what he says it is, a carriage." "It's a chair."
None of these is satisfactory. If they had wanted them to be little hearses, it would have been easy enough to supply some appropriate decoration. That's what they did, for example, for the Haunted Castle at the Boardwalk in Santa Cruz, California:
(pix by RegionsBeyond)
Well, are they coffins, then? X. Atencio's first impulse, as a matter of fact, had been to outfit the omnimovers like coffins:
You've got the same problem. If they're supposed to be coffins, why don't they look like coffins? Could they be chairs, then? They do bear a certain resemblance to what they call porter chairs:
But gimme a break, you're floating through a house in an armchair? That's a bit . . . much. And if
such were the case the GH could very well have invited you to "take a seat in the chair" provided.
What they really are is exactly what they look like: nothing! They're shapeless, featureless blobs, painted flat black, which in itself is a sure sign that you're not supposed to "see" them at all.
Nope. Don't see nuthin'. Blank. Zip. Nothing there.
To illustrate the idea, I like to point to Bunraku, a traditional form of Japanese puppetry. The puppeteers are in full view, but dressed and hooded in black. By the second act, the puppeteers often dispense with the hoods, because by then you no longer "see" them.
They often have several puppeteers working the same puppet, as in this 1935 photo.
Doesn't matter. They aren't there.
"Dum de dum dum, you can't seeeee us!"
It's really the same principle as ignoring the plainly visible strings on a marionette, just a more extreme application. That's how it is with the doombuggy, except that you're the puppet. Gulp.
Notice how, in this famous Claude Coats concept sketch, the back of the doombuggies is already "invisible" before you've even left the area. The "E" Ticket Magazine recognized this concept clearly enough, referring to the doombuggies as "colorless" cars and "nearly invisible vehicles" (#16/Summer 1993, p 5).
The earliest known reference to the conveyance system is in a press release from early in 1969, announcing the opening of the ride later that summer. I have here a March 23rd clipping that says that the Mansion will provide "perpetual levitation for moving guests through the haunted halls...." There's your official explanation. Okay, you're only "levitating" if you can't see anything holding you up, am I right? No one would use the word "levitation" with reference to riding in a carriage or some other kind of visible conveyance, so apparently you're to imagine that you're being carried by some mysterious and invisible force.
We're getting carried away here.
Incidentally, you're not being carried by the Ghost Host himself. Remember, he leaves you at the end of the Séance ("I'll see you all a little later...") and finds you again near the end of the ride ("Ah, THERE you are..."). Whoever or whatever is doing it, eventually you are levitated outside through an attic window onto a small porch, and then you are dropped off the roof. You fall to the ground through a tangle of bare trees. Actually the ghosts are only teasing, and the so-called "fall" is apparently meant only to scare you, because you find yourself gently upborne by that same unseen force, landing uninjured.
We know that you "fall." Frank Allnutt, WED public relations manager when the HM opened, said so in a ride summary dated April 8, 1969:
Mortal visitors escape "outside" the mansion, only to suddenly "fall" backwards off the roof. They descend past grasping, demon trees, then find a terrified night watchman and his dog, standing, frozen with fright, at the gates of a misty cemetery.
There is some uncertainty about whether you "die" from the fall and join the party or not. Some people think so, but I doubt it. The spirits continue to either ignore you or have fun trying to scare you (the pop-ups). In other words, you're still not one of "them," not yet, anyway.
So pay no attention to that man behind the curtain. There's nothing there, even if it's nothing with a safety bar attached.
Posted by HBG2 at 5:01 PM 22 comments
Labels: Bunraku, Claude Coats, doombuggy, Frank Allnutt, Limbo, X. Atencio
From Creepy Old Crypts All Over the World
The Haunted Mansion has a large cast of characters, but it's definitely a circumscribed group. When the Ghost Host claims that they come from "all over the world," that's a bit of a sham. They come from Northern Europe and North America, with the exception of three from the Mediterranean basin: Caesar and two Egyptians (viz, the graveyard mummy and the Cleopatra-like lady on the chandelier). Someone may ask whether even that is too generous a description. Since a Victorian gentleman or gentlewoman who doesn't open his or her mouth could hail from either Old England or New England, how do we know there are any North Americans at all? Well, we're in New Orleans, and whole flocks of wraiths are pouring up out of the graveyard, so presumably most of them are Americans. We can thank Ken Anderson for that element (including how the effect is done—projections on a scrim).
"U. S. A ! . . . U. S. A ! . . . U. S. A !"
But better still, there is one ghost in there who is plainly North American: The Ghost Host (Paul Frees was American).
No East Asians, no sub-Sahara Africans, no Native Americans, no Pacific Islanders, etc. Does it mean anything? I suspect that it signals a restriction on what kind of ghost traditions we are supposed to presume in the HM. Sure, cultures all over the world believe in ghosts, but spirits of the dead in China or among Native Americans are regarded differently and function differently within those cultural-religious matrices than do our familiar Euro-American ghosts. Reportedly, this is one reason why the Hong Kong Disneyland isn't getting anything similar to the Haunted Mansions found in all the other parks. Within the Euro-American world, we assume that spirits of the dead are normally gone and out of our sphere, in heaven or hell or somewhere like that, and if they come back it's because something is wrong somewhere. Something needs to be done so that they can rest in peace like they're supposed to. If you should happen to see one, it is normally cause for concern, for dread.
If you're a storyteller you have to draw the circle somewhere or you won't have enough common ground with the audience to tell any kind of narrative, however vague. Without the usual Euro-American expectations about ghosts, the whole joke of the Haunted Mansion fails miserably.
So much for space; what about the other variable of existence, time? Plainly we've got ghosts from many different ages cavorting before our eyes. Apparently the afterlife opens up a pool of potential partners that eHarmony.com can only dream of. A medieval soldier is starting to get a little jiggy with that aforementioned Egyptian lass, the one with the Great Pyramids.
If we're looking for the oldest ghosts in the place, our three Mediterraneans easily take the prize. There's this Egyptian gal, and of course our old friend Caesar down below her...
...but the obvious winner in this category is sitting out in the graveyard.
There are a good dozen or so medieval figures, but the vast majority of the ghosts we see appear to be 19th century vintage, and most of those Victorian, presumably because so many ghost stories seem to take place in such a historical setting, and because ghosts of that era no doubt feel at home in a house of comparable age.
A more interesting question is, which ghost is the youngest, the most modern? The Imagineers seem to have restricted themselves in this area too. There are no 20th century ghosts. You might think that, well, what kind of distinctly 20th c. characters could have been offered that would have humorous potential and be instantly recognizable? Plenty! Where's your imagination? A World War I doughboy, a flapper, a Chicago gangster of the Machine-Gun Kelly/Edward G. Robinson type. Marc Davis could have spun out a dozen of these before breakfast, but they're not there. I think it was a conscious limitation.
My vote for the youngest ghosts goes to the bicyclists. They're a little loopy, but they're favorites with many fans. Another Davis idea, too.
There are two single-riders and one tandem bike in the circle:
The tandem bike as we know it was invented in 1898, so there you go; they're perched right at the outer rim of the 19th century. Lest you think this is pressing the details a bit hard, I call your attention to a seldom-seen concept sketch by Davis showing that he was perfectly conscious of the late-90's setting of the tandem bike.
Call them the Cadaver Dans.
One of the brighter spots in the otherwise disappointing 2003 movie adaptation of the Haunted Mansion was the decision to recast the singing busts as a barbershop quartet and enlist the current incarnation of the Dapper Dans to provide the voices. Who does NOT like the Dans, anyway? I think it's a kick to have Davis's sketch before you as you listen...
Grim Grinning Ghosts - The Dapper Dans
So for what it's worth, there you go; there are the parameters for the cast of characters used to tell the Mansion tale.
Labels: America, Dapper Dans, Europe, Marc Davis, Mediterranean basin, Victorian age
Two Taboos
You don't often run into discussions about what isn't in the Haunted Mansion, and when you do, it's usually to note that there isn't any grue, or there aren't any big scares. Otherwise, it's what's there that gets the ink or the bandwidth.
There are, however, two omissions that create openings for some interesting observations (interesting, at least, to Long-Forgottenistas, or whatever it is we call ourselves).
Children Not Admitted
There are no ghosts of children anywhere among the 999. Nada. Zip. Zilch. The closest we come is a mute admission that children exist within the imaginative world of the Haunted Mansion. Amidst the junk in the attic have been prams and hobby-horses at one point or another, perhaps an acknowledgment that some of the Mansion residents were once children. Not exactly news that will make you spill your coffee.
No child ghosts. It's not as though anyone is pretending that no one under 18 ever dies, so...where are the kids? At one point I argued that it isn't possible to make jokes about the death of a child. Well, actually, you can, you know, if your name is Edward Gorey.
But that humor presupposes a very different world, and don't expect to work for Disney if that's your total bag. Disney's offerings always have an upbeat ending. They "celebrate the human spirit," to use a typical cliché, and to do so they imagine a cosmos that is essentially hospitable to humans and normally rewarding to anyone who dreams big and beautiful things. If you hold a blacker, more bitter view of the cosmos, you can grin grimly at Gorey's perishing innocents and say with Gloucester: "As flies to wanton boys, are we to th' gods, — they kill us for their sport."
If your view of things is not quite that bleak, then there are rules. You can turn almost any adult's death into a jest, because by then we have all bitten the apple, we are all guilty creatures, and we all kind of know deep down that mortality is the fate we probably deserve. You can even get away with a suicide joke. But a child's death is Something Else entirely, and it's just never ha-ha funny to anyone who believes that there are—and should be—better things.
And No Crosses, Either
Considering how the Imagineers rifled though traditional material in search of ideas for the Haunted Mansion, it is striking that there are no nuns, no monks, no clergy of any kind. It's not as if there is a gap in this area: holy moly, ghost lore is chock full of nuns and monks, both "real" ghosts and literary ghosts. Monks are especially prone to be caught by the camera, it seems.
Some literary ghosts have left the pages and almost taken on a life of their own (or afterlife, I guess), like the Bleeding Nun, from the 18th c. Gothic novel, The Monk. Here she is on an early 19th c. magic lantern slide:
But the Mansion has steered clear of all of this. It's part of a general taboo that includes any traces of Christian symbolism. You will hunt in vain for a cross anywhere in the original HM cemeteries. They aren't there. It's pretty easy to figure out who was responsible for this, too: Marc Davis. Paintings and concept sketches by other HM Imagineers have an occasional cross, like Ken Anderson...
. . . . or Claude Coats . . .
. . . but Davis? I've never seen a single cross in any of his concept work for the HM, despite the number of graveyard scenes he sketched.
In 2019 a massive new book on Davis was published: Mark Davis in His Own Words (around here known as MDIHOW), and it includes a number of never-before-seen sketches by Davis, including HM artwork with graveyards and such, and again, there are no crosses anywhere in the new/old artwork.
If you look at photos of the scale model of the graveyard, here again there's not a cross in sight.
And the taboo is fully realized in the final attraction. None of the headstones have a cruciform shape. The winged head, frequently crowned, is extremely common on old New England headstones and represents the flight of the soul to heaven, but it's doubtful if many people know that, and few would consider it a Christian symbol per se since the idea it represents is scarcely unique to Christianity.
Davis was someone who had enough clout in this project to maintain a no-cross taboo all the way through, so all the evidence points to him.
But why this ban? I rather doubt it was because Davis was so devout. More likely it was because he was of the old school of thought that there was no reason to take any chance of offending religious sensibilities, especially Christian sensibilities, since that represents a mighty big chunk of the paying public. I wouldn't be surprised if this was a dictum that came down to Marc from Walt himself. Believe it or not, kids, in the early sixties it was still possible to worry that some people might think a haunted house was making fun of death, which might be okay so long as you didn't make it irreverent by bringing symbols of genuine, real-world faith into the mix. It wouldn't be inconceivable at all that a Council of Bishops or a Sunday School association might write a letter of protest at the sight of serious Christian symbols being used as part of mere entertainment, especially with a subject as inherently serious as death. Why stick your thumb in their eye when you don't need to?
Times change. In an age in which deliberate and angry forms of literal blasphemy are common shock elements in art and in popular entertainment, it is hard to believe that someone might have worried about irreverence at a level this low (unless it's Islam we're talking about, but that's another story; don't get me started). In fact, I would be surprised if anyone—including the Imagineers involved—even noticed that the first ever cruciform headstone at the Mansion made its debut in 1993.
If you're searching for the point where the 1969 Mansion comes closest to stepping over the line, I'm going to say it's the inscription on the MEMENTO MORI headstone, one of the nine main designs used in the graveyard scene: "Laudamus Te" ("We glorify thee") occurs in the Latin Mass. Ah, but on a headstone, the line can conceivably refer to the departed, so the sculptor gets off on a technicality. ("If I had meant God, I would have used the equally common but less ambiguous 'Te Deum Laudamus.' ")
The lesson you draw from all of this is going to vary. Some of you will breathe a sigh of relief that we've emerged from an oppressive cloud into an era of greater artistic freedom, while others will sigh too, but it will be a sigh of mourning over something valuable that has been lost. Fifi's headstone is a tiny, eccentric milestone on some road or other. We probably won't all know what kind of milestone until we're closer to the end of that road.
Labels: Christianity, crosses, Edward Gorey, Fifi, graveyard, Marc Davis, pet cemetery, religion, symbols, Walt Disney
A Postscript on Changing Portraits at the Cabaret du Néant
In discussing the changing paintings in the first room of the Cabaret, I've mentioned twice now that Albert Hopkins, in his 1901 book, Magic: Stage Illusions and Scientific Diversions, explains the effect as a thin cloth painted on both sides, with the back scene visible only when the painting is lit from behind. Well, it's possible that Hopkins offered this explanation because such a gimmick actually existed, proving that it could be done that way. I recently came across this interesting item:
It's a Parisian lithograph from about 1830 featuring a scene based on Henry Fuseli's 1781 painting, The Nightmare. The little devil is visible only when the lithograph is lit from behind. Notice also the night/day transition. I still don't think this can fully account for the effect used at the Cabaret du Néant, but could this have been what Hopkins had in mind? Regardless, it's an interesting example of a 19th c. changing portrait trick with a horror theme.
Posted by HBG2 at 3:12 PM 1 comments
Labels: Albert Hopkins, Cabaret du Néant, changing portraits
Death is a Cabaret, Old Chum...
Time to get our noses out of the Ancient Near East and back into the Victorian era, where we find more direct sources of inspiration for the Haunted Mansion. Back HERE I discussed briefly the Cabaret du Néant, with a link HERE to Cory's treatment of the subject, which is largely given over to quoting a lengthy passage from Bohemian Paris of To-day (J.B. Lippincott, 1900). It was written by W. C. Morrow from notes by Edouard Cucuel (the book also includes Cucuel's sketches). It's very good, very interesting, and a valuable source, but buyer beware; it's a second-hand account, and in places it's inaccurate. However, there are descriptions of the C du N published in other sources too, plus a lot of photos.
There is little doubt in my mind that the Cabaret du Néant was a direct source of inspiration for the Haunted Mansion. My reasons for thinking so will emerge with a fresh description of the Néant experience, drawn from several sources, as well as a closer look at the special effects used in the Néant show. I do not think these tricks have ever been explained accurately, so if you think you know the Cabaret well enough already—think again.
A bit of background. The pub originally opened in Brussels in 1892 as the "Cabaret de la Mort" (i.e. the Cabaret of Death), but it soon moved to the Montmartre district of Paris, where it was renamed the "Cabaret du Néant" ("néant" = nonexistence, obliteration, nothingness, death). The Montmartre district was THE place to be if you were an artiste in the second half of the 19th c. It seems like all of the important Impressionist painters lived there or hung out there. In the 1890's, it was bursting at the seams with cabarets and theaters, including fully-themed nightclubs. Practically across the street from the Cabaret du Néant, for example, were the "Cabaret of Heaven" and the "Cabaret of Hell," side by side. The waiters dressed as angels in the former and devils in the latter. Guess which one this is:
The famous Moulin Rouge cabaret is still there, but otherwise these pubs and theaters are all gone.
. . . Come to the Cabaret.
Shall we pay a visit? Oh, do let's. The street façade of the CdN is like a house dressed for mourning in traditional French fashion, with austere black and white coverings, although there is a skull and crossbones on the front door. There are two large, iron, torch-like lamps throwing yellowish-green light down on all who pass by. That kind of colored light makes people look shockingly sick and corpse-like, so we're already getting in the mood.
The unsmiling doorman is dressed exactly like a croquet-mort; that is, a professional
pall-bearer or undertaker's assistant. The same is true for the waiters inside.
The doorman leads you through the low, narrow front door and down a short, dark corridor. He opens some black drapes, allowing you to enter the first room. It's dark, lit only by candles. A chandelier in the center of the room is constructed of (real) human bones and nicknamed "Robert Macaire's chandelier," Macaire being a sort of all-purpose villain and bogeyman in France. Upturned coffins serve as tables, with small thin candles available for illumination.
The walls are decorated with skulls (which serve as dim lamps), sculpture, and posters with grim slogans such as "Life is a folly which Death corrects," "To be or not to be," and "Requiescat in Pace," as well as No Smoking signs, price lists, and notices that candles are available for 10 cents. More importantly, there are paintings all over the walls depicting death and carnage. Battle scenes, a guillotine in action, and in later times, a painting of an automobile with a demonic driver, running people down—at least I think that's what this is:
It's similar to a cartoon that appeared in Punch, in 1903:
(hat tip to Craig Conley)
By the way, this was actually a common theme among cynics and satirists in those days. These new-fangled automobiles were extremely dangerous, to the point that they betrayed a contemptible indifference to human (and other) life. They were depicted as instruments of death, glamorous only to the foolish and the callous. Here's a wonderful example from Puck. Behold the demon, "Speed Mania":
Puck 68/1756, Oct 26, 1910
Anyway, back to the Cabaret. Upon entering the room, you are met with "Welcome, moribunds," or "Welcome, weary wanderer, to the kingdom of Death," or "Enter, mortals of this sinful world, enter into the mists and shadows of eternity," or some other greeting striking the same tone as "Welcome, foolish mortals." Better get used to it. You and your friends will be continually addressed as "mortals," "coffin worms" (asticots de cercueil), and "Maccabees," the latter term being a slang expression for anonymous cadavers found floating in the river. In an account from 1931, it says that the staff at that time received guests by chanting a mass for the dead. The staff are all instructed not to smile or do anything else to break the solemn atmosphere, much like HM butlers and maids. That includes the waiter, who seems to mean it when he says "Name your poison." The mixed drinks and the beer are all renamed after deadly microbes and bacteria of various diseases. The waiter will plop them down before you, saying something like, "Drink, coffin worms. Drink these loathsome poisons filled with the deadliest germs."
A man in clerical garb eventually enters and gives a lengthy speech in morbid detail about the horrors of death, progressing from the variety of gruesome and agonizing ends awaiting individuals to the miserable fates of mankind in general.
Here the place gets interesting.
As he commences this portion of the lecture, the speaker points to a painting depicting a battle scene. According to Morrow, it begins to glow, making its details clear (remember, it's pretty dark in there). Then the glow fades away, and the painting has changed. The human figures in it are now all skeletons. The same thing happens with a painting of a guillotine chopping away. When the glow fades, the figures are now skeletons. Another painting shows a festive ball. Glow and fade. Now the dancers are all skeletons.
In my earlier treatment I quoted without objection Albert Hopkins' explanation of this effect (written in 1901). He suggests that the paintings are transparencies with one scene painted on one side and another on the other, the second one becoming visible when illumined from the rear. I now think that explanation is inadequate. It doesn't really account for the effect as described by Morrow. The paintings light up and then fade back down, revealing a skeletonized version of the same scene. How would you do that with a single, two-sided cloth? The effect could be produced, however, by having two paintings layered very close to each other, much like the panes in a double-pane window.
The skeleton one is in front, painted on a thin cloth or on theatrical scrim. The "normal" one is in back. The paintings are already moderately illumined from the back when folks come in, showing the back painting through the transparent front one. The lighting is further turned up during the lecture, at the appropriate time, and then faded down and extinguished, leaving the front painting visible for the first time. This would be perfectly do-able in the 1890's (the CdN was fully electrified).
In that earlier post, I drew a parallel between the CdN changing-painting effect and the attic wedding pictures and portrait hall paintings of the HM. If the above explanation is acceptable as a more satisfactory accounting for the effect as described, then the parallel between the Cabaret du Néant and the current Disney versions is extremely close indeed.
If you bought a drink while in the first room, you got a ticket entitling you to enter the Chambre de la Mort. You now take your puny candle and follow a man in Capuchin monk's garb single file through an arched doorway (painted to look like stone), down a narrow flight of steps, with green and yellow lighting once again, making everyone look cadaverous.
At the end of the steps is an antechamber where you wait your turn. The show repeats about every half hour, and only 15 or 20 are admitted at a time. To amuse yourself while you wait, you can look through holes or niches in the brickwork at gruesome tableaux, "studies of cholera patients, of persons buried alive, and similar cheerful subjects" (NYT Apr 9, 1894). Morrow (Cucuel) speaks of "bones, skulls, and fragments of human bodies." At last a cowled figure with only his eyes visible comes in and produces a large iron key, unlocking the spiked iron gate at one end of the room and opening it with a harsh grating sound. The monks mournfully announce that you have arrived at the Gates of Death, and in you go. There is an item inside, near the entrance: "By a clever arrangement of mirrors one sees one's self on entering reflected lying in a coffin" (NYT '94), which seems like a good idea since you can then see for the first time what you yourself look like under greenish-yellow lighting.
This part of the Cabaret du Néant show is justly famous. An upright coffin is visible in a narrow doorway at the far end of the room, which was hung in black in early years but later on left exposed, having been painted to look like stone vaulting. Also in early years, a pretty young lady was already in the upright coffin when you came in. She would smile and wink and then grow silent. While the monk guide kept up his groaning soliloquy about death and decay, she turned into a decaying corpse and finally a skeleton, right before your eyes. The process was then reversed, but instead of the young lady a fat old man returned. He would leave the coffin, and the monks would ask for a volunteer from the audience who would like to experience death. In later times they went straight to this phase and skipped the earlier stunt. Not missing a single detail, the Cabaret folks have a harmonium and an iron bell offstage somewhere, providing dirge music and solemn tolls at appropriate times.
There are a lot of pictures of this trick.
I especially like this last set because it really shows the excellent trompe l'oeil work in this chamber, transforming blank wall into convincing arches and stonework through skillful use of the paintbrush.
The trick is done, of course, using the Pepper's Ghost illusion, which requires only a big sheet of glass and careful manipulation of the lighting. But here again, I think Albert Hopkins' explanation is inadequate. He's got a simple two-chamber set up, turning the coffin occupant into a skeleton and back again. With this arrangement, the sense of gradual transformation would be enhanced through the use of colored light. The light on the volunteer goes from normal to greenish-yellow before fading down, while the skeleton is gradually lit up.
Below is a simplified pair of diagrams. When the coffin-with-occupant (#1) is illumined and the coffin-with-skeleton (#2) is dark, the audience sees only the first. When coffin 1 goes dark and coffin 2 is lit up, you see only the second, but it looks like it's in the place of the first. This is simple, rudimentary Pepper's Ghost illusioneering.
The problem with the Hopkins arrangement is that it does not account for the descriptions of the effect. Morrow describes a slow dissolving of the face into a corrupt state of decomposition before finally becoming a dried skull:
Her face slowly became white and rigid; her eyes sank; her lips tightened across her teeth; her cheeks took on the hollowness of death,—she was dead. But it did not end with that. From white the face slowly grew livid...then purplish black.... The eyes visibly shrank into their greenish-yellow sockets. ...Slowly the hair fell away....The nose melted away into a purple putrid spot. The whole face became a semi-liquid mass of corruption. Presently all this had disappeared, and a gleaming skull shone where so recently had been the handsome face of a woman.
Well, Morrow is giving a flowery, second-hand description based on Cucuel's notes, so maybe this is all exaggerated. But the 1894 New York Times account also describes a three-stage process, although the stages are different: man, skeleton, vacant. The shroud on the volunteer "by some trick gradually melted away, so did the flesh, or rather the man in the coffin, and a skeleton appeared in his stead. There remained another experiment to be witnessed, namely, the crumbling away to dust of the bones."
There may even be a photograph of the intermediate, rotted-corpse stage as described by Morrow:
The CdN gang may have had a much more sophisticated set-up than Hopkins describes. One possible
way to add a step to the transformation is with two sheets of glass and a third, intermediate coffin.
For an alternate method, still using only a single glass, see the remarks by "John b" in the Comments (Aug 4, 2013). It involves rotating, back-to-back coffins. The only problem I see with it is that it would be hard to use genuine audience volunteers that way. You'd probably need stooges.
Why so fancy? By the 1890's, Pepper's Ghost trickery had been in use for thirty years. The Cabarets of Heaven and Hell, across the street from the CdN, used it in their floor shows. Various traveling ghost show exhibits and theaters made heavy use of it, and Professor Pepper himself kept flogging it at the Royal Polytechnic Institute where he worked.
Furthermore, there was no shortage of Victorian spoil-sports eager to inform the public how the illusion was done:
It stands to reason that showmen would be searching for clever new ways to use what was now an old-hat illusion, something to bring back the "how do they do that?" element. The CdN boys seem just the kind who would tackle such a problem. Besides, two-sheet Pepper's Ghost illusions were known, even if this illustration doesn't show them making any particularly good use of it.
Originally, the coffin gag was the end of the show at the CdN, but in 1900 or 1901 they added a whole third room, set up like a small theater, with another Pepper's Ghost illusion onstage.
This one was played strictly for farce, to judge by descriptions and photos. The poor volunteer could not see what the audience saw: ghosts moving around, mocking, doing stupid bunny tricks, acting in a lewd and lascivious manner (this is Paris, after all). "[T]he solemnity which the lecturers invoke is of a most mock sort, and the audiences are continuously convulsed with laughter" (NYT 1896). Time to go.
Rolly Crump and Yale Gracey were professional magicians, as noted in an earlier post, and they did research into things like the history of Pepper's Ghost. There can hardly be any doubt that they knew about the Cabaret du Néant, which is mentioned in any decent survey of Pepper's. Earlier, Ken Anderson had incorporated a Pepper's Ghost illusion in his proposed haunted house walk-thru, using a 45º angled glass pane, much like CdN:
Eventually, this horizontal version of Pepper's would be used in Phantom Manor to make Melanie appear in the Endless Hallway. By the way, the CdN coffin gag was reproduced very closely, except it wasn't at Disneyland but at Knotts Berry Farm:
Besides the technical gimmicks, the CdN used a winning recipe of horror + stage magic + laughs, essentially the formula used for the Haunted Mansion.
Some time in the 1930s the Cabaret moved to a different location on the same street (#64 instead of #34) and continued to operate there for a long time. In November of 2012 we made a major discovery: The Cabaret du Néant was still open in September of 1969, in other words, still operating when the Haunted Mansion opened.
As a postscript, I should mention the apparent discrepancy between the photos of the coffin gag, in which the coffin looks like it's standing right in the doorway, and the actual set-up, which had it much further back. It's simple: these are staged photos, intended for post cards and publicity. They moved the coffins up for the photo shoots.
Labels: Cabaret du Néant, changing portraits, Montmartre, Paris, Pepper's Ghost
A Postscript on Changing Portraits at the Cabaret ...
Cherubic Gateways
When the Spooks Have a Midnight Jamboree
The Séance Circle Part Two: Davenports, Cabinets, ...
The Séance Circle Part One: A Real Fake, Not a Fak...
The Man Who Saved the Gryphons


I've been at Mohegan Sun Arena most of the day so I haven't seen the action at the NFL scouting combine on TV.
However, Noel Thomas' results are up on NFL.com. The former UConn receiver's best time in the 40 was 4.63, his vertical jump was 32 1/2 inches and his broad jump was 9 feet, 10 inches. On Friday he did 9 reps of 225 pounds in the bench press.
Tomorrow things start up for Obi Melifonwu with the bench press before the running, jumping and ability drills on Monday.


You know how food always tastes better when it's picked off of someone else's plate? Well picture how good food tastes when it's made by family and friends who want to nourish you when you're a new parent!
I can honestly say our fridge has never been "happier" than this past winter when our buddy Nina organized a Meal Train for Nick and I. For those not familiar with a Meal Train, it's a coordinated effort by someone's community to bring them nourishment in a time of need. Picture a google excel sheet where instead of formulas and numbers you find days of the week and names of tasty dishes that friends plan to cook for you!
As if being home and cozy with little Anna-Mags wasn't special enough, my heart overflowed each time one of our busy friends buzzed over on their way to work or home toting jars and Tupperwares of healthy nosh.
The First Forty Days , a beautiful little book sent our way by my midwife friend Sage, taught us that soups are unbeatable as early postpartum food. So Nana ventured into new territory for the cause, cooking a recipe that led her to the Japanese market in search of burdock root, red dates and goji berries.
I was tickled when Val, who started a rockin chicken soup delivery biz last year, dropped by with a variety of quarts.
Winning the "bi-coastal collaboration" award, Marissa in DC and Becca in OG went in on an utter smorgasbord from my favorite local grocer that fed not only us but our visitors too.
What's so cool about these two meal trainers is not only that they delivered TWICE, but that they since let me organize a meal train for them when they welcomed baby Sasha into the world this spring!
These guys are sneaky--I didn't even know they had brought over these jars (just what we were craving) until I opened the back door to find them hiding.
A & A nourish us regularly with the tastiest Shabbat dinners at their place, so they know how we like it. They're expecting their first little babe any day now and we can't wait to return the favor!
Emily is in the habit of sending deep dish Chi-town pies from her favorite childhood pizza spot to new parent friends--BALLER!
Thank you to the parents, sisters, brothers, and all the friends who have loved us in our favorite way to be loved.


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Even INEC boss Jega is not sure if the electios would hold in March & April
The Chairman of the Independent National Electoral
Commission, Prof Attahiru Jega, has said he cannot guarantee if elections will
hold in March or not, stating that major part of it still has to do with the
issue of security, which only the Military can clarify. Jega appeared before
the Senate yesterday and when asked by the Minority Leader, Senator George
Akume, to give a clear assurance about the dates of the elections, Jega said;
"I think it is a very difficult question to answer. I have
said consistently that there are things under the control of electoral
commission and there are things that are not under the control of electoral
commission. For things that are under our control, I can give definite and
categorical assurances. On what is not under our control, it is futile, it is
fruitless and useless to give a definite guarantee on them. I think that
question should be directed appropriately. The questions of security, I will leave
it, I don't think I am competent to answer it sufficiently."
When asked what his response would be if the security
agencies requested a further delay, Jega said doing so would be illegal.
"Every Nigerian knows we want elections to hold… within a
constitutional time frame. The security
agencies are (made up of) patriotic Nigerians. Let's give them the benefit of
the doubt. We should be fair also to the military. Soldiers are also patriotic
Nigerians. I don't see how anybody will contemplate any extension beyond these
six weeks. There is no constitutional grounds upon which you can do that. For
us, we work by the constitution, by the law. That is what is guiding us and we
should all put the interest of the nation at heart. The human factor is always
significant, it is always important but we believe that working together with
security and other stakeholders, we should be able to prevent negative human
intervention that can create problems.
"I kept saying consistently that INEC is not a security
organisation. We are an election management body; so we rely a lot on security
to be able to ensure that things are done well and that there is no disruption
of the electoral process.
"We have been working very closely with the inter agencies
consultative committee on election security and that is why for us, if the service
chiefs say that we can't guarantee security, give us more time, what is the
alternative security arrangements ?
"If we consulted with the stakeholders and we cannot find an
answer, what happens? We are going to use close to 700, 000 ad hoc staff. We
can't send people to the field in that kind of a situation.
"Our prayer is that in the next six weeks, there will be
significant improvement in the security situation for us to hold the elections
all over this country in a very secure environment.
"There are certain questions that we are not really
competent to answer. Certain questions should be directed to the military; they
can answer them better."
Sanusi: Kano has lost a golden king - El-Rufai
Related Items:Independent National Electoral Commission, Prof Attahiru Jega
INEC promotes 2,209 staff ahead of the 2019 elections
Presidency lists 12 reasons why you should vote for Goodluck Jonathan
Aww, Bride-to-be Dolapo Oni goes to shop her wedding gown


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When the American Empire Falls: How Anarchists Can Lead the 2nd American Revolution 2
by Keith Preston
When I was a kid growing up in the 1970s, I used to hear a lot about the mighty, fearsome Soviet Union, a communist tyranny that was allegedly going to takeover the world and, ultimately, invade the United States. There was even a popular film about a Soviet occupation of America, called "Red Dawn", where high school students lead a guerrilla war against the commie invaders. Even as late as 1988-89, when I had since become involved in radical left-wing politics, I used to come across literature from rightist groups like the Christian Anti-Communist Crusade proclaiming the imminent Soviet takeover of the USA. This was the same Soviet Union that had not been able to subdue even Afghanistan, a tiny, impoverished state on the Soviet border in eight or nine years of fighting. Of course, within a few years the Soviet Union fell completely apart and disappeared from the globe.
This will be the ultimate fate of the United States and for the same reasons. Military and imperial overstretch, economic bankruptcy, rising social strife, internal corruption and an expansive police state whose purpose is to maintain the grip of a regime that is losing power; these were the features of the Soviet Union in its final years and it is an apt description of present day America as well. The only remaining question is: When will the US finally fall apart? If the present administration's ambitions for wars with Iran and Syria come into fruition, that may well be the beginning of the end. The further the neocon-led Republican Party tries to push its imperial ambitions, the more alienated the regime will become from public opinion. Americans love war, but only if their side is winning. Americans turn tail and run at the first sight of blood on their side. The US is presently losing the war in Iraq and will do even worse in the event of a war with Iran or Syria. The Democrats appear to be just about finished as any kind of opposition party. One can only imagine the political implications of a 2008 presidential election pitting John "Send in more troops" McCain or Jeb "Don't blame me for my brother" Bush or Rudy "Il Duce" Guiliani against Hillary Clinton. Would that be the end of America as we know it? Perhaps.
What will happen when the lid finally pops off? The events L.A. 1992 or New Orleans 2005 give us a clue. The present regime maintains power through coercion rather than loyalty. More and more, public loyalty is being transferred to "fourth generation" forces, that is, non-state entities like religions, ideologies, regions and localities, economic interests, gangs and private armies. When the US regime falls, there will be hundreds of factions vying for power in the name of their own agendas. Ethnic rivalries will come to the surface. Despite the "anti-fascist" hysteria of the Left, the primary dangers of ethnic warfare and ethnic cleansing in the future of the US come from the threat of internecine warfare between the various minority groups. The Southwest, in particular, will likely be the scene of a bloody showdown between Hispanics, blacks and Asians. It is unlikely that a "white power" insurgency will emerge from the chaos. There is very little ethnic solidarity among whites, as it has never been necessary, given the historically majoritarian and advantaged position of whites. Also, there is far too much disagreement among whites on other matters. Does anyone really believe that the Jerry Falwell Right and the Michael Moore Left will put aside their differences to follow David Duke into the Aryan Paradise? Most likely, whites will simply flee chaotic areas and take refuge in more remote areas (recall "white flight" from integration in the 1960s and 70s) rather than join the Nazis.
A major military factor in post-System America will be the urban street gangs. Collectively, these groups rival the US military in terms of sheer numbers. In many cities, these are the only groups other than the local government that have any kind of organizational structure, leadership, economic base or arsenal. Gangs will become the defacto governments of many urban areas following the collapse of the state. It is likely that many metropolitan regions will split up into smaller city-states with many of these under gang control. The present day turf wars among gangs generated by drug prohibition are child's play compared to the political rivalries that will emerge when the System falls. Many American cities will look like Beirut circa 1984 or Sarajevo circa 1992 or Belfast in the 1970s. The militia movement that emerged in the 1990s has dwindled a bit in recent years, but will likely rise again in the event of political and economic collapse, societal breakdown or severe social unrest. As the feds disappear, the militias and their support organizations will become the defacto governments of those regions where they are the largest and best organized, primarily rural and heartland areas. Neo-secessionist tendencies have also grown considerably over the last decade. While these are presently still quite small and marginalized they will certainly grow given rising political discontent and systemic breakdown. As for the ethnic factions, separatist or nationalist tendencies like the Nation of Islam or La Raza are among the most popular and best organized factions of the various minority communities. Accordingly, these will emerge as a major force as the system disintegrates.
The post-United States North American continent will be a rather dangerous place indeed. Hundreds of factions will be battling it out in the name of their own agendas. If you want an idea what this will look like, read Tom Chittum's "Civil War Two". The major factions will likely be the various gangs, militias, ethnic militants, secessionists and remnants of the present system. There might also be insurgent forces generated by Stalinist or Maoist elements of the type that currently lead the antiwar movement. There may be leftist militias emerging from the remnants of the anti-globalization movement or from college campus. Many different types of factions, from anti-abortion terrorists to eco-terrorists to theocrats to Marxists, will see the collapse as an opportunity. What will be the opportunities for anti-state radicals? Most so-called "anarchists" or "libertarians" are useless. Both anarcho-leftoids and anarcho-Republicans will be of no value to the struggle whatsoever when the time comes. These will either be absorbed or eliminated by other factions or they will simply disappear. But what will be the proper course of action for warrior-anarchists?
We should aspire to be everywhere yet invisible. Our model of organization should be that of "leaderless resistance" where we are organized into small, autonomous cells or as lone wolves. These can be either military cells (see http://www.attackthesystem.com/armedstruggle.html) or infiltration cells operating within the context of larger, above ground groups. The focus of our military cells should be to help the present system in its current efforts to commit suicide by feeding it a few extra cyanide pills, so to speak, and to prevent the emergence of a new centralized state structure following the collapse. The focus of our infiltration cells should be to work our way into leadership positions of larger, popular organizations. As the system breaks down, we will use our leadership positions to bring various warring factions together to negotiate a series of settlements where everyone's interests can be accommodated to some degree. This can be done through the application of the traditional anarchist principles of decentralism, federalism and voluntarism. The new system must be organized from the bottom up, where different communities and social groups with different values, beliefs and customs are sovereign in their own enclaves, federated with others when necessary for joint purposes. There are many models for this-the Greek cities, medieval societies, traditional tribal systems, ancient republics, the early American colonies, pioneer societies and contemporary micronations. This is the only possible approach to avoiding either chaos or tyranny. We need a revolutionary vanguard of anarchist warriors and anarchist diplomats who can emerge from the disorder to come and provide leadership of an enlightened and progressive nature, just as the US Founding Fathers did in their time and as the Spanish anarchists did during the crisis of the Spanish Civil War. In this manner, we can continue the vision outlined by Jefferson, Paine, Godwin, Proudhon, Bakunin, Kropotkin, Tucker and Rothbard. There is history to be made.
Copyright 2005. American Revolutionary Vanguard. All rights reserved.
Yeah…say 'anericans turn tail and run at the first sign of blood on their own side' to any Vietnam, Korean, or even any veteran…I'm sure they will love to hear it
Pingback: The dangers of other movements.. - Stormfront


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Marketing and University Communication
Marketing and University Communication / Contact Us / Staff / Janet Bonkowski
Print Purchasing
Marketing Strategy & Consulting
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Janet Bonkowski
Executive Director, Marketing and University Communication
bonkowsj@uwgb.edu
Janet Bonkowski joined UW-Green Bay March 1, 2016. She came to the University from Schneider National Inc. where she served as Public Relations Manager, overseeing all public relations for one of the nation's largest transportation and logistics companies. She was with Schneider since January of 2005 and brought with her more than 20 years experience in strategic planning, marketing and public relations with businesses and non-profit organizations.
The Denmark, Wis. native has been a member of Denmark State Bank's Board of Directors since 2009. From 1997 through 2004, she worked for The Goltz Seering Agency, Green Bay, as the director of public relations.
Janet provides strategic vision and leadership for the University's integrated communications, public relations and marketing efforts as they support student recruitment, retention and fundraising at UW-Green Bay. Her position oversees communication planning, media and public relations, publications, event marketing, branding, social media, web communications, multi-media productions, marketing plans, graphic styles and advertising. She supervises a staff of six in the University's Office of Marketing and University Communication. She also serves as the public relations spokesperson for UW-Green Bay, and advises Chancellor Gary L. Miller and his leadership team on public communication strategies and messaging. She also manages campus crisis communication.
Education: B.A. Journalism and Political Science, University of Wisconsin-Madison


text:
Dr Robert Iannone on Efficacy, Safety of Lurbinectedin, Irinotecan Combination Therapy in Advanced Endometrial Carcinoma
Conference|ASCO: American Society of Clinical Oncology
Robert Iannone, MD, MSCE, executive vice president of research and development for Jazz Pharmaceuticals, addresses findings of an abstract presented at ASCO 2021 which showed preliminary efficacy of lurbinectedin in combination with irinotecan in patients with advanced endometrial carcinoma.
Approximately 19% of patients with advanced endometrial carcinoma undergoing lurbinectedin in combination with irinotecan achieved an objective response rate, whereas more than half were able to continue on the therapy with some degree of benefit, said Robert Iannone, MD, MSCE.
Can you discuss the historic lack of research and therapy development generally in endometrial cancer, and the patterns of off-label use in this condition?
I would say that I don't necessarily agree that there's been a lack of research in the area. I think what has been true is that for the many different approaches tried in new therapies, old therapies, new combinations, there hasn't been as much progress toward a cure or improvements in outcomes in endometrial cancer, as there has been in other areas.
I would say it's not necessarily for a lack of trying. It's been a difficult tumor type to treat, with the exception of some rare subtypes, where there has been more progress. And as a result, there continues to be a really serious unmet medical need, and a continued need for novel research, such as the kind that Jazz is doing with lurbinectedin.
In terms of off-label use, it is hard for me to comment on that. I'm not practicing as an oncologist anymore, but I would say in the context of a life-threatening illness where there are a few treatment options, especially after frontline treatment, physicians often try things that are less proven.
Can you discuss the mechanisms that would make a combination of lurbinectedin (Zepzelca) and irinotecan effective in endometrial cancer?
For Zepzelca, what we understand about the mechanism is that Zepzelca binds to the so-called guanine rich elements of a promoter region in a gene. And because cancer cells divide more rapidly than non-cancerous cells, they rely on those promoter regions for initiating transcription of new DNA to support that rapid replication of cancer cells. And so by binding in those guanine rich promoter regions, it actually interrupts that replication process.
As a result, it results in breakage of the DNA, and ultimately cell death for those cancer cells, and it does it again disproportionately in cancer cells versus normal cells, because of the major difference in replication rate.
There's a hypothesis that combining it with irinotecan, which is a so-called topoisomerase 1 inhibitor, that the mechanisms would work hand in hand, so to speak. And that's because topoisomerase's normal function is to enable DNA replication, and by inhibiting topoisomerase, it interferes with DNA replication and itself results then in both single and double stranded DNA breaks.
The combination of these 2 drugs acting on DNA that way, could be at least additive or potentially synergistic. There has been some preclinical work to suggest that this combination would be effective, and that's what's led ultimately to the clinical work that's ongoing.
Can you discuss the updated results that will be presented during ASCO?
The first part of the results that I think is really critical is how well was the combination tolerated. And we know that combinations are really the hallmark of cancer therapy really, coming at the cancer cells in multiple different directions to ensure that cancer cells don't subvert the therapy, and so combinations is a hallmark.
What is often a challenge is combining drugs in a way that is still well tolerated enough for patients to take. And so that really is the primary objective of the study–to attempt to combine the drugs, establish that they can be well tolerated, and in particular, establish at what doses can they be well tolerated.
So, I think the first important major outcome of the study is that the 2 drugs can be combined effectively. And that information has been provided around how to use those 2 drugs together in terms of the dose and schedule. So, that's the first important outcome, and then the next stage of that study is to look to see, okay, is it efficacious in that combination? The drugs at the doses and schedule that it's being used.
So, we now also have preliminary efficacy data, and again, this is an early-phase trial. So, it's not a randomized, controlled trial, it's a single-arm study to get preliminary efficacy, but those results are promising. In the abstract, there's a report in the first 21 patients, and by all accounts, it's looking very promising.
About 19% of patients had what we consider an objective response rate, meaning the tumor shrank to meet the criteria, the so-called RECIST criteria for an objective response. In addition to that, there was a decent proportion of patients who, while they didn't quite meet that criteria for an objective response, were able to continue on the therapy with some degree of benefit, meaning that their disease was at least stable for more than 4 months, and that reached about 50%, 52.4% to be exact.
Then estimates around progression-free survival, which could help planning and future studies, was also promising. Looking at the landmark of 6 months progression-free survival, that was 40.4%. So, the conclusion ultimately is the combination appears to be well tolerated, it looks to have promising efficacy, and I think that encourages us to want to study this further in future clinical trials.
What are the next steps and the general timeline for development of this combination?
The very next step is to complete this trial. There's a planned enrollment of 50 patients, and this report is really an interim report. And those additional patients will give us more information around the preliminary efficacy. And then it's a matter of, okay, where can this combination be helpful or useful, and that planning is still underway. But there are other places where we think, even beyond endometrial cancer where this combination could be useful.
For example, Zepzelca is approved in small cell lung cancer. Irinotecan is not approved in small cell lung cancer, but it is one of those agents that is known to have some level of activity in small cell lung cancer. And so, one idea is to use this combination beyond endometrial cancer, for example, in small cell lung cancer, and that's one thing we're considering.
Gonzalez AF, Paz-Ares LG, Cote GM, et al. Lurbinectedin (LUR) in combination with irinotecan (IRI) in patients (pts) with advanced endometrial carcinoma. J Clin Oncol 39, 2021 (suppl 15; abstr 5586) doi:10.1200/JCO.2021.39.15_suppl.5586
Angiogenesis Meeting to Highlight Latest in Technology, Translational Research, Clinical Trials
Daily Physical Activity Has Positive Impact on Immune Stimulation in MM
Bloodstream Infection Risk Associated With Race, SES Among Patients on Hemodialysis
Zanidatamab, With Biparatopic Binding to HER2, Shows 84% OS in Phase 2 Study of Gastroesophageal Adenocarcinoma
The Angiogenesis, Exudation, and Degeneration 2023 meeting will be held virtually with a program focused on understanding and treating neovascular, exudative, and degenerative diseases of the eye.
The effects of physical activity and exercise have previously been reported, with data pointing to improvements in quality of life as well as such clinical markers as immune response in tumors
Data released in the CDC's latest Morbidity and Mortality Weekly Report indicate that patients with end-stage kidney disease on hemodialysis who are Black, Hispanic/Latino, or of lower socioeconomic status (SES) are at greater risk of Staphylococcus aureus bloodstream infections, with Hispanic/Latino ethnicity cited as an independent risk factor.
The investigational therapy promises a new way to target HER2 while still using chemotherapy combinations.


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Vologda Airport (VGD) Shuttle Transfers
Vologda is a popular destination for business and leisure travelers alike. Whether your flying into VGD or catching a departing flight and require reliable transportation - Shuttlefare.com is your best choice.
Top Vologda Hotels Available for Shuttle Booking
Vologda Airport Shuttle Companies
The Vologda VGD Airport is the second largest airport in Ukraine. It is located in Kiev, which is situated in the southern part of Ukraine. At Airport, you can travel to a variety of locations in Ukraine. You can travel by either hiring a private airport taxi service or by traveling by Airline Shuttle from the Vologda Airport to the rest of the Ukraine. The Vologda Airport in Kiev is the largest airport in Ukraine and serves as a major hub for flights to all parts of Europe. Travelers will be surprised at how cheap the Airport Shuttle services are in Ukraine. The Airport has a flat roof structure with a long, narrow passageway and also has a car park at the terminal area.
Vologda is an old town, situated at the river which originates from the Olsha. The streets are lined with traditional buildings, ancient churches and pagodas, which date back to the medieval times. The city is relatively small, with just over a million people living in the vicinity. As the name suggests, Vologda is the birthplace of Ukrainian composer Igor Stravinsky. Today, the city offers many tourist attractions such as the old train station, the Olympic Stadium, a major plaza, an international school, the Staunton art gallery, the Voda Street and the Southern Railway Station. Some of the historical sights in Vologda can be visited via the Airport shuttle bus, which travels round the city. Vologda is one of the most important historic cities in the Ukraine, which was the capital of the Ukraine during Soviet times.
The Vologda VGO Airport Shuttle can provide you with the convenience of a comfortable transfer and hotel accommodation while you visit the Ukraine. The airline also offers airport transfers to the hotel, which will be as economical as possible. While you are in Kiev, you can also visit some historical sites. The places of interest such as the National History Museum and Lenin Square have closed the doors to tourists, but you can still see them while you are in the city. They are the direct links between the old and the new Ukraine, which were built in the same time. The other important point about the Airport Shuttle is that it is available twenty-four hours a day, seven days a week. The service has been in operation since 1996 and is backed by two major airlines.


I am a fully qualified and experienced freelance published make-up artist based in Warwickshire. I can travel to the comfort of your home or place of work.
I cover a wide range of Looks: Day/ Evening, Fashion/ Editorial and Special Occasion. I specialise in all Skin Tones and Skin Types and only use fabulous products to ensure you get a flawless look and step out looking gorgeous.


Sorry for the lack of posts recently but I've been rather busy for the last 6 months working on this, Pacific Rim. It's latest film from director Guillermo del Toro and today everyone finally gets a glimpse. Enjoy.
Here's my latest animation showreel.
Featuring some of my most recent work from John Carter and The Amazing Spider-Man.
Hello, here's the latest trailer of The Amazing Spider-Man, the film I was working on up until a few weeks ago.
Posts on this blog seem to have gotten a little slow recently but hopefully that will change soon. Work on The Amazing Spider-Man is now drawing to a close and it's looking like I'll have a break between projects. Which hopefully means I'll find some time to write some interesting posts here.
With great power comes great VFX work.
A big congrats to the Spidey team at Sony Imageworks. It may sound cheesy but one of the best things about this project was working with such a lovely bunch of people. For anyone interested, I'm on the right of the picture wearing the John O' Groats sweatshirt. Woooo! John O' Groats! Right? ... eh? Oh.
John Carter is released this week, the film I spent almost a year working on. This gives me an excuse to share this great picture of the animators from Double Negative's room 402 created by Graham Gallagher.
Our costumes relate to what we were working on at the time Dan Pozo, Chris Page, Graham and Francesco Canonico are dressed as Tharks. Craig Rutherford is wrestling with some Thark hatchlings, Stafford Lawrence dons a Thoat costume while Brecht Debaene and I are sharing a White Ape costume ... for some reason I'm the back end!
More of Graham's work can be found HERE.
Rather than trying to describe them all, I've made the following pictorial montage.
The film looks pretty good I reckon, and I hope those of you planning to see it enjoy it.
Latest trailer of the film I'm currently working on.


I remember that when a customer subscribes paying via PayPal, then when you refund them via PayPal, Membership Pro recognize this action and automatically assign the subscription status from Active to Cancelled-Refunded.
Now this not happen. Is my memory wrong or there is some problem with this?
Replied by Tuan Pham Ngoc on topic Cancelled-Redunded no longer works?
Replied by Vincenzo on topic Cancelled-Redunded no longer works?
I will check in the near future and come back if the problem happens again.
I confirm that it doens't work.
I activated log IPN for PayPal payment.


Home Travel Diaries Pier 39, Golden Gate Bridge and Alcatraz Island, SFO, CA.
This picture was clicked by my wife Herwin and with her consent I decided to make this the cover picture.
San Francisco- These days when we talk about a metropolis (especially in India), very few of us would use words such as peaceful, beautiful or clean- in fact the more commonly used words are polluted, crowded and noisy.
Thing is- I was just looking for a catchy opening paragraph; after all we bloggers are all about that right? We don't want to bore you to death.
If you are wondering, those are lines from Scott McKenzie's song "San Francisco"- a very popular tune in the 60's now mixed, remixed and what not in popular EDM tracks. But there was something about this song- What is it about this city? I, for one experienced that during my month long trip to the state of California (West Coast, baby!). San Francisco is the cultural and financial hub of Northern California in addition to being the second most densely populated city in the United States, after New York. From a tourist perspective, San Francisco is known to be relatively cool during the summer and the city is also well known for its wide-ranging architecture. Surely, if not seen, you may have heard about the Golden Gate Bridge, the famous SFO Cable Car system or the famous penitentiary- Alcatraz island. So, here's what we'll do? I will cover my San Francisco travel experience in 2 legs.
Leg 1 : Ferry ride to the Golden Gate Bridge and Alcatraz Island, SFO, CA.
So here goes Leg 1: Ferry ride to the Golden Gate Bridge and Alcatraz Island, SFO, CA.
I couldn't believe my eyes- I was finally looking the famous Golden Gate Bridge; until a few years ago the longest suspension bridge in the world. One-mile wide, 3-mile-long in all its glory, possibly the most photographed bridge in the world. To think, many Hollywood doomsday movies could destroy this beautiful megastucture (not the real thing.. duh).. What a shame (now this is me being hysterical). But jokes apart, it was visually stunning- the dim lights on the side of the road, lighting the bridge just enough to reveal its beautiful red colour. I had to see this structure in broad daylight and it was only a matter of days, when I did.
We boarded the morning Caltrain to San Francisco from Sunnyvale- the journey to SFO is about 90 mins and the return fare was approx $15. If I remember correctly, we reached SFO at about 9 am and just outside the Caltrain station was the Muni metro light rail stop. Over the past few days I spent my time at home planning a half-day to trip to SFO, although I knew where exactly I wanted to go, I did not figure how to go about from one point to another (silly me). We checked around and boarded the Streetcar to 'somewhere' and realised we had it all wrong, by then we we were going away from our destination, which was Pier 39; we got down 'somewhere' and hired an Uber to Pier 39.
Pier 39 is a very interesting tourist attraction- built on a pier it has restaurants, shopping centres, street performances and the famous Aquarium of the Bay. Here you will also find ferry operators to take tourists for the picturesque ferry ride to the Golden Gate Bridge and back before making a close pass by Alcatraz Island. To start with, look out for counters where you can book the tickets for the bay cruise (SF Bay Cruise adventure)- we opted for the operator Blue and Gold Fleet (you can also book tickets online).
Fares are like $30 for adult, $20 for children.- Also, Gulp 'n' Munch recommends that you wear sweaters or pull overs as it can get intensely cold. Once you have booked the tickets, hang out at the pier until its time for you to board the ferry.
Once the ferry arrived at the pier, the only thing we could think about was lunch and believe me there are amazing options in terms of sea food on Pier 39. We visited this restaurant by the name Fog Harbor– which is located on Pier 39, Fisherman's Wharf. Guess what? Your lucky, this happens to be a travel and food blog- so click here for my review about Fog Harbor.
That concludes Leg 1 of my San Francisco travel experience, be sure to check out Leg 2, the famous San Francisco Cable Car.


An excellent prequel to The Year of the Red Door, this small collection of overlapping tales is a gripping introduction full of love, magic, intrigue, and betrayal. The Fall of the Faere and Other Stories traces the fate of seven Faerekind leaders and the precious legacy that they lost. Spanning eons, these tales transport the reader from the very beginning of the world through millennia until but a few years before the opening of The Bellringer. You will encounter mysterious lands, magical creatures, traitors, witches, sorcerers, and valiant fighters. Crushed by tragedy and treachery, hope of redemption all but fades from the world. But at last it is rekindled by the appearance of a sick little boy whose destiny will overshadow all during The Year of the Red Door.
The Elifaen once had wings.
They came into being during a time before there was time, when the sun and moon and all the stars shone together in the sky with equal glory.
In those days, they were called the Faere.
They reveled in light and air, spoke with all things, heard all things, loved all things, and were loved by all things.
These stories, myths, and legends set the stage for the epic events of The Year of the Red Door. Here is told how the world was created, how the Faerekind lost their wings and became the Elifaen, The Fallen Ones, and how they failed to save their people from strife.
Some of the figures within these tales fought valiantly to avert the conflicts and violence that they foresaw. Some saw the error of their ways and sought to undo the plight they had inflicted upon their people. Others remained unrepentant and vengeful, and they ensured the fate of all the others.
By the late Second Age, almost all of the significant players in these tales would be dead, and many of them would be all but forgotten. But the power of their acts, stretching beyond the breadth of their lives, seeded the crisis that unfolded during the year 870-871 of the Second Age, The Year of the Red Door.


According to the data from Taiwan Environmental Protection Administration in 2010, there are 2.75 million metric tons of food wasted in Taiwan each year. If share these food for low-income households in Taiwan, it could be eaten for 20 years.
The Mustard Seed see the need and determine to set a goal of establishing one food bank distributuion station in one county and one community food bank in each township.
To establish a network of hunger-free community is the goal of the Mustard Seed Mission. The network will collect donated food and supplies and share them with people in need in the community under the mindset of no-wasting-food.
Vulnerable families, elderly people who live alone, people in need ... and so on.


text:
Q: What is the best way to apply a function to a list of lists in R? specifically if the internal variables are all called the same thing Hi I am fairly new to R and would appreciate any help on this one.
I have searched for similar questions but I unfortunately I dont really understand the solutions given.
My problem:
I have about 60 excel sheets full of repeated testing data that I want to analyse and compare. These all have a similar structure and variable/column names but the number of data points is different for each one.
I have loaded these into R as a list of lists and I want to perform a series of manipulations on each original data set once it is inside the list of lists. These manipulations would be identical using the same variable names etc but applied to different data sets.
As an example say I wanted to calculate something based on the data and then add the results as a new variable inside the nested list.
A simplified version of my situation would be something like this.
###set up###

specimen1=list("Stress"=50:100,
"Strain"=5:55) #represents my excel sheet imports
specimen2=list("Stress"=65:115,
"Strain"=6.5:56.5) #simplifed for brevity

specimen3=list("Stress"=42:92,"Strain"=4.2:54.2)

rate1=list(specimen1,specimen2,specimen3) #my list of lists

names(rate1)<-c("specimen 1","specimen 2","specimen 3") #set the names

####performing calculation and adding to the list entry###

#now i want to perform a calculation on each specimen and then add the result to that specimen
#I suspect the solution lies with the lapply family something like this?

example_function<-function(Stress,Strain){

E=Stress/Strain #performs calculation
#but doesn't add the result to the list?

rate1$specimen$E=E #something like this to add to the original data set?
#but I don't understand how to change the indexing with out using a for loop

}

lapply(rate1,example_function)

#########
What is the best way to perform a function on each element of list of lists which then adds a variable to all those list components?
I suspect that the solution to this will be simple?

A: If you are not tied to doing this in lists, you can bind all your lists and do it in the resulting data.frame format using dplyr
library(dplyr)
bind_rows(rate1, .id="specimen") %>%
 mutate(E = Stress/Strain)

which produces
# A tibble: 153 x 4
   specimen   Stress Strain     E
   <chr>       <int>  <dbl> <dbl>
 1 specimen 1     50      5 10
 2 specimen 1     51      6  8.5
 3 specimen 1     52      7  7.43
 4 specimen 1     53      8  6.62
...

Using data.frames is usually the most straightforward way of doing things in R.
If you want to keep using lists, because you have to make a new column, it's possibly better to use a for loop instead of lapply. This is how you solve your particular issue using a loop.
# this will add the column E to each element of the list rate1
for(i in 1:length(rate1)) {
  rate1[[i]]$E <- rate1[[i]]$Stress/rate1[[i]]$Strain
}

This is the version with lapply, you can keep adding columns inside the list call of the function(li).
modified_rate1 <-
lapply(rate1, function(li)
  list(
    Stress = li$Stress,
    Strain = li$Strain,
    E = li$Stress/li$Strain
  )
)

I think doing this in a data.frame is the way to go, but you should see what's better for your other many purposes

redpajama_set_name: RedPajamaStackExchange


text:
<?php

class ManufacturerPrinter extends \Eloquent {
	protected $table = "manufacturer_printer";
    public $timestamps = false;
}

redpajama_set_name: RedPajamaGithub


text:
$0 = $myInvocation.MyCommand.Definition
$dp0 = [System.IO.Path]::GetDirectoryName($0)

cd $dp0

echo $dp0

echo "Update package number"
(Get-Content Properties\AssemblyInfo.cs) |
Foreach-Object { $n = [regex]::match($_, '\[assembly: AssemblyVersion\(\"\d+\.\d+\.(\d+)\"\)\]').groups[1].value; if ($n) { $ver=([int32]$n+1);  $_ -replace '\[assembly: AssemblyVersion\(\"(\d+)\.(\d+)\.(\d+)\"\)\]', ('[assembly: AssemblyVersion("$1.$2.' + $ver + '")]')} else {$_}; } |
Set-Content Properties\AssemblyInfo.cs

echo "Cleaning up old packages..."
del *.nupkg

echo "Building and packaging new version of package..."
nuget pack SSW.DataOnion.Interfaces.csproj -Prop Configuration=Release -IncludeReferencedProjects


text:
SUSE Blog
Category: SUSE Linux Enterprise Live Patching
By: Andrew Steggles
South African MSPs jump on board with SUSE
Axiz and Linux Warehouse host MSP Partner day events in South Africa South African Managed Service Provider (MSP) resellers (distribution partners), Axiz and Linux Warehouse, hosted two very successful Partner day events on October 18th and 19th. The days focused on the growing market for SUSE solutions as a service, being delivered via MSPs to […]
Tags: #SLES4SAP, Cloud, Kubernetes, Linux, Open Source, Partners, SUSE Manager
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SAP HANA Cluster – automated OS patching with SUSE Manager and Salt states
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Categories: Configuration Management, SAP, SAP, Server, SUSE Manager, Technical Solutions
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SUSE Launches its Inaugural Customer Awards at SUSE Exchange London and Munich
As we celebrate our 30th anniversary this year, we launched the inaugural SUSE Customer Awards to praise the success of our customers. We received 20 nominations for our customers in EMEA across two categories: Digital Trendsetter – for the most innovative application of SUSE's solutions Excellence in Business Transformation – for outstanding business results […]
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By: Marcus Meissner
SUSE adds security automation support for Kernel Live Patches
SUSE has found that security automation is not handling SUSEs kernel livepatches very well. To understand the underlying problem and ways toward a solution, lets first look at the underlying concepts. Kernel Livepatching Kernel livepatching is a technology where functions within a running Linux kernel are patched to fix security issues, without rebooting or even […]
Categories: Achieve Nonstop IT, Security
By: Sherry Yu
Microsoft and SUSE help Transform Business Productivity with High Availability Solutions
Microsoft and SUSE have been close technology partners for many years. We create innovative solutions that help customers accelerate the migration to SAP S/4HANA in the cloud environment. Recently there are key activities that will help customers transform business productivities. Special Acknowledgement: the activities mentioned below are co-authored with Ralitza Deltcheva, Principal Architect Lead, Microsoft.[…]
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Why choose an Enterprise Grade OSS?
In today's fast paced world IT departments are under increasing pressure to deliver tangible outcomes for the business. To achieve the agility and innovation they need, more and more companies are turning to an open-source software (OSS) in a bid to achieve their goals. OSS has seen explosive growth in deployment, with Linux distributions […]
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By: Vincent Moutoussamy
Good news everyone! SLE 15 SP4 is now released
The SLE engineering team is excited to announce that SLE 15 SP4 is now available for download! We have been working hard to make this release as boring smooth as possible for our users, despite updating at least 23% of our entire code and syncing selected packages from openSUSE Factory. Countless internal person-hours were required […]
Tags: SLE, SLES, SUSE, SUSE Linux Enterprise
Categories: Announcements, SUSE Linux Enterprise Desktop, SUSE Linux Enterprise Server for High Performance Computing, SUSE Linux Enterprise Server for SAP Applications, SUSE News, Technical Solutions, Technical Solutions
HTML on documentation.suse.com – Shape it up!
Have you recently visited documentation.suse.com? And checked out an HTML document? Then you might have noticed that something has changed. The look and feel are different, you say? Absolutely right! Just recently, we introduced the new column-based layout. HTML columns are used to arrange content in a very organized way. […]
Tags: article, columns, documentation, guide, HTML, layout, manual, navigation, SUSE products, technical writing, Web page
Categories: Expert Views, SUSE Enterprise Storage, SUSE Linux Enterprise Desktop, SUSE Linux Enterprise Micro, SUSE Linux Enterprise Server, SUSE Linux Enterprise Server, SUSE Linux Enterprise Server, SUSE Linux Enterprise Server, SUSE Linux Enterprise Server for Amazon EC2, SUSE Linux Enterprise Server for ARM, SUSE Linux Enterprise Server for Azure, SUSE Linux Enterprise Server for High Performance Computing, SUSE Linux Enterprise Server for VMware, SUSE Linux Enterprise Server for z Systems and LinuxONE, SUSE Linux Enterprise Server on IBM Power Systems, SUSE Manager, SUSE Manager, SUSE Manager, SUSE Manager, SUSE Manager for Retail, SUSE Manager Management Pack for Microsoft System Center, SUSE Software-defined Storage, Website
By: Michael Tabron
How to migrate to SAP applications in the cloud
Increasing numbers of organizations are turning to the cloud to support their SAP applications. The cloud appeals to them for several reasons — it has built-in fault tolerance; it scales easily with demand; and it reduces capital expenditures by offloading the responsibility for hardware support onto the cloud provider. However, moving to the cloud isn'[…]
Tags: #SLES4SAP, Accelerate Your Cloud Vision, AWS, Azure, Cloud Service Providers, Google Cloud, HANA on AWS, HANA on Azure, HANA on Google Cloud, HANA on POWER, IBM Cloud, Microsoft Azure, Monitoring, SAP HANA, sap high availability, SAP on AWS, SAP S/4 HANA
Categories: Run SAP, S/4HANA, S/4HANA, S/4HANA
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HJ: While experiencing emotions is a fact of life, you don't, in fact, have to let them take over your life. Despite how it may seem on the surface, you have the power, in large part, to shape your emotional response to life. This is an important step on the path of self mastery and allows you to really decide how you want to feel, which is a powerful thing indeed.
For example, if I'm feeling bored, sad, or lonely, I tend to turn to food for comfort. This usually doesn't end well. As I gain weight I then feel even worst because now my self-esteem suffers. Leaning into my emotions instead of numbing them with food has been a huge part of my process.
It's true that other people's behavior and actions affect us all the time, but we also need to take responsibility for the emotions we feel in response to those words and actions. No one can make you feel anything; it's always your choice.
Ultimately it's important to remember that you are not your emotions—you have the ability to decide if they lead you or if you lead them.
Claire De Boer is the founder of thegiiftofwriting.com where she teaches people to become their authentic selves through journaling and writing their stories. Visit her blog (thegiftofwriting.com) to download a free copy of her eBook, Soul Writing: Why Writing Your Story Could be the Most Important Thing You Ever Do.