November is my least favorite month of the year. Nothing exciting ever happens in November, and as a result I start to feel down and my blog usually suffers.
But this year I am going to try and keep myself busy in November. I want to beat the winter blues and focus on making it to December, when the bright lights of Christmas improve my mood.
Make a dentist appointment – I did managed to get an appointment but it's not until the middle of December because they are really busy.
Upload the HTML and CSS tutorials I've been working on – Don't forget, you can find them by click in the link titled "Learn to Code" at the top of the page.
Celebrate Tyrone's birthday – We only went to Nando's for food but it was still nice.
Replenish my wardrobe – I tried, but I only added two new items plus a pair of boots, and I was kind of hoping to buy more. I'm going to call this a failure.
Book a driving lesson – I chickened out. I was also shocked to find that automatic lessons cost more the manual lessons, so I was a bit annoyed.
See Spectre at the cinema – We decided the first week of the release would be hectic so we will probably go this week or the next.
Book a driving lesson – and actually do it this month!
Finish my Christmas shopping – yeah, you heard me right. I would like to have all my Christmas shopping complete by the end of November.
Book a doctors appointment – I could really do with another steroid injection before Christmas, but I will have to work out how I will fit it in around work considering I can't walk for 48 hours afterwards. I might have to work from home or something.
Bake something – Baking Tyrone's birthday cake reminded me how much I enjoy baking, and now I want to get back into it.
I would love to bake something! I have a cupcake mix just sitting in the pantry, so I'm thinking about biting the bullet and making it! I can't believe you've got a goal to finish your shopping! That is insane. For real.
I really want to read two books in November! That is my main goal. I haven't read a lot this year and I miss it so bad!
I have a load of ingredients in my cupboard and I'd like to use them up before they go out of date!
I know! I think I might have been quite optimistic when I decided to make that a goal.
Why is an automatic lesson more expensive than manual? It should be easier to drive on automatic anyway. That's crazy.
I thought so too. Also, automatic lessons don't qualify for a lot of the multi-buy packages that driving schools offer.
Good luck with your goals, and I hope you have a lovely Thanksgiving!
Nick wants to see Spectre too. I am not that keen but I will be joining him on that adventure.
I actually need to go to the dentist too. D: My dentist was ill two months ago when I was due for a checkup. I make sure I go every six months actually. I am good about it! But I have no idea what the status is now.
Hope you get more into baking this month! 🙂 This month I just have a few presentations to work on. And I want to write more posts for my blog because I haven't been writing much more than my usual segments/columns.


judge to move her trial out of Pima County.
Gonzales and the children's father, Christopher Payne.
sometime between March 9 and Sept. 1, 2006.
scheduled so Judge Paul Tang can hear oral arguments on the issue.
Prasertphong, whose first trials were held in Prescott in September 2000.


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text:
Chez Tremblay (Moderators: Meryl, southendmd) »
2006 Pierre Tremblay interview (in its entirety)
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Author Topic: 2006 Pierre Tremblay interview (in its entirety) (Read 32374 times)
YaadPyar
I took the liberty of compiling the complete question and answer session that we had with Pierre Tremblay. This includes all of the follow-up questions and answers, as well.
I still need to send him a "thank you" letter on behalf of the board, but had little response to the thread that I made several days ago. So I need some ideas about that. If you have any... please let me know... because we really, really, really need to send him something. It was so nice of him to do this for us.
Anyways, here is the complete text, for your reading pleasure --
Here I am going to put all of the questions asked to Pierre and the answers that he gave us in response to them... but first, Pierre had a few comments, and I shall list those, as well...
I hope I haven't kept you waiting too long.
First, let me say that I'm quite flattered by having my name used as the cloaking device for this forum and how dismaying(but not surprising) it is that it be necessary.
Secondly, let me clarify that I am one of three Pierre Tremblays on the IMDb site. It so happens that my name is the "John Smith" of French-Canadian names. I have no affiliation with, nor am I directly related to, either of the other P.T.s on IMDb.
One more thing before I get to your questions...
My role in the making of "Brokeback Mountain" was of Additional Assistant Director. My name being alongside that of Micheal Hausman's as First Assistant Director was a result of Mr. Hausman's generosity and professionalism. The project presented a unique structure in the Production department as Mr. Hausman was an Executive Producer as well as the 1st A.D.. Each of these positions normally requires intensive attention and only in the case of one with extraordinary energy, skill, and experience could a balance be struck. And so I was hired as suppport to Mr. Hausman and the Producers when needed. That is to say, when Executive Producer duties needed more focus, I was able to help in decisions regarding scheduling and step in on set if necessary. I aided in many facets of preproduction and shooting and will always be eternally grateful to the Producers especially Mr. Hausman, Scott Ferguson and Tom Benz who were instrumental in allowing me to make my humble contribution to the Production of Brokeback Mountain.
QUESTION #1
With many films there are scenes that hit the cutting room floor and don't make the final version. What were some of the scenes that you really liked that didn't make it into the film? Would you have preferred that those particular scenes stayed in the film? Why or why not?
PIERRE'S RESPONSE:
I can only think of two scenes that we filmed that didn't make it into the film and the question of their being in the final cut always existed. I'm not surprised nor disappointed in either one of them being left out. Ang Lee is a master filmaker and his intentions for the film were very clear from the outset. It is a testament to his skill that only two scenes were shot and not used. Neither of the scenes were particularly dear to me. The first one involved showing that Jack and Ennis were competent cowboys. The other scene I won't discuss as it's inclusion in the film would have influenced the audience's perception of the ending. Out of respect for Mr. Lee's exceptional work I cannot in good conscience divulge that information.
I do hope that it's included in the "Extra Features" of the DVD as it will certainly start new threads here.
Two scenes that I would have liked to see more of were the rodeo sequence when Jack meets Lureen and the 4th of July scene. The reason is purely selfish as I was in charge of directing background performers(extras) and we had arranged for some additional rodeo events that I coordinated with Kirk Jarrett (Stunt Coordinator) and some of my colleagues in the local rodeo scene.
The 4th of July scene was a difficult one for a couple of reasons. Firstly, timing fireworks with Background action, a fight as well as performance makes for a challenging little sequence. To top it off it wasn't warm and it rained buckets during the days leading up to the shooting and afterward when we tried to do additional shooting. Again, selfishly, I would have liked to have seen more of the fight and to have held on to the image of Ennis standing over the defeated bikers while the night sky is lit with fireworks. Of course, I realize that Mr. Lee's decision is the correct one as I know very well that it's always better to get out of a shot or scene sooner rather than dwell unecessarily on a shot or a scene for self-indulgence.
Speaking of which I've most certainly babbled on long enough on this question. I better get to the next one before I get banned for long-windedness.
FOLLOW-UP QUESTION:
I noticed that in the credits, the Barrel Rider's name is given as Chyanne Hodgson, which is also the name of the Barrel Rider called out by the rodeo announcer as the contestant after Lureen rides into the ring (just as Lureen and Jack are 'meeting cute' over her lost hat). I'm guessing that Ms. Hodgson did all the riding that day, both as Lureen and as 'herself;' was it an unusual gesture to give her credit by using her real name in the film rather than call her 'Mary Smith?'
Chyanne did most of the riding that day but Anne Hathaway did one version (much slower mind you) so that Mr. Lee could cut to her close up if he needed to or speed up Anne's version in post (sometimes it works).
Using Chyanne's name over the PA is indeed a way to give her a little extra publicity and also helps with not having to legally clear a fictional name.
In the short story, at this point, Ennis remembers Jack telling him how he was abused by his father at the age of about four. For wetting the toilet seat, his father wetted him. (And because Jack discoverd at this moment that he was circumcised and his father wasn't, his relationship with his father - such as it was - was wrecked).
Pierre, was any of that ever scripted or considered for inclusion?
None of the "back-story" of Ennis or Jack was in any of the scripts that I read. You would have to ask Mr. McMurtry or Ms. Ossana about earlier drafts.
What were you doing when you heard that Brokeback Mountain had been officially nominated for eight Academy Awards, including Best Picture?
I was working on the project I just finished. Specifically, I walked into the A.D. trailer and the 3rd A.D. and Trainee A.D., both of whom worked with me on Brokeback, were standing there smiling at me. They said one word, "Eight".
Now, keep in mind that this little show I was on was very challenging (daily schedule changes and extremely long days) and I usually am not at all a follower of the Oscars. As a result I had absolutely no idea that the nominations had been announced or what "Eight" could possibly mean. So, I stood there for a moment, they smiled at me some more. I think I smiled back and said something brilliant like, "Eight? Eight what? Eight extras showed up out of 30?" Then they told me and I think I allowed myself a couple of minutes of nostalgia and wonder at how this little film I thought might do well as an art house theatre release and then live forever as a favourite in film schools and among discriminating viewers could grow to such heights. Then I went back to work.
The film is complex, multilayered and full of meaning. Was it visualized in its entirety in advance? How closely does the finished product resemble the film that was conceived during pre-production? Is it different in any significant way(s)? Were there elements that sort of developed on their own, either during production or post-production? What surprised you about it?
This question requires a little film 101 so I hope I don't bore too many of you or seem too pedantic or condescending. Moreover, the vision of the film is the domain of the Director, obviously, and so the final answer belongs to Ang Lee.
Directing a film is a very dificult thing to do well. It is, after all, an artistic endeavor. Unlike most art, however, film directing requires a gang of a couple hundred people to "help out" in various capacities. On top of that the Director must be able to adjust to inconceivable conditions that arise while filming occurs. For example, bad weather (not just rain, sometimes it hails, snows, tornados, forest fires), bad health (one or more of the cast or key shooting crew), personality conflicts, mechanical/technical failure(from cameras breaking down to scratches on the negative) all of which I have personally experienced on projects.
To be able to adjust to whatever the gods have in store for us when we begin shooting and allow all two hundred of us to react effectively, a good Director has a clear plan at the outset. Ang Lee's vision of Brokeback Mountain was very clear.
The script, of course, is the blue print for the film. The clearer the blue print the better foundation you have for making a good film. Since we had the best script most of us had ever read we had a great advantage from the beginning. However, it would be almost impossible to visualize an entire film in advance without making adjustments. In fact, keeping too rigidly to a plan can keep a Director from exploiting opportunities that inevitalbly arise as well.
Ang Lee had worked very hard to communicate his vision of each scene to us as far as he could. We were given his breakdown of what he needed for each scene and we provided the elements. How closely the finished film resembles what he imagined in pre-production, again, can only be answered by Mr. Lee.
As I said we were given a breakdown of what Mr. Lee needed for each scene. For example, he may have requested wind and dust (which I then pass on to the special effects team). Or, he may(in a perfect world) want a cloudy sky which might require sky replacement(if it's sunny on the day we were to shoot that scene) which means I have to pass this along to the visual effects team and ensure that our 2nd Unit shoots plate shots of cloudy skies. Each scene has a list like this including props, set dec, etc. What isn't included in the list is the most important element of all which is, of course, the actors' performances. This is where the director really makes or breaks a film especially one like Brokeback Mountain that is really all about the performances. Because of this rather significant element being the sole territory of director and actors I cannot thoroughly answer the question of whether the film realized the vision of Ang Lee.
Of course, some elements "develop on their own" as you can imagine. For instance, kids crying during a scene (4th of July), the wind howling (Ennis and Almas little house out of town) or sheep that don't want to be pushed across a stream. We have to adjust to these things and either use them to our advantage or shoot around them.
I must say, while watching the film, I wasn't surprised very much. Perhaps because Mr. Lee had such a clear vision and was generous in communicating this and because I watched each scene unfold shot by shot the finished film is pretty much what I had imagined all along. The only surprise so far has been the tremendous response. (Also, having my name used(squatted) on IMDb for a forum discussion on the film was also kind of unanticipated).
I know this answer isn't as complete as some of you might have hoped but I cannot thoroughly answer a question about Ang Lee's vision regarding all facets of the film. After all, as I said, it's an artistic endeavor.
"--or sheep that don't want to be pushed across a stream."
Does that mean Jake's hauling those sheep across the stream was a necessary 'ad lib' rather than something Mr. Lee had asked you to arrange in advance?
No, Jake didn't ad lib the sheep on the shoulder thing. Mr. Lee asked him to to do it. It did however take a little... encouragement to get the sheep to cross a stream.
FOLLOW-UP COMMENT:
Lots of wind and dust in BBM, and it all seemed real, not "produced." In other words, the wind seemed to be blowing even far into the background.
Most of the wind in the film is real. Some scenes required additional wind and many required dust. FYI, the hail in the camp was all hand made by the special effects department and their families as it had to be made from biodegradable material and nothing was available and/or affordable.
We, of course, recovered the majority of the "hail" but I'm sure some of it was left behind.
Re: The complete text of our exclusive interview! (and a thank you letter?)
by - TheStudDuck (Thu Mar 9 2006 11:08:52 )
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Is there any particular one scene in the finished film that holds a special place in your heart? Which scene is it? Why?
There are a couple.
The first one is the tobogganing scene because I was able to make a creative contribution.
The second is the very first shot of the movie when the cattle truck rolls down the highway. It was the very last thing we shot on Brokeback Mountain and a second unit that Ang Lee directed. We were a very small group that day and we drove up and down some beautiful country shooting small pieces of the film (drive-by shots and scenics) with various vehicles. It was one of my fondest days on a set.
Can you tell us what your contribution was to the tobogganing scene?
My contribution to the tobogganing scene was that I helped come up with the idea of tobagganing as Ennis and Alma's post wedding activity. The original version had the young couple spinning doughnuts in an old truck in a small town parking lot in winter. Since we started filming in May, we were very short on snow. So, we tested all manner of special effects concoction to get a period pick-up truck (quite heavy those) to spin on pavement. We eventually came to the conclusion that we should think of something else. We needed something that would be a little dangerous that would show them having fun and getting closer. It occured to me that we could go into the mountains(which still had good snow on them) and shoot tobogganing. Mr. Lee liked it and Ms. Ossana wrote it and we shot it a few days before principle photography was to begin.
Pierre, as you mention that you did shots with various vehicles, and as so many posters have noticed the visual and thematic similarities between the opening shots of the cattle truck and the shot of Ennis's truck driving home from the Twist family ranch much later in the film, I wonder if you could tell us if this second scene was also a part of your last day's assignment--
Yes, you're quite right (and observant), we did in fact shoot those two shots on the same stretch of road on the same day.
Did you have any idea during this projects that it was somehow more "significant" than others that you've worked on, or did it just feel like any other indie project? If it somehow seemed that you were "onto something big" at the tiime, what led you to that conclusion/feeling? If not now that you've been involved in a project that's been blessed with so much acclaim, is there anything that you can now lookk back on and see that you should have known it was going to be something special? Or is it just totally impossible to tell what the finished product will be like and how the fickle critics and audience members will respond?
PIERRE'S RESONSE:
Uuuuuuhh... I dunno.
[significant page break]
Seriously, this group of questions is a very interesting one in that if studio executives had the answer to what makes a great film I'd be at the theatre every weekend trying to keep up with the waves of outstanding cenematic releases. It's hard to know what makes for a great movie.
Having said that there are certain indications of greatness I think. For instance, every film begins with the script. In my experience there are precious few great scripts. This is perhaps where we find film productions weakest element. I'm not sure why (although the way writers are treated by studios is surely a big reason) but the literary basis of all film is sorely lacking. This is very significant because few directors or producers (despite their opinions) have the tools to turn out a great screenplay.
Brokeback Mountain was a phenomenal screenplay. Larry McMurtry and Diana Ossana crafted something very few scripts can claim to be: a great read. After having read a script of that callibre I'd become quite excited about the whole project. Knowing Ang Lee was at the helm made things all the better.
Moreover, I was astounded that the themes explored in the script were going to be released as a motion picture by an American studio. The subject matter was also of particular importance in my opinion. So, to have an extraordinary screenplay coupled with a subject that is important gave me a clue as to the significance of the piece from the outset.
What I didn't expect, as I mentioned in answer #3, is the outstanding response to this little film. I thought it would do well in the major metropolitan centres and Europe and maybe garner some festival prizes. I thought the subject matter and slower pace would surely make for an elite audience only.
Another clue was watching Ang Lee rehearse key scenes with the cast. Since another pitfall many directors fall victim to is sentimentality I was very encouraged to see Mr. Lee always err on the side of subtlety and reservation. As I watched Heath and Jake shape these characters it became clear we were "onto something big" or at least good (maybe great) which for anyone working in film is rare indeed.
Finally, it isn't completely impossible to tell beforehand if a film will be good. A good script, a good director, a great cast, and good crew are all positive signs. To have all of that come together in the right time and place, however, is very infrequent. There are so many factors that go into making a motion picture that it amazes me sometimes that any of them turn out at all. If one considers the tonnes of material produced each year and how much of that is watchable, good films become all the more special.
I don't think audiences and critics are all that fickle (although someone explain the "Titanic" thing to me please)but quite predictable. The accountants will tell you it's all about forecasting, market share, demographics, etc. I'm more surprised by what audiences consider good most of the time. I'm certainly most pleasantly surprised by Brokeback Mountain's reception. I'm taking it as a sign of things to come.
Do you have any funny stories about working with hundreds of sheep?
Sorry, not really.
Any of the stories I could tell would be in the "you had to be there" category. You would have to imagine a film crew finding new ways to insert the sound of sheep into daily conversation. Just catching oneself standing around having serious discussions about how to best use a herd of around 800 sheep was enough to keep us amused for days.
Was the sheep that was shredded by a coyote really a shredded sheep?
No, the slaughtered sheep was not butchered for the shot. It was created by the props department.
Come to think, how did you manage the shot of Ennis's elk--was it hit with an anesthetic dart?
The elk was shot with a tranquilizer dart on an elk farm.
AN ADDED COMMENT FROM PIERRE:
Personally, I didn't mind the sheep. They certainly weren't quick to move but they gave us less trouble than a lot of humans have.
The film deals with very difficult themes (homosexual love, homophobia, broken families, making difficult decisions, etc). For you, what was the most "emotionally difficult scene to film? Why?
I'm afraid I didn't find any scene particularly difficult emotionally. Please remember I'm at work when we're filming these scenes and my job is to always be thinking and preparing for what is coming up. My approach to what's going on is (has to be) more clinical (if that's the right term). At best I might think about how a performance is too subtle, over the top or forced but that's about it. My job is such that it's actually more difficult if I get too wrapped up in what's going on. I'm the guy, unfortunately, who has to remind everyone that, although the scene we're shooting might be mesmerizing, we still have two more scenes to shoot.
Don't get me wrong. I can be as moved as anyone by a performance but rarely on something I've worked on.
Are you able to enjoy movies you have worked on when you see them later on the screen, or is it just too distancing? Are you able to enjoy ANY movies (that is to say, lose yourself in them as a fully engaged layperson might), or do you always somehow find yourself analysing technical details?
Unfortunately, having worked on a film transforms it into a different experience as an audience member. First of all I know how it ends. I also know how it begins and just about everything in between.
Then there's the fact that I'm reliving something I did a year or more ago. I can't help but think of the places we visited, the challenges and delights we all experienced. So, it becomes much more than just watching the film.
I am quite able to enjoy movies as an audience member. After all, I became involved in this job because I love movies. The big difference is that I think my standards are higher than if I weren't involved. If there are any mistakes, including performances, I begin to lose faith in the film and have a hard time being won over.
Heath Ledger said on Oprah that the scene where Alma witnessing Jack and Ennis kissing was the first scene filmed. We have read that first assistant directors prpare the shooting schedule. Why did you decide to film this scene first? Do you think this scene would have been as important and/or successful had it been filmed later in the process? Why or why not?
Well, I'm sure what Heath meant (if he didn't actually say this) that this was one of the first scenes to be shot between he and Jake. We shot many scenes before that one including the tobboganing scene, the wedding, the drive-in, and the Thanksgiving scene not to mention several scenes with Alma and the girls in the apartment.
The decision to shoot this scene at that point in the schedule was not mine. I had input into the schedule but many factors had already been taken into account before I began working on the picture. The early scheduling was done by Michael Hausman and Scott Furgeson. I can say that as A.D.s we try to schedule scenes as close to the script order as possible. In this case I recall Jake Gyllenhaal was not available for the first few days of shooting. Also, we needed the snow to be completely melted from the mountain locations before we could get the unit into them. We scheduled the apartmtent scenes as close to script order as possible but that meant that Heath and Jake really only had two scenes at that location and one of them was, well, a challenging one. I should also say that the actors had had rehearsal time together (though not for this particular scene) before shooting began so they certainly weren't strangers or unprepared.
I don't think the scheduling of the scene would have had a significant impact on the success of the scene. The scene works because of the incredible performances and the inherent drama as written. Performers of this caliber would have pulled this scene off regardless.
What the hell was Bobby eating?
I heard this might be the most hotly discussed question on the board so I'll be careful to be clear...
Bobby was eating cereal with pieces of fruit in it. I think it was peach but I'm not one hundred percent sure on the fruit.
QUESTION #10
The actors have said that the directorial team was very hands-off once shooting started. With such great performances from actors, this proved to be a very successful method. What were your intentions behind this unique approach? And do you think that the film would have suffered had you been more hands-on with the actors?
There was only one person who gave direction to the actors on the directorial team and that was Ang Lee. This is as it should be. I have worked on films where direction was done by committee and it doesn't work on many levels. From what I observed Ang Lee's approach to directing is to only say what needs to be said when it needs to be said and otherwise to let the actors follow their instincts.
I can't remember who said that 90% of successful film directing is in the casting. I would completely agree with this statement. If actors are creating something special the director should have little to do. Over-directing is a sure way to kill an actor's instinct and enthusiasm.
On Brokeback Mountain we held rehearsals before shooting began for scenes that Mr. Lee wanted to work on ahead of time and those were essentially shot as rehearsed. Other than that the Director and Actors worked on the scenes as they came up on the schedule.
I should say that although the title of assistant director has "director" in it, we are essentially the logistics and communications specialists on a film. We do direct background performers. However, the director of a film is solely responsible for directing actors on performance.
Would you consider Ang Lee to be an 'aueteur' in the classic sense of the term. Jake Gyllenhal described him that way in an interview a while back. Would love to hear your thoughts. Encore, beaucoup de mercis.
{Auteur (Author in Fr.): a theory of film that emphasizes the director as the major creator of film art. A strong director (an auteur) stamps his material with his personal vision, often in spite of an externally imposed script.}
I think auteur is a term that is often misused in film. In my opinion, an auteur is (literally translated) the author of the film. So, when a Director writes an original script and then directs I consider him or her the auteur.
Brokeback Mountain had more collaboration. That's why Mr. Lee has thanked the author of the original story and the writers of the screenplay specifically in his various acceptance speeches.
And so, there you have it. The complete interview we had with Pierre Tremblay, the additional first assistant director of Brokeback Mountain. Exclusive only to us... all questions made by us... all responses given to us directly by him. Oh, what an opportunity!
And now we just need to do that "thank you" letter...
« Last Edit: July 04, 2008, 12:13:31 am by Meryl »
"Vice, Virtue. It's best not to be too moral. You cheat yourself out of too much life. Aim above morality. If you apply that to life, then you're bound to live life fully." (Harold & Maude - 1971)
MaineWriter
Stay the course...
Re: Pierre Tremblay interview (in its entirety)
Glad you saved this--the original messages have gone off our original board.
I am hoping this site works...we really need a new home. I don't feel safe at IMDb anymore. A post of Courtney's got deleted a little while ago.
Taming Groomzilla<-- support equality for same-sex marriage in Maine by clicking this link!
I'm hoping so. Take some time to look around. It's a wonderful set-up with all the features we want (except lots of smileys). But you can attach graphics, so maybe we'll make up for the smiley's. The editing's lots easier too.
The problem with IMDb has been the 'report abuse' abuse. This is a completely moderated site, so that sort of stuff can't even happen here. Let's all say a prayer and end with a solemn YeeHaw.
Ray Nasty!
Bumping for Newbies
For anyone who hasn't read them.
~A good general knows when to retreat~
two_bloody_shirts
Brokeback Mountain Resident
First Kisses
I hadn't read this yet. It's very fascinating. Thank you so much for re-posting this in full.
Love. You have a problem with it?
~Grace~
Neat post
Needs a bump on Thanksgiving, even if only for the cereal and peaches.
Ellemeno
Quote from: Toast on November 23, 2006, 03:32:53 pm
Thanks for bumping, Toast. I think I'll sticky it for a while
« Last Edit: November 24, 2006, 01:05:53 am by Ellemeno »
Rereading the entire thing was a pleasure.
Thanks Toast for bumping and Clarissa for sticking it
BTW: Clarissa, I got your name mixed up with Celeste some days ago. Sorry 'bout that, but now I got it right.
Quote from: Penthesilea on November 24, 2006, 03:23:50 am
You're not the first, Chrissi. I decided a while back to take it as a compliment.
BetterMost Supporter
There's no reins on this one....
Thank you for bumping, Clarissa. I hadn't realized that Celeste had so kindly compiled the whole Pierre interview. I'm happily going to copy it to the Cult thread as the Book of Pierre.
Ich bin ein Brokie...
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redpajama_set_name: RedPajamaCommonCrawl


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Park Crescent Healthcare & Rehabilitation Center provides assisted living in Essex county, New Jersey. It contains a total of 190 assisted living apartments for 55 and older adults. Park Crescent Healthcare & Rehabilitation Center provides affordable, pet-friendly assisted elderly housing and is located at 480 Parkway Drive, East Orange, New Jersey 07017.
Windsor Gardens Care Center is a residential care facility in East Orange, New Jersey, located at 140 Park Ave in 07017 zip code. It provides memory care and assisted living throughout Essex county in New Jersey. Windsor Gardens Care Center has a total of 215 assisted living apartment units.
Stratford Manor Rehabilitation And Care Center is an elderly assisted housing facility in West Orange, New Jersey. Stratford Manor Rehabilitation And Care Center is located at 787 Northfield Ave, 07052 zip code and provides assisted living to all Essex county elderly residents. It provides 131 senior living units in total.
The Canterbury At Cedar Grove Care And Rehabilitation is a senior care and living facility in Cedar Grove, New Jersey, located at 398 Pompton Avenue. Any elderly or older adults looking for assisted living in Essex county or near 07009 zip code should consider The Canterbury At Cedar Grove Care And Rehabilitation as one of the best options.
Alaris Health At West Orange is an elderly care and living facility in West Orange, New Jersey. It is conveniently located at 5 Brook End Drive in the 07052 zip code area. Alaris Health At West Orange is an excellent choice for Essex senior citizen residents who are looking for residential care, assisted living or dementia care. It has 120 senior assisted living apartments in total.
Summit Ridge Center is an assisted living facility in West Orange, New Jersey in Essex county. It is best suited for older adults who need daily living help in 07052 zip code area. Summit Ridge Center is situated at 20 Summit Street. It includes 152 assisted senior living apartment units.
Daughters Of Israel Pleasant Valley Home is an assisted living community in West Orange, New Jersey. It provides housing and care to elderly Essex county residents and is located at 1155 Pleasant Valley Way in 07052 zip code. Daughters Of Israel Pleasant Valley Home includes a total of 303 assisted living units.
Job Haines Home For Aged People/hearthside Commons is an assisted living facility in Bloomfield, New Jersey. It can provide senior living to a maximum of 67 retirees at a time. It is located at 250 Bloomfield Avenue, 07003 zip code in Essex county. Job Haines Home For Aged People/hearthside Commons helps senior citizens who require assistance with everyday tasks. Job Haines Home For Aged People/hearthside Commons is a state-licensed senior living facility with License # NJ30A006.
Van Dyk Manor Of Montclair provides assisted living in Essex county, New Jersey. It contains a total of 70 assisted living apartments for 55 and older adults. Van Dyk Manor Of Montclair provides affordable, pet-friendly assisted elderly housing and is located at 42 North Mountain Ave, Montclair, New Jersey 07042.
Roseville Manor is an upscale senior assisted living facility in Newark, New Jersey. It supports a total of 66 assisted living units. Roseville Manor is available to all Essex county elderly residents in need of assisted living. Roseville Manor is situated at 285 Roseville Avenue in Newark, New Jersey.
Forest Hill Healthcare Center is an elderly assisted housing facility in Newark, New Jersey. Forest Hill Healthcare Center is located at 497 Mt Prospect Ave, 07104 zip code and provides assisted living to all Essex county elderly residents. It provides 120 senior living units in total.
Brookdale West Orange is an assisted senior living community in West Orange, New Jersey, located in the Essex county area. Brookdale West Orange is directly located at 520 Prospect Avenue in the 07052 zip code area. It has a maximum capacity of 116 assisted senior housing units.
Alaris Health At Essex is an elderly care and living facility in Irvington, New Jersey. It is conveniently located at 155 Fortieth Street in the 07111 zip code area. Alaris Health At Essex is an excellent choice for Essex senior citizen residents who are looking for residential care, assisted living or dementia care. It has 212 senior assisted living apartments in total.
The Solana Roseland is an assisted living facility in Roseland, New Jersey in Essex county. It is best suited for elderly seniors who need daily living help in 07068 zip code area. The Solana Roseland is situated at 345 Eagle Rock Avenue. It includes 100 assisted senior living apartment units.
Sinai Post Acute Nursing And Rehab Center is an assisted living community in Newark, New Jersey. It can accommodate a maximum of 430 elderly adults at a time. It is located at 65 Jay Street, 07103 zip code in Essex county. Sinai Post Acute Nursing And Rehab Center helps retirees who require help with daily living tasks. Sinai Post Acute Nursing And Rehab Center is a state-licensed senior living facility with License # 060713.
Green Hill is an upscale assisted senior living facility in West Orange, New Jersey. It supports a total of 88 assisted living units. Green Hill is available to all Essex county elderly adult residents in need of assisted living. Green Hill is situated at 103 Pleasant Valley Way in West Orange, New Jersey.
Hackensack-umc Mountainside is an elderly assisted housing facility in Montclair, New Jersey. Hackensack-umc Mountainside is located at One Bay Ave, 07042 zip code and provides assisted living to all Essex county elderly residents. It provides 18 senior living units in total.
Assisted Living Facilities in EAST ORANGE, NJ. List of all of the best assisted living, senior living and elderly housing options in EAST ORANGE for 2019.


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Q: Where can I find the "restorecount" value macOS uses to track open windows and reset it?
*

*In System Preferences uncheck `General > Close windows when quitting an app

*Open TextEdit.app

*Press Cmd+N for a New file

*Quit TextEdit.app

*In Finder go to ~/Library/Containers/com.apple.TextEdit/Data/Library/Saved Application State/com.apple.TextEdit.savedState/ we'll be looking for a file here shortly

*Open TextEdit.app

*Quickly, open the file restorecount.plist that has appeared in Finder

*Look at the end value

Currently, on my macOS installation, end has a value of 570214618 which, as I understand it, means that since whatever epoch — a long time ago in an operating system far, far away — there have been over 570 million "windows" opened on my Mac. The value is shared across all user accounts. 10 months ago, that number was 544 million on my system according to this old question of mine: https://apple.stackexchange.com/a/320967/15281
The effect of this is that, for some apps, there is a noticeable (4 to 5 seconds) delay whilst they do something before their restored windows appear. My workaround, see the above linked question, is to turn off window saving for those specific apps. But I'd rather not have to do that.
So, I'd like to reset the restorecount value at its source. Does anybody know where it is stored and/or how can I reset it?

A: The end value is not the number of windows you have opened, it is a Cocoa timestamp. 570214618 corresponds to January 26, 2019 4:56:58 PM GMT. As far as I can tell, the purpose of restorecount.plist is just to track how long it takes to restore the windows.
For apps that are taking a long time to start, you can try cleaning out their saved application state and see if that helps, but there are lots of other reasons an app might take a long time to start. The most common reason an app takes a long time to start is that it needs a lot of memory and you are already using all the available RAM so some memory needs to be compressed or written to disk in order to free up memory for the app. You can get a sense of this by looking at the "memory pressure" in the Activity Monitor.
You can also look at the amount of Swap Used (also in Activity Monitor). If that number goes up when you launch an app, then not having enough free memory is definitely a source of delay.

redpajama_set_name: RedPajamaStackExchange


Susan Smith's killing by Mark S. Putnam airs on Investigation Discovery's In Plain Sight tonight. The Pike County murder has been documented in various television series. Mark Putnam wrapped his hands around Susan Smith's throat and squeezed until she died….


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Solid-state anaerobic digestion for integrated ethanol production
MScThesisPLungAug2011.pdf (1.943Mb)
Lung, Patricia
Anaerobic digestion (AD) is a biochemical process consisting of the microbiological conversion of organic materials for the purpose of generating biogas. Biogas is typically composed of 50 to 70% methane (CH4) and 50 to 30% carbon dioxide (CO2) with trace amounts of other compounds. Anaerobic digestion technology is a bioprocessing technology that has the potential to be integrated into an ethanol facility to further capture energy, in the form of methane gas, for use in a combined heat and power (CHP) generator or for integration into the natural gas pipeline grid after undergoing an upgrading process. The most simplistic design of an AD system is the solid state digester (SSD) which is able to process very high solids content materials (greater than 15% solids). A SSD has the potential to be utilized as a manure management system in a beef cattle feedlot and it has the potential to integrate seamlessly into a combined ethanol- feedlot operation to capitalize on the eco-cluster concept in bioenergy production. This thesis investigates the biogas and digestate composition seen from four material blends in a solid-state digester (SSD) system operated as a batch reactor. Wet distiller grains (WDG) from a grain ethanol process and cattle manure were the substrates investigated. To assess the biogas composition the system was operated over a period of time to achieve a quasi steady state within the microbial population to maximize the CH4 concentration in the biogas composition. To assess the robustness of the microbial population within each substrate blend, the biogas concentrations were measured over three cycle periods where a portion of the used substrate was replaced with an equal amount of fresh substrate. The digestate composition was analyzed at the end of each of the cycles and compared with the raw substrate to determine changes in solids and nutrient values. The biogas production calculated in this study determined 0.17, 0.21, 0.18, and 0.12L per gram (VS) within 100% WDG, 75%WDG and 25% manure, 25% WDG and 75% manure and the 100% manure substrate (Group 1 through 4) respectively, averaged over all three digestion cycles. At the end of three cycles of digestion the biogas within the substrate blend containing 25% WDG and 75% manure (Group 3) achieved a measured CH4 concentration of 49% and the biogas within the 100% manure substrate (Group 4) achieved a 59% concentration of CH4. The duration for each of Group 3 and Group 4 to achieve the production of viable biogas was 100 and 90 days of operation respectively. Thus it can be concluded that a SSD system start up duration will be between three and four months in duration. The gas data gathered in this research study indicates Group 3 had the most robust methanogenic culture established as it has the lowest overall N2 and CO2 concentration detected in the biogas, and the most consistent performance of CH4 production during each cycle. The investigation conducted on the nutrient data gathered in this research supports the conclusion drawn from the gas data regarding the overall methanogenic performance of the substrate blends. The nutrient data for Group 3 maintained an average carbon to nitrogen (C:N) ratio of 25:1 over all three digestion cycles. The nitrogen, phosphorous, potassium, and sulphur components of the manure fertilizer value were maintained through the digestion process of this investigation thus typical manure application rate calculations are applicable when field applying digestate.
Agricultural and Bioresource Engineering
Fonstad, Terrance
Noble, Scott; Wassermann, James; Baik, Oon-Doo


Old vintage synthesizer keyboards, samplers and other musical devices often used 3.5" floppy disk drives in the late 80s and early 90s for storage of sounds, samples and midi data. Some devices used HD (high density) disks, some drives only supported DD (double density) disks. Therefor those disks may contain up to 1.44MB for a HD, and max 720KB for a DD floppy disk.
For DOS and Windows there are or has been some neat tools to create floppy disk image files from physical disks and vice versa. Tools like SDISK and OMNIFLOP. For Linux however there is 'dd' and separate tools for "low level formating" floppy disks like ufiformat. While 'dd' is almost always already installed as part of every base linux installation, ufiformat (for USB floppy drives) must be installed manually. see your software repositories and search for "floppy" or "disk".
NOTE: Since USB Floppy Drives do not show up under /dev/ as classical /dev/fd0???? drives anymore, you might want to use lsblk to list all block devices on your system and look for a device with the size 1.4M or 720K . that will be most likely your USB floppy drive.
Since floppy disks require a "low level format" first, before adding any data to it, we need to this first using ufiformat. But therefor we need to determine or decide what type or what "density" of floppy disk we want to format. If you have only DD floppy disks available, there is no choice. those can only be formated as 720KB track=80, head=2, sector=9, block=512 .
If you have HD floppy disks on the other hand (what is more likely to get these days, if ever), you "usually" want to format them as HD disks, that is 1.44MB track=80, head=2, sector=18, block=512 .
BUT… it is often possible to format and use HD disks with a DD format (720KB) IF you "cover up" or "close" the disk-Type hole/marker on the rear RIGHT SIDE of your floppy disk. Just put some good strip of Tesa Tape a.k.a. Scotch Tape over the hole, so that its covered from the top and the bottom of the floppy. It may be necessary to even paint/fill the tape with a sharpie/edding to prevent light from shinging through, since some floppy drives do detect this hole/marker by light, not by mechanical measures. Maybe use a piece of electrical insulation tape or something similar. but make sure its nice thin and flat, so it does not come off and jam your disk drives.
The command shown will also VERIFY that the disk surface and low level structure is still readable and fine.
Where 'if=' defines the input file or input data which is your disk image you want put on a disk, and 'of=' defines the output file, which is your floppy drive device name. the name may vary, depending on what type of floppy drive you have and how your linux kernel is presenting the drive to you. but you get the idea.
The disk operation may take quiet some time! so stay patient.
if you feel i missed something important, or you have tips for improvements, please drop me an email.


NBCC had earlier reviewed all the incomplete projects of Amrapali and had estimated that completing the projects will require Rs 8,500 crore and had sought 3 years to complete the projects.
New Delhi: State-owned National Buildings Construction Corporation (NBCC), which has agreed to complete the 46,575 incomplete flats of bankrupt Amrapali Group, is likely to start work on 11,400 units by December, the Economic Times reported adding that the company has already started raising funds for the construction work.
"NBCC is exploring various financing options so that it can begin the construction in two months," the ET report quoted sources familiar with the development as saying.
It may be noted that the top court has appointed NBCC to complete the stalled projects of Amrapali Group and has directed the debt recovery tribunal (DRT) to sell unencumbered commercial properties of Amrapali Group to recover money.
NBCC has submitted a detailed plan to the Supreme Court on how it plans to complete the projects. NBCC has divided the pending units of Amrapali into three categories based on the time required to complete the construction. Out of the 46,575 incomplete flats, 11,400 apartments were put under category A that could be completed within 6-12 months, 32,384 units under category B and 2,788 units in category C.
"Tender to appoint contractors for the Noida projects would be out this week followed by tenders for the Greater Noida projects the week after that," the ET report quoted an NBCC official as saying.
The NBCC official further said that work on category B and category C will be taken up after the completion of category A flats.


The leader of the United Democratic Party (UDP) on Sunday evening 6th March, 2016 addressed a huge crowd of the party sympathisers at Bundung on a range of issues including extreme poverty after 21 years of President Yahya Jammeh's administration.
Mr. Ousainou Darboe, the leader of the party said UDP was established several years ago in accordance with the law. He said his party like any other political party in the Gambia is established on the condition of non tribal or any other discriminatory ideologies.
Speaking in the Wolof language and being translated into Mandinka by the interpreter, Mr. Darboe said since then his party has been promoting unity among people without considering tribal differences.
He accused the Jammeh led APRC government of bringing poverty in The Gambia in all the development sectors such as legal, infrastructure and in health. He said lack of judicial independence is a crisis affecting The Gambia since magistrates are arrested for their judgments or rulings. He said the country's infrastructure is underdeveloped.
On the health sector, Mr. Darboe opined that it is the worst area hit by extreme poverty as it lacks medicines to cure people. He included the poor quality of education in the country as another area affected extremely by abject poverty.
The UDP leader further accused President Jammeh "for using and exploiting poor Gambians in the name of his failed Vision 2016." He said people are being used to cultivate rice and he (the president) will take all the produce after harvesting.
"The Judicial system is weak as it lacks freedom and independence to carryout it functions. If UDP is elected, we will fight poverty in the country and the judicial system will be left free without interference. We will ensure that the health sector, infrastructure and education are fully supported to be free from poverty. I urge all of you to get your voter's card and make best use of it come December 1st," said Lawyer Ousainou A.N.M Darboe, leader of UDP.
Mr. Momodou L.K. Sanneh, an executive member of the UDP and the former minority leader and member for Kiang West said the regime is using Gambia Radio and Television Services (GRTS) – public property – as a propaganda station. He said public property is meant for everyone without discrimination.
He advocated that the repealed constitutional provision that calls for a second round of voting if no candidate obtains more than 50% of the votes should be restored. He lamented the deterioration of the economy.
Mr. Dembo Bojang, UDP National President said it is a requirement to stage election in the Gambia every 5 years purposely for the elected representatives to render account. He said this is a moment where people should decide to remove any leader who has failed to bring prosperity in the country. He described the APRC government as a leadership that failed its people after 21 years of retardation in development. He added that the 21 years of APRC in power has not only crippled the economy but it is characterized by poor human rights record including arbitrary arrests, detention and disappearances.
Next articleHOW CAN THE PEOPLE BECOME OWNERS OF THEIR OWN DESTINY?


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Q: Display text/attribute in product detail page - Magento 2.3.2 I want to display text/attribute in product detail page - magento 2.3.2.
In Magento 1.9.4 we can code in view.phtml file located under public_html/app/design/frontend/rwd/default/template/catalog/product to achieve this result.
But In Magento 2.3.2 there is no view.phtml file. anyone please let me know where & how to code to display text/attribute in product detail page - magento 2.3.2

A: Override:
/app/design/frontend/Themename/campponyname/Magento_Catalog/templates/product/view/
vendor/magento/module-catalog/view/frontend/templates/product/view
<?php
try { $product_description = $_item->getData('attributeName');
if ( $product_description && strlen($product_description) ) {
?>

<?= $product_description ?>

<?php
}
} catch(Exception $e) {}
?>

For catalog page:
path:app/design/frontend/themename/companyname/Magento_Catalog/templates/product/list.phtml

 <?php
$attr = $_product->getData('attributename');
if ( $attr && strlen($attr) ) {
?>

<?= $attr ?>

<?php
}
?>


text:
Data consent rules part of Privacy Act review
There should be a significant overhaul of privacy laws to require the use of consent for data collection and move towards a privacy by default approach instead, the New York Times Company has urged in a rare submission to the Australian government.
The New York Times, along with the Office of the Australian Information Commissioner (OAIC) and several other organisations, made a submission to the federal government's review of the Privacy Act with a major focus on the need to reduce the prevalence of "bundled" consent forms for data collection currently employed by tech giants.
The New York Times submission said that requiring consent should be "relied upon as rarely as possible" and should be reserved for high-risk data collection and use.
"People have limited resources in time and energy to dedicate to understanding the specifics of a business's data processing. These resources should be treated with respect and called upon sparingly," the New York Times submission said.
People power: The NYT and Privacy Office want consent changes
Approaches such as those included in the Europe Union's General Data Protection Rule shouldn't be adopted in Australia as this "normalises consent as the first thing one does when visiting a site or app pays superficial lip service to transparency and agency while producing neither", the submission said.
"Our preference is instead to default to permissible data processing that matches pre-digital expectations of privacy as described above, and to require consent to anything beyond that to be slow, difficult, specific and temporary," it said.
"This set of permissible defaults, so long as it matches a reasonable digital mapping of user expectations, would effectively be pro-consumer – far more so than the status quo – while still enabling businesses to access enough data that they can reap the benefits specific to the digital era in terms of efficiencies and product development."
This was echoed by the OAIC in its own submission, with the office pointing to a general shift towards companies bundling all data collection policies and conditions into the one form, and the risks associated with this method.
"APP 1 privacy policies and APP 5 notices were not intended to be consent mechanisms that amount to contractual terms and conditions for consumers," the OAIC submission said. "There has, however, been a shift towards building privacy policies and notices into one document, sometimes called 'terms and conditions' and purporting to use them to seek 'agreement' to broad data handling practices.
"This has likely been driven by global, USA-based corporations operating in Australia, which have imported and spread American norms where privacy is a matter of contractual negotiation."
The current approach of requiring consent for expected actions turns the process into a "tick-box exercise which will detract the value of consent in higher-risk situations where it will actually be valuable", the OAIC said.
The reforms of consent laws around data should focus on measures to address the limitations with this scheme, rather than expanding its use, the office said.
"The overuse of these mechanisms will place an unrealistic burden of understanding the risks of complicated information handling practices on individuals. This will not address the privacy risks and harms facing individuals in the digital age," the OAIC said.
Consent was also a key topic in the Australian Competition and Consumer Commission's (ACCC) 18-month inquiry into digital platforms, which spurred the government's review of the Privacy Act.
The competition watchdog recommended that consent be required to be obtained whenever a user's personal information is collected, used or disclosed by an entity subject to the Privacy Act, unless the personal information is necessary for the performance of a contract to which the consumer is a party, or if there is an overriding public interest reason.
This should include a "clear affirmative act that is freely given, specific, unambiguous and informed", and should not be bundled into the one option.
"It may also be appropriate for the consent requirements to be implemented along with measures to minimise consent fatigue, such as not requiring consent when personal information is processed in accordance with a contract to which the consumer is a party, or using standardised icons or phrases to refer to certain categories of consents to facilitate consumers' comprehension and decision-making," the ACCC report said.
In its submission, the New York Times said the reforms to the Privacy Act should be based on ensuring these laws match those applying to the physical world.
"We suggest grounding expectations of privacy in what they would be outside of the digital realm as that makes it easy for individuals to reason about the usage that may be made of their data," it said.
"If visiting a site is akin to visiting a shop, then users can readily understand who may recognise them, what kind of information may be collected, with what retention period, to which third parties it may be shared, and so forth."
Related: Australian Privacy Commissioner | GDPR | General Data Protection Rule | New York Times | NYT | OAIC | Office of Australian Privacy Commissioner | Privacy
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♥ Mama 2 Multiples ♥: Connor and Merasia's First Day of Preschool 2013!
Connor and Merasia had their first day of preschool for this school year yesterday! They are in the same classroom with the same teacher that they had last year, so it's good the are familiar with her and the room and set up. They have one friend in their class that was in their class from last year, but the rest of the kids are new, so they will be making lots of new friends this year, which is so good for them!


In the business, you always have to work hard with proper strategy and technique to have more profit and sales. You can take advice from expert manufacturers for making reliable and exciting packaging boxes. They can easily help you to have more astonishing and marvelous designs of packaging boxes. Having a logo for your brand makes it easier to have more crowd.
You can easily convert your visitors to regular customers by using logo printed boxes. Logo printing on the packaging boxes makes the products look more of good quality products. For example How Custom Designed Food Packaging Boxes Protect the Food? In addition to this, these boxes can also help the brand to get more recognition and demand among consumers.These boxes can have different colors, sizes and shapes depending upon the requirement of product. Branded products can easily get more sales in the market because of the attached brand name. This brand logo makes the customers feel that they are buying some valuable thing. So they also get agreed upon paying the amount that you have written on the box. This will help you to earn more profit by just choosing the right type of design for the logo and also for packaging box. Logo printing on the boxes can help your brand to get more popular among consumers.
Logo printing on the boxes makes your brand stand out among all other brands, as the logo for every brand is completely different and unique. You can create an identity for your brand by printing a logo on your product's packaging. This identity can make your brand more recognized and identifiable in the market. Having an identity for a brand is necessary to have more demand for your products among consumers.
Identifiable product brands are more reliable and have a stronger image in the market among other brands. Branding is getting more trendy and can help you to flourish your business. Therefore, you must have to create a logo for your brand.
For designing your brand logo, make sure that you have chosen the right design for your logo. The logo needs to be clear enough and reflective so that customers can easily understand that your brand is providing. Without making your logo complex and misguiding, you can create an astonishing and unique logo, which will make your business stand out. You can have an outstanding place in the market among your competitors and consumers.
You can advertise your brand by using custom boxes with logo. Logo printing can give an exciting an attractive look to the boxes. This will make more customers interested in your products. Logo on the box makes the customers feel that the product belongs to that specific brand. Branded products are always seen as the product is of good quality, so customers love to buy these good quality products. You can advertise your products with the name of this brand or logo of the brand. Customers will recognize your brand with this logo, which is also easier enough. But if the logo is complex customers finds it difficult to remember. So you can easily advertise your brand by using logo printing and can also establish an outstanding identity for your brand.
When you have printed your product boxes with the logo of the brand, this will help the consumers in reordering the products. If your consumers find the products reliable and useful, they will surely reorder from your brand. Reordering the product gets easier enough when a customer knows the name or logo of the brand. However, if the customer does not have any basic knowledge about the brand they are not able to reorder.This makes the customers go for buying another brand's product. This can damage the reputation and also the sales revenue of your brand. So if you want to retain your regular customers and also want to increase the sales revenue make sure that you are properly using the logo of your brand.
Logo printing on the boxes do not only give an attractive outlook to the boxes but can also make them look professional. This will also increase the value of your brand as you are giving proper name or identity to your brand. This will also make an outstanding impression of your brand on the minds of customers. With this marvelous professional look of the boxes, you can gain the trust of your consumers, which will help you to have a great start for your business. Make sure that the packaging boxes are of the latest designs as boxes having a logo with older design cannot get much attention from the customers.
You can easily differentiate your brand from others, as this is the most exciting way to make your boxes look exceptional. We all know that there is huge competition among different brands. So everyone has to work so hard for having an identity and recognition among consumers. So always, try something unique and exceptional for having the attention of your customers.
Logo printing can give a more exceptional outlook to the boxes as different brands have different logos. Logo printing on the boxes can enhance the beauty of your boxes, which is more important to give a more appealing outlook. It distinguishes your brand from others so customers will always remember the name of your brand. As customers will remember the name of your brand, this automatically promotes your brand among consumers.
Logo printing boxes are more time to save as these can help the customers to identify the product of their favorite brand. They do not need to search so much as they can only take the name of the brand or can identify the logo on the boxes. So customers love to buy these time-saving products other than wasting their time searching for new brands and products. So you can have more customers and also have more sales revenue as compare to other brands.
January 11, 2019 Sonal Mehta Comments Off on What are the best tips to plan an on-demand service app development?
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Hai Van Pass is one of world's most scenic drives
Update: April, 24/2015 - 08:53
DA NANG (VNS) — The Hai Van Pass has just named as one of the top 10 "great scenic drives around the world… that you've probably never heard of" by British newspaper .
The website describes the pass as a 13-mile road running alongside the Annamese mountains on the edge of the sea.
"Travellers can hire motorbikes or cars to ride the pass as part of a one-day loop. At the top you're rewarded with stunning views."
The road is described as a deserted ribbon of perfection and one of the best coastal roads in the world.
The other scenic routes include road to the Isles in Scotland, Carretera de Sa Calobra in Spain, Irohazaka Roads in Japan, and the Old Strynefjell Mountain Road in Norway. — VNS


Article found in the Illustrated London News of Saturday 10 September 1864.
We give an Illustration of the Pneumatic Railway, invented by Mr. T. W. Rammell, C.E., a working model of which has, during the last two weeks, been exhibited in the grounds of the Crystal Palace. It extends from the Sydenham entrance to the armoury, near the Penge gate, a distance of nearly six hundred yards. A brickwork tunnel, about 10 ft. high by 9 ft. wide, and capable of admitting the largest carriages used on the Great Western Railway, has been laid with a single line of rails, fitted with opening and closing valves at each extremity, and supplied with all other apparatus for propelling passenger-trains on this principle, by a strong draught of air behind the train when it travels in one direction, and pumping away the air in front of it when it travels the other way. The motive power is supplied by this contrivance. At the departure-station a large fanwheel, with an iron disc, concave in surface and 22 ft. in diameter, is made to revolve, by the aid of a small stationary engine, at such speed as may be required, the pressure of the air increasing, of course, according to the rapidity of the revolutions, and thus generating the force necessary to send the heavy carriage up a steeper incline than is to be found upon any existing railway. The disc gyrates in an iron case resembling that of a huge paddlewheel; and from its broad periphery the particles of air stream off in strong currents. When driving the air into the upper end of the tunnel to propel the down-train fresh quantities rush to the surface of the disc to supply the partial vacuum thus created; and, on the other hand, when the disc is exhausting the air in the tunnel with the view of drawing back the up-train, the air rushes out in perfect hurricane from the escape valves of the disc case. When the down journey is to be performed the breaks are taken off the wheels, and the carriage moves by its own momentum into the mouth of the tube, passing in its course over deep air-well in the floor, covered with an iron grating. Up this opening a gust of wind is sent by the disc, when a valve, formed by a pair of iron doors, hung like lock-gates, immediately closes firmly over the entrance of the tunnel, confining the increasing atmospheric pressure between the valve and the rear of the carriage. The force being thus brought to bear upon the end of the train, the latter, shut up within the tube, glides smoothly along towards its destination, the revolving disc keeping up the motive power until it reaches the steep incline, whence its own momentum again suffices to carry it the rest of the distance. The return journey, on the contrary, is effected by the aid of the exhausting process. At a given signal a valve is opened, and the disc-wheel set to work in withdrawing the air from the tube. Near the upper end of the tube there is a large aperture, or side-vault, which forms the throat through which the air is exhaled, the iron doors at the upper terminus still being kept shut. In a second or two the train posted at the lower terminus, yielding to the exhausting process going on in its front, and urged by the ordinary pressure of the atmosphere from behind, moves off on its upward journey, and, rapidly ascending the incline, approaches the iron gates, which fly open to receive it, and it emerges at once into daylight. Instead of a train being used at Sydenham, there is one very long, roomy, and comfortable carriage, resembling an elongated omnibus, and capable of accommodating some thirty or thirty-five passengers. Passengers enter this carriage at each end, and the entrances are closed with sliding glass-doors. Fixed behind the carriage, there is a framework of the same form, and nearly the same dimensions, as the sectional area of the tunnel, and attached to the outer edge of this frame is fringe of bristles forming a thick brush. As the carriage moves along through the tunnel the brush comes into close contact with the arched brickwork, so as to prevent the escape of the air. With this elastic collar round it, the carriage forms a close-fitting piston, against which the propulsive force is directed. Although the curve in the tunnel is unusually sharp, being of eight chains radius, and the gradients are as high as one in fifteen (those of Holborn-hill being only one in eighteen), it is surprising that the motion is much steadier and pleasanter than ordinary railway travelling. The journey of 600 yards is performed either way in about fifty seconds, with an atmosperic pressure of only two ounces and half to the square inch; but a higher rate of speed, if desirable, can easily be obtained.
The author of the article and the artist of the drawing are unknown. Since they are published far more than 70 years ago, both are believed to be in the Public Domain.


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