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AFTERMARKET REVIEW
Eduard Photoetched Metal Detail Sets for the Hobby Boss Su-17 M4 -- 1:48 Scale
The Su-17 Fitter has seen quite a lot of attention since 2016, following decades of neglect in the realm of injection-molded kits. Kitty Hawk launched a family of 1:48 scale Su-17 and Su-22 kits while Hobby Boss has also produced a Su-17 M4 and Su-17 UM3 in 1:48 scale. Eduard has released three photoetched metal detail sets, and two of these provide high-fidelity detail for the cockpit and ejection seat in the Hobby Boss kit.
First, let's look at FE855 – the cockpit detail set. It's a mostly pre-painted detail set that covers the instrument panel, side consoles, seat pad, HUD frame, throttles, ejection seat leg guards, and other small details in the Fitter's front office. This single fret contains 29 parts, and some are really quite fine. The pre-painting quality is remarkable as always from Eduard, and the shade of gray for the instrument panel and side consoles looks like a really good match to the color of the Sukhoi cockpits. The only possible critique I can consider is there seems to be a part that's illustrated on the instructions that's not on the fret. Part 33 is to be a photoetched metal piece for the front cockpit floor. It's not on the fret, but it's not a huge deal. Still, just remove the kit's "rudder pedals" (just raised bumps) and use parts 6 and 7 for the rudder pedal assembly and rudder pedals nonetheless.
Second, the kit's KS-4 ejection seat features some rather unimpressive molded-on shoulder harnesses and no lap belts. FE856 will fix that problem and does so quite effectively. This set contains five pre-painted parts: shoulder harnesses, lap belts, and ejection handles. The painting quality is really excellent, right down to the barely-discernable representation of what looks like warning stenciling on the ejection handles.
Both of these sets will go a long way to representing far more detail in the kit of your 1:48 scale Hobby Boss Su-17 M4. Eduard also does an external PE metal detail set for this kit (48 931). Though it's not reviewed here, it looks like a characteristically outstanding Eduard metal detail set and might warrant a serious look for the scale modeler wishing to add all the detail that they can to their Hobby Boss Fitter.
We extend our sincere thanks to Eduard for the review sample. You can visit them on the web at http://www.eduard.com and on Facebook at https://www.facebook.com/EduardCompany/

redpajama_set_name: RedPajamaCommonCrawl


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Roberto Chiari
Roberto Chiari (1905-1981) president of Panama (1960-1964), negotiated with two U.S. presidents in a futile effort to settle peacefully problems of the Canal Zone.
Roberto Chiari was born in 1905, a member of a well-known Panamanian family. His father, Rudolfo, was Panama's president from 1924 to 1928. But two years later the depression (which devasted the American economy) also wracked Panama, and Chiari had to go to work as a crew member aboard a ferry belonging to the Panama Canal Company. His job was that of a wiper in the engine room.
Such a job was quite a come-down for this proud young man who had gone to LaSalle School in Panama City and had served his father as an aide. The 1930s were tough times in Panama as well as elsewhere. But during World War II the Chiari family turned things around, and by the end of the decade its sugar plantations were prospering. In the late 1940s, a time of political turbulence in the country, his father served briefly as president but was tossed out after only five days in office. On October 1, 1960, he was inaugurated chief executive again.
In November 1959 serious disturbances over Panama's status in the Canal Zone had strained U.S.-Panamanian relations. The issue was symbolized by Panama's determination to fly its national flag over Zone territory to demonstrate that the ten-mile-wide strip was Panamanian soil. After the 1959 riots President Dwight D. Eisenhower announced that both the U.S. and Panamanian banners could fly in a small triangle at the Zone entrance, but Panamanians insisted that their flag should be raised in other places in the Zone.
Chiari began a program of limited social reform aimed at convincing Panama's rapidly expanding poorer classes that he cared about their situation. He gave his salary to the Red Cross. He improved public health services and pushed low-cost housing, though as a member of the elite he was slow to promote substantial reforms. In international affairs he was strongly anti-communist and pro-United States. However, he chided the United States for spending so much on neutral countries while neglecting its friends. When the "flag issue" came up again, he naturally sided with his country's citizens and further criticized the American government for its employment policies that, he argued, discriminated against Panamanians.
Pressed by the lower classes to move faster on social issues, Chiari began to press harder on the "flag issue." He went to Washington to discuss the matter with President John F. Kennedy. The two presidents created a joint commission to study the problem. The commission settled a few labor disputes in the Zone. Then it declared that Panama's flag would fly alongside the American flag at civilian buildings in the Zone. Americans in the Zone condemned this decision. Angered, Chiari removed Panamanians from the commission.
As tensions mounted in late 1963 the Canal Zone governor ordered that neither flag fly over civilian institutions. This predictably angered the Americans, and on January 9 a group of students at Balboa (Canal Zone) High School defiantly raised the American flag. When Panamanian students heard about this, about 200 came into the Zone and tried to raise their flag alongside the American banner. The Americans stopped them and in retreat the Panamanians began trashing garbage cans. When news of the incident reached Panama City, 30,000 Panamanians rushed into the streets. The ensuing riot lasted for four days and spread to Colón and into interior cities. It took four American and 24 Panamanian lives and destroyed two million dollars in property before it ended.
Roberto's reaction surprised the Lyndon Johnson administration in Washington. Chiari suspended diplomatic relations on the grounds that American troops had committed aggression against Panama. He publicly challenged President Johnson to negotiate outstanding issues between Panama and the United States but privately assured the irritated American president that he would not demand revision of the hated canal treaty. Panamanians were afraid that the United States might construct another canal elsewhere.
Later in 1964 Chiari backed his cousin, Marco Robles, for president. Robles won a narrow victory over several-time candidate Arnulfo Arias and began serious negotiation for revision of the canal treaty (but it would take another 13 years to make an agreement). Roberto Chiari died in 1981.
Further Reading on Roberto Chiari
For more on Roberto Francisco Chiari see John and Mavis Biesanz, The People of Panama (1955) and Walter LaFeber, The Panama Canal (1978). Chiari's obituary can be found in The Annual Obituary, St. James Press, 1981.


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I just had a lightening moment whilst on the loo (number 1 only) and I wanted to share it with you because sharing is – well, often just plain old over sharing in my case but in this instance – caring.
Some of you are related to me by blood. You don't have to read, but you do. You still count in this.
Some of you are friends; some old, some new. Whether I've loved you for a long time or a short time, I love that you're on this journey with me. Thanks for playing.
My Dad said recently that he has found out so much more about me since I started writing this blog, and I'm sure many of the people who know me feel that way.
It's not that I don't talk like this in real life, its just about time and opportunity. There's not enough time to have all of the chats and drink all of the wine and eat all of the meals with everyone I would like to.
Some of you are also bloggers, writers I admire and aspire to learn from whether it be creatively, or technically, or how I see your life through the little snapshot you give us through your window on the inter webs.
Many of you, my readers, are people I've never actually met, and sadly, I may never have the opportunity to.
I just realised that although many of you have never, and may never, meet me personally, you care about me and my life… and my family.
You are interested in what I think, and you care about how I feel.
You take time from your busy lives to comment on my posts, you offer me advice. Some of it great advice.
You make my food, and you take pictures and send them, and tell me how your family loved it.
You share your lives and experiences with me, intimate details, and pain and secrets.
You are funny. You, my readers, make me laugh because you are very, very funny.
You live in all corners of the world, I'm endlessly amazed at how far this travels, and yet you are my community.
This morning this thought has brought the prickle of tears to my eyes because it hit me how lucky I am. Lucky not just in the big way that I live somewhere that allows me to have a voice, not lucky in the way that I am fortunate to have time and space in my life to create this, but lucky on a much more base level.
I'm lucky to have such love poured on to me by such a big community of people.
I want to give you all a cyber hug and say thanks.
Without each of you, I would just be spouting off to myself, as usual.
Without your encouragement, and engagement, be it on the blog or Facebook, I wouldn't have the courage to keep showing you my metaphorical arse, and sharing my deepest thoughts and fears, and loves.
Laying myself bare. Letting you in. Letting me out.
By me doing this, you are doing it to. You let me in to your lives, and I get you in mine.
Anyway, it's Friday, let's go wrap this week up and kick some little goals and keep on moving forward…. the only direction to go.
Hooking up with other amazing bloggers for FYBF over at With Some Grace.
If you like what you're seeing, why not like my Facebook page now.
You can also subscribe via email, or follow me on Instagram at The Holsbys to be sure to always keep up with the Holsbys.
Very nice Danielle – and thanks for visiting my blog when you do. This blogging community, the whole internet inter-connectedness, is really pretty amazing.
Beautiful post and it resonates with me too. Thank you.
it's quite something this crazy ol' blog phenomenon, huh?!
Big Hugs to you on this gorgeous morning.
Oh stop it you big marshmallow!
I think I'm hormonal… can't stop.
Well damnation, you made my eyes leak. What is so appealing about you Danielle, is your honesty and courage. You say what you think, not what you think, is expected of you. I wish you were in politics, because you have the courage of your convictions, you are no sheep in a double standards conga line, you listen (a dying art) and you genuinely care.
Like many gifted people, you have absolutely no inkling of just how Incredible you are, and how refreshing your quick witted humour and positive thoughts wash over your readers, like a warm wave. It's cathartic. You don't judge, you listen, you're curious, intelligent, articulate, hilariously funny. You make a difference. You know who you are, run with it Danielle, go girlfriend and heartfelt thanks on behalf of all of us.
I think I've got something in my eye.
Give in, give up OR give it all you got. You, gorgeous gal, are of the third variety. Beautiful blog…. sniff, drip ,drip…. now pour yourself a LARGE red at wine o'clock cos' you SO deserve it.
I was thinking more 'you are the wind beneath my wings', but yes, exactly!!
the feeling is mutual, danielle.


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Be accountable for where you are in relationships and adapt your own love habits, because by changing you, it changes the people you attract, the people you're attracted to, and who you'll pursue a relationship with, plus if you're in a relationship, you'll change the relationship you're in.
Do I have healthy boundaries in this relationship? Or has this relationship been operating because I have little or no boundaries? If you have no boundaries, you have a lot of work to do personally, never mind in the relationship. You need to consistently show that you're now living by your boundaries but you may also meet resistance now that you're treating yourself with love, care, trust, and respect, because the other person may be happy with the way things are.
Are there any major red flags in this relationship? If you are dealing with someone who is abusive, or has an addiction, narcissist, etc., you're trying to make a relationship with someone who actually has bigger issues to deal with. Unless you knew this person prior to the existence of this red flag and they are fully aware and ready to resolve the issue, you are actually engaging in fixing/healing/helping which is a sign of a very unhealthy relationship. Relationships with emotionally unavailable men don't work.
Are you projecting? It is important to ensure that you are not bombarding someone else with your visions and feelings. What you think, feel, want, and see, is not what they think, feel, want, and see. A mistake that many people make is getting lost in their feelings and assuming that because they appear to feel a lot and want the relationship that the other party should too. You are two individuals.
Are you with a same person, different package? If you have a negative relationship pattern, you're likely to be going out with variations of the same person. Even though this person seems 'different', you may be engaging in relationship delusion – making the same choices, choosing the same types of people, having the same pattern, and expecting different results.
Do you want to work at your relationship for the right reasons? Deciding to throw more energy at a broken relationship because you don't want to admit you made a poor choice, are afraid to be alone, afraid of starting over or determined to prove 'everyone' wrong is a dangerous move. Being accountable, responsible, and your own best caretaker means that at times you have to make very uncomfortable decisions and admit that you've made a mistake. Remember, if you end a relationship and move on, and learn from what has happened, it frees you up to be in a more fulfilling relationship.
Do you understand what compromising in relationships involves? Has this relationship already compromised you?This quest to work at your relationship may be another way of you remedying issues through poor compromise. Basically is the decision to work at your relationship going to involve you compromising about the wrong things so that you effectively end up compromising yourself?
Are you actually being authentic? So many people end up becoming very distanced from who they are because they are so desperate to be loved and desperate to be in and to hold onto their relationships, that they lose sight of themselves. They become whatever their partners want them to be or feel that they have to let go of friendships, family, interests, etc. to make things work. If you don't know who you are and are effectively co-dependent, it's highly unlikely that you even know why you're trying at this relationship. Lack of authenticity and personal security will mean that the desire to work at the relationship is driven by the fact that you won't feel like an entity without this person.
Have you ever stepped away from the relationship? Not pretend step away where you say you're offski and then panic and knee-jerk back but taken a break to get some head space or even broken up? Distance gives objectivity and it also gives you a chance to gain perspective and regain your sense of self, especially if you have been acting with little or no boundaries. If you've broken up, going back to them will require a leap of faith. You both need to be honest and you need to continue to be your authentic self with boundaries as opposed to whatever you were prior to the break.
Your relationship isn't reliant on you having little or no boundaries.
Both parties have talked openly and honestly about where the relationship has faltered and are prepared to be accountable not only for your contributions but also fighting for the success of it.
Both of you are driving this. One person cannot do all the loving, all the work, and all the fighting for the relationship. Just like you need to be team players in the relationship, you need to be a team to fight for it.
Both of you are capable of empathizing. A common problem in relationships is only seeing things from our perspective. We wonder why they're thinking their way when we think our way. You need to be able to empathize with one another and step into one another's shoes.
You have the fundamentals – love, care, trust, and respect. Not one of you – BOTH of you. If you don't have these, anything you're doing is a waste.
You can move on. It's hard to feel like your efforts are going somewhere when one or both of you are bringing up old stuff – it's like This One Time in Bandcamp. "Well, remember that one time when you let me down back in 2003? This is just one example of why I'm mad at you!" Let go because holding on to this stuff means you and the relationship cannot progress. This is one of harder things to do.
You can be action focused. Don't just talk, do.
You're prepared to listen to one another and understand your 'language' and how best to communicate. If you already know that approaching him feeling emotional and defensive straight after work generates a negative reaction, stop doing it. If they're the type of person that respond better to decisive conversation and action, don't spend time having long-winded discussions and show.
You both feel responsible for the 'success' or 'failure' of the relationship and feel responsible to one another. This in itself will mean that you will both act with consideration towards one another and consider your actions in the context of the interests of the relationship – learning not to be solo-minded and selfish.
You're prepared to be real and change, even though it involves you getting out of the familiar uncomfortable and getting uncomfortable for more positive change. This means working through personal issues and ensuring that you are personally secure so that you are not emotionally demanding – drama seeking, expecting constant validation etc.
If you're with someone who is potentially 'right' for you, by adapting your behavior, they'll adapt theirs and work with you. If you're with someone who is fundamentally incompatible for you, by adapting your behavior, that incompatibility will only become even more apparent and you'll recognize that it's time to fold.
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This announcement comes on the heels of an outstanding first week for their brand new album, This Is All Yours, which was released on September 23. The album debuted at #1 in the UK and charted at #4 in the U.S. with first week sales of 68,017. The current single, "Left Hand Free" just reached Top 5 on the Alternative Radio Chart. Rolling Stone gave the album the lead review with FOUR of out FIVE STARS calling it "an ambling, entrancing listen - full of songs that blur weird folk and electronic zoinkiness, classical filigree and straight-up rock." This Is All Yours is available now via Canvasback Music in CD, digital and double-vinyl editions.


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30 January 2020, Gateway House
The Khans of Bombay's Hindi film industry
Bombay's Hindi film industry has welcomed Pathan talent – venerated actor Dilip Kumar, scriptwriter Salim Khan and musician Adnan Sami Khan are some prominent examples. Many of them originally came from undivided India's Pathan homelands in what is today's Pakistan's Khyber Pakhtunkhwa Province, entering the industry at an opportune time. Today, their descendants wear the Khan name with pride
Bombay History Fellow
This is the final in our two-part series on India-Afghanistan relations. Click here to read the first part.
Large numbers do not always mean power, influence or visibility. Mumbai's Pathans* (See Part 1 of this series), a small and self-sufficient group dealing principally in dry fruits and saffron, may no longer stand out in the mosaic of communities of which the city is comprised. But one business that continues to give them high visibility is Mumbai's Hindi film industry. A few names suffice to spell the extent of their superstardom, whether as director, producer, script-writer or actor: Pathan stars of yesteryear, Prithviraj Kapoor and Dilip Kumar (neé Yousuf Khan) remain evergreen in cine buffs' memory.
The late progenitor, Prithviraj Kapoor, whose illustrious family[1] is still in the movie business, is regarded a 'Hindu Pathan' by the film fraternity, but a family member clarifies that they are, in fact, Punjabi Khatris. This overlap in identity is probably due to his origins in undivided India's Northwest Frontier Province, in the capital city of Peshawar, like his contemporary, the actor Jayant (whose real name was Zakariya Khan) and Dilip Kumar[2]. Today's reigning trio is Shahrukh-Salman-Aamir Khan, with Salman keeping alive the legacy of father and scriptwriter, Salim Khan, and Aamir that of his father, producer-director Tahir Hussain Khan[3]. Other descendants of past Pathan stalwarts, like brothers Feroz and Sanjay Khan, are the cousins Fardeen and Zayed.
The dashing actor Prithviraj Kapoor as the Greek King Alexander in Sikander (1941). Prithviraj is spoken of by Hindi film industry insiders as being a Hindu Pathan, as he spoke fluent Pushto and hailed from Peshawar.
Many reasons account for the Pathans' enduring success in Hindi films. First, they emerged at the cusp of the transition from silent films to the talkie era in Bombay's film industry. With the advent of the first talkie film, Alam Ara (1931) from the Imperial Film Company, many of those who acted in the silent movies faded away, making way for a new crop of stars. The Pathans quickly gained an edge in the industry because they were fluent in Urdu and Hindi. (Dilip Kumar has written about how his fluency in Urdu, a language spoken with great flair by his family, led to him being tasked with helping Bombay Talkies studio's scriptwriters with the finer nuances of the language during his first few months there.[4])
The first popular Pathan actor in the early 1930s was Gul Mohammad, says Salim Khan. But others who made good in Bombay films had earlier tasted success in Lahore's film industry, says Shehla Khan, wife of the late Pathan actor Amjad Khan, who was memorable as Gabbar Singh, the Chambal dacoit in the blockbuster film, Sholay (1975). Her father-in-law, Jayant, and Prithviraj Kapoor, both Peshawaris, had worked in films being made in Lahore[5], where the lingua franca was Hindko, a dialect that is a mix of Punjabi, Pushto (which was the Pathans' native tongue), Urdu, and Persian.
The Pathan actor's diction, in general, is perfect, and emotional range impressive, with an ability to go from restraint to high-pitched histrionics. As a people too, they are highly emotional. "The Pathans cry very easily," observes Shehla, a Rajput and the first non-Pathan to marry into the actor Jayant's family. "My father-in-law and Amjad both cried at the drop of a hat. Amjad would return home late from a shoot and see the children sleeping and get emotional. The men cry more than the women; the women are tough."
Their good looks, machismo, and an appealing "swagger", (as one interviewee described it,[6]) only added heft to their sensitivity. Shehla clarifies though that not everyone subscribed to the stereotype of the 'tall, fair Pathan'. "They are also a people used to hard labour, and so they are not all fair-skinned because they largely work outdoors. They also have tremendous loyalty and pride," she adds.
These characteristics have been portrayed in the numerous Pathan roles and stories scripted for the silver screen.
Pathan movie characters, themes, locales
One of the most memorable Pathan screen characters in Hindi films is that of Sher Khan (played by Pran Sikand), in the film Zanjeer (1973), which was scripted by Salim Khan and Javed Akhtar, a long and award-winning partnership[7]. Sher Khan, a Pathan don, runs a gambling den, but true to his code, does so with honesty. He quits the lucrative business after giving his word to the hero of the film, an upright police officer (played by Amitabh Bachchan), who later becomes his friend. "That character was highly appreciated by the Pathans," say Salim Khan, "I crafted Sher Khan, based on my observations of my community," he adds. (Salim Khan belongs to the Akozai tribe and hails from the Swat region, which is today a part of Khyber Pakhtunkhwa Province, Pakistan.) "They are simple people of character and principle, god-fearing, brave, strong, and keep to their commitments."
The costuming also adds colour to the Sher Khan character, who wears the billowing Pathan kurta-salwar, turban, and gold-embroidered waskat (a short, sleeveless overcoat). The film has a memorable song on loyalty and friendship,'Yaari Hai Imam Mera/ Yaar Meri Zindagi' (friendship is my faith/the friend is my life), which is danced to only by men in the traditional Afghan or 'Ataan', style with a twirling of rumaals (large handkerchiefs). "Pathan women don't dance, but the men are exuberant and will get up and dance at the slightest excuse," Shehla points out.
The mother of all Pathan movies remains Kabuliwala (1961), based on Rabindranath Tagore's eponymous short story, and in which the legendary actor Balraj Sahni acts as the Afghan peddler who befriends a little girl.[8] [9]
The movie Junoon (1978) is based on the Ruskin Bond novella "A Flight of Pigeons". It tells the story of a Pathan's love for an English girl in the days of the Indian Mutiny (1857)
Another milestone was Prithviraj Kapoor's play, Pathan, (1947), which was produced post-Partition by Prithvi Theatre, and travelled across the length and breadth of India to full houses, says Salim Khan. This play did 600 shows in Bombay itself. Prithviraj played the lead role and his children (Raj, Shammi, Shashi) had small parts.
Kabuliwala and Pathan are the earliest wholly Pathan-themed scripts, made with India as backdrop – undivided and post-Partition, respectively. But the first Hindi film to be shot in Afghanistan was the Feroz Khan-directed[10] Dharmatma (1975), which shows the Afghan sport of Buzkashi on the Indian screen for the first time[11].
This was followed 17 years later by the Amitabh Bachchan-starrer, Khuda Gawah (1992), which was filmed just before the Mujahideen takeover of Kabul and its national government. This film, which used many local Afghans in small roles, made waves as Bachchan and the crew were accorded a presidential welcome: President of Afghanistan Dr. Mohammad Najibullah Ahmadzai, a fan of Bachchan's, was present at the tarmac to welcome them, the first ever state welcome for a Hindi film crew[12]. President Najibullah's excitement at meeting Bachchan was an expression of the great love that most Afghans have for Hindi movies and its stars. The last known Hindi film to be shot in Afghanistan, was Kabul Express (2006), whose director Kabir Khan also has Pathan ancestry.
Prior to the coming of fame and fortune, there was the struggle, and Salim Khan recalls the support he received from unknown members of the Pathan community. He had just arrived from Indore as a 23-year-old in 1958[13]. "There were many taxi-drivers in the city and watchmen at the film studios then who were Pathans. Often, when I took a taxi and asked the driver 'Khan saab, kitna paisa hua', he would reply, 'Tum se paisa kaise le sakta! Tum to hamara bhai hai' (How can I take money from you, you are our brother.) I don't know how they knew I was Pathan!" Other stars recall having their first brush with the industry when stopped at a studio gate, usually by a tall, imposing Pathan watchman, seeking their credentials.
Since Partition, there has been a steady outward migration of Pathans, both from the city and the industry. Many Pathans, like film director Zia Sarhadi,[14] relocated to the newly formed state of Pakistan.
Yet, many film family scions are carrying on the legacy of their forebears. Where once the early actors assumed screen names, today's actors wear the Khan surname with panache. Film industry insiders all agree that the name is almost akin to being a marker for blue-blooded acting genes, which was not so in the 1930s and 1940s, when the Khans had just entered the industry. "Anyone from any community can have talent," says Salim Khan, "It so happens that only the talented Pathans joined the film industry. And they were lucky to be offered good roles, so they became successful."
The author would like to thank Bharathi S. Pradhan, columnist, critic and author, and Rafique Baghdadi, film historian, for their insights and help.
Sifra Lentin is Bombay History Fellow, Gateway House.
This article was exclusively written for Gateway House: Indian Council on Global Relations. You can read more exclusive content here.
For interview requests with the author, or for permission to republish, please contact outreach@gatewayhouse.in
© Copyright 2020 Gateway House: Indian Council on Global Relations. All rights reserved. Any unauthorized copying or reproduction is strictly prohibited.
[1] Four generations of Prithviraj Kapoor's family have enriched Mumbai's Hindi film industry: his three sons, Raj, Shammi and Shashi, were involved in every aspect of it – from acting, directing and producing to owning studios and theatres. His grandchildren, Randhir, Rishi, and Rajiv, and great-grandchildren, Karishma, Kareena, Ranbir, and Armaan have also made a name.
[2] Many well-known Hindi film actors have their ancestral homes in Peshawar, the most well-known of them being Dilip Kumar, and Prithviraj Kapoor, whose son, Raj, was born, and spent his early childhood, here. Actor Shahrukh Khan (whose father Taj Mohammed Khan is a Peshawari), also has a family home here. All three family havelis are located within a 200-m radius of Qissa Khwani (lit. 'street of storytellers') and walking distance from one another. The actor Jayant (Zakariya Khan), father of Amjad and Imtiaz Khan, also hails from Peshawar.
[3] Actor Aamir Khan's roots can be traced to Herat Province in Afghanistan. He is related to India's third president, Dr. Zakir Hussain.
[4] Nayar, Udayatara, 'Dilip Kumar: The Substance And The Shadow, An Autobiography', Hay House Publishers India Pvt. Ltd., 2014, p. 119-120.
[5] There were many well-known Hindi film actors and actresses, who had their early career in the Lahore film industry. Besides Prithviraj and Jayant, there were brothers Madan and Amrish Puri, and actress Zohra Sehgal.
[6] Rafique Baghdadi, film historian and expert on Saadat Hasan Manto, Hindi movie scriptwriter and writer, was interviewed for this article on 6 January 2020.
[7] Scriptwriters Salim Khan and Javed Akhtar formed their award-winning partnership in 1965, which resulted in 10 back-to-back superhit films, including Seeta Aur Geeta, Haathi Mere Saathi, Zanjeer, Yaadon Ki Baraat, Deewaar, and Sholay. The duo split up in 1981. Prior to scriptwriting, Salim Khan was an actor, doing numerous small roles in Hindi films between 1958 and 1965. (Interview with Salim Khan on 6 January 2020.)
[8] The first film, based on Tagore's short story, was made in Calcutta by Tapan Sinha in 1957.
[9] Another film with an iconic Pathan character is the Raj Kapoor-directed Chhalia (1960). Set amidst the turmoil of Partition, the Chaplinesque tramp character and small-time conman, acted by Raj Kapoor, encounters Abdur Rahman Khansaheb (a Pathan, played by Pran).
Foschini, Fabrizio, 'A Pathan Moustache hair's worth: Afghans in Bollywood, Bollywood in Afghanistan', Afghanistan Analysts Network, 28 August 2012, https://www.afghanistan-analysts.org/a-pathan-moustache-hairs-worth-afghans-in-bollywood-bollywood-in-afghanistan/ (Accessed on 20 January 2020)
[10] The Khan brothers – Feroz (Zulfikar Ali), Sanjay (Shah Abbas) and Akbar – hail from Bangalore. They trace their roots on their father's side to the Tanoli tribe from Ghazni.
[11] Buzkashi (lit. "goat grabbing") is the national sport of Afghanistan. Players, mounted on horses, attempt to place the carcass of a goat or calf in a goal. Similar games – kokpar, kupkari, and ulak tartysh – are played in Kyrgyzstan and Kazakhstan. Kökbörü and gökbörü are popular in Turkey mainly with communities originally from Central Asia.
[12] India Today, 'Amitabh Bachan relives memories of shooting in Afghanistan', India Today, 1 March 2010,
https://www.indiatoday.in/movies/celebrities/story/amitabh-bachchan-relives-memories-of-shooting-in-afghanistan-68469-2010-03-01 (Accessed on 19 January 2020)
[13] Salim Khan traces his ancestry to great-great grandfather Anwar Khan, who migrated to India from the Swat region, for the education of his family. His great-grandfather was Latif Khan, grandfather Majid Khan, and father Rashid Khan, the first in the family to graduate (in Indore). Rashid Khan went on to become deputy inspector general of police (inspector general of police being a post reserved only for the British) after 32 years of service in the Indore police force. Salim Khan came to Bombay after finishing his graduation in Indore and after his parents passed away.
[14] Zia Sarhadi, a well-known film director at the time, whose most successful film was Footpath (1953).
Bombay's Pathans: living by a code
Bombay, Karachi, linked by sea and refuge


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Sleddog registry
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Александр Михайлович Власов () — российский дзюдоист, бронзовый призёр чемпионата России 1993 года, мастер спорта России международного класса.

Биография
На всероссийских соревнованиях выступал за Республику Адыгея. По окончании спортивной карьеры занимался тренерской работой в Адыгее и Карачаево-Черкесии. Также выступал на соревнованиях ветеранов. В 2014 году стал серебряным призёром чемпионата России. Член Олимпийского комитета Республики Адыгея.

Спортивные результаты
 Чемпионат России по дзюдо 1993 года — .

Ссылки

Дзюдоисты России
Спортивные функционеры России

redpajama_set_name: RedPajamaWikipedia


Self Description: I am a woman who likes to do always different things, but loves being in the house having quality time with the family. I have a good energy and I have a very good sense of humor. I like to laugh and have a great time, no matter where I am. I like to always keep a good energy in the environment that I am.
Comments: I want a man that is willing to be part of my life and will accept me with my son. If he wants to be part of our life he is more than welcome. We will have so many memories together as a family and partner. I like to have my sundays in my house watching Tv or going to explore the nature world!


Why would you start a book with "patience"? Can we get any more boring than that? But this passive action holds the key to making good decisions and is the essential ingredient for the next six requirements.
Imagine "patience" as the force to draw from to feed sensitivity, attention, communication, motivation, consistency and even courage. From caring to creative thinking, patience is at the root of all that is positive and good. While lack of patience is a quick creator of negative, violent, frustrating or even evil situations.
Patience brings balance and harmony. It allows us time to think before we react. It may buy us enough time to find our original reactions absurd, petty or egotistical, typical go-to reactions from our ego's defense mechanism.
By being patient with ourselves, by allowing ourselves the time we need to get things done, by not demanding more of ourselves than what we can achieve, by avoiding comparisons to others or impossible ideals, we build our own self-esteem while we learn to exercise that same patience with others.
Tools For Parents, Teachers & Therapists.
POSITIVE DISCIPLINE PARENTING: JUST STAY POSITIVE!
CAUSES FOR CHILD MISBEHAVIOR: WHERE TO START?
CHILDREN & NEGATIVE ATTENTION: REALLY? IS THAT WHAT THEY WANT?
THE INTROVERTED CHILD: IT'S COMPLICATED!
TEACHING BY EXAMPLE: NO PRESSURE! REALLY!
AN EASY SYSTEM TO IMPROVE CHILD BEHAVIOR: JUST STICK TO THE CONSEQUENCES!
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Three Grey agencies were ranked among the top 5 in the Adriatic region by the BalCannes jury during Weekend Media Festival this weekend – Grey Ljubljana, Bruketa&Žinić&Grey and Grey Worldwide Zagreb. Grey Ljubljana was also pronounced the best BalCannes agency and won a special journalist jury prize for the project The Bedtime Storytellers.
The jury of 25 members – advertisers, agency representatives and journalists – has included two Bruketa&Žinić&Grey projects among the top 25 regional projects – Hope for Adris Foundation and Nature Doesn't Have Time For You Today for WWF Adria. The Tribe Ride and Triglav DRAJV App (Grey Ljubljana) plus Wiener Skip Ad and Wiener The Devil Never Sleeps (Grey Worldwide Zagreb) are on the list as well.


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A Fine FN Mauser Rifle
By Nick Harvey | 21 February 2019
A pair of Browning FN Mausers
Q: I have a bolt-action rifle in .270 Winchester which was left to me by my deceased uncle. He purchased it new around 1956 and has the letters "FN" on the receiver ring. What can you tell me about my rifle?
Alan Cranton
Browning FN mauser in .375 H&H
A: Your rifle is a Browning Mauser made by the great Fabrique Nationale in Herstal, Belgium. The action is a commercial version of the German Model 98 that was used by Browning in building its centrefire rifles during the 1960s and 1970s. They were imported into Australia from the 1940s until the 1970s by Gollin & Co of Sydney (now defunct). They were some of the finest sporting rifles ever made. They were available in a variety of calibres including .220 Swift, .243 Win, .244 Rem., .250 Savage, .257 Roberts, .270 Win., 7x57mm, .30-06, .264 and 7mm Rem. Mag. Barreled actions and actions alone were also available in repeating and single-shot versions. I still have one that's been rebarreled to .220 Wilson Arrow.


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Uses for Convex Lens
Spots in a Person's Eye
What Causes a Kaleidescope Halo in the Eye?
Nearsighted Vs. Farsighted
What Eye Problems are Typical With Crohn's Disease?
How to Grade Cataracts
Written by Katlyn Joy
Cataracts are cloudy areas in the lens of the eye, and they are a common age-related sight disorder. Clumps of protein form and distort or block light, and the result is like looking through a waterfall. In fact, "cataract" derives from foreign words meaning "waterfall." The only treatment for cataracts is surgery, but it depends on a number of factors, and grading the severity of a cataract is one of the considerations.
Visit an eye doctor, or ophthalmologist, bringing with you a list of medications and overview of your medical history. Certain health problems, including diabetes and hypertension, can cause or exacerbate eye conditions such as cataracts.
Allow the doctor to perform a visual acuity test and dilate your pupils, then examine your eyes to look for signs of cataracts or other issues.
Learn the American Optometric Association's grading system for cataracts, which is simplified here: Grade 1: The lens has mild yellowing, 10 percent of pupil obscured by cataract, 3 percent of back surface of lens obscured by cataract 2. Grade 2: The lens has moderate yellowing, 10 percent to 50 percent of pupil obscured by cataract, 30 percent of back surface of lens obscured by cataract. Grade 3: Pronounced yellowing of lens, 50 percent to 90 percent of pupil obscured by cataract, 50 percent of back surface of lens obscured by cataract. Grade 4: Severe yellowing of lens, more than 90 percent of pupil obscured by cataract, more than 50 percent of back surface of lens obscured by cataract.
Cataracts are cloudy areas in the lens of the eye, and they are a common age-related sight disorder. Eye of a woman Eye of a woman Cataracts are cloudy areas in the lens of the eye, and they are a common age-related sight disorder. Grade 2: The lens has moderate yellowing, 10 percent to 50 percent of pupil obscured by cataract, 30 percent of back surface of lens obscured by cataract.
Appointment with opthamologist
List of medications and medical history
InteliHealth: Cataracts
American Optometric Association: Care of the Adult Patient with Cataract
Katlyn Joy has been a freelance writer since 1982. She graduated from Southern Illinois University-Edwardsville with a master's degree in writing. While in school she served as graduate assistant editor of "Drumvoices Revue" magazine.


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Valdosta plans for public transportation
February 23, 2016 at 10:32 PM EST - Updated July 12 at 6:10 AM
Corey Hall, Transportation Planner
Keyara Hamilton, Goodwill Career Center Coordinator
VALDOSTA, GA (WALB) - Valdosta is getting the public's input on plans for a new transit system for the city.
There has been a pilot shuttle program in place since October of 2015 and now the Valdosta-Lowndes Metropolitan Planning Organization is hoping to implement a permanent public transit program.
"It's been very beneficial for those clients they can actually now come out, get training, and work," explains Goodwill career center coordinator Keyara Hamilton. They have supported the initial pilot program and serve as one of the bus stops.
Now the VLMPO is conducting an online survey to learn what the public would like to see in a transportation program.
"Whether you support public transit, whether you are a potential rider, or whether you are against public transit, we do want to hear from you," says transportation planner Corey Hull.
It's an idea that's been in the works for more than a decade in Valdosta.
They hope to change the look of public transportation and make it more effective. They're looking at cities that use apps like Uber and other technologies to shape the public transportation in their area.
"Large empty buses are not a cost effective way to implement public transit. So we want to be more innovative in how we identify a public transit system," explains Hull.
The planning organization is still looking into what a project like this would cost the city and how much riders would have to pay.
It's still in the very early stages but they hope to be able to implement a transit system to serve Valdosta by next year.
To fill out the survey click here.
'To keep his dream alive': People in Dawson walk, sing in recognition of MLK
Walks were organized for Monday in remembrance of Dr. Martin Luther King Jr. and his work.
Looking for a 'chance at life': Albany couple pleading for living kidney donor to keep husband alive


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ROUTE_LOGOUT         = 'auth_logout'
ROUTE_PROCESS_LOGIN  = 'auth_process_login'
ROUTE_PROCESS_SIGNUP = 'auth_process_signup'

redpajama_set_name: RedPajamaGithub


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About DGR
Riding for Men's Health
Programs We Fund
Ride Information
Sponsor A Ride
The Rides
Riders registered
Raised So far (USD)
The Gentlefolk Blog
Top Fundraiser, Christoffer Andersen
The Distinguished Gentleman's Ride of 2019 is nearly upon us. Every year, incredible folks from around the world band together in support of men's health. Now, this might seem like it's starting out like every other story, but I guarantee you, it will not end that way. Why? Because this is a story we have never shared before.
Christoffer Andersen, Copenhagen local, and currently the world's 4th highest fundraiser. Christoffer has been a part of DGR since 2016 - but this year has sparked something a little different for Christoffer. But before we get to that, let's get to know a little more about the man himself.
Chris is 36 years old and was raised with motorcycles in his blood. Chris' father runs and owns a motorcycle shop, and you guessed it, is where he works. "I started riding when I was 18 and I'm still riding because I love it. I use my bike every day, and my oldest son is riding with me to kindergarten every morning - we have a lot of fun, riding my noisy Moto Guzzi V7 with Agostini exhaust (it has the best sound). I have done a lot of sports over the years, and when I was 7 I did ballroom dancing until I was around 16 - I was one of the best in Denmark. After that, I started road racing in Scandinavia and later on in Germany. I did the IDM in 2009 and was 3rd in the European Championship Supersport 600, but stopped racing in 2012." Now, Chris is a father of his 2 boys - a 5 year, and a 5-month-old.
Chris' DGR journey began in 2016 - attracted to the event, Chris was drawn in by the style and community of the event. After one ride, he was hooked. From 2018, Chris began assisting our seasoned host, Morten and began supporting the ride. This year, Chris and his team are giving a weekend trip to London for 2, visiting Hedon and Bikeshed.
Now, we know that Chris loves DGR - but we always ask, why. "DGR means the world to me, it's not just about raising money to some institution, it's also about connecting with people locally and globally. The awareness on the day we ride is also amazing. To see all the Gentlemen and Ladies riding across Copenhagen is stunning. And the message spreads the whole day."
"My mom died 4 weeks ago, losing a 4-year-fight to Cancer. Because of my Mom's death, we asked for a donation instead of flowers. We wanted the family to give the money to DGR because we believe that this can make a difference to help men all over the world."
If you didn't notice already, Chris is an official 2019 Global Ambassador for The Distinguished Gentleman's Ride. After hearing his story, I think you know exactly why. Chris wanted to get involved because he wanted to support something he loved, in helping to spread the word on prostate cancer research and men's mental health programs and to raise funds for the causes.
Chris, thank you for sharing your story, and for being such a huge part of the global DGR family. We can't wait to see you riding alongside us in Copenhagen this September 29th!
Event Photography by Fie Franciska
2019 DGR Wrap Up Video #4
The Distinguished Gentleman's Ride presents to you, the fourth instalment in our series of Wrap Up V...
Tidy Tai From Tampa Bay
You would have seen this man before. His incredibly unique style has made him instantly recognisable...
The Distinguished Gentleman's Ride presents to you, the third instalment in our series of Wrap Up Vi...
The Distinguished Gentleman's Ride presents to you, the second instalment in our series of Wrap...
The Distinguished Gentleman's Ride presents to you, the first instalment in our series of Wrap Up Vi...
DGR 2019 Highlights
With The 2019 Distinguished Gentleman's Ride prize competitions ending, we can happily announce all ...
© 2020 The Distinguished Gentleman's Ride. All rights reserved.
Funraisin - Modern nonprofit fundraising software to manage your brand site and run your peer to peer online fundraising


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By Petra Bartosiewicz • 05/05/03 12:00am
Board 8 Rallies to Oppose
Local Firehouse Closures When Mayor Bloomberg grimly announced last year that the city should brace itself for a $4.8 billion budget gap in 2003, he assured the public that "smart management [would] keep the pain of belt-tightening to a minimum."
Though it's clear by now that the cost-cutting measures floated by City Hall will be anything but painless, few of the proposed cuts have elicited the outrage sparked by the Mayor's plan to close eight firehouses throughout the city. Residents and firefighters say the projected annual savings of $10 million are a drop in the fiscal bucket when set against the remainder of the city's massive deficit, to say nothing of its overall $44.5 billion budget for fiscal 2003.
At Community Board 8's April 24 meeting, residents and firefighters appealed to board members and the public to step up their support in the fight against the engine-company closures.
Christine Rankin, a member of the Firefighters Appreciation Committee, a group formed after the Sept. 11 attack, condemned the city's plan, telling board members that the meager budgetary savings would hardly justify further stretching the already-thin resources of remaining firefighters.
"When you're talking about a multibillion[-dollar] deficit alone, 10 million is a 'whoops!' in the accounting," Ms. Rankin said. "The City Council has offered money-generating ideas to cover this $10 million to save the firehouses, and it's falling on deaf ears. The Mayor's just not listening."
Of the eight engine companies slated for closure as early as May 22, Engine 44 at 221 East 75th Street, between Second and Third avenues, and Engine 261 in Queens, which serves Roosevelt Island, have the most direct impact on residents in the Board 8 district. Four of the remaining engine companies on the chopping block are in Brooklyn, another in Queens and a final one in Harlem.
Unlike the other engine companies, which will be shut down completely, Engine 44 will be replaced by Squad 252 from Brooklyn, a unit specializing in hazardous-materials emergencies. The decision to transplant the squad from its current home in Bushwick to the well-heeled confines of the Upper East Side has generated particular controversy due to the new location's close proximity to the Mayor's residence on 79th Street, and has prompted grumbling that the neighborhood is receiving special treatment with the installation of an elite squad.
But firefighters say the squad, which will have a much greater scope of coverage than the departing engine company, isn't necessarily going to provide the Upper East Side with extra protection. In addition to combating the fires in the area Engine 44 covers, Squad 252 will also respond to hazardous-materials calls throughout Manhattan and parts of Queens and Brooklyn. The danger, some firefighters point out, is that the squad will likely be called out of the firehouse more frequently than Engine 44. And unlike engine companies, whose firehouses are often temporarily occupied by nearby engines while they respond to a call, squads are not similarly covered.
"If the squad company goes out. there's no one to replace them,"
Lt. John Hindle of Engine 44 told The Observer , "and they're out all the time-there's only eight or nine [hazardous-materials squads] in the city,"
For neighborhoods with engine companies slated for complete closure, fears that the community will become more vulnerable are all the greater. Matthew Katz, president of the Roosevelt Island Residents Association, said that residents are worried about the loss of Engine 261, which traverses the Roosevelt Island Bridge, the only road to the island, and is often the first responder in medical as well as fire emergencies.
"We were devised in the late 60's as a planned community with a large number of seniors, and we've had special concerns regarding transportation, especially in terms of emergency medical services," Mr. Katz told The Observer . "Whatever comes to the island has to come over that bridge. If they're five minutes delayed because they have to come farther from Queens, that could mean life or death for someone."
Of considerable concern to some residents is the potentially disastrous effect of a fire involving the Buckeye Pipeline, a major supplier of jet fuel to J.F.K. and La Guardia airports, which runs from Linden, N.J., to New York and passes directly under Long Island City, Queens, in direct proximity to Engine 261.
When the plan to shut down the engine companies first surfaced last November, Board 8 passed a unanimous resolution urging the Mayor to reconsider the closures of Engines 44 and 261.
"We stand by that resolution," Board 8 chair Charles Warren told The Observer , adding that the board was particularly concerned about the specialized duties handled by Squad 252. "There's a concern that this will dilute the capacity of the squad to be able to respond to localized emergencies," he said.
While the Fire Department's top officials have been supportive of the Mayor's plan, many firefighters worry that the city has dangerously underestimated the increase in response time that will result from the closures. "Firehouses have been strategically placed through the city, and any time you remove part of that puzzle, then those numbers and that response time will go up dramatically. We're spread thin as it is," Engine 261 firefighter Steve Cycan told The Observer .
Firefighters stress that their opposition to the Mayor's plan isn't motivated by fear for their jobs-the city has said that firefighters in engine companies slated for closure will be redeployed throughout the city-but that, in addition to increased response times, disturbing the delicate balance of the city's firehouses will inevitably compromise the safety of the neighborhoods they know so well.
"There's a whole know- ledge factor of the types of buildings and their little idiosyncrasies passed on from one generation to the next about the buildings in your area," said Lieutenant Hindle. "And all that's going to be lost-100 years of knowledge-because once the guys are spread out, the new guys coming in are not going to have the same background."
-Petra Bartosiewicz
May 6: Board 7, the West Side YMCA, 5 West 63rd Street, 7 p.m., 212-362-4008.
Filed Under: Brooklyn, Community Boards, Roosevelt Island, Matthew Katz, Christine Rankin
SEE ALSO: Eight Day Week


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Tag: Becky Price
BOLDWOOD – Glory Of The West (Hobgoblin HOBCD 1018)
Boldwood released their first album ten years ago. Glory Of The West is their second so there have been a few changes in between. The group has slimmed down to a quartet with Matthew Coatsworth joining Becky Price, Daniel Wolverson and Kate Moran. The essence of the line-up is still fiddles and violas with Becky on accordion and piano and now Matthew adds his English concertina. The repertoire is English dance music from the 17th and 18th centuries with one tune as late as 1838. Although originally published in collections of country dances, these are more like country house dances and they conjure up images of elegant drawing rooms and lavishly appointed ballrooms.
Not that there is anything stiff or overly formal about Boldwood. The opener, 'Dainty Fine Bride' from the pen of Nathaniel Kynaston, is played as daintily as you like except that the pizzicato gives it a very modern feel. Other sources include the usual suspects John Playford and Thomas D'Urfey (responsible for a delightful setting of 'Just As The Tide Was Flowing') but Boldwood have a fascination for old and obscure manuscripts, even finding 'The Bastille' printed on a dance fan in the Ashmolean. Some of these tunes will be familiar but most will not.
Boldwood have their spirited side, too. 'The Coquet/Irish Frolick' will leave you as breathless as any ceilidh band but they follow it with 'At The Brow Of The Hill', a flute composition recast for piano and concertina. Initially, it sounds as though it was designed to give the ladies time to swoon, but it too picks up the pace. The title track is the album's big production number, starting out rather untypically before building to a climax.
Glory Of The West is a multi-purpose album. You can practice your dance steps to it; pinch a tune or two if you're so inclined or just listen to it for pleasure. It's very good for that.
Dai Jeffries
Artists' website: www.boldwood.org
'Hunsdon House' recorded at The Ashmolean Museum (not from the album):
Posted on March 23, 2018 January 27, 2019 Author EditorCategories CD Reviews, Store, VideoTags Becky Price, Boldwood, Dai Jeffries, Daniel Wolverson, Glory Of The West, Hunsdon House, Katie Moran, Matthew Coatsworth
Boldwood: second album available soon
Glory Of The West is Boldwood's second full length album, coming a decade after their debut album, Feet, Don't Fail Me Now, which was released in 2007 to great acclaim, and also included many previously unrecorded tunes. The band was awarded Fatea magazine's Tradition Award in 2008. This long awaited release contains 12 more gems gleaned from the rich past of English dance music by Becky Price. Members past and present appear in the current BBC television adaptation of Poldark. Boldwood's music was also heard in episode two.
Boldwood was born in 2003, when accordionist Becky Price visited the Vaughan Williams Memorial Library in Cecil Sharp House, London. She was drawn to an elegant, locked bookcase containing mysterious leather-bound volumes. Wearing the regulation white gloves, she leafed through the fragile, often handwritten manuscripts and discovered a treasury of forgotten English dance music. Copying out her favourites she gradually realised what these tunes really needed…… a new band!
Back in 18th century England, the worlds of folk and classical music happily co-existed and inspired each other to produce rich and fascinating instrumental music. This glorious period in our musical history provides Boldwood with the core of its repertoire. Much of Boldwood's material is taken from little-known publications and hand-written manuscripts, all of which could end up sounding rather dry and academic. Boldwood, however, is anything but, being described by Blast from the Pastas 'the most exciting band playing English music at the moment'.
All the members of Boldwood are classically trained, with an additional grounding in traditional music and, since much of this material was originally intended for dancing, they bring these neglected musical gems to life with a tremendous energy and drive.
A book of tunes collected by Becky and Matthew –The Boldwood Dancing Master -was published in 2014. In 2016, The Second Boldwood Dancing Master was published by Blast Books.
BECKY PRICE (piano accordion) studied classical piano with David Earl in Cambridge, played in Finality Jack for 7 years and has recorded with Blowzabella members Dave Shepherd (Ashburnham) and Jon Swayne (Love And A Bottle).
KATE MORAN (violin, viola) recently completed a Masters in Violin Performance at the RNCM in Manchester. She has played English traditional music since her childhood, was a member of the Britten-Pears Orchestra for several years, and currently divides her time between Boldwood, teaching and freelance classical playing, most recently with Longborough Opera.
DANIEL WOLVERSON (violin, viola) plays fiddle in Pach Pi, Infamous Grouse and Finnegan's Wok, and hurdy-gurdy in French dance band Cyser. He also plays nyckelharpa (Scandinavian keyed fiddle,) and played soprano violin in a performance by Carleen Hutchins' New Violin Family in 2005 (dir. Roddy Skeaping)
MATTHEW COATSWORTH (fiddle, viola, English concertina)
Artists' website: http://www.boldwood.org/
Posted on February 19, 2018 January 27, 2019 Author EditorCategories Press Releases, Store, VideoTags Becky Price, Boldwood, Daniel Wolverson, Glory Of The West, Kate Moran, Matthew Coatsworth


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Influence of Microwave Radiation on the Organism of Man and Animals
influence_of_microwave_radiation_on_the_organism_of_man_and_animals
ABSTRACT: The book deals with problems of the effect of the microwave field on the organism, which are becoming more pressing with each passing year, since the power outputs of microwave generators are being increased and more and more persons are being exposed to this factor. The monograph consists of three parts.
The Introduction deals with the biological bases of the action of microwave electromagnetic radiation on the organism. Parts I and II set forth experimental material on the influence of high and low microwave intensities on the animal organism, characterizing the functional changes of the organism's basic systems and its metabolism. Also considered is the question of damage due to microwaves combined with other factors and changes in the organism's immunological reactivity, the properties of bacteria, viruses, and simple animals.
Part III of the book is devoted to the influence of microwaves on the human organism and sets forth data acquired as a result of observations on volunteers as to the influence of low microwave intensities on the healthy human organism; it sets forth the symptomatology, stages, reversibility of changes, and a classification for the pathological processes that arise under the influence of microwaves in persons working with microwave generators.
The book examines problems in the etiology and pathogenesis of sequelae to exposure to microwave radiation, characterizing the significance of microwaves and factors operating concurrently with them in the appearance of pathological changes, and indicating the basic pathogenic mechanisms of the pathological changes that arise under the influence of microwaves. It also presents material characterizing the application of microwaves to treat patients.
The last chapter is devoted to protection from and prevention of detrimental effects of microwaves on the human organism. It cites the maximum permissible microwave radiation levels, characterizes means for individual and collective protection from the harmful effects of microwaves, and presents experimental material on the use of drugs to prevent detrimental after effects of microwave exposure.
The Conclusion sets forth concisely the basic premises of the problem of microwave effects on the organism as reflected in the monograph and takes note of problems that require further study.
The book contains 24 illustrations, 36 tables, and a bibliography of 521 citations.
Click here to read the Conclusions (10 pages).


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But legalization does not mean replacing criminalization with a free-for-all, writes Paul Armentano, deputy director of the National Organization for the Reform of Marijuana Laws (NORML).
But legalization does not mean replacing criminalization with a free-for-all.
America's real-world experiment with regulating marijuana has been a success.
Twenty-six states now regulate the plant's therapeutic use, and four states and Washington, D.C., authorize its use and sale to all adults.
Contrary to the fears of some, these policy changes are not associated with increased marijuana use or access by adolescents, or with adverse effects on traffic safety or in the workplace. Marijuana regulations are also associated with less opioid abuse and mortality. In jurisdictions where this retail market is taxed, sales revenue has greatly exceeded initial expectations.
The enforcement of marijuana prohibition financially burdens taxpayers, encroaches upon civil liberties, engenders disrespect for the law, and disproportionately impacts young people and communities of color. It makes no sense from a public health perspective, a fiscal perspective, or a moral perspective to perpetuate the prosecution and stigmatization of adults who choose to responsibly consume a substance that is safer than either alcohol or tobacco.
A majority supports this policy change. Voters have grown tired of seeing their fellow citizens arrested nearly 600,000 times annually in marijuana possession cases. According to Gallup this month, 60% of adults endorse legalizing the marijuana market for adults — the highest percentage ever recorded in polls.
But legalization does not mean replacing criminalization with a marijuana free-for-all. Rather, it means the enactment of a pragmatic regulatory framework that allows for the licensed commercial production and retail sale of marijuana to adults, but also restricts and discourages its use among young people. Such a regulated environment best reduces the risks associated with the plant's use or abuse.
By contrast, advocating marijuana's continued criminalization does nothing to offset the plant's potential risks to the individual user and to society; it only compounds them.
Despite nearly a century of criminal prohibition, marijuana is here to stay. America's laws should reflect this reality, and they should regulate the marijuana market accordingly.
Paul Armentano is deputy director of the National Organization for the Reform of Marijuana Laws (NORML).


We enjoy recycling opportunities including aluminium, plastic, glass, cardboard and paper, tyres, batteries and others. It is my understanding that the Sister Islands do not have collection and recycling for glass, plastic, cardboard or paper. Can you confirm whether this is true and, if so, find out why not? They may be small, but both islands appear to be growing a Mount Trashmore of their own.
Auntie's answer: Yes, it is true. A Department of Environmental Health (DEH) official confirmed that for now only batteries and aluminium cans are recycled on the Sister Islands.
Logistical issues are preventing the recycling of other items, the official explained, including factors such as storage and shipping.
The DEH has set up recycling bins at spots throughout Cayman Brac and Little Cayman and the batteries and cans are routinely collected and shipped to Grand Cayman, where they are baled and exported.
The recycling options on the Sister Islands may expand at some point, though. The official added that the DEH "hopes to be able to provide increased recycling services to the Sister Islands in the foreseeable future".
Why are trees being cut down on the beach?
There is no public recycling in Bodden Town, North Side or East End. So we have to drive ours to Savannah, often finding the bins too full.
As a resident of the Sister Islands, I can tell you that batteries are only collected once or twice a year. Making it difficult to recycle due to the incredibly long time we have to store them until they are collected. Also, cans are not recycled at all. The DEH brought the blue bins to start recycling cans, however cans have never been collected.
A suggestion is to approach the dive resorts there, some of which send their boats over here to G.C. throughout the year for maintenance and see if they would contribute to transport a load of batteries , which could then be delivered to either the land-fill drop off , or a secondary private re-cycler, who ships them to the U.S. I'd happily volunteer a truck ( here on G.C.) to move them. This way, the acid and more importantly , dissolved lead isn't getting into the ground. But a question beckons , what has been happening to toxic waste in the sister islands the last half a century? The answer to this may not be what you would like to hear. Little Cayman is touted as eco-friendly and environmentally conscious , but light is being cast on a problem that says otherwise .
I don't know about recycling, but beach clean-ups are desperately needed on Little Cayman. The amount of plastic drifting onto the beaches there is heartbreaking. If you walk north of Point of Sand where the iron sore starts there is enough plastic to fill 5 dump trucks and the whole north coast is exactly the same. Can we start sending prisoners there on day trips to pick up the garbage? I attempted to pick some up on my own but a team of 20/30 people is needed with trucks/dumpsters to move it all.


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Toronto: AGC Boards Biopic of Happy Mondays Frontman Shaun Ryder
Jack O'Connell, Jason Issacs, Holliday Grainger and Maxine Peak are in negotiations to star in the musical biopic.
Independent studio AGC Studios will fully finance and co-produce Twisting My Melon, the musical biopic of U.K. band Happy Mondays frontman Shaun Ryder, chairman and CEO Stuart Ford unveiled on Friday.
Jack O'Connell (Unbroken, Money Monster), and Jason Issacs (Hotel Mumbai, The Death of Stalin) are in advanced negotiations to star as Ryder and his father, Derek Ryder, the company said. Also in discussions to join the cast are Holliday Grainger (Patrick Melrose, Cinderella) as Ryder's girlfriend and Maxine Peake (The Theory of Everything) as his mother.
Based on Ryder's autobiography of the same name, the project was developed by writer/director Matt Greenhalgh (Control, Nowhere Boy, Film Stars Don't Die in Liverpool) and his production company Maine Road Films. Greenhalgh co-wrote the screenplay with Andrew Knott and William Ash and will direct and produce the film. It will be his feature film directorial debut.
Also attached to produce are Mark Lane (47 Metres Down) of U.K. production firm Tea Shop & Film Company, and Kevin Sampson. Ford and AGC's Callum Grant will executive produce together with Jeremy Gawade. AGC will present the project to buyers at the Toronto International Film Festival.
"Since childhood, all Shaun Ryder ever wanted to do was play in a rock band like his father, a local working-class guitar hero dubbed the 'Horseman'," according to a plot description. "Soon his drive and one-of-a-kind songwriting skills catapulted him to front man of the Happy Mondays, the iconic '90s British rock band that would come to define a new cultural era. But success challenged Shaun and his relationship with his father in a riotous cautionary rock fable, set against a musical and cultural revolution whose impact can still be felt today."
Said Greenhalgh: "Shaun Ryder is the son of John Lennon, Johnny Rotten with a few kilos of John Belushi stamped in. He's risen from the dead more times than anyone can remember, and his poetry will last forever. Shaun, and the last true working-class band - the Happy Mondays - mainlined into my musical DNA when I was sixteen years old. Like millions of others I readily boarded their ecstatic revolution."
Production is scheduled to start in January.
Topic: #the theory of everything #shaun ryder #toronto international film
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Our goal is to provide immersive opportunities for students to engage in off-campus study programs that complement and connect with the academic offerings of the College. We endeavor to make international education a possibility for all students, contributing to their development of global citizenship and maturity, and to provide continual guidance along the way. We further increase the internationalization of the campus community by nurturing a portfolio of student exchange partnerships which bring international students to W&J.
We encourage students pursuing all majors, as well as international students, to consider incorporating off-campus study into their academic plans.
Current students: make an appointment now!
Sara advises for all programs except those in Asia and Australia and can answer any study abroad questions you have.
Schedule an appointment with Sara now!
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Going abroad for the summer? See this page.
Are you a faculty member looking for the recommendation and advisor approval forms for a student who plans to go abroad for a semester or year? Visit our For Faculty wiki page; you will be asked to log in using your W&J credentials. Thank you for your support!
W&J has joined Generation Study Abroad, a coalition to double the number of students who study abroad by the end of the decade. Contact us to start your journey.


text:
package com.microsoft.azure.management.vmwarecloudsimple.v2019_04_01.implementation;

import com.microsoft.azure.management.vmwarecloudsimple.v2019_04_01.VirtualMachineTemplate;
import com.microsoft.azure.arm.model.implementation.IndexableRefreshableWrapperImpl;
import rx.Observable;
import java.util.List;
import com.microsoft.azure.management.vmwarecloudsimple.v2019_04_01.VirtualDiskController;
import com.microsoft.azure.management.vmwarecloudsimple.v2019_04_01.VirtualDisk;
import com.microsoft.azure.management.vmwarecloudsimple.v2019_04_01.VirtualNic;

class VirtualMachineTemplateImpl extends IndexableRefreshableWrapperImpl<VirtualMachineTemplate, VirtualMachineTemplateInner> implements VirtualMachineTemplate {
    private final VMwareCloudSimpleManager manager;
    private String regionId;
    private String pcName;
    private String virtualMachineTemplateName;

    VirtualMachineTemplateImpl(VirtualMachineTemplateInner inner,  VMwareCloudSimpleManager manager) {
        super(null, inner);
        this.manager = manager;
        // set resource ancestor and positional variables
        this.regionId = IdParsingUtils.getValueFromIdByName(inner.id(), "locations");
        this.pcName = IdParsingUtils.getValueFromIdByName(inner.id(), "privateClouds");
        this.virtualMachineTemplateName = IdParsingUtils.getValueFromIdByName(inner.id(), "virtualMachineTemplates");
    }

    @Override
    public VMwareCloudSimpleManager manager() {
        return this.manager;
    }

    @Override
    protected Observable<VirtualMachineTemplateInner> getInnerAsync() {
        VirtualMachineTemplatesInner client = this.manager().inner().virtualMachineTemplates();
        return client.getAsync(this.regionId, this.pcName, this.virtualMachineTemplateName);
    }

    @Override
    public Integer amountOfRam() {
        return this.inner().amountOfRam();
    }

    @Override
    public List<VirtualDiskController> controllers() {
        return this.inner().controllers();
    }

    @Override
    public String description() {
        return this.inner().description();
    }

    @Override
    public List<VirtualDisk> disks() {
        return this.inner().disks();
    }

    @Override
    public Boolean exposeToGuestVM() {
        return this.inner().exposeToGuestVM();
    }

    @Override
    public String guestOS() {
        return this.inner().guestOS();
    }

    @Override
    public String guestOSType() {
        return this.inner().guestOSType();
    }

    @Override
    public String id() {
        return this.inner().id();
    }

    @Override
    public String location() {
        return this.inner().location();
    }

    @Override
    public String name() {
        return this.inner().name();
    }

    @Override
    public List<VirtualNic> nics() {
        return this.inner().nics();
    }

    @Override
    public Integer numberOfCores() {
        return this.inner().numberOfCores();
    }

    @Override
    public String path() {
        return this.inner().path();
    }

    @Override
    public String privateCloudId() {
        return this.inner().privateCloudId();
    }

    @Override
    public String type() {
        return this.inner().type();
    }

    @Override
    public String vmwaretools() {
        return this.inner().vmwaretools();
    }

    @Override
    public List<String> vSphereNetworks() {
        return this.inner().vSphereNetworks();
    }

    @Override
    public List<String> vSphereTags() {
        return this.inner().vSphereTags();
    }

}


text:
Arrangement note
Forms Part Of
Related Archival Materials note
Smithsonian Folklife Festival records: 1988 Festival of American Folklife
CFCH.SFF.1988
Smithsonian Institution. Center for Folklife and Cultural Heritage
1 Cubic foot
Ralph Rinzler Folklife Archives and Collections
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
This collection documents the planning, production, and execution of the 1988 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arranged in 6 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: American Folklore Society Centennial
Series 3: Festival Music Stage
Series 4: Ingenuity and Tradition: The Common Wealth of Massachusetts
Series 5: Migration to Metropolitan Washington: Making a New Place Home
Series 6: Music from the Peoples of the Soviet Union
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1988 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
CFCH Staff
The 1988 Festival celebrated the centennial of the American Folklore Society, founded one hundred years earlier because of the need to document and study cultures that were seen as disappearing. Much of the Society's attention today, however, is engaged in the documentation and interpretation of emerging traditions and cultural expressions. Folklorists work in inner cities, conduct research on occupational groups, analyze processes of traditionalization and cooperate with other professionals in devising natural conservation and historical preservation strategies, which also promote cultural continuity, equity and integrity. Visitors to the 1988 Festival could learn about what it is that folklorists do and what impacts they have on the communities with which they work.
The other living exhibitions that made up this year's Festival also provided ample illustrations of this same view of the traditional. The Massachusetts program told a paradigmatic American story. Gay Head Wampanoag, Yankee settlers, Afro American migrants, and immigrants from Italy, Greece, Poland, the Cape Verde Islands, Puerto Rico, and Southeast Asia have not only preserved their traditions; through ingenious acts of individual and community creativity they have adapted them and endowed them with new meanings, as circumstances have changed. The Metropolitan Washington program pointed to the heightened consciousness of cultural issues associated with the migration experience. The program asked how immigrants from El Salvador, Ethiopia, China, Trinidad and Tobago, as well as domestic Anglo and Afro American groups historically migrating from nearby states, discard, reinvent, and reconstitute their traditions as they actively make a new place home. A varied contingent of musicians and performers from several republics of the Soviet Union demonstrated how truly ancient traditions nurtured in various pastoral, tribal, and religious environments have not merely survived but actually flourished in contemporary Soviet life. Also at the Festival were American musicians who, as part of a groundbreaking cultural exchange with the Soviet Union, would later travel to Moscow to participate in the International Folklore Festival in August 1988 and be reunited with the Soviet musicians participating in the Smithsonian's Festival.
The 1988 Festival took place for two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).
The 1988 Program Book included schedules and participant lists for each program; the Program Book essays provided a larger context for the Festival presentations, extending beyond the traditions actually presented at the 1988 Festival.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.
Office of Folklife Programs
Richard Kurin, Acting Director; Diana Parker, Festival Director; Anthony Seeger, Curator, Folkways Records; Thomas Vennum, Jr., Senior Ethnomusicologist; Peter Seitel, Senior Folklorist; Marjorie Hunt, Phyllis M. May-Machunda, Heliana Portes de Roux, Frank Proschan, Nicholas R. Spitzer, Folklorists; Jeffrey Place, Assistant Archivist
William Penn Mott, Jr., Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Physical Characteristics and Technical Requirements note
The Rinzler Archives is continually engaged in digitization of archival materials to facilitate preservation and ready access by users. However, given the diversity of legacy formats of the originals, some older materials may not be available. Notably, certain older audio recordings cannot be played because of deterioration of the tape stock, and the Archives has no playback equipment for EIAJ-1 videoreels (1/2 inch) or multi-track audio recordings. Where listening or viewing copies are available, this is generally indicated for each item. Users are encouraged to contact Archives staff to verify that the materials of interest to them are already accessible, or to determine if they can be digitized as needed.
Smithsonian Folklife Festival records: 1988 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
World music Topical Search Smithsonian Collections Search ArchiveGrid
Food habits Topical Search Smithsonian Collections Search ArchiveGrid
Business records Genre Form Search Smithsonian Collections Search ArchiveGrid
Correspondence Genre Form Search Smithsonian Collections Search ArchiveGrid
Memorandums Genre Form Search Smithsonian Collections Search ArchiveGrid
Sound recordings Genre Form Search Smithsonian Collections Search ArchiveGrid
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Plans (drawings) Genre Form Search Smithsonian Collections Search ArchiveGrid
Audiotapes Genre Form Search Smithsonian Collections Search ArchiveGrid
arts and crafts Topical Search Smithsonian Collections Search ArchiveGrid
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Digital images Genre Form Search Smithsonian Collections Search ArchiveGrid
Notes Genre Form Search Smithsonian Collections Search ArchiveGrid
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Smithsonian Folklife Festival Corporate Name Search Smithsonian Collections Search ArchiveGrid
Smithsonian Center for Folklife and Cultural Heritage
rinzlerarchives@si.edu
https://www.folklife.si.edu/archive/


text:
SI makes right choice: Peyton Manning
Posted on: December 18,2013
Rick Cleveland
Surely, you have seen by now where Peyton Manning, Archie and Olivia's middle son, has been named Sports Illustrated's Sportsman of the Year for 2013.
He is the 60th winner, joining the likes of Roger Bannister (the first), Stan Musial (the fourth), Arnold Palmer (the seventh), Bill Russell (the 15th), Muhammad Ali (the 21st), Jack Nicklaus (the 25th), Joe Montana (the 37th), Michael Jordan (the 38th), Cal Ripken (the 42nd), Brett Favre (the 54th) and Lebron James (last year).
I list those to say this: Not just anybody wins this honor.
"I'll tell you what's almost as impressive as the people who have won it is the people who didn't," Archie Manning said.
Those would include John Elway, Peyton's current boss, Walter Payton, Bear Bryant, Mickey Mantle, Willie Mays, Johnny Unitas and Jerry Rice, just to name a few.
"I think it's the most prestigious award in sports because it takes in all the sports," Archie Manning said. "I look at this way: One of the people they chose Peyton over this season was Mariano Rivera. I mean, what a class act that guy has been for so long. I almost hate it that he won't win it."
My take: SI made the perfect choice. Peyton Manning, his career threatened by a serious neck injury problem that required four surgeries and caused him to miss an entire season, has re-learned how to play football — and throw a football — and remained at the top of his game.
Manning's 47 touchdown passes during the Broncos' 11–3 start puts him four TDs away from breaking Tom Brady's record for most touchdowns thrown in a season. The Broncos lead the league in total offense (453.4 ypg), passing (333.6 ypg), receiving (344.4 ypg) and points scored (535). You almost couldn't make his story up. He doesn't have the arm strength he had four years ago, but, at 37, Peyton Manning still quarterbacks like a conductor leading an orchestra.
Keep in mind, he is doing all this after being essentially discarded by the Indianapolis Colts. He has always conducted himself with class and humility learned from his parents. He is, in every sense of the word, a sportsman.
Looking at Peyton's grizzled visage on the cover of SI, I can't help to think back to a day 20 years ago. Peyton was a fresh-faced 17-year-old senior at Newman High in New Orleans, the nation's most highly recruited high school football player, and I was sent down to New Orleans to interview him. After all, he was Archie's son and Ole Miss was one of the three final schools he was considering. (This was at about the same time the venerable Don Shula was being named the 40th SI Sportsman of the Year.)
Jack Wilkinson, my buddy from the Atlanta newspaper, wanted to do the same type story I was doing, so Peyton agreed to an interview with both of us over lunch. We met him at the Mannings' house on First Avenue in Garden District and we let Peyton choose the restaurant. He not only chose Uglesich on Barronne Street, he drove us in his SUV and navigated the back streets of New Orleans like an old pro.
We got to Uglesich, one of the great, old New Orleans restaurants (gone but never forgotten), and were greeted warmly by Anthony (Ant-ny) Uglesich, the owner. We sat down and ordered. Peyton chose the soft-shell crab po boy, and suggested we do the same. Even then, Peyton liked to call the shots.
So, of course, we did order the soft-shell. We all had Bargs root beers and french fries on the side, and then Jack and I started asking a 17-year-old high school senior question after question. And I'll make a long story short: We, meaning Jack and I, two veteran sports writers, were dumbfounded by Peyton's intelligence, his manner and, most of all, his maturity.
As Jack told me later that day, "I felt like I was interviewing a 35-year-old, 12-year NFL veteran."
I did, too. I knew Peyton was going to be special. I just didn't know he was a future Sports Illustrated Sportsman of the Year.
To make a tax deductible donation and support your Mississippi Sports Hall of Fame and Museum, click here.