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Building IT-savvy labor force biggest challenge for material handling executives, Deloitte-MHI study says
Hiring, retaining skilled workers seen as "very" or "extremely" challenging.
By DC Velocity Staff
Hiring and retaining a trained work force to use increasingly sophisticated technologies remains the biggest headache for material handling executives, according to the third annual report on the state of the industry, which was released today by the material handling trade group MHI and consultancy Deloitte at the biennial Modex show in Atlanta.
As part of the survey, nearly 900 high-level industry executives were asked to gauge the importance of 10 challenges facing their organizations. About 58 percent, the highest percentage of all, said they face significant challenges in building a labor force capable of managing IT networks. About 57 percent said they find it "very" or "extremely" challenging to meet customer demands for faster response times, while 56 percent said that elevated customer requirements for lower delivered costs and pricing pose significant challenges.
Of the 10 topics, respondents demonstrated the least sense of urgency about the need to meet customers' demands for supply chain transparency and sustainability; only 26 percent of respondents said that posed a significant challenge to their organizations.
Concerns about a potentially acute shortfall of human capital were uppermost in respondents' minds in last year's survey as well. This year's respondent total was roughly double that of a year ago.
About 43 percent of respondents said the biggest impediment to innovation was making a clear business case for it. That is up from 36 percent a year ago and was a recurring narrative in conversations with various vendors at the Modex show, especially as emerging technologies become more widely utilized.
More coverage from MODEX 2016
- Ridg-U-Rak sees strong rack growth in second half of 2016
- SDI borrows new concept from a kangaroo
- Tecsys launches OneSprint WMS for small and midsize businesses
- Presto Lifts rolls out powered pallet trucks
- IAM Robotics unveils piece picking robot for e-commerce warehouses
- Packsize thinks "outside of the box"
- Versatile new Hyster truck series to be offered at a lower cost of acquisition and ownership
- Cognex launches rugged, vision-based barcode reader using consumer smartphones
- Numina Group releases Web-based dashboard for WCS/WES, adds 3-D camera to carton shipping system
- Yale showcases self-guided end-rider pallet truck, RFID-based remote vehicle controls
- Frazier Ergo Series racks go deep
- ACT's new battery chargers take a quantum leap forward
- Big Ass Fans creates a stir at Modex
- Kardex Remstar introduces more modular design for its horizontal carousel
- Lenze Americas' modular design, wireless software transmission enable "plug and play" updates for motors
- Mercurygate launches MercuryProcure, allowing shippers to negotiate bids with carriers
- DMLogic displays STEPLogic software tool for personalizing WMS platforms
- AutoGuide debuts short-frame tunneling AGV, new guidance technology for tugger
- SI Systems rolls out broad domestic inserter system
- Lucas launches Dynamic Work Optimization tool to cut DC picking travel
- Hytrol unveils new sorter for small items
- Dematic's boss sees "unprecedented" growth in North America, forecasts more acquisitions
- Fortna focuses on the people side of change
- Interroll rolls out new modular conveyor platform
- Knapp sortation solution turns warehouse workers into "pick pockets"
- Raymond announces one-screen, multifunctional display for telematics information and three new lift truck models
- Sensors will identify malfunctioning equipment, allowing it to fix itself, futurist says
- Cimcorp establishes U.S. corporate presence with office in Atlanta suburb of Norcross
- Westfalia sees boom in interest in warehouse technology solutions
- Modula rolls out enhancement to laser light technology
- Ambaflex to focus on energy, elevation, and heavier loads in spiral conveyor design, president says
- Wildeck debuts new family of tough guard rails
- Rack company Hannibal Industries invests in robotics, IT
- Ametek's TruBid system accurately measures battery charge
- Rite-Hite dock door product counts down to safety
- New Toshiba thermal printer prints double-sided labels
- HighJump supply chain execution software now runs on any commercial platform
- Clearpath Robotics displays Otto self-driving vehicles for material handling
- PosiCharge ProCore battery charger can be controlled with easy-to-use smartphone app
- Zebra displays rugged scanners, wireless sensors
- CHEP moves beyond the pallet
- Beumer puts a new spin on sorting
- Swisslog buys pallet shuttle storage company PAS
- Vanderlande unveils its Adapto shuttle
- Wavelink shows off Speakeasy and Velocity mobile warehouse computing tools
- Intralox redefines nonconveyables
- REB Storage provides first aid for damaged racks
- SSI Schaefer presents a cost effective and compact shuttle system
- TopVox shows Lydia voice and smartwatch picking suite
- Hydrogen fuel cell provider Nuvera touts synergies with parent Hyster-Yale
- Locus Robotics unveils collaborative robot for piece-picking DCs
- Plug Power rebrands, expands into Europe
- Cisco opens Houston innovation center to develop new supply chain technology
- Forte identifies four megatrends for the distribution center
- Intelligrated introduces maintenance management software, WES platform for e-commerce
- Cubic Designs showcases enhancements driven by demands of food and beverage sector
- Voxware shows Intellestra supply chain analytics tool
- Honeywell shows connected worker technology suite with voice, display, and scanning
- JDA shows off omnichannel tool array, including mobile platforms and parcel manifesting
- Ceiling fan maker MacroAir unveils LED lighting for industrial fan line
- Apex rolls out locker management system for devices; smart-bin technology for inventory replenishment, control
- IBS and Optricity announce strategic technology partnership
- Kion Group's Linde lift truck brand set for major expansion in North America
- Manhattan Associates upgrades tools to manage e-commerce inventory flows
- Muller rolls out new economical stretch wrapper
- Newcastle Systems has the right chemistry
- Opex presents Perfect Pick
- It's a pallet! It's a dolly! No, it's the Pally!
- Sealed Air looks to help customers reduce waste
- Witron highlights its OFS fulfillment system


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Luke Cage: Season 1, Episode 9 "DWYCK" (B+)
Now that Diamondback has revealed himself, he has no qualms about showing his face on a regular basis, and he is intent on making one hell of an entrance. Walking into the club and pointing his fingers at someone while simultaneously firing a gun with the other hand was one way to make a point, and he seems set on overseeing control of whatever new empire Shades and Mariah are trying to build with Cottonmouth out of the picture. As Luke is on the run, he's having trouble coming to grips with the idea that Diamondback is his brother, and his luck is running out both due to the public perception he's getting thanks to Mariah's machinations and the bullets that are literally killing him. He was as friendly as he could be to those two cops he had to knock out to escape incarceration, and he had to endure the awful reality of being deep-fried for a few minutes to reboot his diamond skin, something that seems like it's not happening as swiftly or effectively as was hoped. The best part of this episode was Misty's interview session with Dr. Krasner. It took me about thirty seconds to place the voice before I saw his voice, and I think that casting John Scurti, best known for his role on "Rescue Me," was absolutely fantastic. Their back-and-forth was superb, and while it's still hard to read Dr. Krasner and his true intentions, he did a marvelous job getting the truth out of her and teeing her up to be put back on the streets to reign in this case.
Thursday, December 8, 2016
What I'm Watching: Luke Cage
Posted by Movies with Abe at 12/08/2016
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text: Blog Home Recent Posts in January, 2016 ONCE UPON A CHILD OPENS IN NEWNAN, GA Jan 29, 2016 Congratulations to the father/daughter team of John Cheatham and Alli Spartis who opened their first Once Upon A Child in Newnan, GA, on Thursday, ... Posted By Winmark Continue Reading NATION'S LARGEST RESALE FRANCHISOR SURPASSES $1 BILLION IN SALES Jan 27, 2016 MINNEAPOLIS— Winmark Corporation—Twin Cities-based parent company of popular resale chains Plato's Closet®, Once Upon A Child®, Play It Again Sports®, ... Posted By Winmark Continue Reading TWO NEW STYLE ENCORES OPENED THIS WEEK Jan 22, 2016 Style Encore is excited to have added two more stores to its count this week. Gabe and Natalie Loesch, who own a Play It Again Sports, opened their ... Posted By Winmark Continue Reading NEW YEAR, NEW FRANCHISEES FOR PLAY IT AGAIN SPORTS Jan 12, 2016 What a great way to kick off 2017 for Play It Again Sports! Three new franchisees traveled to Minneapolis for their first week of training to open ... Posted By Winmark Continue Reading Page of 1


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Sunday December 8, 2019; 07:41 pm EST
13 Films to Inspire 2013
Punxsutawney Phil has prognosticated an early spring, but it doesn't feel like spring in Chesapeake Country. Like many a cold-hating human, Bay Weekly's movie-loving groundhog Chesapeake Chuck remains hiding in his burrow.
To get our rueful rodent — not to mention the rest of us — in a better mood, Bay Weekly movie-lovers suggest waiting out winter with inspirational movies. Some inspire us to believe in a better world, others to join a movement and some simply to get up in the morning to go to the gym.
–Diana Beechener, Groundhog Guide editor
The Power of One
Movies about inspirational historic figures
A Man for All Seasons
1966 • G • 120 mins.
"I think that when statesmen forsake their own private conscience for the sake of their public duties, they lead their country by a short route to chaos."
Robert Bolt's brilliant story of resolute morality in politics follows Sir Thomas More, who cannot support Henry VIII's desire to subvert the church and dissolve his marriage so he can remarry. Paul Scofield portrays this 16th century hero as a man who seeks a path out of his dilemma but cannot yield on his basic values, even if it means his life. When facing the most powerful man in the country, More stays resolute in his beliefs.
When More's voice breaks in his final visit with his wife, his internal battle is revealed. This quiet dark scene has electricity 46 years after it was made. It is a powerful story of bravery and morality worth watching again and again, especially when you think you've lost your way in life.
–Davina Grace Hill
1989 • PG-13 • 122 mins.
Based on the gut-wrenching letters of Colonel Robert Shaw, commander of the 54th Massachusetts Volunteer Infantry, the Civil War Union's first all-African American fighting unit, Glory chronicles the formation, training and battlefield heroics of an odd assortment of characters fighting for freedom, respect and salvation.
We view this a story about human dignity through the eyes of rebellious runaway slave Trip (Denzel Washington); grizzled old gravedigger Sgt. Major John Rawlings (Morgan Freeman); timid backwoods sharpshooter Jupiter Sharts (Jihmi Kennedy); scholarly Boston freedman Thomas Searles (Andre Braugher); and Shaw (Matthew Broderick). They battle their inner demons, racism and fear of failure and death.
The movie culminates with the meat-grinder charge of South Carolina's heavily fortified Fort Wagner. The night before the battle, the doomed soldiers testify before a campfire, bearing their souls and dreams in a scene so powerful it leaves you in tears. Glory is not about war but redemption, and its message is universal: All men are created equal.
–Steve Carr
1998 • G • 88 mins.
Disney's damsels have been cast in the leading role of children's movies since Snow White, but beautiful badass Fa Mulan (Ming-Na Wen) does not need saving. She does the saving.
Taking her ailing father's place in the upcoming war, she cross-dresses to fight in China's all-male army. As Mulan tries to succeed in a man's world, she's helped by former family guardian, diminutive dragon Mushu (Eddie Murphy).
She saves herself, her fellow soldiers, her captain and love interest Li Shang, the emperor and all of China from the impending Hun army invasion in less than 90 minutes. Not bad for a girl.
After watching on the big screen for the first time, I left with a fighting spirit to show the world that I could do anything, not despite being a girl, but because I was a girl. That's a lesson worth fighting for.
–Aries Matheos
Kinky Boots
2005 • PG-13 • 107 mins.
When life gives you lemons, make thigh-high boots. That's the message of Kinky Boots, the true story of a British men's shoe factory that fights economic depression with red pleather.
Charlie (Joel Edgerton) inherits the family company and debt after his father's death. Faced with selling the factory and laying off his workers, Charlie desperately seeks a solution.
Inspiration strikes when he comes to the rescue of a lady who broke her heel. That lady is Lola (Chiwetel Ejiofor), a nightclub singer and drag queen. Convinced he can make a shoe that can support a man's weight and look fabulous, Charlie reinvents his company.
Kinky Boots is a story about accepting who you are and the differences in others. It's also a great true story about a business that breaks out of the box to stay alive. It inspired me to embrace change and never turn down a pair of heels.
–Diana Beechener
Starting Over
Movies about people who changed their lives — or the world — for the better
Sullivan's Travels
1941 • NR • Not Rated
During the Great Depression, wealthy movie director Sullivan bores of making frivolous comedies. Inspired by a book depicting a hobo as the modern Ulysses, he sets out from Hollywood disguised as a penniless wanderer to learn about vagabond life. He ends up a chain-gang convict, far from Tinseltown and believed dead by his friends.
When a black church welcomes the ragged, dirty prison crew to its Saturday picture show, Sullivan realizes the value of shared laughter. The preacher and congregation are portrayed as fair and generous. Their hospitality restores Sullivan's faith.
Sullivan's Travels inspired many movie-goers to see African Americans in a new light. NAACP Secretary Walter White heralded the film for broadening black roles beyond the comedic and the menial, thanking director Preston Sturges for representing people of color in a dignified and decent manner.
Fifty-eight years later, Sullivan's Travels continues to inspire. The Coen brothers imagined the film Sullivan might have directed, resulting in their 2000 hit O Brother, Where Art Thou?
–Cathryn Freeburger
Renaissance Man
1994 • PG-13 • 129 mins.
Director Penny Marshall's serio-comedy stars Danny DeVito as a divorced, middle-aged business failure, forced to take a job teaching remedial thought to underachieving Army recruits. A misfit in the military milieu, the rebellious instructor trains them in literacy, problem-solving and team-building via Shakespeare's Hamlet and Henry V, discovering in the process his own passion for teaching and compassion for the folks behind the failures.
Avoiding the saccharine pitfalls of so many motivational films, this one confronts realism and failure while using DeVito's condescending wit and physical genius to season the pathos with laughs.
Especially entertaining is DeVito's desperate descent down a rappelling tower as he scrambles to reclaim his students' respect. This film is motivational from both sides, as the class and the disenchanted teacher inspire each other to be all they can be.
–Jane Elkin
Queen to Play
2009 • Not Rated • 101 mins.
A film about chess? Grumpy Russians and freaks like Bobby Fischer snatching pawns and smacking clocks?
Not this 2009 movie, my biggest surprise lately from the Netflix grab bag of foreign offerings.
Sandrine Bonnaire is a chambermaid in Corsica, where you will immediately decide you want to retire. Kevin Kline is a reclusive physician who doesn't have a lot to say but says it all in French.
If you've ever gotten seriously into chess, you can relate to the obsession that overtakes the captivating maid, who emerges not just as a prodigy but also a singularly determined feminist.
Kline, a St. Louis-bred screen and stage star, plays an understated role vastly different from his wacky, Academy Award-winning performance in A Fish Called Wanda, a favorite here.
The film has a peculiarity or two, including a bit of telepathy that doesn't quite fit. And it is not exactly a romantic comedy, as it is billed. But it is a fine movie about the potential locked up in all of us and a feel-good film worth ordering today.
–Bill Lambrecht
Robot and Frank
2012 • PG-13 • 89 mins.
When a retired cat burglar begins to lose his memory, his children give him a robot companion to keep him alert and safe. Frank (Frank Langella) recruits the robot to assist him in a final robbery.
A side plot involves Frank's interactions with a town librarian (Susan Sarandon) at a time when the obsolete library is being converted into something more modern.
The two plots create a wonderful situation for questioning what makes memories real and relationships valuable.
The cast gives brilliant performances, and a totally unexpected plot twist makes you wonder about everything you've just seen, playing with your own newly minted memories of this film. We must all start over, even at the end of our lives, even in ways unexpected, even in ways unknown.
–Davina Grace Hill
Moonrise Kingdom
2012 • PG-13 • 94 mins.
Boy meets girl. Boy falls in love with girl. Boy and girl run away into the woods to live happily ever after. The problem? They're 12 years old, and they're being hunted by an armed, pre-teen scout troop, a bunch of depressed, disgruntled adults, including Suzy's parents (Bill Murray and Frances McDormand) and Social Services (Tilda Swinton).
Writers Wes Anderson and Roman Coppola bring us an untraditional love story between two dysfunctional kids (Jared Gilman and Kara Hayward) who decide to change their entire world because of love. Tragedy and loneliness have molded the young lovers, but they learn to live, love and think for themselves. Their quirky love affair promotes cascading life changes for their parents, the scout troop, Scoutmaster Ward (Ed Norton) and police captain Sharp (Bruce Willis).
Moonrise Kingdom is a hilarious, bittersweet story of taking a humdrum existence and turning it into an epic story of second chances.
–Betsy Kehne
Make the Change
These films inspired our writers to make a change in their lives
Local Hero
1983 • PG • 111 mins.
Big American oil barons attempt to buy, at the cheapest possible cost, a small Scottish town to turn it into a refinery.
The catch? The locals want to sell and put off the Americans to raise the price they covet.
The twist? The Americans fall in love with the locale.
The ending? Too magical to give away.
With powerfully evocative music by Mark Knopfler (Dire Straits) and unexpected mermaids, African pastors, and roaring motorcyclists blending with Scottish musicians, fishermen and pub-owners, this is a whimsical delight from beginning to end.
After seeing the movie, I decided to join my family to return my uncle's ashes to his homeland in Scotland. I insisted we visit Arisaig and Morar, where this film was made, so we could walk the beach seen in the film. I watch this movie every year or so.
–Davina Grace Hill
Harry Potter & the Sorcerer's Stone
2001 • PG • 152 mins.
It's way past my 11th birthday, and I'm still trying to convince myself the owl got lost.
Harry Potter (Daniel Radcliffe), however, did receive his acceptance letter to Hogwarts School of Witchcraft and Wizardry.
Harry is whisked to the wizarding world to perfect his craft. Here he finds future best friends Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) amid all the typical trials of tests, ornery teachers, bullies and evil dark lords trying to take over the world.
The real magic of Harry Potter, however, is the true rags-to-riches story of Harry's creator J.K. Rowling, who wrote the children's books that inspired a generation.
This movie kicks off multiple careers and a blockbuster film series. The boy living under the stairs became The Boy Who Lived and the woman writing about him became a household name.
Time to stop waiting for my letter and write my own story.
–Aries Matheos
Midnight in Paris
2011 • PG-13 • 94 mins.
Midnight in Paris is magical and works magic, as does Paris itself. With Woody Allen as writer and director, you expect and get a film that's original, whacky, beautifully filmed.
A young writer of mediocre film scripts (Owen Wilson) goes to Paris with his sexy self-centered fiancée (Rachel McAdams) and her up-tight parents. Right off, we suspect this will not be a perfect marriage but that the characters will nonetheless keep on racing to the cliff edge.
The writer wanders off each night exploring the city alone. At the stroke of 12, he catapults into the dazzling, Bohemian society of the 1920s' French and expatriate American writers, artists and musicians.
The film inspires delight, a desire to reread certain writers, look again at Impressionist paintings, hear out the music of another time and watch old Woody Allen classics. The movie inspired us to buy tickets to Paris in May.
–Elisavietta Ritchie
Beasts of the Southern Wild
2012 • PG-13 • 93 mins.
Six-year-old Hushpuppy (Quvenzhané Wallis) lives with her father Wink in a poor Louisiana delta community called The Bathtub. A philosophical child, she sees her small shanty town as the center of the universe and wonders about the delicate balance that holds it together.
When her father gets sick and a storm threatens to envelop the community in floodwaters, Hushpuppy feels it's her duty to restore the balance of the universe. She sets out on a quest that shows her the power of nature, the universe and her own community.
A fairytale about the tenacity of the human spirit and the joy of nature, Beasts of the Southern Wild is a stirring film. It preaches about the power of close-knit communities and how they overcome adversity as a group. The Bathtub may not be a ritzy Delta community, but their love and compassion for each other can overcome any flood.
The movie inspired me to embrace my community and get to know my neighbors, since you never know when the floodwaters will rise.
–Diana Beechener


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Welcome to WebmasterWorld Guest from 18.104.22.168
Forum Moderators: martinibuster
So, I've been following what the owner of that site has done.
The site is part of an affiliate network in a very high-paying niche. But there aren't any banner ads or Adsense ads. The owner has very deftly put links to his affiliate advertisers in the text of his pages.
When it comes to links, though, this guy is good. In another thread I mentioned that he either constructed himself or paid others to contruct tools that are useful for some of the retail visitors to his site. But he went beyond that by offering these tools to the owners of other sites that cater to this particular niche. And each tool has an embedded link back to his site.
Today I discovered another technique he's using. Every Monday, he publishes opinions from about 250 widget marketers nationwide in which they give a short sentence or two about where they think the widget market is going. Each marketer gets a link back to the marketer's site.
But the net effect is that this widget price survey every week is published on a number of high-ranking widget-related sites, and he's getting weekly one-way links to his site.
The guy's site has been around for almost ten years, and it certainly looks like he knows how to network. You don't get 250 widget marketers to give you price predictions every Monday morning unless you've made friends with them.
But the genius of his strategy is that he's accumulating links from very reputable sites by giving other sites within his niche tools and services for free, tools and services that those site owners probably couldn't afford.
He's not asking for reciprocal links from other retail sites within this niche. He's got people knocking on his door, asking for permission to use his tools, and giving him top-quality links back to his site.
Man, I'd love to meet this guy.
If you want to be blown away even more, go to Yahoo and do a site search, but restrict the results to .gov, then .us, then .org, then .edu. Study what the website operator is doing to pick up those links. What you want to tease out is specifically what content is being linked to, and what makes that content a link magnet for those specific TLDs.
My guess is that he's bypassing affiliate programs like CJ or others, and getting the entire sales lead commission for himself. He's been around for so long that I'm guessing that he has some very solid contacts.
He's also been around for so long that he can get external links in Wiki's to his articles about various aspects of widget-buying. I've tried to insert external links to my own articles on the same Wiki's, but somebody always deletes them as commercial spam. Age has its perks, I guess.
His box of tools includes charts that show widget price fluctuations going back forty years, tools that show what widget prices would have been in any given year going back decades, and more.
As I mentioned before, very little of this is of use to the retail widget-buyer who's just trying to get some advice. The site offers that as well.
But the owner of this site has supplied other niche-related sites with so many free tools, charts and graphs over the years that there's easily two or three thousand that link back to his. Maybe more.
He's also set up another site that features just his free tools, which again he offers to widget marketers. But every tool, graph and chart has a link back to his main site.
If I'm going to make my new site successful, I at least need to rank close to this guy. Is replicating what he's done a good idea for linking, or a bad idea?
Any replies much appreciated.
It's always harder to be the second guy doing something -- especially if you were thinking about replicating the specific survey and tools, long after his have become entrenched.
The more I study what this guy has done over the last ten years, the more my respect for him grows.
A forum member sent me a Yahoo search tool that enabled me to see what .edu, .gov and .org sites are linked to this guy's site. There's a ton of them, all of them one-way. And it's all to the unique content he's created.
So, it's both. He provides very useful content that would require another site owner hours, or even days, to construct. And he offers it for free, with the condition that the content has a link back to his site.
For all I know, this guy may be Brett Tabke. ;)
I've read some criticisms about some of the guy's charts and other tools. The criticisms focus on the fact that they're not easily read or comprehended.
So, there's my opening: create tools that serve the same market, but make them more user-friendly, and tailor the tools for other needs. And, of course, offer them for free.
thats just link bait... been around for ages... now if you take a service like <snip> they have this approach sewn up... they give you free access to software anf in exchange they 'suggest' ways of saving you money through affiliate solutions... GENIUS so they can halp you switch power etc providers, credit card companies, loans, bank accounts, insurance providers... the list goes on and on...
GENIUS WE BOW TO YOUR SUPERIOR KNOWLEDGE lol
[edited by: martinibuster at 6:27 pm (utc) on Sep. 20, 2007]
[edit reason] Please no sigs, no specific websites, either. [/edit]
There's a lot of talk on this forum about how to get links from .edu sites. Well, this guy has links from hundreds of them because of the information he provides.
It's always fascinating to see how a particular site gets good rankings.
I always try to be as polite as I can on internet forums, as I have much to gain from the experience and knowledge of other posters, and nothing to gain by arguing with strangers.
The site owner I'm talking about has links coming from sites that, for 99.99% of SEO types, could never be begged, borrowed or stealed. And the links don't just come from some student's term-paper site that's been left on the .edu server for a few years. The links come from the professors' pages as well as from the niche-related .edu departments' pages.
Please tell me how you get to that level of quality links.
And he even has some links from .gov sites, including US federal-level niche-related sites. Talk about authority links.
"they give you free access to software anf in exchange they 'suggest' ways of saving you money through affiliate solutions... GENIUS so they can halp you switch power etc providers, credit card companies, loans, bank accounts, insurance providers... the list goes on and on... "
The site owner I'm referring to isn't asking for anything. That's the beauty of it all. He has people asking him for his content and links.
What this guy has done has me thinking of ten thousand ways to do the sorts of things he's doing, but differently and better, instead of dismissing what he's done as something that's been done before by fly-by-night sites.
I have had luck creating a 5 page PDF and making it available. The PDF has attracted reviews and one way links coming about 1 a month. Its evergreen which makes it even more attractive. Now i am trying to find other angles to create similar link bait resources.
Its much better than "begging" for links by email.


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"Aquatic entomologists place little emphasis on body color when attempting to identify a mayfly species. They collect virgin, male, mayfly spinners, and dissect them to clearly see their penes (mayflies have two). They then count the spines on the penes and compare them to photos in books to identify each species. There is no way to be sure of the species from a female spinner, and you may not be able to tell from a nonvirgin male. No kidding! I couldn't make this stuff up."
see ? as seemingly far-fetched, mind-boggling, thought-provoking and mostly giggly because it's not like these two thingies are going to double their pleasure.., as much as i like to make up shit i didn't make up this post's title either.
seeing how some aquatic bugs breathe through their butts and then all the others do all sorts of other weird things, that one little fact (ok, two) doesn't help us all that much if we're trying to match a hatch on the stream but it's all good to know because well, knowing is better than not knowing, it's cool and this kind of stuff is just a reminder that fiction usually isn't so far-fetched after all. the weird and mostly wonderful is all around us and it's real.
Paul Weamer's excellent article, Understanding Mayflies on Fly Fisherman -via Erin Block's super-duper Tippet section at MidCurrent- doesn't give us all the answers either but goes a long way in getting to know our little friends a little better.
click either pick to access the complete article and please excuse the fact that the main character in the second image isn't a mayfly but hey, it might turn into one if you stare at it long enough… enjoy !


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Supply Chain Solutions No.35 – Procurement Fraud
Sourcing from Asian suppliers generally leads to various ways to incentivise the sale which some believe is a regular part of business, but others may say fraud. Greasing palms to garnish a business deal is an age-old affair globally, is it ethical no, but it happens regularly
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Organisations engaged in direct and indirect procurement, there is always a chance an employee will engage in some form of inappropriate behavior that is not in the interest to the business.
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When a seller lies about who they are, have cash flow challenges temporarily disrupting supply or goes into bankrupcy crippling the supply chain, the business effects can also be devastating due to losing sales and customer reputation.
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Why doesn't this Chinese supplier listen to what I said or follow the instruction sheet?
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Strategic sourcing is the continual improvement and re-evaluation of your vendor matrix. The vendor matrix defines a group of vendors capable of meeting business procurement objectives across category spend, capacity, quality, and sustainability.
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Irrespective if the sourced item is direct or indirectly procured, the objective is to maximise perceived value which must maximise margin, be within cost and on time with the least amount of effort, and quality is fit for end use.
MOU – Intellectual Property Agreement
This document serves as an MOU IP agreement example for any business engaging a Chinese entity in a development project for consumer goods. The MOU sets the tone for sharing IP under one product and the rights of each party.
Supplier Payment Terms
Having the best-fit payment terms is an important part of the supplier management process, but what are the best payment terms for my business when working with Asian apparel suppliers?
Supply Chain Solutions No.26 – Downstream Supplier Management
Do you only evaluate the seller shipping or delivering the goods to your door or do you manage the full supply chain to reduce risk and build brand integrity?
Supply Chain Solutions No.25 – Is GUT based Supplier Sourcing Rational?
When evaluating suppliers, both services orientated and manufacturing, when you first meet the potential vendor and based on the immediate surrounding your gut forms a first impression.
Supply Chain Solutions No.24 – Mutual Confidentiality Agreement
When starting preliminary discussions with potential new vendors or third party partners, it is advisable to have a confidentiality agreement in place to protect intellectual property or what may be considered information that you do not want competitors or business partners to know. This first step must be considered as a general course of action to protect Confidential Information.
Supplier Terms and Conditions
The Supplier Terms and Conditions intend is to ensure all suppliers who manufacture your companies product comply to all business requirements to delivery fit for market product from a price, delivery and quality perspective. These Terms and Conditions are extensive in content, are China centric and serve as an example only.


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Remember that ancient Mitre Ten store behind the discount chemist on King Street? It's now the home of Rising Sun Workshop, Sydney's first and only communal motorbike workshop and ramen bar.
"As a pop-up we did ramen for lunch and dinner," says chef Nick Smith, of Rising Sun's Lennox Street beginnings. "With a proper kitchen and more seats, we have an opportunity to do much more."
Ramen is now just one lunchtime option, with the same three styles served at the pop-up: light, dark and veg. Noodles are joined by midday bánh mìs (non-traditional, square and exceptionally designed), a full breakfast menu and charcoal roasted skewers for the night-time bar trade, accompanied by Young Henrys beers and cocktails.
"When you have ramen, it's going to inform what you do on the rest of the menu," Smith says. Breakfast is furikake rice with pickles, sprouts and nuts; kaya toast; Hokkaido milk buns stuffed with egg, cheese and a kimchee slaw; and a "breakfast ramen" with buttered toast broth, bacon, egg and tomato. "The philosophy is; 'What would a Sydney cafe look like if we focused on our position in the world a little bit more?' I tried to look at our breakfast culture with a pan-Asian lens." Daniel Cesarino will be brewing Single Origin coffee and Dimity Genaus will be baking the pastries.
For dinner, Smith's non-traditional yakitori skewers will be joined by the occasional off-menu dinner special, which he has merrily dubbed the "secret dinner ramen."
You may also be able to learn something from the motorcycle repairs going on nearby during lunch – the cafe sits on a raised platform right next to the workshop. The building has two storeys, with an upper mezzanine that looks into the kitchen and the motorcycle workshop. It's a simple but clever design from architect and co-owner Heleana Genaus, with a lot of heritage elements maintained, an impressive feat considering Rising Sun's DIY, part-crowdfunded build.
The bike workshop will work much the same way as the Lennox Street pop-up, through memberships and hourly bookings. "The rates are kept low because of the commerce of the cafe and bar. For every coffee, cookie and bowl of noodles eaten you're helping someone else access the workspace," says Smith.
Rising Sun Workshop
1c Whateley Street, Newtown
(02) 9550 3891
Sun to Wed 8am–4pm
Thu to Sat 8am–4pm, 6pm–10pm
Tue to Sat 10am–8pm
Sun 10am–3pm


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Taken December 2009 at the San Francisco International Auto Show.
Ford F-150 SVT Raptor
Priced at just under $40,000, the 2010 Ford F-150 Raptor is a Baja race truck out of the box. Revving a 5.4 or 6.2 liter engine, rolling on 315/70-17 tires, and absorbing the trails with Fox Racing Shox, the Raptor has crossed the Baja and is now being offered at Ford dealerships.
Ford Fusion Sport
Ford Mustang
Ford Shelby GT500 Mustang


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The Sound of Violence
Music of King Philip's War and Memories of Settler Colonialism in the American Northeast
Disease permanently robbed Oliver Shaw of his sight as a youth. But instead of despairing about his damaged eyes, Shaw (1779-1848), who made his adult life on Westminster Street in Providence, Rhode Island, cultivated his ear. He became an esteemed pianist, church organist, and music teacher, as well as a modestly prolific composer of hymns, marches, and waltzes. Local sites and historical events of Rhode Island and southeastern New England frequently inspired him, along with his son, Oliver J. Shaw (ca. 1813-1861), who followed in his father's footsteps to a thriving career as a musician. In 1840, one of the Shaws—likely the younger—published a curious composition titled Metacom's Grand March. It was dedicated to John W. Dearth of Bristol, Rhode Island, the colonial settlement established on the very homegrounds of the Pokanoket-Wampanoag sachem Metacom, or King Philip. Philip was one of the most influential Eastern Algonquian leaders of the late seventeenth century. He was also the namesake of the conflict known as King Philip's War, which seared New England and the Native Northeast between 1675 and 1678. The war destroyed English settlements, roused anti-Indian fears among colonists, and decimated or dispersed countless tribal peoples, who were attempting to maintain their landholdings, political autonomy, and cultural distinctiveness amidst rising tides of English settler colonialism. Philip's homegrounds in upper Narragansett Bay lay at the geographic epicenter of the violence, and it was on the mountainside that Philip died following pursuit in August 1676.How Philip came to figure in the Grand March involves a story of music's complex intertwining with memory in colonial contexts.
By the time Shaw took up the war and its landscape as musical subjects, Philip and Mount Hope figured very differently in Euro-American imaginations than they had nearly two centuries earlier. No longer was Philip a treasonous, despicable heathen, as he had appeared in the 1670s to his English antagonists. (They thought him so "Blasphemous," Jill Lepore argued in The Name of War: King Philip's War and the Origins of American Identity, that Cotton Mather posthumously silenced him by ripping the jawbone off his skull.) Nor was his Mount a forbidding, swampy wilderness resistant to colonial presence. Shaw romanticized Philip, heroically elevating him to martial stature in the formal strains of his Grand March. If the composition's title did not convey adequate meaning, the accompanying illustration on the sheet music's cover clarified the message (fig. 1). It showed a picturesque western view of Mount Hope, depicted as a conically shaped hill partially denuded of trees, crisscrossed by roads or walls, and topped by a tiny structure. In front of it posed "the renowned Indian warrior King Philip." This stylized Philip confidently brandished a large bow, while reaching back into his quiver for an arrow.
How Philip came to figure in the Grand March involves a story of music's complex intertwining with memory in colonial contexts. Music played an important role in Native/settler encounters of early America, as well as in the remembrance of cross-cultural violence. As a crucial turning point in the region commonly called New England, King Philip's War has persisted in collective memories for more than three centuries, haunting tribal as well as settler imaginations and understandings of history. Memory—slippery to define, but characterized here as the usable forms of the past handed down to posterity—is frequently a collective enterprise, involving group rituals and performances. Aural elements animated many of these activities: war chants, mourning laments, victory songs, and folk ballads. Metacom's Grand March exemplified one strain of commemorative musicality: genteel, even nostalgic colonial appropriations that played off notions of the noble savage or fearsome foe, and claimed Philip as a regional founding figure.
1. Title page, "Metacom's Grand March," composed by Oliver J. Shaw. Thayer, lithographer (Boston, 1840). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
But the Northeastern soundscape was never wholly controlled by Euro-Americans. Counter-traditions of indigenous musicality associated with the war and its aftermath also endured, affirming indigenous continuity, presence, and power in a region too typically represented as devoid of Native peoples following the colonial "Indian Wars." By tracing a range of metamorphoses in music connected to King Philip's War, we can see how unstable memories of these events became over the centuries, adjusting in response to changing social circumstances and musical trends. We can also better understand how intensely localized commemorative sensibilities could be. For many composers and performers inspired by King Philip, their attentions were less beholden to national ("American") articulations of identity, and more so to the minor, even parochial, concerns of particular towns, regions, and tribes.
Additionally, while the mid-nineteenth century brought a flowering of musical treatments of Philip, it is important to contextualize this period within a longer sweep of time. Native and colonial peoples all cultivated distinctive forms of music-making prior to the crisis of the 1670s, while in the twentieth and twenty-first centuries, Algonquian communities and their music have undergone noteworthy revivals. Recent mainstream revisitations of the war's meanings have also used music as a tool for re-centering indigenous practices conventionally marginalized by popular interpreters. Taken together, these multi-generational developments demonstrate how people of the Northeast and beyond have persistently turned to music as a way of confronting—or skirting around—an intensely contested watershed in early American history.
Well before conflict with the English broke out around Mount Hope in summer 1675, Algonquians' ceremonies and everyday life incorporated music in key ways. At nighttime, lying side-by-side in wetus, Algonquians would "sing themselves asleep." Powwows, or shamans, sang as they practiced rituals, prayer, and medicine, sometimes with onlookers joining in "like a Quire." Nipmucs "delight much in their dancings and revellings," Daniel Gookin observed about a community gifting celebration: "at which time he that danceth (for they dance singly, the men, and not the women, the rest singing, which is their chief musick) will give away in his frolick, all that ever he hath," an event akin to Narragansetts' Nickómmo feasts/dances. To send deceased relations to the afterlife, some communities buried tiny brass bells with their dead, possibly used in rattles, jingles, or other sound-making items.
To mourn their relations, Narragansetts undertook structured rituals of vocalizing grief: "blacking and lamenting they observe in most dolefull manner, divers weekes and moneths"; "morning and evening and sometimes in the night they bewaile their lost husbands, wives, children brethren or sisters &c." What, exactly, this "lamenting" consisted of Roger Williams did not specify in his Narragansett/English lexicon, A Key into the Language of America (1643). Nor did other English observers record fine-grained notations of Algonquians' musical practices. But their indirect commentaries, along with material traces recovered by archaeologists, attest to a rich aural milieu intertwined with tribal cosmologies and lifeways. This music was functional, not simply aesthetically or sonically experimental. Algonquians used music as a conduit to sources of power, and as a community-building mechanism that connected the living to a multitude of animals, plants, landforms, and an ancient community of ancestors.
Sustained contact with European settlers transformed some Algonquian musical traditions. In the Praying Towns established in the mid-seventeenth century, psalm-singing in the Massachusett dialect served as a critical technique of religious and cultural conversion. But despite some early optimism about cross-cultural interactions, tensions between tribes and colonial authorities in Massachusetts Bay, Plymouth, Rhode Island, and Connecticut escalated at mid-century. Settlers grew wary of certain Algonquian behaviors, including community gatherings and their accompanying sounds. The English were particularly suspicious of dances, which were important rituals in the prelude to war as tribal parties engaged in diplomacy and felt out each other's intentions for alliances. The brash Plymouth colonist and military ranger Benjamin Church attended one such event hosted by Awashonks, the sunksquaw, or female leader, of Wampanoags located at Sakonnet, east of Narragansett Bay. In his postwar memoir (a freewheeling account that trafficked loosely in facts), Church remembered how he and Charles Hazelton "rode down to the place appointed, where they found hundreds of Indians gathered together from all parts of her dominion. Awashonks herself in a foaming sweat, was leading the dance." Such dances, he wrote, were "the custom of that nation when they advise about momentous affairs."
Following the war's outbreak, colonial soldiers and Native war-parties grappled for control of territory, and sound played a critical role for both as a medium of communication. English troops took horns into combat to signal to each other, for instance. Rumor had it that the sounding of a trumpet "without order, did much hurt" on one campaign, though evidently the metallic blast carried poorly in the woods. When Mohegans allied with the English dismembered a Narragansett captive, they inflicted pain while "making him dance round the Circle, and sing, till he had wearied both himself and them." This allowed the captive to preserve honor by displaying mettle in the face of certain death. For English captives removed from their homes and thrust into unfamiliar surroundings, Algonquian music-making heightened the sense of dislocation. Mary Rowlandson vividly described a Native attack on Lancaster, Massachusetts, in February 1676, in which part of the trauma was visual: "It is a solemn sight to see so many Christians lying in their blood, some here, and some there, like a company of Sheep torn by Wolves." But as she elaborated in The Sovereignty and Goodness of God (1682), she also felt distressed by boisterous vocalizations of the Natives, who were "roaring, singing, ranting and insulting, as if they would have torn our very hearts out."
The first night of her captivity, Rowlandson was taken up a hill within sight of the smoldering town. She recalled the spectacle: "Oh the roaring, and singing and danceing, and yelling of those black creatures in the night, which made the place a lively resemblance of hell." The "joyfull" Natives feasted on slaughtered sheep, calves, pigs, and fowl. After that she "removed" west into a "vast and desolate Wilderness"—well-known homelands to Algonquians—and periodically heard loud celebrations among victorious Natives returning from offensives:
Oh! the outragious roaring and hooping that there was: They began their din about a mile before they came to us. By their noise and hooping they signified how many they had destroyed …Those that were with us at home, were gathered together as soon as they heard the hooping, and every time that the other went over their number, those at home gave a shout, that the very Earth rung again… Oh, the hideous insulting and triumphing that there was over some Englishmens scalps that they had taken.
These songs and exclamations, which struck Rowlandson as "noise" rather than tonally, symbolically sophisticated communication, would have sounded noticeably different from the austere singing done by New England Puritans in worship.
King Philip's War caused massive casualties among Algonquian communities through direct assaults, as well as starvation and cold as tribal peoples were forced away from resources of their customary homelands. Algonquians' complex rituals for dealing with death likely changed under the exigencies of wartime. The massacre at Great Swamp in December 1675, and the equally devastating massacre at the waterfalls of Peskeomskut in May 1676, made traditional practices of mourning difficult. Native survivors fled the scenes to seek refuge in other places and regroup, since it was risky to remain and inter the bodies of their fallen relations in the usual ways. Perhaps they engaged in "lamenting" and associated forms of grieving in their diasporic locations. It is also possible that Native peoples who survived, and their descendants, managed to return to these sites of devastation to mourn, despite territorial dispossessions and growing colonial restrictions on Native mobility. In a tantalizing shard of "tradition," a "gentleman" owning land at Mount Hope reported "he remember[ed] a squaw, formerly belonging to Philip's family, who lived to extreme old age, and annually repaired to the Mount, to weep over the place where he was slain." Published in the Massachusetts Magazine (1789), this account may have been invented. Or it may have been evidence of ongoing Wampanoag connections to that landscape and its unsettled past.
"Indian Wars" raged in the Northeast for decades after the formal closure of King Philip's War, in conflicts that drew northern French and Wabanaki communities into strife with New Englanders. English men, women, and children taken captive found themselves drawn into Native orbits, and during their forced sojourns, they heard astonishing new music. John Gyles was taken in 1689 from Pemaquid in mid-coastal Maine to a Wabanaki settlement at Madawamkee, where he encountered this: "a Number of Squaws got together in a Circle dancing and yelling." He found himself pulled into the ring, until his "Indian Master presently laid down a Pledge and releas'd [him]." Gyles maintained ethnographic curiosity about the Natives with whom he lived, and documented other instances of singing during his time among Wabanakis. To express gratitude for a successful bear hunt, for example, a female elder and captive "must stand without the Wigwam, shaking their Hands and Body as in a Dance: and singing, WEGAGE OH NELO WOH! which if Englished would be, Fat is my eating. This is to signify their thankfulness in feasting Times!" As war fostered uneasy intimacies among captives and captors, these settlers observed selected dimensions of Algonquian cultures that otherwise would have remained beyond their circles of seeing—and hearing.
One intriguing account of Algonquian singing from this later period arose from the repercussions of King Philip's War. At Cocheco (Dover, New Hampshire), the trader and military leader Richard Waldron had hundreds of "strange" Indians, refugees from the war's southern theater, seized during a "sham fight" staged in September 1676. It was an act of betrayal that sat poorly with the neutral or "friendly" local Algonquians who remained. In 1689, during the early stages of King William's War, Native forces struck back at Waldron in retaliation for this and other grievances. Two Native women infiltrated the settlement to open its doors for nighttime attackers. According to tradition, one of those women sang an ominous song to the over-confident Waldron. It may have warned him of the imminent violence, or perhaps mocked him with cryptic verse:
O Major Waldo,
You great Sagamore,
O what will you do,
Indians at your door!
But heedless of her singing, the garrison and Waldron himself fell as Natives attempted to push back the colonial frontier.
As the eighteenth century progressed, violent Native/settler confrontations tapered off in southern New England. Some colonists preferred to forget the area's blood-soaked past and focus on the future. But others decided to commemorate ancestral losses in public ways. Perhaps people sang at Sudbury, in eastern Massachusetts, in the 1730s when Benjamin Wadsworth, president of Harvard College, installed a stone memorial to his father. Captain Samuel Wadsworth and troops had been killed there in an engagement with Natives in April 1676. President Wadsworth's diary is silent about the proceedings, unfortunately. Overall, eighteenth-century colonial commemorations of the war are somewhat elusive in the archives, especially at the level of "folk" practices. (The original Sudbury memorial stone and a larger, nineteenth-century monument presently stand in a town cemetery that has hosted Memorial Day commemorations, accompanied by singing and drumming related to King Philip's and subsequent wars.)
By the early years of the American republic, colonial violence became fodder for more formalized Yankee commemorations of local, regional, and national heritage. In 1835, residents of South Deerfield, Massachusetts, and surrounding towns decided to erect a monument at "Bloody Brook" to honor colonial troops killed in King Philip's War. Thomas Lathrop and his company of North Shore militiamen (the "Flower of Essex") fell to a Native ambush in the Connecticut River Valley in September 1675. That loss loomed large in settler imaginations thereafter. The commemoration was an enormous spectacle, said to attract 6,000 visitors. A choir and band performed, and several "original hymns" specially composed for the occasion solemnized the proceedings, which culminated in the laying of a cornerstone for an obelisk. In a major coup for the small town, organizers secured the presence of politician Edward Everett. He delivered a rousing oration commemorating colonial sacrifices, while briefly mourning the supposed vanishing of Indians from the valley.
Harriet Martineau chanced to be traveling through the area at the time. The sharp-eyed British commentator dissected the proceedings with an acid tongue, and published the critique in Society in America. The theatrics left her unimpressed, including the band's musical efforts: "They did their best; and, if no one of their instruments could reach the second note of the German Hymn, (the second note of three lines out of four,) it was not for want of trying." The ensuing oration "deeply disgusted" her. So did an amateur painting of the ambush exhibited in the Bloody Brook Inn. Overall, Martineau found the Bloody Brook commemoration a grotesque spectacle, involving inept folk performances and shameless electioneering by politicians angling for the western Massachusetts vote.
2. Title page, "King Philip's Quick Step—The Indians." Thayer, lithographer, published by Henry Prentiss (Boston, 1843). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Martineau's dyspeptic analyses notwithstanding, Yankees tended to revel in these grassroots commemorations of Anglo-American ancestors and the colonial past. Decades after the installation of the cornerstone, Everett's nephew Edward Everett Hale composed "The Lamentable Ballad of Bloody Brook," presented in 1888. Though the piece evidently was read aloud rather than being set to music, the "Ballad" invoked the genre of folkloric songs to give New England a distinctive piece of mythology. Its lines elevated colonial casualties to martyred stature:
Oh, weep, ye Maids of Essex, for the Lads who have died,—
The Flower of Essex they!
The Bloody Brook still ripples by the black Mountain-side,
But never shall they come again to see the ocean-tide,
And never shall the Bridegroom return to his Bride,
From that dark and cruel Day.—cruel Day!
The antebellum period proved a popular moment for revisiting the meanings of King Philip and the colonial period more generally. It was an era when the six-canto poem Yamoyden: A Tale of the Wars of King Philip (1820) appeared, and when James Fenimore Cooper published a frontier romance based on the war, titled The Wept of Wish-Ton-Wish (1829). In 1833, orator Rufus Choate urged New Englanders to develop romantic mythology about their own regional past, holding up King Philip's War as an ideal subject. Not only literary luminaries found romantic inspiration in Philip. Musicians also tapped into this growing popular fascination, in compositions like Metacom's Grand March. Oliver J. Shaw's 1840 piece—to be performed con spirito—was part of a "grand march" genre that included other martial-themed compositions, to be performed with gravity and ceremonial pomp. This stylistic choice indicated that Shaw's work was honoring Philip as a worthy leader, rather than lampooning him or denigrating him as a mere "savage."
Shaw's Grand March was generic in one sense, invoking notions of Indian nobility and exoticism circulating in American consciousness at a national level. But it also responded to local topography and traditions. Shaw intimately knew the environs of Providence and Rhode Island, along with neighboring corners of southeastern Massachusetts, and Mount Hope was undoubtedly familiar terrain. He dedicated the piece to John W. Dearth, Esq. of Bristol, whom he may have known through common interests. (Dearth was identified as a "teacher of music" in the 1870 census.) Bristol in 1840 was thoroughly colonized terrain, having been claimed by English settlers soon after the conclusion of King Philip's War and developed as a seaport and village. The grounds were thus formally removed from Wampanoag land-holdings, although Natives labored as servants/slaves in colonial households, and may have continued to travel along the peninsula and Mount. Later in the nineteenth century, members of the Rhode Island Historical Society made pilgrimages en masse to Mount Hope for commemorative festivities, with particular energy around the bicentenary of King Philip's War, ca. 1876. These antiquarians also installed monuments marking Philip's "Seat" and the alleged spot of his death. But it is not apparent that such prominent events were underway when Shaw developed his composition, or if his source of inspiration lay elsewhere. Whether anyone ever performed the Grand March for an audience is also unknown at present—either in its original instrumentation (possibly for band), or in the arrangement for piano. The piece may have attained renown in local circles. Or it may have languished unheard, the musical token of one composer's affection for a place, a past, and a friend.
Shaw was not alone in taking King Philip as a muse in the antebellum period. "King Philip's Quick-Step" (fig. 2) was piece No. 1 in a collection titled The Indians (1843), arranged by Simon Knaebel for piano. Published by Henry Prentiss in Boston, its front page bore a gaudy chromolithograph of an Indian draped in Plains-style regalia, carrying a spear in his right hand. The "Quick-Step" was more upbeat than the Grand March, and the collection contained other pieces on comparable themes: "Song of the Red Man," "On-Ka-Hye Waltz," "Osceola Quick Step," "Keokuck Quick Step," "Black Hawk Quick Step," "Nahmeokee Waltz." This final waltz referenced the fictional female Indian featured in John Augustus Stone's wildly popular nineteenth-century play Metamora; or, the Last of the Wampanoags, a romanticized theatrical treatment of King Philip's War. In its final scene, Metamora stabs Nahmeokee to death to spare his wife from capture by the English, then falls to English fire. Drums and trumpets sounded as the curtains closed.
The play's star, the charismatic actor Edwin Forrest, received a musical tribute in the form of The Metamora Grand March, published in New York in 1840 and dedicated to him. Composed by an anonymous "eminent professor" and arranged for piano (D-major, 4/4), this Grand March directed the pianist to perform in a Marziale manner (fig. 3). The sheet music featured on its cover the elegantly suited Forrest posing in a chair. It memorialized not the original historical Metacom, as Shaw's march did, but instead the celebrated white performer many degrees removed. The Grand March conceivably could have been played during one of the numerous showings of Metamora. (A Philadelphia performance of 1863, for instance, promised that an orchestra under Mark Hassler would play "a Selection of the most Popular and Classical Music.") Many pieces from this period approached King Philip's War with a degree of regret for a tragic past, albeit a dramatic one; and with unease about losses caused by colonial "conquest"—sentiments at an apex during the hotly contested Indian removals of the Jacksonian age, which New Englanders were eager to critique even as they sidestepped Native struggles on their own doorsteps. But such pieces showed more interest in the idea of Indians than in actual, contemporary indigenous people.
3. Title page, "The Metamora Grand March," dedicated to Edwin Forrest, Esq. Music composed by "An Eminent Professor." Published by Firth & Hall (New York, 1840). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Native Americans had not disappeared, despite Euro-American tendencies to write them off as a doomed race. Those who remained were capable of musically mobilizing King Philip for their own ends in the same period. Thomas Commuck (1805-55), who self-identified as Narragansett, removed from the New England region to the Brothertown community of Christianized Indians, and in 1845 he co-produced a hymnal that incorporated a profusion of Algonquian names. (Thomas Hastings did the harmonizations.) Among the names were individuals and locations prominent in King Philip's War and the Native Northeast: Sassamon, Wetamoe, Annawon, Pocasset, Assawomset, Seconet, Pokanoket, Tispaquin, Philip. "This has been done merely as a tribute of respect to the memory of some tribes that are now nearly if not quite extinct; also as a mark of courtesy to some tribes with whom the author is acquainted," Commuck explained in the preface to Indian Melodies (fig. 4). The handful of direct references to Narragansett heritage (like hymns titled "Canonchet" and "Netop") formed pieces of a multi-tribal mosaic, fittingly emblematic of the composite community at Brothertown.
The names did not appear to bear any particular relation to the content of the hymns, however, some of which derived from the well-known Isaac Watts. Indeed, the earnest expressions of Protestant faith would have been at odds with many figures' anti-colonial stances. But they were not entirely dissimilar from other Native Christian worship music of the time (following the "Indian Great Awakening" of the mid-eighteenth century), and they signaled admiration for the real historical figures referenced. Commuck's goal in publishing the hymnal was not strictly memorial. He also hoped to
make a little money, whereby he may be enabled, by wise and prudent management, to provide for the comfortable subsistence of his household, and be enabled, from time to time, to cast in his mite to aid in relieving the wants and distresses of the poor and needy, and to spread the knowledge of the Redeemer and his kingdom throughout the world.
Here, King Philip had been re-purposed to support Christian charitable works by members of an Algonquian diaspora. Though separated from ancestral homelands, they committed themselves to fashioning a new, viable Indian community in the west.
Yankee musical tastes morphed in the latter nineteenth century, decades that brought major political and territorial blows to contemporary Algonquians. The state of Rhode Island illegally "detribalized" the Narragansetts in the 1880s, for example, and auctioned off tribal lands. Yet cultural fascination with historic Natives persisted. During the colonial revival's burgeoning interest in Anglo-American heritage, casts of hundreds, even thousands, converged on town greens and in performance halls to enact the founding scenes of local history in pageants. All the while, they excised indigenous presence from the narratives, or relegated it to stock formulations. In Rehoboth, Massachusetts, Anawan Rock Pageant; or, The Atonement of Anawan: A Tercentenary Drama from the Indian Point of View dramatized the exploits and ultimate capitulation of Anawan, one of Philip's advisors. Rehoboth laid claim to an enormous geologic feature said to be the site of Anawan's 1676 capture, and the 1921 pageant spun its theatrics around it. Henry Oxnard designed the five-part drama for use in churches and granges. Performed at an energetic clip, the whole could be presented in under fifty minutes. Or it could be lengthened by inserting music between the parts.
Stage directions suggested the use of "Patriotic and Indian songs." They helpfully provided a laundry list of popular tunes with zero connection to the war, but ample familiarity to the audience:
O, Columbia, Gem of the Ocean,
John Brown's Body,
Battle Hymn of the Republic,
The Breaking Waves Dashed High,
Katherine Lee Bates' America, to the tune of Materna
4. Hymn 35, "Philip," from Indian Melodies by Thomas Commuck, a Narragansett. Harmonized by Thomas Hastings, Esq. Published by G. Lane & C.B. Tippett for the Methodist Episcopal Church (New York, 1845). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
The directions also suggested a slate of "Indian Songs" like "From the Land of the Sky-blue Water" and "The Sadness of the Lodge." Both came from Charles Wakefield Cadman's Idealized Indian Themes for Pianoforte, said to be derived from Omaha melodies. The final scenes prescribed closure and reconciliation. After being tried by an English court, Anawan died, and mourners attended his "Rude grave" while a piano tinkled "sad music." A "Short dirge with tom-tom" also sounded. Then an Indian marriage occurred, followed by a symbolic dance set to music signifying "Victory of Peace Over War." The pageant concluded with a collective rendition of "America the Beautiful." The sing-along affirmed Euro-American sensibilities about the moral justification of colonial military conquest, and encouraged patriotic sentiments about the U.S. nation-state, a resonant theme in the aftermath of World War I.
Indeed, in contemporary times of global upheaval, King Philip's War emerged as a way to express anxieties about combat and social roles. William Schofield's novel Ashes in the Wilderness used music to delineate gender norms as it unabashedly sexualized the sunksquaw Awashonks, whose dance Benjamin Church attended. First serialized as "Narragansett Night," then published in book form in 1942, the work spoke to concerns of World War II, portraying dashing male heroism and stoicism on fields of battle. Its male protagonists went by jaunty nicknames like Ben and Chris, while Awashonks received the diminutive moniker Fire Girl. A pivotal scene was the Native dance at which Church attempted to win Awashonks' loyalty to the English. "She danced to the roaring and crackling of the ceremonial flames and the heavy throbbing of the drums—to the thump of naked feet on the hard earth and the rising minor wails of her tribesmen," read the vaguely pornographic beginning of the dance scene. It devolved into voyeurism as Ben let his masculine colonial gaze rove over the indigenous female body:
Her skin was dripping with sweat, and the firelight glistened over it, making it look like wet bronze. Her slender body weaved and twisted, curving with the dance. He watched her leaping high toward the flame tops, with her back braids tossing wildly and her breast beads outflung; and he watched her stoop earthward, to pound the dirt with clenched fists and then to leap aloft again, her arms thrown upward, her stomach and face gleaming in the firelight.
For an instant, Ben found himself dangerously absorbed with the Native ritual rather than maintaining expected distance as an English spectator: "He caught himself swaying his head from side to side, in time with the rapid pounding of the drums and the yells of the warriors dancing in Fire Girl's footsteps." The obvious physical vivacity and sensuality of Awashonks contrasted sharply with the demure roles attributed to Tina, Chris's colonial love interest.
Perhaps surprisingly, King Philip's War, unlike other major events and conflicts of early America or the trans-Mississippi frontier, has not received major film treatment à la Kevin Costner's Dances with Wolves (1990), Michael Mann's The Last of the Mohicans (1992), Walt Disney's Pocahontas (1995), or Mel Gibson's The Patriot (2000). Those films' soundtracks, by renowned composers like John Williams and John Barry, achieved widespread acclaim and honors. The closest approximation to popular treatment for King Philip's War has come not from Hollywood, but from PBS. We Shall Remain, a five-part American Experience series, aired in 2009. The nationally televised production began with an episode titled "After the Mayflower," which examined Dawnland Algonquian communities like the Wampanoag and their increasingly acrimonious relations with English arrivals. The episode culminated with King Philip's War, the death of Philip, and the display of his head atop a pike at Plymouth.
Rather than attempting dramatic bombast, the series mounted a sobering investigation that aimed for cultural authenticity and scholarly rigor. Understated music for the entire series was scored by John Kusiak, principal composer for Kusiak Music of Arlington, Massachusetts. Among the credited "Native Music Consultants" were Victoria Lindsay Levine and Annawon Weeden, the former an ethnomusicologist specializing in Amerindian subjects, the latter a Wampanoag actor, performer, and activist who played the role of Philip. The cultural pendulum had begun to swing. Instead of the earnest Euro-American mythologizing (and stereotyping) of the nineteenth century, this production showcased more ethnohistorically grounded types of sound, compatible with the series' critical perspectives on indigeneity and colonialism.
The most unusual recent treatment of King Philip's War may be a foray into musical theater. Song on the Wind re-animated the forced removal of Natives to Deer Island in Boston Harbor in 1675-76, where many died. Written by David MacAdam, founding pastor of New Life Community Church in Concord, Massachusetts, it was produced through New Life Fine Arts. Song on the Wind interpreted King Philip's War and its lead-up through a religious lens, focusing on the "Praying Indians." A multiethnic cast performed scenes of John Eliot's meeting with potential converts, as well as the beginning of King Philip's War, sung to the tune "A Shot in the Dark." For the exile to Deer Island, set designers recreated the windswept island hills inside the theater. That episode portrayed the island internment as a trial of Native converts' new faith. The first full production premiered in 2004 in an historically resonant location: Littleton, Massachusetts, site of the Praying Town Nashoba. The production received generally enthusiastic receptions. Yet its interpretation of the colonial period was not uncontroversial: "a story of love and betrayal, sacrifice and courage, shared hopes and dreams that transcend racial and cultural differences." Its emphasis on reconciliation, common humanity, and shared experiences of suffering and grace stands at odds with some Native communities' (and historians') emphases on long-term conflict and colonialism, political struggle for decolonization, and a range of perspectives on spirituality and Christianity.
Today in the Northeast, Native music is diverse and dynamic, and often an integral part of commemorations related to King Philip's War, which remains a sensitive historical touchstone. Native musicians perform at annual commemorations at Deer Island and the massacre grounds at Great Swamp. Besides mourning the wartime loss of ancestors, these are occasions to re-gather communities, speak out against state colonialism, and affirm indigenous and occasionally cross-cultural solidarities for the future. "Drums" and singing groups that perform at community events and on the powwow circuit include tribally specific and intertribal ensembles like the Iron River Singers, Mystic River Singers, Eastern Suns, Nettukkusqk Singers, Wampanoag Nation Singers and Dancers, Urban Thunder, and Rez Dogs. Native-language songs are important components of their repertoires. They audibly demonstrate the revival or recovery of indigenous languages that have been preserved or brought back from endangerment through collective efforts.
Over the past centuries, music keyed to subjects like "Indian War" has performed a range of cultural work. For Euro-Americans, it frequently tapped into serious, deep-seated anxieties about cultural and political legitimacy, and was used to consolidate suitable mythologies about New England's and America's foundational moments. Metacom's Grand March exemplified that spirit. At times, it accomplished a reductive function, making immense violence and dispossession into grounds for public entertainment. Among Algonquian communities, music has conveyed distinctive understandings about a period of tremendous dislocations. It has performed grave, even sacred functions of perpetuating community memory, affirming tribal identities through shared repertoires, and mourning the dead. Perhaps most important, these indigenous musical traditions have pushed back against colonial representations of Indians as defeated, vanished people or romantic stereotypes. Instead, they audibly insist on the endurance and reinvigoration of tribal identities in modernity, in the shared space of the Northeast.
Further reading:
King Philip's War and its contested meanings have inspired scholarship like Jill Lepore's The Name of War: King Philip's War and the Origins of American Identity (New York, 1998), which analyzed the conflict's national resonances and effects on language. For an examination of how the war has shaped local understandings of landscape and heritage, see Christine M. DeLucia, "The Memory Frontier: Uncommon Pursuits of Past and Place in the Northeast after King Philip's War," The Journal of American History 98:4 (March 2012): 975-997. Sound played a critical role as American settler colonialism and frontier violence pushed across the continent, Sarah Keyes argued in "'Like a Roaring Lion': The Overland Trail as a Sonic Conquest," The Journal of American History 96:1 (June 2009): 19-43.
Roger Williams was an astute though flawed observer of Narragansett culture and language, and he noted the singing "like a Quire" and "lamenting" in A Key into the Language of America: or, An help to the Language of the Natives in that part of America, called New-England. Together with briefe Observations of the Customes, Manners and Worships, &c. of the aforesaid Natives, in Peace and Warre, in Life and Death (London, 1643). Patricia E. Rubertone explored Williams' legacy and Narragansett mortuary practices, including the brass bells, in Grave Undertakings: An Archaeology of Roger Williams and the Narragansett Indians (Washington, D.C., 2001). Erik R. Seeman critiqued other indigenous and colonial "deathways" in Death in the New World: Cross-Cultural Encounters, 1492-1800 (Philadelphia, 2010). Mary Rowlandson's captivity narrative, one of the most widely read and taught texts from early America, is available in a recent edition annotated by Neal Salisbury, The Sovereignty and Goodness of God by Mary Rowlandson with Related Documents (Boston, 1997).
Indigenous, colonial, and European musical/sonic practices all underwent transformations following "contact." For example, Puritan missionizing sparked Algonquian musical translations among the "Praying Indians," as Glenda Goodman described in "'But they differ from us in sound': Indian Psalmody and the Soundscape of Colonialism, 1651-75," The William and Mary Quarterly 69: 4 (October 2012): 793-822. Other transformations are traced in Olivia A. Bloechl's Native American Song at the Frontiers of Early Modern Music (New York, 2008), Gary Tomlinson's The Singing of the New World: Indigenous Voice in the Era of European Contact (New York, 2007), and Matt Cohen's The Networked Wilderness: Communicating in Early New England (Minneapolis, 2010).
Euro-American musical representations of Native Americans have been thoroughly examined by Michael Pisani in Imagining Native America in Music (New Haven, 2005). He catalogued relevant sources in "A Chronological Listing of Musical Works on American Indian Subjects, Composed Since 1608" (2006). Thomas Commuck's biography and collaboration with Thomas Hastings are discussed in Hermine Weigel Williams' study Thomas Hastings: An Introduction to His Life and Music (Lincoln, Neb., 2005). The influence of Christianity among New England Native communities, along with its intersections with traditional practices and beliefs, continues to capture scholars' attentions. For surveys about the region's southern parts, see William S. Simmons and Cheryl L. Simmons, eds., Old Light on Separate Ways: The Narragansett Diary of Joseph Fish, 1765-1776 (Hanover, New Hampshire, 1982), David J. Silverman, Faith and Boundaries: Colonists, Christianity, and Community among the Wampanoag Indians of Martha's Vineyard, 1600-1871 (New York, 2005), and Linford D. Fisher, The Indian Great Awakening: Religion and the Shaping of Native Cultures in Early America (New York, 2012).
Rufus Choate delivered his plea for mythologizing in "The Importance of Illustrating New-England History By A Series of Romances Like the Waverly Novels," delivered at Salem, Mass., in 1833, and published in The Works of Rufus Choate, with a Memoir of His Life vol. 1, ed. Samuel Gilman Brown (Boston, 1862): 319-346. This type of mythologizing, which proliferated in nineteenth-century America, tended to distort indigenous histories and deny the contemporary persistence of Algonquian tribal communities, as Jean M. O'Brien argued in Firsting and Lasting: Writing Indians Out of Existence in New England (Minneapolis, 2010).
At Mount Hope, Native and non-Native connections to those historically significant grounds have endured through the present day, as Ann McMullen showed in "'The Heart Interest': Native Americans at Mount Hope and the King Philip Museum," in Passionate Hobby: Rudolf Frederick Haffenreffer and the King Philip Museum, ed. Shepard Krech III (Bristol, Rhode Island, 1994): 167-185. Other modern rituals continue to link communities to the 1675 massacre site of Great Swamp; Patricia E. Rubertone has discussed these in "Monuments and Sexual Politics in New England Indian Country," in The Archaeology of Colonialism: Intimate Encounters and Sexual Effects, eds. Barbara L. Voss and Eleanor Conlin Casella (Cambridge, 2012): 232-251. Contemporary Native music and performance merit an essay of their own. For one Northeastern/Wabanaki case study, see Ann Morrison Spinney's Passamaquoddy Ceremonial Songs: Aesthetics and Survival (Amherst, Mass., 2010).
Local and regional archives are crucial for uncovering "folk" or vernacular memorial practices. My research on King Philip's War has taken me to dozens of public libraries, town historical societies and museums, and other small sites, in addition to the perhaps better-known state historical societies of New England and repositories like the American Antiquarian Society. For example, the libraries of the Pocumtuck Valley Memorial Association and Historic Deerfield, located in Deerfield, Mass., contain a wealth of manuscripts, newspaper clippings, and ephemera about commemorations at Bloody Brook, while the Blanding Public Library in Rehoboth, Mass., has materials about "Anawan Rock." The South County Room of the North Kingstown Free Library in Rhode Island maintains an extensive regional history collection. The Goodnow Library in Sudbury, Mass., holds items pertaining to the Wadsworth monument(s). Collections at the Mashantucket Pequot Museum and Research Center are useful for Pequot and regional Native studies. I first encountered Metacom's Grand March not in the Rogers Free Library of Bristol, Rhode Island (home to numerous items about Mount Hope), but in the Special Collections of the Newberry Library in Chicago, which has long supported research on Native topics.
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text: Andrew: Good luck! You will have to know someone and have that person vouch for you because this has really gone underground thanks to the MPAA and RIAA series of international raids and successful lawsuits all over the globe. They may think you are a narc, so be careful. However, the RIAA and MPAA have plenty of stories, position papers, and releases on these groups and how they caught them. The most recent group that I have found as an ancillary part of my research for my upcoming defense was in Russia. Lessig has written several good books that can give you the legal history of technology disruption and intellectual property lawsuits. Consider the history of Napster, Morpheus, eDonkey, Limewire and more when looking for articles.The lawsuits are interesting too. You can actually Google them and it will lead you to articles. I would look at Good Morning Silicon Valley which has done a lot of articles and commentary on the subject. Look at Lawrence Lessig's website. Also, you can try Fisher who wrote the book Promises to Keep on this subject in 2004. He's a Harvard researcher.Also look at the software trade group site for their positions on piracy.That's how I found some things. Also, look at the EFF site. Check out the Electronic Frontier Foundation and similar groups are defenders of fair usage through ripping. -----Original Message----- From: air-l-bounces at listserv.aoir.org [mailto:air-l-bounces at listserv.aoir.org] On Behalf Of Andrew Whelan Sent: Thursday, February 08, 2007 10:13 AM To: air-l at listserv.aoir.org Subject: [Air-l] music 'piracy' groups query Dear all, I am researching the groups who 'rip' commercial CDs and vinyl for peer-to-peer distribution and wondered if anyone had come across any reading on this phenomena. The only article I have been able to find addressing this subject specifically is: Cooper, Jon, and Daniel Harrison. 2001. "The social organization of audio piracy on the Internet." *Media, Culture and Society* vol. 23, no. 1, pp. 71-89. Any suggestions as to material, especially on audio, or film 'rippers', or indeed software 'cracker' groups, would be very much appreciated. Best wishes, Andrew Whelan _______________________________________________ The air-l at listserv.aoir.org mailing list is provided by the Association of Internet Researchers http://aoir.org Subscribe, change options or unsubscribe at: http://listserv.aoir.org/listinfo.cgi/air-l-aoir.org Join the Association of Internet Researchers: http://www.aoir.org/


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World Patterns of Air Temperature
We have learned some important principles about air temperatures in this chapter. Surface type (urban or rural), elevation, latitude, daily and annual insolation cycles, and location (maritime or continental) can all influence air temperatures.
Now let's put all these together and see how they affect world air temperature patterns. First, we need a quick explanation of air temperature maps. Figure 3.21 shows a set of isotherms—lines connecting locations that have the same temperature. Usually, we choose isotherms that are separated by 5 or 10 degrees, but they can be drawn at any convenient temperature interval.
Isothermal maps clearly show centers of high or low temperatures. They also illustrate the directions along which temperature changes, which are known as temperature gradients. In the winter, isotherms dip equatorward while in the summer, they arch poleward (Figure 3.22). Figure 3.23 provides a map of the annual range of temperature, which is greatest in northern latitudes between 60 and 70 degrees.
We have already met the three main factors that explain world isotherm patterns. The first is latitude. As latitude increases, average annual insolation decreases, and so temperatures decrease as well, making the poles colder than the Equator. Latitude also affects seasonal temperature variation. For example, the poles receive more solar energy at the summer solstice than the Equator. So we must remember to note the time of year and the latitude when looking at temperature maps.
The second factor is the maritime-continental contrast. As we've noted, coastal stations have more uniform temperatures, and are cooler in summer and warmer in winter. Interior stations, on the other hand, have much larger annual temperature variations. Ocean currents can also have an effect because they can keep coastal waters warmer or cooler than you might expect. Elevation is the third important factor. At higher elevations, temperatures will be cooler, so we expect to see lower temperatures near mountain ranges.
World air temperatures for the months of January and July are shown in Figures 3.24 and 3.25. The polar maps (Figure 3.24) show higher latitudes well, while the Mercator maps (Figure 3.25) are best for illustrating trends from the Equator to the midlatitude zones. Using the principles of how air temperatures are related to latitude, maritime-continental contrast, and elevation, it is easy to explain the six important features that are described in the figures.


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The Samsung Galaxy S II arrived in the United States last week via the Sprint Epic 4G Touch. The next US Samsung Galaxy S II is the one headed to AT&T. T-Mobile has yet to announce a date.
The AT&T version of the Samsung Galaxy S II is being billed as the thinnest smartphone in the world by Samsung and AT&T. Both companies relased the first "worlds thinnest phone" last year in the form of the Samsung Captivate, an original Galaxy S phone. The Samsung Captivate measured in at 9mm thick while the Sprint Epic 4G Touch measures in at 10mm thick. The AT&T Samsung Galaxy S II for AT&T measures in at 8.9mm thick.
Also, the AT&T version of the Samsung Galaxy S II has a 4.3″ superAMOLED Plus screen while the Sprint and T-Mobile versions have 4.5″ screens. Like the Sprint version, the AT&T Samsung Galaxy S II has a 1.2ghz dual core Samsung Exonys processor. The T-Mobile version is reportedly going to have a 1.5ghz Qualcomm dual core processor.
More including video after the break
Most of the rest of the specs are inline with the Sprint version. The AT&T Samsung Galaxy S II runs Android 2.3 Gingerbread and on top is Samsung's newest version of their proprietary Touch Wiz UI. Samsung has made a lot of sleek revisions to Touch Wiz including a slider that lets you move through all 7 homescreens with a simple finger swipe. The phone also has Samsung's Social Hub to keep all your important social networks in one place (except Google +) and also Samsung's media hub which allows you to download some of the latest movies and television shows.
The Galaxy S II also features Samsung's Kies Air which allows you to synch your SGSII wirelessly over wifi with your PC.
The camera on the Samsung Galaxy S II is an 8.0 megapixel camera with an LED flash. It's capable of shooting HD video and Samsung has added an on board video editor called video maker which allows basic editing of videos you shoot with the phone along with theming of your video. You can cut, re-arrange, paste and save your videos along with a few effects. When shooting stills the Samsung Galaxy S II gives you more control over things like focus, exposure and shutter.
On the front of the Samsung Galaxy S II you'll find a front facing camera for video chatting, and conferencing over 3G/4G or wifi via qik or Google Talk with video.
People have been raving about the battery life available in the Samsung Galaxy S II. While it's not as big as some of the latest Motorola/Sprint batteries it' still pretty good at 1650mah.
In terms of the super phones available now, or soon, the Samsung Galaxy SII is definitely worth considering.


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SOFB that's new Online Magazine of my creation.
Apart of showing my work from 2010 - 2011 I create a platform for creative people passionate about fixed bikes. Its chance for You to collaborate.. Writers photographers designers welcome! Fixed Scene a specially freestyle trick part its getting really interesting and its many of new riders and crews which deserved of exposure!