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Foreign Minister Steinmeier shocked by the attack on the Reina nightclub in Istanbul on New Year's Eve
The attack on a nightclub in Istanbul was met with shock and outrage around the world. Foreign Minister Steinmeier condemned "this act and every form of terrorism in the strongest possible terms".
The attack on a nightclub in Istanbul on New Year's eve was met with shock and outrage around the world. Some 39 people were killed and numerous people injured in the attack. Foreign Minister Frank-Walter Steinmeier condemned "this act and every form of terrorism in the strongest possible terms". He said that Germany stood shoulder to shoulder with Turkey at this difficult time.
Shocked by a cowardly attack
"Once again, Istanbul has been the target and the victim of a terrible act of bloodshed. I am shocked by the events of New Year's Eve on the Bosphorus", said Foreign Minister Steinmeier on New Year's Day. Once again, the German Foreign Minister continued, "innocent young people in Turkey who, like millions of others throughout the world, simply wanted to come together to have fun and enjoy seeing in the New Year have become victims of an appalling and cowardly attack".
Steinmeier offered his heartfelt sympathy to the families and friends of the victims, wishing "the many people who have been so badly injured a full and rapid recovery". Federal President Gauck and Federal Chancellor Merkel also condemned the attack and expressed their condolences to President Erdogan.
Germans also caught up in attack
With respect to the question as to whether there were any German victims, a Federal Foreign Office Spokesperson said on Monday (2 January) that it must be assumed that Germans were also among the victims. "We believe that two of those who were killed came from Germany, i.e. they were permanent residents here." He said that the Federal Government was cooperating very closely and intensively with the responsible Turkish authorities.
The Spokesperson also stated that three German nationals had been injured in the attack. He added that they were receiving excellent medical treatment and were no longer in a critical condition.
Attack on a way of life
The attack on a nightclub on New Year's Eve was not only an attack on Turkey, the Federal Foreign Office Spokesperson continued, but also an attack on a particular way of life, "one that we also share". This was also apparent from the victims' wide range of different nationalities.
The Federal Foreign Office has updated its travel and security advice for Turkey following the attack. Travellers and German nationals in Turkey are encouraged to consult this advice on a regular basis on the Federal Foreign Office website (in German, link below).
Find out more:
Travel and security advice for Turkey (in German)
Foreign Minister Steinmeier on the attac in Istanbul on NewYear's Eve

subset: commoncrawl


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AUSTIN, Texas
Antinucci Takes First Win of the Lamborghini Super Trofeo North America Season in Race 1 at Circuit of the Americas
- Richard Antinucci takes first overall win of 2017 season.
- Patrice Brisebois achieves second COTA victory with new teammate, Emmanuel Anassis.
- 17-year-old Austin Versteeg completes earns overall podium in series debut.
"Really fun battle with my old teammate, and good friend. Great start, really good first stint. I actually pulled a little gap on [Edoardo] Piscopo-without testing, I was a little surprised. I pressed the pit lane speed limiter one lap on the straight and lost two seconds and he caught up again. I had some silly moments with some lapped traffic, but I think they were doing the best they could-it's hot out there and some of their first races ever. Then I was cruising. I was told he was catching, but I was really cruising. Just perfect like that. I love it. First of all, thanks to Lamborghini Carolinas. It's really good. I didn't get a lot of practice this year, but it worked out really well. Thanks a lot to Change racing-I'm so stoked to be back with them. We all want to win races. I'm sure other teams do too, but it is a really good atmosphere and we're really pumped. Perfect start, right?"
It's great to come to COTA-it's a fantastic track-and we always have a lot of fun here, we've always done extremely well. It's the first time I was sharing a car with Pat [Brisebois]-I can't think of a better guy to share a car with. He was a real professional. He gave me an amazing car, kept it clean, smooth. The car was phenomenal. We've got some tricks up our sleeve for tomorrow. We're starting P4 overall tomorrow. We've started the season exactly how we wanted to start, so we're looking forward to a great season.
It's great to start that way-with a win. I had a great start and after that, I was just pacing myself. It felt good in the car. It's the first time I've shared a car, so I think it's very important to give the car to your partner in good shape, and after that Emmanuel drove really, really well. It's the best way to start the season, with a win. We're going to build our confidence on that win. I don't think the car was the best, but we found a way to win.
Man, that race was awesome. It was a little bit warm. COTA, what's not to love about driving at this racetrack, especially a Lamborghini that's fast as hell? I've got to give it up to my crew. They gave me an awesome car. My coach, Brandon Davis, my crew chief, Giti Gowland, and the number one mechanic, Trent Smith. They called an awesome race. I was able to execute under pressure, but I've got to give the credit where the credit is due-to the team behind me. I'd also like to thank David Askew for putting together such a great group of guys and David Hikes for managing it all.
|May 4-6
|Circuit of The Americas
|Austin, Texas
|June 29-July 1
|Watkins Glen International
|Watkins Glen, N.Y.
|Aug. 4-6
|Road America
|Elkhart Lake, Wis.
|Aug. 25-27
|VIRginia International Raceway
|Danville, Va.
|Sept. 22-24
|Laguna Seca
|Monterey, Calif.
|Nov. 16-17
|Autodromo Enzo e Dino Ferrari
|Imola, Italy


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- Text & Main Image Or Yogev
- Date July 17, 2018
- Est Read time 7 min
It was about three years ago, long before I started working as an illustrator at Wix, when I first realized why and how representation in illustration is significant. I was working on a drawing of three women bathing in nature. It wasn't commissioned for a client or anything like that, so my general approach was probably more intuitive. When a friend of mine saw the drawing, she praised what in her opinion was a profound change in the way I portrayed women, compared to my past illustrations. According to her, I drew much fuller and more realistic female figures. That notion caught me by surprise. I looked back at my old sketchbooks to see if indeed what she said was right, and to my wonder, I also noticed the change. It wasn't one of content or technique, but rather an evolution in my awareness to the illustrator's decision-making process. In fact, my friend's comment was a lightning strike that made me understand something deeper about the important choices we make as illustrators every time we pick up a pen.
The act of refining an idea into an illustration is never a simple task. In a world of political correctness and identity politics, it is becoming even harder. In that sense, the work of an illustrator can be very similar to that of an art director. In one of my classes in design school, we learned about "mise-en-scène" – the arrangement of scenery and stage properties in a play. It is the sum of all questions and decisions a director has to make in order to convey an idea in the best way.
With drawing, the illustrator takes the role of the director and has the freedom to imagine not only the scene, but also the world around it. That's where problems usually surface. Since illustrators have only one scene with which to communicate an idea (unlike comic strips or graphic novels with multiple scenes), the questions they must ask themselves in the process become more crucial. The choice of what to show, who and how, often provokes deeper thought.
Asking the right questions
One of the first questions illustrators must ask themselves is what type of illustration is at hand. Is it a decorative, informative or interpretive piece? A decorative illustration has a higher aesthetic value and its purpose is mostly ornamental. An informative illustration serves as a mediator to the world and is meant to communicate objective information. Most illustrations I work on fall under the third category – interpretive, or in other words "illustrative" – that incorporates the two previous types in an attempt to convey an idea or message while maintaining nice aesthetics. The concept could be either that of the illustrator, a client or an author of an editorial text.
Illustrative works invite a voice into the work process and is where illustrators should consider asking another series of important questions, such as: how open is the brief in front of me? How much space do I have in this work to influence perceptions and relay new ideas? What can I do with this work to make an impact, as much as I can, on the world I live in?
I'd like to demonstrate the importance of asking these questions by examining the works of illustrators that chose to consciously tackle important social issues with their projects.
Illustrating gender reversals
Last year, UK-based illustrator Owen Davey released "Le Who's Who Des Grandes Personnes", a picture book in which he illustrates different professional figures. One might think this is classic informative illustration work, a concept so clear it's on the verge of being banal. But Davey's well-thought-out choices throughout the book makes this project culturally valuable. The first noteworthy choice is the sheer number of female figures. While in an ideal world this shouldn't be a conscious effort, it is clearly a choice an illustrator should be aware of. And Owen Davey made it his point to do so, especially when noting the unconventional variety of female figures: a professional skier, doctor, soccer player, photographer, archaeologist and much more. One can argue that it's a given in the real world to have females in these professions, but it's far from representing reality, which makes Owen Davey's unconventional choice an important one. While I think this project could have gone even further with its influence and turning representation and stereotyping on its head, I also believe his contribution to the subject of gender roles is immense.
An additional point worth mentioning in Owen Davey's work is the subject of diversity when it comes to body types and skin tones. Throughout the book, he makes subtle creative decisions that delicately perpetuate positive social change. These are all choices that some might perceive as natural for an illustrator, but in fact, these aren't always the go-to solutions, and re-examining ideas makes it worthwhile for both the illustrator and the viewer.
Educating by example
Another illustrator dealing with gender representation in the professional world is Dawid Ryski with his 2016 children's book What Do Grown-Ups Do All Day? This time, the interest comes in examining the illustrator's choice given the audience at hand. By choosing to break the mold of male vs. female roles, Dawid Ryski manages to educate his young readers, present them with new and diverse opportunities and help shape a more tolerant world from a young age without forcing his agenda too harshly. Virginie Morgand's book by the same name is worth mentioning as well, containing an unexpected and extremely interesting variety of professions.
Both illustrators were probably inspired by the spiritual father of the genre, Richard Scarry, with – again – the same titled book. While Richard Scarry tackles representation issues by using animals instead of people, he perpetuates other older stereotypes, such as a male cat rewarding his female partner with a gift after she cleaned the house well. It only goes to show that as the times are changing, illustration should change with it, if not lead by example.
Drawing a better world
Playing with gender reversals in illustration – if that's what you'd call a female doctor – is a good starting point for the modern progressive illustrator. But we all must push further and challenge representational norms as much as we can. Taking the extra time to put effort into thinking about each project and identifying an opportunity in every choice is always worthwhile.
Creating an intentional composition of figures can be utilized to address social and gender-related issues. An illustrator working on a board meeting scene can actively choose to make it male-centered, or see it as a platform to give women a stronger role. Even if they are required to place a male figure in the center, the illustrator can still control the variety of the additional characters, not just with gender but with all aspects of diversity. There's no easy formula and it's not a matter of science, but an opportunity to reflect your own perspective and values with the platform that's available to you.
There's a natural tendency to draw a clear correlation between a product's guidelines and the illustrator's creative freedom that follows. I used to think that the clearer the guidelines, the less freedom I have as an illustrator. With time and experience, you come to realize that it's not just about providing a service for a client. It's about developing a language that is unique to you, bringing attention to important issues, and shedding light on things that matter to you. Not as a substitute to the brief, but as an added value.
Each illustrator needs to consider how they make things known to others from tone to composition. I realized that making this shift is not something you can do with every job you take, or every client you have. But it's a role illustrators must play, as the mediators that we already are. We must educate ourselves about principles of semiotics, become a bit more connected to the world around us and try to evoke change when we can. On top of that, we must walk the thin line between demonstrating sensitivity without self-censorship. Not easy, but a huge opportunity we can seize everytime we pick up the pen.


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Scheduled Seminars and Events
Dr. Lang and his staff believe that informed patients make better decisions about their health. With that in mind, we have created an extensive patient resource center covering an array of foot related topics. We regualrly conduct educational seminars on the most current podiatric subjects, such as fungal laser treatments, diabetic foot care, diabetic nutrition with our staff nutritionist, and many other podiatric issues.
Patient Education
Browse through the diagnoses and treatments located on the lower right portion of this screen to learn more about what interests or affects you. For a more comprehensive search of our entire web site, enter your term(s) in the search bar provided below.
As always, you can contact our office for answers to any questions or concerns you may have.
Type topics of interest to you in the search box.
Most individuals will experience foot pain at some point in time during their lives. Foot pain is caused by a wide variety of injuries, health problems or disorders, including (but not limited to):
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According to an American Podiatric Medical Association survey, 76 percent of Americans said they spend more than four hours each day on their feet. The same percentage said they had foot problems in the last 12 months.


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Three Orange County students are moving on to the semifinal round of The Music Center's 29th annual Spotlight Program in Los Angeles.
Fourteen finalists selected will win a $5,000 scholarship and a space in the highly regarded program's final performance at the Walt Disney Concert Hall in May.
Emily Eckert, 15, of Corona del Mar High School will perform Saturday for a spot as a finalist; Eila Neuroth, 18, of Pacific Coast High School in Tustin will audition March 25; and Adrian Villegas, 18, of the Huntington Beach Academy for the Performing Arts will perform his semifinal audition April 9.
They are among thousands of students who applied by submitting video auditions. Only 111 students were selected as semifinalists in ballet, acting, non-classical dance, non-classical voice, classical instrumental and jazz instrumental.
The Spotlight Program is known for jump-starting the careers of notable performers, including Misty Copeland, the first African American ballerina to become a principal dancer for the American Ballet Theatre.
The program also offers students an opportunity to work in master classes with experienced instructors who critique and help improve the artists.
The three O.C. semifinalists raved about the program, saying it has helped them grow as performers.
Eckert, who auditioned in 2016, is making her second attempt to make it past the semifinals. She credits her newly honed ballet skills, which helped improve her expertise in contemporary dance, the category in which she qualified.
Gymnastics and varsity track also paid off.
"It's so crazy to think I've made it this far," Eckert said. "I held back last year, but now I've fully immersed myself in it."
If she were to make it as a finalist, she would save the scholarship money in hopes of one day joining a Los Angeles or San Francisco ballet company, she said.
Neuroth, who qualified in ballet, said the program "helped me make connections with my characters and pushed me to be more in touch with my art."
Neuroth, who graduated early from high school, dances for Orange County's Festival Ballet Theatre.
Villegas, whose performing-arts teacher encouraged him to apply for the program, qualified in non-classical voice. He will perform a song each from "Kinky Boots" and "Violet."
Villegas hasn't been singing as long as many of the semifinalists but said he has gained confidence in his artistic abilities.
"They've given me so much support," Villegas said. "I now think of what and why I'm singing. I think about what it means to give an honest performance."
If he were to be a finalist in the competition, Villegas said, he would save the scholarship money toward his goal of attending New York University.
Finalists earn $5,000 each in scholarships. An honorable mention in each category garners $1,000. Semifinalists earn $300 and those who show promise $100.
The grand finale performance will be May 23 at the Disney Concert Hall in Los Angeles.
Twitter: @VegaPriscella


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Academic and Support Team
The Great War Theatre project is a collaborative, co-produced research project in which academics, volunteers researchers, and specialist advisors are working together to unearth this fascinating lost history of wartime theatre. You can find out more about the team and our different roles below.
Project Lead – Dr Helen Brooks is a theatre historian and Senior Lecturer at the University of Kent. She teaches Drama and History and is Co-Investigator on the Gateways to the First World War project (AHRC). Helen is fascinated by how theatre responds to and reflects the world around it. She has particular interests in questions of gender, class, politics, economics and race. Helen's work on First World War Theatre has been led to collaborations with Threadbare Theatre, the King's Theatre Portsmouth, and the Theatre Royal Brighton. She has also been featured on BBC Radio.
Rights Clearance and Copyright Advisor – Chris Morrison is Copyright Support and Software Licensing Manager at the University of Kent and is responsibile for copyright policy, licences, training and advice. He was previously Copyright Assurance Manager at the British Library and is a member of the Universities UK / Guild HE Copyright Working Group. He is co-founder of the award winning copyrightliteracy.org blog with Dr Jane Secker at City, University of London.
Research Advisor – Jessamy Carlson is Partnerships & Programmes Manager at The National Archives. She has coordinated The National Archives's FWW100 programme since 2015. Her recent research has included the naming of babies after FWW battles, and the experience of women of German descent in the nursing services during the FWW. She is a qualified archivist and a registered member of the Archives & Records Association, and a Fellow of the Royal Society of Arts. Jessamy has been providing research support and guidance to the project.
Previous Team Members
Over the course of the project we have been ably supported by the wonderful work Nikki Denning and Kate Morgan. Nikki was the first project assistant and worked for the project between March and June 2017. During this time she was instrumental in managing the launch and establishment of the project. Kate Morgan worked for the project in June and July 2017 before moving to the University of London. Although only with the project a short while Kate made an important contribution and continues to keep in touch with the project as it develops. Katerina Flint-Nicol worked as the project and volunteer manager between September 2016 and April 2018. She is a film scholar and Associate Lecturer at the University of Kent where she has recently completed her PhD.
The Advisory Group
This is an informal group of four academics with particular specialisms and who advise on various aspects of the project and its development.
- Prof Mark Connelly, University of Kent
- Prof Alison Fell, University of Leeds
- Dr Andrew Maunder, University of Hertfordshire
- Dr Anna Jordanous, University of Kent
The Volunteer Research Team
At the heart of the project are the volunteer researchers. Click here to find out about more about the team of volunteers who are working on the project.


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Renting an accommodation can be risky and many startups decided to bring their own solutions to address those concerns.
Party Squasher created a device helping reduce any risk of misbehaviour while renting.
Imagine a 4-people booking, turning into an 8-people stay and degenerating into a 30-people party around the swimming pool.
The solution they bring is simple: once installed, the Party Squasher box detects devices emitting a wifi signal (phone, tablet, computer, etc.).
The solution the young startup is bringing is very simple and quick to set up:
The box contains all you need (power supply, USB and ethernet cables)
Connect the Party Squasher box to a USB port or a socket
Connect it to your router or network port thanks to the provided cable
Download the Android or iOS app
Flash the QR code at the back of the box
Follow the guide!
When creating your account, add your mobile number so that you can be alerted of possible misbehaviours in your housing.
Complete the last steps of the basic setup by indicating the surveillance zone -depending on the house and outdoors surface- so that the neighbours' devices won't be taken into account. This also allows setting up the limit from which the alert needs to be emitted.
Party Squasher has you covered: once the box is installed, you can modify those settings remotely for every rental, depending on the number of occupants.
Vacation rental owners and professionals can link an Airbnb, HomeAway, Booking.com or other platform calendar to each Party Squasher box -for example, you can export your iCal BookingSync calendar.
This advanced setup allows you to integrate your guest's contact details directly into Party Squasher so that you can quickly contact them in case of an alert.
Wifi device manufacturers which don't produce mobile phones are not taken into account by Party Squasher. You can also indicate the wifi devices you have in your rental to sharpen the results (wifi speaker, TV, etc.).
But some of you may ask: what about private life? The startup itself advices you to indicate, in your welcome book, that a surveillance device is installed -explaining it doesn't record any sound or image, of course.
Also, note that if the box is being unplugged, you're alerted by text message ;)
The box can now be purchased in France. As a partner, BookingSync offers a 20€ discount with the code BOOKINGSYNC! Get it now!
To celebrate its launch in France, PartySquasher will be organising a presentation webinar in French this Friday (05/05) at 2pm CEST, animated by Guillaume de la Tour, BlueFox.io's CEO. He will be answering your questions and introduce you to the advantages of this solution, as a vacation rental professional.
Go to this address on Friday, May 5th at 2pm to watch it: https://zoom.us/j/927553154
See you soon with PartySquasher and share your comments!


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Miso roasted under the broiler, enoki mushrooms, oyster mushrooms, grated parmesan, olive oil.
Little nubbins of toasted miso in a cheesy miso sauce. Miso and dairy cannot go wrong.
Miso roasted under the broiler, enoki mushrooms, oyster mushrooms, grated parmesan, olive oil.
Little nubbins of toasted miso in a cheesy miso sauce. Miso and dairy cannot go wrong.
I bought a big bag of sesame leaves for making gamjatang. And now I'm stuck with a bunch of these things. It seems like there's a conflation of sesame leaves and perilla leaves in English websites, but from my experience, there is a difference between the two, albeit in subtle ways.
Anyway, I decided to use them interchangeably. Otherwise, they'll just wilt in my crisper drawer.
So this pasta dish is made by sautéing ground pork and enoki and adding a soy sauce-rice wine (or mirin)-sugar mixture, adding the pasta, and topping everything with a generous heap of sesame leaves cut into ribbons. Good stuff.
Saury are wonderful. A Korean grocery store nearby were selling 10 for $8, which meant that I was able to escape from my seafood deprived state, and that I needed to keep eating saucy for several meals. This did not pose a large problem for me, since I love blue fish and their intensely fishy flavor. If white fleshed fish were coffee made by drip systems, blues are the less refined yet robust and strong french press coffee. Blue fish are not for everyone, but people who like it, love it.
Day 1, Grilled saury
Wash, dry, salt on both sides, let sit for 30 min, create shallow incisions on both sides (as you might when baking a baguette), and broil on high, with the fish sitting at least 6 inches apart from the heating element. Common garnishes are grated daikon (highly recommended) and citrus (sudachi, if you can get your hands on it). You can gut the fish if you want, but enjoying the bitter, rich taste of the fish offals are considered to be a marker of mature taste.
Day 2, Stewed.
Lay sliced ginger in the bottom of a pressure cooker, pour some sake, sugar, soy sauce, and a bit of water. Cook under pressure for 15 min. Or, stew for a while in a regular pot. The pressure cookers thoroughly softens the bones, making the fish much easier to eat.
One added bonus is that you can add stewed saury on top of soba noodle in dashi based soup, and the soup gets enriched with saury fishiness.
Day 3, saury onion pasta with garlic, garlicky toasted breadcrumbs, and italian parsley
The whole thing tastes like a large mass of saury and garlic. Wondefully tasty, but horrible for your breath. Sauté breadcrumbs with garlic until a bit browned. Sauté garlic, add filleted saury, fry in couple tablespoons of oil. When the thing's crisp, throw in pasta water, toss with pasta, cram everything into a dish, and sprinkle some italian parsley on top. Filleting saury may be tedious, but this dish is well worth it.
Filed under Fish, Japanese, Japanese noodles, pasta, Uncategorized, Western stuff
Kabocha roasted with butter in 400f oven until soft, puree with soy sauce, sake, a bit of sugar.
Boil penne, sautee oyster mushrooms, pour in kabocha puree, toss everything together, and serve with a dusting of parmesan.
Filed under pasta, Western stuff
Garlic, dried red pepper in oil rendered from bacon, stir-fry onions, enoki, add sake, ketchup, and reduce it aggressively, add pasta water, toss pasta.
For perfectly jiggly eggs:
Trusty frying pan, low heat, no lid, just patiently wait till the whites set.
Filed under Japanese noodles, pasta, Western stuff
In Japan, the mixture of Japanese flavor and Italian noodles comprises a whole subgenre of pasta cooking. This strange hybrid group of dishes with ingredients like mentaiko (marinated fish roe) and marinated enoki mushrooms may sound repulsive, but are in fact delicious. The addition of umami laden condiments like soy sauce and miso introduces complexity to pasta dishes.
Making Japanese pasta dishes, especially soy sauced based ones, are extremely easy. For this one, the only thing I had to do is sauté the mushrooms in olive oil with garlic and dried chili, add some soy sauce and sake, reduce the whole thing until very little liquid remains, then add some pasta water (don't add as much salt as you usually would to the pasta water), and toss the pasta with some green onions.
You can play around with the dish by throwing some dried shrimp with the garlic and chili for some briny flavor, or by subbing the soy sauce with menmi. My recent favorite is combining dried shrimp, garlic, and do chi (chinese fermented black beans) to flavor the oil, and finishing it with some soy sauce and shiaoxian wine for Chinese influenced noodles.
Filed under Japanese noodles, pasta
Writing about lasagna made me nostalgic of macaroni gratin, which was a staple in our house. However, we never made it from scratch. We bought frozen versions that came in aluminum dishes, and chucked them into the toaster oven for a quick dinner. Although frozen dinners have a bad reputation in the US, Japanese frozen food ranges from "not bad" to "orgasmic night snack." Interesting thing about Japan is, it's hard to find genuinely disgusting food that people have aversions to. For example, convenience store foods lack the stigmatization and also the layer of stale oil that are usually associated with US gas station/convenience store food. I remember my friend's expression when I casually bought a burger from a gas station in the middle of nowhere in Kansas. The burger had developed a look that reminded me of the tortoise in the desert fable from Blade Runner, from the long days of basking in the rays of the food warming contraption.
Anyway, I sometimes crave the frozen gratin from the frozen food aisle, but lack the means to acquire them. I tried making it a couple of times, using as a reference mac and cheese recipes from the US. However, these attempts left me with a mound of squishy yet dry overcooked macaroni. Despite these failures, I never thought of reassessing my sauce to noodle ratio and kept cranking out these macaroni sponges. Once I scanned Japanese gratin recipes, I realized my mistake.
So the right ratio was about 1/4 pound of noodles (I used penne in this one) for about 2 cups of béchamel sauce, which made enough for my 6 cup pyrex dish. I think it was my 6 cup one. Or maybe the 3 cup. I'm not too sure. Anyway, it fed two people easily, despite the small amount of noodles that went in to the dish. Using this noodle-to-sauce ratio resulted in a gratin that was just like the ones I ate in Japan, creamy, yet not too heavy.
As with the lasagna, I just soaked the penne in water for about an hour, instead of boiling them.
Filed under Food, Japanese noodles, pasta


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TEL AVIV — No one in Israel's television industry was much interested when Avi Issacharoff and Lior Raz first pitched "Fauda," about a team of undercover operatives hunting Palestinian terrorists across the West Bank. And no wonder.
Audiences here liked to escape — into talent shows like "The Voice" or "Master Chef," where the competition is individual, not national; or reality shows like "Big Brother," where the conflict is personal, not political; or fiction like "Loaded," a dramedy about a high-tech start-up whose owners become overnight millionaires, playing to Israel's self-image as the next Silicon Valley.
"People don't want to hear about Palestinians," said Mr. Issacharoff, a journalist whose beat is Arab affairs. He was speaking of Israeli television executives, but he could have been speaking of Israeli Jews generally. "People don't care about Palestinians," he added. "If I come and say I want to write something about the Israeli-Palestinian conflict, it's like 'Hahahahahahaha!'"
Mr. Issacharoff and Mr. Raz, who began writing the series in 2010, had the last laugh. "Fauda," Arabic for "chaos," was a hit with audiences and critics alike: In Israel, it's the most successful show in the history of the Yes satellite network, while The New York Times called it one of the best international series of 2017. Its second season, which debuted in Hebrew and Arabic last December in Israel, becomes available on Netflix with English subtitles on May 24. A third is already in the works, though the show's popularity has also put a target on its back: The Boycott, Divestment, Sanctions movement demanded that Netflix dump the series, calling it "racist propaganda" that "promotes and legitimizes the war crimes committed by death squads" in the Israeli Army.
What explains its success here is a different kind of escapism: a chance for Israelis to visit places and engage with subjects that they ordinarily avoid — and then return home safely with the flip of a switch.
Living in Israel means living with the conflict in a way that Americans may have a hard time understanding. Smartphones routinely buzz with text messages about the latest knife attack or vehicle-ramming. Apps tied into the civil defense system send people running to bomb shelters when incoming rockets threaten their communities.
For many Israelis, the tall concrete wall cordoning off much of the West Bank provides a kind of needed mental barrier: They can tune out the conflict, and the Palestinians, if they choose. And many do.
"People want to have fun," Mr. Issacharoff said over breakfast near his home in Tel Aviv. "People want to go to the beach, to eat in restaurants, to sit in coffee shops, to listen to good music."
Yet the work being done in their name by Israeli counterterrorism forces never ceases.
In "Fauda," that work is shown as gritty, messy and morally complicated. Members of the undercover unit, career operatives in their late 30s and 40s, show tenderness toward their children and lovers at home, and then go off and commit torture and worse.
"It's like we lift up the curtain to a place that nobody talks about," said Mr. Raz, who once served in Duvdevan, an elite commando force known for posing as Arabs, and plays the lead character, Doron Kavillio. "You don't understand the mental price those people are paying for their actions. What the real job is."
Rules and laws are routinely broken; orders are flouted. What is unquestioned is the righteousness of the cause.
By portraying Israeli violence and depicting some of the humiliation that Palestinians experience daily, its creators said, "Fauda" allows viewers to peer across the barrier wall at some of the ugliest aspects of the occupation, then retreat to safety while consoling themselves that it's all just make-believe.
"When you see a group of Israelis executing someone, it's not an escape. But then you say, it's a TV show, so it is an escape," Mr. Issacharoff said. "When you see a group of Israelis beating the crap out of an old man, it's terrible, it's really terrible. But you can say, it's over there — it's fiction."
Slightly different from an escape, but no less transporting, is how "Fauda" can allow viewers here to momentarily remove themselves from the numbing zero-sum game of the conflict and its dueling narratives. Ordinarily, each side sees itself as victim, the other as perpetrator. Empathy is in short supply, as is interest in reviving a peace process that may have run its course after a quarter-century.
But by creating textured characters on both sides — Israeli heroes who show themselves capable of the worst kinds of evil, Palestinian villains who show themselves capable of the best kinds of love — "Fauda" may have pierced some of the calluses caused by so many years of friction.
"I'm getting emails from Israelis who are saying for the first time in their life they feel empathy and compassion for the other side," Mr. Raz said. "And the same from Gaza and Kuwait and Lebanon and Turkey."
Helping create those emotional connections was the casting of appealing actors as the lead adversaries: Hisham Suleiman as Abu Ahmad, a feared Hamas militant, in Season 1, and Firas Nassar as Nidal al-Makdasi, a radical who breaks with Hamas and affiliates with the Islamic State, in Season 2.
"It gave them the option to love the Hamas terrorist," Mr. Issacharoff said of viewers. "It allows women to think about the Hamas guy who becomes an ISIS guy as a sex symbol. But it's a show. I mean, a true terrorist cannot be a sex symbol."
Mr. Issacharoff and Mr. Raz concede that their show is an escape for Israelis, its intended audience, far more than for Palestinians. (Season 3 will be the first written with an international audience in mind.) Their writers' room, for example, includes no Palestinians.
And the show has met with a great deal of Palestinian criticism.
Some seized on the Israeli-accented Arabic of the undercover operatives sent to infiltrate West Bank villages and cities, calling it ludicrous to suggest that their true identities would not be discovered the moment they opened their mouths to speak.
Mr. Issacharoff, a fluent Arabic speaker, pleaded guilty to this: Few of the Israeli actors spoke the language before joining "Fauda." One major character — a feared interrogator named Capt. Gabi Ayub — is played by Itzik Cohen, a Jewish comedic actor who made his name as a drag queen.
But Mr. Issacharoff said the cast needed to meet only the threshold of realism for an Israeli audience, not of survival behind enemy lines. "I'm not going to send them to an undercover operation in Ramallah," he said.
More substantively, Palestinian critics observe that "Fauda" shrinks from fully conveying the oppressiveness of the Israeli occupation.
The indignities Palestinians experience aren't entirely overlooked: The very first episode showed the confiscation of a Palestinian car at an Israeli checkpoint. But other pernicious aspects of the occupation — the demolitions of Palestinians' homes, the evictions of whole villages of Bedouins — have yet to make it on screen.
Mr. Issacharoff said he didn't want to belabor the occupation — and suggested that "even for Palestinians, it's boring."
"Among Palestinians it's kind of a joke," he said. "A student's late for class, the teacher asks him why, and he says, 'The occupation.'"
But Sayed Kashua, an Israeli-Arab humorist who wrote the acclaimed 2007 series "Avoda Aravit," or "Arab Labor," said he found nothing funny about "Fauda," and complained that marketing the show as telling the story of the conflict from both sides was misleading.
"If an Israeli creator feels he needs to humanize Palestinians, it means that he begins with the idea that they're not human," Mr. Kashua, now a professor at the University of Illinois, said in a telephone interview. "And making them cry or fall in love is not humanizing. That's an exotic way to portray Palestinians. You cannot humanize a murderer by showing him crying when he hugs his mother."
He also argued that "Fauda" too easily jibes with a widespread Israeli belief that there is no partner for peace on the Palestinian side, and even the most ardent Palestinian militants are motivated by personal revenge, rather than by political beliefs or national aspirations. "It's a given," he said. "Like it's from God. There are murderers; there's an always ongoing struggle. But it's not true. There are reasons for that situation, and there are good people who are trying to solve it. And if you're not pointing to the historic or political reasons, then you're not talking about a possible solution."
Still, Mr. Kashua allowed that that might be a bit much to expect from a commercial drama.
While Mr. Issacharoff said he was content, for now, merely to open a few hearts and minds, he and Mr. Raz made no bones about their own biases. Asked about a villainous character who blows up one of his friends — a plot point many Palestinians objected to — Mr. Issacharoff observed that years ago, when suicide bombings were more frequent, terrorist commanders had exploited emotionally weak people to carry them out, rather than volunteering themselves or their own children.
"I'm an Israeli, I'm Jewish, I'm a Zionist," he said. "I have the Israeli narrative. I cannot understand, still, after 18 years in the field, these suicide attacks. So if someone is sending his guy to do one, yes, he doesn't care about him, and he's a terrible human being.
"And you know what else I'm sure about?" he added. "That the majority of the Palestinians, deep in their heart — they know that."


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Personal Data Privacy and Protection Policy
LISBON MUNICIPALITY strives to protect the security and privacy of the personal data of its citizens and/or users of the website cm-lisboa.pt, which belongs to Lisbon City Council.
The present Personal Data Privacy and Protection Policy was drawn up in this context, with LISBON MUNICIPALITY undertaking the commitment to respect the rules on the privacy and protection of personal data stipulated in Regulation (UE) 2016/679 of the European Parliament and of the Council, of 27 April 2016 (GDPR), on the protection of natural persons with regard to the processing of personal data and on the free movement of such data, as well as the applicable national legislation.LISBON MUNICIPALITY also took the necessary technical and organisational measures to comply with the GDPR and assure that the processing of personal data is lawful, loyal, transparent and limited to the authorised purposes.
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In order to exercise the rights of the data owners foreseen in the Community regulations and national legislation concerning the protection of personal data, LISBON MUNICIPALITY has designate a Data Protection Officer, who can be contacted by electronic address firstname.lastname@example.com or by letter sent to Campo Grande, 25, Bloco E, 2º Piso, 1749-099 Lisboa.
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The collection and processing of personal data done in the context of access to and use of the services provided on the website cm-lisboa.pt will correspond to that strictly necessary to pursue the purposes of improving the performance and experience of the user and relations with the citizen.
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LISBON MUNICIPALITY collects and processes the strictly necessary personal data, some of which are duly indicated as mandatory, but under no circumstances collects data that are considered of a special category under the terms and for the purposes of the Community regulations and legislation in force concerning personal data protection.
The personal data collected are those strictly necessary for accomplishing the purposes associated to the request, such as: name, taxpayer number, identity card/citizen card number, address, telephone number, electronic address and academic qualifications.
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After registration, the user has the right to access the information on the processing of his or her data, to rectify the data if it is not correct, or even delete it.
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International data transfers are not foreseen, and when deemed necessary, the due consent will be requested previously under the terms of the Community regulations and legislation in force.
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Cookies are small text files of software that are stored in your computer through the browser, retaining only the information related to your preferences and as such, not including any information related to your personal data.
The use of cookies is normal practice among websites of the Internet.
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By accepting the present Personal Data Privacy and Protection Policy you are giving prior and explicit authorisation for the use of cookies by LISBON MUNICIPALITY.
Applicable legislation
Regulation (EU) 2016/679 of the European Parliament and of the Council of 27 April 2016 on the protection of natural persons with regard to the processing of personal data and on the free movement of such data.
Law 41/2004 of 18 August, as worded by Law 46/2012 of 29 August (Law on Personal Data Protection and Privacy in the electronic communications sector).
Law 67/98 of 26 October – Personal Data Protection Law.
Amendments to the Personal Data Privacy and Protection Policy
LISBON MUNICIPALITY may occasionally update the present Personal Data Protection and Privacy Policy, so please review this document periodically to keep up to date.


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Robb Report
Pink Ombre Crocodile Zip Around Tote
Nancy Gonzalez and her son, Santiago, take similar pains to handcraft exceptional accessories from rare leathers, such as crocodile, which they source exclusively from farms, selecting only the softer, suppler, blemish-free skin of the animal's belly. To achieve the rich color and luster of the Santiago Gonzalez wallet and Dopp kit, a mix of natural vegetable and mineral dyes is applied by hand in layers. After carrying out the staining process, craftsmen producing the Nancy Gonzalez handbag further enrich the appearance of the leather by rubbing it with a smooth agate stone to reveal layers of color.


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Structure 82Structure 9N-82 is known as the House of the Bacab because of the exquisite carvings found inside. But, the imagery starts on the outside, with the remnants of two busts set within false windows either side of the door (fig. W1129). These busts are of Pauahtun figures holding scribal instruments, which consisted of a half shell paint holder and a stylus. These busts gave the building its other familiar name, "The House of Scribes". The windows are framed by serpent jaws, giving the image of Pauahun coming forth from within the sacred-serpent monster – an image that is repeated inside. From a distance, the carved window frames make the façade look like a representation of the mountain-monster, Cauac or Chaac (fig. W1129).
W1095: Pauahtun When standing directly in front of the building, two pillars can be seen through the doorway which belong to an ornate bench and create the impression of two teeth in an otherwise toothless mouth (in fig. W1129 it looks like one tooth) – this produces the famous image of Pauahtun (fig. W1095). The entrances to Mayan temples were frequently designed to look like monster mouths because it was believed that caves were the mouths of the mountain monster-gods. The Temples were built on top of platforms that symbolised the sacred mountain and therefore the Temples became caves and openings to the Gods. Carving a monstrous mouth around the doorway enabled the priest or ruler to stand in the doorway and emulate the classic pose of being held in the jaws of the monster-god (as Pauahtun is seen doing in the windows and also on the bench inside – fig. W1126). Structure 82 is raised on a platform and imitates a cave, therefore it is a Temple.
Inside Structure 82 is a carved bench (which you can see through the doorway in fig. W1129 and also above in W1127). The bench is 6.5 metres long and 2.3 metres wide and is engraved along its entirety in a style known full-image. The text reads: | 11 Ahaw | 3 Chen | Dedication of this house | Mak-Chanal | Child of Lady-Sun-Flower | (top right of fig. W1127 starts here) And successor of | The house dedicator and constructor | the enterer | the deceased one | Ko-Xop-Ahaw | His first consecration (or dedication) | His keeper of Sacred Books | Yax Pasaj | Chan Yat | Sacred Lord of Copán | 20 year Warrior1. In summary, the bench seems to be saying that the building was built and is now being consecrated on the 10th July 781AD by Mak-Chanal, who is the son of Lady-Sun-Flower and the successor to the deceased lord, Ko-Xop, as the Keeper of the Sacred Texts for the Sacred Lord of Copan, Yax Pasaj Chan Yopaat.
W1128: Atlantean Ba'kab Supporting the bench are 6 "atlantean" pillars that are intricately carved with characters known as the Bacab (Ba'kab). The Ba'kab are aspects of Pauahtun in his role of supporting the four-corners of the universe. Four Bacab supported the earth-realm on their backs to prevent it from slipping back into the underworld (they are also seen on the Cosmic Doorway of Temple 22 at Copan where they support the Sky-Band thought to symbolise the cosmos). They are named as Cantzinal, Hosanek, Hobnil, Saccimi. and represent the four directions (north, south, east, west), four colours (white, yellow, red and black) and four years (Muluk, Cauac, Kan and Ix). On the bench in Structure 9N-82, they present small figurines in their palms which look like God-K. The protrusion from their noses may be an indication of breath to demonstrate they are alive. They support the bench to prevent its occupant from sinking into the underworld.
W1126: Scene from Bench EndThe bench is terminated with an angled back rest at either end for supporting pillows (presumably). This end section is also intricately carved (fig. W1126) with a character who sits upon the curled upper jaw of a serpent, whose mouth gapes open to spew forth an aged Pauahtun head (clearly visible in the bottom left corner of fig. W1126). Just above the ear of the Pauatun's head, you can see the serpent's curling fang and beneath his chin and jaw you can see two more fangs jutting up (the actual lower jaw of the serpent is just out of shot). Leading back past Pauahtun's ear, you can then see the serpent's eye and then Pauahtun's arm can be seen jutting upwards as though he is lying on his chest and trying to push himself up. This emblematic of the earth or sky being raised up during creation, with the grimacing Pauahtun heaving the sky-serpent up out of the underworld and into the sky. The character on top is overseeing the event and carries a turbaned God-K on his back as they rise – perhaps symbolic of the birth of the Copan kingship or divine lineage. The character also has breath emanating from his nose to emphasise that he is alive, suggesting this is either his birth – or his rebirth. As mentioned in the text, the Holy Lord of Copan at this time was Yax Pasaaj Chan Yopaat. His name is composed of two glyphs on the bench, Yax Pasaj and Chan Yat, which translate to "first-dawn" and "sky-piecer". Dawn is also equivalent to the creation of the earth, so his name translates to "creator of the earth and sky". The image on the end of the bench (fig. W1126) pays homage to this event, depicting Yax Pac summoning the ba'kab to raise the sky-serpent, whilst carrying God-K on his back – thus creating the earth, the sky and the royal lineage (symbolised by God-K).
The bench is housed in the central building of three, with the two adjoining buildings set-back on either side. These also contained benches, but they were not inscribed. The bench is quite clearly of the same principle and quality as the one commission by Yax Pasaaj some years later in Structure 10L-18 (click here to view). Structure 82 sits on the south side of Plaza A which was a particularly special place within Las Sepulturas. One of the oldest burials found at Las Sepulturas is that of a powerful shaman or High Priest, who was buried within Plaza A in the mid-fifth century – shortly after Copan had been founded. There are very few burials in Plaza A, unlike the other areas of Las Sepulturas, and the buildings are also comparatively larger and there is no kitchen area. This supports the idea that the building is a Temple and the Plaza is a sacred sanctuary.
Many suggest that the bench and the building are evidence of a split from Copán, with the people of Las Sepulturas building their own religious centre. However, the text on the bench clearly states that the occupier of the building was subservient to Yax Pasaj and held his "Sacred Books". And far from turning against the king, the scene at the end of the bench glorifies the king as the creator of the universe. It would seem more probable that Las Sepulturas was the seat of the High Priest. Harking back to the founding of Copan as a Mayan City, it is possible that the local chief, who could have also been a divine lord, may have been given the seat of Las Sepulturas and given the illustrious title of Keeper of the Sacred Books to make way for K'inich Yax K'uk' Mo', yet still keep his own divine lineage going. If this were so, then holy Keeper of the Sacred Books would require a Temple structure for him to dwell in, which is what Structure 82 appears to be.
1 Maya Seats and Maya Seats of Authority – Sandra Eleanor Noble (1999)


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Border Regiment, East Yorkshire Regiment, France, Raglan Street, West Yorkshire Regiment, Willenhall, William Mason
The son of Samuel and Hannah Mason, William was born in 1899 in Wolverhampton. In 1901, he was living with his parents at 26 Raglan Street, Willenhall, along with siblings Thomas S., Caroline, Hannah J., Louisa and Gertrude. Gertude was the same age as William, so presumably they were twins. By 1911 they were at 52 Lower Lichfield Street, Willenhall, but the only children with Samuel and Hannah were Hannah, Louisa and William. As none of the children were recorded to have died, however, they were presumably elsewhere on that occasion.
William served first with the East Yorkshire Regiment (number 31434), then the West Yorkshire Regiment (number 107306) and finally with the 8th Battalion of the Border Regiment (number 29407). He was killed in action in France between 24 and 25 July 1918. He is remembered at the Etaples Military Cemetery.


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Thursday, October 29, 2009
If nothing else, the car is DEFINITELY cool.
I've written before (here, here, and here) about seeing movies or reading books I fondly remembered from my childhood--stuff I thought was too cool for words when I was a kid and that happened to turn out to still be pretty cool when I revisited them as a grown-up.
Well, there's still a few things I remember liking a lot as a little one that I've never run across as a big 'un. One is a young adult novel about a couple of friends assigned to a PT Boat in the Pacific Theater during World War II. I don't remember any significant plot details or even the title, so I'm sadly unlikely to ever dig it up. (I only remember enjoying it enormously, plus a battle sequence in which the boat was fighting a bunch of Japanese barges trying to bring reinforcements in to an island. Oh, and I think the best friend of the point-of-view character was named Gary. But you can't find a book title with just that information. Trust me, I've tried.)
At least I remember the title of another fondly remembered item from my boyhood. It was a 1971 TV series called Bearcats. Boy, this show was cool.
At least I think it was cool. It only ran for thirteen episodes and I've never seen a re-run. It's never been posted online or released on DVD. And I can't remember the plot of a single episode.
It certainly had a cool premise. Two soldiers-of-fortune tool around the American Southwest in the years just before World War I. Their car? A beautiful-looking 1914 Stutz Bearcat. If you had a dangerous job that needed doing, you could hire these two guys.
The plot descriptions of the individual episodes available online make it all sound really good. They take on a bad guy who's using a stolen army tank to rob banks. Or they interfer with a German plot to start a war between the U.S. and Mexico. Or they rescue a band of archeologists from treasure-seeking thugs. All potentially great stuff if the writing is solid and if the characters are fun. It's a wonderful time period in which to set an adventure series. And that car really is cool.
But I have no idea if the show would hold up for me were I to see it as an adult. Well, I'm apparently not the only one with fond memories of the show. Maybe one day it'll be available to watch. Then I can find out for sure.
2 comments:
Just came upon this old post, which is ripe for updating. As you may know, Bearcats is out on DVD now and is a lot of fun. The pilot movie Powder Keg isn't on the set, but is available on other DVD sets or separately. I'd really be curious to hear your thoughts on the series revisiting it as a big 'un. ~ Gary in OmahaReplyDeleteReplies
Thanks for reminding me of this post. I did get the DVD set last year & I agree its a lot of fun. I'll write about it in more detail when I get home from Turkey & have more time. I'll probably do a new post about it.Delete
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New era beckons on field of dreams
Rebuilt Lansdowne almost ready for the arrival of our sporting heroes
IT WAS the field of dreams on which the highest and lowest moments in Irish sport were played out.
Triple Crown victories for the international rugby team in 1982, 1985 and 2004; Jason McAteer's wonder goal against Holland in 2001 paving the way for Ireland to qualify for the 2002 World Cup.
And wretched scenes in February 1995 when an Ireland-England international had to be abandoned when English football hooligans rioted after their team went a goal down.
Next month the rebuilt 50,000-seater Lansdowne Road will welcome the soccer and rugby teams home after a three-year exile to Croke Park.
Built at a cost of €410m, of which €190m came from the taxpayer, it will replace the world's oldest continuously-used stadium which has been the home of Irish rugby since 1872 and soccer since the 1980s.
And the Irish Independent has been given a sneak preview.
Up to 1,000 construction workers are completing the fit-out of the renamed Aviva Stadium before it is officially handed over to owners the Irish Rugby Football Union (IRFU) and Football Association of Ireland (FAI) in four weeks' time.
The players of yesterday did not have a fraction of the facilities available to the professional sportsmen who will grace the Dublin 4 venue from August.
There's a hydrotherapy pool, spacious dressing rooms and medical facilities and warm-up rooms with ceilings high enough to allow line-outs to be practised pre-match.
And it's not just the pitch that will be green. A four-bin recycling system, waterless urinals, compostable burger wrappers and the use of harvested rain to keep the pitch watered will make it one of the most environmentally-friendly sports stadia in the world.
Operations manager Bill Enright said yesterday that up to 400,000 litres of water a year will be saved by using waterless urinals on busy match days.
There are five entrances -- two more than in the old venue -- with an emphasis on the use of public transport to keep the crowd moving.
"Up to 1,200 people can be corralled on the DART platform," Mr Enright said. "A gating system will be used to prevent overcrowding, and five entrances at Bath Avenue, Shelbourne Road -- both of which are new -- Lansdowne Lane, Herbert Bridge and Lansdowne Road will be available.
"There are 117 turnstiles, up from about 50 in the old stadium, and disabled car parking for 100. We can clear the whole ground in an emergency in 15 minutes.''
Food and drink will be available at 59 locations, and a pint can be pulled in just six seconds, meaning shorter queues for thirsty fans. But there's no drinking pitchside, a situation which may be reviewed later.
A staff of six will run the venue. The official opening will be on May 14 when 1,500 people attend a black-tie function.
The first match will be a provincial rugby tie when a combined Leinster/Ulster team play a Munster/Connacht side on August 7.
Irish Independent


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Price: $60.00
Quantity: 1 available
Book Condition: Very Good
Revised and enlarged edition. Light stains to corners, boards rubbed, small pharmacy bookplate (Smith's Homoeopathic Pharmacy) on front endpaper. 1860 Full-Leather. 992 pp., 32-page terminal publisher catalog. 9 x 6. Original full leather. Gilt titles. A comprehensive medical dictionary, compiled by the Professor of the Institutes of Medicine, Etc., in the Jefferson Medical College of Philadelphia.
Title: Medical Lexicon: A Dictionary of Medical Science; Containing A Concise Explanation of the Various Subjects and Terms of Physiology, Pathology Hygiene, Therapeutics; Pharmacology; Obstetrics; Medical Jurisprudence; &c, with the French and Other Synonymes; Notices of Climate, and of Celebrated Mineral Waters; Formulae for Various Officinal, Empirical, and Dietetic Preperations, Etc.
Categories: Medical, Early Imprints, Language, 19th Century and Earlier,
Edition: Revised Edition
Publisher: Blanchard and Lea: 1860
Binding: Full-Leather
Book Condition: Very Good
Jacket Condition: No Jacket
Weight: 1.00 Item
Seller ID: 2203610
Keywords: MEDICAL SCIENCE HEALTH MEDICINE PATHOLOGY THERAPEUTICS OBSTETRICS PHYSIOLOGY,


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- WiFi
- Car park
- Business
Choose your room
72 rooms offering Standard and Superior categories, offering every amenity, with highest comfort discrete service for both business and leisure purposes... A 'must' for every business traveler, internet access in every guest room. Enjoy living and resting at its best.
All guest rooms are equipped as follows: Minibar, Safe, Colour-TV with remote control, cable-TV, phones (ISDN-line on request), Internet access, Hairdryer. The ideal place for lunch and dinner, business meetings, Cocktail services and also Coffee Breaks can be ordered. Low rise building, modern in design. The lobby is medium in size and decorated with local furniture. This is a 3 star hotel, welcoming both business travellers and tourists alike. The hotel offers good service. 08/08 RDG


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The other day I got an email form Karen Lubieniecki. Karen is the President of the Laurel Historical Society. She was searching the internet for blogs on Laurel, Maryland and came across mine. Needless to say she was impressed.
Karen also apprised me of the Laurel Museum located at 817 Main Street in Laurel. The museum is located right next to the Laurel pool. Currently, the Laurel Museum has an exhibit titled Shake, Rattle-n-roll about Laurel Maryland in the 1950s. About this time a large influx of federal workers swelled Laurel's growth. Just like BRAC today.
The Laurel Museum has lots of fun activities for both adults and children. You can get more information at Laurel MD history.


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The Golden Rules When Booking Live Entertainment for Your Event Tips & Tricks For The Entertainment Buyer Having worked as a professional magician and mind reader for the past sixteen years, I have seen hundreds if not thousands of venues all over the world. From Boston, where I am based, to Singapore, where I work […]Continue Reading
Category: Entertainment
Entertainment has many dimensions and could be personal/private or more general and public forms of entertainment. When we play with our mates that is a personal form of entertainment and when we sit and watch a movie on the screen that is a more general form of entertainment as we are sharing the experience with […]Continue Reading
1. Allow the experts. Children's entertainers do that every week. Entertaining frequently enables professionals to achieve experience of children's games and particularly children's favorite games. Being a parent, you may have a more sophisticated agenda of games for example pin the tail around the donkey, musical chairs and then any other games you might find […]Continue Reading


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Do I Need an Account with VeWD App Store (Opera TV Store) Account to Use it?
IMPORTANT: This article applies only to specific products and/or operating systems. Check Applicable Products and Categories for details.
An account with the VeWD App Store (previously Opera® TV Store) isn't required to use this feature on your Blu-ray Disc™ player.


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Grand Opening of the Bill Delahunt Parkway creates easy access to Fairing Way and Southfield!
If you haven't visited Southfield this summer, you'll be amazed by the changes that have occurred in only a short period of time. The most exciting of which, is the grand opening of the Bill Delahunt Parkway! The new, tree-lined boulevard pleasantly winds East to West across the site, conveniently connecting SouthField to Route 3 at Exit 14 in Rockland.


text: DealsFunko PopBlade Runner 2049 Joi Pop Vinyl is on sale December 15, 20180468ShareTwitter ReddIt Pinterest Facebook The 2017 movie Blade runner starring Ryan Gossling and Harrison ford has its own Funko line aswell. You can Find Joi Funko Pop on sale on Amazon now. The price is -30% so You can save money on this deal. Perfect gift for Funko collector as well as Blade Runner fan!Joi Pop Vinyl Figure


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Creative Director, Viva Media Inc
An Open Letter from Matthew Watts
Why hello there! Allow me to introduce myself.
A pleasure to e-meet you! I'm Matthew Watts, the Creative Director here at Viva Media.
I wanted to write this letter with the sole purpose of you being able to get to know me better – how I run things and what you can look forward to when you work with our Toronto production team.
The best way to get a hold of me is through email at email@example.com. I'm routinely behind a camera, thinking of a concept, or zoned into editing, so email is the best way to get a hold of me. Sometimes its tough for us to call back right away just because its quiet on set when cameras are rolling. If you need a response right away, cc email@example.com and he'll poke me. In your email, tell us what you're working on and your big idea. No need for a lot of detail — just a rough intro, and when you might be free for a chat!
Next, we'll find out more about each other over a coffee at our office or your office.
We're a company of millennials, and we specialize in digital media. It's what we're good at, because we're always online, and most of us don't even have cable. For better or worse, we want to know why you want to create your content, why you want people to see it, and why you think people would be excited about it. We'll set aside some time to talk and we'll get a sense of what how to best execute on your idea.
Hopefully, our date goes well! Post meeting, we'll likely both had an amazing time and you like our enthusiasm/direction. We'll then spend some time developing and writing up what's called a treatment. This usually is a one-pager, where we describe to you a few ideas after thinking obsessively over it for a day or two. We'll describe what your video would look like and the resources we need. You pick your favorite. We sometimes charge some money for this part, which is called the "creative engagement" and means we're not writing on spec, or "for free". When we move forward to the project phase, that money gets absorbed into the rest of the cost.
To give you a good sense of time, the average video of 1-2 minutes takes us approximately 4 weeks to make, starting from the date of the shoot, up to the finished version with all your changes, and the logos and music thrown in. Of course, this timeline can vary, and if you're in a super rush and your product is cool and you have a budget we can work within, let's talk! However, it's always better to spend more time in post-production than it is to rush a shoot and realize we're 5% short of a good idea.
Speaking of money, how much does video production cost? As a good starting baseline, expect the average project to fall between $3,000 – $20,000.
That's as best we can give without knowing details about your project. The price of a video depends on a few things, like the nature of the creative concept, the number of talent or locations, whether you need a script, the length of the final video, and the resources available to you. Sometimes we've got ways to make budgets work, and sometimes we have to be realistic.
We like to get things done efficiently, with the least amount of waiting-around and lost time as possible. We're not flaky film school kids, so we live for schedules and planned shotlists. We have two rules on our productions; everyone says "Please and Thanks" to each other, and everyone can work with the right execution.
Our clients fall into three categories:
Non-profits and startups: We're idealistic by nature, and if you're doing something amazing that helps make the world a better place, we'll pull a few favours, but you'll still have to cover the cost of production and basic wages for our team.
Small local business: You're in good company and form the bulk of our clients. You're growing and getting ambitious, starting to have bigger ideas and growing your fan base. You have a small marketing budget for an experimental video, to launch your new website, Instagram or Youtube Channel, showcase a product or show off a property! Watch us stretch it.
Big corporations: We're doing more and more of these lately, and from what we've experienced, it's the large firms that are sometimes the most agile. It's awesome to have the resources to do things correctly—to make things look amazing, to try new approaches, create buzz with teasers and to be your social media department's cheerleading team. #squadgoals
Whichever client you are, we can approach it from start to finish, and be part of the process from as much or as little as you need. Or, if you just need some technical camera geeks to help make an idea happen fast, we're happy to jump on board.
When we quote you an amount of money for the work, that amount is all-inclusive. That means from start to finish, we've got you covered. If there are unexpected expenses, we'll let you know well before hand so you have time to digest and evaluate. Also, we'll typically ask for a 50% deposit prior to the date of the shoot – Why? This is so we can book any required studio dates, pay the deposits and call in our crew.
When we make videos or photos for you, they belong to you, always. However, you must let us know in advance if your media is going to be broadcast on TV or printed on a large billboard. This is because the shooting crew and talent who appear on TV commercials work for different rates vs digital use only, and we have to make sure your creative and acting talent is on board.
It takes a great deal of caring, man hours and skill to do what we do. Regardless of your budget, we will stay up at night clicking away, and always strive for high production value. We believe everyone gets better at everything all the time, so don't be alarmed if we 're a little more detail-oriented than you expect. We've been at this a while
Making video and photos so that other people can see and enjoy them is one of the coolest things you could do. Expect a visually stunning end product, but most importantly to have fun while working with us.
Talk to you soon,
Matthew Watts
Creative Director,


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I am making an application using Ionic Framework and PhoneGap build. Unfortunately, even though my fonts work properly during debugging in the browser, the deployed file is missing fonts and displays a fallback font instead. This took a long time to figure out because of the lack of documentation. The problem was that there was a resources folder "res" created when initializing the environment (not sure if PhoneGap, cordova or Ionic scripts are to blame here). During build, the res contents are not included unless they are specifically referenced in the config.xml file (like the splash screens and icons.)
Move your fonts into a subfolder of the css folder and then use the standard cross-platform font reference method like:
@font-face { font-family: "Ionicons"; src: url("fonts/ionicons.eot"); src: url("fonts/ionicons.eot") format("embedded-opentype"), url("fonts/ionicons.woff") format("woff"), url("fonts/ionicons.ttf") format("truetype"), url("fonts/ionicons.svg#Ionicons") format("svg"); font-weight: normal; font-style: normal; }


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The shotgun safety course offers you a five hour plus introduction to shotgun shooting covering all the basics you need to know from owning a shotgun through safety, storage, eye dominance, gun fit and what to do when things go wrong. Includes a introductory lesson.
Book a place on our next shotgun safety & awareness course. Course start time is 10.30am.
When your place is booked on the shotgun safety & awareness course we will send you a guide covering everything you need to know covering all the basics of shotgun ownership, safety management and much much more...
The shotgun safety course also includes a lesson of up to 40 clays introducing you to a variety of targets and the required shooting technique for each, along with an explanation of gun fit by BASC & APSI qualified safety officers and shotgun coaches.
During the shotgun safety course we will cover not only clay pigeon shooting but also 'shooting on the peg', the traditions of game shooting, etiquette and safe game shooting practices.
The shotgun safety course has been designed for those who are new to either clay or game shooting and especially for those who are about to apply for their shotgun certificate and who wants to improve their knowledge of shotgun shooting and shotgun safety.
The shotgun safety & awareness course has continual practical assessment with our coaches, but ends with a small theory test to prove your basic background knowledge.
For those who pass the shotgun safety course a certificate of achievement will be presented.
Our Shotgun Safety & Awareness course is designed for a minimum class size of six people and a maximum of twelve people.
The course fee is £145.00
Offering quality coaching & real value
Copyright © 2017 Kent & Sussex Shooting School . All Rights Reserved


text: Subscribe to our newsletter This thingy has to be empti pwieshh Mar 5, 2017 🔥 Issue #42: Practitioners vs Theorists Revue Attended a great whole day training course by Todd Lombardo on Design Sprints this week, you can chec Andy Ayim on Minorities in Tech March 5 · Issue #42 · View online Your weekly newsletter on minorities in tech, venture and entrepreneurship 💫 http://andyayim.com Attended a great whole day training course by Todd Lombardo on Design Sprints this week, you can check out his slides HERE. The week ahead has a few interesting events I may attend such as the #poctech event at Google Campus, hosting a panel of female tech company founders sharing their stories.Another event I am curious about is an 'Intrapreneurship' event at EY. Given the diverse range of different interpretations of what this term actually means, I am intrigued as to whether this will be a quality discussion or not.Remember this journey is a game of inches and these articles should help you gain an inch or two on your journey. #GameOfinches You want more short stories during the week? Check out my Instagram. 🚀 Quotes, Tips & Stories Practitioners vs Theorists medium.com – Share Blunt but hopefully a good read! 📈 Startup News & Trends Why we choose profit m.signalvnoise.com – Share Profit comes at the cost of growth How long do you take to run experiments? www.linkedin.com – Share Why 90% of your experiments shouldn't last longer than 2 weeks Stories you don't hear about Startups that fail medium.com – Share The story of founding a startup, and how it all came crashing down 🔨 Tools of the week Introducing Buffer's Transparent Product Roadmap open.buffer.com – Share Check out how Buffer builds and refines their product roadmap with customers Did you enjoy this issue? If you don't want these updates anymore, please unsubscribe here. If you were forwarded this newsletter and you like it, you can subscribe here. Powered by Revue Share Share to Twitter Share to Facebook Subscribe to our newsletter This thingy has to be empti pwieshh


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Browsing Archival Collections by Subject "EMG Signal Processing"
Now showing items 1-1 of 1
A New Concept In The Evaluation Of Cybernetic Actuators Control Using Virtual Reality (1995)In order to control the movement of a cybernetic actuator the EMG signal is generally used as a source of command. This signal has to be processed in order to extract relevant features, which are then classified. Many schemes ...


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Heather Marold Thomason, butcher and owner of Primal Supply Meats in Philadelphia, Pennsylvania
Photograph: Chris Crisman
A butcher, firefighter and pig farmer are some of the subjects in the latest project by the photographer Chris Crisman.
This series portrays women at work and focuses on occupations traditionally seen as male dominated.
Crisman's children were part of the inspiration for Women's Work – to show them that they could be anything they wanted to be, and to illustrate that gender should not define employment possibilities by Sarah Gilbert.
Firefighter Mindy Gabriel, from Upper Arlington, Ohio.
All Photographs: Chris Crisman.


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Mark C. Rohr
Chairman & Chief Executive Officer, Celanese Corp.
Mark Rohr, 62, joined Ashland's board of directors in 2008 and serves on the Audit and Environmental, Health, Safety and Quality committees.
Mr. Rohr is chairman of the board and chief executive officer of Celanese Corp., a position he has held since April 2012. Prior to that, he served as executive chairman of Albemarle Corp. Previously, he held several executive positions with Albemarle, including chief executive officer, president and chief operating officer. Before joining Albemarle, he served with Occidental Chemical Corp. as senior vice president – specialty chemicals. Mr. Rohr also serves on the executive committee of the American Chemistry Council and the advisory board of Mississippi State University College of Arts and Sciences.