text:
In order to be protected from criminal prosecution, adult Colorado citizens must strictly adhere to the narrow protection afforded by Colorado's marijuana amendment, Amendment 64. Common sense and knowledge of Colorado marijuana law is necessary to avoid potential state criminal prosecution. Be warned that the laws are confusing, complicated and often silent on key issues. If you have any questions, I suggest speaking with a qualified attorney to help you understand and comply with Colorado law. Be warned. Marijuana, medical or recreational remains illegal under federal law. Anyone who exercises their Colorado marijuana rights must do so knowing that they are violating federal law and at their own risk. We do not condone or sanction such violations of federal law and our advice is intended only to inform Colorado citizens about Colorado marijuana laws.
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text:
Create DNS records when your domain is managed by Google (eNom)
Check the Domains FAQ if you don't find what you're looking for.
To migrate your mail accounts to Office 365, you need to create a DNS record at your domain registrar.
If you purchased your domain through Google while signing up for your Google Apps for Work account, your DNS records are managed by Google but registered with eNom.
You can access eNom, and create DNS, through the Google Domains page. Just follow the steps in this article.
Create the DNS record
At the Google Admin console, select Sign In.
Enter your domain name, and then select Go.
At the bottom of the page, select More controls.
Select Domains.
On the Domains page, select Add/remove domains.
On the Domains page, select Advanced DNS settings.
If you didn't purchase a domain name through Google while signing up for your Google Apps for Work account, you won't have Advanced DNS settings on your Domains page. Instead, you must go directly to your domain host's web site to access your DNS settings and to perform this and the following steps. See Access your G Suite domain settings for more information.
On the Advanced DNS settings page, select Sign in to DNS Console. Note the Sign-in name and Password information. You'll need it in the next step.
Log in to the Google Domain Manager using the Sign-in name and Password from the Advanced DNS settings page.
On the domain_name page, in the Host Records section, select Edit.
In the Host Records section, select Add New.
In the boxes for the new record, type or copy and paste the values from the following table.
This is an example. Use your specific Destination or Points to Address value here, from the table in Office 365.
Select Save.
Select Save Changes.
Typically it takes about 15 minutes for DNS changes to take effect. However, it can occasionally take longer for a change you've made to update across the Internet's DNS system. If you're having trouble with mail flow or other issues after adding DNS records, see Troubleshoot issues after changing your domain name or DNS records.
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subset: commoncrawl


text:
Designers / Specifiers / Landscape Architects
The Embodied Carbon in Construction Calculator helps building teams evaluate a project's overall embodied carbon emissions during design and procurement decision making.
Nearly 50 AEC industry organizations partnered to develop the groundbreaking Embodied Carbon in C...read more
Clover Payments, a payments software startup, installed a 30x22-ft living wall in its office in Sunnyvale, Calif., a net-zero-energy building. The wall provides air filtration for the company's tenants. Image: Courtesy Habitat Horticulture
One installer offers his thoughts on why, and what works.
Hundreds of mosaic enthusiasts ranging from A&D professionals to budding designers of tomorro...read more
Rendering Courtesy of Google
The original canopy design scheme is still in place, but the plans now call for it to be opaque....
The Guest Welcome Center at the Huntsville Botanical Garden in Alabama will include a Great Hall that could hold up to 350 guests. Image: Matheny Goldmon Architecture + Interiors.
The 30,000-sf facility will feature three rental spaces of varying sizes.
Photo Credit: Mike Tuell, Tom E. Lutz, AKBD
Charging stations, built-in coffeemakers, and pet stations—these are among the top kitchen design...read more
Philips City Farm Research Center, Eindhoven, The Netherlands. Photo courtesy Philips
A research center in The Netherlands is testing the latest techniques in urban farming.
Last year was a record-breaking year for high-rise construction, with 97 tall buildings completed...read more
From energy modeling on the fly to prefabrication of building systems, these advancements are pot...read more
Babina has adapted quotes from famous names such as Frank Lloyd Wright, Alvar Aalto, and Mies Van...read more
The market outlook is brighter for U.S. architecture, engineering, and construction companies, wi...read more
This represents Nelson's fifth merger or acquisition in 2014, during which the firm's net fee rev...read more
The new interactive tool from Aon Risk Solutions provides real-time updates pertaining to the ris...read more
In a recent workshop with 62 college students, architects from Little explored the changing habit...read more
More than a decade after opening its groundbreaking Philip Merrill Environmental Center, the grou...read more
Providing more comfortable conditions to building occupants has become a top priority in today's...read more
The city of Miami has awarded an $11 million contract for its on-again, off-again convention cent...read more
Among the breakthrough products to make BuildingGreen's annual Top-10 Green Building Products lis...read more
Graphic designer Federico Babina has mad...read more
Houston has 19 million square feet of office space under construction, 54% more than a year ago,...read more
Gross billings at architecture firms have increased by 20% since 2011, according to a new report...read more
Women account for more than half of the U.S. population. But even with significant gains over the...read more
The newly adopted changes will be implemented in two phases. The first will streamline the progra...read more
Understanding effective project management helps many big and small organizations to carry out la...read more
The building's custom-fabricated wall panels look like copper, but are actually flat metal sheets...read more
The design includes a stage that opens onto the city's Parade Square, so anyone passing by will b...read more
Arup, Gensler, and Turner head BD+C's rankings of design and construction firms with the most rev...read more
Gensler, AECOM, and Hunt Construction top BD+C's rankings of the nation's largest convention cent...read more


text:
Modern by Universal is sophisticated, clean and simple, bold and a bit daring. It honors its roots in Modernism but has been adapted for today's life and activities, in action and rest. Modern focuses on livability and usability, making it comfortable enough for everyday.
WARNING for California Residents - Prop 65
- Quartz finish
WARNING for California Residents - Prop 65
Product Specifications
- Item Code751633
- ManufacturerUniversal Furniture
- ConditionNew
- Product TypeNightstand
- FinishQuartz
- StyleContemporary / Modern
- ConstructionOak Veneers, Select Hardwood Solids and Simulated Wood Components
- More Information


text:
Markets finished mixed. Corn had a sharp rally off the lows late in the day to finish 7 ¼ cents higher. January soybeans finished 14 ¾ lower at $12.02 ½, and December wheat finished up 1 ¾ at $6.30.
Early on it looked to be a rather weak trading session with the outside markets sharply lower after the Greek referendum call. Basically we could see an undoing of the agreement that was made last week which was the base reason for sending the outside markets sharply higher. Today the Euro currency finished sharply lower and the US Dollar sharply higher which would typically be a negative factor for grains.
The late day session rally was on heavy volume in corn and we can speculate that it may have been a liquidation move. In the last 15 minutes 25,000 contracts of December corn traded on the screen rallying the contract 14 cents! There was no 1pm grain announcement or outside market move that warranted such a rally and so we think it could have been someone short having to get out, whether it was related to MF Global or not I am not sure.
The rally also put us right back to where we have been for the past 3 weeks and I am beginning to sound like a broken record but we finished just above the 200 day moving average. Beans on the other hand did not rally with corn and the November-December corn/bean spread posted new settlement lows of 1.82 to 1. The market continues to favor corn over soybeans even going out to new crop with the 2012 spread trading at 1.99 to 1.
FC Stone came out with their yield estimates today. They are projecting the national average corn yield to be 148.4 which compares to their previous estimate of 148.7 in October and the USDA October estimate of 148.1. They are projecting the national average soybean yield to be 42.2.4 which compares to their previous estimate of 42.8 in October and the USDA October estimate of 41.5. Until this November 9th report the market could continue to chop around as it has, but given the discount world grains have to undercut our prices, as well as the net long positions the spec longs are still holding, we like making sure the downside risk is well covered. To receive a two week trial of our services please contact an EHedger broker today or sign up using the link below.
Chart: December corn 15 minute chart w/ volume
Chart: December corn daily chart
For a free trial of EHedger research please sign up using the link below:
Best Regards,
Trading commodity futures and options involves substantial risk of loss and may not be suitable for all investors. You should carefully consider whether trading is suitable for you in light of your circumstances, knowledge and financial resources. The market information contained in this message has been obtained from sources believed to be reliable, but is not guaranteed as to its accuracy or completeness. Market information may not be consistent with current or future market positions of EHedger LLC, its affiliates, officers, directors, employees or agents.


text:
http://www.avsforum.com/forum/19-dedica ... st33049761
What's the opinion of the studiotips-ers?
I remember Eric talking about stiffness a bit, and Brian doing stiffness tests with 2x4/drywall variations and deciding that stiffness wasn't good.
And there's the 7.5 pounds bit, which is an unusual way of talking about it.
I have no idea how to argue this in the most efficient way possible, I just throw spaghetti at the concrete wall as I invent arguments. I'll try again. Lets involve some good old basic physics.
When the subwoofer element moves in and out the air pressure differences from 120db are tiny across a square inch. Its 20 Pa, or 0.00290075475 pounds per square inch. But across an entire drywall in the bits between each stud it adds up to meaningful numbers. 120db on a 24 by 108 inch section experiences 7.5 pounds in air pressure difference (either from peak to bottom spread across the surface or peak to centerline and then another 7.5 pounds to the bottom, I'm not sure which, I wager its the first). If its 20hz then this pressure difference gets time to act for 1/40th of a second outwards, and 1/40th of a second inward (not going into the whole thing about how it experiences lower average pressure because its a sine wave etc). The higher you go up in frequency the less time this pressure difference has time to act on the surface. Experiencing less actual movement as you go up in frequency. The excursion of the speaker elements also go down as you increase frequency, so largely the movement of the walls go down as you increase in frequency because the time the pressure difference has to act on the wall in each wave goes down. Thus lowering the amount of movement actually imparted on the wall. Total PSI the wall experiences can go up though in higher frequencies, due to the speaker being able to move more air combined per second, reaching higher db.
Then we begin going into areas where the materials themselves can transmit vibrations internally which for low frequencies largely does not matter. Whereas on high frequencies you can tap a railroad piece and hear the noise far away by putting your ear to the steel, you can't do this with lower frequencies. Partly because we're terrible at hearing low frequencies but partly because materials only want to transmit certain frequencies in this way.
This pressure difference over time and area is the reason you see largely no decrease in low frequency sound transmission by adding more and more drywall layers and rockwool/glasswool. It may be more weight, but the PSI is still the same across the same area with the same spacing between studs. That is why I suggest half space studs, which simply is to have half the spacing between studs. In regards to bass transmission, its guaranteed to lower it. Then the same 120db is just 3.75 pounds on a given surface that can move much less (movement of panel with smallest side being 24 inches can move much more than panel with shortest side being 12 inches, measured in air displaced by movement, given the proportionally halved force. You can test it by putting X weight on a 2 by 4 and then cutting it and the weight in half and measuring how much it deflects each time). Higher frequencies will probably be affected negatively by half space studs, but high frequencies can be dealt with with drywall and insulation.
But, how much does concrete get affected by pressure differences in the air? Very little. We know that with even very thin concrete, the wall can take the given PSI over 1/40th of a second with an immeasurable amount of movement because the give in the wall is simply much less than the given PSI will impart, no matter how long the PSI is given to act upon the wall. You can push against a drywall for a second and then impart pretty much the maximum amount of movement it will take without breaking, whereas if you lean towards a concrete wall the amount it will move is much much much smaller. So even if you have 1 hertz with 100 pounds of pressure differences peak to peak across the entire concrete wall, it will still move immeasurably small amounts. However, if you have 400 hertz and 120db, you'll begin throwing a lot of sound through the concrete, since you're nearing the frequencies the concrete can transmit well internally.
Hence I put forth the STC rating of assemblies that included concrete because we know the bass transmission is better with concrete than without it. There's a reason things that don't move are said to be "set in stone/concrete".
*(number from random guy on internet says 120db is 20 Pa, sue him if it isn't correct)
Excuse me for not having a degree in efficient arguing about the sound dampening effect of concrete on the internet.
EDIT: Let me flesh out that bit about the 24 inch side versus 12 inch side movement amount. Lets have a 12 by 12 inch wall section and a 24 by 24 inch. There's studs at all sides, and drywall on both sides. When a certain psi is allowed to act on the wall on one side, it imparts motion in the wall, displacing an amount of air, which pushes against the other drywall sheet. The movement is proportional to the give in the sheet, and the give is lowered by reducing the dimensions of the sheets. Thus, less volume of air is moved, less movement is imparted on the next wall. The amount of air displaced in section 24x24 is more than four times as large as the amount of air displaced in section 12x12. Note the "more than". 4 sections of 12x12 would have less surface movement combined than one 24x24 sheet. The reason being the movement imparted by air pressure on a sheet wants to resemble a part of a sphere, and they have more volume to surface area the bigger the sphere is. Impart 1x force on 24x24 area and you get a displacement volume well over 4 times the displacement volume of an area of 12x12 being subjected to x/4 force. So even disregarding the fact that materials themselves tend to move less with lower lengths, its going to move less air if we cut the size of the sheet sections. Not to mention, you'll have some more parts of the wall that has studs behind it, where it won't move at all, only imparting sound internally.
Judging by the silence in regards to my last post, I assume I have managed to make it make sense to you why concrete stops bass. Anything that recreates the abilities of concrete will work to the same effect. Tighter space between studs, stiffer materials, gluing materials together to make a thicker laminate (use epoxy for wood v wood laminate), reinforcing the material, etc. Tiles also contain bass quite well, hardwood, etc. Get creative.
On the subject of high density variable density particle board (aka HDP), I'm sure there are similar products in the states. It probably goes under different nicknames. Shop around, ask for really stiff particle boards and fiber boards.


text:
Health Care Authority Board of Directors
SRMC is led by a five-member Board of Trustees appointed by the Wellington City Council to serve four-year terms. These experienced medical and business professionals volunteer their time and expertise to identify ways and means to continually improve our hospital at every level. The HCA Board meets at noon the third Thursday of the month in the SRMC Boardroom. Meetings are open to the public.


text:
Does Matthew 7:21-23 mean that believers can lose salvation?
Question: "Does Matthew 7:21-23 mean that believers can lose salvation? How can a person perform miracles in Jesus' name if Jesus never knew them, i.e. they were not saved?"
Answer: The two questions most frequently asked about Matthew 7:21-23 come about because the verses seem to contradict two strongly held beliefs—one cannot lose his salvation and anyone who performs miracles must be from God. As we will see, one of these beliefs is based on scriptural truth and the other is not. While the true believer cannot lose his salvation, not all miracles are performed by true believers.
Jesus is speaking here near the end of His Sermon on the Mount (chapters 5–7). Beginning in verse 13, Jesus discourses at length on the subject of true faith vs. false professions, using the technique of contrast and comparison. Verses 13-14 describe two paths on which people walk through life, the broad road that leads to eternal destruction and the narrow path that leads to eternal life. He introduces here the concept of the "many" and the "few" that He will return to in verses 21-23.
In verses 15-18, He again contrasts the two types of people by using imagery well known to those in an agrarian culture—sheep and wolves, grapes/figs and thorn bushes/thistles, good trees and bad trees, good fruit and bad fruit. Having established the idea of dichotomy in the minds of His hearers, He goes on to apply these truths to the spiritual state of all within His hearing. Jesus presents the two types of people who will come to Him on "that day," meaning the last day, the day of judgment, the great day fixed by God and unknown to angels and men which will be terrible to some and joyful to others. All will be seeking to enter the kingdom of heaven, but some will be turned away and will react in utter confusion and disappointment as what they thought was their "ticket" to heaven turns out to be worthless. These are those who prophesied in the name of Jesus, meaning either foretelling things to come or preaching the Word in His name. They have even performed miraculous acts such as driving out demons and perhaps healings and other miracles, but all to no avail. But their works were done for their own glory, not His, and were nothing more than "filthy rags" (Isaiah 64:6). In contrast, those who will enter heaven will not do so based on their miraculous achievements and accomplishments or works of any sort, but solely on the basis of obedience to the will of God.
But who are these unfortunate people and how can they do miracles unless they are doing them by God's power? We know several things about them from the text. First, we know there are many of them, because it is many who are on the broad road to eternal death, as compared to the relative few who have found the narrow path to eternal life. Second, they claim the name of Christ. These are not Muslims, Buddhists, or atheists. These are those who would gladly say, "I am a Christian." They work their works in Jesus' name. They pray and heal in Jesus' name. They preach and teach in Jesus' name. They build huge churches and ministries in Jesus' name. They claim a relationship with Him. But they are none of His. In fact, He sends them away, not with commendation for their good works in His name (and many good works are done in Jesus' name by false professors), but by disowning their every deed and word. He "never" knew them, nor did they ever truly know Him. They weren't Christians who lost their salvation. They were never part of the elect of God, chosen before the foundation of the world (Ephesians 1:4), set apart and sanctified by the Spirit (1 Corinthians 6:11; 2 Timothy 2:21), and justified by faith (Ephesians 2:8-9). The ones Christ puts away from Himself with harsh words of condemnation, calling them doers of evil, never came to Him in faith, despite their outward good works and miracles.
Then if these do not belong to God and never did, how do we explain their ability to perform miracles? Can those who do not have the Spirit actually cast out demons and perform miraculous healings and spectacular signs and wonders? There are two possible explanations for the ability of the ungodly to perform such acts. One is that some miracles are done by the power of Satan and his demonic host. They are incredibly powerful beings who can manipulate physical elements to their own ends. Consider the power God allowed Satan to use to afflict Job—lightning, wind (possibly a tornado), and boils all over his body (Job 1:16, 19, 2:7). These are certainly miraculous events. Exodus 7 describes the magicians and sorcerers of Egypt whose "secret arts" impressed many, but clearly these were not men of God. In the New Testament, Paul confronted Elymas the Jewish sorcerer and false prophet, calling him a child of the devil, full of all kinds of deceit and trickery (Acts 13:6-11). So we see that not all miracles come from God and not all who perform miracles in the name of Jesus are truly His. He calls them evildoers because the miracles they perform have evil as their source. In fact, Jesus warned us to be on guard against their deception as the end times draw near (Matthew 24:24).
Second, there are times when God, in His sovereign will and for His purposes, will empower unbelievers to perform miraculous deeds. The prime example is Judas who, along with the other disciples, preached the gospel, healed the sick, cast out demons, cleansed lepers, and even raised the dead. There is nothing to indicate that Judas didn't have the same power as the other eleven, although he was never a true disciple of Christ. He was a deceiver and the "son of perdition" (John 17:12). Yet God gave him the power to do miracles for His own glory and to accomplish His will.
Jesus goes on to describe those who will be able to call upon His name on the day of judgment. It will be those who hear His words and put them into practice, the same ones referred to in verse 21 as those who obediently do the will of the Father in heaven. True believers are the good trees that produce good fruit (Galatians 5:22-23), the true sheep who look to Christ, depend on Him, commit themselves to Him, trust in Him, and believe on Him for righteousness, salvation, and eternal life. These are the ones who will enter into the kingdom of heaven.
Recommended Resource: Eternal Security by Charles Stanley
More insights from your Bible study - Get Started with Logos Bible Software for Free!
What did Jesus mean when He said, "I never knew you. Depart from me"?
What does it mean to work out salvation with fear and trembling (Philippians 2:12)?
What does it mean that you will know them by their fruit in Matthew 7:16?
If you doubt your salvation, does that mean you are not truly saved?
Is eternal security biblical?
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Does Matthew 7:21-23 mean that believers can lose salvation?


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text:
A venogram is an
X-ray test that takes pictures of blood flow through
the veins in a certain area of the body.
During a venogram, a
special dye (contrast material) is put into your veins so they can
be seen clearly on an X-ray picture. A venogram looks at the condition of your
veins and the valves in your veins.
A venogram can show the veins
in your legs, pelvis, or arm; the veins leading to the heart; or the veins
leaving your kidneys.
See pictures of
normal blood flow and blood flow blocked by a
blood clot (thrombus).
Venography might be done to:
Do not eat for 4 hours before a
venogram. You may drink only clear fluids for 4 hours before the test.
Before a venogram, tell your doctor if you:
You will be asked to sign a consent form for this test.
Talk to your doctor about any concerns you have regarding the need for the
test, its risks, how it will be done, or what the results may mean. To help you
understand the importance of this test, fill out the
medical test information form(What is a PDF document?).
A venogram usually is done in a
hospital X-ray department by a
radiologist and an X-ray technologist. A nurse may
also be present.
Take off all jewelry and metal objects before the
test. You will need to take off all or most of your clothes. You will be given
a gown to use during the test. You may be asked to urinate just before the test
You will lie on an
X-ray table. A tilting X-ray table is usually used when studying the legs.
Safety straps will help you lie still if the table is tilted.
a leg venogram, you will be asked to relax the leg and keep it still during the
X-rays. An elastic band will be put around your leg or ankle to make the veins
of the foot fill with blood. The dye will be put in a vein (IV) on the top of
your foot.
If the veins in your pelvis are studied, the dye may be
placed in a vein in your groin. For an arm venogram, the dye will be put into a
vein on the top of your hand or in your arm.
After the dye is put
in, a series of X-rays is taken of each section of the arm or leg or pelvis.
Your arm or leg may be placed in several different positions so that X-rays
from different views can be taken. If your doctor is placing an intravenous
(IV) line, X-rays will be taken as the line is put in to help guide it to the
correct position.
After the X-rays are taken, your arm or leg will
be raised. A sterile salt solution (saline) may be put into the vein to help
flush out the dye. Heparin, a blood thinner, may be put into the vein to
prevent a blood clot. A small bandage will be placed on the IV site. Drink
extra fluids after the test to help flush the dye out of your body.
This test usually takes 30 to 45 minutes.
You will feel a quick sting or pinch
when the numbing medicine is given. When the dye is put into the vein, you may
feel a warm flush or have a metallic taste in your mouth.
You may
feel like your arm or leg is going to sleep during the test. This goes away
after the test.
There is some risk of problems with a
In rare cases, a venogram can cause
an infection or a blood clot in the area studied. Call your doctor immediately
if you have:
A venogram is an
X-ray test that takes pictures of the blood flow
through the veins in a certain area of the body.
Normal test results show that the dye moved quickly and
evenly through the veins. Abnormal test results show that the flow of dye was slowed or blocked. This might mean that a blood clot, or another problem such as damage in the vein, is blocking or slowing blood flow.1
Reasons you may not be able to
have the test or why the results may not be helpful include:
Venograms are not done often. Other tests are used more commonly to check the health of veins. These include Doppler ultrasound, CT venography (CTV), and
magnetic resonance venography.
CitationsPagana KD, Pagana TJ (2010). Mosby's Manual of Diagnostic and Laboratory Tests, 4th ed. St. Louis: Mosby Elsevier.Other Works ConsultedChernecky CC, Berger BJ (2008). Laboratory Tests and Diagnostic Procedures, 5th ed. St. Louis:
Saunders.Pagana KD, Pagana TJ (2010). Mosby's Manual of Diagnostic and Laboratory Tests, 4th ed. St. Louis: Mosby Elsevier.
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Healthwise Staff
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Adam Husney, MD - Family Medicine & Howard Schaff, MD - Diagnostic Radiology
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text:
This ornate needle case is carved with beautiful detail and it has a lovely old patina and grain pattern. It's decorated with birds, butterflies and a twinging dragon on a ground of clouds. The top and bottom are in the form of sunflowers. It was carved in China in the early 19th century for an English workbox.
Aside fron a couple of tiny and very fine age cracks in the ivory, the condition is excellent with no chips or loss and it screws together perfectly. It measures 3 3/4" long. This style of needlecase is shown on p. 84 of Nerylla Taunton's book Antique Needlework Tools.


text:
Dulux: Walls
The spot has been directed by Adam Berg and produced at Stink. Post production: Glassworks.
Editing: Paul Hardcastle at Trim. Song: Go Do by Jonsi. Creatives: Fernanda Romano, Fabio Abram, Braulio Kuwabara at Euro RSCG.Also tagged Adam Berg, Brazil, dogs, Euro RSCG, Glassworks, India, Jonsi, painting, Paul Hardcastle, Stink, timelapse, TrimEdit, window


text:
Downtown Theatre
102 James Street N,
1 person favorited this theater
The Grand Opera House was opened in 1880 with 1,200 seats.. It later became a movie theatre and was renamed Grand Theatre. In 1935 it was re-named Granada Theatre. In 1954 it was remodeled and renamed Downtown Theatre. It was closed and demolished in 1961.
Recent comments (view all 8 comments)
The Granada theatre opened in 1880 as the Grand Opera House in 1880 with 1200 seats. When a screen was added the name was changed to the Grand theatre. in 1935, the name was change to the Granada and again changed in 1954 to the Downtown. in 1961, it was torn down. The grand piano was saved and is now on display at Hamilton Place. The Tivoli theatre (Posted by Chad I.) was and still is located next door at 108 James Street North in Hamilton and the Granad was 102 James Street North.
Here is the listing from the Julius Chan Guide (1902) about this theatre.
HAMILTON Pop., 65,000. Grand
Opera House. C. J. Whitney and A. J.
Small, lessees and mgrs. A. R. Loudon,
local representative. S. c., 1,144. Ilium.,
elec. no direct, 104 alt. E. Lavis, stage
carp. Width proscenium opening, 30 ft.
Height, 27 ft. Depth, footlights to back
wall, 36 ft. Dist. curtain line to foot-
lights, 2 ft. Dist. bet. side walls, 55 ft.
Dist. bet. fly girders, 46 ft. Stage to fly
gallery, 23 ft. Stage to rigging loft, 6V
ft. No grooves. Depth under stage, 8
ft. 4 traps, i bridge, in 3 sections, locat-
ed back of 4. Scene room. Theatre on
ground floor. I. A. Lomas, leader of or-
chestra. 7 in orchestra. Printing re-
quired, 12 stands, 60 3-sheets, 400 lithos,
heralds, etc. Dates read, Grand Opera
House. Culhane Bill-Posting Co.
Newspapers "Spectator," daily, even-
ing, Mr. Mitchell. "Herald," daily, even-
ing, Mr. Pasmore. "Times," daily, even-
ing, Mr. Davis.
Hotels St. Nicholas, $1.25 and $i.
Royal, $2. Commercial, $i. New Wal-
dorff, $1.50.
Railroads G. T. R., C. E. Morgan,
agt. Can. Pac., W. J. Grant, agt. Cana-
dian Transfer Co.
There is also an exterior photo of the Grand Theatre and its neighbor the Tivoli Theatre from 1923 at this site here
Picture is the black and white one second down
The remodeling of the Granada Theatre and its reopening as the Downtown Theatre was the subject of an article in Boxoffice Magazine, April 2, 1955. The limited-budget project, done in-house by the Famous Players circuit, included the removal of much of the Granada's old decoration, but (unfortunately) not the columns supporting the ancient balcony. A number of the Downtown's 853 new seats must have been virtually unusable due to these columns interfering with their view of the new CinemaScope screen.
A few before-and-after photos illustrated the Boxoffice article.
Thanks for this Joe. There were pictures of the interior that I had never seen before.
I'm a former Dowontown Theatre employee (March, 1957/January, 1958) and have many fond memories of the place from both when I worked there and even more, in its previous incarnation as the Granada Theatre. I was living in Toronto at the time the Downtown was being demolished but had returned on that particular Saturday to visit my folks. Walking from the old CN Station up James Street I came upon the destruction in progress but managed to save the last posted showtimes for the last program the theatre played. Regretfully, it has since gotten lost in the mists of times. But there are memories, lots nad lots of very warm memories. I hate the look of that awful strip mall that replaced the theatre and the hotel adjacent to it and now also hate the look of what is left of the Tivoli Theatre. It's all very sad, very sad indeed!
Linkrot repair: The two-page, 1955 Boxoffice article about the remodeling of the Granada into the Downtown Theatre now begins at this link.
Thank you Joe. It has been a long, long time since I saw a Granada Theatre marquee. So very much appreciative of the artcle from 1955.
Just login to your account and subscribe to this theater


text:
In this tutorial we learn how to create links between a controller and FL Studio that are permanent, that is they will still work after closing and restarting FL Studio or even your PC.
Use 'Override generic links' to link your controller to FL Studio and plugin interface targets
To download the project as used in this tutorial go here to Looptalk. There are also some more tips and a deeper explanation of the differences between 'Override generic links' and 'Link to controllers' options in the Multilink controllers right-click menu.


text:
In my code there are two balls with certain velocity both from different direction collide with eachother... After Collision they are supposed to bounce back with certain velocity...But in my code they just stuck together the moment the collide eachother.
I tried to set restitution value 15 for both bodies, but the bodies vanish after collision...
Any help would be highly appreciated.
Thanks in advance>>
protected void init(World world) { world.setGravity(0,0); // Body BallA= new Body("Cart", new Circle(15), 100); Body BallB= new Body("Cart", new Circle(15), 100); BallA.setPosition(150, 375); BallB.setPosition(300, 375); BallA.adjustVelocity(new Vector2f(20f, 0f)); BallB.adjustVelocity(new Vector2f(-20f, 0f)); // ball1.getBody().setRestitution(15); // ball2.getBody().setRestitution(15); world.add(ball1); world.add(ball2); }


text:
FINAL SALE - BROOKLYN TAILORS - BKT50 Blazer in Charcoal Mini Grid
Brand: Sale
This item is FINAL SALE and not eligible for returns or exchanges.
STYLE No. BKT50 – 'FULL CANVAS TAILORED JACKET'
Our BkT50 jackets are tailored with a fully canvassed construction – a time-honored tradition of meticulously sewing horse hair canvas into the front section of the jacket by hand. This technique provides a more natural, elegant drape on the body, which only improves over time as it breaks in and forms to your individual shape – not unlike a great pair of jeans. Most suiting manufacturers replaced this slow and expensive method last century with fused construction, which involves sandwiching a synthetic material between the layers of fabric and adding heat to "glue" the suit together. This time-saving method has become common practice with today's mass-produced suits, but results in a jacket that will degrade quickly with age, and will never have the soft, organic drape over the body that a fully canvassed jacket can offer.
The BkT50 Full Canvas Suit Jacket is a 2-button style, cut slim through the torso and darted for a contoured shape through the waist. The shoulder is narrow with a soft, yet defined construction. The armhole is cut high with a slim sleeve, and the jacket is moderately short, hitting at the lower hip, rather than fully covering it. The BkT50 suit is our signature suiting silhouette, known for being both modern and timeless.
- ORIGIN: 100% Wool, Woven in Italy by Vitale Barberis
- WEIGHT: 290 Gram
- COLOR: Charcoal
- Genuine buffalo horn buttons
- Fully-canvassed construction for a natural drape and longer life
- Narrow notch lapel
- Fully lined with our signature gray and white striped lining
- Sleeves come with fully functional vents and buttons sewn on (without buttonholes). This allows for buttonholes to be added by your local tailor after adjusting sleeve length, if so desired.
- One chest pocket & two flap pockets at the hips
- Hand pick stitching along edges
- Double back vent
- Dry clean only when necessary


text:
J. M. Barrie
|Sir J. M. Barrie, Bt
J.M. Barrie by Herbert Rose Barraud, 1892
|James Matthew Barrie
9 May 1860
Kirriemuir, Angus, Scotland
|19 June 1937
(aged 77)
London, England
|Resting place
|Kirriemuir Cemetery, Angus, Scotland
|Novelist, playwright
|United Kingdom
|Glasgow Academy
Forfar Academy
Dumfries Academy
Edinburgh University
|Victorian, Edwardian
|Children's literature, drama, fantasy
|Literary movement
|Kailyard school
|Notable works
|The Little White Bird
Peter Pan
The Admirable Crichton
|Mary Ansell (m. 1894–1909)
|Guardian of the Llewelyn Davies boys
Sir James Matthew Barrie, 1st Baronet, OM (9 May 1860 – 19 June 1937) was a Scottish author and dramatist, the child of a family of small-town weavers, and best remembered today as the creator of Peter Pan. He was educated in Scotland but moved to London, where he developed a career as a novelist and playwright. There he met the Llewelyn Davies boys who inspired him to write about a baby boy who has magical adventures in Kensington Gardens (included in The Little White Bird), then to write Peter Pan, or The Boy Who Wouldn't Grow Up, a "fairy play" about an ageless boy and an ordinary girl named Wendy who have adventures in the fantasy setting of Neverland.
Peter Pan quickly overshadowed his previous work, although he continued to write successfully, and it became his best-known work, credited with popularising the name Wendy, which was very uncommon previously.[1] Barrie unofficially adopted the Davies boys following the deaths of their parents.
Barrie was made a baronet by George V in 1913, and a member of the Order of Merit in 1922. Before his death, he gave the rights to the Peter Pan works to Great Ormond Street Hospital for Children in London, which continues to benefit from them.
Childhood and adolescence
James Matthew Barrie was born in Kirriemuir, Angus, to a conservative Calvinist family. His father, David Barrie, was a modestly successful weaver. His mother, Margaret Ogilvy, had assumed her deceased mother's household responsibilities at the age of eight. Barrie was the ninth child of ten (two of whom died before he was born), all of whom were schooled in at least the three Rs, in preparation for possible professional careers. His siblings were; Alexander (1842 – 16 July 1914), Mary Ann (1845–1918), Jane (14 March 1847 – 31 August 1895), Elizabeth (12 March 1849 – 1 April 1851), Agnes (23 Dec 1850–1851), David Ogilvy (30 January 1853 – 29 January 1867), Sarah (3 June 1855 – 1 November 1913), Isabella (4 January 1858 – 1902) and Margaret (9 July 1863 – 1936). He was a small child and drew attention to himself with storytelling.[2] He only grew to 5 ft 31⁄2 in. (161 cm) according to his 1934 passport.[3]
When he was 6 years old, Barrie's next-older brother David (his mother's favourite) died two days before his 14th birthday in an ice-skating accident. This left his mother devastated, and Barrie tried to fill David's place in his mother's attentions, even wearing David's clothes and whistling in the manner that he did. One time Barrie entered her room, and heard her say "Is that you?" "I thought it was the dead boy she was speaking to", wrote Barrie in his biographical account of his mother, Margaret Ogilvy (1896), "and I said in a little lonely voice, 'No, it's no' him, it's just me.'" Barrie's mother found comfort in the fact that her dead son would remain a boy forever, never to grow up and leave her.[4] Eventually Barrie and his mother entertained each other with stories of her brief childhood and books such as Robinson Crusoe, works by fellow Scotsman Walter Scott, and The Pilgrim's Progress.[5]
At the age of 8, Barrie was sent to The Glasgow Academy, in the care of his eldest siblings Alexander and Mary Ann, who taught at the school. When he was 10 he returned home and continued his education at the Forfar Academy. At 14, he left home for Dumfries Academy, again under the watch of Alexander and Mary Ann. He became a voracious reader, and was fond of Penny Dreadfuls, and the works of Robert Michael Ballantyne and James Fenimore Cooper. At Dumfries he and his friends spent time in the garden of Moat Brae house, playing pirates "in a sort of Odyssey that was long afterwards to become the play of Peter Pan".[6][7] They formed a drama club, producing his first play Bandelero the Bandit, which provoked a minor controversy following a scathing moral denunciation from a clergyman on the school's governing board.[5]
Literary career
Barrie knew he wished to follow a career as an author. However, his family attempted to persuade him to choose a profession such as the ministry. With advice from Alexander, he was able to work out a compromise: he would attend a university, but would study literature.[8] Barrie enrolled at the University of Edinburgh, where he wrote drama reviews for the Edinburgh Evening Courant. He graduated and obtained a M.A. on 21 April 1882.[8]
Following a job advertisement found by his sister in The Scotsman, he worked for a year and a half as a staff journalist on the Nottingham Journal.[8] He then returned to Kirriemuir. Using his mother's stories about the town (renamed "Thrums"), he submitted a piece to the St. James's Gazette, a London newspaper. The editor 'liked that Scotch thing' so well that Barrie ended up writing a series of these stories.[5] They would serve as the basis for his first novels: Auld Licht Idylls (1888), A Window in Thrums (1890),[9] and The Little Minister (1891).
The stories depicted the "Auld Lichts", a strict religious sect to which his grandfather had once belonged.[8] Modern literary criticism of these early works has been unfavourable, tending to disparage them as sentimental and nostalgic depictions of a parochial Scotland, far from the realities of the industrialised nineteenth century, but they were popular enough at the time to establish Barrie as a successful writer. Following that success, he published Better Dead (1888) privately and at his own expense but it failed to sell.[8] His two "Tommy" novels, Sentimental Tommy (1896) and Tommy and Grizel (1900), were about a boy and young man who clings to childish fantasy, with an unhappy ending.
Meanwhile, Barrie's attention turned increasingly to works for the theatre, beginning with a biography of Richard Savage, written by Barrie and H.B. Marriott Watson; unfortunately it was performed only once, and critically panned.[8] He immediately followed this with Ibsen's Ghost (or Toole Up-to-Date)(1891),[8] a parody of Henrik Ibsen's dramas Hedda Gabler and Ghosts. Ghosts had been unlicensed in the UK until 1914,[10] but had created a sensation at the time from a single 'club' performance.
The production of Ibsen's Ghost at Toole's Theatre in London was seen by William Archer, the translator of Ibsen's works into English. Apparently comfortable with the parody, he enjoyed the humour of the play and recommended it to others. Barrie's third play, Walker, London (1892), resulted in him being introduced to a young actress named Mary Ansell. He proposed to her and they were married on 9 July 1894. Barrie bought her a Saint Bernard puppy, who would play a part in the novel The Little White Bird. He would use Ansell's given name for many characters in his novels.[8] Barrie also authored Jane Annie, a comic opera for Richard D'Oyly Carte (1893), which unfortunately failed. He begged his friend Arthur Conan Doyle to revise and finish it for him.
In 1901 and 1902 he had back-to-back successes; Quality Street was about a respectable, responsible 'old maid' who poses as her own flirtatious niece to try to win the attention of a former suitor returned from the war. Following that, The Admirable Crichton, a critically acclaimed social commentary with elaborate staging, was about an aristocratic family and their household servants, shipwrecked on a desert island. Under these difficult circumstances, not the lord of the manor but another male household member seems better suited to taking on the responsibilities of leadership.
The character of "Peter Pan" first appeared in The Little White Bird (or Adventures in Kensington Gardens). The novel was published in the UK by Hodder & Stoughton in 1902, and serialised in the US in the same year in Scribner's Magazine.[11] Barrie's more famous and enduring work, Peter Pan, or The Boy Who Wouldn't Grow Up, had its first stage performance on 27 December 1904. This play introduced audiences to the name Wendy; it was inspired by a young girl, Margaret Henley, who called Barrie 'Friendy', but could not pronounce her Rs very well. The Bloomsbury scenes show the societal constraints of late Victorian and Edwardian middle-class domestic reality, contrasted with Neverland, a world where morality is ambivalent. George Bernard Shaw's description of the play as "ostensibly a holiday entertainment for children but really a play for grown-up people", suggests deeper social metaphors at work in Peter Pan.
Barrie had a long string of successes on the stage after Peter Pan, many of which discuss social concerns, as Barrie continued to integrate his work and his beliefs. The Twelve Pound Look[when?] concerns a wife divorcing a peer and gaining an independent income. Other plays, such as Mary Rose[when?] and a subplot in Dear Brutus[when?], revisit the idea of the ageless child. Another later play was What Every Woman Knows (1908).[clarification needed] Along with a number of other playwrights, Barrie was involved in the 1909 and 1911 attempts to challenge the censorship of the theatre by the Lord Chamberlain.[12]
In 1911, Barrie developed the Peter Pan play into the novel Peter and Wendy. Much later, in April 1929, Barrie gave the copyright of the Peter Pan works to Great Ormond Street Hospital, a leading children's hospital in London. The current status of the copyright is somewhat complex.
His final play was The Boy David (1936), which dramatised the Biblical story of King Saul and the young David. Like the role of Peter Pan, that of David was played by a woman, Elisabeth Bergner, for whom Barrie wrote the play.[13]
Social connections
Barrie moved in literary circles and had many famous friends in addition to his professional collaborators. Novelist George Meredith was an early social patron. He had a long correspondence with fellow Scot Robert Louis Stevenson, who lived in Samoa at the time, but the two never met in person. George Bernard Shaw was his neighbour in London for several years, and once participated in a Western that Barrie scripted and filmed. H. G. Wells was a friend of many years, and tried to intervene when Barrie's marriage fell apart. Barrie met Thomas Hardy through Hugh Clifford while he was staying in London.
After the First World War, Barrie sometimes stayed at Stanway House near the village of Stanway in the English county of Gloucestershire. He paid for the pavilion at Stanway cricket ground. Barrie also founded an amateur cricket team for his friends. The people who played on the team at various times included such luminaries as H. G. Wells, Rudyard Kipling, Arthur Conan Doyle, P. G. Wodehouse, Jerome K. Jerome, G. K. Chesterton, A. A. Milne, E. W. Hornung, A. E. W. Mason, Walter Raleigh, E. V. Lucas, Maurice Hewlett, Owen Seaman, Bernard Partridge, Augustine Birrell, Paul Du Chaillu, Henry Herbert La Thangue, George Cecil Ives, George Llewelyn Davies (see below), and the son of Alfred Tennyson. The team was called the Allahakbarries, under the mistaken belief that "Allah akbar" meant "Heaven help us" in Arabic (rather than "God is great").[5]
Barrie befriended Africa explorer Joseph Thomson and Antarctica explorer Robert Falcon Scott.[14] He was godfather to Scott's son Peter,[5] and was one of the seven people to whom Scott wrote letters in the final hours of his life during his expedition to the South Pole, asking Barrie to take care of his wife Kathleen and son Peter. Barrie was so proud of the letter that he carried it around for the rest of his life.[8]
In 1896, his agent Addison Bright persuaded him to meet with Broadway producer Charles Frohman, who became his financial backer and a close friend, as well.[8] Frohman was responsible for producing the debut of Peter Pan in both England and the US, as well as other productions of Barrie's plays. He famously declined a lifeboat seat when the RMS Lusitania was sunk by a German U-boat in the North Atlantic. Actress Rita Jolivet stood with Frohman, George Vernon, and Captain Alick Scott at the end of Lusitania's sinking, but she survived the sinking and recalled Frohman paraphrasing Peter Pan: 'Why fear death? It is the most beautiful adventure that life gives us.'[15]
His secretary from 1917, Cynthia Asquith, was the daughter-in-law of Herbert Asquith, British Prime Minister from 1908 to 1916.[16] In the 1930s, Barrie met and told stories to the young daughters of the Duke of York, the future Queen Elizabeth II and Princess Margaret.[16]
Barrie became acquainted with actress Mary Ansell in 1891 when he asked his friend Jerome K. Jerome for a pretty actress to play a role in his play Walker, London. The two became friends, and she helped his family to care for him when he fell very ill in 1893 and 1894.[5] They married in Kirriemuir on 9 July 1894,[17] shortly after Barrie recovered, and Mary retired from the stage; but the relationship was reportedly unconsummated[18] and the couple had no children. The marriage was a small ceremony in his parents' home, in the Scottish tradition.
In 1895 the Barries bought a house on Gloucester Road, in South Kensington.[19] Barrie would take long walks in nearby Kensington Gardens, and in 1900 the couple moved into a house directly overlooking the gardens at 100 Bayswater Road. Mary, who had a flair for interior design, set about transforming the downstairs, creating two large reception rooms with painted panelling and adding fashionable features, such as a conservatory.[20] In the same year, Mary found Black Lake Cottage, at Farnham, Surrey, which became the couple's "bolt hole" where Barrie could entertain his cricketing friends and the Llewelyn Davies family.[21]
Beginning in mid 1908, Mary had an affair with Gilbert Cannan (an associate of Barrie's in his anti-censorship activities), including a visit together to Black Lake Cottage, known only to the house staff. When Barrie learned of the affair in July 1909, he demanded that she end it, but she refused. To avoid the scandal of divorce, he offered a legal separation if she would agree not to see Cannan any more, but she still refused. Barrie sued for divorce on the grounds of infidelity — the divorce was granted in October 1909.[4][22] Knowing how painful the divorce was for him, some of Barrie's friends wrote to a number of newspaper editors asking them not to publish the story. In the event only three newspapers did.[8]
Llewelyn Davies family
The Llewelyn Davies family played an important part in Barrie's literary and personal life, consisting of Arthur (1863–1907), Sylvia (1866–1910) (daughter of George du Maurier),[23] and their five sons: George (1893–1915), John (Jack) (1894–1959), Peter (1897–1960), Michael (1900–1921), and Nicholas (Nico) (1903–1980).
Barrie became acquainted with the family in 1897, meeting George and Jack (and baby Peter) with their nurse (nanny) Mary Hodgson in London's Kensington Gardens. He lived nearby and often walked his Saint Bernard dog Porthos[24] in the park. He entertained the boys regularly with his ability to wiggle his ears and eyebrows, and with his stories. He did not meet Sylvia until a chance encounter at a dinner party in December. She told Barrie that Peter had been named after the title character in her father's play, Peter Ibbetson.[8]
Barrie became a regular visitor at the Davies household and a common companion to Sylvia and her boys, despite the fact that both he and she were married to other people.[4] In 1901, he invited the Davies family to Black Lake Cottage, where he produced an album of captioned photographs of the boys acting out a pirate adventure, entitled The Boy Castaways of Black Lake Island. Barrie had two copies made, one of which he gave to Arthur, who misplaced it on a train.[25] The only surviving copy is held at the Beinecke Rare Book and Manuscript Library at Yale University.[26]
The character of Peter Pan was invented to entertain George and Jack. Barrie would say, to amuse them, that their little brother Peter could fly. He claimed that babies were birds before they were born; parents put bars on nursery windows to keep the little ones from flying away. This grew into a tale of a baby boy who did fly away.[8]
Arthur Llewelyn Davies died in 1907, and "Uncle Jim" became even more involved with the Davies family, providing financial support to them. (His income from Peter Pan and other works was easily adequate to provide for their living expenses and education.) Following Sylvia's death in 1910, Barrie claimed that they had recently been engaged to be married.[4] Her will indicated nothing to that effect, but specified her wish for "J. M. B." to be trustee and guardian to the boys, along with her mother Emma, her brother Guy du Maurier, and Arthur's brother Compton. It expressed her confidence in Barrie as the boys' caretaker and her wish for "the boys to treat him (& their uncles) with absolute confidence & straightforwardness & to talk to him about everything." When copying the will informally for Sylvia's family a few months later, Barrie inserted himself elsewhere: Sylvia had written that she would like Mary Hodgson, the boys' nurse, to continue taking care of them, and for "Jenny" (referring to Hodgson's sister) to come and help her; Barrie instead wrote "Jimmy" (Sylvia's nickname for him). Barrie and Hodgson did not get along well, but served together as surrogate parents until the boys were grown.[4]
Barrie also had friendships with other children, both before he met the Davies boys and after they had grown up, and there has since been speculation that Barrie was a paedophile.[27][28] One source for the speculation is a scene in the novel The Little White Bird, in which the protagonist (who resembles Barrie) helps a small boy undress for bed, and at the boy's request they sleep in the same bed.[8] However, there is no evidence that Barrie had sexual contact with children, nor that he was suspected of it at the time. Nico, the youngest of the brothers, flatly denied as an adult that Barrie ever behaved inappropriately.[4] "I don't believe that Uncle Jim ever experienced what one might call 'a stirring in the undergrowth' for anyone—man, woman, or child", he stated. "He was an innocent—which is why he could write Peter Pan."[29] His relationships with the surviving Davies boys continued well beyond their childhood and adolescence.
The statue of Peter Pan in Kensington Gardens, erected secretly overnight for May Morning in 1912, was supposed to be modelled upon old photographs of Michael dressed as the character. However, the sculptor, Sir George Frampton, used a different child as a model, leaving Barrie disappointed with the result. "It doesn't show the devil in Peter", he said.[4]
Barrie suffered bereavements with the boys, losing the two to whom he was closest in their early twenties. George was killed in action in 1915, in World War I. Michael, with whom Barrie corresponded daily while at boarding school and university, drowned in 1921, with his friend and possible lover,[30] Rupert Buxton,[31] at a known danger spot at Sandford Lock near Oxford, one month short of his 21st birthday. Some years after Barrie's death, Peter compiled his Morgue from family letters and papers, interpolated with his own informed comments on his family and their relationship with Barrie. Peter died by throwing himself in front of a train shortly after completing the work.
Barrie died of pneumonia on 19 June 1937 and was buried at Kirriemuir next to his parents and two of his siblings. He left the bulk of his estate (excluding the Peter Pan works, which he had previously given to Great Ormond Street Hospital) to his secretary Cynthia Asquith.[32] His birthplace at 4 Brechin Road is maintained as a museum by the National Trust for Scotland.
- Hammerton, J. A. (1929). Barrie: the Story of a Genius. New York: Dodd, Mead & Company.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Darlington, W. A. (1938). J. M. Barrie. London and Glasgow: Blackie & Son. ISBN 0-8383-1768-5.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Mackail, Denis (1941). Barrie: The Story of J. M. B. New York: C. Scribner's Sons. ISBN 0-8369-6734-8.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Dunbar, Janet (1970). J. M. Barrie: The Man Behind the Image. London: Collins. ISBN 0-00-211384-8.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Birkin, Andrew (2003). J. M. Barrie and the Lost Boys: The Real Story Behind Peter Pan. Yale University Press. ISBN 978-0-300-09822-8.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Chaney, Lisa (2006). Hide-and-Seek with Angels: A Life of J. M. Barrie. Arrow. ISBN 978-0-09-945323-9.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Dudgeon, Piers (2009). Captivated: J. M. Barrie, the du Mauriers & the Dark Side of Neverland. Vintage Books. ISBN 978-0-09-952045-0.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Telfer, Kevin (2010). Peter Pan's First XI: The Extraordinary Story of J. M. Barrie's Cricket Team. Sceptre. ISBN 978-0-340-91945-3.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- Stokes, Sewell (November 1941). "James M Barrie". New York Theatre Arts Inc. 25 (11): 845–848.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Film, television and stage
- The Lost Boys (1978). Ian Holm (as J.M. Barrie), Andrew Birkin (writer). BBC.
- The Man Who Was Peter Pan (1998) is a play by Allan Knee, a semi-biographical version of Barrie's life and relationship with the Llewelyn Davies family.
- Finding Neverland (2004) with Johnny Depp (as J.M. Barrie), Kate Winslet (Sylvia Llewelyn Davies), Marc Forster (director), based on Allan Knee's play.
- The Boy James (2012) by Alexander Wright (of Belt Up Theatre), is a one act play inspired by his life and work.
- Finding Neverland (2012) by Diane Paulus, is a musical about the creation of Peter Pan starring Matthew Morrison and Laura Michelle Kelly based on the film.
Barrie was made a baronet by King George V in 1913; his baronetcy was not inherited. He was made a member of the Order of Merit in 1922. In 1919 he was elected Rector of the University of St Andrews for a three-year term. In 1922 he delivered his celebrated Rectorial Address on Courage at St Andrews, and visited University College Dundee with Earl Haig to open its new playing fields, with Barrie bowling a few balls to Haig.[33] He later served as Chancellor of the University of Edinburgh from 1930 to 1937.
- The Sir James Barrie Primary School in Wandsworth, South West London is named after him.
- The Barrie School in Silver Spring, Maryland, is also named in his honour.[34]
Works (by year)
- Better Dead (1887)
- Auld Licht Idylls (1888)
- When a Man's Single (1888)
- A Window in Thrums (1889)
- My Lady Nicotine (1890), republished in 1926 with the subtitle A Study in Smoke
- The Little Minister (1891)
- Richard Savage (1891)
- Walker, London (1892)
- Jane Annie Opera, music by Ernest Ford, libretto by Barrie and Arthur Conan Doyle (1893)
- A Powerful Drug and Other Stories (1893)
- A Tillyloss Scandal (1893)
- Two of Them (1893)
- A Lady's Shoe (1894)
- Life in a Country Manse (1894)
- Scotland's Lament: A Poem on the Death of Robert Louis Stevenson (1895)
- Sentimental Tommy, The Story of His Boyhood (1896)
- Margaret Ogilvy (1896)
- Tommy and Grizel (1900)
- The Wedding Guest (1900)
- The Boy Castaways of Black Lake Island (1901)
- Quality Street (play) (1901)
- The Admirable Crichton (play) (1902)
- The Little White Bird", or Adventures in Kensington Gardens (1902)
- Little Mary (1903)
- Peter Pan (staged 1904)
- Alice Sit-by-the-Fire (play) (1905)
- Pantaloon (1905)
- Peter Pan in Kensington Gardens (1906)
- What Every Woman Knows (play) (1908)
- When Wendy Grew Up – An Afterthought (1908)
- Peter and Wendy (novel) (1911)
- Half Hours (1914) includes:
- Pantaloon
- The Twelve-Pound Look
- Rosalind
- The Will
- Der Tag (The Tragic Man) (Short play) (1914)
- Charles Frohman: A Tribute (1915)
- A Kiss for Cinderella (1916)
- Shakespeare's Legacy (1916)
- Dear Brutus (1917) (play)
- Echoes of the War (1918) Four plays, includes:
- The New Word
- The Old Lady Shows Her Medals (basis for the movie Seven Days Leave (1930), starring Gary Cooper)
- A Well-Remembered Voice
- Barbara's Wedding
- Mary Rose (1920)
- The Twelve-Pound Look (1921)
- The Author (1925)
- Cricket (1926)
- Shall We Join the Ladies? (1928) includes:
- Shall We Join the Ladies?
- Half an Hour
- Seven Women
- Old Friends
- Peter Pan (stage play published) (1928)
- The Greenwood Hat (1930)
- Farewell Miss Julie Logan (1932)
- The Boy David (1936)
- M'Connachie and J. M. B. (1938)
- When Wendy Grew Up: An Afterthought (1957)
- Ibsen's Ghost (Toole Up-to-Date) (1975)
- story treatment for film As You Like It (1936)
- Stories by English Authors: London (selected by Scribners, as contributor)
- Stories by English Authors: Scotland (selected by Scribners, as contributor)
- preface to The Young Visiters or, Mr. Salteena's Plan by Daisy Ashford
- The Earliest Plays of J. M. Barrie: Bandelero the Bandit, Bohemia and Caught Napping, edited by R.D.S. Jack (2013)
- ↑ "History of the name Wendy". Wendy.com. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Alistair Moffat (2012). "Britain's Last Frontier: A Journey Along the Highland Line". Chapter 9. p. 1. Birlinn
- ↑ Birkin, Andrew: J. M. Barrie & the Lost Boys Constable, 1979; revised edition, Yale University Press, 2003
- ↑ 4.0 4.1 4.2 4.3 4.4 4.5 4.6 Birkin, Andrew: J. M. Barrie & the Lost Boys Constable, 1979; revised edition, Yale University Press, 2003
- ↑ 5.0 5.1 5.2 5.3 5.4 5.5 Chaney, Lisa. Hide-and-Seek with Angels – A Life of J. M. Barrie, London: Arrow Books, 2005
- ↑ McConnachie and J. M. B.: Speeches of J. M. Barrie, Peter Davies, 1938
- ↑ "Peter Pan project off the ground". BBC News Scotland. 6 August 2009. Retrieved 8 August 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ 8.00 8.01 8.02 8.03 8.04 8.05 8.06 8.07 8.08 8.09 8.10 8.11 8.12 8.13 White, Donna R. S. (1994). British Children's Writers, 1880–1914. Detroit, Michigan: Gale. ISBN 978-0-8103-5555-2.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ J. M. Barrie. "A Window in Thrums". Project Gutenberg.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Dominic Shellard, et al. The Lord Chamberlain Regrets, 2004, British Library, p77-79.
- ↑ Cox, Michael (2005). The Concise Oxford Chronology of English Literature. Oxford University Press. p. 428. ISBN 9780198610540.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Postlewait, Thomas (2004). "The London Stage, 1895-1918". The Cambridge History of British Theatre. p. 38. ISBN 9780521651325.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Jonathan Law, ed. (2013). The Methuen Drama Dictionary of the Theatre. pp. 44–45. ISBN 9781408131480.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Smith, Mark (2 September 2010). "Two friends who took the world by storm". The Scotsman. Retrieved 2 September 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Ellis, Frederick D., The Tragedy of the Lusitania (National Publishing Company, 1915), pp. 38–39; Preston, Diana, Lusitania, An Epic Tragedy (Walker & Company, 2002), p. 204; New York Tribune, "Frohman Calm; Not Concerned About Death, Welcomed It as Beautiful Adventure, He Told Friends at End", 11 May 1915, p. 3; Marcosson, Isaac Frederick, & Daniel Frohman, Charles Frohman: Manager and Man (John Lane, The Bodley Head, 1916), p. 387; Frohman, Charles, The Lusitania Resource
- ↑ 16.0 16.1 "Captain Scott and J M Barrie: an unlikely friendship". The Telegraph. Retrieved 2 April 2015.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "General Register Office for Scotland". Gro-scotland.gov.uk. Archived from the original on 2009-03-07. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Retrieved from Internet Archive 27 December 2013.
- ↑ Birkin, Andrew: J. M. Barrie & the Lost Boys Constable, 1979; revised edition, Yale University Press, 2003
- ↑ Stogdon, Catalina (17 May 2006). "Round the houses: Peter Pan". The Telegraph. Telegraph Media Group Limited. Retrieved 14 May 2015.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Law, Cally (10 May 2015). "Return to Neverland". The Sunday Times. Times Newspapers Limited. Retrieved 14 May 2015. (Subscription required (help)).<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "JM Barrie". Surrey Monocle. 10 January 2007. Archived from the original on 2009-03-07. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Retrieved from Internet Archive 27 December 2013.
- ↑ "J. M. Barrie Seeks Divorce from Wife". New York Times. 7 October 1909. Retrieved 17 April 2010.
The name of James M. Barrie, the playwright, figures as a petitioner in the list of divorce cases set down for trial at the next session of the law courts here.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ married the 3Q of 1892 in Hampstead, London: GROMI: vol. 1a, p. 1331
- ↑ Neverpedia article about Porthos
- ↑ "Andrew Birkin on J. M. Barrie". Jmbarrie.co.uk. 5 April 1960. Archived from the original on 2011-07-22. Retrieved 8 May 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Retrieved from Internet Archive 27 December 2013.
- ↑ J. M. Barrie's Boy Castaways at the Beinecke Rare Book and Manuscript Library at Yale University
- ↑ Justine Picardie Published: 12:01 am BST 13 July 2008 (13 July 2008). "How bad was J. M. Barrie?". London: Telegraph. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Parker, James (22 February 2004). "The real Peter Pan – The Boston Globe". Boston.com. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "J. M. Barrie and Peter Pan – Winter 2005 Issue – Endicott Studio: Peter Pan 2". Endicott-studio.com. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Audio". Jmbarrie.co.uk. Retrieved 8 May 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ "Rupert Buxton". Neverpedia.com. Retrieved 28 December 2010.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Birkin, Andrew: J. M. Barrie & the Lost Boys (Constable, 1979; revised edition, Yale University Press, 2004)
- ↑ Baxter, Kenneth. "J M Barrie and Rudyard Kipling". Archives Records and Artefacts at the University of Dundee. University of Dundee. Retrieved 29 January 2013.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Carnival PR and Design. "The Barrie School". Barrie.org. Retrieved 22 July 2009.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
External links
|Wikimedia Commons has media related to J. M. Barrie.
|Wikiquote has quotations related to: J. M. Barrie
|Wikisource has original works written by or about:
J. M. Barrie
- Works by J. M. Barrie at Project Gutenberg
- Works by J. M. Barrie at LibriVox (public domain audiobooks)
- JMbarrie.co.uk site authorised by Great Ormond Street Hospital, edited by Andrew Birkin, includes database of original photographs, letters, documents and audio interviews conducted by Birkin in 1975–76
- Great Ormond Street Hospital's copyright claim
- Petri Liukkonen. "J. M. Barrie". Books and Writers (kirjasto.sci.fi). Archived from the original on 4 July 2013.
- "Was the author of Peter Pan a pedophile?", Cecil Adams, The Straight Dope, 19 November 2004
- "Why J. M. Barrie Created Peter Pan", Anthony Lane, The New Yorker, 22 November 2004
- "J. M. Barrie and Sir Arthur Conan Doyle" at The Chronicles of Sir Arthur Conan Doyle (siracd.com)
- Audio recording of Barrie's short play The Will Recording by professional actors at LostPlays.com
- Film of Barrie from 1922 as Rector of St Andrews with Ellen Terry
- J. M. Barrie at the Internet Movie Database
- J. M. Barrie at the Internet Speculative Fiction Database
- J. M. Barrie at Library of Congress Authorities – with 392 catalogue records
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HRVATSKI CENTAR OBNOVLJIVIH IZVORA ENERGIJE*Hrvatski centar obnovljivih izvora energije potiče korištenje alternativnih sustava za opskrbu energijom u zgradarstvu, te gradnji obiteljskih kuća, razvija tržište novih niskoenergetskih objekata i modernizira sektor već postojećih zgrada , te doprinosi ukupnom smanjenju potrošne energije i zaštiti okoliša *Cilj udruženja je osim imformiranja javnosti i obrazovanja stručnjaka, potaknuti sve sudionike u gradnji na međusobnu suradnju kako bi se povečao broj objekata koji ostvaruju prednosti energetski učinkovite gradnje i povečavanje broja investicija u obnovljive izvore energije *Zbog rasta cijena energije i energenata potrebno je poznavati svoje energetske mogučnosti korištenja energije, troškova iste , te biti u stanju njome upravljati *Stvorena je infrastruktura za realizaciju projekata korištenjem obnovljivih izvora energije u zgradama i privatnim objektima , kako u novogradnji ,tako i u rekonstrukciji postoječih *Korištenjem obnovljivih izvora energije utječe se na smanjenje potrošnje svih oblika energije, ugodniji i kvalitetniji boravak u objektima za život i poslovanje, te doprinosi zaštiti okoliša i smanjenju emisije štetnih plinova, dugoročno je isplativo ulaganje za dobrobit svih nas *U sklopu projekta Hrvatskog centra obnovljivih izvora energije, koji ima i službenu podršku U.S. GREEN BUILDING COUNCIL-a, EE COALITION-a, GREEN EUROPEAN FOUNDATION-a, ANNA LINDH FOUNDATION-a, NACIONALNE ZAKLADE ZA RAZVOJ CIVILNOG DRUŠTVA , organizirati će se seminari i radionice koji će sudionicima ponuditi proširenje stečenog znanja iz područja zelene gradnje i implementiranje proizvoda koji smanjuju energetsku ovisnost o skupim energentimai njihovim velikim sustavima *Tijekom seminara biti će organizirana predavanja koja će izlagati vodeća imena iz industrije obnovljivih izvora energije, brojni znanstvenici i vodeći ljudi institucija iz Hrvatske i inozemstva kojima je svima "ZELENA ENERGIJA" zajednički predznak *Implementacija novih informacija biti će prikazana u praksi ,koja će se realizirati kroz praktične instrukcije, te E-LEARNING module, za što postoji veliki interes kod građevinskih tvrtki kao i kod krajnjih potrošača/korisnika *U konačnici, osim znanstveno- tehničkih prednosi , udruženje pridonosi značajnom napretku u primjeni obnovnjivih izvora energije , promjeni uvriježenog načina razmišljanja koje koči širu primjenu alternativnih izvora energije pri izgradnji i rekonstrukciji objekata HRVATSKI CENTAR OBNOVLJIVIH IZVORA ENERGIJE ( HCOIE )
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Posted in ALTERNATIVE, ALTERNATIVE ENERGY, CCRES, CROATIAN CENTER of RENEWABLE ENERGY SOURCES, GREEN ENERGY, HCOIE, HRVATSKI CENTAR OBNOVLJIVIH IZVORA ENERGIJE, PASSIVE ENERGY, RENEWABLE ENERGY, RENEWABLE ENERGY CENTER SOLAR SERDAR, RENEWABLES JAPAN STATUS REPORT, SOLAR SERDAR | Tagged 000 and a royalty of up to 2% of gross sales of licensed products. Through new technology, 000 electric drive vehicles each year. EnerG2 is one of 30 advanced battery and electric drive manufacturing facilities supported by the Recovery Act. At full scale, 000 electric drive vehicles. This support for both manufacturing and research and development is contributing to the revitalization of the U.S. auto industry and will help meet President Obama's goal, 000 households. In addition, 030 fuel cell-powered lift trucks. Read the complete story in the DOE Energy Blog. New Licensing Agreement Opens Energy Patents to NGOs, 2012 CROATIAN CENTER of RENEWABLE ENERGY SOURCES News and Events February 22, 2012 DOE Awards $6.5 Million for Tribal Clean Energy DOE announced on February 16 that 19 clean energy projects by tribal nations would receive more than $6.5 million to support tribal energy developm, a new licensing agreement opens a number of DOE patents to qualified non-governmental and non-profit organizations. Just as was offered to innovative startups with America's Next Top Energy Innovator, and clean water for some of the world's poorest people may already be in the patent portfolios of DOE's national labs. The challenge, and creating jobs. The funding announced will support training centers targeted at improving energy performance in commercial buildings and manufacturing plants. To compete for the funding, and deploying clean energy technologies. The projects will help save money and create new job and business opportunities. 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