text:
Boo! This Halloween season, PHOENIX magazine rounds up the angriest, vainest, freakiest, most altogether scary Arizonans.
Sure, zombies are scary. Backwoods axe-murderers, too. And hotels built on ancient Indian burial grounds? Always good for a fright.
But you know what really makes our blood run cold? Gun-toting brain doctors. Dirty Scottsdale. Polygamists.
To be sure, Arizona has given America the heebie jeebies hard and often over recent years, from the blood-stained saga of Jodi Arias to the underage sister wives of Colorado City. So, in this season of vampires, killer clowns and sexy-pirate Halloween costumes, we pay our respects to the Arizonans we'd never want to meet in a dark alley. Figurative or otherwise.
Note: In the interest of leveling the playing field, we've eliminated violent criminals, sex offenders and most politicians from consideration. Too legitimately scary.
Nik Richie
In a 2008 episode of South Park, a group of goth kids announce their intention to ship a classmate to "the most horrible, most miserable place on Earth" and unanimously decide on Scottsdale. We like to think blogger Nik Richie had something to do with that piece of television scriptwriting. Born Hooman Karamian in Hackensack, New Jersey, the former credit card processor launched dirtyscottsdale.com in 2007, offering the world crudely-captioned photographic evidence of Scottsdale in spread-eagle Gomorrah mode, a daily parade of $30,000 millionaires, apple martinis and lopsided silicone. He was basically Louella Parsons with Adobe Photoshop. Along the way, Richie rode the gossip site – and its multi-market offshoot, thedirty.com – to a weird kind of digital-age celebrity, marrying Lorenzo Lamas' actress daughter. One could argue that Richie was only "holding up a mirror" to a certain segment of society, and maybe that's true – but what kind of person holds up a mirror to an insane leper? It's just mean, and it was a funhouse mirror, intentionally warped to disregard the nice things in Scottsdale. Like cowboy art and first-rate sushi. He also gave us the term "slut-shaming."
John Huppenthal
He's a bit less scary after losing his reelection bid in the Republican primary on August 26, but Huppenthal has wielded no small modicum of power as Arizona Superintendent of Public Instruction, an office that guides funding and curriculum standards. So it was a little distressing when he copped to a secret life as an Internet troll, where his exotic theories about Franklin Delano Roosevelt (caused the Great Depression, responsible for Hitler) and welfare recipients ("lazy pigs") appeared on various websites under pseudonyms like Falcon9 and Thucydides. Nothing explicitly criminal in those online comments, just deeply unprofessional and unbecoming. That is, unless you think fifth-grade history textbooks should be amended to depict Charles Darwin as a closet anti-Semite who formulated his theory of natural selection to lay the groundwork for Jewish genocide. That's a Huppenthal original.
Steve Haworth
Most of us would classify tongue bifurcation and subcutaneous metal skull implants as medieval agonies best avoided. Not Steve Haworth. To the Phoenix-based "body modification" guru, those after-market alterations are simply his livelihood. Hardly a body-mod poster-boy himself – his only visible affectation is a single ear gauge, which is less than the average modern college student, if you think about it – Haworth pioneered the art of subdermal and transdermal implants in his Phoenix studio, physically reshaping his clients to suit their whims. Ever seen a metal mohawk? He invented that. He also collaborated extensively with many of the "stars" of the body-mod subculture, including the late Stalking Cat (a Flint, Mich., native who assumed the guise of a female tiger) and freak show legend The Enigma. Low-key and professional, Haworth has appeared extensively on TV – including Extreme Dr. 90210 – and is generally regarded as the Hugh Hefner of body mod. Scary? Only if you pay him.
Dr. Ersula Ore
As street crime goes, jaywalking isn't all that scary. And that's the point: It takes real gumption to turn a jaywalking citation into a dashboard-cam viral fight video and assault charge. Presaging the far more explosive events in Ferguson, Missouri, three months later, Ore's painful-looking take-down by Arizona State University police officer Stewart Ferrin in May prompted a comparatively minor furor over race and law enforcement, with supporters of the ASU English professor – who is black – characterizing the arrest as excessively forceful. Not that Ore was a compliant citizen; she was clearly ticked-off that Ferrin stopped her in the first place and later pleaded guilty to one misdemeanor count of resisting arrest. The scary part: Take away Ferrin's handcuffs and tactical advantage, and one gets the very real sense that Ore would have creamed him one-on-one. And you want to argue that "C" grade on your term paper? Good luck.
Dr. Peter Steinmetz
With a job title like "Program Director of Neuroengineering at Barrow Neurological Institute," Dr. Peter N. Steinmetz is a manifestly intelligent man. How, then, did the good doctor summon the towering lack of judgment to bring a loaded AR-15 semiautomatic rifle to Sky Harbor International Airport last July, ostensibly while on a "coffee run" at the airport? Naturally, Steinmetz – who was subsequently put on administrative leave at Barrow – was making a statement about his Second Amendment rights, which says more about his egotism than his IQ. After all, how would air travelers at Sky Harbor that day know Steinmetz was a non-murderous brain researcher, and not a wacko bent on bloodshed? Were they supposed to read his mind? There's a practical safety issue, too. Those baristas at Starbucks are overworked and over-caffeinated. One of them might have conceivably ripped the rifle off his shoulder and gone all Scarface on Terminal 3. These were non-issues for Steinmetz. He was more interested in showing us all what a bunch of craven sissies we are for not having AR-15s of our own. And to pick up a venti no-foam latte in the bargain. Smart, doc.
Jason Hope
Jason Hope is a wonderful, charitable human being – and if you don't believe it, he has nine web domains linking back to his eponymous website, jasonhope.com, where you'll find the following evidence: "Jason Hope is an entrepreneur, futurist, philanthropist and investor located in Scottsdale, Arizona with a passion for... giving back to the community." The home page is larded with high-minded quotes from Aesop and Dickens, and links to various charities. There's no mention of the $100,000 he paid rap star Ludacris to play a 45-minute set at his star-studded Christmas party four years ago, or the $2 million settlement he reached with the state of Texas in the midst of an investigation into his text-messaging company, Jawa, for fraud and improper billings. And there's certainly no reference to the 100,000-square-foot castle he's reportedly building in Scottsdale's exclusive, double-gated Silverleaf community, complete with its own IMAX screen and moat (see Max AZ, page 136). Those are boring details. The interesting thing about Jason Hope is that he's community-minded, not that he's carving a footprint the size of Chase Field out of McDowell Mountain. Such a humble, swell guy, that Jason Hope.
Sheriff Richard Mack
The former Graham County lawman is a bit of a discretionary choice for this spot. Alternately, we could have gone with Congressman Paul Gosar, Arizona Representative Bob Thorpe, or any local lawmaker who flew to Nevada last spring to proudly stand by rancher Cliven Bundy during his much-publicized, anarchic standoff with the federal government over unpaid grazing fees. (Anarchic? Sure. You don't need to burn a Starbucks to be an anarchist. Those wily anti-guv'mint sermons will do just fine.) Still, Mack took the crazy-cake on Team Cliven with this comment: "We were actually strategizing to put the women up front. If they are going to start shooting, it's going to be women that are going to be televised all across the world getting shot by these rogue federal officers." Remind us not to invite the Macks to the next PHOENIX mag couples retreat.
Mayor George M. Allred
Question: What does it mean to be a politician in the fundamentalist Mormon enclave of Colorado City, Arizona? Answer: Instead of kissing babies, you're marrying them off to your cousins. One can only begin to imagine the gross distortions of office routinely perpetrated by Mayor Allred, who – according to a report in the United Kingdom's Daily Mail – continues to take his marching orders from absentee FLDS leader Warren Jeffs, currently jailed in Texas. According to the report, Allred and Jeffs corresponded via snail mail in June of 2012, when the mayor sought Jeffs' opinion on issues ranging from minting Colorado City currency to selecting a new chief of police. Allred ended one of the letters with this fawning piece of ass-kissery: "I am so grateful the Lord has chosen You as his mouthpiece to all the world." So, safe to say: Separation of church and state is not really happening in Colorado City. That gives Allred – a shadowy fellow who also served under the pseudonym "George M. Barlow," according to the Arizona Attorney General's office – a leg up on acting FLDS leader William Jessop on the creepiness index. It's a dead heat, actually.
Pastor Steven Anderson
Run out of a strip mall in Tempe in what looks like a converted call center, the Faithful Word Baptist Church is the domain of Pastor Steven Anderson, a young, vaguely hipster-ish holy man who once proposed that President Barack Obama "should be stricken with brain cancer." You know, as part of a sermon. "Don't expect anything contemporary or liberal," Anderson admonishes on the church website, which is reasonable, and would seem to leave ample middle ground between "I'm not a fan of the president" and "Hey, God, why don't you give him brain cancer?" Anderson doggedly refuses to explore that middle ground, routinely posting YouTube evidence of his "soul-winning" sermons, including a recent chestnut directed at his female congregants: "So here's the thing, when I'm preaching, women should not express their opinion, even if it's a positive opinion, even if she agrees with me." Dang, bro. Old school. Excuse us while we... back... away... slowly.
Laine Lawless
One must give credit where credit is due: Here is one scary Arizonan who will never lift so much as a pinky to conceal her scariness. A pro-border activist of the most virulent, flag-burning stripe, she was friendly with convicted killer Shawna Forde and late neo-Nazi J.T. Ready, and never disavowed either association. Born Roberta Dill, she writes Xena: Warrior Princess fan fiction and admits she changed her name to honor the show's star, Lucy Lawless. She is a Wiccan. She wears a power-mullet. It just goes on and on. Profiled on several occasions in the Phoenix New Times, and famed in nativist circles for burning the Mexican flag outside the country's consulates in Tucson and Phoenix, she's arguably the most recognizable face of Arizona's extreme-right anti-immigration caucus, over more closely-placed activists like "Buffalo" Rick Galeener and Glenn Spencer, the head of American Border Patrol. Neither of whom have mullets.
Scary Arizonan Emeritus
Sonny Barger
Never a physically imposing figure in the classic biker-brute mold, the modestly-proportioned Hells Angels founder makes scary hay with steely smarts and shrewdness. Now 75 and living in Cave Creek – where he relocated in 1998 – Barger remains the de facto leader of the world's best-known and most-feared outlaw motorcycle club, its most recognizable face and most vigorous link to the club's counterculture Oakland heyday. In his definitive 1965 book Hell's Angels, Hunter S. Thompson wrote this about Barger: "... A six-foot, 170-pound warehouseman from East Oakland, the coolest head in the lot, and tough, quick-thinking dealer when any action starts. By turns he is a fanatic, a philosopher, a brawler, a shrewd compromiser and a final arbitrator." Contrary to rumors that routinely swirl around the HA, Barger is "healthy and active and still rides," according to an insider. And if throat cancer didn't stop him, or a stretch in federal prison, or who-knows-how-many biker-grade benders, would any among us willingly pick him for an enemy? Nah.
Scaredy State?
If the Arizonans assembled on our list don't scare you, what about rattlesnakes, meth labs and state fair clowns? Using these and other metrics (hurricanes, dentists, etc.), the real estate search site Estately recently compiled a ranking of America's scariest states. The scariest: Florida. The least scary: South Dakota. Arizona ranked 13th – a scary number if there ever was. Find a category-by-category breakdown of our fearsome performance below. Source: estately.com
Bears: Arizona's population of black bears is typically docile; before one ornery specimen went on a rampage in the Tonto National Forest two years ago, Arizona had experienced only 10 attacks in 22 years. Rank: 24
Clowns: Arizona has one of the country's highest clown-per-capita rates, according to the National Clown Directory. Chilling. Rank: 18
Prison: Our incarceration rate per capita is no laughing matter, either. Rank: 6
Flying: If you're an aerophobe, Sky Harbor's heavy passenger traffic is a nightmare. Rank: 9
Hurricanes: Reprieve! AZ is dead-last in hurricane landfalls. Rank: 50
Shark Attacks: Ditto with shark attacks... until Lake Havasu starts breeding them, anyway. Rank: 50
Spiders: "Arizona: A Leader in Venomous Spider Species" should be our new business-development motto. Rank: 3
Snakes: There's a reason the "Arizona Unicorns" don't play at Chase Field. Rank: 1
Dentists: We're about average when it comes to dental assaults. Rank: 30
Tornados: Haboobs don't count. Rank: 42
Heights: We're not especially skyscraper-heavy, but our various mountain peaks return us to the mean. Rank: 24
Meth Labs: This ranking was derived from adding up meth lab busts since 2012. So we're doing a good job hiding them, obviously. Rank: 38
Lightning: Shockingly low score. Rank: 37
Volcanoes: Not many recent lava sightings 'round these parts, but all those cinder cones up in Flagstaff count against us. Rank: 9
Murderers: No comment. Rank: 9


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It must have been something of a sinking feeling for those waiting for a successor to the Nikon D300s to see the arrival of the very well spec'd D7100. Though some may argue against, I hold that the D7000 was indeed the commercial successor to the D300s whether or not Nikon admitted to it, and that the D7100 is now the second camera to carry the line forward. Product-wise, it doesn't have the build quality or performance to qualify it as the mythical D400, but it's certainly 90% of the way there. Theoretically, there is room in the Nikon line-up for a professional quality DX camera, but I'm not sure that it will ever be built. With the exception of the D600, "professional" now means FX; I don't think that we will return to the days of the semi-pro DX workhorse era of the D200/D300. It's not that a D400 wouldn't be a great camera, it's just that it would be hard to compete professionally when the competition are serving clients with 5DmIII's and D800's.
|Spot the differences. The D7000 and D7100 side by side.
Professional aspirations aside, the goalposts have once again moved for DX. For the same entry price as the D7000, we once again moving to a new level of performance and features. Nikon might be disappointing some with their handling of 2012's quality issues, and others with their mysterious reluctance to properly fill out the DX lineup, but when it comes to the core product model that is the serious-enthusiast dSLR line, they haven't let users down, not in each successive generation since the D70.

subset: commoncrawl


text:
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text:
Gender & Popular Culture Summer Session B 2011 Blog Post #1 Constructs of Femininity and Masculinity In a TV-based Aspect of Pop Culture
Gender & Popular Culture Summer Session B 2011
Blog Post #1
Constructs of Femininity and Masculinity In a TV-based Aspect of Pop Culture
Choose a very narrow aspect of popular culture to analyze (a specific episode of a TV show). Analyze how your chosen element of pop culture portrays masculinity or femininity.
Your "big goal" is to argue a point that addresses the following question according to your chosen element of popular culture:
What does it mean to be a man, or what does it mean to be a woman, in this element of popular culture?
Avoid including too much narration of the show, instead write in a clear analytical manner that targets an aspect of pop culture, and examines how this element constructs an understanding of masculinity or femininity.
You may choose to focus on a specific character if your find yourself with too many examples from the aspect of pop culture you have chosen (in order to keep the length manageable and close to the equivalent of a 3 page paper).
Try to use the readings to define terms that may be new to you (or to a reader without a women's and gender studies background), by quoting the reading that defines the term when you first use it. For example, Lull would be a perfect fit for using his work to define hegemony, while Johnson would be ideal for defining patriarchy.
Remember, your goal is to analyze this piece of pop culture (analysis and judgment are not the same and if anything, judgment in place of analysis is counterproductive). Additionally, it may help you to look at both masculinity and femininity in both male and female-appearing characters
See the course syllabus and the blog post rubric for the guidelines for your blog post.
Include an introduction (with your thesis, which is up to you to develop) paragraph and a conclusion paragraph.
Double-space between paragraphs (indenting frequently is undermined by the template you have chosen to use for your blog).
You must include 2 different direct quotes (at minimum), from 2 different course readings from the week that precedes your blog post.
Remember that it's imperative you incorporate your direct quotes into sentences and that you use the best possible quotes in a point-by-point basis to use as "backup" or as an "expert witness" for each of your points (therefore, you should make a point in a 4-6 sentence paragraph, then the following 4-6 sentence paragraph would include a direct quote from a course reading to back up your point)
Cite all in-text (parenthetical references) in MLA format and a include a works cited list (at the end) in MLA format.
If you use any quotes, clips, images, etc from the aspect of popular culture you have chosen to analyze, include them in your works cited list (and when appropriate for the source, in text citations as well).
Comments will be posted to your blog in the "comments" section by me
Grades (alpha-numeric) will be posted to the SOCS gradebook.


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Tarte Aux Poireaux: Leek Tart Recipe
Ideas on how to cook with leeks, the sweetest member of the onion family
When I moved to the U.S. umpteen years ago, I was surprised to discover how hard it was to find leeks, and how expensive they were once located. A tasty, cheap staple of my stone-broke early twenties in the U.K. was more like a gourmet treat in Manhattan. They're still on the pricey side, but worth it.
Leeks are members of the onion family, chubby relatives of chives and scallions, with a mild, sweet flavor. Who doesn't like leek and potato soup? Vichyssoise, the creamy posher version that's served chilled, sounds French but was actually invented by the chef at Manhattan's Ritz Carlton in the early 1900s. (Pronounce it vishy-swahz, by the way, not vishy-swah.)
When you're buying leeks, choose straight, firm ones; those with bulbous ends will probably be woody inside. Use the white and pale green parts and save the dark green leaves for stock. Split them lengthways and wash them carefully under cold, running water — they're often gritty inside.
You can use leeks in any dish in which you'd use an onion or shallot. They add a bright flavor to soups and stews. Cut them into thin rounds, sautéed in butter or olive oil until they're soft and they're a nice addition to omelets, scrambled eggs or mashed potatoes. Sauté, then finish with a splash of white wine and some heavy cream to make a side dish. Or make a galette by layering mandolin-sliced, peeled russet potatoes with chopped leeks and grated Gruyere in an oiled cast-iron skillet, and bake at 400 degrees for about 45 minutes. For something a bit more elegant, place a salmon filet on buttered parchment paper, top with thin-sliced leeks, drizzle with olive oil and sprinkle with fresh thyme, then wrap and bake for about 15 minutes.
Here's a recipe I clipped long ago when Real Men Don't Eat Quiche was on the best-seller list. Perhaps for that reason, it's called Tarte aux Poireaux, which is just French for leek tart. If you want to jazz it up, you can add herbs or wild mushrooms or ribbons of Swiss chard. I know several real men who think it's delicious.
Tarte aux Poireaux (Leek Tart)
- 4 to 8 trimmed leeks (about a pound)
- 3 eggs
- 1 egg yolk
- 1 cup heavy cream
- 2 Tbs butter
- Salt and pepper
- Pastry for a 9- or 10-inch pie (your own short crust, or ready-made)
- Heat oven to 400 degrees. Line a pie or quiche pan with pastry, cover with wax paper and fill with pie weights or dried beans. Bake for 10 minutes, remove weights and paper and bake for 5 more minutes. Remove from oven. Reduce heat to 350.
- Trim, split and carefully wash the leeks. Chop crosswise into fine rounds. You should have about 5 cups.
- Combine the eggs, egg yolk and half a cup of the cream in a large bowl. Set aside.
- Heat the butter in a skillet over medium heat, add the leeks, salt and pepper to taste, and cook for about five minutes, stirring often.
- Add the remaining half cup of cream to the leeks and simmer gently for about 5 minutes. Remove from heat, then add to the egg and cream mix and blend well.
- Pour the mix into the part-baked pie shell and bake at 350 for about 40 minutes or until the top is golden.
A note to gardeners: Leeks are easy to grow, as long as you have the patience to set out plants that are like little green hairs. They have stumpy roots, so they need a bed rich in nutrients. I give the plants a dose of fish emulsion every three weeks when I water, too. If you take the trouble to hill them up, you get longer white parts. Best of all: with leeks going for over a buck apiece in the markets, you'll feel rich.
» More leek recipes
» All recipes
» More from The Accidental Foodie blog
» Find a Hudson Valley restaurant
» Find a Hudson Valley food & drink retailer


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If using optimized MyISAM tables I guess there is a big advantage with this function as it is possible to do selects and inserts on the same time as long as no rows in the table gets updated.
mysql_unbuffered_query — Send an SQL query to MySQL without fetching and buffering the result rows.
This extension was deprecated in PHP 5.5.0, and it was removed in PHP 7.0.0. Instead, the MySQLi or PDO_MySQL extension should be used. See also MySQL: choosing an API guide and related FAQ for more information. Alternatives to this function include:
[, resource
$link_identifier = NULL
] )
mysql_unbuffered_query() sends the SQL query
query to MySQL without automatically
fetching and buffering the result rows as
mysql_query() does. This saves a considerable
amount of memory with SQL queries that produce large result sets,
and you can start working on the result set immediately after the
first row has been retrieved as you don't have to wait until the
complete SQL query has been performed. To use
mysql_unbuffered_query() while multiple database
connections are open, you must specify the optional parameter
link_identifier to identify which connection
you want to use.
The SQL query to execute.
Data inside the query should be properly escaped.
The MySQL connection. If the
link identifier is not specified, the last link opened by
mysql_connect() is assumed. If no such link is found, it
will try to create one as if mysql_connect() had been called
with no arguments. If no connection is found or established, an
E_WARNING level error is generated.
For SELECT, SHOW, DESCRIBE or EXPLAIN statements,
returns a resource on success, or
FALSE on
For other type of SQL statements, UPDATE, DELETE, DROP, etc,
mysql_unbuffered_query() returns
TRUE on success
FALSE on error.
The benefits of mysql_unbuffered_query() come at a cost: you cannot use mysql_num_rows() and mysql_data_seek() on a result set returned from mysql_unbuffered_query(), until all rows are fetched. You also have to fetch all result rows from an unbuffered SQL query before you can send a new SQL query to MySQL, using the same
If using optimized MyISAM tables I guess there is a big advantage with this function as it is possible to do selects and inserts on the same time as long as no rows in the table gets updated.
You are NOT required to read all rows from the resultset when using unbuffered query, you may opt out at any time and use mysql_free_result. Imagine looking at 1 million row when the first 50 suffice? Just free the result and you are good to go again.
Don't let the two hands confuse you, these are both advantages (they should really be on the same hand):
On the one hand, this saves a considerable amount of memory with SQL queries that produce large result sets.
On the other hand, you can start working on the result set immediately ...
You are absolutely required to retrieve all rows in the result set (option 'a' in the first comment). If you fail to do so, PHP will do so for you, and will emit a NOTICE warning you of the fact. From the MySQL API, "Furthermore, you must retrieve all the rows even if you determine in mid-retrieval that you've found the information you were looking for. ".
Also note that if you are using this function, you should be quick about processing the result set, or you will tie up the MySQL server (other threads will be unable to write to the tables you are reading from).
If you want to be able to 'abort' mid result-set or if you want to do lengthy processing on the results, you are misunderstanding the purpose of this function.
Also note that UPDATE queries etc return no result set, so this function is only useful for SELECT etc.
Regarding bailing on a really large result, while doing an unbuffered query, there _is_ a way to do this: kill the thread and exit your processing loop. This, of course, requires having a separate database link. Something like below does the trick:
// a db link for queries
$lh = mysql_connect( 'server', 'uname', 'pword' );
// and a controller link
$clh = mysql_connect( 'server', 'uname', 'pword', true );
if ( mysql_select_db ( 'big_database', $lh ) )
$began = time();
$tout = 60 * 5; // five minute limit
$qry = "SELECT * FROM my_bigass_table";
$rh = mysql_unbuffered_query( $qry, $lh );
$thread = mysql_thread_id ( $lh );
while ( $res = mysql_fetch_row( $rh ) )
/* do what you need to do
* ...
* ...
if ( ( time() - $began ) > $tout )
// this is taking too long
mysql_query( "KILL $thread", $clh );


text:
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If you are into digital photography, then you should be aware that most digital images could actually use some sort of improvements. It's because cameras normally bring on small differences with regards to the colours, contrast, exposures, or sharpness, especially when images happen to be seen on the monitor, as compared with when seen on the camera. This is particularly true when you are taking photos of buildings or scenery when appropriate lighting and colour is actually essential. This is where basic\/intermediate photo retouching comes in. While you might have your photos edited or retouched appropriately, you may also DIY with the aid of the number of tutorials and a reliable and simple-to use image editing software.
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text:
Since it's Saint Patrick's Day, I thought I'd take a side-step from the Brenton line to talk about some of my Irish relatives.
Only a small step, since my great-great-great grandfather, Isaac Brenton, married Jane K Johnston, an Irish woman. Jane was born around September 1839 in Ireland (according to the 1900 census), probably Northern Ireland. I don't know exactly when she immigrated, nor when she married Isaac, but I do know that she gave birth to her first child (that I know of), my great-great grandfather, Johnston Playford Brenton, on 28 Feb 1859, in East Pike Run, Washington County, Pennsylvania (according to his obituary). Isaac and Jane had seven children besides Johnston. On the 1870 census, a Thomas Johnston lived with Isaac and Jane. He is probably Jane's father, since he was 73 years old on that census, and Jane named her first son Johnston. Isaac does not appear with the family on the 1880 census, so I think that he died between 1870 and 1880. Jane would live in Washington County with her family until sometime between 1910 and 1920. She does not appear on the 1920 census; I am presuming for now that she died sometime in between those censuses.
Unfortunately, though, most of my information on Jane comes from census records. Since she and her father had such a common surname, I will have to use some different strategies to find more information than "the Johnston family from Northern Ireland." Since Jane was born around 1839, and immigrated before 1859, it seems possible that she and her father were affected by the Great Famine; but, I'll still have gather some more details on the two before a search of those records would be effective. I'm tempted to go off and do that now; but one line at a time! Hopefully gathering more information on Isaac and their children will tell more of Jane Johnston's story.
I share my experiences in genealogy education, including taking classes at the National Institute for Genealogical Studies and preparing my BCG portfolio. I also post updates to my personal research and general genealogy news.
Thursday, March 17, 2011
Sláinte agus táinte this Saint Patrick's Day!
Posted by Sarah Davies at 7:54 PM
Labels: Brenton, Female Ancestors, Johnston, Personal Research
3 comments:
I truly enjoy reading your blog and am pleased to award you the One Lovely Blog Award. Visit my blog at http:hangingfromthefamilytree.blogspot.com to pick up your award and find the rules. Congratulations!ReplyDelete
Wow, thanks Donna!ReplyDelete
Hi Sarah, I also awarded you with the One Lovely Blog Award!ReplyDelete
You can pick it up on my blog site "Betty's Boneyard Genealogy Blog"
Yours, Betty Tartas
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text:
Aaron Friedman necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 193 diseños de 41 diseñadores freelance.
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Small Businesses & Organizations (i.e. Local Florist, Coffee Shop, eCommerce-based businesses, Ice Cream Vendor, Landscaper, Non-profit organizations, Schools, Daycare Centers, Local Insurance Agent, Real Estate Agent, Music Bands, Direct Marketers, etc....)
Individual Users (i.e. Students, Job Seekers, Entrepreneurs, Multi-Level Marketers, etc...)
To create the logo/brand for Fanpage Toolkit. This logo/brand will be used on all online and offline packaging and collateral. The logo needs to be iconic in effect and carry similar characteristics to Facebook without compromising any copyrights or marks towards the Facebook brand. The reason for the similarity is that our application looks, feels and operates like Facebook. Our application caters mostly to Small Businesses, so an iconic logo that represents something techy-mechanical or techy-industrial in nature maybe a good place to start. Possibly utilize the two letters in our name "FT" within the iconic effect. Let your vision and talent carry you the rest of the way... Feel free to get as creative as you want... The more creativity the better! :)
Also note: The files we will require are:
Print file format - .ai (CMYK)
Web file format - .jpg and layered .psd (RGB)
Please take a look at the uploaded screenshots, which are a partial walkthough of our application. This should assist you in the creative process.
Thank you!
Confidentiality Notice: This message, including any attachments, may contain CONFIDENTIAL AND/OR LEGALLY PRIVILEGED information. The information is intended for use by the individual named above and may not be disseminated to any other party without BITMAP Systems' written permission.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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The renin test measures the level of renin in blood.
Alternative Names
Plasma renin activity; Random plasma renin; PRA
How the Test is Performed
A blood sample is needed.
How to prepare for the test
Certain medicines may affect the results of this test. Your doctor will tell you if you need to stop taking any medicines. Do not stop any medicine before talking to your doctor.
Medicines that can affect renin measurements include:
- Birth control pills
- Blood pressure drugs
- Medicines that enlarge blood vessels (vasodilators); these are usually used to treat high blood pressure or heart failure
- Water pills (diuretics)
Eat a normal, balanced diet with moderate sodium content (no more than 3 grams a day) for 3 days before the test.
Be aware that renin level can be affected by pregnancy as well as time of day and body position when blood is drawn.
How the Test will Feel
When the needle is inserted to draw blood, some people feel moderate pain. Others feel only a prick or stinging sensation. Afterward, there may be some throbbing or a slight bruise. These soon go away.
Why the Test is Performed
Renin is a protein (
If you have
Test results can help guide your doctor in choosing the correct medicine. Salt-sensitive patients with high blood pressure associated with low renin levels respond well to diuretic medicines.
Normal Results
Normal values range from 0.2 to 3.3 ng/mL/hour.
Normal value ranges may vary slightly among different laboratories. Some labs use different measurements or test different samples. Talk to your doctor about the meaning of your specific test results.
What Abnormal Results Mean
High levels of renin may be due to:
- Adrenal glands do not make enough hormones (
Addison diseaseor other adrenal gland insufficiency)
- Bleeding (hemorrhage)
- Heart failure
- High blood pressure caused by narrowing of the kidney arteries (
renovascular hypertension)
- Liver scarring and poor liver function (
- Loss of body fluid (dehydration)
- Kidney damage that creates the nephrotic syndrome
Kidney tumors that produce renin
- Sudden and very high blood pressure (
malignant hypertension)
Low renin levels may be due to:
- Adrenal glands releasing too much aldosterone hormone (hyperaldosteronism)
- High blood pressure that is salt-sensitive
Treatment with antidiuretic hormone(ADH)
- Treatment with steroid medicines that causes the body to retain salt
Veins and arteries vary in size from one patient to another and from one side of the body to the other. Obtaining a blood sample from some people may be more difficult than from others.
Other risks associated with having blood drawn are slight but may include:
- Excessive bleeding
- Fainting or feeling lightheaded
- Hematoma (blood accumulating under the skin)
- Infection (a slight risk any time the skin is broken)


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As seen in:
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Selecting your vehicle's make, model, and year allows us to display only parts and items specific to your car's model and year.
Part# CE07214
2 Reviews
OPGI Price: $32.99
Part Type: (R) = Authentic reproduction of the original GM product
Years: 1971-1976
Sold As: PAIR
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Train Youth in Wisdom and Virtue: The Value of Hard Work and Hard Loveby GDN Shared Post June 11, 2010
Our mission is to build and launch the next generation of the world's market based solutions to positively contribute to the economic, political and social fabrics of our community, cities, states, and ultimately improve the fortune of the entire nation.
If you believed the statistics, young Black youth are supposed to be in jail or dead. The statistical reports that being Black in America most likely meant we were not supposed to be able to escape the hood.
As you probably know, there are two different worlds of businesses operating in America's inner cities – legal and illegal. In many neighborhoods where legal businesses are failing, young people are exposed to a drug-glorifying culture that is thriving. The career path is more common to become a drug dealer and make lots of money than to go to college graduate and get a job or start a legal business.
With the school year over in June and financial resources lacking, millions of parents are asking – how can my teen or young adult make money this summer? Okay, maybe its somewhere between having a neighborhood lemonade stand and working at a real job, so what should a young teen do?
Many states have laws that limit when teens can get a job and how long they are allowed to work per week, so how are they expected to make the money for clothes, dates, cars, etc.? The answer: Go into business -become an entrepreneur.
Make no mistake about it, the deficit of opportunities is mainly predicated upon lack of hope not lack of brain power. Have confidence in your teen to succeed. I know it can be done because I lived it — by the time I was 6 years old I sold homemade body lotion and hand-painted rocks as bookends door-to-door. At age seven, I was carrying business cards reading"21st Century CEO."
At 8, I became co-founder of Urban Neighborhood Enterprise Economic Club (U.N.E.E.C.) on Chicago's tough Southside. It took hard work, an ability to listen and a persistent drive with smart decisions to succeed.
For budding young entrepreneurs to succeed involves creativity, faith, determination and family.
To provide the greatest moral support possible for the "bold and adventurous", and rookie entrepreneurs is to plant the seeds of success providing age-appropriate know-how and ethical practices for all young potential venturers.
Plant the seeds of success. Let your home be a place where ideas and inspiration are abundant. Tell your child the following: "You can become and do anything you set your heart and mind to." Let your child grow up believing that there are no limits to what you can do and that anything – and everything- is possible.
Shower them with words of encouragement and affirmation. Let there be plenty of "can do" conversation in your house. Eliminate any and all evidence of overwhelming hopelessness from your home. Remind your children daily that they are destined for great things.
Show them the values of hardwork and hard love. Get them up with a kiss as you leave for work. Kiss them as you come home after a hard day. No matter how much money youhave or don't have, be a culinary and financial genius and a super parent – and show them how to turn a bag of potatoes, a can of beans, a package of ground beef and a loaf of bread into delicious meals that last for a week. Put TLC – tender loving care into the small things you do no matter how scarce there sources are.
Encourage them to work and make money. Believe in them and help them taste the sweet smell of success. Teach your child to get out of the lottery ticket mentality and work to make money to support hobbies and the purchase of personal items. Let them start a business from a hobby or work for a community-based business. Encourage them to be creative and make things to sell. Let them experience the thrill of creating something themselves and selling it.
"Nothing is more important for the public wealth than to form and train youth in wisdom and virtue. Only avirtuous people are capable of freedom." -Benjamin Franklin
Farrah Gray is the author of The Truth Shall Make You Rich: The New Road Map to Radical Prosperity, Get Real, Get Rich: Conquer the 7 Lies Blocking You from Success and the international best-seller Reallionaire: Nine Steps to Becoming Rich from the Inside Out. He is chairman of the Farrah Gray Foundation. Dr. Gray can be reached via email at firstname.lastname@example.com or his website at http://www.drfarrahgray.com/.


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Eastman Kodak and "home movies"
At least in the United States, practical "home movies" were made possible by the introduction, by Eastman Kodak Company, in 1923. of 16 mm motion picture film. Previously, motion picture filming was primarily done with 35 mm film.
The 16 mm format naturally made practical smaller, lighter, and generally less expensive cameras (and certainly projectors). And, for a given running time, the 16 mm format used (in terms of film stock area) only about 18% as much film stock as the 35 mm format, resulting in a substantial (if not proportional!) reduction in the cost of film and processing.
At this time, Kodak introduced its first "home movie" camera (using the new 16 mm film), which was quickly followed by another model, smaller, lighter and easier to use. We will hear more about this in a later section of this series.
Still, the cost of 16 mm cameras, and the cost of 16 mm film and its processing, were not economically attractive to the widest range of potential users, and so, to further reduce the cost of "home movies", Kodak introduced, in 1932, 8 mm motion picture film. This of course resulted in a further reduction in the size, weight, and cost of cameras, and a reduction in the cost of film and its processing.
As you can well appreciate, in order to avoid a substantial deterioration of image quality with this format, a film stock with substantially finer grain had to be developed for this format, and improvements needed to be made in the steadiness of film registration in economical cameras and projectors.
The common way in which 8 mm film was provided was under the "dual 8 mm" scheme. Here, the film (typically 25 feet, plus some extra for leader and trailer, on a spool) was actually 16 mm wide. But the perforations (on both edges) were at essentially half the pitch as for 16 mm film (the frame pitch for the 8 mm format).
The film was loaded in the camera, and when run, resulted in frames being recorded done one side of the film. When all 25 feet had been shot (a little over 2 minutes of shot time!), the camera was opened, the takeup reel (nor carrying all the film) was mounted (other side up) as the supply spool and the camera rethreaded.
On this pass, the frames were recorded alongside those recoded in the first "pass".
At the processing laboratory, the film was processed intact , and was then slit lengthwise to provide two 25 foot lengths of 8 mm film. These were then spliced end-to-end (a total length of 50 feet, with a run time a little over 4 minutes, the same as for 100 feet of 16 mm film), spooled onto a nice reel, and returned to the user.
The first Kodak 8 mm motion picture cameras, the Ciné-Kodak Eight series, was also introduced in 1932. There were two almost identical versions, the Model 20 and Model 25, differing only in the lens with which they were equipped (a fixed-focus Kodak Anastigmat 19 mm f/3.5 in the Model 20 and a fixed-focus Kodak Anastigmat 19 mm f/2.7 in the Model 20.
Here we see, from our personal collection, a Ciné-Kodak Eight Model 25, believed to have been manufactured in 1937.
Douglas A. Kerr: Kodak Ciné-Kodak Eight Model 25 motion picture camera
The camera was powered by a spring motor, wound with the key we see here. The chrome button, which pushed down, made the camera run; it could be pushed past a detent so it would remain in the "run" position so, with the camera on a tripod, the operator could get into the scene.
The camera was equipped with a folding, open viewfinder of the "reverse Galilean" type, actually integrated into the handle arrangement. With the handle raised, the viewfinder was erected for use. We will see it lowered in the later photos.
Here we see a better view of the front of the camera.
Douglas A. Kerr: The aperture nameplate
We see that the nameplate on which the camera aperture settings are presented has, for each one, a description of a scene and situation for which the exposure resulting from that aperture would likely be appropriate. The camera ran at only one frame rate (nominally 16 fr/s) and had a fixed "shutter angle", so the exposure time was fixed, about 1/30 s. And these exposure recommendations were predicated on the speed of a single type of film, Kodak Panchromatic (B&W), which was the primary type of film available at the time for this camera. (Kodachrome color film was not been introduced until 1935.)
The manual, of course, gave further subtleties of exposure planning, including discussion of how to deal with the ambient lighting conditions when shooting in the tropics in summer. But the guidelines on the aperture plate were valuable for the user who didn't happen to have the manual in her skirt pocket.
Here we see the interior of the camera, the left side panel having been removed for access for loading the film. The film transport mechanism is unique.
Douglas A. Kerr: The camera interior
For comparison, we note that in "professional" 8 mm motion picture cameras (such as the Paillard-Bolex H8), a rotating sprocket (fairly small in diameter) is used to pull the film from the supply spool and send it at exactly the correct rate toward the intermittent motion film gate. A second small sprocket was then used to govern the movement of the film from the gate to the takeup spool.
In cameras such as the early Kodak 16 mm cameras, a single small sprocket served both these purposes, the film having a brief engagement with it on the way from the supply spool to the gate and a second brief engagement with it on its way from the gate to the takeup spool.
And in later 8 mm cameras, there were no sprockets at all. The motion of the film was solely propelled by the intermittent motion in the gate (ugh!).
But in the Ciné-Kodak Eight cameras, there was a single sprocket, but of really large diameter. The design strategy behind this escapes me. But it is certainly pretty.
We also note the marking on the takeup spool reminding the user that it we see that spool full, it means that this is only the end of the "first pass", and that the film has to be reloaded for the second pass.
Of course at the end of the second pass, this spool is empty, and is retained by the user, it being the permanent takeup spool for this camera.
This lovely camera was a Christmas gift, in the early 2000s, from Larry Henry, Carla's son. I am embarrassed to say I did not give it the attention it deserves until just recently.
[to be continued]
I remember that my parents had a Kodak double 8 camera (and a Kodak 8mm projector) and I remember that my father had to find a darker room to be able to turn the film over. I think that the camera was similar to that one, but with French text of course:
Hi, Jerome,
But it is quite a story, overall.
I'm in the process now of photographing a couple of other specimens recently added to my collection, and I'll present them when those shots are ready.
Best regards,
[Part 2]
In Part 1 of this series we saw the first Kodak 8 mm motion picture camera, the Ciné-Kodak Eight Model 20/25. We saw that its aperture indication plate was marked for each aperture with a description of a scene lighting situation, a handy guide to choosing a credible exposure. (Exposure metering was, at the time, not practical for the amateur photographer.)
In fact all Ciné-Kodak cameras, through 1939, were equipped with this handy guide.
But this "table" was of course dependent on the sensitivity of the film in use, and was in fact predicated on a particular kind of film, namely Ciné-Kodak Panchromatic Safety Film (B&W), the only motion-picture film actually available to amateur photographers that was suitable for general use.
And the table was predicated on the camera running at the "standard" frame rate, 16 fr/s, which implied a certain exposure time (perhaps 1/30 s), and indeed the early Ciné-Kodak cameras only offered that frame rate.
But soon other kinds of film came into the "picture", such as Plus-X, Super-X, and Super-XX B&W reversal films, and, in 1935, Kodachrome color film. And of course the Kodachrome came in two flavors, differing in "color balance", Daylight (for work under you-know-what) and Type A, for work under incandescent illumination, most often photoflood lamps.
And the Daylight version could be used in two ways: directly, for work indeed under daylight, and with a filter, for work under incandescent lighting. And type A could be used in two ways: direct, for use with incandescent floodlight lighting, and with a filter fur use under daylight. And then there came Kodachrome II, with greater sensitivity. And so on and so forth.
Then, on the newer and more advanced cameras, there was the opportunity to use frame rates other than the standard 16 fr/s, mostly greater rates, to be used for "slow-motion" photography.
So the "cheat sheet" on the aperture indication plate soon became obsolete.
To move forward in this matter, in 1940 Kodak introduced the Ciné-Kodak Universal Guide. This was a simple dial-type exposure calculator. From early 1940 onward, every model of Ciné-Kodak camera was equipped with this device, in a form suitable for the features of that camera, typically riveted on the left side panel (loading door) of the camera. We see a typical one, this on a Ciné-Kodak Eight Model 20 or 25:
Ciné-Kodak Universal Guide
The Guide is particularized for a certain film with a small card inserted in the Guide. In future, all Kodak movie film would come with the appropriate card in the package. The cards, incidentally, always had a silver background, perhaps to make them harmonize with the stainless steel of the Guide proper.
Cameras equipped with the Guide would not have an aperture indication plate with scene descriptions. It would merely show the apertures. The space freed up on the plate would then often be used to carry the model name of the camera, which earlier had been relegated to a nameplate somewhere else, or carried on some other camera feature.
Since it might be some while for film including the guide card to reach the users, for a while each Ciné-Kodak camera included a set of cards for all the film types than available that were suitable for that camera.
The cards for the two types of Kodachrome film had two sides, one side for the film used in daylight (with a filter for Type A film) or with photoflood lamps (with a filter for Daylight film).
Owners of Ciné-Kodak cameras not having the Guide, whether still in production or not, could for a nominal fee (USD 1.00 in 1940) have Kodak add one to their camera. When that was done, the aperture indication plate (carrying scene descriptions) was removed and replaced with one only having the aperture designations. In many cases this plate would now also carry (in the freed-up area) the camera model name. But for cameras in which the model name was elsewhere on an important camera feature, the name was not put on the new-style aperture plate, but rather the plate carried the iconic "EKC" Eastman Kodak Company logo.
It was a massive, thorough, and well coordinated product improvement program.
But back to the Guide itself. From the photo above we can easily see its modus operandi. The three arrows on the right side of the dial provide for "exposure compensation". If this camera had offered multiple frame rates, there would have been a separate arrow for each on on the left side of the dial.
Interestingly enough, later, when Kodachrome became the almost universal diet of amateur 8 mm movie cameras, the simpler 8 mm Ciné-Kodak cameras of the period (which did not offer any frame rates other than 16 fr/s) , although equipped with a Ciné-Kodak Universal Guide (or a simplified form of it), again came to have scene exposure descriptions on the aperture control dial.
Plus ça change, plus c'est le même chose
[To be continued]
Last edited by Doug Kerr; September 17th, 2017 at 01:36 PM.
[Part 3]
In The first chapter of this series, I "fast-forwarded" through the initial phase of Eastman Kodak's development of the "home movie" art - the introduction of 16 mm motion picture film and cameras to use it - and got quickly to the second phase, the introduction of 8 mm motion picture film and cameras to use that.
Ciné-Kodak 16 mm motion picture film
But now I will go back to the initial phase. In 1923, Eastman Kodak introduced 16 mm motion picture film, which enabled economical (sort-of) "home movies". The film, called "Ciné-Kodak Motion Picture Film", was B&W panchromatic reversal safety film.
Panchromatic meant that, unlike the "orthochromatic" film earlier available, the response of this film to differing wavelengths of light closely followed the "luminance" response of the human eye to those wavelengths. The result was a "more realistic" rendering of subjects.
Reversal meant that this film, after a clever two-stage processing, itself exhibited the frames in positive form, ready for projection. (In the 35 mm world, the film from the camera was developed into a negative, which then had to be printed onto positive stock to have a print that could be projected.)
Safety referred to the fact this this film used the essentially non-flammable cellulose acetate base, rather than the highly flammable cellulose nitrate base of the 35 mm film then used in studio cameras and as well for the release prints that were shown in theaters.
At the moment, I don't know how this film compares to later well known "named" films, or even what its sensitivity was.
The Ciné-Kodak 16 mm motion picture camera
Kodak's first motion picture camera, the Ciné-Kodak, was introduced in 1923. It was intended for "home" use, the value of 16 mm filming in commercial and educational work being only later discovered. It as of robust construction, the case being entirely of die-cast aluminum, with a weight (loaded) of about 7.25 lbs. The dimensions were 7.9 in. high, 11.8 in. long, and 4.6 in thick. We see it in a stock photo here:
Ciné-Kodak motion picture camera
Stock photo
Aficionados may note that the most common form of this camera had a pan-like hinged flap that could be closed to cover the taking lens and the port for the viewfinder. This specimen did not have such, in my opinion an aesthetic blessing.This camera had no motor (spring-wound or otherwise). Rather, it had to be hand-cranked during the entire shot. Thus, operation from a tripod was essentially mandatory.
This may seem outrageously primitive, but note that in this very era, the professional 35 mm cameras used in studios to shoot feature films were hand cranked in just the same way, as in fact were the 35 mm projectors used in theaters.The camera could take film on up to a 100 ft. spool. The shot time for that length of film, based on the nominal frame rate of 16 fr/sec (and remember, the frame rate of this camera was not regulated in any way other by a label next to the crank, "Turn crank 2 revolutions per second") would be a little over four minutes.
This was a wondrous machine, which could be appreciated by a teletypewriter engineer or submarine designer, but not so much by a typical suburban would-be home movie maker. The next step was a rather more convenient camera, the Ciné-Kodak Model B, introduced in 1925. At this point, the Ciné-Kodak camera was redesignated "Ciné-Kodak Model A". Here we see a Ciné-Kodak Model B, one of two in our personal collection, this one estimated to have been made in 1927 (yes, it is 90 years old):
Douglas A. Kerr: Ciné-Kodak Model B motion picture camera (1927)
The beauty weighs 5.1 lbs, and its dimensions are 5.0 in. high, 9.6 in. long, and 2.8 in thick, a substantial improvement, handling-wise, over its predecessor. But the big improvement was that it is motor driven, by a spring motor wound with a crank. Thus hand-held operation became feasible.
With the spring fully wound, the camera could run for a little under one minute of shooting. The camera could take film on a 50 ft. or 100 ft. spool. The overall shot time for a 100 ft. spool, based on the nominal frame rate of 16 fr/sec would be a little over four minutes.
The camera in the form shown had a fixed-focus Kodak Anastigmat 20 mm f/3.5 lens. A portrait attachment (included with the camera) allowed putting a supplemental lens in place to provide (still on a fixed-focus basis) for subjects at distances ranging from 2 to 5 feet.
As on the Ciné-Kodak Eight Model 25 we saw earlier, the aperture indication plate had descriptions of scenes and lighting conditions as a handy guide to choosing an aperture. This of course was predicated on the camera frame rate (but this camera only operated at the standard frame rate of 16 fr/s) and on the use of Ciné-Kodak Panchromatic Film, the only film type initially available for "amateur" use with this camera. We see that aperture plate here, in situ:
Douglas A. Kerr: Ciné-Kodak Model B aperture designation plate
As with the Ciné-Kodak Eight, from 1940 on one could have this camera (then no longer in manufacture) retrofit with the Ciné-Kodak Universal guide. As part of that process, the aperture designation plate was replaced with one not showing scene descriptions, but only having the aperture indications themselves, plus the iconic EKC Eastman Kodak Company logo. We see that replacement plate here (actually on our 1925 Model B):
Douglas A. Kerr: Ciné-Kodak Model B - replacement aperture designation plate
[To be continued]
[Part 4]
In, for example, the original Ciné-Kodak camera, the overall height and/or length of the housing was influenced by the need to accommodate a 100 ft film supply spool and an identical takeup spool "in the same plane". The Model B was able to be relatively more compact by having these two spools "face-to-face", on the same axis.
Were we see a 1927 Model B with the left side of the housing (the loading door) removed and as well with an internal door opened, exposing the "back room" where the film supply spool will live.
Douglas A. Kerr: Ciné-Kodak Model B - supply spool door open
With that internal door closed (it has a nice spring latch to keep it that way), the film will come off the supply spool and enter the main mechanism area by going around a flanged roller, seen at the top of the door.
Then long silver finger rests against the film in the spool and operates a "feet remaining" indicator on the top of the camera. The small drag it imposes on the film keeps the film from spontaneously unwinding more than is called for by the mechanism.
Here we see the camera fully threaded.
Douglas A. Kerr: Ciné-Kodak Model B - threaded
The supply spool compartment door is closed and latched, the film engages the small single sprocket in the familiar two places, held by rather serious retainers ("clamps", per the manual), and the film passes though the exposure gate. There, it will be given frame-by-frame ("intermittent") motion by a reciprocating claw, driven by the small crank wheel seen at the lower left. The claw, by the way, is of the "dual" type, having a "talon" on each side, engaging a sprocket hole on each side of the film. This reduces the load on the film as it is being "clawed", reducing the wear on the film in this phase of its life.
As we saw for the Ciné-Kodak Eight Model 25, the back plate of the mechanism area carries white markings reminding the operator, when threading the camera, to leave the all-important "loops" of film between the sprocket and the gate.
As the film goes from its second engagement with the sprocket to the takeup spool, it passes around an angled "bail". The "camber" this gives the film allows it to readily shift laterally to align with the spool, whose position on its spindle is not precisely controllable. And the film, "cambered" as it is, has an effective width less than its actual width, allowing it to go even more easily between the otherwise closely-fitting flanges of the takeup spool. It of course "flattens out" as it settles on top of the film already on the spool.
The more spacious layout of the mechanism space of the Model B, compared with, for example, that of the Ciné-Kodak Eight, Model 20/25, makes this a much easier camera to thread than the Eight.
All very clever design.
[To be continued]
[Part 5]
Magazine loading of the film
The 16 mm Ciné-Kodak Model B motion picture camera was not really very hard to load, but for some potential "home movie" users, that operation was daunting, and discouraged their participation. To deal with this, Kodak in 1936 introduced the Magazine Ciné-Kodak, a camera that used 16 mm film pre-loaded in an enclosed magazine (the load was 50 feet). Both supply and takeup spools were in the magazine, as in fact was the gate (although the intermittent claw was in the camera mechanism itself).
To load the camera, the user just placed the film into a recess in the mechanism area and closed the door. Like spool-loaded 16-mm film (and unlike both spool- and magazine-loaded 8-mm film), the film was run only once through the camera. Thus there was no need to turn the magazine over. Total run time for a magazine was a little over 2 minutes.
The Magazine Ciné-Kodak also offered a number of features beyond those of the Model B. And it was lighter and somewhat more compact.
We see here, in a stock photo, a Magazine Ciné-Kodak and a 16 mm film magazine.:
Magazine Cine-Kodak
Stock photo
I won't dwell on this cameras, but will move forward to 1940, when Kodak introduced its first 8 mm magazine load movie camera, the Magazine Ciné-Kodak Eight Model 90. The magazines held 25 feet of film, and as with spool-loading 8 mm cameras, after the film has been run through the camera once, the magazine is removed and reinserted other way up for the "second pass". Total shot time for a magazine is a little over four minutes. And anyone who has ever threaded a Ciné-Kodak Eight would really welcome magazine loading!
We see our Magazine Ciné-Kodak Eight Model 90 here:
Douglas A. Kerr: Magazine Ciné-Kodak Model 90
I consider this to be a very handsome design.
The camera provides for interchangeable lenses, with a Kodak "Type M" mount (with a rather odd latch design), The camera was normally provided equipped with a Kodak Anastigmat 13 mm f/1.9 lens, focusable from 2 feet to infinity, with a smallest aperture of f/22. Alternatively, a 9 mm wide angle or 25 mm telephoto lens can be fitted; with an adapter, other telephoto lenses of greater focal length can be fitted.
The camera is equipped with an internal viewfinder of the "reverse Galilean" type. Its field of view can be set to match the focal length of the lens in use.
The camera can be operated at the standard frame rate of 16 fr/s or at alternative frame rates of 24, 32, or 64 fr/s to provide for "slow motion" photography.
Here we see our camera with the loading door open:
Douglas A. Kerr: Loading door open
We see (with the stripes behind it) the recess into which the magazine is placed. The door is then closed, and (after running the camera a bit to move beyond the leader), the camera is ready to go.
The lineup
Last night, at auditions for our community theater company's fall production, Arsenic and Old Lace, after all the readings were finished, the director asked all the participants to come on stage and then asked them in various groups to come down to the stage apron and then to gather in various orders. She was of course considering how various contenders would look together as various characters. Probably she did not, for example, want the hero to 6'6" and the heroine to be 4'11".
But, inspired by that, I thought I would have the three players in this little drama from our own personal collection to come onstage so we could see their relative sizes. So here they are (with their viewfinders erected, where applicable):
Douglas A: Kerr: The Three Stooges
From back to front, they are:
Kodak Ciné-Kodak Model B (16 mm, roll load) (1926)
Kodak Ciné-Kodak Eight Model 25 (8 mm, roll load) (1937)
Kodak Magazine Ciné-Kodak Eight Model 90 (8 mm, magazine load) (1940)
Just a beginning
We have seen here just the pivotal beginnings of the Kodak world of motion picture cameras. Over the years, a vast panoply of "amateur" motion picture cameras were introduced by Kodak (and of course by many other manufacturers as well). A "professional" camera in the Ciné-Kodak series, the Ciné-Kodak Special (and then the Ciné-Kodak Special II) came into being and became important in photojournalism and for commercial, industrial, and educational filmmaking.
Later, an even more serious branch of the family was introduced, the Kodak Reflex Special, to compete with such cameras as the Arriflex line, but it had a very small following.
But all that is beyond this series.
I hope this has been interesting and/or entertaining.
Best regards,
[Part 6]
Film magazines
The film magazines developed by Eastman Kodak were ingenious in their design.
I apologize for the illustrations used in this section. Good pictures of the innards of film magazines are hard to come by, and at this point I do not have a single magazine of either 16 mm or 8 mm size to vivisect (although an 8 mm victim is expected to arrive tomorrow).
The 16 mm film magazine
Here we see a typical Kodak 16 mm film magazine:
Kodak 16 mm film magazine
Stock photo
Here we see such a magazine opened for reloading:
Kodak 16 mm film magazine, open
Stock photo
Because the drag brake operation is disrupted with the magazine opened, the "supply" side roll of film, at the right, almost full, has unwound a bit.
The normal load of film in a 16 mm magazine is 50 feet (providing a little over 2 minutes of shot time).
This magazine has a sprocket system for governing the movement of the film. It is driven by the camera mechanism, the sprocket shaft in the magazine engaging a drive shaft in the camera. The exposure gate (aperture plate and pressure plate) are in the magazine; the intermittent motion claw is, however, in the camera proper.
We see that the interior dimensions (and the locations of the supply and takeup core spindles) are such that a full roll of film on the supply side and a full roll of film on the takeup side could not coexist - but of course, they don't have to.
The film path is fairly unique (but is in fact also found in the Ciné-Kodak Special 16 mm camera when equipped with the 100 foot capacity magazine). The first engagement of the film with the single sprocket (on its way from the supply roll to the gate) is on the bottom (as we see it) of the sprocket. The second engagement (when the film is on the way from the gate to the takeup roll) is also on the bottom of the sprocket, the two lengths of film lying one atop the other on the same sprocket teeth.
The magazine has a "footage remaining" indicator, displaying though a small window on the magazine (in turn visible through a window on the camera loading door). I have not yet been treated to a glimpse of the mechanism involved, but I presume it works from a spring-loaded finger resting on the supply roll (which no doubt also serves as the drag brake to keep the supply roll from unwinding).
The 8 mm film magazine
Here we see a typical Kodak 8 mm film magazine:
Kodak 8 mm film magazine
Stock photo
Like most 8 mm roll-loaded cameras, the 8 mm magazine uses a "double 8 mm" arrangement: the magazine is loaded with 25 feet of film 16 mm wide (but with 8 mm format perforations). The magazine is inserted in the camera and the film is run through once, laying down frames along one half of the film width. Then the magazine is removed and reinserted, other way up), and the film is run back through the camera again, laying down frames along the half of the film width.
In processing, the film is developed whole and then slit into two 25-foot lengths, which are then spliced end-to-end to give a 50 foot finished roll of film. The total shot time for a magazine is a little over four minutes.
Here we see a typical 8 mm film magazine open (it is in a Magazine Ciné-Kodak Eight camera):
Kodak 8 mm film magazine, open
Stock photo
As for the 16 mm cartridge, with the magazine open the drag brake arrangement is disrupted, and thus we see the supply roll (at the top, nearly exhausted) a bit unwound.
As with the 16 mm magazine, the exposure gate is in the magazine, and the pulldown claw is in the camera proper. The port to the exposure gate is covered by an opaque shutter until the magazine is in the camera and the loading door closed, this to minimize light leakage.
Following the lead of all but the earliest 8 mm "consumer" cameras, the 8 mm magazine system does not have any sprocket(s) to govern the movement of the film; all film moment is done by the pulldown claw.
The small "dial" we see in the earlier picture of this magazine is, sadly, not an actual "feet remaining indicator", just a picture of one. If we take the magazine out before a pass is finished (perhaps to put in a magazine with another type of film for the next task), we can mark with a pencil on this little picture the indication of the actual footage indicator (on the camera). Then, when we replace this magazine , we can set the footage indicator to match the state of the magazine so it will then correctly reflect the state of the magazine.
There is such a little picture on each side of the magazine, so from our marking we can tell which side up to put this partially-used magazine when we replace it (that is, which "pass" it was on when removed).
Best regards,
Since I last wrote on this topic, our collection of vintage Kodak motion picture cameras has expanded, and with it my understanding and appreciation of this marvelous parade of cinematographic tools.
Here are some of the more-newly-acquired specimens that are particularly special (to make a bad pun in the case of two of them).
This is a Ciné-Kodak Special, made in 1933.
This is a high-performance sophisticated (and complicated) 16-mm professional camera, introduced in 1933. For many years, this camera (and its second-generation successor) were a favorite for industrial films, educational films, and quite a few "indie" (and some not-so-"indie") feature films.
This is one of the earliest of this particular model in circulation, serial number 330. (There were many notable design changes made to that model shortly after this one's time.)
In 1948, Kodak introduced the second-generation version of this camera, the Ciné-Kodak Special II. Here we see ours. made in fact in 1948.
The big change from the first-generation version was that the turret now had angled faces so that the two lenses could stay out of each other's way, physically and optically. The lens mount was also changed from a very specialized one to the "Type S" mount, which Kodak had adopted as a standard mount for their wide range of 8- and 16-mm ciné lenses. (Ironically, this was the only Kodak camera to itself have that mount - all others used the Type S lenses through a nightmarish stable of adapters.)
This very specimen was originally owned by Charles T. Chapman (1891 1949), a noted newsreel photographer and later producer and cinematographer of documentary and promotional films.
Another favorite is our 1956 Ciné-Kodak K-100, a semi-professional 16-mm camera.
This was essentially the last of the serious cameras to carry the "Ciné-Kodak" marque. We bought it from the daughter of the original owner, who got it in 1957 to photograph her when she was first born.
Best regards,
Last edited by Doug Kerr; December 26th, 2017 at 07:59 PM.
Another one of our specimens that has, indirectly, a "special" connection is our 1951 Ciné-Kodak Royal Magazine camera.
This model (introduced in 1950) was the third generation of the Kodak 16-mm magazine load cameras (well sort of - the first two for all practical purposes differed only in the naming as the model naming strategy changed), and in fact was the last of the Kodak 16-mm magazine load motion picture cameras (made until 1967).
After this model, the emphasis in 16-mm cameras was in the semi-professional and professional spheres, where spool loading was the norm (in part because of the greater film capacity via that mode). Magazine loading, however, continued to be very attractive in the "consumer" cameras, all using 8-mm film.Of special interest is that Princess Elizabeth, soon to become Queen Elizabeth II, used a camera of this very model (sadly, probably not this specimen, as near as we know) to take the charming movies of her young children that have recently been unearthed and presented by the BBC.
Best regards,
Last edited by Doug Kerr; December 26th, 2017 at 08:04 PM.
It's so fascinating that the entire span of history of this great invention spans such a short time. By contrast, our original systems of tooling flints lasted hundreds of thousands of years of stable technology!
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Hi, Asher,
There are other technologies whose use by the general public came and went in what seems to me to be a really short time. Of course, owing to the logarithmic nature of human time perception, what seems like a short time to me would have seemed like an eternity to me when I was. for example. six years old.
I think of the use of facsimile transmission over the telephone network for the average civilian.
Or even the use of CFL's to replace incandescent lamps in home lighting, now essentially superseded in turn by LED lamps. We were just finishing our conversion to CFLs when it became apparent that we should be veering toward LED lamps.
Sic transit gloria mundi.
Best regards,
Often the names that are given to things reveal much about the state of mind of the person, or company, that gives the name.
Eastman Kodak coined the name "Ciné-Kodak" for their first motion picture camera, and then applied that as the marque of essentially all their motion picture cameras for quite a while. At one point, the shifted the spelling to "Cine-Kodak", perhaps feeling that including the accent aigu was too something for American consumers.
But the use of that marque came to an end in a funny way. In 1956, Kodak introduced the Cine-Kodak Medallion-8 camera, an easy to use magazine-loading 8-mm movie camera, intended for the typical home movie shooter. It had interchangeable lenses, and one version was equipped. as its "kit lens" (as we would say today), with a focusing lens. The lens aperture was set in the familiar way with a ring on the lens.We see that version here:
We see that it is equipped with a "zoom" viewfinder so that the field of view of the finder could be made to match that of the lens that was aboard.
These two "Medallion family" siblings were joined in 1997 with two further, rather different, versions. They both had embedded non-focusing lenses, and were equipped with a camera-based aperture setting wheel that had provisions for setting the aperture based on descriptions of the scene and lighting situation. One version was equipped with a turret that put in place a wide angle or telephoto converter. The overall design was rather different:
Among other design differences, the "zoomable" viewfinder was gone, as there was no need to accommodate different lenses. (Well, there was the matter of the different fields of view on the turret version, but that was taken care of with three different "frames" in the viewfinder.) And they lost the slot to accommodate a carrying strap (a feature that none of the other Kodak movie cameras had anyway).
In the Kodak literature of the time, these four versions were spoken of as the "four Medallion models". But in fact, as a matter of detail, while the earliest two carried the name "Cine-Kodak Medallion-8", the two later versions carried the name "Kodak Medallion-8".
Now was it that these two "non-interchangeable lens" cameras were thought by Kodak to not deserve the honored "Cine-Kodak" name, of was it just a matter of timing: "Effective today, the name 'Cine-Kodak" will no longer . . ."?
It's hard to tell, from my vantage point.
But is is interesting.
Best regards,
The actual end of the trail for Kodak 16 mm motion picture cameras (at least for "commercial" cameras) was the Kodak Reflex Special. This was intended for "studio-class" work, competing in a way with such cameras as the Arriflex. It was introduced in 1961
We see a typical one here:
As the name would suggest, this camera has "full time reflex viewing": the operator sees continuously the same image that is laid on the film. This works by having the front face of the opaque sectors of the rotary shutter mirrored so they are in fact mirrors. The shutter is placed at at 45° angle to the optical axis.
During the part of the frame cycle when the film is being moved between frames, the shutter (in the usual way) blocks any light from the lens from going to the film. But since the shutter blades are mirrored, during that phase the image-forming rays from the lens are directed to the side, where they form an image on a ground glass screen. The operator then views that through an eyepiece optical system (just as we do, before the shot, in an SLR still camera).
The camera is electric motor driven. There were several different motor drive assemblies, readily interchangeable. They varied to suit the context of operation.
A spool of film up to 100 feet could be mounted in the camera itself. The supply and takeup spool are mounted "face to face", the same scheme used in the Ciné-Kodak Model B of the early 1920s and its direct descendants. When a greater capacity is needed, a 400-foot or 1200-foot film chamber ("magazine") can be mounted atop the camera proper.
The standard model had a three-position turret. A large lever locks and releases the turret. (Well, with it unlocked, you have to pull it out to turn it, then push it back in, the move the lever to the locked position!) The lenses are mounted with a mount (Type R) unique to this model (so what's new?). The lenses push straight in, oriented with a pin that goes into a slot in the mount. Then a pair of levers (per lens position) lock the lens firmly into place. All very handy? Not so much.
A head for direct recording of sound in-camera (magnetic) could be fitted at the factory. It goes in the space in the camera proper where the 100-foot film supply arrangement would otherwise go.
It seems that this machine never caught hold in the competition against such cameras as the Arriflex and the 16-mm version of the Mitchell (that, however, not being a reflex camera). It is reported than only a few hundred were ever made. The model was discontinued in 1968.
Best regards,
Last edited by Doug Kerr; December 27th, 2017 at 07:51 PM.
So what prevented Kodak from reworking its goals to the changing market.
They were so ahead with their research and patents.
This is a failure of monumental proportions.
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Thanks, Doug for this precious little thread. The technical details are really interesting.
One question though: When did the 'super-8' come into being? I remember it had a magnetic sound track.
Hi, Reginald,
Versions with an optical sound track were used for special purposes (e.g., in-flight movies).
Thanks for writing.
Best regards,
We recently acquired an interesting and fairly rare variant of the Kodak Ciné-Kodak Special professional 16-mm movie camera. This variant hads what I call the "all-black livery". It was principally intended for use by the U.S. Armed Forces during World War II, the object of course being to minimize the chance that a glint of light from any shiny features of the camera wouild give away the presence of a battlefield photographer.
We see this beauty here:
Douglas A. Kerr: Kodak Ciné-Kodak Special, all-black livery version
We can see the difference in the livery from that of the "normal" version here:
Douglas A. Kerr: Kodak Ciné-Kodak Special, "normal" version
The feature differences seen on the "control panels" of the two cameras are due to the fact that the "normal" one shown is an extremely early specimen (it is serial number 330). There are absolutely no feature differences between the "all-black" version and the "normal" version of that period.
One might wonder about the "bright rings" showing on the turret position that has no lens in our specimen. In reality, these cameras were almost always equipped with two (black, of course) lenses. One of those was usually the 25 mm f/1.9 (as seen here), the "kit lens" for this camera. The other was usually some type of telephoto lens. (The usual military package included two telephoto lenses.) Sadly, we do not yet have a black telephoto lens for this machine.
Lenses other than the "kit" lens were mounted on this camera via a mount adapter. Some years before, Kodak had stopped making their stable of lenses suitable for several 16-mm camera families in versions with mounts for each of them, and had developed a "universal" mount (the "type S" mount). These lenses would thence be made only with that mount. Later cameras would have that mount, and adapters would be available to adapt the new lenses with that mount to the mounts on the various existing camera models.
An exception was the 25 mm f/1.9 (the "kit lens" for these various camera models), which continued to be made with the various "parochial" mounts.
To complete the ironic story, the first camera model to itself be equipped with the "S" mount was the Cine-Kodak Special II (the successor to this model), and it was the last, as that was for all practical purposes the last general-use Kodak 16-mm professional camera.
More of a mystery on our "all black" camera is the bright ring on the front edge of the frame rate control knob. That does not seem typical of the "military" examples of this version of which we have seen photos.
As provided to the United States Army Signal Corps, this camera model was nomenclatured "Camera, PH-430". Oddly enough, the PH-430-A and PH-430-B were not variations of it but rather wholly different type of camera (by other manufacturers). Perhaps the thought was that they were functionally interchangeable. I do not know what the designation was for the U.S. Navy ones.
This specimen does not carry any military markings. Various clues suggest that in fact it was made after the end of World War II, perhaps even as late as 1947. Genealogical research is still ongoing.
1948 was, in fact, the last year of the Ciné-Kodak Special overall, it then being superseded by the very similar Cine-Kodak Special II (note Ciné-Kodak vs. Cine-Kodak II). I do not know of there being an "all black" Cine-Kodak Special II.
Best regards,
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As iconic fashion designer Coco Chanel once said "I have said that black has it all. White too. Their beauty is absolute. It is the perfect harmony." Together, black and white create the ideal blend of modern meets classic, feminine meets masculine, and minimalism meets elegance. Here are a few easy ways in which you can incorporate 2016's monochrome trend into your property, whatever the size and existing decor.
Not only do black and white complement each other extremely well, they can also be easily introduced into a variety of existing room styles. Subtly balance the feminine and masculine elements in your home by combining dark wood features with a light rug or delicate silk textiles. Alternatively, for a bolder effect, try cleancut marble furniture with modern, black accessories in the dining area, or a minimalist whitethemed bedroom punctuated by opulent black accessories such as fur throws.
Make a big statement
Turn your floors and walls into talking points by decorating them with striking monochrome designs. For smaller apartments, opt for one colour for the walls and the opposite for the floor to create the impression of more space. Larger spaces allow more scope for experimentation – consider chequered black and white floors with sweeping pinstriped walls for a classic, elegant look.
Combine patterns and textures
Monochrome accessories are a quick and easy addition to your living space and will instantly create a sense of coordination. Echo art deco and 20th century interiors with square, herringbone and chevron patterns, all of which have seen a 21st century revival. Other ways to create a vintage look include incorporating marbled pieces, stripes and polka dots.
Turn things inside out
Take the trend outside to create a modern garden, veranda or outdoor space. Black and white stripes can give a terrace a "tent room" or canopy look, creating a sense of luxury and a blacktie atmosphere. Reverse the expected outdoor trend of wood and natural tones with striking black and white garden furniture and accessories. A simple monochrome outdoor seating suite makes an instant design statement. Alternatively, keep things simple with white or black stone additions throughout your outdoor space.
Try the new monochrome
Designers continue to revolutionise traditional monochrome. A new, softer take on the look is to contrast black with offwhite shades and cream, rather than stark white. Mixing monochrome with natural materials such as wood, cotton or plants, is another increasingly popular way to make a bold, but slightly warmer and less austere statement. It's also an effective way to introduce additional textures to your living space.
Whether you're looking for a property that already incorporates a monochrome theme, or one with plenty of decorative potential, contact Engel & Völkers today. Our local experts can guide you through our extensive portfolio, helping you to find your dream home.


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jblake12 needed a new button or icon design and created a contest on 99designs.
A winner was selected from 31 designs submitted by 8 freelance designers.
We need 2 different birdie avatars created for a sports Twitter site that we are launching soon. The birdies should be thematically similar to the cute Twitter birdie: http://tinyurl.com/c4pu5d.
An example of a third-party site that incorporates relevant birdies is http://www.exectweets.com (reload the site a few times to see the different birdies they have).
** Update 4/13 ** - The site will likely have a black background, so please take that into account!
Twitter is a great source of sports conversation. We are building this site for sports fans around the world who care about professional sports.
These birdies will sit on our website, right next to the name of our site, in the header.
- Birdie should look tough, proud
- Birdie may be wearing a jersey
- Birdie may be interacting with a sports object (ball, puck, etc.)
- Blue is the preferred color, in keeping with the Twitter them, but open to other suggestions
- Don't make the birdie look too cute (this is a sports site, after all!)


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Deciding when to euthanize a sick pet is one of the hardest decisions that we have to make. When my cat of 18 years became seriously ill, my family was too emotional to make objective decisions. In hindsight, I think we waited too long to put him to sleep, but we wanted to make sure that we tried everything to extend his life.
Now a new survey, developed by researchers at Michigan State University, may help us make clear decisions in these stressful situations. The pilot version of their questionnaire was created to help assess the quality of life of dogs undergoing chemotherapy for cancer.
In their study, families completed a questionnaire at the time of diagnosis comparing the dog's current behavior with their typical behavior six months prior. Follow-up surveys were filled out three and six weeks later to document changes in behavior as the pups underwent chemotherapy. The veterinarians also filled out shorter questionnaires based on their observations. The separate surveys aimed to balance the more subjective, but complete view of the people who live with the dogs (since they see the day-to-day behavior changes) and the objective, scientific view of the veterinarians.
The researchers found that family and veterinarian responses were fairly well-matched, showing that the questionnaire can be a helpful way to find common ground for treatment decisions. The answers were particularly aligned on three questions involving changes in the dogs' play behavior, clinical signs of disease, and perceived canine happiness. Agreement on those questions led researchers to use them as effective indicators of quality of life that could be used in animal cancer clinics.
Now the team is planning a follow-up study with hundreds of dogs and their families so that the survey can be adapted to a wider range of illnesses. This tool could potentially help countless stressed families make educated decisions for their pets.


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|"Are you a wizard or not?"
The title of this article is conjectural. Although it is based on canonical information, the actual name is a conjecture and may be supplanted at any time by additional information released from canonical sources. If this occurs, please move this page to the appropriate title.
- "Wow, you are good! No one else has brewed a Volubilis Potion that well before! You can definitely join the Potions Club."
- —Speaking with Harry Potter[src]
This girl was a Hufflepuff student at Hogwarts School of Witchcraft and Wizardry in the late 1990s. She had an interest in potions and was leader of the Potions Club which she set up in the Herbology Greenhouses. In the 1996–1997 school year, she allowed Harry Potter access to the potions equipment to brew potions for himself, Ginny Weasley and Albus Dumbledore.
Early life
The girl came to be educated at Hogwarts School of Witchcraft and Wizardry and was Sorted into Hufflepuff House, with Pomona Sprout, the Herbology Professor, as her Head of House. She shared a dormitory with other girls in the Hufflepuff Basement, located below ground level and near the Hogwarts kitchens. At some point, she set up the Potions Club in Professor Sprout's greenhouses, probably after asking permission, in order to help others get their Potions homework done, as well as to help others brew potions.
In 1996, she continued as the leader of Potions Club with the new Potions Master being Professor Horace E.F. Slughorn. This year, Harry Potter came to the Hufflepuff girl and asked if he could join the club in order to brew a Shrinking Solution to help him get Ginny Weasley to go with him to Hogsmeade. She told him that he must first prove that he is a good Potioneer and asked him to brew a Volubilis Potion, which was also her favourite potion and could be used to change the drinker's voice, which she considered a waste. After he succesfully made the potion, she accepted him into the Club and allowed him to brew a Shrinking Solution as well as the Wiggenweld potion to help him on his trip with Dumbledore.
Behind the scenes
- The identity of this girl is unknown but it is possible that she is Megan Jones, a Hufflepuff girl who was in the same year as Harry Potter during their time at Hogwarts.
- Several other girls appear in Harry Potter and the Half-Blood Prince (video game) with identical facial features and hair to this girl, but they are in one of the other three houses.
- Harry Potter and the Half-Blood Prince (video game) (First appearance)
Notes and references
- ↑ She must have been at least eleven years old to attend Hogwarts.


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Plagiarism - Technology Issues
The question as to whether technology is contributing to plagiarism in college classes seems simple. From a purely technical standpoint, sure, it's easier to copy-and-paste chunks of text from one window on a computer to another than it is to re-type entire passages, or even papers. There are even web companies willing to supply would-be plagiarists with canned or customized papers for a fee.
It's also easier to track these practices. Researching a possible plagiarism case used to (and still can, of course) involve closely analyzing a paper for consistency with past patterns, and trying to piece together a reasoned conclusion as to whether it might have originated with someone else -- whether a published source that's perhaps trackable through available library resources, or a file paper that would be virtually untrackable. More often than not these days, it's possible to keypunch a short phrase into a web search engine (or a web database specifically for this purpose) and chances of discovering a match are really pretty good.
None of this information is new to someone who works or studies at a university. As Rebecca Moore Howard (a compositionist and leading researcher in the area of plagiarism in college classes) puts it, "If you are a professor in the United States and you have a pulse, you have heard about the problems of Internet plagiarism" (Howard, "Forget").
But debates about whether technology makes plagiarism -- or policing plagiarism -- easier seem to miss the heart of the academic community's real concern: what can we as a community of teachers and learners do for each other in an age that demands that we think differently about how information is shared, borrowed, and used?