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Country: India
Starring: Shweta, Harinam Singh, Somiya, Jaya, Vivek, Kanhaiya, Shabnam, Pooja, Asha, Kamleesh Singh, Advocate Dube
Writer: Harinam Singh
Director: Harinam Singh
In 1948, French artist Jean Dubuffet coined the term art brut, a phrase which became "outsider art" in 1972 when critic Roger Cardinal imported it into the English language. It referred to works of art created outside the boundaries of general culture. Specifically, it was art created by someone like an inmate in an insane asylum. Over time, the term was applied to a broader audience, but the key element remains that the art is a reflection of a mental state beyond that of even the average crazy guy. This is not the same as an established art movement that is consciously seeking to do something "outside the mainstream." An artist can't rationally decide to make art brut. As Dubuffet himself describes it, art brut can't be created by anyone who functions as part of regular society, even regular art society, and so this form of fierce and feverish creativity remains the sole purview of madmen and terrifying backwoods hillbillies who make sculpture out of cat skins, metal drums, and human skulls.
One gets the feeling, however, that if a potential creator of outsider art suddenly found himself in possession of a movie camera, some plastic Dracula fangs, and half a dozen cheap novelty wolfman masks, the resultant film that would come from that fertile and lunatic mind would look something like Shaitani Dracula, a creation so far beyond the pale of anything we can recognize as a movie that one can only assume no sane human was involved in the production, and the entire thing somehow simply sprang fully formed from the collective mind of one of those Victorian-era madhouses where the patients all wander around in a big open room, giggling and possessed of various degrees of "crazy" hair. It is also entirely likely that, after watching this movie, you will find yourself waking up one day only to discover you've been committed to just such an asylum as might produce a film of this nature. Standing over you, for you are wearing a straight jacket and lying on the cold concrete floor, is a man in a white lab coat. Noting your raving, giggling condition in a notebook, he then proceeds to hand you…a movie camera, some plastic novelty fangs, and half a dozen wolfman masks! Fade to black as you shriek in terror and laugh maniacally even as you reach to receive the camera from him.
I've seen plenty of weird films, as you can guess. Plenty of sick and demented films. Perverse films. Incompetent films. From juvenile, shot on video "shockers" about necrophilia to the substantially more lavish head trip of films like Holy Mountain, with plenty of brain-crushing silliness in between. Rarely, however, have I encountered a film that so closely resembles the scrawling on a padded cell wall done by a paranoid delusional. In no frame of mind and in no sense comprehensible by sane humans can you even call Shaitani Dracula a film. That it ever saw the light of day is testament to the fact that strange and inexplicable things still happen in this modern world. Even judged against the standards of cut-rate Indian horror cinema from outside the Bollywood mainstream — a genre that has never valued competence or coherence in its headlong rush toward another scene of a pizza-faced ghoul or a woman taking a shower while wearing cycling shorts and a bra — Shaitani Dracula stands out as something wholly more advanced than anything else yet witnessed. To watch it is an experience not unlike the final bit in Raiders of the Lost Ark, when Belloq alternates between screaming in abject terror and rapturously yelling, "It's beautiful!" right before his head explodes.
Stumbling across this film is like discovering some dust-covered tome filled with the most profane knowledge of the esoteric and evil — the proverbial Lovecraftian Necronomicon. To simply read a passage is enough to make even the stoutest of cowardly, trembling academics go dumb with terror. For those with an inquisitive mind, it is a gateway to an obsession that can only end in misery and defeat. Uncovering any information about this movie is like trying to decipher cuneiform without the Behistun inscriptions. Even the simplest of information does not surrender itself easily to the seeker. Take the production date for instance, which the few paltry places that have bothered to record it list as 2006. The IMDB refuses to even acknowledge this film exists. When it is mentioned somewhere online, it is usually only by a company selling the VCD.
Initially, I assumed the 2006 production date to be almost certainly incorrect, a reflection of the year the movie was released on VCD rather than the year it was made. Based on genre trends, the career of the director, and the look of the film, I assumed this was made sometime in the 1980s or very early 1990s. But then, making guesses such as these is never wise, as India was still quite capable of producing films in 1991 that boasted all the technical crudity and fashion sense of a movie made in 1971. Subsequent forays into the dank and fetid world of budgetless Indian horror made me reconsider my previous dismissal of a 2006 production date. It's really only in the past decade or so that this maligned and, to more sophisticated Indians, embarrassing genre has flourished. The fuzziness over the exact date this film was made only furthers my belief that Shaitani Dracula was never made, but instead was created out of the aether when the minds of those inmates mentioned above somehow intersected with a portal to a dimension of pure madness and chaos. There was a brief flash of animated blue lightning bolts, and there, lying smoking in a clearing in the woods of some rural Indian village, was a print of Shaitani Dracula, which was subsequently discovered by a conniving promoter and unleashed on mankind before he realized what he had done.
Still, I'm confident placing this film as a contemporary of the horror films of the Ramsay Brothers and Vinod Talwar, as it looks like something that would have been produced then even if it came out just a few years ago. The only real give-away that this movie is in fact of a more recent vintage is the lack of a tell-tale white or red Michael Jackson style zipper jacket — and if I've learned anything, it's that such a jacket was required by law to appear on at least one character in any 1980s Indian horror film, usually worn over a sleeveless t-shirt with a motivational message like "Go For It!" printed on the front in pastel pink (provided the shirt itself wasn't pastel pink, which it probably was). And if you ever watched a Talwar or Ramsay horror film and laughed at the incompetence, keep this in mind: you were watching the pinnacle of such films. The films of neither the Ramsays nor Talwar could prepare you for what Harinam Singh slapped together in what could only have been a combination fever dream and acid trip suffered while watching Blood Freak. Films like this are so disjointed, so nonsensical, so astoundingly incompetent in even the most basic of ways, that I almost wonder what the hell I'm even trying to do. However, a movie like Shaitani Dracula is sort of like the Sadako video from Ring; once you've watched you feel compelled to pass it on to another.
The film opens with a random attack or lovemaking scene involving a woman and either a monster or a man. It's hard to tell, because almost every single scene in this movie is murky and out of focus. It doesn't really matter though, because neither the woman nor the guy or monster will show up again. Instead, we cut immediately to the requisite lightning bolt that opens all Indian horror films, and then to a scene of Dracula in his living room. Dracula, it should be noted, is a fat guy with a mustache and one of those Outback Jack hats. I've seen a lot of Draculas in my day — from Bela Lugosi and venerated horror film icon Christopher Lee to Paul Naschy and that guy who fluttered around Billy Chong's head like a moth in Kungfu from Beyond the Grave. This Dracula, however, just might be my favorite. In this day and age of frail tween vampires prone to soul-searching and poetry writing, it's nice to get a Dracula who's just a fat guy with a mustache and a preference for sitting in a wicker chair while surrounded by vampire chicks in bras and mini skirts. It's basically as if film maker Harinam Singh looked for inspiration to Saddam Hussein, Panama Jack, and Larry Flint. Now that's a Dracula you can be afraid of.
When Dracula isn't busy caressing various scantily clad vampire girls or making them stand under sprinklers while wearing white booty shorts, he's sending various minions out to terrorize a bunch of campers and two fat guys. Dracula's minions include a host of terrifying creatures purchased in the discount aisle of whatever the Mumbai equivalent of Wal-Mart is (probably Wal-Mart). There's a couple different types of vampire girls. Most active is the one in a white bra and panties, who sometimes has styrofoam wings strapped to her when the prop guy remembered to put them on (which was about 50% of the time) and whose ability to fly is realized by having the actress stand on a rolling chair while being filmed from a low angle. This in itself isn't a terrible method of achieving a cheap floating effect, but the poor girl spends most of the time staggering back and forth, trying to keep her balance while also waving her arms menacingly and baring her plastic novelty fangs.
Then there's the girl in the black "spider-girl" body stocking with webbed armflaps and a ghoulish rubber mask. She spends most of the movie stepping out from behind a tree and making scary poses at the camera. This is actually what most of the ghouls and beasties do. In fact, it's pretty much what every character does. This is a movie comprised largely of people standing in front of something for a few seconds before the camera cuts to a shot of someone else standing in front of something else. There's also a random vampire chick in a red mini-skirt (and when I say "mini skirt," I'm not really getting across just how "mini" they are) who dances under a sprinkler for the aforementioned two fat guys, then lures them into the woods where she suddenly has a completely different outfit on, and a new mask. She's actually wearing the outfit worn by our eventual protagonist, since they just got that actress to do double duty, but we'll get to her later. There's also a few "house vampires," whose main job is to slink around while Dracula stands in front of the Venetian blinds and makes faces.
But Dracula has a lot more at his disposal than vampire girls in halter tops and panties, though I don't really see why he needs anything else. Still, I guess if you can fill out the ranks with an assortment of ghouls, why not? So Dracula hires the guy in the red fright mask and fedora. I'm not sure what he's supposed to be. I think it's one of those monsters that gets created purely because someone is on their way to a costume party without a costume, so they have to make due with whatever's left over at eight o'clock on Halloween night. There's also the wolfman, who is probably my second favorite monster in this movie. He's just a guy wearing one of those hairy gorilla suits, only with a big werewolf mask that keeps falling off whenever he attacks someone. You can also see the actors tennis shoes, since the bottom of the costume is just regular pant legs. Dude didn't even bother to, I don't know…wear black Reeboks and dress socks so he could at least tuck the flapping ends of his hairy pants into the socks.
There's also a couple guys who show up in various one or two second long shots but don't actually do anything. Like red-lit caveman guy in a polo shirt and something I can only assume is a giant mole. But far and away my favorite of Dracula's minions is the skeleton guy, which is just some dumpy actor in a baggy black bodystocking with bones painted on it. My favorite thing about him isn't the laziness of his costume, or the fact that he seems to wander in from nowhere and serve no purpose. No, it's that the actor playing him walks with a manly strut that tells you he knows he's the baddest son of a bitch to ever put on a sack painted with bones and try to pass it off as a skeleton. Danzig could learn a thing or two from Dracula's skeleton guy.
The primary target for all these monsters randomly wandering around in the woods is, as I said, a group of campers who are incredibly dedicated to their camping trip. You'd think after the first vampire girl rolled after them, or after the first skeleton went a-swaggerin' across the lawn in front of their tent, they'd just pack up and head back home. But I guess you just don't love camping the way these kids do. It's difficult to tell exactly how many of them there are, as the film inserts random shots of people we've never seen before, or features a scene of someone getting killed, only to have them reappear a couple scenes later. People also go to sleep in one scene only to show up wandering around in the woods a few seconds later. Sheetal is our main character, or as main a character as a film this distracted and meandering can manage to offer us. She spends most of the movie in a pair of zebra print hot pants and a black halter top, standing or walking in front of the same clump of trees for no reason at all.
Her friends include young beauty Deepa, who serves no function other than to look completely baffled in a few random shots (I guess she's the surrogate for the audience); Rishma, who gets chased by Dracula and then vanishes from the rest of the movie; and a bunch of guys who don't really do much other than occasionally knock off the wolfman's mask. There's also two fat guys who seem to be wandering aimlessly in the woods for days on end, getting attacked by vampire girls from time to time and "running" away. Except that one of them is so fat that all he can do is stroll at a very leisurely pace. Luckily the vampire girls are too busy waving their arms around and trying to keep their balance on the rolling chairs to ever really catch up to the fat guys.
For about the first hour of this film, we get a random assembly of the same scenes over and over again. Dracula makes faces in his den. Vampire girl. Sheetal goes and stands in front of that same clump of trees. The red face guy in the fedora shows up and walks toward the camera. Vampire girl. Sheetal in front of those fucking trees again. Vampire gi…whoa! What's with that red-lit caveman? Vampire girl. The guys on the camping trip gather around. The skeleton guy stomps across the screen. There's a monster we'll only see for these two seconds and never again. On and on it goes, with absolutely no continuity or point. Outfits and hairstyles change from one shot to the next. People wander off, get attacked by a monster, then reappear as if nothing happened. And then comes the movie's one and only musical number, which is nothing but Sheetal walking in front of those trees again, only this time with a radio. While a song plays, we get a four minute or so replay of everything that's happened up until now, plus some scenes from other movies thrown in for good measure, and what the hell — might as well throw in a few scenes that haven't happened yet.
The final half hour — this has got to be the shortest Indian film ever made — finds plenty of time to show that same footage of the vampire girl on the rolling chair, but it also moves things forward a little bit. The monster crew attacks the campers en masse, which results in about ten minutes of everyone running back and forth in front of the same tent wile monsters clutch at them and stand in the bushes. Dracula captures Sheetal, only to have her escape and return in a red pleather halter top and hotpants, armed with a cross and ready to take Dracula down before he can make us watch any more footage of people we've never seen before wandering across the screen while a guy in a wolf mask follows slowly behind them. Something about the weakness of vampires in the face of a crucifix is lost in the translation though, and rather than rely on the cross to dissolve or frighten the vampires, Sheetal just uses it to bludgeon them to death.
There's a few interesting things about this movie — well, OK, everything about this movie is interesting — and one of them is the decision to use a Western style vampire with Western style weaknesses for being hit in the face over and over again with a big wooden cross. Finding information about this film is hard, and finding information about its auteur is just as hard thanks to the fact that he has the same name as a prolifically self-promoting and much discussed online yogi/holy man. Well, I assume they are different Harinam Singhs, though I am having fun thinking about the maker of Shaitani Dracula being a famed yogi in his spare time. Perhaps he could team up with Bob Christo. So for lack of any reference to which I can turn, I don't know Singh's background. But his film is one of the rare Indian horror films that turns to Christian iconography instead of having some local variation of a vampire beaten by a trishul or a statuette of Krishna or other Hindu relic. During her climactic battle with Dacula, which consists mostly of him rubbing his elbow against Sheetal's shoulderblade like he's giving her a deep tissue massage, our heroine also prays to Heaven. It's hard to decipher any sort of actual meaning behind the use of Christianity in this movie. It's possible that Singh's target audience, if indeed there was such a thing, was a largely Christian rural audience. It happens. It could be that he was simply so influenced by Western vampire films that he wanted to stick with the tropes as defined in places like Hammer films and the old Universal horrors.
It could also be that Singh found making a prop cross out of a couple twigs was cheaper than shopping around to find an aluminum foil trishul.
There's really no way to prepare yourself for a movie that fails so utterly on every single level. You can't even begin to discuss things like continuity, because the film lacks continuity from one shot to the next, to say nothing of scene to scene. In his darkest dreams, Joseph Lai only wishes he was this incoherent, though he did approach Shaitani Dracula like levels of lunacy with his cobbled together animated feature, Space Thunder Kids. Although producer-director Harinam Singh is also credited as the writer, there's no way there was a script for this movie. They had to be making it up as they went, shooting whatever the hell came to mind, randomly substituting different actors in for the same role when the previous actor went out for something to eat. The whole thing has the feel of a movie put together by keenly untalented but enthusiastic high schoolers over the course of a weekend.
From what I can gather, it was filmed in fifteen days. If that's the case, it's still no excuse. Roger Corman made The Fall of the House of Usher in as much time. Fifteen days is no excuse for a movie to be this completely bungled. I mean, for crying out loud! The wolfman's mask comes off twice during one scene, and you can clearly see (or as clearly as you can see anything in this movie) the actor beneath as he struggles valiantly to put it back on. No millimeter of film was wasted on reshoots, and I have a feeling that while someone did indeed edit the film together, nothing was edited out. There are multiple scenes (actually, I think it's the same scene played over a few times) where Sheetal is standing around waiting for her cue, nods, then begins the action. You can also see her holding a smoldering piece of paper from time to time, which she throws to the ground when other actors enter the scene. This isn't some strange ritual; it's Sheetal getting caught on camera throwing down the thing that is supposed to be creating the spooky fog for the scene. Every single frame Singh shot probably ended up in the film. Actually, it probably ended up in there four or five times.
The acting is about how you probably assume it is. I think most of the people were ad-libbing or reciting lines the director told to them just before they started the shot. Dracula is played by none other than writer-director-producer Harinam Singh, and in so far as his sole job is to sit between chicks in their underwear and show his plastic novelty fangs, he does a good job. Look long and hard at him, for that is the face of one of the least talented film makers in the entire world. Learn to love him. The woman who plays Sheetal is as bad as any actress you'd find in an American micro-budget, shot on video horror film. Like all the girls in this movie, at least when they are not wearing rubber masks, she's remarkably hot. That seems to be have been the only qualification for getting a role in this movie, and one can't help but wonder how a guy who obviously had no budget, no script, no talent, and likely just one movie camera, managed to convince so many attractive women to wander around in the woods while wearing just their panties and halter tops. I guess Singh isn't completely talentless.
Analyzing the technical aspects of the movie is where one can really start to lose one's mind. When I said most of the monsters were realized by putting a rubber Halloween mask on an actor, I wasn't exaggerating. Those are really just rubber Halloween masks. It's even better that they usually put the mask on with no real effort to coordinate the rest of the outfit, which is why you get such great monsters as "rubber werewolf mask girl wearing a bra." The skeleton outfit had to be something Singh's kid made for him. I will say that what this movie lacks in quality — which is everything — it certainly makes up for in quantity. Singh crams so many monsters into the movie that he can't even find plot for them all. Thus, many of the monsters show up for a single shot then disappear, leaving us to ponder for the rest of our lives, "What was up with that guy wearing the hairy monster mask and a golf shirt?"
Not content merely to pack his film with frame after frame of shamefully inept special make-up effects, Singh also loads up on a few kungfu fights, each one more awkwardly staged than the last. The highlight, by far, is the fight between some random camper guy and the wolfman, since that fight causes the wolfman's mask to come off for the second time in about fifteen seconds. Following hot on the heels of that fight, however, is the final throwdown between Sheetal, Dracula, and his two half-naked vampire chick assistants. It was kind enough of Harinam Singh to give us one girl-on-girl catfight between two combatants in tiny shorts and/or mini-skirts, but then he goes and immediately follows that up with a second one! What a guy. The choreography sets a new low for fight choreography, as most of the fight is done by having someone slowly and gently extend their arm and press their fist against an opponents face, which causes the opponent to react in…well, they don't really react, but Singh dubs in some pretty mighty sound effects for the punches.
Putting a cute girl on a chair and rolling her around the achieve the effect of flight is about as advanced as this film gets. Indian horror film makers have, for a long time, drawn inspiration from Sam Raimi's low budget supernatural shocker The Evil Dead. There is much in that film, both thematically and technically, that translates well into the Indian horror market. Raimi was working with nothing — no budget, very little equipment, untrained actors and friends for a cast. Everything they did, they had to figure out how to do while they were doing it. One can imagine Harinam Singh looking to The Evil Dead for inspiration the same way the Ramsays did, or the same way any number of would-be horror directors in America do. Singh makes you realize just how good Sam Raimi and his team were at what they did. In fact, as I said earlier, he makes you realize how good the Ramsays were at what they did.
And what the hell was up with the scene where are the people are way off in the distance and there's a goose constantly bobbing its head into the foreground? What sort of crazy insane art is this???
What we have in Shaitani Dracula is something unique — a DIY, microbudget horror film. Such films are common in America, often with results that are just as incoherent (though rarely as entertaining). But DIY horror in India? Singh must be one among a very, very few. Hell, he may stand alone, a talentless maverick making horror movies on less than a shoestring budget. You can't call this Bollywood or lump it in with professional films any more than you can watch a Todd Sheets movie and call it a Hollywood production. This is something from completely outside the mainstream, made entirely away from the Bollywood machine. This is a guy with a movie camera and some local acquaintances, going out into the woods to make a horror movie. Even within the community of Indian micro-budget horror directors — you're Kanti Shah's, your Kishan Shah's, even your Baby's (yes, his name is Baby) — Harinam Singh seems to stand apart from and outside of the established.
But Shaitani Dracula even beats a lot of its American peers in the world of microbudget horror, because it manages to be so bonkers that it becomes enchanting. It's a bug-eyed, three-legged, mangy mutt of a movie, and when it hobbles up to you and whimpers, probably while involuntarily discharging some unidentifiable substance from a leaking scrotum, there's really nothing you can do but look at that sad, pathetic beast and fall immediately in love with it. Awww, how ya doing, little fella? Let me bandage up that leaking scrotum for ya. I think I'm gonna name ya Shaitani Dracula. You can room with my other sad mutt, Santa Claus Meets the Ice Cream Bunny.
The big problem with most DIY horror is how utterly banal it is. Few filmmakers put any effort into an original script or idea, and fewer still seem to be able to tell something shocking from something that is merely juvenile. As a result, they become the worst thing: boring. If you don't have a script, and you don't have a good idea, and you don't have any talent, you better be batshit insane. That's what Singh has goingfor him. I was never bored during Shaitani Dracula. None of it ever makes a lick of sense, but there's always something going on. Every scene features a wolfman or a vampire girl or that caveman with the red light on his face. Every scene is someone getting stalked by a monster in tennis shoes or a comely succubus in her underwear. If there was still a drive-in circuit, David Friedman would buy this film, make up some dubbing for it, and release it on the unsuspecting masses.
Unfortunately, that won't be the case. While horror films have come back in vogue to a tiny degree and in the disguise of "thrillers," thanks largely to the lingering popularity of The Sixth Sense in India, horror is still a tiny market, and there is no real DIY network for a beyond-the-bounds film maker like Singh. He needs a Something Weird Video, India Edition. I have no idea for whom Singh was making this film. The safe bet for horror in India was that it played well in rural areas, less so in big cities, but Singh would have to find a really backwoods community to successfully screen this film. Perhaps one of those villages full of insane people we find in other horror films and Gymkata.
If Shaitani Dracula has any peers, they exist within the ranks of American microbudget horror film makers, or perhaps amongst the men and women who worked the Florida exploitation film industry in the 60s and 70s. If Singh falls incredibly short of the standard set by Sam Raimi, we can at least see in him a kindred spirit to the likes of William Grefe, Doris Wishman, maybe even Larry Buchanan. Each of these people made films outside of the Hollywood machine, and most of the time, the movies they made were terrible, but terrible in that special way where utter incompetence meets with utter weirdness to create something that is worth watching and trying to comprehend, even if in the end such comprehension proves beyond the limits of the human mind. Even then, Singh is a breed apart. Most of the Florida exploitation film crew at least knew how to work their equipment. Singh seems to be encountering a movie camera for the first time.
One of the things I try to do is look at the cult cinema of other countries within a greater context. If you just watch Shaitani Dracula and use as a frame of reference other Bollywood or Tamil films, then Singh's warped little study in goofball monster stupidity has no real merit or connection. But if you place it alongside the movies it truly deserves to be placed beside, things to start making a little more sense, at least within a context contained well inside insanity. Shaitani Dracula is outsider art in India, but in the United States, it has a support group in movies like Creature of Destruction or The Naked Witch. Singh's wandering, aimless direction and tendency to edit together random shots with no meaning is really not entirely different than Doris Wishman's tendency to let her camera drift away from the actors and settle on a random lamp or table leg, and both Wishman and Singh seem to share a lack of ability to focus the camera that borders on an almost pathological aversion to shooting a clear frame of film. But even dear ol' Doris got it right sometimes. Harinam Singh's ability to shoot almost an entire film without ever figuring out how to focus the camera makes him something akin to a much less competent Doris Wishman.
One also has to assume that Singh possessed at least a passing familiarity with the horror films of Italy and France from the 70s and 80s. The primary evidence for this familiarity would be that at least one version of the advertising for this film stole artwork from the poster for Lucio Fulci's The Beyond. Beyond The Beyond, however, Singh's work is similar, in an even cruder way if that is possible, to the surreal vampire films of French director Jean Rollin. Even the worst of Italian horror films showcase far more technical prowess than is on display in Shaitani Dracula, but Rollin's films in France were shot in much the same way I assume Shaitani Dracula was shot: with non-professional actors, non-professional crew, minimal equipment, and whatever locations and costumes could be scrounged up without having to pay for them. Thus you get the same mix of modern street clothes accented with gratuitous opera capes. And just as I assume Singh had, at best, a concept scrawled down on the receipt for a take-out dinner, Rollin rarely worked with a script, preferring instead to make things up as he went. At its best, Jean Rollin's work attained a surrealistic genius. Singh's work, at its best, is a chick in white booty shorts waving her arms around as someone rolls her to and fro on a skateboard or office chair. Still, one gets the feeling that had he been in another time and place, Singh would have been right at home directing trashy, no-budget horror films for an outfit like Eurocine. The world was denied something very, very special the day Harinam Singh's Zombie Lake didn't get made.
It's quite possible that Singh has earned the title "the Ed Wood, Jr., of India." Lots of incomptent filmmakers get saddled with the Ed Wood title, but few actually deserve it. You see, it's not enough just to be incompetent. Anyone can do that. Even I can make an incompetent movie. Incompetence on its own usually translates into tedium. And you can't be bad on purpose. That's just lazy. No, what Ed Wood had, and what I think Singh has, is that "perfect storm" of incompetence and crackpot vision that combine to create something so amazingly daft yet so profoundly earnest in every way that it becomes something uniquely, hilariously enjoyable. In this regard, Singh assumes his rightful place alongside Wood, Rollin, Jess Franco, and the other underground directors mentioned in this article.
It all makes sense now, doesn't it? Harinam Singh is simply in the wrong place at the wrong time. He needs to be making movies to be released on a double bill with Plan 9 From Outer Space or Robot Monster. Robot Monster's Ro-man…now there's a guy who could pal around with the Shaitani Dracula wolfman. I mean, it's one thing to have a cheap wolfman suit. Plenty of films have tried to pass off, say, a Halloween store gorilla costume as an actual gorilla, even though the guy in it is standing upright and looks nothing like a gorilla (just capering about does not make you a gorilla). It takes it to a whole other level, though, to have the wolfman's mask come off not once, but twice, in a single scene and just leave it in the movie. Seriously, how expensive would it have been to reshoot that single scene? Too expensive for Harinam Singh, and we, all of us, benefit from what is either his cheapness or his laziness.
There is much to be studied and understood about Indian horror movies. Why were they as popular as they were when everyone pretended to be ashamed of them? How does the content reflect influences from the more fecund horror industry of the West? How is it different? How are old themes and tropes tweaked for Indian audiences? What does it all mean? I think these are valuable avenues to explore, as I'm firm in my belief that understanding a people's trash culture and why they embrace that trash goes a long way to helping you understand that culture and make connections with people (in other words, I've never had a successful conversation with a Japanese person based on Japanese arthouse cinema, but I've had tons of great relationships that stated with a shared knowledge of Bunta Sugawara). However, Shaitani Dracula really isn't the place to begin such a study. It's too far outside the mainstream even of outside-the-mainstream Indian horror movies. True, it shares some elements — the rural setting, the cheap titillation, the animated lightning bolt — but it is different in more ways than it is reflective of the rest of Indian horror cinema. Besides, any proper discussion of the history of Hindi horror and its place in Indian culture must rightfully begin with the Ramsay clan.
I love Shaitani Dracula. I absolutely love it. It fascinates me. I love what it represents in Indian cinema, that it is a lone example of what DIY horror filmmaking is like in India, removed from the mainstream, devoid of the built-in support network that assures even the most godawful shot-on-video dreck finds an audience in the United States. Of all the people I could hope to talk to in Indian cinema, I would like nothing more than to talk to Harinam Singh or one of his actors. The stories behind the slapdash making of this film must be worthy of a film in itself.


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Pack your week with some gritty guitars and satisfied gloomy skies with songs from Rain Over St. Ambrose, Reversing Falls and Sports. Then tell me that you feel at least a little more oomph in your steps.
"DG Gold Paint" is off their debut self-titled April-released EP. Packing crunchy Canadiana into three songs, this Yarmouth five-piece may have risen from the ashes of the unfortunate passing of singer Cory's father (the band name is a testament to that), but they could work their way into a future with clearer skies. The single utilizes some classic rock patterns with the guitar, keyboard and drums and paired with Cory's vocals, they remind me of The Hold Steady. Download the EP here.
mp3 download: Rain Over St. Ambrose – "DG Gold Paint"
Here's an edgy ear worm for you, straight from Montreal. Guitars power through to a trembling tempo and Tyler Crawford's vocals go back and forth, solidifying the hooks. Part of a teaser EP with the darker song "Doom Beach," it shows a promising future for the LP that is to come. The EP was produced by Mark Lawson (Arcade Fire, Timber Timbre, The Unicorns). Download the EP and previous material at their BandCamp.
mp3 download: Reversing Falls – "Little Goodbye"
This Toronto band has been working their way up to this full-length release with a much steadier pace as of late. The album, which you can download for free (or name your price), is full of energy, whether it be dark or light. My favourite track as of now is "Light," which has this great bass hook line and thick, ghostly vocal structures. It's one of the darker songs, and it feels good. The band will officially release the album on June 7 at the Horseshoe Tavern.
mp3 download: Sports – "Light"

subset: commoncrawl


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My son has found an old Halloween costume of SpiderMan and has it on for whatever reason....my kids are weird I know. Well Fletcher was sitting by me on the sofa and as soon as my son came around the corner dressed as SpiderMan including mask Fletcher freaked out.....he jumped off the sofa and barked and barked then ran back to me to hide. I told my son the take off the mask and say hello to Fletcher, show him its you I said. Well he did but Fletcher started barking and barking again Wow a serious case of cavalier OCD, Fletcher's first. However, in his defense the costume has fake padding for muscles so my son looks buff. Fletcher has met MANY people and had no problem so I really think it's the costume.
I went to put Fletcher in his area off the kitchen and he whined poor baby was scared but a less than 3 foot SpiderMan hahahaa
Now my son is making up with Fletcher giving him carrot pieces and talking nice to him through the gate.
I have my son take off the costume and I think it may "go missing"


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Recently NASA's Solar System Exploration Office interviewed Yvonne Pendleton on the last 50 Years of Robotic Planetary Exploration. Below is a transcript of the conversation; you can also find the interview complete with pictures on the Solar System Exploration website.
What do you think are the most significant events that have occurred in the past fifty years of robotic planetary exploration? Why?
In contemplating the many extraordinary accomplishments in planetary science over the past fifty years, three missions spring to the top of my list: Voyager, Cassini and Kepler.
The Voyager encounters took place during a "coming of age time" for me. It was the summer of 1979 (I had just finished my undergraduate degree) when I first began work at the NASA Ames Research Center Space Sciences Division. Starting with my very first day on the job at NASA Ames (and continuing through the eighties while I was still in graduate school) I experienced the thrill of hearing scientists discuss and often confirm theoretical predictions (such as the volcanoes on Io), and not to mention the excitement of press conferences held in our Space Sciences Auditorium.
Particularly, I was intrigued by the volcanism on Io. The reason that this was so striking for me was because there had been a paper from the researchers at Ames (Reynolds, R. and Cassen, P., Geophysical Research Letters, vol. 6, Feb. 1979, p. 121-124), which predicted the volcanoes on Io and then Voyager saw them. How transformative for a graduate student to see, first hand, that theory and observation can work together like that! This event highly influenced my own career in astrophysics; I became determined to intertwine the predictive powers of theory, laboratory studies and observational astronomy in my own work.
The next suite of solar system discoveries that really grabbed my imagination (and still has not let go!) concern the Cassini mission results on Saturn's moons, especially Titan, but also the primary outer satellites: Hyperion, Iapetus and Phoebe. Several of the earlier missions revealed the potential for Saturn and its moons to provide endless reasons to further explore this system. However, it is the Cassini mission that has unquestionably demonstrated that the Saturn system is one of the most interesting places in the solar system. From the methane lakes on Titan and the plumes of material on Enceladus, to the intriguing dark material on half of Iapetus and its neighbors, Hyperion and Phoebe — the Cassini mission continues to reveal clues to puzzles that fascinate me. Once belonging to the realm of science fiction, Titan's liquid oceans and hydrocarbon sand dunes are spectacular, and they are real! Phoebe, a likely captured object from the Kuiper Belt region, could have material with significant interstellar and solar nebula heritage too.
Finally, I have to list the Kepler mission as a planetary mission, even though it is viewing space beyond our own solar system.
It seems there are two fundamental questions that capture the inquisitive nature of most humans: One, "How did life originate in the Universe?" And two, "Are we alone?" In planetary and space science there is an interesting crossover in these areas. We are studying the origin and evolution of the basic building blocks of life and questioning the processing and delivery of those materials to solar system bodies where life might have gotten a foothold. Simultaneously, we are finding thousands of planet candidates with at least one confirmed, almost Earth-sized planet in the habitable zone of a sun-like star! So, thanks to the Kepler mission, we are on the brink of understanding how common other Earths are in our galaxy, as well as how other solar systems have developed in general.
Combining knowledge of how cosmic materials necessary for life on Earth formed and were delivered to our planet, while at the same time we are probing the existence of other solar systems puts us at the nexus of a quantum leap in human understanding. For that reason I have to place the Kepler mission, and its outstanding success, at the top of my list of accomplishments in the past fifty years. I see it as a success story that spans planetary science and astrophysics, in a most satisfying way.
In your field of work, what are some examples of the great achievements and discoveries in planetary science and robotic exploration throughout the past 50 years?
I study organic material (gas and dust) in the interstellar medium. I am interested in how basic hydrocarbons and interstellar ices formed, were processed and survived the formation of our solar nebula 4.5 billion years ago. I am fascinated by the ways in which these materials were incorporated into primitive solar system bodies and by the possibility that some were delivered to the Earth at just the right time to play a role in the origin of life as we know it.
In terms of addressing the fundamental questions astronomers have from the early days of our solar system, the Stardust mission is the most profound in this area, having successfully collected cometary and interstellar dust samples in the same mission. Work on the Stardust samples is ongoing, and the wealth of information to be gleaned will continue for years to come as new tools and enhanced techniques refine our ability to probe these phenomenal samples.
I am the director of the NASA Lunar Science Institute, a virtual institute that joins together researchers across the country and around the world to investigate the formation, composition, conditions, and potential of our Moon. The plethora of international lunar missions in recent years has provided a look at the Moon that fills us with renewed interest and awe.
It is really amazing to have so many assets focused on the Moon. To me, there have been several surprises.
We now speak of a "wet Moon," although that should be kept in perspective. Comparable in amount to water found in the Sahara Desert on Earth, the Moon is not wet in the typical sense. Still, it contains far more water than anyone would have suspected to be there. There is the water that is coming from inside the Moon to the surface, which was collected in the Apollo lunar samples and studied anew with technologies formerly unavailable. Results show astonishing quantities of water sheltered inside protective crystal matrices.
Another indicator of the components of water on the Moon comes from the Indian mission, Chandrayaan, whose Moon Mineralogy Mapper (the M3 instrument) found the hydroxyl radical, OH, over much of the lunar surface.
Then of course there is the LCROSS finding and the LRO data that suggests that there is water preserved in the heavily shadowed craters on the Moon.
Some may argue about the amount of water or the interpretation of some of the data, but no one can argue that these missions provided us a new look at our nearest neighbor.
Also, a recent LRO result found the coldest spot in our solar system is actually on the Moon. This finding wraps right back to my own interest in the delivery of organic material to the early Earth. Comets and asteroids hit the Moon as well as the Earth, but the preservation record in certain locations on the Moon is likely to be as pristine as any place we will ever visit. If the ices preserved on the Moon are primitive solar system materials; I am excited to think about the organics that might have hitched a ride.
A few images of the solar system that are among my favorites include:
The image to the right is an image of the Earth from the vicinity of Saturn. It is just so special — it is a perspective piece of our place in the solar system.
There are also two images I simply love from the Hubble Space Telescope, not so much for the science that they reveal, but for the inspiration they provide.
The Hubble Deep Field reveals that even seemingly empty regions of space are teaming with galaxies, each filled with stars that are undoubtedly surrounded by planets.
I am also drawn to the Apollo site images and the Lunokhod rover image by the Lunar Reconnaissance Orbiter (LRO). That we now have images with the clarity and precision to be able to see our early exploration steps is just amazing. Thanks to LRO, Moon maps will now be precise not only in imagery, but also in registered coordinates. This allows us to pinpoint exactly where items like the Lunokhod rover reside on the surface of the Moon.
Posted by: Soderman/NLSI Staff
Source: http://solarsystem.nasa.gov/scitech/display.cfm?ST_ID=2478


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Theologica", pls.
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Hefariebala and the German Bake Oven
By Alfred Opp, Vancouver, British Columbia
Edited by Connie Dahlke, Walla Walla, Washington
Bread making has been known to mankind nearly from the beginning of time when grains were taken into the diet. In the beginning, grain was pounded into a mash, then cooked - often on heated stones. From this simple preparation developed the varieties of breads that we know today.
The first "raised" dough likely was invented when leftover dough was incorporated into a new batch of dough, the older dough having had time to incubate wild yeast to a more active ingredient. This accident, however, bore little resemblance to modern yeast. In Teplitz, Bessarabia, for making raised bread we used a residue from wine-making that was called Hefariebala or yeast patties.
The details of how these were made has nearly been lost. Most of my own relatives that might be old enough to know this information are gone. I had to search long and hard to find someone who still remembers. With the help of a friend in Germany I found a lady in her 90's who remembers it well. She passed on to me the secret of how these were made.
The beginnings of Hefariebala started with wine that had begun to ferment. At that point, the wine was warmed in a big pot and another pot of corn flour was placed close by. When the warm wine began to foam, the foam was ladled off and mixed into the corn flour to produce a mash. The mash was worked into a thick paste which was then allowed to rest. Then the mash was shaped into round patties about 3 inches across and about as thick as a finger. These patties were then set out on a clean sheet to dry. When dry, the Hefariebala patties were stored in a fabric bag hung in a cool area.
The day before bread was to be baked, the required Hefariebala patties were broken into pieces and placed in warm water to dissolve. Into this mixture, flour was stirred to make the bread dough. This was covered and allowed to sit overnight. Early the next morning, the women began kneading the bread dough. Kneading the dough broke up the air bubbles and also developed the gluten in the flour. Both of these processes were necessary to produce bread with a fine, light grain. This was hard work, especially when making the many loaves of bread required to feed large families and often farm workers as well. Each loaf of bread contained 3-4 pounds of dough, and most women made 6-10 loaves of bread at a time, depending on the size of their families. Each portion of dough was shaped into a round loaf and placed into a round baking pan. Then the loaves were brushed with an egg wash to give it a nice brown top when it was baked.
Our bake oven in Teplitz, Bessarabia was spacious with a round ceiling. To heat the bake oven, my mother used scrap wood and shavings from Dad's wagon-making shop. Other women in the village used corn stalks along with other fuels. Fuel in general was hard to come by. For that reason, baking was carefully planned to utilize the entire capacity of the oven in order to conomize on the fuel use.
Along with bread baking, the women in my village often also made Suessbrot (braided sweet-bread or egg bread) or Streusel Kuchen (sweet-dough in a shallow pan, basted with egg and topped with streusel). On occasion, a ham was wrapped in a sheet of bread dough and baked in the oven along with the bread. The result was a tasty and juicy ham. The bread-crust from such a ham did not go to waste. It was a delicious snack!
On bread-baking day, mothers often had left-over bread dough. We kids really looked forward to bread-baking day, for snacks were often made from the bread-dough scraps. Mom would make one or more Bezel or Blazeda made from round pieces of bread dough rolled flat and then brushed with bacon fat and sprinkled with coarse salt. When baked to a crisp, these were a treat!
When the bread-baking was finished, the heat of the oven was not wasted. Mother would use the warm oven to dry pans of fruit to make fruitcakes we called Huzla or Schnitz which were essentially slabs of dried fruit which were then sliced. Oven-dried fruit was also stored to later make Doerrobst-Suppe or Fruit-Soup, a popular way to serve dried fruit in the winter-time. If the oven heat was not needed for food-related tasks, Dad would use the warm oven to dry hubs and spokes for his wagon-making business.
We especially enjoyed our home-made bread when it was fresh. Our bread and Kuchen were stored in the cool cellar on a board that was suspended from the ceiling so that no rodents could nibble on the goodies. The cool environment also helped keep the bread fresh, but after several days the bread did start to become stale and was not relished as much. My mother generally made bread every 10 days to two weeks - more often in the summer when the work was more demanding and often hired help also had to be fed. My grandmothers turned old bread into a treat by dampening it, and then spreading it with goose grease and sprinkling it with a bit of sugar.
Here is a story about Hasenbrot that the old-timers might relate to. What is Hasenbrot ? One day my grandfather took his team out to do some field work. Oma packed his lunch Brotsack - a fabric bag - with bread, sausage and wine. I greeted Opa in the yard as he came home late in the day. Before Opa unhitched his horses he said, I have something for you. Oh? Yes! What is it? Hasenbrot. In the kitchen, I ask Oma if I can get my Hasenbrot. She opened the Brotsack and pulled out a piece of Grandpa's bread that looked the same as the bread on the table. I must have looked a bit surprised, and so Oma explained. After Opa had eaten his lunch out in the field, he placed the Brotsack under the wagon and covered it up. While he was back at work a rabbit came by and sniffed it, trying to get in. In the process, he jumped over the Brotsack a few times. "Now you know," Oma said. I ate the bread eagerly, and remember well even today how good it tasted. And for you, I am glad to share this story!
Alfred Opp is the author of "Pawns on the World Stage" - the memoirs of his childhood in Teplitz, Bessarabia and the experiences of his family in war-torn Europe (Poland during 1941-1945 before they fled to East Germany in 1945, then the reconstruction of West Germany 1945-1955).
Note: Many of these recipes can be found in "Bessarabische Spezialitaeten:aus der Kolonisten am Schwarzen Meer, 1814 - 1940", 1999, 82 pages in color, compiled by Gertrud Knopp-Rueb.
English translation of the cookbook title is "Bessarabian Food Specialities: From the Settlement Period of the German Colonies in the Black Sea Region, 1814 - 1940".
This cookbook is available including a translation
of the recipes at this webpage: library.ndsu.edu/grhc/order/cookbook/knopp2.html.


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56 km northeast from "Heilbronn" and 35 km southwest from "Würzburg" lies "Bad Mergentheim". The spa town was first officially mentioned in 1058. Bad Mergentheim castle (Deutschordensschloss) is known as headquarter of the Grand Master of the Teutonic Order. The panorama shows the marketplace with a view to the old town hall.
Nikon D5000 | Sigma Fisheye 8mm | Panoramic Tripod Head homemade | 7 Pictures | ISO 250 | 1/180 sec. | F9,5 | 8mm | PTGui | PaintShop Pro
Baden-Wuerttemberg is the most south west land of Germany


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For most consumers, choosing the right set of tires for their vehicle is a decision they make every three or four years. But for the Dunlop Motorsport team, it's an everyday job. In the American Le Mans Series (ALMS), the right tire can often be the difference between finishing at the top of the podium or the back of the pack. Because every fraction of a second matters, Dunlop is constantly improving its tires to remain a step ahead of the competition.
It's the type of development that requires a team effort - especially for BMW's Rahal Letterman Lanigan (RLL) Racing Team and its pair of BMW M3 GTs.
"Tires are the only part of your vehicle that touch the ground, so they're one of the most important components of any racecar," said Joey Hand, driver of BMW Team RLL's No. 56 M3 GT. "That's why we're always providing our feedback to Dunlop's team of engineers. It's our mission to help make sure the car performs better with every race." Dunlop has been BMW Team RLL's technical partner since the launch of the M3 GT program in 2009, and its racing tires have been credited for helping the team mature and develop into a consistent performer and winner. Now half-way through the 2011 ALMS season, the team leads the manufacturer, driver and team championship standings in the competitive GT (Grand Touring) class.
Because most ALMS races are lengthy in laps and overall racing time, the teams switch drivers throughout the competition during pit stops. The tires, especially, must be consistent for long runs, and the Dunlops have been praised by the team for their continuing improvement.
"Many people don't realize the amount of engineering, testing and development that goes into every tire we send to the track," said David Meenan, design engineer for Dunlop Motorsport. "We're in constant communication with our team's drivers and engineers so we can develop the right tire for every race."
Building the ideal tire for each ALMS race means finding the right balance between performance and longevity, a task that change's with each track. A soft rubber compound will have plenty of grip, but wears faster, while a harder compound lasts longer, but reduces traction. Developing the right compound is a job that requires an immense amount of research long before race day.
Dunlop engineers use a variety of factors to determine which rubber compounds will be used on any given track. Those factors include the composition of the track surface, asphalt temperatures and ambient temperatures. After tests are conducted, engineers measure the tire's temperature, pressure and wear patterns. They also rely on reports from drivers and team engineers to fine-tune their selection.
"Dunlop does a great job taking our feedback as drivers and coming back with a tire that does what we ask it to," said Hand. "I've never been involved in a program that's been so good at that. Every week they bring the tire that works best for that situation."


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Free White Papers, Presentations and our consultants Blog – a wealth of experience and everything you need to know about Data Warehousing, Business Intelligence and Management Information can be found on our website, please use the search in the top right hand corner if you can't immediately find what you want.
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It is possible that the main title of the report Alstrom Syndrome is not the name you expected. Please check the synonyms listing to find the alternate name(s) and disorder subdivision(s) covered by this report.
Alstrom syndrome is a rare genetic disorder that is associated with a wide variety of symptoms affecting multiple organ systems of the body. The disorder is generally characterized by vision and hearing abnormalities, childhood obesity, diabetes mellitus, heart disease (dilated cardiomyopathy) and slowly progressive kidney (renal) dysfunction, potentially leading to renal failure. The specific symptoms present and their severity may vary greatly from case to case even among members of the same family. Additional symptoms often occur. Although some children may experience delays in attaining developmental milestones, intelligence is usually unaffected. Alstrom syndrome is caused by disruption or defect (mutation) of the ALMS gene. Alstrom syndrome is inherited as an autosomal recessive trait.
Foundation Fighting Blindness
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Suite 700
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Fax: (301)402-1065
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NIH/National Institute on Deafness and Other Communication Disorders
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Fax: (301)907-8830
Tel: (800)241-1044
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Coalition for Heritable Disorders of Connective Tissue
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Cardiomyopathy Association
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Internet: http://www.cardiomyopathy.org
Alström Syndrome International
14 Whitney Farm Road
Mount Desert, ME 04660
Tel: (800)371-3628
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Internet: http://www.alstrom.org
Children's Cardiomyopathy Foundation
PO Box 547
Tenafly, NJ 07670
Tel: (866)808-2873
Fax: (201)227-7016
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Internet: http://www.childrenscardiomyopathy.org
MUMS National Parent-to-Parent Network
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Green Bay, WI 54301-1243
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Fax: (920)339-0995
Tel: (877)336-5333
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Genetic and Rare Diseases (GARD) Information Center
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Tel: (301)251-4925
Fax: (301)251-4911
Tel: (888)205-2311
Email: http://rarediseases.info.nih.gov/GARD/EmailForm.aspx
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Madisons Foundation
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American Academy of Audiology
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Perkins School for the Blind
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National Consortium on Deaf-Blindness
The Teaching Research Institute
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This is an abstract of a report from the National Organization for Rare Disorders, Inc. ® (NORD). A copy of the complete report can be obtained for a small fee by visiting the NORD website. The complete report contains additional information including symptoms, causes, affected population, related disorders, standard and investigational treatments (if available), and references from medical literature. For a full-text version of this topic, see http://www.rarediseases.org/search/rdblist.html
The information provided in this report is not intended for diagnostic purposes. It is provided for informational purposes only. NORD recommends that affected individuals seek the advice or counsel of their own personal physicians.
It is possible that the title of this topic is not the name you selected. Please check the Synonyms listing to find the alternate name(s) and Disorder Subdivision(s) covered by this report
This disease entry is based upon medical information available through the date at the end of the topic. Since NORD's resources are limited, it is not possible to keep every entry in the Rare Disease Database completely current and accurate. Please check with the agencies listed in the Resources section for the most current information about this disorder.
For additional information and assistance about rare disorders, please contact the National Organization for Rare Disorders at P.O. Box 1968, Danbury, CT 06813-1968; phone (203) 744-0100; web site www.rarediseases.org or email firstname.lastname@example.com
Last Updated: 2/15/2008
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In the Chicago area, police, transit agencies and emergency agencies were stepping up security in the wake of the Boston Marathon bombings, but a Chicago Police spokesman said in a statement that the agencys is "not aware of any threats facing Chicago."
Police were making checks on buildings and sites considered possible high-priority targets. The city's Office of Emergency Management and Communications was broadcasting over police-band radios a reminder to officers to follow proper procedures when investigating suspicious packages and suspicious purposes, and keep in mind the possibility that if one explosive device is found, another—or secondary—device may also be present.
Metra acknowledged that it was stepping up security, and cautioned riders they might see "an increased police presence" at downtown stations and on trains, according to a statement posted on its website. Metra, the CTA and other agencies were urging riders to notify officials if they see anything suspicious.
Indiana State Police sent out a message noting that those unable to reach family members believed to be in Boston for the marathon or other reasons may contact Boston officials at 617-635-4500. Only those unable to contact family are asked to use the number.
A Chicago Police spokesman and the city's Office of Emergency Management and Communications issued statements regarding what the two agencies are doing.
The Police Department "and other first responders, like first responders in other major cities, are monitoring events closely and communicating with law enforcement officials as a precautionary measure," said Police spokesman Adam Collins, in an emailed statement. "At this time, we are not aware of any threats facing Chicago."
"We are closely monitoring events as they unfold in Boston and the City of Chicago's public safety departments are actively communicating with our law enforcement partners both locally and throughout the country," Melissa Stratton, spokeswoman for the OEMC, said in her statement. "At this time, we are not aware of any additional threats."
-Chicago Tribune reporting


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Stuttgart boys pick up 6-0 win over Helena-West Helena school
Despite heavy rains earlier in the day the Stuttgart Ricebird boys soccer team played its game against KIPP Academy from Helena-West Helena. The game was all Stuttgart as the Ricebirds earned the 6-0 victory.
Following several saves by the KIPP goalie, Stuttgart was able to score its first goal in the seventh minute when Keith Humbert kicked it in from close range.
It was only 18 seconds later when Courtney Carroll took a shot and put Stuttgart up 2-0.
The run continued and 41 seconds later Humbert scored his second goal of the game and put Stuttgart up 3-0.
The game continued and KIPP was able to cross midfield only once during the span before Gunner Stone made his goal in the 31st minute. This put Stuttgart up 4-0 at the end of the first half.
It didn't take the Ricebirds long to add to their total as Morgan Ragland scored in the 41st minute to add to the Stuttgart lead. Less than one minute later, Ragland made a long kick for another goal and Stuttgart now led 6-0.
This 6-0 lead called for the time to be cut in half. With the time reduced to 17:30, head coach Matt Eular gave most everyone a chance to play. KIPP had one shot on goal during the remaining minutes, but the shot was wide.
The Ricebird teams will be back in action on Thursday as they travel to Little Rock to take on the Central Tigers. Game time is at 5:30 p.m. and will feature both the girls and boys teams.


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Military, Products
By By Douglas Nelms | May 1, 2012
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EADS North America and Eurocopter handed over the 200th UH-72A light utility helicopter (LUH) to the U.S. Army on March 1, marking it as the first purpose-built model built for the Army National Guard's Security and Support (S&S) battalions.
The UH-72A Lakota is the replacement aircraft for both the venerable UH-1 "Huey" and aging OH-58, and has been going to both active and guard units since first delivery in 2006. The current program calls for a total of 345 Lakotas to be delivered to the Army through 2015, of which 99 will be the S&S battalion variant. An additional five Lakotas have already been delivered to the U.S. Navy's NAVAIR test facility at NAS Patuxent River.
All of the 99 S&S aircraft are designated for Army National Guard units. This includes 83 purpose-built aircraft plus 16 retrofitted from earlier UH-72As. The last of the 16 is now being retrofitted at the American Eurocopter production facility in Columbus, Miss.
The keys and logbook for the first production model was presented to Brig. Gen. Daniel Nelan, operational support assistant to the director, Army National Guard. The aircraft has been assigned to A Company, 3/140th S&S battalion of the California National Guard, based in Stockton, Calif., commanded by Capt. John Allen and Lt. Col. William Breeze, battalion commander.
The S&S version of the AH-72A is the most technologically advanced version of the Lakota produced to date, with the major difference between it and the standard UH-72A being the mission equipment package (MEP). The S&S version will be used primarily for emergency response to natural or man-made crises, such as hurricanes or terrorist attacks. The 16 retrofitted S&S UH-72As will be going to guard units in eight southern/southwestern states, plus one aircraft to San Juan, Puerto Rico. A total of 38 National Guard sites will ultimately been equipped with the S&S-configured UH-72s.
The MEP was developed to Homeland Security standards, according to Guy Hicks, EADS senior vice president, Government Relations. A key element in the MEP will be the capability to communicate with civilian agencies such as law enforcement and EMS operators in emergency situations. As a direct result of "lessons learned" from Hurricane Katrina in 2005, both the Active Army and National Guard have started equipping emergency response helicopters with radios that will allow cross-band communication with those agencies. The S&S battalion UH-72As will be equipped with two Wulfsberg RT-5000 AM/FM multi-band radios with bands that can operate from 29.7 to 960 MHz. The aircraft are also equipped with Skyquest VRDV-4010 digital video recorders, a Sierra Nevada Tactilink-Eagle data communication system capable of providing real time video downlinks to ground stations, a Luminator LS16 searchlight producing 30 million candlepower and slaved to the electro-optical/infrared (EO/IR) L-3 Wescam MX15i FLIR system, and a GPS moving map capable of directing the helicopter to a specific street address. The L-3 Wescam EO/IR system has a range of up to five miles.
To control the MEP, the cockpit has two 10.4-inch auxiliary screens using soft-touch screen displays similar to those on personal handheld devices such as iPads and iPhones. The screens are also from Skyquest and display the moving maps and EO/IR imagery. The Wescam FLIR system has a laser pointer with auto tracking/geo-pointing capabilities. The aircraft also has an observer position in the aft cabin. The observer console contains a 15-inch touchscreen display with a mounted keyboard plus an EO/IR and searchlight controller. A Goodrich hoist is available as an option.
The S&S battalion UH-72As are produced side-by-side with the standard models in the Columbus facility. Approximately five aircraft are rolled out the door each month, although production could easily go up to around 60 per year, according to Sean O'Keefe, EADS North America chairman and CEO. The UH-72A, a militarized version of the EC145, is one of five aircraft involved in the Army's upcoming Armed Aerial Scout (AAS) competition. If it wins the competition, production could go up to 90 aircraft per year through adjustment of resources in the current facility, he said.
EADS is also looking elsewhere for customers. O'Keefe said that EADS is currently in discussions with militaries and paramilitaries in southeast Asia and the Middle East regarding purchase of the UH-72A.
Maj. Gen. Tim Crosby, the Army's Program Executive Officer for Aviation, told reporters at the handover ceremony that a major consideration in the AAS program will be the cost of the aircraft, and that the more aircraft produced, the lower the cost. The Army is therefore a willing advisor to foreign militaries regarding the attributes of the aircraft. The Army is planning a series of technical demonstration flights by competitors in the AAS program, initially planned to begin in April. Those demonstrations are now awaiting authorization from the Secretary of Defense, he said.
Crosby also lauded the workers at the EADS North America facility, noting that the UH-72A program consistently stayed on-time and on-budget.
O'Keefe noted that the UH-72A program was the only program of its size to remain 100 percent on-time and budget, despite the speed at which it was inaugurated. The new LUH program was initiated in early 2004, with contracts to the five competitors released in July 2005. EADS and the UH-72A were announced as the winners on June 30, 2006 and the first aircraft was delivered that December under an initial production contract, despite protests by the losing bidders. Full production rate was approved in August 2007. EADS delivered the 100th Lakota in March 2010 and the 200th two years later.


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Founded in 1908 in Ohio, vacuum manufacturer Hoover arrived in France in 1932. This ghost sign painted on a wall managed by advertising agency Bézicot (see here) dates from the mid-1960s though.
The Hoover signs covers one for Au Grand Quartier, a clothes shop founded in 1929 by Marcel Castelle. Well known by several generations of people from Bordeaux and the surrounding area, who bought all sorts of good quality garments in this shop located Rue Ste-Catherine, Au Grand Quartier (later shortened to Grand Quartier) closed down in 2012.
Hommes - Dames - Enfants
Prêts à porter et sur mesure
Au Grand
22 à 30 Rue Ste Catherine Bordeaux
[Gentlemen - Ladie - Children
Ready-to-wear and made to measure
Au Grand
22 to 30 St Catherine's St Bordeaux]
Location: Rue du 4 Septembre, Bourg-sur-Gironde, Gironde


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Views: 1070
Elderly people are a nuisance. It's best to hand them over to the welfare state for processing and forget about them. This may seem a callous way to treat relatives who will not be seen again but I don't care.
it is just not right to just leave the people that raised ypu behind.Why not? If they truly are a nuisance I treat them with the same disrespect as I treat non-elderly nuisances. However, most elderly people I gathered around me are no nuisance, but wise, experienced people with allot to teach me. So I do not fully agree with Napoleon... although I suspect he is trolling somewhat. ;)
-AF- ATHEIST FUNERALS - AF ...saving you time, money and inconvenience !
'My sister wanted a godless funeral. But still invited God'
Your assertion that things cannot cease to exist is in direct contrast to reason and logic. It is the pattern of atoms that give something its existence and therefore its identity. There is nothing special about the molecules that make you up, it is the way in which they come together that is important and when they stop creating that pattern that is you, you will no longer be. To say that some part of reality always exists is to say that nothing does. It is to attempt to negate the validity of identity and definition. We call a tree a tree and wood wood for a reason. While the wood was once part of the tree, it is not the tree. And when it is burned to ashes, it will no longer be wood. A piece of wax without a wick, is not a candle. And if you burn a candle down completely, there will be no wick and therefore no candle, only melted wax. It makes no sense to look at the wax on the table where there once was a candle and assert that it is still a candle. The myriad of particles that made the candle what it once was still exist of course, but in a different pattern (one not forming a candle). The pattern that gave the candle its identity and therefore existence is no longer. Something is not the same as its pieces; it's its pieces in a certain order. You are incorrectly equating a thing's particles and that thing. The thing is all the particles in a particular pattern. Just because the particle will continue to exist, does not mean that the pattern they held will.
If you assert that things can be after they are destroyed, then you might as well say that life after death (which is the end of life) is possible. This is what it looks like you mean, but then if so, cannot anything mean anything then? I wonder what sort of 'reason' drove you to become an atheist? Was it that you just don't like monotheism? Because it certainly doesn't appear that you adhere to the laws of causality and noncontradiction. If rather that describing existence and identity for what it is concretely, you seem to use metaphor as an sufficient tool for definition. Just because you can liken life to a computer file (both of which can be destroyed, by the way), does not mean that they are the same.
I was lucky in that few people died during my childhood. The tragedy of that familial longevity is that people are inevitably dropping off like flies now and there is so much pain to deal with over a rather short period of time. So, it's safe to say that death is a topic I have given much thought to.
Although many opportunities were woefully neglected, certainly I am happy for the extra years I have been able to spend with these people. I am also happy that I have been able to completely abandon all belief in heaven, hell, valhala, the North Pole, etc. prior to most of their deaths. When I was a child, Heaven and Hell were considered very real places. The fear of Hell, I think, was more a reason why I continued believing than excitement over Heaven--which sounded horribly boring. A family friend died when I still believed and it tore me apart thinking that he was probably in Hell. My mom had a dream that he had repented moments before he died and that was how she dealt with it. Even then I knew that that was just a sort of cognitive dissidence which thankfully I don't need anymore.
My Dad died nearly a year ago. It was tragic, there's literally not a single day where I don't think about him, but I know for a fact that he is not in hell or anywhere else for that matter. I wish he were alive, but I don't have to worry about him being tortured for the entire rest of eternity. Such things are nonsense and I wish my believing mother could have that comfort. Rather than waste time and stress about what could be happening to him (and all rationality says is not), I can instead concern myself with memories, and trying to make the best of life in his absence.
He will be gone forever, and there are a million things I wish could be different, but my greatest sadness is that my newphew will grow up without his grandpa. The only thing I can do is to let his memory live on through me.
I tend to disagree with your assessment of 'fear'. As far as I can tell, religion itself created the fear of death. When cultural anthropologists study tribal humans who are without religion, these kinds of fears simply do not exist, concepts of imaginary beings do not exist either.
Fear is a tool used that powerful people use to subdue masses, so fears are created, even when/where there should be none.
Death, we die, so what?
Death needs to be de-tabooed, de-sacrified, de-mysteried. (sorry for invented words :)
Celebrate life, and when someone leaves it, celebrate who they WERE in life. Make it your duty to carry their memory with you and keep their gifts in the world.... or something like that.
I couldnt agree more. In teaching my kids about death I found it went right along with teaching them where the atoms come from that combined to make them. They understand that my wish to be creamated stems from my desire to get those atoms back into circulation when my life is over.
I think my kids and I both take great comfort in this knowledge. And the fact that they can keep some of my atoms close to them for the rest of their life also seems to give comfort to loss they will have to one day except.
They are not free from all fear... if a large predator prances into camp at night, moms fear for their child's safety, as does any animal. It's the general assessment of fear without a concrete causal agent. I look at your definition and I see that your version of religion is the result of a populist push, which I totally disagree with. Religion does not originate, as far as I can tell, from "the masses". I see it only as a tool, that wiser people (surprisingly?) discovered. A tool for mass manipulation and control, which utilises a weakness of the human brain, mimicry. These wiser people discovered they could hold POWER over others by creating fear 'systems', fear concepts, where no direct causal agent is present. In the end, it does take a wise person to exercise such control over others.
I don't think there is much in our society that is 'populist' in origin, most grand ideas, inventions, philosophies, etc all have very punctual and 'personal' origins, I see religion no differently.
I, as you, as a youth, occasionally rationalised religion through the awesomness of 'nature' as you mention... but I've come to realise that it does not fit the general pattern of human inventiveness.
To me fear should be non-existent outside of immediate risk to life. All other forms of fear are social disfunctions due to human overpopulation and the stress of constant close proximity.
I prefer to envision human society as an ape society, rather than an ant/termite/bee society, as many overpopulation-denialists would like to compare us to. We are not insects, we are apes. And the incredibly high densities we chose to live in are not conducive to healthy non fear. Our instincts and evolution do not take into account big city life and fast cars and nasty bosses, so our biology does what it can to cope... and fear/anxiety is a common result.
I am presently reading (ever so slowly) a book called RISK, which is along those lines as well.
As you say, fear is an extremely interesting topic :)
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Kapil Jain
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Senior Lecturer
Center for Customer Insight and Marketing Solutions
Dr. Kapil Jain is the Assistant Chair and a Senior Lecturer in the Department of Marketing at the McCombs School of Business. He teaches graduate courses in Marketing Management, and New Product Design and Marketing and an undergraduate course in E-tailing and Multi-channel Retailing. He also teaches in the Executive MBA program and has developed custom new product development and marketing courses for Motorola, Texas Instruments, Beijing Electric, LG Electronics, and Essilor.
Dr. Jain's research and teaching interests are focused on the areas of marketing research, new product design, and consumer information processing. His research has been presented at various national and international forums including conferences of the European Marketing Academy, the Association of Consumer Research, and The Institute of Marketing Science.
As the founder of Marketing Intelligence, LLC, a Tucson-based firm engaged in marketing research and strategy consulting, Dr. Jain has consulted for numerous organizations including Long Realty, Arizona Department of Transportation, University of Arizona, City of Tucson, and the City of Phoenix.
Kapil has degrees in Mechanical Engineering and Marketing from India, along with an M.Phil. and Ph.D. in Marketing from Columbia University. He has previously taught at the Eller College of Business at the University of Arizona, the Thunderbird Graduate School of International Management, the University of Rhode Island, and the University of Florida.
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Sabrina's Haunter is a Pokémon that Ash Ketchum gave to her after their battle. He originally obtained it at the Pokemon Tower, where it agreed to help Ash defeat her. When battling, Haunter wouldn't attack, and instead played pranks on Sabrina, greatly annoying her. Then Haunter blew up a bomb and she and her younger self were covered in ashes. When it licked her, she stood there, shocked. Sabrina then started laughing and Ash gave his Haunter to her. Sabrina's little doll disappeared and she released all imprisoned by her. After this, Sabrina learned to like life and how to live happier.
Moves: Lick


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Tuesday, March 27, 2007
Shed Skin 0.0.20 and 0.0.21
Release Name: 0.0.20
-improvements to aug-assignments with subscripting ('a[x, y] += 1' and such)
-fixed some problems with slice-assignments ('a[1:-1] = [1,2])
-make integer division (/,//,divmod,floordiv) equal to CPython for negative/positive combinations of arguments
-make printing of floats closer to CPython
-move generic functions/methods to header file
-many small fixes (allow 'self' as function argument, list.extend takes iterable, __delitem__ overloading, raw_input(), 'return' from generator..)
-improved error checking for dynamic types
-optimize expr**2 and expr**3 using __power2 and __power3 functions
the next release is more interesting. first, a problem exhibited in a little program bearophile sent me (I wish there were two bearophiles :-)) gave me the insight that two things I was doing during type inference were more or less the same; this allowed me to generalize things and cut away about 100 lines. second, I added support for 'bisect', 'collections.deque' and improved 'copy' support. finally, there were some important dict optimizations (dict[..] += .. and dict.__getitem__ now only index once):
Release Name: 0.0.21
-important type inference fix/cleanup
-support for 'bisect', 'collections.deque' and 'string.maketrans'
-improved 'copy' support
-support for 'try, else' construction
-some optimizations ('dict[..] += ..', "''.join(sorted(str))")
-several minor bug fixes
5 comments:
- Alexandru Toth said...
Shed Skin can convert "pure, but implicitly statically typed Python programs into optimized C++"
But.. that's the power !!!
Have you considerred a Python-to-Scheme converter, or Lisp ? Lisp & friends have compilers, are _THE_ functional languages (iterators, generators, lambda functions) .
There would be 2 reasons to use the converter:
-compile Python
-Python is easier to read (at least for me..)
Cheers, Alex
- Kenan Lee said...
I am using Python and C++ for developing voice platform in Linux.
Could you please give me some resource?
Welcome to my blog to have a talk :-)
KenanLee's BLOG
All about C C++ Python XML
- sandys said...
Hi there.. i recently stumbled upon your code and was taking a look at it.
Have you ever taken a look at Mercurial version control. I think you will like it as well (cos I saw ur initial posts on struggling with setting up CVS).
You can host it on sourceforge as well (http://www.selenic.com/mercurial/wiki/index.cgi/MercurialOnSourceforge).
And I daresay, it will help others pick up from where you left off.
See if u need any help in converting the repo (I have my local copy already!)
- sandys said...
Oh forgot to mention that mercurial is written in Python!
Other wow gold changes are wow goldalmost as easy. buy wow goldA designer buy wow goldfeels like cheap wow gold nobody will cheap wow gold really object to wow power levelinga change and wow power levelingthat it's pretty power levelinglow risk. At power leveling e as a santiy check.


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All In The Family... Christian and Lutheran Life...
Dear friends,
It is a couple days early, but I wish you a joyous celebration of Easter.
For Christians whose churches follow the traditional church year, the journey to Easter morning has already begun. Tonight we celebrated Maundy Thursday which is dedicated to remembering the Last Supper that Jesus and his disciples shared.
Tomorrow is Good Friday, a somber day of remembering Jesus's crucifixion and death. Our church will have a tenebrae service, and at the end, the church will be darkened and everyone will leave in silence.
Sunday is Easter, the celebration of Jesus's resurrection! That event is the most important fact of the entire Bible and its celebration is the happiest event of the church year. This "Good News" (the literal meaning of "gospel") is the very essence of Christian faith: Alleluia, Christ is risen! He is risen indeed!
For us, it will be a joyous Easter in several ways. We'll actually be celebrating with members of our extended family this year -- Dennis's sister and brother-in-law. Our families are so scattered, that we don't get to spend many holidays together. Bonnie and Ed live in Virginia, and I don't think I've seen Ed for about 20 years so this is a particularly unusual event!
I've been busy all week and the next few days are going to be rather hectic! I've been doing some fairly serious cleaning, planning food, etc. in preparation. I probably won't be spending much (if any) time on the computer for the duration, but I'll be back when life reverts to normal.
Despite all this, I hope to find some quiet moments during the next few days to really think about Jesus Christ. I hope the same for you.
To you and yours, my best wishes for a happy Easter!


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- United States Grand Prix
Button pleased with clean racing
- Race:
- United States Grand Prix
- Drivers:
- Jenson Button
- Teams:
- McLaren
Jenson Button said it was good to see clean racing during today's United States Grand Prix as he fought his way up from 12th on the grid to fifth place.
A throttle sensor problem cost Button a chance of getting in to Q3 and left him starting back in the pack on the dirty side of the grid. Having decided to start on hard tyres a poor start was accentuated by a lack of grip early on and Button was forced to fight his way through the field but he praised the driving standards of Kimi Raikkonen in particular having completed a number of clean moves.
"There was a lot of action in that race, a lot of overtaking and most of it was very clean, which is good to see," Button said. "Kimi gave me room on the outside; I was a little bit surprised to find but he's fair and it's good to see. A lot of fun out there.
"Starting on the dirty side and the first lap was terrible. I think I must have been 18th at the end of the first lap. I had some good fights on the way through, I really enjoyed it. It's obviously not the end result I would like but yesterday was a tough day. Congratulations to the whole team, the car was working very well round here, Lewis did a great job and I just wish we could have been a bit further up."
Button also believes that Formula One has done all it can to entertain the American audience on its return to the United States.
"We knew we had to put a good show on; I think we did that. There was a lot of crazy action out there, which was fun. A very, very enjoyable race, lots of fighting. I hope we put on a good enough show for the American public and they seemed to be loving it; there isn't a seat empty in the grandstands and the banks are full. It's good to see the Americans have really embraced F1 and hopefully we did a good enough job for them today."


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At the jewelry warehouse, Quinn stops Wyatt from leaving. Wyatt tells Quinn she had no right to keep this from him. She says Bill wanted her to have an abortion - is that the kind of man he wants as a father? Wyatt doesn't know; he wasn't given the chance to decide. Quinn argues about Bill wanting Wyatt in his life. Quinn says he's her son; he has no right to know him. Wyatt hollers about his rights. He tells Bill he'll go with him. Quinn begs him not to, but Wyatt leaves with Bill, who tells Liam to meet them at the house. Quinn sobs.
An Impossible Situation.
Katie confronts Donna about her loyalty, Wyatt is torn between Quinn and Bill, and Hope and Brooke discuss Wyatt and Bill.
At the restaurant, Hope and Brooke marvel over Wyatt being Bill's son. Hope explains how they set up Bill and Quinn's run-in. Brooke understands Quinn's hostility. "I don't blame her." Brooke thinks Hope should have gone to Quinn privately. Hope says she was closed off. Brooke wonders how Bill is doing. They discuss Katie. Brooke says things are worse; she shouldn't have confronted her. Hope muses that impulse control isn't her strong suit. Talk turns to Hope's wedding. Hope wants something different.
Donna arrives in Katie's office as she's wrapping up a meeting. Katie tells Donna she betrayed her too; obviously her loyalty was ultimately with Brooke. Donna insists she was worried about Katie, but apologizes for not coming to her. Katie acknowledges that Donna was in an impossible situation. "I don't know how Bill and Brooke could do this to me." She says no matter what she did, they should have seen each other as off limits. Donna says they believed the marriage was over. Katie says it still shouldn't have happened. Donna asks about Will. Katie says Bill hasn't arranged a visit. Donna gets a call from Brooke, who wants to tell Katie something. Donna puts her on speaker. Brooke explains that Bill has another son and is with him now.
Wyatt is impressed with the house in Malibu. Bill says he's bunking there - it's Liam's place. Wyatt's still in shock. Bill thinks they shouldn't be too judgmental of Quinn. He says he handled things wrong when he was a kid, but now family means everything to him. Bill says to call him Dad. Liam enters as they embrace.
Spoilers for Tomorrow on The Bold and the Beautiful:
Liam and Wyatt compare notes.
Katie's not prepared to let Brooke off the hook.
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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# G200002
4 Reviews
OPGI Price: $2.69
Part Type: (R) = Authentic reproduction of the original GM product
Years: 1959-1970
Sold As: EACH
OE rubber grommets absorb vibration and increase the life of your convertible top pump and motor. Sold per each or in a kit of three.


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Of course, we all know the answer to that one, don't we...
We know that plants don't have a nervous system, but they do respond to light. Light causes chemical changes in many plants causing them to react: opening/closing petals or just following the sun. I also note that if you "wound" many types of trees and shrubs and then bind the wound in moist compost, the plant responds by producing roots.
I'm sure others can find many more examples.
There's a point to all this (Dawkins may already have raised it, I don't know) - the eye is nowhere near as unique as creationists would have people believe.
(There are many types of eye that have evolved over the years in the animal and insect kingdoms but this isn't the point here).
Although our eyes are the product of millions of years of evolution, the actual process that works them (chemical changes in cells due to the interaction with light) has not altered that much. My understanding is that persistence of vision (the wonderful effect that allows us to enjoy movies) is largely due to the "slow" reactions of the chemistry involved.
Now, if we know that vision is the result of a chemical reaction and that a plant also responds to a light using a photo-reactive chemical change, it's not a huge jump to note the fundamental connection and another demonstration that evolution created us.
Views: 841
Tempted to say something about corn and ears ... but I won't!
I've got some fish fingers...
(I'll get me coat.)
OK, then I won't say anything about artichoke hearts.
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