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Hans Rosling (4)
- What makes a data visualization successful? - Sep 25, 2017.
Data visualisation gives very important insights about the data. But it is subjective to the goal of analysis & area of application. Let's see how.
- The 4 Types of Data Analytics - Jul 13, 2017.
We focus on the four types of data analytics we encounter in data science: Descriptive, Diagnostic, Predictive and Prescriptive.
- Top KDnuggets tweets, Feb 15-21: curated list of top #DeepLearning papers; Hill for the #DataScientist: An xkcd Story - Feb 22, 2017.
Sir Austin Bradford Hill for the #DataScientist: An xkcd Story; Attacking #machinelearning with adversarial examples; Hans Rosling: An Appreciation - Great Data Scientist, Great Human #RIP; The Most Popular Language For #MachineLearning and #DataScience Is ...
- Top 10 TED Talks for the Data Scientists - Feb 9, 2016.
TEDTalks have been a great platform for sharing ideas and inspirations. Here, we have sifted ten interesting talks for the data scientist from statistics, social media and economics domains.


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This product is out-of-stock. You may send us an inquiry about it.
This product is currently unavailable. You may send us an inquiry about it.
Solders Against Death and the Devil by Horst Slesina
Translated from the original Third Reich book about the first months of Operation Barbarossa. Captures the crusader spirit of the German soldiers. Lots of combat action.
Paperback, 178 pp

subset: commoncrawl


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Developmental Math Program
This program supports the Student Support Team recommendations and seeks to implement the comprehensive mathematics curriculum. Through teacher consultation, analysis of statewide testing, and provision of strategies, improvement in instruction and student understanding of mathematical concepts across the grades are the goals. Students are offered individual, small group and whole class instruction by either Mrs. McKee (K-4) or Ms. Pierce-Fortin (5-8).
Developmental Reading Program
This program focuses on improving the instruction of reading and language arts in all classes and providing reading support services to children. The components of reading include the acquisition of phonological awareness (words, rhyming), phonics (letter-sound relationships), fluency (reading smoothly), vocabulary (bank of words available), and comprehension (constructing meaning). Services provided by Mrs. Bartholic (K-4) and Mrs. Archambault (5-8) include: Student Support Team, student assessment, individual and small group instruction.


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openSUSE 11.3 with Seamonkey 2.0.14.
When I move the mouse pointer within a list of threads small pop-up windows with a blue background appear, showing a preview of the beginning of the text within the respective post.
Whenever I scroll the page with the mouse wheel when any blue pop-up is on the pop-up disappears, but the former contents below it are not restored, leaving just a grey footprint of the pop-up.
FF does not show this problem nor does Opera.


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Do you know what stakeholder mapping is?
Do you have a stakeholder map for your membership organisation?
Do you think one would be useful?
I ask as an associate rang me last week to ask for my advice as she was asked to analyse audiences and she remembered me waxing lyrical about how useful, but under-utilised, stakeholder mapping is for membership organisations.
This is a summary of the guidance I gave her …
Stakeholder Mapping
My definition: "A visualisation and analysis of who an organisation needs to persuade to 'do' something. This can be direct persuasion or via others who influence those you need to persuade."
Stakeholder mapping can be as complicated or as simple as you like – search Google Images for Stakeholder Map and you will see exactly what I mean. My preference is to veer towards simple so that you have the greatest chance of everyone who needs to understand the stakeholder map … being able to!
Membership organisations need to communicate with a wider group than just people with the label of 'member' to satisfy their raison d'etre / justify subscriptions.
- do you know who these people / groups are?
- do you know why you need to communicate with them?
- how frequently?
- how much of a 'stake' do they have in your organisation?
A stakeholder map will answer all of these questions … and more … and make your communication more effective.
The 4 steps to stakeholder mapping (I.S.E.E)
The aim of stakeholder mapping is to identify the different groups of stakeholders for your organisation to determine who you need to communicate with, how frequently, and with what messaging in order to persuade them to do what it is you want them to do. What you want them to do could be: join your organisation, attend an event, sign up to training, do CPD; upgrade their membership; understand an initiative; make a pledge, etc.
The theory stands regardless of what you want to achieve. It is how you apply the information you gather and analyse which comes into play for the 'persuading' part.
I. Identify top-level stakeholders, e.g. members, staff, civil servants, politicians, associated organisations
II. Segment the top-level to make the information more meaningful, e.g. levels of membership, engaged/non-engaged members, permanent / contract staff, senior / junior roles, specific internal departments, MPs / local councillors, specific constituencies/ wards, other membership organisations, charities, NGOs, community groups, specific interest groups.
III. Establish their levels of interest and influence. I find it useful to slot them into this grid.
IV. Engage – prioritise the stakeholders to determine their level of engagement. Add the following four labels to your grid (download your own template of a Stakeholder Map – opens a Word document): Keep satisfied, Keep engaged, Keep informed, and Keep interested.
To determine how you should best engage each stakeholder group, apply the thinking below to the groups in each quadrant:
- High Influence / Low Interest – communicate and engage enough so they are satisfied their voices are being heard on key issues. Avoid low value contact so they do not lose interest in the project (KEEP SATISFIED)
- High Influence / High Interest – these need to be fully engaged and lots of effort made to satisfy their concerns and requirements for information. These will be valuable advocates. (KEEP ENGAGED)
- Low Influence / Low Interest – monitor these stakeholders closely and keep them informed, with minimal effort. Do not overload with excessive communications or needless information (KEEP INFORMED)
- Low Influence / High Interest – keep these stakeholders regularly informed to maintain their interest. Monitor any issues or concerns that may arise and respond (KEEP INTERESTED)
Have you produced the best Stakeholder Map?
The perfect stakeholder map does not exist and whatever you produce as part of this exercise will change … over time.
You need to appreciate the adage "Rubbish In. Rubbish Out" as the quality of the stakeholder map you produce is directly in proportion to the people you speak with to create it.
Your stakeholders will change over time, and will vary from project-to-project / campaign-to-campaign. Don't create a stakeholder map and religiously stick to it … as you will come unstuck.
5 top tips when stakeholder mapping
- Be clear on the end goal? What do you need to achieve? Keep this in mind when identifying who needs to be 'persuaded'.
- Pull together a brainstorm team of people within your organisation from every aspect of the project / product / service / campaign under consideration. Get the team to identify who they think has a 'stake'. At this stage, no idea / suggestion is a bad one.
- Once you have what you believe is a definitive list of stakeholder groups, get someone outside this team to sense-check the identified groups.
- Establishing which stakeholder groups are high interest, high influence, low interest, low influence takes some serious thought. Put yourself in their shoes and consider what you would think if you received information on the product / service / campaign. Excited? Motivated? Bored? Uninterested? Would you tell others about the 'thing'? Would they then be motivated? Bored? Uninterested?
- Consider what could be the tactics you use to reach the four parts of your stakeholder map to determine if the individuals groups are in the right box / classification.
- Keep Satisfied – include in existing meetings, presentations
- Keep Engaged – personal briefings, workshops
- Keep Informed – minimal effort, i.e. no specific communication, incidental via third parties
- Keep Interested – newsletters, posters, flyers
What next?
Once you have finalised stakeholder mapping you need to do something with it – this sounds obvious but once you have created it, don't just shut the map in a draw and forget it … make sure you use and revisit it along your strategic journey. The map is the basis for your PR / Communications / Marketing strategy and gives you a concrete base on which to establish:
- who needs to be reached
- how frequently
- the level of messaging
- how to reach them
I guarantee (a strong word to use, but this approach works for me) that your strategy will be easier to write, more engaging, and … dare I say it … more effective, because of the legwork you put in to the stakeholder map up-front. It's a win-win … you 'win' as you have more knowledge of who you need to reach so your communication is not wasted. The people you need to reach 'win' as you are more aware of the type of information they need and how you need to communicate with them.
Creating the map makes you examine your stakeholders to understand their motivations, concerns, interest and level of influence … all the factors you need for your PR / communications strategy to be successful.


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What I'm reading, Spring 2013 edition
Well, Spring has officially arrived here in the United States. Although from what I hear, that's not always apparent in some areas of the country. I love the feeling of new beginnings that comes with the arrival of this season, and I hope you do, too. Reading is something I make time for every day…Read More
File (again) under F for Filing
I've shared in the past how I jump-start my creativity with quotes and articles from others. Whenever I need to prepare a new book, lesson, article, or sermon, the first thing I do is pull all of my files on the topic. I've spoken and written about this a lot. But I always get a…Read More


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Baijiu Bar & Distillery
梦之蓝 Meng zhi lan Baijiu pays visit to Capital Spirits Baijiu Bar
by capadmin on 29 Aug, 2014 - 0 comments
梦之蓝 Meng zhi lan Baijiu pays visit to Capital Spirits Baijiu Bar Thanks for the visit! 五粮液 wuliangye also came by this week. All major producers checking us out!! by
Capital Spirits is open again!!
Address in Chinese
Address in English
Block E No.7,First Floor,Longfu Building,No.95 Longfusi Street,Dongcheng District,Beijing
Directions from Subway to bar in Chinese
Directions from Subway to bar in English
Exit Subway line 5 Dongsi station Exit E.
subway line 6 China art museum station Exit B
Taxi instructions in Chinese
For additional help finding the bar please call Tina at 13811089547


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We took a look at the costs associated with the newly proposed 10 Avenue Green Line option through Victoria Park and discovered that it may actually cost significantly more than an underground station on 12 Avenue SE. Given that the universal preference of local stakeholders is a 12 Avenue SE underground alignment, we believe the City should put this option on the table for consideration so it can be properly evaluated.
Map Showing Preferred 12 Avenue Option (light green) and City's Proposed 10 Avenue Option (dark green) in Victoria Park - Click to enlarge
New 10 Avenue Alignment and Station Proposal for Victoria Park
On April 19, 2017 City Administration introduced a new 10 Avenue alignment option for Victoria Park between Macleod Trail SE and the Elbow River. To avoid impacting Stampede access with a surface alignment on 12 Avenue, the new option proposes diverting the train north from 12 Avenue SE to 10 Avenue SE underground, surfacing on lands between 10 Avenue and the CPR tracks and crossing a new LRT bridge over 4 Street SE to a station near 6 Street SE.
City's New Proposed 10 Avenue Alignment Option for Victoria Park - Click to enlarge
Previously, the City had eliminated a 10 Avenue alignment based on a detailed evaluation comparing alignments on 10 and 12 Avenue through the Beltline. 10 Avenue options scored the lowest. A summary of the City's rankings is shown below.
City's Detailed Evaluation Results for Green Line Alignment Options for the Beltline
The Preferred Victoria Park Station: Underground on 12 Avenue Between 3rd Street and 4th Street SE
After extensive study and meetings with local stakeholders, the Beltline Neighbourhoods Association strongly believes the preferred station location in Victoria Park is underground on 12 Avenue between 3rd Street and 4th Street SE, directly in front of the BMO Centre. The map below details this option (light green) and the City's proposed 10 Avenue option (dark green).
The City is currently not investigating the option.
Map Showing Preferred 12 Avenue Option (light green) and City's Proposed 10 Avenue Option (dark green) in Victoria Park - Click to enlarge
The New Victoria Park 10 Avenue Station Location and Alignment Proposal is Worse By Every Measure
We decided to compare the newly proposed 10 Avenue station location and alignment against the preferred Victoria Park station location and alignment based on how well they would each function with the major destinations and infrastructure in the area.
Transferring Between Red and Green Lines in Victoria Park
With the Red and Green LRT Lines crossing in Victoria Park at the site of some of Calgary's biggest destinations including the Beltline, Stampede, the BMO Centre, Saddledome and a proposed new arena, it makes sense to consider the ease at which Calgarians will be able to transfer between the two lines to make travel around Calgary by Transit quicker and easier.
The Calgary Stampede, in partnership with Calgary Transit and CMLC, is planning to extend 17 Avenue into Stampede park, which will require the Victoria Park / Stampede Red Line station to be reconstructed and moved north closer to 12 Avenue.
If the rebuilt Victoria Park / Stampede station were to be located closer to 12 Avenue, the BMO Centre could become a bustling transfer point between the Red and the Green Lines with a less than 300m indoor connection through the BMO Centre for passengers to a new Green Line station underground on 12 Avenue directly in front of the BMO Centre (at the preferred location).
If the proposed Green Line station were placed between 10 Avenue and the CPR Line as proposed by the City, passengers would have to walk up to 1km outdoors and across busy streets to get between the two lines.
$500 Million BMO Centre Expansion
The Calgary Stampede is planning on a $500M expansion to the BMO Centre on Stampede Park that would double its size and include hotels and retail developments. This proposed expansion will make the facility into a tier-one convention centre alongside the biggest in North America, attracting a new international market for trade shows and conventions.
A new Green Line underground station on 12 Avenue in front of the BMO Centre (at the preferred location) would bring visitors from the Airport and from all over Calgary to the doorstep of the new tier-one BMO Convention Centre. Connections from the station to the BMO Centre could be entirely indoors.
If the Vic Park Green Line station were placed between 10 Avenue and the CPR Line as proposed by the City, visitors would have to walk up to half a kilometre or more outdoors year-round and across busy streets to get from the station to the BMO Convention Centre.
New Victoria Park Arena
After Mayor Nenshi declared the CalgaryNEXT proposal in the West Village "dead", a proposal for a new arena on Stampede grounds just north of the Saddledome on 12 Avenue called the Victoria Park Option (formerly "Plan B") is now being explored.
A new Green Line station underground on 12 Avenue in front of the BMO Centre (at the preferred location) would bring arena visitors from across the City to the doorstep of the new facility. Connections from the station to the arena could be entirely indoors.
If the Vic Park Green Line station were placed between 10 Avenue and the CPR Line as proposed by the City, visitors would have to walk up to half a kilometre outdoors year-round and across busy streets to get from the station to the new arena.
10 Avenue Victoria Park Option Would Cost More Than a 12 Avenue Underground Station
Additional Cost For An Underground Station: Approximately $80M
While the City has not released cost estimates for an underground station in Victoria Park, they did provide the cost difference between an underground and a surface station and alignment through the west portion of the Beltline on 12 Avenue. The difference was cited to be $80M ($470M surface vs. $550M underground). So we can likely also assume a roughly $80M cost difference between a 12 Avenue surface and underground alignment in Victoria Park.
Cost Difference of the Proposed 10 Avenue Station and Alignment
The City has not yet released cost information on this new station location and alignment option but we can estimate some of the additional costs based on the assessed value of the private lands the City would have to purchase to build this alignment.
Overlaying the City's proposed alignment map with the City's online property assessment tool we can see roughly which properties the City would have to purchase and their assessed value. The total comes to an additional $83M over the cost of building a surface alignment and station on 12 Avenue. That's more than an underground station on 12 Avenue!!!
Overlay of City's Proposed 10 Avenue Option on City Property Map - Click to enlarge
Cost of Expropriating Private Lands Required to Build Proposed Green Line Tunnel to 10 Avenue in Victoria Park
City Assessed Value
11/12 Ave SE Block
311 11 Ave SE, 317 11 Ave SE, 314 12 Ave SE
321 11 Ave SE
323 11 Ave SE
327 11 Ave SE
322 12 Ave SE
328 12 Ave SE
10/11 Ave SE Block
318 11 Ave, SE
(Heritage building located here)
334 11 Ave, SE
315 10 Ave SE
339 10 Ave SE
(Heritage building located here)
10 Ave SE / CPR Block
330 10 Ave SE
450 10 Ave SE
Total Cost
Lost Tax Revenue From 10 Avenue Option
The additional cost of the 10 Avenue option would actually be even higher than $83M if you also considered the amount of tax revenue the City would lose over the 30 year financing period of the Green Line due to lands becoming less developable, as has been the case above the Red Line tunnel through Victoria Park. While it's hard to estimate this figure, it could easily be millions of dollars per year based on other developments in the area, making the additional cost of this option closer to $100M+ over 30 years.
With the exception of the City-owned office building located above Westbrook Station and the new Central Library currently under construction, there are no examples of significant building developments constructed over LRT tunnels in Calgary. Even with a relaxation to Calgary Transit's policies around these kinds of developments, opportunities would be significantly limited without the ability to construct sufficient underground structures for parking and foundations.
Additional Bridge Required for 10 Avenue Option
The 10 Avenue option is the only option for Victoria Park that would incur the additional costs to build an LRT bridge over 4 Street SE (Olympic Way).
The 12 Avenue Underground Station in Victoria Park Merits Consideration by the City
We appreciate the City's hard work as they continue to try to find the best option for Victoria Park and all the local stakeholders while working within the budget constraints of the overall Green Line project. While the City may have anticipated the cost of an underground station in Victoria Park to be higher, it is now apparent that even the functionally deficient 10 Avenue option the City is proposing would actually cost more.
Therefore, in the interest of Calgary taxpayers getting value for their money towards the Green Line, as well as designing the right LRT for today and the next 100 years, we are asking the City to put a 12 Avenue underground station option in Victoria Park on the table for consideration so it can be properly evaluated.


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Others First is proud to donate to a number of charitable organizations across the United States. We have financially contributed to charities spanning from children's outreaches to cancer research, and from humane organizations to veterans' foundations.
The following is a partial list of charities in which we have had the pleasure of assisting financially.


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L.M. et al v. New York City Department of Education
Filing 5
INITIAL PRETRIAL SCHEDULING ORDER: Counsel for all parties are directed to submit a joint letter and a jointly proposed Case Management Plan and Scheduling Order by January 9, 2024, in accordance with Rule 16 of the Federal Rules of Civil Procedure and the instructions set forth below. (Signed by Judge Analisa Torres on 11/14/2023) (kv)
Disclaimer: Justia Dockets & Filings provides public litigation records from the federal appellate and district courts. These filings and docket sheets should not be considered findings of fact or liability, nor do they necessarily reflect the view of Justia.


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The Domestic Renewable Heat Incentive (RHI), pays quarterly payments for generating your own renewable energy. You have to comply with the rules and obligations of the scheme for the full seven-year term.
With more than 50,000 heating systems installed under the Domestic RHI since its launch in April 2014, this is a large amount of public funds. Our job is to make sure the money set aside for the Domestic RHI is only paid to those who are eligible. Under contract we undertake site audits on those already accredited on the scheme.
Audits can be chosen at random and are something you sign up to when you apply for the scheme.
The audit comprises a series of questions and reviews which can involve:
- Assessing the participant, in other words: checking you are who you claim to be.
- Checking your property by making sure, for example, the details provided on the Energy Performance Certificate are aligned with the property benefiting from the heating technology.
- Ensuring the renewable heating technology is correctly installed by a certified Microgeneration Certification Scheme installer to the manufacturers' specifications.
These checks provide the assurance that your accreditation meets all of the relevant eligibility criteria and that you can receive payment for the energy you generate.
We also check existing members are complying with their ongoing obligations which are in the Regulations, and signed for in an annual declaration.
Audit is an essential part of administering the scheme, not only in protecting public money but also protecting scheme participants and offering appropriate referrals if something is wrong.


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The 2020 SPEC MIX BRICKLAYER 500 will be Brian Wade's third appearance on the World Championship stage. The 44-year-old mason from Stanton, KY and his tender, Brian Mullins, had a great showing at the East Tennessee regional, laying 624 brick while also taking home the regional TOP CRAFTSMAN prize.
Wade got his start in the trade as a tender, but quickly learned to lay on the wall after a few short months. He has been on the wall ever since.
Getting ready for this year's World Championship will be no different than it's ever been for Wade and Mullins. Their goal of 750 could easily win them spot on the podium, a place they have been before, taking third overall in 2015.
Brian believes this event fosters brotherhood between masons, informs the public about new products, and encourages young people to consider masonry as a career.


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Few Things Can Surpass the Flavor of A Homemade Pickling Spice!
Pickling Spice is easy to make at home using spices found in most home kitchens. It's the key ingredient in making your pickles something to 'write home about!'
As the summer garden begins to wane, the cucumbers and string beans live on. A few weeks ago, the rain came down in torrents, ruining my whole crop of fall-bearing raspberries and my tomatoes. Some powdery mildew I had been fighting most certainly spread far and wide, and regrettably, the P-Patch suffered some losses.
A better gardener would have been watching the weather and would have gotten the crops in beforehand, but, since I had rotavirus at the time, I've excused myself. (Sigh).
The Lemon cukes and Blue Lake pole beans have lived to fight another day though, and are begging to be pickled. I've been geeking out on refrigerator pickles lately; that and homemade sauerkraut and home-brewed kombucha. Yum.
Since refrigerator pickles are super easy, (no canning skills required), and quick to make– they work well for me right now. At our house, fridge space is at a premium, and they are scrumptious enough to warrant their own happy little corner.
So, yes, I was quite pleased with my efforts– but severely non-plussed at the pickling spice options available to me. I shop at my local co-op, which I unabashedly love, but their bulk pickling spice offering is downright disgusting! I'm not sure what it is? The cinnamon? The orange peel? The mace? Yes, I'm serious, it's pickling spice, not mulling spice being sold here, and I couldn't bear to suffer another year of "off" flavored pickles. I realize that pickling spice can be used for other things, and maybe those "other" things are just right for this blend…
Thankfully, bulk spices are cheap and awesome, so I usurped a bunch of spices that tickled my fancy for my pickling spice. I LOVE it, and so does DH. Let me know what you think…
Here's My Recipe:
- 7-10 crumbled Bay Leaves
- 2 Tbs Brown Mustard Seed
- 2 Tbs whole Peppercorn, any color, (I used white)
- 1 Tbs whole Allspice Berries
- 1 Tbs whole Coriander Seed
- 15 whole Cloves
- 1 tsp whole Celery Seed
- 1 tsp whole Fennel Seed
- 1 tsp Chili Flakes
Note: I used fresh dill in my pickles, but dried dill would be a great addition as well. In fact, I think on my next go-round I will add 2 teaspoons of dried in addition to the fresh.
Once incorporated, this recipe makes about about 1/3 cup (?) of pickling spice. (Not really sure on that, I didn't check). Store in an airtight jar* as you would with your other spices.
(*See link above for super cute jar with cork top. I have this 'historically correct' one and it me makes me feel old-fashioned and fancy at the same time).
** If you don't have a co-op nearby and need a place to source these spices, Mountain Rose Herbs, my herb and spice go-to, has all of the bulk spices (and more) that you would need for this recipe. Though you usually have to buy more than just an ounce, the quality generally is better than store bought since many of these spices are organic. Also, they are almost certainly fresher. Coming from a gal who has worked in a large supermarket for the past decade, I promise, you can take my word for it…
New to Pickling? See How I Make Refrigerator Pickles. No Canning Skills Required!
Do you make your own pickling spice mix? Share your recipe with us in the comments below or on facebook.
Never want to miss a post? Subscribe through the form below. Subscription is a two-step process, so be sure to check your email to activate your subscription.
For those of you who already subscribe, thank you for your continued support. I'm honored.
Full Disclosure: This post contains affiliate links that provide a small commission to me when purchases are made through that link–-at no extra cost to you. I only affiliate with companies whose products I personally use and can whole-heartedly recommend. Thank you for supporting Sustain, Create and Flow.
Shared with: Frugal Days, Sustainable Ways, From the Farm, Tuned-In Tuesday, Terrific Tuesdays


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Lesson Plan
Take a peek into the electoral process with this lesson - from party primaries to the general election. Students will learn the distinctions between the popular vote and the Electoral College, and exercise their critical reasoning skills to analyze the differences between the presidential and congressional elections. Students will also contrast the various nomination processes and learn about the role of party conventions in American politics.
Got a 1:1 classroom? Download fillable PDF versions of this lesson's activities below!
Love this lesson? Explore all of our free election curriculum and teaching resources at our Election Headquarters.
But wait, there's more! Looking for a quick and fun way to check student understanding? Use our Kahoot! in English or in Spanish after students complete this lesson.


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- Description
- Shipping
- Return & Refund
Small multi-purpose tool set with adjustable knife, wrenches, jaw, screwdrivers and pliers
Small size with an individually package, you can take it easy in your pocket to anywhere you want
Blade material: 440 Stainless steel, Hardness: About 57 HRC, Net weight:148g
Fold length: 4.72", Spread length:6.81"
Suitable for emergency equipment and survival gear, for daily family use and outdoor enthusiasts
Package Contents:
1 x Multifunctional Wrench Knife Tool Kit
For NZ Orders:
Only $5.95 shipping for every order or FREE shipping for order over $99.
Handling time: Parcel will be sent out within 1 - 2 working days of receiving cleared payment.
Delivery time: depends where the item is shipped from as stated in the product page:
- For products dispatched from Auckland office is normally overnight in Auckland area, and an extra day to reach other areas in the North Island. It takes 2 - 3 working day to arrive in the South Island and longer to a rural address.
- For items shipped directly from supplier is usually around 10 - 12 working days at the moment to Lockdown. It will be delivered by Courierpost once landing in NZ.
Courier service used: Courierpost or occasionally PBT couriers.
For AU Orders:
Flat shipping rate $18.95 for every order up to 5Kg.
Handling time: 1 - 2 working days once payment is cleared.
Delivery Time: Except for those with longer shipping time specified in product page, delivery time is usually 10 - 12 working days to most metro address in Australia, and extra days to a rural address.
We offer 14-day no-question-asked refund policy for products in re-salable conditions (unopened with undamaged packaging. All accessories, parts and manuals etc. must be included and as their original conditions).
The following products are not returnable and refundable:
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For more details, please read our Return & Refund Policy
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The life of an actor can be a rewarding — and humbling — experience. In many cases, you must go where the work is in order to make ends meet. And you never know for sure whether or not any given character you play will strike the right chord with your audience.
For Ryan Robbins, however, this is not the case. Within just a few short years, Robbins has made a name for himself as a Vancouver-based character actor that you can rely on. In addition to his time as "Ladon Radim" on Atlantis, Robbins has also juggled recurring stints on both Battlestar Galactica and Stargate alumni Amanda Tapping's latest series, Sanctuary.
After a long wait, GateWorld caught up with Robbins this past April. In an interview that has long been overdue, Robbins discusses how he got into acting, his time on all three genre series, his preferences for the type of acting work he chooses, a charity he has just recently become involved with, and much more!
This interview runs 45 minutes, and is available in video and audio formats. It's also transcribed below!
GateWorld: For GateWorld.net, I am Chad Colvin. I'm joined by David Read and Darren Sumner and we're here today visiting with Mr. Ryan Robbins. Ryan, thank you for taking the time to talk with us today.
Ryan Robbins: My pleasure. [Ryan waves] [Laughter]
GW: In your favorite coffee shop.
RR: In my favorite coffee shop. I'm here all the time.
GW: Where is it? What is it?
RR:It's called Grain City. It's in North Vancouver on the corner of 2nd and Lonsdale. I come here all the time. I love it. It's yummy and people come in and out all the time. You'll hear coffee noises, "Shhh" sounds. But it's yummy. And I bet everybody right now is like, if you haven't had your coffee yet you're like, "Oh God, I really want a coffee right now."
GW: Do they have chai?
RR: M-hmm! Yeah, they have chai and they have really good tea here as well. Someone left the door open. Horrible! It's the only problem, the door is not on a spring here.
GW: Tell us a little bit more about how you got started in the business. Was acting the first thing that you wanted to do?
RR: Yeah, you know it's an interesting question. I kind of like this story. I'll make it as quick as I can. When I was 12, we were going to check out the junior high we were going to go to the next year. These kids had done this sketch, this sort of play, and this one kid in particular just blew my mind, I thought he was so good. "Man! I want to do that."
I had all these hopes and dreams and all these things that I wanted to be when I grow up; Firefighter, stuntman or whatever. And I quickly realized that for an actor, I can do all those things. I could be any number of those things. So, that's when I really started focusing on it.
I went to a high school that had a really progressive arts program, and I had a teacher there named Drew Kimp. I would turn every scene into a joke like you do when you're a teenager. It was just really [an] intense acting program that we were meant to take seriously and I just didn't. I just kind of relied on whatever. "Ah, I can perform, It'll be great."
He literally kicked my butt in a scene. He was so angry with me for not being truthful in this scene with my scene partner, that he took over the scene from my scene partner and we actually physically were tearing at each other and …
GW: Sparring.
RR: … yelling and screaming but staying within the scene. And it was so amazing, the feeling was so exhilarating and cathartic. I wanted to do this. I wanted to feel like this all the time. And that was sort of the moment.
I scrambled around doing lots of other things. I was a circus performer, I was in a band and all those things. I didn't I know how to really be an actor, particularly in film and television. This wonderful filmmaker was a fan of my band put me in a movie and I kind of just went from there. But I truthfully started quite late. I didn't get my first professional gig until I was about 26.
GW: That's considered late?
RR: Well, I mean for me it was. Considering I wanted to do it when I was 12. Most people that I know even now started at young ages. At least in their teens. And part of me wishes that I had started younger, but part of me is really glad that I didn't because I don't think I could have handled it then. I was a bit crazy.
GW: What was the first professional gig?
RR: My very first paid gig was a TV series called Cold Squad. It was a show shot here in Vancouver and I played a character named Chimp. Yeah, Chimp. That was my first paid gig.
Getting loud in here, it's the lunch rush. "It's a good idea Ryan, let's do the interview in a coffee shop." It was my idea to do an interview in a coffee shop by the way.
GW: You've had quite a few other credits in the Vancouver area. You've had Twilight Zone and several others.
RR: Yeah, lots of stuff. I've been lucky, lots of stuff shooting in the area. Twilight Zone, that was a good one — Outer Limits, Jeremiah. There's a list of really good … It's funny. Vancouver seems to be — its like a hot bed of Sci-Fi here.
GW: Are you personally more drawn to that genre? The stuff itself? Or do you just go where …
RR: I am bit of a comic book geek, so that's how it started for me. I loved comic books growing up and I still like comic books. I guess the genre is an offshoot of that as far as I'm concerned. I am definitely inspired by … I've chosen films that have that comic book, fantasy, edge.
I just love acting, man. I like the work regardless. If it's interesting scripts, interesting stories, I'm in. I'm sold. But I do really enjoy this genre. I think I have a bigger understanding of the genre. Maybe that's helpful.
GW: We'll talk about Atlantis and Ladon Radim a little bit. Throughout the series we're never really sure where his loyalties are. He double crossed the Atlantis expedition with Kolya [Robert Davi] and Cowen [Colm Meaney]. Was he ever loyal? Was he just loyal to himself? Or was he doing what he thought was best for the Genii people?
RR: I think the thing with Ladon is that he was loyal to his people. I think that it wasn't about choosing sides. Personally, I never played him like he was trying to mess with anybody else. I always played him like his priority was his people. That he would just always do what was best for his people and whatever happened as an offshoot of that or a consequence … He wasn't going to worry about that because he felt his people deserved more.
GW: And his sister.
RR: And his sister.
GW: One of the last time we see you on the screen was during the third season, it was in "The Return." I think that's the last time we saw you? It was "The Return, Part 1."
RR: "The Return," yes.
GW: There was kind of an alliance that he's kind of built up with the Atlantis expedition at that point. Do you think that's something he would have upheld? Or do you think that if it suited his own purposes, he would have ended up breaking that again down the road?
RR: I think – In my world, in my opinion – I think that he would have liked the idea of an alliance. I think he understood the potential for an alliance. What he could learn from them. I think that was one thing about Ladon that I always thought was pretty cool. Where Kolya had it all under control and he was better than, I think that with Ladon's thing he wasn't.
He was willing to learn. He wanted to absorb everything he could that would somehow benefit his people. And I think that he appreciated those guys for what he could learn from them.
You get guys like Ronon, we never really saw the Genii have that kind of presence and then Teyla, the kick ass female. I think those guys had a lot to offer. But just an alliance in general, I think he would have upheld it until it didn't suit him anymore. Until he became bored of it.
GW: What are your feelings about basically the Genii storyline and Ladon, particularly about the whole story kind of being dropped after …
RR: Oh, what are my feelings about the story being dropped? It's unfortunate. I thought there was a lot of potential there. Personally I thought it was really interesting.
GW: You didn't think it ran its course?
RR: I didn't think it ran its course at all. I mean Kolya came back from the dead like three times. [Laughter] Obviously it hadn't run its course. But maybe Ladon had. Maybe Ladon wasn't enough of a threat.
I thought he was really interesting. I just think that when it came down towards the end. They had developed all these potential enemies and I think they needed to sort of focus on one. I think the most threatening was probably the Wraith so that's the avenue they tried to go with.
GW: I myself find personally that the characters that you don't know if you can trust or not are the most interesting.
RR: Me too. I mean I find those interesting as well. Again, going back to comic books, I like the anti hero. I like the characters that maybe one day they're good, maybe one day they're bad. They kind of have their own agenda. I find that really, really fascinating.
They don't have an allegiance to anyone. I tried to bring that to Ladon, I tried to bring that to the Genii people so that they could call on us if they needed us but then we might pop up as an enemy. But hey, it's not personal, it's just business. That's kind of what I thought was interesting.
But again, they'd already developed these other potential storylines and when they knew they had to bring it to a close, I understand, you've got to tighten it up and draw your attention to one thing so that it doesn't feel too scattered. Who knows what will happen? There's talk of a movie and you never know. I still know those guys. [Laughter]
GW: Do you feel the episodes of Atlantis that you did gave Ladon enough depth in character? Are there any shades of personality that you wanted to personally put into him that you weren't able to?
Like a haircut? [Laughter]
RR: Yeah, I'm growing it back. I like characters to have secrets. That's why I like Henry. I think everybody's got secrets. I like to have something to hide when I'm playing certain characters. I presented in my storytelling of Ladon some secrets that I gave him.
It would have been nice to sort of see those a little bit, hints of those a little bit here and there. I think that Ladon was looking for a queen, sort of speak. I think he was "wookin' pur nub". You know what I mean? [Laughter]
That would have been sort of fun to complicate things if maybe he'd fallen for someone on Atlantis. That's sort of something that I was trying to disguise. It helps you figure out — you not know if he's good or bad.
GW: When you're a guest star on a show that you may come in for — for a year, once a year or something like that. How do you negotiate your situation where you have an idea for the character but you … do you ever feel that it's … How do you negotiate the situation where "It's not really my place to tell them where to go with this character?" I mean, "Who am I? I'm just the guy who comes in and does this, but I really want to tell them my idea for this."
RR: It really depends. You have to sort of feel it out a little bit and see.
GW: How receptive the producers are?
RR: You start with the director. How receptive the director is. Then producers and writers. On Atlantis, they're quite present. I was fortunate that I worked a lot with Martin Wood and he's quite receptive.
One of the things that happened was Ladon becoming the leader. As most people know, it was supposed to be Kolya. Robert Davi wasn't available so they rewrote it for Ladon. The intention was still written for Kolya. So when I got to work, I was talking to Martin and I was like "You know, we've only ever seen that guy as a scientist, I'm not sure how it translates for him to suddenly just be this ruthless leader. Is there a way to find a middle ground?"
Of course they were very receptive to that. That's how Ladon's version of a leader came to be. And then in the following scripts, that was more the tone. And then Ladon became the sort of ambiguous "What is this guy up to?" thing.
GW: It gave the character depth!
RR: Yeah, you got to think of it. He's a scientist. He's not a general or a ruthless leader. He's not any of that. He's out of his element, somewhat. And I liked to show that a little bit. I liked that he was a little out of his element and trying to behave as though he wasn't.
It depends. I've done shows where I've had ideas that I thought were great and the director is like "Yeah … No, just stick to the words," "OK it's cool." You just don't know. It also depends on the tone of the show. You don't know the tone on the show, but I did know the tone.
GW: Would you have suggested something for you character on Battlestar Galactica as opposed to Atlantis?
RR: Oh yeah.
GW: Are there certain shows where you get the vibe from the staff that they have this completely in hand and there is nothing that I can do to suggest anything? That's off limits.
RR: On Battlestar Galactica we did talk about it. We did try certain things. They loved the idea of my character but no one … Battlestar Galactica had so many characters and so many story lines. And then, here is this new character that they really like and saw a lot of potential in. They want to keep him around so that they have the option to use him eventually. They're just not sure where and what for.
They know they like the character. We all get along. I know all those guys, so "let's keep me around." Go from like resistance fighter to bartender. OK, so how much resistance fighter am I embodying in the bartender? So we made choices. He's just grateful to have a room again. He's grateful he's got a job. He's trying to get his life back on track so he can be happy. At least he's got a fresh start now.
And then there's the reminder of Baltar, so we did have to discuss that. For them, they have all these actors coming up to them going, "What about my character 'this?'" All the actors are very involved and everybody cares so much about that show. All the actors want to put their input in.
For me coming in [an] episode here, episode there, I am equally as passionate about the show. I come in they're just like — it's either "Yeah go ahead, give that a shot" or "You know what let's just keep this." I wanted to be on the show more, so I'm trying to figure out ways to create something interesting.
When we did the first episode of season four, that stuff with Baltar … James [Callis] is awesome to work with. If you remember the scene when I'm telling him to go ahead and scream.
GW: Yeah, in the bathroom.
RR: He was supposed to scream. And James didn't scream. He just didn't feel like he would scream. So, we're doing it and he wouldn't scream, wouldn't scream, wouldn't scream. James and I work pretty similarly. We're pretty intense, we kind of get into it. We were battered and bruised at the end of that episode but he wouldn't scream so I screamed for him. And literally threw him to the ground
He's like "Throw me harder, throw me harder, come on, you can do it!" I literally screamed and I was so mad because he wouldn't scream, I screamed at him, threw him to the ground and it was "Cut!" And there was this moment and pause. He kind of looks at me with this cheeky smile and we started laughing and there was this [clapping] "Oh that was awesome."
So there were those. And then when the girl was beating me with the handle and Michael Rymer is directing. "Not so hard, we don't want to people to think he's dead. He's not dead. You're not killing him." It was never intended to seem like I was killed, but that scene was so intense, everybody just got caught up in it.
Everyone was sure I was dead. I was never meant to be dead. Because I was like, "Please don't kill me, Michael. I don't want to be dead, come on man."
GW: I thought he was dead the first time I saw it.
RR: I was like, "Oh I don't want to be dead, man! Please don't kill me." They left it kind of open. And then it was like episode 15, 14 episodes later. You get this call. "You're back on the show." I'm like, "I knew I wasn't dead!"
GW: Just been in a coma for a few weeks.
RR: Yeah, and not a scratch on me when I came back. Not a mark on me.
GW: What similarities would you say Ladon Radim and your character Charlie on Battlestar share?
RR: Boy, Ladon and Charlie. I think that there was an unflinching level of commitment. I think that they were both very committed to whatever it was they were … They made a decision to do something and they were going to see it through regardless. And I think that's something that they definitely both share. I think that there's definite commitment, no hesitation. "If I'm going to do this, I'm going to do this."
GW: They both had family with troubled lives. I mean Charlie obviously his son was killed on New Caprica.
RR: Yeah, Charlie had the death of his son to deal with and Ladon had his sister almost dying. Plus you know, in my mind, if he's got a sister that he loves dearly, I'm sure he's got other family out there so I'm sure there was a lot at stake for him.
GW: A lot of drive.
RR: Yeah. And you know, we never talked about Charlie's wife. His son died, so I had just always assumed that his wife didn't make it.
GW: She died in the attack?
RR: Yeah. He probably had this really great relationship with his son. And that wasn't hard for me because I have a daughter. So when we started shooting the first scene when it was revealed that he killed … he was blaming Jammer for the death of his son. That wasn't too hard to imagine that. That was a heavy scene, man. Shooting that was the heaviest, darkest, weighty day I've ever worked. And everybody brought it. It was a really weird day when we shot that scene.
GW: Killing Jammer?
RR: Yeah, it was a weird day. And [Dominic] Zamprogna who played Jammer, he just brought it. Everybody was so bumped that they were killing Jammer. Because Dom's such a cool cat and everybody was just so bumped they were like, "Oh my God." Every time someone of any relative consequence to the show is killed, it was just, "Oh no."
GW: Dee [Anastasia Dualla] was a shock. That was a total shock. And what a sweetheart that actress is.
RR: Yeah, yeah. Even Kat [Louanne Katraine].
GW: Kandyse [ McClure].
RR: Kandyse. But even when Kat got killed – Luciana [Carro]. I wasn't there but, every time you feel like you're not going to be on the show, it's devastating. Every actor that I know that got killed or written out, was just so bummed.
There were tears shed. some actors. It's a tough call. Everybody loves that show so much, even working on it. It's just so weird that it's over. Weird.
GW: Could you compare the working environments at all between the two series between Atlantis and Battlestar Galactica? And Sanctuary also. Was there one series that was easier to work on than another?
RR: Well, definitely Sanctuary is by far the easiest to work on. I think it's very much a family environment, we have zero ego. I mean the people are amazing. It's one of the rules on the show. No one's allowed to be a diva on Sanctuary. It's very fun and really encouraging. Everybody collaborates and participates and it's a really great feeling.
It is like shooting an indie film you're really passionate about. It feels like that every day, I love going to work there. When I have the 5 AM call. On most shows I'm like, "5 AM … that's crazy." But on Sanctuary I'm up and ready to go, "Let's go to work." And then also because I've been on this show since the Web series, I think that I've got a lot invested. But you know, Atlantis was always fun. "Oh you're going to go and have a good time." But it always felt temporary, I just never knew.
With Battlestar Galactica, I was such a huge fan of the show. It was so exciting and the thing about Battlestar Galactica, everyday was so different because there's such huge cast and everybody is so into the show and really interested in what's going on. We'd be shooting scenes and there'd be other cast members come by just to watch. And that rarely happens.
That'll happen on Sanctuary from time to time. Last season when there were scenes with Christopher Heyerdahl and Peter Wingfield and Jonathon Young. Robin Dunne and I would go and sit and watch. Because for me, those guys are heavyweights. Those guys are unbelievable actors. There was scene between … A Druitt [John] and [James] Watson scene — Peter Wingfield and Christopher Heyerdahl — Robin and I were just watching and we were saying "Man, these guys are awesome, so good."
GW: When they're outside of their test?
RR: The particular scene was a scene in Magnus' office.
GW: Oh, OK.
RR: And they were discussing: "I can't believe it was you, the whole time it was you." "Sorry about that, old friend." You know it was just … and Jonathon Young — who is back in Season Two — is just so awesome, he's just so good as Tesla. I just love him.
GW: I'm glad they didn't kill him.
RR: Yeah, he's great. We just shot some stuff yesterday, he's awesome. Ironically I don't know if people know this about Jonathon. He actually toured and has a play where he actually plays Nikola Tesla in this play that he's been doing off and on for years.
He actually toured with it, won festivals with it. He has a theater company that was founded on the back of this production. This theater company's called The Electric Company. He actually toured as Nikola Tesla, so he's just a fountain of Tesla knowledge. He always jokes with his theater friends saying ,"Well, you think that Tesla died, he didn't. He actually went underground and became a vampire." [laughter]
GW: Since the Web series — the show is obviously moving to its second season now. Does it still feel like an experiment in progress? Or is it much more … [the show] found its footing?
RR: No, not this year. This year it's definitely found its footing. I think there were lots of moments last year. There was lots of moments of discovery.
GW: Not that it hadn't found its footing last year but, not being afraid to try something.
RR: I know exactly what you're saying. Last year it was a lot of, "Oh, yeah. It's not that simple because we have to do this and this." It was never fear-based or anything, it was just never a concern but it was a lot of moments of, "Oh yeah, right we've got to do this." But this year … You know what? That's what it is. I've been trying to figure out what feels so good this year. The scripts are amazing, everything is good. There is a level of confidence this year because the show …
GW: It's done well.
RR: It did very well. I think it definitely exceeded expectations and then some. Internationally it's off the charts, it's doing so well. In the U.S. it's doing, I think, better than expected.
There's this level of confidence and fun. "Yeah let's do it." I think there's a willingness to take some risks. It's action-packed this year, it's going to be great. I love it, reading the scripts.
GW: The first season of any show is usually … there's some potential missteps. There's a lot of feeling your way through the new world that's been created, the new characters that you're inhabiting.
We go back and watch old episodes of Stargate SG1 and some of them just feel a little foreign to what the show becomes. What are your thoughts on the first season of Sanctuary? From that perspective, looking back on it now, with a year's worth of distance. What did it accomplish creatively?
RR: I know what you're saying. Hopefully we go a few more seasons to look back on Season One and see it. I know at the beginning of Season One it's definitely finding your feet, finding your rhythm and making discoveries. You're literally making discoveries about your character and your scene partner.
You're making these new discoveries on the go. It's right there. That's what's kind of cool about the first season of a show is that you can actually watch people make discoveries in a scene. There's just something cool about that. But it does feel a little bit uncertain at times.
I think creatively we're a lot more comfortable with the choices we make. I think as an actor, say you get a new director, historically I probably wouldn't do that. And you can say that now, because you do have a history. Before you would go, "I'm not sure my character would do that."
"Well, has your character ever been in this situation before? Hasn't been with mine." Now you can make some really informed decisions and we have some really great dialogues, really great conversations.
And again, I keep talking about Martin Wood, but he's directing the first two episodes. He's a shinning example of that because, you'll have moments when you kind of want to go "Jeez." Something does feel right here but I don't have a solution, so I don't want to go "Hey this doesn't feel right," and they'll say "What do you want to do?" "I don't know."
But with Martin, he's so intuitive, he'd be like "Doesn't feel right does it?" You're like "No, thank you, no. But I don't know what to do with it." "Alright, so let's talk about it," and then we'll come up with a solution and it's usually something really simple.
He's incredibly bright. He did this yesterday. I can't remember what the scene was but he was like, "Something doesn't work. You know what? Just do this." And it was such a simple little tweak.
It's like "Man, I would've never thought of that." I get way to heady about things. It was just so simple to him. It was just like "Just do this," and it changed the whole tone of the scene. It was perfect, exactly what it needed. And I couldn't think of what to do. He's really great that way.
GW: How about the scripts on the show this year?
RR: Scripts this year are great. Scripts last year were great. But this year there's something new, I think. Maybe it is the confidence. We've got a staff of writers this year. Last year it was Damian Kindler and Sam Egan having to write all the scripts. A lot of pressure on them. We've got some new writers this year. I feel like the scripts are maybe more action-packed, definitely a lot at stake. Stakes are very, very high this year.
GW: In terms of story or how things are done on set?
RR: In terms of story, in terms of character. Mostly in terms of story and character. I think we've seen the potential that the show has. So I think we just want to really exceed that potential and just really knock it out of the park for Season Two. Maybe the first season has to be played somewhat safe. But I think this year we're just like "Man, we can see what we can do. Let's do it. Let's try to knock this out of the park and go crazy."
I think we've got a better understanding of maybe what the fans want to see. I think what the fans want to see and what we want to portray are very much on the same page.
I'm super excited. I've only read the first three scripts and I read the third script in my trailer and I sent Robin Dunne a text. And I was like, "Just read the third script. Oh my God it's awesome." And he's texting me back, "It's amazing, it's so great." Truthfully he was in the next trailer. [Laughter] It was raining, so …
GW: Last year with Season One, you had the lead guest star on the episodes. Are they upping you in Season Two to full time?
RR: I guess you guys get the exclusive. I understand this has been quite a bone of contention with a lot of people. Me being the guest star.
GW: You show up so much, you know, why not.
RR: 12 out of 13 episodes. Not to bore you with the whole contractual thing but it wasn't possible for them to make me a series regular last year. This year — to my knowledge — yes, I will be in the main title credits. Yes I will. There you go. Exclusive, right here. You heard it from me.
And if I'm wrong, "Boy oh boy", I'll be pretty upset. More upset than you. No, it's good. It's going to be good. This year they've got me. I'm in, I'm on board. I'll be around.
GW: You just recently started some charity work?
RR: Yes. A friend of mine, an actor friend, Holly Dignard has a wonderful charity called Caleb's Hope and I want to support her in that. We're going to be doing a photo shoot soon.
It's a wonderful charity helping women and children in Africa. She goes to Africa several times a year. It's a very important charity to her. I'm happy to help out. I was doing some stuff for the Red Cross last year. I'm trying to get more involved with charities.
Charities are an interesting thing when you're an actor, or in this business, because you don't want to just jump in. A lot of time you want to make sure that funds are going to the right places and you're not being misused in any way. Which is what's great about Caleb's Hope. I know it's my friend. I know she started this thing. I know how hard it is to start an organization like that.
I'm really excited for her and I'm really excited to support that. For me, my focus has always been on underprivileged children. Children that need support and need to be shown options, ways out. My childhood was a tough one. So I want to be able to show kids that they can …
GW: Return the favor.
RR: Yeah. I had a couple of people in my life who showed me options and it was helpful. I wouldn't be here if it wasn't for them. I wouldn't be able to do that so that's going to be a bit of a focus for me.
I started on this crazy environmental thing a couple of years ago renovating my house. I just want to participate. I just want to make sure that I'm doing my part, even if it's on a small scale, if I'm able to. It's one thing if you've got a voice and you're able to use it, you might as well.
GW: But you want to make sure that you're using it for something that whoever you're working with is perfectly compatible with. You don't want to "Well, I don't agree with what you guys are doing there."
RR: And that's the big thing. It's true, that's a very good point. People don't talk about that with charities. When you're getting involved with a particular charity, for me personally I need to do a lot of research first and make sure that I agree with everything. Because if we disagree on something, if I can't get behind you on a certain …
There's some things that are really important to me and if I make the decision to do something, I give it everything I have. And so if I hit a wall it's like "Woah, woah. That's not cool." For me it's definitely a … "with great power come great responsibility." [Laughter] I don't have great power yet. But I feel like I have great responsibilities.
GW: Now that it's quiet again, let's continue the interview. [Laughter]
RR: By the way, that was the lunch time rush that we did the interview through. Listen, it's almost silent.
GW: Aside from Sanctuary, anything else going on we should keep an eye out for?
RR: Between seasons I did a feature film. I went over to Toronto to shoot a feature film called Leslie my name is Evil which is going to be a crazy, crazy movie. It's sort of an interpretation of the Manson murders. The best way to describe the film is the film is more of a statement than a biopic. Effectively, I play Charles Manson in the movie for a month and a half. Shaved my head. It grew back really curly. Go figure. I'm just glad it grew back. I was like, "Oh my God."
GW: Superstitious there?
RR: Well, shave your head and you're kind of confronted with your hairline you know. I was like "OK, not so bad. Not so bad." It's going to do the festival circuit. I'm pretty confident it'll premiere in Toronto. That's what it sounds like. I haven't seen it yet. I'm pretty excited about it. Definitely we all worked very hard on it. It was a tough place to go for a month and a half. It's a tough place to be in that guy's head for a month and a half. But yeah.
GW: You know what I just hate about you guys here in Vancouver. There're so many great actors and you do so many great non-blockbuster projects. They're so darn difficult to get a hold of without downloading illegally. It's next to impossible to get them.
RR: Yeah, it's true. That's just the times. People want to see big Michael Bay blockbuster explosions with a Bruckheimer-inspired musical score that guides you emotionally through the piece.
I have this theory about a Jerry Bruckheimer movie, not that I wouldn't do one. But my theory is — I am not even sure who he gets to compose his films — Bruckheimer movies have a very particular music composition and I think they'd be an entirely different film without the music. And you've got this music that literally guides you emotionally, how you're supposed to feel. People get emotional and you're like, "I think that's has a lot to do with that music," I think he realizes the importance of the score in his films.
I love those movies. I'd love to do a big action movie while I can. That would be so much fun. Those movies look like fun to make. But that's what people want to see. You're working 40 to 60 hour weeks, you just want to go be entertained. I get like that sometimes. I just want to be entertained. It's cool to just watch something that just makes me forget about everything else.
As an actor, I just like to do movies that are a little more intense, I suppose, a little more interesting, more intimate, I think. I come from indie films. That's where I started. I will always do indie films, I'll never stop doing those films. I've been fortunate to be able to do certain projects, certain films that pay well.
I've done my bits and pieces in big Hollywood movies. That allows me to be able to go work on an indie film for little to no money which is often the case. And that's a problem. It's really hard to get funding for an indie film, which makes it really hard to market an indie film, which makes it really hard to see. It's interesting now. Indie in my opinion has become more of a genre.
GW: It's cool. It's the in thing.
RR: It's not a budget anymore. It used to be it's an indie film because there's no budget and now, you see these Indie genre films. It got the big budget but…
GW: Every major studio has their own indie film — Fox Searchlight.
Look at "Donnie Darko." The explosion of that movie.
RR: Right. And now they're doing "S. Darko," they're doing a sequel about his sister.
GW: They are?
RR: Yeah. I am not entirely sure of the budget for films like "Dan in Real Life." I'm pretty sure it's a decent budget. I don't know. But, you've got some big stars. But they have a look, right?
I know "Juno" is truly an indie film. I know they shot that film for something like seven million dollars which is insane. It's a beautiful film. One of my friends was a producer on it and he told me that their biggest hope was they knew Helen Page would blow up and be a big star, but they had no idea the kind of response they would get.
You do get lucky from time to time. You do get that attention from time to time. And it's great. And now that indie is this type of genre and "Juno" had so much to do with that. How many movies come out now that just look and feel like "Juno?" When "Juno" came out, the movie was so unique. The only films that reminded me of that kind of genre were from the 80's. "Say Anything." the John Cusack movie. Those movies were made popular again. For that, I think it's awesome.
GW: Is there any kind of character that you won't play?
RR: Any kind of character that I won't play … I don't know, I don't think so. I think it would really depend on the script and the message. I would be really hesitant to play certain types of characters. First thing that comes to mind is a pedophile or something. I don't think I'd like that.
But then I think of "Little Children" and Jack Earle Haley who is unbelievable, and I'm like, "I don't want to like this guy," but he's so compelling. I think if the overall script and the tone and the people involved are solid.
GW: How the character's written.
RR: Yeah, how the character is written. I wouldn't quickly say no. I love that challenge and I am really fortunate to be an actor who is given the luxury to play all sorts of different characters.
I aspire to be a very memorable character actor. My heroes are famous now, but maybe weren't 10 years ago. They've been doing this for 20 years. Chris Cooper I think is amazing. Philip Seymore Hoffman is amazing. And then character leads. I think Viggo Mortensen is such a phenomenally gifted actor but he's so prepared. He obviously works very, very hard and I love the work ethic of guys like that. Sean Penns Johnny Depps, these guys are just great.
GW: Intense.
RR: They're great. They're stars but they could easily have, without that exposure, I'm sure they would still be making movies if they were doing these small indie movies, if that's what they were offered.
I like that. I like that kind of intensity. It's not the healthiest way to be an actor. It's tough on the body, it's tough on the emotions when you want to dedicate yourself and commit yourself to a character that heavily. But it's the only way I know how to work. It's fulfilling.
I'm trying to find a way to actually become a werewolf.
GW: Good luck with that.
RR: Yeah, I just can't find any real ones. You go online, Craig's List. "werewolf." "These stats are just so boring." I just need someone to scratch me. Just to know what it's like.
GW: I keep waiting to see you as a full fledge werewolf in the show but it's so expensive to show you considering how they've designed you. They don't want to design it cheap. They want to make him look impressive.
RR: It's really interesting because we had this conversation, and when we did see the version of Henry as a werewolf in the elevator in the "Edward" episode, that was Edward's interpretation of Henry's beast. It's not even what Henry looks like as a werewolf. When we do see Henry as a werewolf, it will be different still.
GW: When we do see it. It's a little nugget there.
RR: If we do see him. [Laughter]
GW: Backtrack.
RR: We might see him.
GW: It would be such a letdown to never see his true form.
RR: We know that Henry has some control over his werewolfiness.
GW: Lycanthropy?
RR: Yeah, just like Lycanthropy. "Laminopathy." We know Henry has some control over it so I think there's going to be some elements where it will play. We're not going to overexpose it. We're not going to show it often. Because I think it spoils it.
Also, for a character choice I think it's very painful for Henry to do that. I don't think he wants to do it. I think it's one of those things, it's the last, last, last option.
GW: Back through the wall. Break himself out of a cell.
RR: Yeah, out of a meat locker. I was bruised after that scene. It didn't look that tough or rough at all, but I was bouncing off those walls for hours.
GW: The pain on your face looked real. You put it on your Facebook.
RR: Oh, God. Yeah. You got a picture, that's my Facebook picture.
GW: I was like "What is that?" And then I saw the episode. "Oh, OK."
RR: That's my Facebook picture. I like that picture. It's a good picture. That was actually a fan who created that picture. Shelley Templar created that picture. I was like "I have to have it." So she sent it to me. "Awesome." I put it on Facebook.
"Caleb's Hope" Charity
Interview by Chad Colvin, David Read and Darren Sumner. Transcript by Kerenza Harris.


text:
Sergio García, Campeón del Masters de Augusta.
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One cold December evening, I walked into my father's book-lined study to light the Chanukah candles, which were placed beside the window that overlooked a high street in North London.
My father was seated in his armchair surrounded by the red glow of the crackling log fire, and in the chair next to him, wearing a flowing red robe and white skull cap, sat Sir James Parkes, the renowned Christian theologian and author.
I hesitated and backed away.
"Stay and light the candles," said my father.
Gingerly, I approached the menorah and with flame in hand, I mumbled the blessings under my breath so that Sir James would not hear.
"Amen," responded Sir James loudly, and I felt a sense of pride that Sir James had acknowledged our faith, mixed with shame that I had tried to hide it.
My father never hid it. He believed that God and His Law served as the province for all mankind and was in no way reserved for the Jews alone. From its very inception, universalism was axiomatic to Judaism. The Hebrew Bible begins with the story of Man, not with the story of the Jew. God chose the Jews to carry the message of monotheism until the dawn of the Messianic era when all the nations of the world would at last acknowledge Him.
The purpose of designating the Jews as the Chosen People is clearly outlined in the leitmotif of the Rosh Hashanah prayers, namely to fulfill the wish "that every creature know that God is its Maker and proclaim that the God of Israel is King and his Kingship rules over everything."
If the Jews were to isolate themselves in a ghetto and shun the secular world, such a goal would never be achieved. For my father, there was an intimate connection between the position of Israel as the Chosen People on the one hand and the Messianic unity of mankind on the other. To maintain one's identity as a separate religious and ethnic group and yet work loyally for the whole community of mankind was, for him, no contradiction.
Consistent with this thinking, my father believed that religion should embrace the whole of life in its personal, economic and social aspects and that it was a fundamental mistake to try to localize God in a House of Worship. God is either everywhere or He is nowhere and the Law of God either rules supreme in all aspects of life or it rules nowhere at all.
According to my father, the origins of the Holocaust could be traced back to the emergence of the Renaissance era with its separation of God and State, and its insistence that God Himself and the Divine origin of His Torah be proven in the courts of human reason. God, imprisoned by the Renaissance in the House of Worship, was the first displaced person of Europe and into the vacuum created by His expulsion rushed the demons of Machiavellian sovereignty, bringing death and destruction in their wake.
Mankind's inventiveness and destructive energy had run amok and were charging headlong with atom bombs and nuclear armaments toward the precipice of universal self-destruction with none of the precepts and boundaries of religion to keep them in check.
* * * * * As a student of the works of Immanuel Kant and a disciple of Rabbi Samson Raphael Hirsch, my father believed the Torah could address all its critics, including the "wise men" of higher criticism, which he, together with others, dubbed "higher anti-Semitism."
His premise was that God and the Divine origin of the Torah lay beyond the reach of human reason, which can neither prove nor disprove them because, to use the language of Kant, they are not "phenomena," not part of this world, but "noumena," beyond this world. Nevertheless, they are facts, to the same extent that nature itself and the soul of the human being are facts.
They exist, without doubt, even though we do not fully comprehend them. One cannot analyze the soul through a microscope, scan God through a telescope or view God speaking to man by using the spade of the archeologist. To deduce from this that God and the soul do not exist would be rather like the fisherman who claims that water does not exist because his net never captured it. Accordingly, to my father, the only way to perceive God is through the observance of the mitzvot, which he called power stations that generate holiness.


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The former San Siro star believes the Rossoneri are still lacking a player who can change the game despite their strong start to the Serie A season
Ruud Gullit has praised a young and in-form AC Milan side, but believes they still need a "champion" in the team.
Milan head into the Derby della Madonnina against arch rivals Inter on Sunday having won eight of their opening 12 Serie A games in a superb start that has left them third in the table, five points adrift of leaders Juventus.
Donnarumma deal uncertain
Teenager Manuel Locatelli scored a superb winner when Vincenzo Montella's side beat Juve 1-0 last month, while youngsters Alessio Romagnoli, Suso and M'Baye Niang have all established themselves in the side.
Yet while Milan's relatively inexperienced side have flourished, Gullit – who won three Scudetti and two European Cups in his playing career at San Siro – feels they are lacking a difference maker.
"Milan are a lot better than they have been recently," Gullit told La Gazzetta dello Sport.
"They have young Italians and a style of play. The players know what they have to do, and the games are better.
"What do Milan need? Time. Time for these youngsters to gain experience. After that, a champion who can change the game. But for that you need money."


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Starts streaming on November 13 exclusively on Funimation
Sony Music Labels Inc. (Headquarters: Chiyoda-ku, Tokyo, Representative Director: Manabu Tsujino) is excited to announce that video contents owned by Sony Music will be streamed across the world through services from Funimation Global Group, LLC (Funimation), an animation distribution company based in the United States. The first content will be the FLOW's special concert FLOW Chokaigi 2020 -Anime Shibari Returns-.
The concert will air exclusively beginning at 8 pm CST, November 13, 2020 on Funimation.com in the United States, Canada and the United Kingdom; Wakanim.TV by Wakanim in France, Russia, Denmark and Scandinavia; and AnimeLab by Madman in Australia and New Zealand. The concert will also stream on Funimation in Mexico and Brazil when the service launches later this year.
Continue reading "Funimation to Stream Flow Chokaigi 2020 -Anime Shibari Returns-"


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RAIA Commendation 1995 (Brisbane Region)
Woodrising Apartments is a modern interpretation of the six pack unit block, adapted for a sloping site in Paddington, an area characterized by 'timber and tin' traditional housing. It was important to retain the significant Norfolk Pine tree at the rear of the block, so the building tapers away from the tree.
Biscoe Wilson Architects developed a two-storey apartment block over carparking. The community foyer is lit by an extensive skylight. The sloping land was utilised to create a mid-building pedestrian entry while maintain the road level car entry.
This project was completed in 1994.
Architectural Team | Robert Biscoe, Marion Wilson, Paul Devereaux, Peter Main
STructural Engineer | (Whybird Farr Engineers) Farr Engineers Associates
Builder | B Stuart and Sons
Client | Graham and Carol Tanner
Photographer | Robert Biscoe


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When Carsten Sophr, Lufthansa's CEO and chairman of the executive board, first came to the U.S. as an exchange student in 1984, the airline operated few flights between the U.S. and Europe.
"We flew to San Francisco three times a week in those days with passengers in the front and cargo in the back. Now, we fly to San Francisco three times a day with a full passenger airplane," says Sophr. "So that shows just in my little lifespan what has happened to transatlantic travel."
Now, Lufthansa Group airlines serve 343 destinations in 103 countries, with the U.S. making up the largest market that the company serves outside of its home market in Europe. More than 110 flights depart between the U.S. and Europe on a daily basis, and according to Frank Naeve, v.p. of sales for The America, Lufthansa is consistently experiencing growth.
"We're seeing a very strong leisure demand from the U.S. in general with double digit growth in the number of passengers using our networks in our home markets but also beyond," says Naeve.
In response to this demand, Lufthansa continuously adds new routes and increased frequencies to existing routes. This year saw the launch of Lufthansa's 22nd destination in the U.S. with the inauguration of flights departing from Austin. New flight service from Las Vegas is also expected to begin later this year.
Competing in the Low-Cost Markets
Of the 800 aircraft serving Lufthansa Group airlines, 200 of them operate flights with Eurowings, the low-cost airline that allows Lufthansa to serve a wider variety of markets and customers. The new Eurowings was launched in March 2015 at the ITB in Germany and started by transforming the Cologne-based Germanwings LCC into a European carrier also offering long haul flights.
"In the end, it's not only about bringing your cost down because sometimes that endangers your premium promise," says Sophr. "In our case it was also about launching a new airline, Eurowings, as a second brand, which is our answer to those markets where our premium brands—SWISS, Lufthansa, Austrian Airlines—are not the right product and brand to deal with the market requirements."
Eurowings allows Lufthansa to continue servicing the premium clientele that built the legacy of the company, while also expanding to other markets and not "over-stretching" its premium service, Sophr explains, also adding that the company will need more time to grow in popularity.
"We are late in fighting the low cost competition in Europe," Sophr says. "We found the right strategic answer with Eurowings, but for more commercial success, it will take time."
Growing Responsibly
While growth is key to the continued success of Lufthansa and the other airlines in the company group, Sophr says this will not come at the sacrifice of providing excellent service.
"We try to keep some element of uniqueness in air travel. For us, this is not just transport. This is more about hospitality," he explains. "We don't just fight for quantity and price, but for quality as well. It's a part of the DNA of our airline."
For Lufthansa, growing the company in a responsible manner also means taking care of the local communities where the airline operates, as well as addressing environmental issues. Every year Lufthansa invests $3.5 billion in rolling out new aircraft that are more environmentally friendly, and the company also participates in CO2 trading. Every time that Lufthansa staff members from all levels of the company travel, the CO2 they produce with that trip is measured by an environmental agency in Switzerland that then converts those numbers into positive efforts that decrease CO2 such as planting additional trees or decreasing open fires in Africa. The company is also making strides towards its goal of producing zero CO2 emissions for all Lufthansa ground transport by the end of the next decade.
For more information, visit lufthansa.com.


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The Evangelical Review of Theology and Politics is an international peer-reviewed journal exploring Evangelical issues from an interdisciplinary perspective. The purpose of the journal is to bring an international and scholarly Evangelical analysis to bear upon various social and political issues of national and international interest. The Editors are committed to presenting the full spectrum of Evangelical thought to provide readers (whether Evangelical or those analysing Evangelical phenomena) with thoughtful, scholarly debate and original research that is biblically based and theologically sound. For more information, review articles and book reviews, please visit the journal's official website.
|Vol. 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8


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Makeover in Mississippi
One School's Struggle
Jennifer Averill calls her eighth-graders brilliant. "You're not using your brilliance right now," she whispers to a student who is causing trouble in class. "You are so brilliant that I'm upset you're talking right now," she says to another.
Brilliant isn't the first word that comes to mind when you look at the track record of public schools in Tunica, Miss. Test scores here are about as low as test scores get, so low that the state took over the school system last year in a bid to reform it.
But the toughest and most important part of that effort has been raising expectations.
Few observers ever expected the schools in Tunica to be much better. For years, Tunica was the poorest county in the poorest state in the nation. Jesse Jackson called it America's Ethiopia.
Legalized casino gambling in 1990 changed that picture. Before gambling, the Tunica school district spent about $8 million a year to educate some 2,000 students; 11 casinos later, that figure jumped to $18 million. Tunica recently became one of the richest counties in the state.
Gambling revenues paid for remodeling schools, new labs, a new gym, a media center, and a library. When the new elementary school is built next year, the district will pay cash. "We have so much money we can barely count it. Whatever we need, we buy," says James Bulloch, principal of the Rosa Fort Middle School.
What the money hasn't been able to buy is a quality education for Tunica students. The resources so richly doled out on buildings and equipment have yet to recruit more-qualified teachers or to improve the skills or morale of the existing teaching staff. Nor has it addressed the deeper issue of how to show students that they are capable of great achievement.
Former teachers describe the old system as organized chaos. "We had years without textbooks or chalkboards, but all the maintenance men had new trucks, tractors, and lawn mowers," says Shannon Pugh, a former middle school teacher who was in Tunica at the beginning of the flush years.
When there was no algebra teacher, as was often the case, the kids would sit out the class in a hall, or a substitute teacher would try to maintain order until the next class. Order in the halls was and still is maintained with the help of an 18-inch length of rubber tire about two inches wide.
Tunica, like many other school districts in Mississippi, elects its school superintendent and school board. Jobs in the system often went to family or friends. Even with the influx of gambling money, Tunica schools were never able to find enough qualified teachers, especially in science and mathematics. The system lurched from crisis to crisis.
"You can build pretty new buildings and suddenly have lots of money to spend in the school district, but affecting change in the community and in the perception of education is a long-term process that doesn't happen overnight," says Steve Williams, director of the state office of accreditation. "We're trying to change the global picture all at once."
The down side to such sweeping, state-mandated change is that it labels all teachers and students as failures. In Tunica, as in many other troubled schools, there are classrooms and teachers that are working well. But Tunica schools had been on probation for low test scores for seven of eight previous years before the state denied accreditation in 1996.
The one exception to this pattern was the middle school, where test scores increased for two years prior to the state takeover. Officials credit much of that improvement to the work of teachers like Ms. Averill, who were recruited by Teach for America, a national program that seeks out recent college graduates to teach in at-risk urban and rural schools.
Rebuilding with the basics
Test scores have dropped since the state took over management of Tunica schools in the spring of 1997. Middle school teachers blame the drop-off in scores on the state's decision to move the junior high onto the high school campus, where many students feel lost. "The move broke our spirit," says Mr. Bulloch.
State officials say they're starting with the basics: Is instructional space adequate? Is the money being spent right? Are there rules and policies that function consistently? Do kids abide by them?
"It hasn't been easy, especially when you're talking about fundamental changes in the way a school does business," says Ron Love, the state conservator now in charge of running Tunica schools.
A major problem has been the district's extreme teacher shortage. "Gambling has made a tremendous difference in our ability to pay for programs. I can pay for new chemistry labs, but if I don't have a chemistry teacher, I'm in trouble," says Mr. Love.
Finding qualified teachers has always been a tough problem in the Delta. The starting salary in Tunica schools is $20,630 and jumps to $35,600 for teachers with a doctorate and 31 years of experience. There is still no recruitment program or upgrading of salaries. "It's our next priority," says Love.
Teach for America recruits have taken up much of the slack. Bulloch credits Teach for America members with driving a learning improvement in his middle school from 1994 to 1996, when corps members accounted for more than one-third of the staff. "They had new ideas. If something didn't work, they were willing to try something new," he says.
Lead math and science teacher Connie Murphree also applauds these teachers for an eagerness to try more hands-on work. "You've got to find a way to make math and science interesting and fun," she says. "I've seen kids' faces when you put something in their hand to figure out, rather than just tell them to turn to Page 1 and learn about 'place value' again."
What brought many of the young teachers into Mississippi Delta classrooms in the first place was a conviction that expectations should be higher.
Ms. Pugh recalls reporting to the administration when she discovered that an eighth-grader in her class only knew the letters of her own name. "I was told, 'Oh, none of that family can read.' We even heard 'experts' excuse the fact that so many kids couldn't read by saying, 'Oh, it's just the Delta, it's been that way for 200 years.' It's so unfair to some great kids." At the same time, she adds, "there are some phenomenal teachers. But they have been beaten down."
"I feel like we make excuses for our students. We're saying they can't when they really can," says Averill. Her writing classes are tightly focused. Students read their work "loud and proud," clap for each other, and offer constructive comments. "Stop," she says, cutting off an unfocused observation. "The goal isn't just to have your say and feel good about yourself. I want us all to be better writers by May."
Teaching kids to have ambitions
Class poems are regularly sent off for national competitions and two have been published. Averill's expectations for the future are signaled in comments such as, "When you're in a writing circle in college...."
The Tunica school district has solved its money problems. But that has not solved the larger question of how to nurture higher expectations.
"Mediocrity is the standard here, and there's no expectation that these kids will do anything," says Deputy Superintendent Rayburn McLeon.
Ironically, the gambling that brought money may also be distancing parents from children's education.
"Parents don't have time to be parents," says Bulloch. "They're working two or three jobs at the casinos to live the way they want to live. Their only prize possession is going lacking, and that's the kids."


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