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I've been madly making handmade books with all the painted papers I made on LK Ludwig's course last month. I love her method of making books as it is easy and doesn't require lots of accurate measuring or covering board with paper or anything like that. Or stitching the boards on to the signatures – you just glue them on to tapes that you've incorporated into the stitching of the signatures. Yummy. Here are some of them:
Look away, Carol, or any other of my book collecting friends!… because these ones use the boards from old books. But I only used ones which would get thrown away anyway, or put into the recycling bin. Rescued books…
As well as the painted papers course, I've now signed up to LK's shadows and light journalling course so I'm going to be drawing over the photos you see in the journals. Or some of them.
The photo below shows four of the books sitting on top of a larger one which I made to focus on leaves and reeds and nature generally. This bookmaking is getting addictive!
This one is using some leather scraps that I've had sitting in a bag for ages. They make great tapes for attaching the boards. The book is an old children's book that was falling apart, which I painted over with black acrylic paint then scratched into to reveal the printed cover underneath. And I've kept the inside pages to print over with my Gocco.
I also had a bit of a play with some paper from my Pogo printer today. I read somewhere that it was heat activated so I messed around with my craft soldering iron. I found that by varying the speed with which I drew with it, I could alter the colours it produced. And by using the side of the tip rather than the tip itself, could vary the width. Fun! I think I'll try it on some of the photos I have printed with them to make them more personal.


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Judy Joynt
Last Updated on Monday, 14 August 2017 17:32
Infant and Toddler Field Consultant Supervisor
Judy Joynt has been involved with Montessori education since 1979, having taught for 14 years before joining CMTE/NY. Teaching positions included Hudson Country School, New Rochelle, NY and Berjan School, Mamaroneck, NY. Judy received her Infant and Toddler AMS credential in 1991 from CMTE/NY and has been a member of the staff since 1997. She is presently the Infant and Toddler Practicum Phase Coordinator and Field Consultant as well as an instructor in the program. Judy has a B.A. in Elementary Education (University of Arizona), and M.Ed. (College of New Rochelle) in Special Education.

subset: commoncrawl


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RE "IN Italy, O'Malley's name is in the mix " (Page A1, Feb. 20):
I pray that speculation that Cardinal Sean P. O'Malley could be the next pope is a joke.
Since O'Malley has been in Boston, how many churches have closed? How much has Mass attendance declined? How many have lost faith in the church?
The damage he's done in the Archdiocese of Boston has been bad enough. I can't even start to imagine the damage to the church if he becomes the next pope. I fear that if O'Malley ends up in Rome there'll be no church left at all!
To all those who have any say in what happens over there: please do not let this happen.


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DALLAS — Space tourism companies can survive the inevitable disaster if they warn passengers of the risks that a privately operated rocket ship could crash, an executive of one of the leading firms said Friday.
"God forbid it should happen on the first flight. Hopefully it's many, many years out," said Alex Tai, chief operating officer for British billionaire Richard Branson's Virgin Galactic space venture.
Tai said customers who are given an honest assessment of the risks will not be able to successfully sue operators after a crash. And he said the public understands the danger of space travel after two disasters involving NASA-operated space shuttles.
Virgin Galactic plans to begin test flights next year and carry the first paying customers — $200,000 per seat — in late 2009 or early 2010.
A competitor, Benson Space Co., still plans for a 2009 launch even after Chairman James W. Benson announced Friday that the company will redesign its Dream Chaser spaceship to make it lighter and more aerodynamic. The change came after five months of study and underscored the state of flux in the emerging space tourism business.
Tai and Benson spoke to a conference of space enthusiasts and entrepreneurs at a Dallas-area hotel. He gave a still-developing picture of what suborbital flight on a private vehicle will look like.
Virgin Galactic plans a pressurized cabin so passengers will not have to wear bulky space suits, "but you'll still get to dress up like an astronaut," Tai said.
There will be no height or weight limits, Tai said. The Federal Aviation Administration declined to require medical clearances. Tai said virtually anyone who signs a waiver can go, although those with serious heart conditions might be encouraged not to take an early flight.
Doug Griffith, a risk management expert who has studied the industry, said companies can protect themselves from lawsuits by advertising the dangers of space travel — but that might turn off customers. He advises companies to lobby for immunity legislation and, if there is a crash, be contrite and treat victims' families well.
Virgin Galactic claims to have taken $21 million in deposits from about 150 people. Each flight will carry two pilots and six passengers, who will get up to a week of training to prepare for weightlessness and the heavy G-forces that accompany acceleration of the ship.
Another competitor, Space Adventures Ltd., has already put five customers into orbit aboard Russian Soyuz capsules and plans $100,000 suborbital flights beginning around 2009.
Space Adventures charges $20 million to $25 million for trips to the International Space Station, like the flight made last year by Dallas-area entrepreneur Anousheh Ansari. Eric Anderson, the company's chief executive, is trying to find a customer who would pay $100 million for a flight to the moon, and he wants to sell a space walk.
There is no reason why a civilian could not make a space walk with a bit of training, said Anderson, whose company would benefit when the walker returns to Earth and talks about the journey.
"That would certainly do a lot to promote private space travel," he said.
Industry representatives and some former government officials say the private companies, in it for profit, are displacing NASA at the leading edge of human space travel.
In 2004, President George W. Bush announced a plan to send astronauts back to the moon by 2020 — more than 50 years after Neil Armstrong bounded down the ladder of Apollo 11 — but space entrepreneurs doubt that a taxpayer-financed program can succeed.
"NASA is increasingly irrelevant," Benson declared. "There is no way this country is going to support a $103 billion Apollo-on-steroids return to the moon.
Copyright 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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The Italian artist duo explore our interaction with the Internet today through photographs, videos and stills at Carroll/Fletcher
Until the 18th of May, Italian duo Eva and Franco Mattes descend upon Carroll/Fletcher gallery with a body of photographs, videos and stills that observe Internet behaviour and the ways we interact with the screen. Here the couple give an exclusive preview of their 2010 piece 'No Fun', as well as offering their thoughts on the people and ideas that inspire their work.
Dazed Digital: The title of the show will change every day. Have the names already been agreed upon or will audience reactions inform your decision?
Eva and Franco Mattes: I wish we had all the titles! The idea came from not having a title and wanting to delay making that decision every day...
DD: In your 2010 piece No Fun Franco, you faked your own suicide via webcam to an audience of chat-room users. Did this pose any kind of moral problem for you?
Eva and Franco Mattes: It did, in the beginning I was a bit ashamed of the idea but I have to say that when we started the performance a lot of reactions made me feel confortable. In more than one moment I was the one who was shocked...
DD: Tumblr and blogging sites allow us to repost images without crediting the original artist. This has angered many, while others see it as a natural evolution away from creation and towards curation. Where do you stand on this debate?
Eva and Franco Mattes: Working with fakes can be very frustrating, because the better the fake, the more difficult it's going to be to get credited as the author. For instance a photo of one of the works in the show, called Rot (a little jar of glass full of dead flies) spread virally online and people kept reposting it for different reasons. Of course our name is not attached to that image, but I don't have any problem with it. As long as the stuff keeps circulating I feel like it was worth doing.
DD: Do we not question the web, its uses and abuses, as much as we should?
Eva and Franco Mattes: I'm very optimistic about the internet, I think that if we humans survived 50 years of TV than we will definitely survive the internet.


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While BenStiller.net may have been in hibernation this month, Ben Stiller has been all over the place, launching a new charity in support of Save The Children.
Aping his friend Lance Armstrong, the campaign is called "STILLERSTRONG" with proceeds going towards construction, furnishing and maintenance of a new school in Cévérine, Haiti.
Stiller has been promoting the effort in a series of YouTube videos, starting with this intro:
So far, over $122,000 has been raised. Donations can be given through the StillerStrong.org website; through a $5 text message; or by purchasing a "StillerStrong" headband, ranging from $14.99 to $300 for limited autographed editions.


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Current Weather
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Grab your sweaters! November-like weather is on the way for the Midwest
Another batch of chilly air will suppress daytime highs and create AccuWeather RealFeel® Temperatures as low as the 20s, 30s and 40s for some.
Daily coronavirus briefing: Disney plans to lay off nearly one-quarter of its workforce
The Walt Disney Co. shut down parks as the pandemic worsened in the United States. Now the company is feeling the economic toll lockdown restrictions have taken on its businesses.
Have a cough? How to tell if it is fall allergies or the coronavirus
Experts offer up two key symptoms to be aware of that could help to differentiate between seasonal allergies and COVID-19.
Home air purifiers that can help filter out wildfire smoke
With air quality plummeting in some parts of the country, it's wise to have a device that can help clean the air you and your family breathe in your home.
Road trip emergency gear in case of bad weather
It's hard to predict when a road trip emergency might occur, but if you keep a few survival basics in your car you won't have to worry about being unprepared.
AccuWeather School: Frost is not frozen dew
Frost forms under the same weather conditions as dew, except that temperatures have to be at or below freezing – so it makes sense that some people may think that frost is frozen dew, but that is not correct.


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When Crystal Dynamics said they were taking a more mature direction for the new Tomb Raider, they weren't kidding. Reports are in, and footage from the upcoming game is downright brutal: violent, merciless, and sexually explicit. Since the game is more a reboot than a prequel, the developers aren't torturing the bad-ass weapons and tomb expert we've come to know over the years — they're traumatizing a young, inexperienced girl. We have to wonder whether Lara will make it out alive with her sanity and endearing British wit intact.
Throughout my own childhood and adolescence, I threw Lara off cliffs and watched her die in the most painful ways possible for the sake of progressing. It was often difficult to figure out which rocky juts were actually viable platforms and which would send Lara plummeting to her doom. Taking risks was a natural part of Tomb Raider, and with the convenience of saving anytime in the earlier games, players never so much as blinked when their clumsy mistake caused Lara to careen off mountainsides, drown in underwater labyrinths, or die in the clutches of a mythological monster or ferocious bear.
Now when Lara suffers, we'll remember. The recent trailer from E3 and all of Lara's very vocal screaming suggests that every time she falls, she'll gain a new scar. Keeping Lara alive won't mean avoiding constant reloads as much as it will helping her to survive — and hopefully resist total mental and physical exhaustion.
One scene shown to journalists at E3 involved the sensitive issue of rape, and the developers included it as a quick-time event, no less — not a cinematic cut-scene, but an actual situation that could leave Lara even more of a victim than she already is.
During the writing of this article, Crystal Dynamics head Darrell Gallagher released a statement clarifying the nature of this scene, calling it "misunderstood":
In this particular section, while there is a threatening undertone in the sequence and surrounding drama, it never goes any further than the scenes that we have already shown publicly. Sexual assault of any kind is categorically not a theme that we cover in this game. … We're sorry this has not been better explained, we'll certainly be more careful with what is said in future.
Speaking previously to the Penny Arcade Report, he used the exact words "almost raped."
While reporters were obsessing over the idea of an attempted rape scene, it was worth wondering if the option to fail the scenario actually existed. When it comes to QTEs, that's a natural question to want to ask. How much would the developers dare to show, and should they flirt with such a topic that's a painful reality for so many people? Inadvertently, Crystal Dynamics did just that as soon as the media caught word of rape and the studio took too long to silence it. Either the scene would hypothetically fade to a game over screen, or players would be witness to Lara's agony, only to have her walk away presumably "stronger." It's difficult to imagine Lara continuing her adventure when so many survivors of sexual violence experience fear, depression, anxiety, and flashbacks of the event. Not to mention whether she'd have the strength to ever raid tombs again.
"Survivors of sexual violence and attempted violence may relate to the world differently after the trauma as a way to feel secure and safe," Miriam Elizondo, executive VP of client services at the Rape Crisis Center, told us in an interview. "They can withdraw, project anger to non-offending family members, and have a general lack of trust in others and the world. Even healthy relationships may suffer and be negatively impacted after an assault. "
"Generally speaking, when a person is recovering from extreme stress or trauma (i.e. sexual assault), additional stress may keep survivor from healing or working on original trauma," she says. "Survivors as any other individuals will work and try to cope with the most current stressing issue (i.e. shelter, food, safety, etc.) before they can begin to emotionally and psychologically heal from a trauma."
In other words, Lara could keep focused on leaving the island and saving her friends, if only for her own survival.
"Although," Elizondo says, "sometimes returning to the day to day stress (work, routine, school, parenting, etc.) may be helpful in the survivor's healing process because it can reassure them their ability to continue functioning and coping with life, at the same time it can give them a sense of control. Every new challenge in life can be seen as a new challenge to overcome and to try out the survivor's new set of coping skills."
When watching trailers and demos for the game, it's hard not to cringe. There seems to be no end to what the developers are willing to put Lara through. While fans might draw numerous connections to the gameplay of Uncharted, it's clear that what we're seeing is far from the hapless adventures of Nathan Drake — even at their most grim. It's doubtful that all of Lara's travel companions will survive the ordeal, and aside for Lara's self-referential "I hate tombs" line (think Indiana Jones and his feelings toward snakes), humor might be in low supply.
Whoever this Lara is destined to become by the end of the game, she won't be the same woman as the one we've gone on adventures with before.
"I don't think I'm that kind of Croft," she says in the "Crossroads" trailer, picking up a gun for what might be the first time.
"Sure you are," a voice responds. "You just don't know it yet."
Crystal Dynamics might be testing Lara's courage in taking a life, but perhaps they've also raised new questions about possibilities in gameplay — how far developers are willing to go, and how much gamers would risk to see.
Follow @wita on Twitter for tales of superheroes, plumbers in overalls, and literary adventures.


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Allergic rhinitis
Around 20-30% of Indian population suffers from allergic rhinitis.
If you sneeze a lot, if your nose is often runny or stuffy or of your eyes, mouth or skin often feels itchy you may have allergic rhinitis, a condition that affects 20-30 % of Indians.
llergic rhinitis, like skin rashes and other allergies, develops when the body's immune system become sensitized and overreacts to something in the environment that typically causes no problem in most people.
Signs and Symptoms :
1.) Sneezing
2.) Rhinorrhea
3.) Nasal Congestion
4.) Itchy nose , eye, palate and ears
5.) Tears in the eye
6.) Fever
1.) Skin-prick tests
2.) Blood tests
3.) Allegic tests
4.) Based on symptoms
Ayurvedic view of allergic rhinitis :
Virudhahara like fish and milk, fruit juice with milk, clarified butter with honey, cold drinks or fruits at night after dinner etc.
Ama(toxic) formation in the stomach
Kapha vitiation in the body
Agni mandyam(reduces digestive fire)
Vata aggravation
Rasa-rakta dhathu vitiation
Ojus khaya (reduces immunity)
When the same person exposed to the following factors
Vihara like suppression of natural urges like faeces
Inhalation of thikshna dravyas like peper, chilli, and dust.
Over exposure to sun
Vata aggravating factors like cold wind, cold food ete
Aggravated vata will move to nasal cavity and it will get obstructed by vitiated kapha at Sringataka marma(head), causes continous sneezing
Treatments in Ayurveda :
In Severe and chronic conditions
Internal medicines
After the detoxification and in mild conditions.
To balance Kapha - Vata dosha.
Improve immunity and strengthen the upper respiratory tract.
Rasayana like Agasthya rasayana, dasamoola rasayana, haridra khanta.
External therapies
Shiro abhyangam
Haridra dhuma
Taila dhara
Home Remedies
Boil ½ teaspoon of freshly grated ginger in milk. Add 2 pinches of turmeric powder. Take 2 times a day. Turmeric is a natural immune booster and very effective in allergic rhinitis.
Diet management
Take Light food, lukewarm water, Kapha nashaka foods like little spicy food, saindhav salt, legumes, soups etc.
Avoid heavy food, fermented food, too hot or too cold food, soar food, non vegetarian food, sweets, banana, curd, ice creams, deserts, cakes, yellow grams, etc.
Avoid Alcohol and cold beverages.
Lifestyle improvement
Use mask while driving vehicle or going through public places.
Always take warm water bath.
Do not expose to hot sunrays.
Regularly take inhalation of steam.
Regularly go for morning walk in warm weather.
Do sufficient exercise.
Do not get sleep at day time or immediate after dinner.
Take sufficient rest.
Ardha chandrasana
Salamba sarwangasana
Setu bandhasana
Allergic conjunctivitisAtopic dermatitis
Around 20-30% of Indian population suffers from allergic rhinitis. That 15% develops Asthma later in life.
Conclusions & experience
Ayurvedic remedies start to show improvements within two days. The treatment must be continued for minimum three months to cure it completely for long years.
Allergic rhinitis
Forum Rules


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1. Open up Visual C# Express (or Visual Studio), and create a new Windows Form project. Name it SoundExercise.
2. Wait for the IDE to do it's loading and then click on your Form1 to select it. Press the F7 key to go into that Form1's code.
3. Add using System.Media; to the Form1's using statements. (This is so we can use the SoundPlayer class)
4. Create a SoundPlayer instance, and set the soundLocation to the ever-popular Windows "Ding" sound.
public partial class Form1 : Form { public Form1() { InitializeComponent(); } SoundPlayer My_JukeBox = new SoundPlayer(@"C:\WINDOWS\Media\ding.wav"); }
5. Go back to the design tab of your Form1 and add a Button to it from the toolBox.
6. Double click the button you just dragged. Whatever we type between those brackets in the button1.Click() event will run whenever we click the button. How cool is that!
7. Inside the click event, write this code:
private void button1_Click(object sender, EventArgs e) { My_JukeBox.Play(); }
8. Now every time you click on that button, the "Ding" sound will play. Pretty neat
But what happens when you don't want to write down a physical adress on a users machine but you instead want to use your own project resource? It's easy, and I'll show you how.
You just have to change the adress of the .wav file when instancing the SoundPlayer class!
1. Right click on your solution and "Add" a "New Item" and select a "ResourceFile". Leave the default name
2. Filter the resources by selecting Audio Files:
3. Click "Add Resource" and navigate to C:Windows:Media:tada.wav
Ok, we have a .wav file in our resources so now let's use a new SoundPlayer class with it.
4. Create a new SoundPlayer by using the following line of code.
SoundPlayer My_BetterJukeBox = new SoundPlayer(Resource1.tada);
5. Now go back to Form1 design view, and add a new button.
6. Double click the new button and program this in the Click_event:
7. Now every time this button is clicked the resource .wav file will play.
This is particularly useful because now you don't have to manually type up where the resource is on your hard-drive. Only add it resources, and use it. Simple as that.
I hope you enjoyed this brief tutorial, if you have any questions please leave it in the comments area and I'll help you out.


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Last week, the body of the late Palestinian leader Yasser Arafat was exhumed and tissue samples were taken to be tested for signs of poisoning by the radioactive element polonium-210. As I wrote then, rumors have circulated since Arafat died in 2004 that this was not a natural death, that he was murdered by hostile agents from Israel.
These suspicions were reinforced last summer when preliminary testing of the 75-year-old Arafat's effects – his clothes, sheets, even his famed black-checked kaffiyeh showed trace evidence of the radioactive element. (Very trace because this is a hyperactive element with a half-life of a mere 138.4 days – a subject I covered in some detail in my post of last week).
But why would this particular element reinforce such suspicions? Because the most probable source of polonium-210 is from weapons-grade nuclear operations best known to be located in Israel, the United States (where polonium was essential to the World War II Manhattan Project) and Russia. This doesn't mean that these countries stockpile the element; this makes no sense with such an unstable material. But nuclear facilities provide a place where a concentrated (lethal) amount can be acquired. Most experts believe that this was the source for the polonium-210 used to murder Alexander Litvinenko, a former Russian spy and a dissident, in 2006.
In Litvinenko's case the radioactive material was slipped into some tea. If the tissue tests from Arafat's body confirm radiation poisoning, then the supposition would be that deliberately tainted food or drink would be the cause. But as those tests – being conducted in French, Swiss and Russian laboratories – are expected to take several months, it's worth considering some alternate scenarios. After all, polonium-210 is a naturally occurring element as well as a byproduct of nuclear machinery.
As this World Health Organization fact sheet points out, however, naturally occurring levels in soil and rock (mostly in ores also rich in uranium) are basically minuscule. It turns up in wastes from processing materials like uranium, although not in what WHO calls "significant amounts." Still there are two interesting points in this particular fact sheet. One is that it emphasizes the fact that polonium-210 has to be taken internally to be dangerous. That's because Po-210 primarily emits alpha particles (or alpha radiation). These are not penetrating particles – they can be blocked by paper, clothes, even our skin.
But if the element enters the body – if it's swallowed, inhaled, ingested in some way – it becomes deadly. One reason is the high level of radioactivity, the ceaseless spitting of particles that gives polonium-210 such a short half-life. As the WHO also notes, Po-210 is "5,000 times as radioactive as uranium." Which leads me to the other interesting point in this fact sheet. It was produced in 2006, shortly after the Litvinenko poisoning and it answers a key question about exposure by association:
People who come into contact with a person contaminated by Po-210 will not be exposed to radiation (irradiated) simply by being in the proximity of this person, unless they ingest or inhale bodily fluids of the contaminated person. For the general public, normal hygiene measures (such as thorough washing of hands and washing of fruit/vegetables before consumption) are sufficient.
All of this – the low level of natural occurrence, the very targeted efficiency of the poison – tell you that it's highly unlikely for anyone to accidentally receive a lethal dose of polonium-210.
But it is possible to give yourself a nasty little dose – and that's by becoming a heavy smoker of cigarettes. There's a detailed description of some of these risks at the website of Lenntech, a company that makes air and water filters. It cites among other things, data from the CDC that "Americans are exposed to more radiation from tobacco smoke than any other source." It also notes that polonium-210 has been isolated from both the blood and urine of heavy smokers.
Tobacco plants appear to neatly absorb the element from air and soil. In addition, tobacco growers have frequently relied on fertilizers enriched with phosphate by the mineral apatite, which often comes in tandem with radium, (Ra), an element known to decay to polonium-210. U.S. tobacco companies have known this since the 1950s; an industry study done in the 1960s showed, for instance, that filters do not remove radioactivity from tobacco smoke. As documents released through legal settlements showed, tobacco companies managed to conceal this risk from the public until the 1990s.
And risk is definitely the right word here. For a heavy smoker – say one smoking a pack-and-a-half of cigarettes a day – some studies estimate that the radiation exposure is equivalent to 300 chest X-rays a year. There are also scientists who believe that polonium-210 is the primary risk factor for lung cancer in smokers – not to mention low-level radiation sickness. It's thus not surprising that after the poison was discovered on Arafat's clothes, questions were raised about whether this could be just be evidence of cigarette exposure. After all, the Palestinian leader and many of his colleagues were known to be smokers.
The tobacco theory serves as reminder that sorting out the precise source of polonium-210, eight years after Arafat's death, is likely to be a complicated task. Does it undermine the deliberate poisoning theory? It should at least remind us that there are alternative explanations. But there's one other rather complicating point regarding the tobacco effect. The Israelis had a history of withholding cigarettes from Arafat as a form of punishment, as indicated, at least, in this 2002 story. If they'd maintained that, during his last days in their control, it seems unlikely that he would have been blanketed with radioactive smoke.
What does this tell us? That those pending tests still promise to bear some very interesting news. And that – although it's not news – smoking cigarettes adds nothing good to anyone's life story.
Images: 1) Cigarette/microbe.net 2) Yasser Arafat/Wikipedia


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Liberty spikers land six prospects for 2014-15 season
April 17, 2014 | Lynchburg, Va.
After receiving its first-ever National Collegiate Volleyball Federation (NCVF) ranking and placing 34th in the Division I-A bracket of the national championship tournament this spring in Reno, Nev., Liberty University's men's volleyball team is raising its sights for next season.
"We made some great leaps and bounds this year and we've already set team goals for next year," said Flames Head Coach Bryan Rigg, who was named the NCVF Coach of the Year after guiding his team to a runner-up finish to Virginia Tech in the Eastern Intercollegiate Volleyball Association (EIVA) South Division I tournament and qualifying for the EIVA East Coast Championships. "We want to be No. 1 in the South, we want to place first or second in the East Coast Championships, and we want to be one of the top 16 teams (in the DI-A Gold Bracket) at nationals. Those are certainly attainable goals."
To improve the Flames' chances, Rigg has hit the recruiting trail early and often this season, receiving six commitments for next year.
|At 6 feet, 5 inches tall, Luke Werth (17) will be a powerful hitter and blocker for the Flames at the middle of the net.
The biggest so far is Luke Werth, a middle hitter from Wisconsin who is 6 feet, 5 inches tall with a standing reach of 8 feet, 3 inches and a blocking height of 11 feet. He will replace graduate student Ryan Culkin and rotate in with Si Hershberger.
"Luke has all the physical tools that Ryan had and he's been playing volleyball for four or five years now, which puts him ahead of Ryan," Rigg said. "(Hershberger and Werth) should be the best two middle hitters in the league."
Liberty returns Josiah Williams, one of the best liberos in EIVA Division I South. Next year, he will be complemented by defensive specialist Sam Wyman from Pennsylvania, who will fill the shoes of graduating senior Steven Abbott.
"The two things we did best this year, which made us competitive, was our passing and our blocking," Rigg said. "So we're taking something that was our strength this year and making it even better, which is exciting."
Another promising prospect is Sam Kline, a 6-3 outside hitter from Ohio, who will provide depth behind Kevin Snyder (the Flames' leader in kills this year), Sam Eisbrenner, Kyle Beaumont, and Joel Marselus, who is returning from an injury.
"Our defense was stellar, but our offense struggled at times, particularly on the outside," Rigg said. "Joel will be getting healthy again and with Kyle having a year of practice under his belt, he's only going to improve. We're looking at a great season."
The Flames have also received commitments from opposite-side hitters Delsean Griffith and Andrew Glover and defensive specialist Troy Brown. Rigg is on the verge of landing another setter to back up rising senior Ethan Chase.
"This is definitely the strongest recruiting class we've ever had," Rigg said.
Liberty was inspired by seeing fellow EIVA members Penn State, Virginia Tech, and West Virginia compete in the quarterfinals of the NCVF DI-A tournament.
"We stayed and watched the quarterfinals and realized we were on level with those teams in a lot of ways," Rigg said. "We were playing teams we're within striking distance of, which is great. If we just work harder in practice, add two more inches to our vertical leaps, we'll be there."
To prepare for next postseason, when Liberty could host both the EIVA DI South tournament and East Coast Championships, Rigg plans to have the Flames travel to some challenging tournaments, possibly the Michigan State University Hardwood Classic in the fall and the Spring Shootout in Florida.


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See This/Skip That: From The Grand Budapest Hotel to Mr. Peabody & Sherman
Wes Anderson's whimsical offering is one of his best films yet, says PEOPLE's critic
Rise of an Empire is a fine sequel to 300, but PEOPLE's critic says you should check into The Grand Budapest Hotel instead. Here's what to see and what to skip in theaters this weekend.
See this
The Grand Budapest Hotel
Whimsy gets such a crappy rap. Granted, too many directors use it poorly, spraying their sketchily plotted, inartfully written films with cinematic chintz. But Wes Anderson is of an entirely different vintage. He uses massive amounts of whimsy – more than just about anyone else – but the difference is that he knows just how.
Take The Grand Budapest Hotel, for instance. The hysterically funny, criminally charming adventure could not be cuter or flightier, but Anderson grounds the film with genuine emotion and a fantastically ingenious plot that easily ranks as one of his best.
The film is structured like a Matryoshka doll, with nested plots and multiple narrators, all leading deeper inward. At the center is M. Gustave H. (Ralph Fiennes), the effete concierge of the Grand Budapest, an old-world repository of charm and hospitality. M. Gustave is no less courtly, mentoring new lobby boy Zero (played through the decades by Tony Revolori and F. Murray Abraham) and delighting his wealthy guests, like the ancient Madame D. (Tilda Swinton, nearly unrecognizable). He barely keeps his genteel facade from crumbling when police officers make their way into the hotel and put him in the clink. It seems he's accused of murder.
While Gustave employs his talents in the joint, Zero looks for help on the outside, with enough celebs to fill an Oscars selfie popping up in small but delightful roles, from Bill Murray, Adrien Brody and Owen Wilson, to Jude Law, Jeff Goldblum and Edward Norton. Meanwhile, a killer (Harvey Keitel) is on the hunt for anyone unfortunate enough to be connected to the murder, including Zero and his beloved, a gutsy baker named Agatha (Saoirse Ronan).
What follows is a rousing epic, with quintessential Anderson touches (miniatures, quirky camera work, fantastically implausible stunts), and beautiful set design. The performances step up to match, as they usually do in Anderson's work, with Revolori playing it dead straight as Zero, to terrific effect, while Fiennes revels in Gustave's archaic manners and amorphous sexuality. The effect is engrossing, a story in which one can get ever more lost until, sadly, the final chapter ends, the cover closes. But the feeling of The Grand Budapest lingers long after checkout.
Flip the Coin on This
Mr. Peabody & Sherman
This big-screen update of the beloved Rocky and His Friends/The Bullwinkle Show characters is appropriately punny and packed with action, but it's not nearly as smart as its resident genius, time-traveling dog Mr. Peabody (Ty Burrell). After a fight at school between bully Penny (Burrell's Modern Family daughter Ariel Winter) and his son, Sherman (The Neighbors' Max Charles), Mr. Peabody throws a dinner party to broker peace between the families. Instead, the kids take off in Mr. Peabody's WABAC time machine, leaving the top dog scrambling.
Burrell makes a dandy Peabody, with a fun but restrained voice performance that belies the loopiness of the action, as he and the kids venture back to the French Revolution, ancient Egypt and the Trojan War. But though the film makes her a mainstay in the action, Penny never becomes likeable, as she "matures" from torturing Sherman, to merely encouraging him to do dangerous things. By the end, though, she's hardly the problem, as the film devolves into mess that barely knows how to get back on track. Take the kids if you must, but otherwise, consider sitting this one out.
And You Bloodthirsty Types Should See This
300: Rise of an Empire
Welcome back to the ancient Greece of 300, where human life is cheap but the special effects decidedly are not. Fans of the '06 original should take to this sequel, with its unrelenting gore and familiar plotline. But even the twisted charms of Eva Green, as a vengeful Greek running the Persian forces, and Lena Headey returning for a small role as Spartan Queen Gorgo, can't replace the heft of the last cast, which included Gerard Butler, Michael Fassbender and Dominic West.
With Leonidas (Butler) dead, along with his elite 300 Spartan soldiers, Rise of an Empire backs up to a critical point in the conflict, when Athenian warrior Themistokles (Sullivan Stapleton) slays Persian king Darius (Igal Naor), but leaves son Xerxes (Rodrigo Santoro) alive to avenge his father. When the 300 fall, Themistokles again faces Xerxes's forces, this time led by the beautiful, ferociously lethal Artemisia (Green, who was the best thing about Johnny Depp and Tim Burton's 2012 Dark Shadows).
Empire borrows much of its fire from Green, who's a wicked delight as she seduces and destroys, separating men from their heads and their senses. And though Stapleton is solid as Themistokles, the rest of the film's modest fun comes from the clever plotting of its battles, as Artemisia and Themistokles take their epic fight to the sea.
For those who came for blood, you'll get it, spouting like geysers, splashing the screen and turning the waters crimson. What you probably won't feel is much of a connection to the Athenians, our purported heroes, who are as washed out as the signature 300 color palette. Still, if you're a fan of this ultra-macho franchise, that's hardly enough to turn you away.


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OCZ ATV Turbo 4GB: Back in May we looked at the Corsair Flash Survivor GT 8GB. This was Corsair's newest flash series at the time and instead of continuing with the memory speed race, the Flash Survivor GT focused upon being very durable. In our review of the Flash Survivor GT, we had thrown it to the bottom of a pool, severely beat it with a hammer, and boiled it in water, but at the end of the day, it performed like new with barely any signs of damage. Less than a month later at Computex Taipei 2007, at the OCZ private suite we came across their ATV Turbo series. We finally have this new OCZ flash drive in our labs and have tested it out in this review.
Copyright © 2020 by Phoronix Media. All rights reserved.


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CORONAVIRUS & THE COURTS: Help Keep Courthouses Safe - Wearing a mask in New Mexico Courthouses is REQUIRED - click here to see a list of mask requirements.
UPDATES (Including Information for People Representing Themselves)
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The Children's Court Mediation program serves children and families involved with CYFD Child Protective Services due to allegations of abuse, abandonment, and/or neglect. A trained professional mediator meets with parents, attorneys, CYFD case workers and others to help everyone talk about disagreements related to the safety and well being of the children. Anyone involved with an abuse and neglect case may request mediation. Mediation is confidential and free.
These comments were taken from surveys filled out by parents/guardians after their mediation:
Open adoption is an adoption that allows for an ongoing relationship among the birth family, adoptive family, and adopted child. Open adoptions may include extended family members such as birth grandparents and siblings.
There are many degrees of openness ranging from a very limited exchange of information between birth and adopting parents, such as regular exchanges of letters and photos (either directly or through a third party) to actual contact between birth parents and adopted child.
In every adoption with any amount of openness, it is important that the birth family and adopting family have the same understanding of what "open" means and that they remain committed to meeting the needs of the child throughout the child's life.
Open adoption mediation refers to a process for mediating of a Post Adoption Contact Agreement (PACA). This is an agreement between the birth parents and prospective adoptive parents that allows for some type of contact between a child's adoptive family and members of the child's birth family after the adoption has been finalized. Consistent with New Mexico Statute 32A-5-35, a PACA is filed as part of the final Open Adoption Decree and is enforceable by the Court.
PACA mediation is a voluntary, confidential process facilitated by a specially trained and experienced mediator. The mediator helps parties explore and consider different types of contact that support the safety and best interests of the child. The mediator does not make decisions for the parties nor does the mediator give legal advice or psychological counseling.
Usually, mediation involves the adopting parent, the birth parent and the mediator. In some cases, the children, other siblings or their families, grandparents, and/or other people important to the child may be a part of the mediation.
Open adoption mediations are conducted consistent with the New Mexico Court Improvement Project (CIP) CIP Best Practices for Open Adoption and Mediating Post Adoption which includes the CYFD Guidelines for Completing a Mediated Open Adoption.
Once there is a plan of adoption, an identified adoptive family and the birth family and prospective adoptive family have agreed to mediation, a referral is made to the regional coordinator.
Parents and their attorneys, CYFD, the GAL, Youth Attorney, CASA or the Court may request mediation. A stipulated court order is filed by the CYFD Attorney.
The regional coordinator assigns a mediator to the case. The mediator contacts all the interested parties to schedule an initial meeting and to answer questions about how mediation works.
The mediator meets first with all interested parties and their attorneys to review the mediation process and to clarify issues, including who is responsible for writing the final PACA. All parties sign a Mediation Agreement.
The mediator then meets with birth and adoptive families only to discuss and identify contact terms and conditions. The mediator is responsible for distributing a Post-Adoption Contract Agreement to all parties and their attorneys for review. If parties are unable to reach an agreement, the mediator will distribute a No Agreement Letter.
The Adoption Attorney or other designated attorney drafts a final agreement, circulates it to all parties and their attorneys, and ensures that the agreement is signed by birth and adoptive parents and is filed with the Court as part of the final adoption decree. A copy is also placed in the CYFD case file.
Follow-up mediation sessions may be scheduled to resolve outstanding issues. The mediator may also reconvene all parties to finalize the PACA.
In addition to the birth and prospective adoptive parents, a copy of the PACA will be placed in the CYFD case file, as per CYFD Guidelines. Consistent with New Mexico Statute 32A-5-35, all Post Adoption Contact Agreements are filed, as part of the final Open Adoption decree, and are enforceable by the Court.


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Jeremy Irons claims 'Beautiful Creatures' isn't his kind of film.
Despite starring in the upcoming fantasy adventure, the 64-year-old actor would never have chosen to watch it in the cinema and admits he only took the part as mysterious house-bound Macon Ravenwood because he needed a new job.
He explained: "It's not the sort of film I would ever go see. [As an actor] you should have a business box and an artistic box and they should never cross. In truth, it was a studio movie, which I hadn't done for a long time, and part of the job is placing yourself for future employment.
"I liked Richard [LaGravense] the director; I knew Emma [Thompson] was involved; and it was [being shot] in New Orleans which is a city I had a great time in when I made 'Lolita'."
The film, based on 'The Castor Chronicles' novel series by Kami Garcia and Margaret Stohl, has drawn comparisons to the Kristen Stewart and Robert Pattinson fronted franchise 'Twilight' thanks to its supernatural teen romance, but Jeremy isn't worried and thinks the younger generation will lap it up.
He said: "It doesn't mean anything to me... I'm sure kids will love all the supernatural stuff."
tagged in Emma Thompson Jeremy Irons


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..:: Introduction ::..
With every Gigabyte motherboard that has previously entered the MBReview testing labs, each one has always walked away as a proven winner. Gigabyte was not purely known for breakaway performance in the past, but they sure have put the petal to the metal lately while still pleasing the enthusiast crowd with a full fledged product package at just the right price.
This time around, Gigabyte is one of the first manufacturers out of the gate with a VIA KT600 chipset based motherboard. In fact, they have no less than three versions in their product lineup with this chipset. The one we will be looking at today is the budget 7VT600-L and has integrated LAN.
Will the Gigabyte 7VT600-L be a flop? How much performance will you get from a KT600 motherboard over previous VIA chipset based motherboards? Is it worth your time to upgrade and spend hard earned money? These questions and many more will be answered for you in our review of the Gigabyte 7VT600-L.
..:: Gigabyte GA-7VT600-L Specifications ::..
- Socket A for AMD Athlon XP/Athlon/Duron
- 400/333/266/200MHz FSB
- VIA KT600 Northbridge
- VIA VT8237 Southbridge
- Realtek RTL8101L 10/100 Mbps LAN
- Realtek ALC655 6-channel Audio CODEC
- 6 x USB 2.0 ports (VT8237 built-in)
- 3 x DDR DIMM Sockets
- Max. 3GB unbuffered PC3200/PC2700/PC2100/PC1600
Expansion Slots
- 1 x AGP 8X
- 5 x PCI
- 2 x UDMA/133/100/66
- 1 x FDD
Special Features
- STR (Suspend to RAM)
- Thermal Shutdown Protection
- Front panel audio connector
Back Panel I/O Ports
- 1 x Parallel, 1 x Serial
- 1 x PS/2 Keyboard, 1 x PS/2 Mouse
- 1 x Audio I/O (Line In, Line Out, Mic In)
- 2 x USB 2.0, 1 x RJ-45 Port
BIOS Feature
- 2Mb Flash ROM, Award BIOS
- Q-Flash and @BIOS Update Methods
- CPU/AGP/DDR Voltage Adjustments
- CPU/AGP/DDR/PCI Clock Adjustments


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Three Beers for Drinking, Two Turtle Doves and a Partridge in a Pear Tree
Tis' the season for sucking on candy canes until they could be classified as a prison shank. It's also the season for getting way too drunk on Christmas cheer at the company holiday Christmas party.
That next morning can be a little awkward, so remember: nothing says "I'm sorry for grabbing your wife's Christmas hams" better than a six-pack of some of the finest beer the market has to offer. We'll also help you avoid giving anyone their least favorite style of beer; it doesn't matter how great you think a beer is, if the person you are giving the beer to isn't a fan of that style all you have given them is a cluttered fridge.
PALM Ale
Style: Amber Ale
From: Belgium
Cost: $9.99 a six pack
PALM ale is wonderfully malty ale with a beautiful hazel hue. It's the perfect gift for the guy who normally drinks domestic light beer because it's not overly bitter or hoppy. The six packs come in a fully enclosed box so it is easily wrapped. If you cannot find PALM ale at your local beer store try Fat Tire from New Belgium Brewing.
Bell's Two-Hearted Ale
Style: American-style IPA
From: Kalamazoo, MI
Cost: $9.99 a six pack
Full disclosure, Bell's Brewery is my favorite brewery in the country. Bell's is the Bo Jackson of breweries, it can brew anything. Bell's knows how to brew stellar IPAs, Stouts, Summer Wheat Ales, etc. Make sure the person you are giving the gift of Two-Hearted Ale likes really hoppy beers. IPAs were originally brewed with more hops and higher levels of alcohol in order to make the voyage from Britain to India during British Colonialism before the luxury of refrigeration, hence the hoppiness. Bell's Two-Hearted Ale has a vivid, citrus-y hoppiness with a satisfying, bitter finish. If you cannot find Bell's Two-Hearted Ale at your local beer store try Dogfish Head 90 Minute IPA.
Saison Dupont Vieille Provision
Style: Saison
From: Belguim
Cost: $10.99 for a 750mL bottle
Saison Dupont Vieille Provision is the perfect beer for a wine snob. Its carbonation is similar to vintage champagne. Its palate is both fruity and yeasty reminiscent of many sparkling wines. If you cannot find Saison Dupont Vieille Provision at your local beer store try Hoegaarden (pronounced who-gar-den, not like a greenhouse brothel).
With any luck, these awesome beers should soften the blow and make for a perfect apology. If you did something worse, you might want to up the ante to whiskey. We'll get to that soon.


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The latest version of the ZScript Command Reference is now available. This is essential reading for all Zscripters and includes commands new to ZBrush 4.
ZScript is ZBrush's built-in scripting language. It provides a way to automate common or repetitive tasks as well as add new functionality to ZBrush. It's the language behind zscript recordings, tutorials, macros and plugins.
Writing zscripts can be both rewarding and fun, and you don't need any specialist knowledge to get started. All the necessary information is now on the Wiki, with introductory documentation and sample zscripts, as well as the command reference :
Happy ZScripting!


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Who states that landscape designs is restricted for your backyard or yard garden? Getting a roof garden provides a more dramatic touch to the structure. It works as a secret hideaway in the city's busy existence.
You wouldn't will need to go far to be able to be one with character for you'll find it in home's and hotel's roof. Yes, it is impressive the way a roof garden has been produced and made to suit the requirements of the customers. Additionally, it may give anybody a place ideal for relaxation and entertainment. Read more [ via : bonkee ]


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States of Opportunity
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Don't miss Senior Staff Writer Ross Wilkers Interview with Leidos executive Donnelly Bohan about the technology, strategy and success behind the company's Sea Hunter project.
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In this episode of the Project 38 podcast, we talk to Hitachi Vantara Federal leader David Turner about a project at Disney World that can teach the federal government how powerful the Internet of Things and data can be.
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This is a post by Thomas W. Phinney in a 1995 altcomp news group http://learning.north.londonmet.ac.uk/epoc/typhis.htm and we reprint it here for nonprofit educational purposes, and to protect it in the event the link goes dead. With Mr. Phinney's permission, we have taken the liberty of enhancing the texts by adding links where appropriate, and updating links that were used in another transcription, but had gone dead. No changes were made to the original content other than those noted.
Throughout the text you can hover over the "*" asterisks following a word or passage to see a definition, or click on the asterisks link for a fuller description. Fonts and major names links will take you to pages for those items.
Thomas W. Phinney wrote this forward to his discussion of the history of typography:
It is difficult to cover all the developments and movements of typography in a short space. My separation of evolving technologies from the development of typefaces is an artificial one -- designs and the technology used to create them are not truly separable -- but perhaps it is conceptually useful.
Where names of typefaces are used, I attempt to use the original name: there are often clones with very similar names.
I shall update, clarify and correct this essay periodically, and will be happy to credit contributors. I can be contacted through my blog at http://www.thomasphinney.com/.
And, thus we present Phinney's work, beginning with this section:
Type Technology The Four Revolutions
Gutenberg (ca. 1450-1480) & The Impact of Printing
Before the printing press, books were produced by scribes (at first, primarily based in monasteries, although by the 12th century there were many lay copiers serving the university market). The process of writing out an entire book by hand was as labor-intensive as it sounds (try it some time): so much so that a dozen volumes constituted a library, and a hundred books was an awe- inspiring collection.
This remained true until the invention of movable type, the perfection of which is attributed to Johannes Gutenberg* (although the Chinese had it several centuries earlier, and a Dutch fellow named Coster may have had some crude form a decade earlier). Gutenberg, (Picture) although a man of vision, did not personally profit from his invention. He worked for over a decade with borrowed capital, and his business was repossessed by his investors before the first mass-produced book was successfully printed the Gutenberg Bible of 1454, printed in Mainz by Fust* and Schoeffer*.
Gutenberg's basic process remained unchanged for centuries. A punch made of steel, with a mirror image of the letter is struck into a piece of softer metal. Molten metal is poured into this, and you get type. The type is put into a matrix to form the page of text, inked, then pressed into paper.
Within several decades typesetting technology spread across Europe. The speed with which it did so is impressive: within the first fifty years, there were over a thousand printers who set up shops in over two hundred European cities. Typical print runs for early books were in the neighborhood of two hundred to a thousand books.
Some of these first printers were artisans, while others were just people who saw an opportunity for a quick lira/franc/pound. The modern view of a classical era in which craftsmanship predominated appears unjustified to scholars: there has always been fine craft, crass commercialism, and work that combines both.
To those who have grown up with television, radio, magazines, books, movies, faxes and networked computer communications it is difficult to describe just how much of a revolution printing was. It was the first mass medium, and allowed for the free spread of ideas in a completely unprecedented fashion. The Protestant Reformation might not have occurred, or might have been crushed, without the ability to quickly create thousands of copies of Luther's Theses for distribution.
Many groups sought to control this new technology. Scribes fought against the introduction of printing, because it could cost them their livelihoods, and religious (and sometimes secular) authorities sought to control what was printed. Sometimes this was successful: for centuries in some European countries, books could only be printed by government authorized printers, and nothing could be printed without the approval of the Church. Printers would be held responsible rather than authors for the spread of unwanted ideas, and some were even executed. But this was a largely futile struggle, and most such restraints eventually crumbled in the western world.
Industrial Revolution
Steam, Line-casting & Automated Punch-cutting (start 1870-95; end 1950-65)
Amazingly, the printing press and the science of typecutting had only minor refinements from the late 1600s to the late 1800s. Towards the end of this period, the industrial revolution brought major innovations in printing technology. Rotary steam presses (steam 1814, rotary 1868) replaced hand-operated ones, doing the same job in 16 per cent of the time; photo-engraving took over from handmade printing plates.Typesetting itself was transformed by the introduction of line-casting machines, first Ottmar Mergenthaler's* Linotype* (1889), and then the Monotype* machine. Essentially, line-casting allowed type be chosen, used, then recirculate back into the machine automatically. This not only introduced a huge labor savings in typesetting, (again, on the order of the 85% reduction in printing time), but also rendered obsolete the huge masses of metal type created by the previously existing type foundries. While typesetting and printing speeds increased phenomenally, so did the speed of punchcutting*. In 1885, Linn Boyd Benton* (then of Benton, Waldo & Company, Milwaukee) invented a pantographic device that automated the previously painstaking process of creating punches. His machine could scale a drawing to the required size, as well as compressing or expanding the characters, and varying the weight slightly to compensate for the larger or smaller size this last being a crude form of the optical scaling done by skilled typographers making versions of the same font for different sizes.
In optical scaling, the thickest strokes retain the same relative thickness at any size, but the thinnest strokes are not simply scaled up or down with the rest of the type, but made thicker at small sizes and thinner at large display sizes, so as to provide the best compromise between art and readability. (Linn Boyd Benton was also a type designer, and father of the prolific Morris Fuller Benton*, designer of dozens of faces including New Century Schoolbook. He managed manufacturing at ATF from 1892 until 1932, the year of his death.)
The economic impact of all these advances on the type industry cannot be overstated. For example, in the United States, the majority of type foundries escaped a bankruptcy bloodbath in 1892 by merging into a single company, called American Type Founders (ATF). Ultimately twenty-three companies merged into ATF, making it far and away the dominant American type foundry.
Also around this time, the "point"* measurement system finally reached ascendancy. In the earlier days of printing, different sizes of type had simply been called by different names. Thus, "Brevier" was simply the British name for 8-point type of any style. Unfortunately, these names were not standardized internationally; 8-point type was called "Petit Texte" by the French and "Testino" by the Italians. Such a naming system also allowed wonderful confusion, such as "English" referring both to blackletter type, and a 14-point size; "English English" was thus a 14-point blackletter*!
Pierre Simon Fournier* had first proposed a comprehensive point system* in 1737, with later refinements, but what was ultimately adopted was the later version developed by Francois Ambroise Didot*. This put approximately 72 points to the inch (and now exactly 72 points to the inch on most computer-based typesetting systems).
(Intertype et. al., start 1950-60, end 1975-85)
The first photo composition devices (the French "Photon" and Intertype's Fotosetter) made their debuts as early as 1944, but didn't really catch on until the early 1950s. Typeface masters for photocomposition (Phototypesetting) are on film; the characters are projected onto photo-sensitive paper. Lenses are used to adjust the size of the image, scaling the type to the desired size. In some senses this technology was an "improvement," allowing new freedoms, such as overlapping characters. However, it also pretty much eliminated optical scaling (see 2.2, above), because in the rush to convert fonts to the new format, usually only one design was used, which was directly scaled to the desired size.
Digital (start 1973-83)
The earliest computer-based typesetters were a hybrid between the above-mentioned photocomposition machines and later pure digital output. They each had their own command language for communicating with output devices. Although these machines had advantages, they also had problems. None of these early command languages handled graphics well, and they all had their own formats for fonts. However, some of these devices are still in service as of 1995, for use in production environments which require more speed and less flexibility (phone books, newspapers, flight schedules, etc.).
In the late 1980s PostScript*, developed by John Warnock* Charles Geschke*, gradually emerged as the de facto standard for digital typesetting. This was due to a variety of reasons, including its inclusion in the Apple Laserwriter printer and its powerful graphics handling. When combined with the Macintosh, the first widely used computer with a what-you-see-is-what-you-get display (WYSIWYG*) and PageMaker* (called the first desktop publishing program), the seeds were all sown for the current dominance of computer-based typesetting.
A portion of the high-end typesetting still involves printing to film, and then making printing plates from the film. However, the increasing use of high-resolution printers (600-1200 dots per inch) makes the use of actual printing presses unnecessary for some jobs. And the next step for press printing is the elimination of film altogether, as is done by a few special systems today, in which the computer can directly create printing plates.
Today, although PostScript predominates, there are a variety of competing page description languages (PostScript, HP PCL, etc.), font formats (Postscript Type One and Multiple Master*, Truetype* and Truetype GX, and today's Open Type*) computer hardware platforms (Mac, Windows, etc.) and desktop publishing and graphics programs. Digital typesetting is commonplace, and photocomposition is at least dying, if not all but dead. Digital typefaces on computer, whether Postscript or some other format, are generally outline typefaces, which may be scaled to any desired size (although optical scaling is still an issue).
There has been considerable economic fallout from all this in typography. Although some digital type design tools are beyond the price range of the "average" user, many are in the same price range as the mid- to high-end graphics and desktop publishing programs. This, combined with the introduction of CD-ROM typeface collections, has moved digital type away from being an expensive, specialized tool, towards becoming a commodity. As a result of both this and the brief photocomposition interregnum, the previously established companies have undergone major shakeups. Major vendors, such as American Type Founders, have failed to successfully make the digital transition, and gone bankrupt instead (although at this time ATF has undergone a resurrection). More recently, even major digital type foundries have --dare one say foundered?-- on the shoals of ubiquitous cheap typefaces.
Although there is a new accessibility of type design tools for hobbyists and professional graphic artists, the decreasing value of individual typefaces has resulted in a decrease in the number of working type designers per se (both independents and company-employed).
Next, we continue this history of type and look at Type Forms Through the Centuries
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Beyond Judgment
Those who experienced imprisonment (and, more generally, all who have gone through harsh experiences) are divided into two distinct categories, with rare intermediate shadings: those who remain silent and those who speak. Both have valid reasons: those remain silent who feel more deeply that sense of malaise which I for simplicity's sake call "shame," those who do not feel at peace with themselves, or whose wounds still burn. The others speak, and often speak a lot, obeying different impulses. They speak because, at varied levels of consciousness, they perceive in their (even though by now distant) imprisonment the center of their life, the event that for good or evil has marked their entire existence. They speak because they know they are witnesses in a trial of planetary and epochal dimensions. They speak because (as a Yiddish saying goes) "troubles overcome are good to tell." Francesca tells Dante that there is "no greater sorrow / than to recall happy times / in misery," but the contrary is also true, as all those who have returned know: it is good to sit surrounded by warmth, before food and wine, and remind oneself and others of the fatigue, the cold and hunger. It is in this manner that Ulysses immediately yields to the urgent need to tell his story, before the table laden with food, at the court of the king of the Phaeacians. They speak, perhaps even exaggerating, as "bragging soldiers," describing fear and courage, ruses, injuries, defeats, and some victories, and by so doing they differentiate themselves from the "others," consolidate their identity by belonging to a corporation, and feel their prestige increased.
But they speak, in fact (I can use the first person plural: I am not one of the taciturn) we speak also because we are invited to do so. Years ago, Norberto Bobbio wrote that the Nazi extermination camps were "not one of the events, but the monstrous, perhaps unrepeatable event of human history." The others, the listeners, friends, children, readers, or even strangers, sense this, beyond their indignation and commiseration; they understand the uniqueness of our experience, or at least make an effort to understand it. So they urge us to speak and ask us questions, at times embarrassing us: it is not always easy to answer certain whys. We are neither historians nor philosophers but witnesses, and anyway, who can say that the history of human events obeys rigorous logic, patterns. One cannot say that each turn follows from a single why: simplifications are proper only for textbooks; the whys can be many, entangled with one another or unknowable, if not actually nonexistent. No historian or epistemologist has yet proven that human history is a deterministic process.
Among the questions that are put to us, one is never absent; indeed, as the years go by, it is formulated with ever increasing persistence, and with an ever less hidden accent of accusation. More than a single question, it is a family of questions. Why did you not…
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Copyright © 1986 by Guilio Einaudi editore s.p.a., Torino. Translation copyright © 1988 by Simon and Schuster, Inc.


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Let us pray in thanksgiving for the life of Fr. Mark J. Link, SJ, who died on Wednesday, January 18, 2017, at Colombiere Center in Clarkston, Mich. He was 92 years old, a Jesuit for 66 years, and a priest for 56 years.
Mark was born on April 21, 1924, in Coldwater, Ohio. He entered the Society of Jesus on September 2, 1950, at Milford Novitiate in Milford, Ohio. He was ordained a priest on June 12, 1960, at West Baden College in Indiana. He professed final vows on February 2, 1977, at Canisius House in Evanston, Ill.
Before entering the Society of Jesus, Mark obtained a bachelor's degree in architecture from the University of Cincinnati in 1950. While in the Society, Mark earned licentiate degrees in philosophy (1956) and sacred theology (1961) from West Baden College. He earned a diploma in catechetics from Lumen Vitae in Brussels, Belgium (1963).
Throughout his Jesuit life, Mark was a writer and teacher. During his regency he taught English and algebra at the University of Detroit Jesuit High School (1956–57). He was an author in residence at Loyola Press (1963–67), and he taught religion at Saint Ignatius College Prep in Chicago (1967–80) and theology at Loyola University Chicago (1980–83). Mark worked at the Catholic Community of St. Elizabeth Ann Seton in Plano, Texas (1983–89), before directing his energies to full-time writing from 1990 to 2001. From 2001 to 2005, Mark did retreat ministry at Bellarmine Jesuit Retreat House in Barrington, Ill. He then moved to Rockhurst High School in Kansas City, Mo., and worked on the development and implementation of the website www.StayGreat.com (2005–07). From 2007 to 2010, Mark was an author in residence at Loyola University Chicago. In 2010, he moved to Colombiere, where he continued writing until his death.
Mark wrote for both the young and the old. He authored books for young people such as Path Through Scripture, Path Through Catholicism, and The New Catholic Vision. The "2000" Series, which includes Challenge, Vision, Mission, Action, Bible, and Psalms, helped older people incorporate the daily Mass readings into their ongoing prayer. In Praying the Way Jesus Prayed, Mark used Jesus' example as a model to explain how individuals can pray in a richer and deeper way.
In the 2000s, when Mark was in his 70s, he decided to focus his writing efforts on helping young people to pray. He realized that times had changed and that the Internet was a more effective medium than books, so he created www.StayGreat.com, a website which inspires young people to achieve their full human and spiritual potential. It continues today.
Saturday, January 21, 2017
11:15 a.m.
Colombiere Center
9075 Big Lake Road
Clarkston, MI 48346


text: I was at OSCON this week, and my friend Erik Kastner and I did a talk about development environments. Specifically what to avoid and how to keep environments consistent across development and production. As usual the slides are not fully explanatory without seeing the accompanying talk but here they are anyway:


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Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Wednesday, June 13, 2012
Harry Fredman, Al Chaite and the Fredman/Chaite Studios
... Cooper's main rival in the commercial art studio business of those days.
Thanks to Murray Tinkelman's ongoing oral history of the illustration business and Neil Shapiro's articles in Illustration magazine, the details of 'who, what and when' at Cooper's is quite well known.
Unfortunately, there's far less information out there about Fredman/Chaite.
When I interviewed Mitchell Hooks in 2008, he described his personal experience as an illustrator working at F/C. Mitchell had worked for Al Chaite early in his career, when Chaite was the studio manager at an outfit called Trager/Phillips. He told me Al Chaite was a sort of 'journeyman studio manager' - but he did not mention Chaite was also an accomplished illustrator. Yet here is a fabulous double page spread Chaite is credited with illustrating, from Collier's, in 1954.
By '54 Al Chaite had left Trager/Phillips far behind. He had found a partner in Harry Fredman and opened a studio at 62 West 47th Street in New York. From Mitchell's description, it sounds like it was quite a remarkable place. It occupied a six-story townhouse and was "a great big bustling building full of illustrators, most sharing offices in groups of two or three."
"There were always more arriving during the day, and the place was open until 10 or 11 o'clock, so you'd see all sorts of freelancers there all the time working late into the night."
Who took up residence at Fredman/Chaite? For starters, how about Bob Peak, Frank McCarthy, Robert McGinnis and John Buscema?
And what about Harry Fredman, the other half of Fredman/Chaite? Virtually nothing is known about him, aside from the brief description Mitchell gave me:
Harry Fredman was "a tremendously talented (and wildly successful) illustrator who had the uncommon touch of imitating the style of the time."
Here are some examples of what Mitch was talking about.
By the early '50s Harry Fredman's work seems to disappear from all the magazines for which he worked. The Al Chaite piece near the top of this post is the only one I've ever found. It's likely that both men were kept too busy managing a major New York advertising art studio to invest their time in actually creating any illustrations of their own.
What became of either of them or their studio remains a mystery.
7 comments:
What a great selection of work. Once again; well done Leif Peng!ReplyDelete
"Al Chaite was a sort ofReplyDelete
"Journey new studio manager""
Nice quotation Leif, I like your quotations by the way & nice journey here on TI all the way;
let's keep on commenting all of us:-)
Beautiful stuff here! I know that deadlines were always an issue, but these guys really pushed the "How can I say something amazing in as few strokes as possible" approach to new heights!ReplyDelete
Love the page designs. Thank you so much for uploading all these and for the corresponding info. One of my favorite blogs : )ReplyDelete
Let me fill you in on Harry Fredman. After his studio days he went to Kansas City where he concentrated on portraiture. More importantly he started a small studio school in various commercial spaces in mid-town KC where one would learn the "Harry Fredman approach to drawing and portraiture."ReplyDelete
I first heard about him as a young illustrator from Mark English [also a KC resident] as a teacher with rigorous drawing chops and was fortunate enough to take his classes now and then from the early eighties to about 1990. His method involved meticulous measuring and we started with the individual features of the face before going on to a full portrait in black white and grey. Only after we had that down would we move on to color. Very controlled approach but it really ironed out some weaker aspects of my drawing and freed up my illustration work. A real personality as well. At the large dinner of former students to honor his passing
everyone had a chance to stand up and tell one story about their time with Harry.
Back in the early '80s, Harry rented the office space at Metcalf 101 next to my design studio, Apple Design. My wife and I were immediately captivated by his charm and impressed with his tremendous talent. We both enrolled in one of his portraiture classes and got to know him as a teacher as well as a friend.ReplyDelete
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departures and arrivvals
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text:
The first-ever Ryder Cup Captains & Celebrity Scramble golf event will have some serious star power. Bill Murray, Justin Timberlake, Michael Phelps, George Lopez, Ernie Banks, Richard Dent, Stan Mikita and Scottie Pippen are scheduled to play.
The event will begin at 1 p.m. on Sept. 25, the first day of Ryder Cup practice rounds for both the U.S. and European teams at Medinah Country Club. Fans with tickets for Tuesday's sold-out practice round will be able to watch the scramble.
The celebrities and sports stars will be paired with past Ryder Cup Captains to play 10 holes of Medinah's Course No. 3 as part of a team in a scramble format. Participating past Ryder Cup Captains include Ben Crenshaw, Tom Kite, Tom Lehman, Corey Pavin, Dave Stockton, Hal Sutton, Lee Trevino and Lanny Wadkins.
For more information, visit www.RyderCup.com.
Twitter @TeddyGreenstein


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Introduction to Buckminster
- 1 Welcome to Buckminster
- 1.1 In Its Simplest Form
- 1.2 Where Does Buckminster Get Things?
- 1.3 What is a Component?
Welcome to Buckminster
If you've already read this introduction, you can skip straight to the reference material.
In Its Simplest Form
In its simplest form, Buckminster solves the following problem:
- Your colleague say "ok, project Overland is ready for you to work on - just check out com.megacorp.overland from CVS and get started.
- You checkout com.megacorp.overland and discover that it has unresolved project dependencies.
- "Oh yeah," he says, "you have to checkout project overwater as well". Of course that doesn't completely solve the problem...
- "Also you have to get the latest undersea.jar from the central FTP server."
- Eventually, after a few rounds of this, you have the whole set of resources and you are ready to go to work.
In its simplest form, Buckminster is a tool for materializing a workspace. As a component developer, your workspace is the set of components you are working on plus all of their prerequisite components. Under Buckminster, components are projects. In pictures, the workspace (the cloud) is initially empty, then you ask Buckminster to materialize the component (the box), after which the workspace contains the component:
(Bear with us on these pictures - right now they are trivial, but
soon Buckminster's complexity will make the pictures useful.)
Because component A has pre-requisites B & C which have prerequisites themselves, the actual result is something like this:
Component A is the one you are working on;
components B, C & D are pre-reqs that must be in the workspace.
Where Does Buckminster Get Things?
Once you've grasped that Buckminster materializes components, the next big questions in your mind is probably "what are components?" and "where does Buckminster get the components?". Components are collections of files (a.k.a. resources) and are represented in Eclipse by projects. Components can be retrieved from a variety of different repositories. The most common repositories are a CVS repository or an FTP server, but almost anything (databases, file systems, auto-generator programs, etc) can be used via the org.eclipse.buckminster.core.readerTypes extension point.
Component A being retrieved from a CVS repository
and prerequisite component B from an FTP server.
Of course the story is a bit more complicated than the simple picture because the component retrieval takes into account various version naming schemes, but we'll get into that later. For now, this picture is good enough.
How Does Buckminster Find The Repositories?
So the next question you're asking yourself is how does Buckminster know which component is stored in which repository? Knowing what you know about Eclipse, you know the projects are linked to Team (CVS) repositories. However there are actually two concepts: the component and its storage location. Separating these two concepts is like separating interface and implementation in good software design. Buckminster does this separation through a level of indirection known as a resource map. The resource map (rmap) provides location information for families of components. When Buckminster needs to load component A, it looks in the rmap to determine the repository containing A, then goes to that repository and loads A. Then because A requires B and C, Buckminster looks in the rmap for information on B and C, goes to those repositories, loads those components, and so on.
The resource map maps components to storage locations.
Why Is The RMAP Useful?
This separation of component and storage location is useful because it allows Buckminster to retrieve the same component from potentially many different storage locations. The rmap has a number of areas of flexibility. First, the rmap defines storage locations for families of components rather than single components. Thus one can say "find all the Apache components on the Apache ftp server" without having to specify "find Apache Struts on the Apache ftp server and find Apache Cocoon on the Apache ftp server and find ..." ad nausea. Second, the rmap defines a search path of storage locations to search for a component. Thus one can say "first look in my local repository, then look in my team's repository, then look in my corporate group repository, then look in the Eclipse public CVS repository".
One More Useful RMAP Feature
Last, but not least, the rmap allows different search paths for different distributed development sites. Thus the rmap for Team Stockholm would list the same component families as the rmap for Team Winnipeg, but with different local repository servers. TCP round-trips from Canada to Sweden are slower than TCP round-trips from Canada to Canada, thus the Winnipeg team maintains a replicated CVS repository for certain components.
Buckminster allows both teams to use the same rmap - the exact same file - but to define a different site, and thus a different set of search paths. Obviously the central servers (probably the last entry in each search path) would point to the same central Swedish servers so that if the components were not cached locally, they would be fetched across the Atlantic.
Winnipeg in purple, Stockholm in pink
Back to Simplicity
We have described many useful features of the resource map, but to avoid cluttering the picture, let us retreat to the basics: the resource map (rmap) is mapping from components to storage locations.
For details of the rmap XML schema, see the reference manual.
What is a Component?
A component, in the Buckminster parlance, is a collection of files or sometimes one single file. For most Buckminster users, a component is an Eclipse project, but components are a larger concept than that - components can be external to Eclipse, components can have sub-components, etc.
Components Do Not Stand Alone: Dependencies
Components may depend on other components but a fundamental concept in Buckminster is that it's not until you do something with a component that the dependencies arise. Depending on what you do, you might need different things. Buckminster will separate the actions (what you do) from the dependencies (what you need). The actions are described in an Action Specification (aspec). This will be covered later. The dependencies are described in the Dependency Specification (dspec). The dspec describes all dependencies without respect to what actions that should be performed.
A component has zero or more dependencies
Obviously Buckminster finds the closure of the dependency graph when it materializes a workspace. The closure will always be in the form of a Directed Acyclic Graph (DAG). In our pictorial example, component A requires components B and C, and component B requires component D, and component C requires component D, so when Buckminster will load all four into the workspace.
Versioned Dependencies
Software has always been a challenging field because, unlike the continuous (or analog) nature of the real world, software is discrete (or digital). Thus a feature that worked in version 4.5 of the system may no longer work in version 5.0 or even in 4.6 or even in 4.5.1. Thus cspec dependencies include a version matching clause.
There are two pieces of a version match clause:
- The version string
- The version type
Normally, the version string would be something simple like "4.5". However, because Buckminster is designed for and by software developers, and because software is not developed in a linear fashion, the version string is more complex (and more useful) than the simple "4.5". Specifically, the version string can denote a range. The characters '[' and ']' are used to denote an inclusive range and the characters '(' and ')' will denote an exclusive range. Here are some examples:
|[1.2.3, 4.5.6)
|1.2.3 <= x < 4.5.6
|[1.2.3, 4.5.6]
|1.2.3 <= x <= 4.5.6
|(1.2.3, 4.5.6)
|1.2.3 < x < 4.5.6
|(1.2.3, 4.5.6]
|1.2.3 < x <= 4.5.6
|1.2.3 <= x
Examples of version ranges.
Buckminster is not limited to the major.minor.micro number notation used in this example. That notation is just one of several possible notations. Each notation corresponds to a version type. The type interprets the version token(s) of a range and assings a magnitude to the result so that versions can be compared. Buckminster allow new types to be added dynamically.
Mapping Versions to a Revision Control System
The versions used in the dependency specification will often be meaningless to a revision control system. Buckminster will therefore use a Version Converter. It is the responsability of the converter to create something that a revision control system can understand. The converter will also be able to convert in the other direction and it plays a very important role when the best match for a version string is to be found in a revision control system. The version will typically be converted into branches and tags.
Branches and versions of component C that one might find in a revision control system.
Component A depends on the specific
version "main/2.0" of component C
TODO: Fix this image. Branch/Tag combinations are not typcial in the dspec.
The component DAG with explicit branch specifiers on each depedency.
The Simplest Case of Versions
The simplest version numbering (branch specifications) is the linear version numbers: 1.0, 1.1, 1.2, 2.0, etc. Linear version numbers are the base case: a revision control system with just one main branch.
Component B has one main branch, the <default> branch.
When the component dependencies have no branch specifier, Buckminster uses
which translates to "the latest version of the default branch". The
default branch varies by revision control system: CVS uses "HEAD", SVN
uses "trunk",
ClearCase uses "main", etc.
Component A's dependency on component B has no branch
specifier, thus Buckminster uses B:<default>/LATEST
If the cspec dependency includes a version number, Buckminster uses a version converter to translate the version number into a branch specification. The most common translation is "version" into "<default>/version". For example:
Component A's dependency on component B is version "2.0"
which gets translated to "<default>/2.0". Similarly, the dependency
on component C is "1.1" which gets translated as "<default>/1.1".
Looking at the branching diagram above, we see that "<default>" is
"main", thus Buckminster will load "main/1.1" to satisfy that dependency.
What If There Isn't a Revision Control System?
What if the component is not stored in a revision control system? For example, what if the component is stored in an FTP directory? The answer is that the providers and component readers defined in the rmap handle reading versioned components from the appropriate repository. If the repository does not provide versions, then the component reader treats the repository as if it has just one version: <default>/LATEST. Requesting any other branch specification will fail.
Or, to put the situation more positively, Buckminster treats a "no revision control system" situation as a simple revision control system that provides only one branch and one version.
The Flexible Case of Versions
MOREMORE other tag naming
MOREMORE resource maps, search-paths, providers.
MOREMORE ref earlier pictures
MOREMORE picture of A, B, C, D with complex labels
MOREMORE org.eclipse.buckminster.core.componentTypes and dynamic cspecs
MOREMORE component queries
MOREMORE action specs


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Satellite-derived interannual ocean bottom pressure variability and its relation to sea level." Geophysical Research Letters (2013): n/a - n/a. Abstract"
Self-attraction and loading effects on ocean mass redistribution at monthly and longer time scales." Journal of Geophysical Research 116, no. C8 (2011). Abstract"
Uncertainty in ocean mass trends from GRACE." Geophysical Journal International 181, no. 2 (2010): 762. Abstract"


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Forum rules | FAQ | Technical help | Announcements | New members start here
DEVSML...smells like lavender.Sorry folks, inside joke.Tim.
For the longest time I thought GD was Gosh Darn't. Come to find out it's just Goatdog.
That sounds scary.
Yes, yes it does.
What is: "VFR direct"??Thanks
UHD = Untrainable Hound Dog
He JMTU. (just made that up.)
Looks like I missed to post above...oh well


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If you are like me, you could count the number of times you wish you listened to your intuition and didn't. Let's see...the short list consists of when I went to get a lump checked in my breast, when I let the people that owed me a lot of money for work delay payment, when the high-risk OB/GYN tapped my belly to see if my 37-week-old child was developing properly, missed and sent me into immediate labor. Believe me, that is the rundown on my VERY short list, and these are only the three big ones that come to mind. There are thousands of other day-to-day situations where intuition pops up and we either choose to listen or we choose to ignore it.
One of the things I have been working on is to learn to listen to that voice a little better. It's clear to me that it saved my life. Had I not had what I thought was a normal lump checked, I would have never found the aggressive invader lurking in my body. It is a scary thought because I know that six years prior to that check I would have never had a mammogram. However, I think how just as easily, I could have missed it. If I were in a bigger hurry that day, would I have missed that warning sign? I met so many women who had ignored that little voice and others who had ignored many well meaning physicians who told them their lumps were safe and nothing was wrong. Some pushed the envelope because they just didn't feel right. I know for me, I tend to ignore my voice when I feel someone else is more schooled than I would be in a given subject. The lesson is really that no one will ever be more educated about your body than you. If you just listen, all the signs are there.
I remember not believing that my biopsy results were real because I felt so good. However, if I look back (you know that hindsight is 20/20 thing) I was extremely tired. I couldn't get over jet lag almost a month after a trip, I found myself alone in a hotel room in Rome as my girlfriends went out without me because I was tired. I slept all day once (something I have only done on weekends home from college and mostly did to avoid cleaning my room). They were small signs, but they were there. Look for your signs, listen to your signs. My wish is that you all stop for at least one moment each day and truly listen to your body. It's always trying to tell you something, whether or not you listen is up to you.
Important: The views and opinions expressed in this article are those of the author and not Everyday Health.


text:
Man remains hospitalized after fire that killed wife, children
Bracken Co. fire remains under investigation
A Kentucky man remained in critical condition four days after being injured in a house fire that killed his wife and children and destroyed their home.
Kentucky State Police Trooper David Jones told The Kentucky Enquirer that 45-year-old Keith Doss was still unconscious and under sedation in the University of Cincinnati Hospital on Wednesday.
Doss' wife, Rani Doss, and her four children were killed in the blaze. They were 16-year-old Dylan Thomas Eldred, 13-year-old Michael Edward Doss, 6-year-old Bradley Joseph Doss and 6-year-old Emily Ann Doss. Bradley and Emily are twins.
All died from smoke inhalation sustained in the fire.
Rani's 29-year-old sister Sheila Werber and Sheila's 28-year-old husband Stephen Werber survived the fire without injuries.
The fire remains under investigation.


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Does this being moved to TAR 24 give any hints?
i hope rachel and brendon our not on this season
Why am I getting this feeling of a mix cast between old and new racers.
i just hope they will not bring back teams who already got 2nd chance, although they are fun/likeable. that's not fair. and.... i hope they will bring back BROOK & CLAIRE
Peach, because I can't comment to the contestant thread, what do you mean by the racers are safely underway? You may PM me and delete this post because I know this is not the right place to ask this.
Quote from: Kamineko on October 16, 2013, 12:18:25 PMPeach, because I can't comment to the contestant thread, what do you mean by the racers are safely underway? You may PM me and delete this post because I know this is not the right place to ask this. Safely underway means we have confirmation (via a live sighting) that the season has started filming. Just to re-iterate what Peach has said - if you know for a fact the identity of a team, you may not publicly disclose it here until filming has begun. This is to protect the potential racers from disqualification and to ensure that WRP's/CBS's investment in the recruitment of the team is not fruitless.You may feel free to speculate and create wish lists for potential teams at will.Oh - and just because some internet hack has posted that they know who the teams will be for TAR 24 - doesn't make it true...
I'd say that NaNa, Bopper & Mark, Dave & Connor are likely locks but Dave & Connor depends on whether Dave is healed.
I just don't want any all stars any time soon.... does that count?
I don't want Brenchel back but if they are like first boot then that's cool xD I'd like Abbie & Ryan and James & Abba to return personally.
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