text:
The Lattice iCE40 FPGAs have LVDS inputs, but they don't actually have LVDS outputs - they 'emulate' LVDS outputs using two LVCMOS outputs and three external resistors, which "should be surface mounted as close as possible to the FPGA output pins"!
I have had a go at putting together a DVI / HDMI Pmod by level-shifting 3.3V down to 1.2V using a SN74AXC8T245, and then feeding that (AC-coupled) into a PTN3366 to achieve proper TMDS / CML outputs:
My monitor recognises the signal as 640x480 @ 60Hz, but has trouble keeping sync, and I am getting some weird interference / glitchy vertical lines - my feeling is that this may be due to high-frequency 'reflections' and requires better hardware design... my hope is that someone will spot something in the code that may help?
This is based on Mike Field's work (see below lnks) and uses the iCE40's DDR output mode to get 250MHz outputs from a 125MHz clock...
I have a couple of these Pmod boards to spare if anyone else wants to take a crack at it?
Have you checked the timing report with icetime?
Been meaning to have a go at this myself, nice job on the hardware! Had a go at building the code (not sure what PMOD you are using, so I picked 1) and timing estimate is indeed not great at ~60MHz which is a probable cause of the issues. nextpnr does a better job, with a quick seed sweep I got much closer (122MHz).
Thanks for the tip about nextpnr - I am trying to compile it, but honestly it is like pulling teeth!
Have run into two separate roadblocks so far:
So... many pulled teeth later and I have nextpnr working! (Thanks @daveshah!)
Turns out the interference was actually due to the cable though... I had been using a 1.5m HDMI to DVI cable, and trying hard to optimise the code any way I could - eventually I kidnapped the monitor from the family computer (which has a HDMI input), switched to using a 0.5m HDMI to HDMI cable... and no more interference! Sync was still a little glitchy, but a couple of minor adjustments to the original unoptimised code fixed it! The code is still a little 'fragile', but a picture is worth a thousand tiny cuts:
This is excellent work @uXe, I'm impressed, do you think you get the resolution higher with nextpnr improved timing?
...possibly? it is only working very experimentally at the moment though - small changes here and there in the code sometimes throw the whole thing off... This is definitely right at the edge of my 'enthusiast-level' skills! Happy to send you the eagle files if this is something you would be interested in developing further?
Have banged out a small write-up of this:
When @daveshah and I were discussing built in HDMI support on BlackEdge we were looking at adding PTN3366 onboard but weren't sure it actually added a lot for us.
I would be interested in what you results are bypassing (not using PTN3366)., i.e. just with the SN74AXC8T245 (and caps), perhaps you can try this and compare it.
Yes I would love to look at the cad files and schematics of your implementation.
I don't think this would work? From what I have read, DVI / HDMI signals are only supposed to have a 0.4V range? This is what the PTN3366 does - takes the AC-coupled 0V to 1.2V signal and attenuates / translates that into a 0.4V peak-to-peak CML (Current Mode Logic) signal... seems like the ECP5 can do LVCMOS12 though, so you can skip the SN74AXC8T245 there.
One other alternative is using series resistors (instead of the SN74AXC8T245) into the PTN3366 directly calculated with the 50r internal termination and caps, it will still prob on one of the Pmods with shorter tracks to ice40.
I think you should also just try it using caps directly to the HDMI connector, it would probably work given conversations with @daveshah..
Files are now here (only airwires though - have been told the layout was 'triggering' ):
@uxe kindly send me one of his devices and I have it working:
It is a bit variable for me as it was for @uXe. It loses sync, and some builds works, some don't, and some have significant glitches. I am using 20cm and 50cm HDMI cables.
I have experimented with using nextpnr to improve the timing and the results are variable.
I am using the --freq and --opt-timing parameters. Perhaps @daveshah can tell me if there are other parameters that I should try.
When I set --freq 125, nextpnr works, although icetime gives the timing estimate as 97.71 Mhz. That build works but with significant visual artifacts.
If I set --freq 150, nextnpr fails saying the maximum frequency for clk_x5 is 135.76.
If I set --freq 135, the build works but I get no HDMI signal. Similarly for --freq 140. which reports a max frequency for clk_x5 of over 150 Mhz, but produces no HDMI output.
So varying --freq changes whether the build produces HDMI output and what sort of glitches it produces. The timing estimates from nextnpr and icetime are significantly different but it looks like they are reporting on different clocks.
The build with the best timings are not the ones that perform best.
@uxe tells me there are issues with his Verilog driving code, so maybe they are more significant that the timing..
...after some time away from this I've had a couple more ideas for refactoring the code - sync should be more solid with this version @lawrie?
EDIT: have made one more update, nextpnr didn't like the SB_GB clkGlobalBuffer_inst
SB_GB clkGlobalBuffer_inst
Also might need to check your pin assignments - looks like your colour bars are coming out in a different order to mine?
As you did not provide a pcf file, I tried the pin assignments both ways when it wasn't working. I believe I did have it working in the same order as you in one working build, but I do not seem to be able to reproduce that now.
This is my current pcf file:
set_io clk100 129
set_io hdmi_p[0] 94
set_io hdmi_p[1] 91
set_io hdmi_p[2] 88
set_io hdmi_p[3] 85
What Pmod are you using and it which order?
I also cannot get your new code to work at the moment. I get no signal from it. Whether builds work with nextpnr seems to depend on the --freq that I set.
This is my current Makefile:
VERILOG_FILES = minimalDVID_encoder.v
chip.bin: $(VERILOG_FILES) hdmi.pcf
yosys -q -p "synth_ice40 -json chip.json" $(VERILOG_FILES)
# arachne-pnr -d 8k -P tq144:4k -p hdmi.pcf chip.blif -o chip.txt
nextpnr-ice40 --freq 125 --hx8k --package tq144:4k --json chip.json --pcf hdmi.pcf --asc chip.txt --opt-timing
icetime -d hx8k -P tq144:4k chip.txt
icepack chip.txt chip.bin
.PHONY: upload
cat chip.bin >/dev/ttyACM0
.PHONY: clean
$(RM) -f chip.blif chip.txt chip.ex chip.bin waves.vcd tb
Apologies for that! Here's mine:
set_io clk100 129 # Onboard 100Mhz oscillator
set_io hdmi_p[3] 1 # PMOD27 = PMOD 7/8 pin 5
set_io hdmi_p[0] 2 # PMOD26 = PMOD 7/8 pin 7
set_io hdmi_p[1] 9 # PMOD25 = PMOD 7/8 pin 9
set_io hdmi_p[2] 10 # PMOD24 = PMOD 7/8 pin 11
...seems weird to have them in that order, I know, but that is how they are lined up in the connector:
Could you post your Makefile as I cannot get that pcf file or your new code to work at the moment.


text:
Tuukka Rask backstopped the Boston Bruins to their, 3-0, shutout victory over the St. Louis Blues at TD Garden Saturday night, while David Pastrnak added yet another goal to his league-leading goal scoring totals in the win.
Rask (5-0-1, 1.48 goals against average, .952 save percentage in six games played) turned aside all 26 shots that he faced for his 2nd shutout of the season (and 47th of his career).
The Bruins have three shutouts in 10 games this season.
Meanwhile, Blues goaltender, Jordan Binnington (4-2-3, 2.53 GAA, .916 SV% in nine games played) made 21 saves on 23 shots against (.913 SV%) in the loss.
Boston improved to 4-0-1 at home this season and 7-1-2 (16 points) overall– good enough to remain in 2nd place of the Atlantic Division. St. Louis fell to 5-3-3 (13 points), but stayed in 3rd place in the Central Division standings.
Bruins defenders, Kevan Miller (knee) and John Moore (shoulder) have yet to make their season debuts, but are progressing according to plan with Miller expected to begin practicing with the rest of the team next week and Moore still sidelined until mid-November.
David Krejci (upper body) missed his 3rd consecutive game and was ruled out for the weekend by Boston's head coach, Bruce Cassidy. Krejci is hopeful to return on Tuesday night against the San Jose Sharks.
Meanwhile, Joakim Nordstrom returned to the lineup after missing the last two games with an upper body injury and Karson Kuhlman (hairline nondisplaced fracture of the right tibia) is out for at least four weeks.
Kuhlman sustained his fractured tibia in Boston's game against the Toronto Maple Leafs on Saturday, Oct. 19th while blocking a shot. He missed his 2nd consecutive game this season Saturday against the Blues.
As a result of all the injuries plaguing the B's, Cassidy switched things up among his bottom-six forwards with Nordstrom's return to action.
Anders Bjork joined Par Lindholm on the left side, while Danton Heinen was shifted to right wing on the third line.
Meanwhile, Nordstrom was reunited with Sean Kuraly and Chris Wagner in their usual spots on the fourth line.
David Backes and Steven Kampfer were Boston's only healthy scratches against St. Louis.
Vladimir Tarasenko (upper body) was out for the Blues in their first matchup against the Bruins in Boston since winning their first Stanley Cup championship in franchise history on June 12th at TD Garden in Game 7 of the 2019 Stanley Cup Final.
Less than a minute into the action, Bruins captain, Zdeno Chara leveled Oskar Sundqvist with a big hit near St. Louis' bench.
Blues forward, Brayden Schenn, responded to Chara's hit and the two players were escorted to the penalty box with roughing minors 38 seconds into the first period.
Both teams skated 4-on-4 as a result for two minutes, then resumed full strength afterwards with no issues until about five minutes later when Torey Krug and David Perron got into a bit of a shoving match.
Krug was penalized for holding the stick and Perron received a roughing infraction as a result. Both penalties were called at 6:13 of the first period and once again– the two teams skated 4-on-4 for a couple minutes.
Late in the opening frame, Perron was guilty of holding Charlie Coyle and sent to the sin bin as a result at 14:08.
Boston capitalized on their first power play opportunity of the night as Pastrnak (11) blasted a one-timer through Binnington's seven-hole to give the B's the game's first goal at 14:59.
Krug (7) and Brad Marchand (10) had the assists on Pastrnak's power play goal and the Bruins led, 1-0.
Less than a minute later, Kuraly was penalized for cross checking Vince Dunn and the Blues went on the power play at 15:49.
St. Louis wasn't able to convert on the skater advantage– what would become a trend for the Notes all evening.
Finally, to wrap up the first frame, Sundqvist got his stick caught in Connor Clifton's skate and tripped the Bruins defender at 18:12.
Boston's ensuing power play would carryover into the second period.
Through 20 minutes of action Saturday night, the Bruins led St. Louis, 1-0, on the scoreboard and, 10-9, in shots on goal.
The B's also held the advantage in blocked shots (3-2) and giveaways (5-1) entering the first intermission, while the Blues led in takeaways (6-3), hits (10-9) and faceoff win percentage (57-44).
St. Louis was 0/1 on the power play, while the Bruins were 1/2 on the skater advantage heading into the second period.
Despite starting the middle frame with 12 seconds left on the power play, Boston's skater advantage went powerless for the rest of the night after Pastrnak's first period power play goal.
But midway through the middle frame, Bjork (1) ripped a one-timer over Binnington's glove on a pass from Matt Grzelcyk to put Boston ahead, 2-0.
Grzelcyk (2) and Heinen (1) tallied the assists at 9:31 of the second period as Bjork snapped a 17-game goal drought.
Just 11 seconds later, Krug hooked Perron and presented St. Louis with their second power play of the night at 9:42. The Blues did not convert on the advantage.
In the vulnerable minute after a special teams effort, Sundqvist didn't use his better judgment and boarded Charlie McAvoy at 12:06, resulting in a power play for the Bruins.
At least Boston didn't score on the ensuing skater advantage.
With less than a minute left in the second period, Grzelcyk interfered with Alexander Steen at 19:17 and was sent to the penalty box accordingly, yielding 1:17 of time carried over on the power play for St. Louis to start the third period.
After two periods in Boston, the Bruins led, 2-0. The B's held a, 19-16, advantage in shots on goal– including a, 9-7, advantage in the second period alone– and led in giveaways (7-3), while the Notes led in takeaways (10-6), hits (21-16) and faceoff win% (68-33).
Both teams had five blocked shots aside entering the second intermission.
Boston was 1/3 on the power play, while St. Louis was 0/3 on the skater advantage.
St. Louis began the third period with 1:17 left on their power play, but couldn't muster anything on the fresh sheet of ice, leaving the Bruins unharmed.
Early in the final frame of regulation, Colton Parayko hooked Bjork and was sent to the box at 4:02 of the third period.
Boston didn't score on the resulting power play.
Midway through the third, Krug was penalized for holding 2019 Conn Smythe Trophy winner, Ryan O'Reilly, and sent to the box at 8:22, but once again the Blues were powerless and let another skater advantage slip by.
With 2:35 remaining in the game, Blue head coach, Craig Berube pulled Binnington for an extra attacker.
At 19:11 of the third, Brandon Carlo (1) cleared the puck out of his own zone and into the empty twine to make it, 3-0, Boston with an unassisted goal.
The Bruins won, 3-0, at the final horn, despite being outshot, 26-24, in the action.
Boston finished the night leading in blocked shots (11-8), while St. Louis finished leading in hits (27-22) and faceoff win% (60-40).
Both teams ended up with nine giveaways each.
Boston travels to Madison Square Garden for their second game in back-to-back days for a Sunday night matchup with the New York Rangers before finishing the month of October at home Tuesday night versus San Jose.

subset: commoncrawl


text:
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text:
| 12.1°C Belfast
The family and friends of two Scottish miners missing after an explosion in a New Zealand coal pit are desperately waiting for a delayed rescue mission to begin.
Pete Rodger, 40, from Perthshire, and Malcolm Campbell, 25, from St Andrews, Fife, are among 29 men missing after a fireball ripped through the Pike River mine in Atarau on South Island.
Rescue teams have still not entered the mine, more than three days after a debris-laden blast tore through the pit's underground tunnels.
Officials are drilling a 500ft (152m) hole from the mountain above the mine to assess air quality and to lower listening devices, but as the hours drag on hopes for the men are beginning to fade. A hi-tech robot was also being prepared to be sent into the mine to transmit pictures and take more measurements.
New Zealand police said there was still too much combustible and noxious gas present for rescuers to safely enter, despite fresh air being pumped down the mine through an open air line.
Mr Campbell's father, Malcolm senior, 50, and mother Jane, 45, said they were clinging on to the hope of receiving some good news about their son. They told STV News: "We can't concentrate on anything, we can't sleep because it's difficult. Our prayers and thoughts go out to everybody who is going through this in New Zealand. We just keep hoping that everything will be fine."
Mr Rodger moved to New Zealand two years ago to be near his mother and sister who emigrated there. His New Zealand-born girlfriend, Dianne Morris, wrote on Facebook: "Just got to keep having positive thoughts."
Police and mine rescue crews later acknowledged for the first time that the miners may not have survived.
Police Superintendent Gary Knowles said rescuers were keeping an open mind. However, he added: "But we are planning for all outcomes and, as part of this process, we're planning for the possible loss of life as a result of what's occurred underground."
Prime Minister David Cameron and Prince William have sent messages of support and Scotland's First Minister Alex Salmond told BBC Reporting Scotland: "We are concerned obviously for the fate of all 29 of the miners who are trapped. But the fact that two Scots are among them and two Scottish families have that immediate concern makes that all the more immediate for people across Scotland. But there's no more we can do than send our best wishes for rescue."


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text:
November 30, 2006
Figonzola sandwich
I'm going to pre-empt this little travelogue of mine by saying that while I was in Phoenix, the friend I was staying with took me the most gorgeous gourmet supermarket I've ever seen! AJ's Purveyor of Fine Foods. AJ's is many things, it is a sophisticated grocery, an indoor farmer's market bursting with beautiful produce, a bistro, deli, wine cellar, sushi bar, salad bar, a butcher's corner, a seafood grotto, a flower shop and a pastry shop. The staff was friendly and helpful, the atmosphere luxurious yet warm and cozy, and the items on the shelf, they were fine indeed! I don't think I could live in a place that has an AJ's, I'd go broke for sure.
So anyway, this is where I bought the lovely Provençal Fig Jam I used in my sandwich as pictured above. (BTW, yay! My first box has arrived! :D) The jam is heavenly, it is made from the freshest red figs simmered with just the right amount of brown sugar. Some of you may already know that I have a love affair with the combination of fig and gorgonzola. So intense is this love affair that I even gave it my own term of endearment: Figonzola. Sigh...doesn't it sound so romantic? ;) Even more so when said with an Italian accent.
So as soon as I had the chance I popped open the jar, spread a a nice amount of the jam on whole wheat bread, layered it with gorgonzola cheese and then topped it all of with some apple slices for a nice crunch. Oh my my! It was good. Seriously. I've already enjoyed the jam on a toasted and buttered bagel, and as a topping for my yogurt. I'm quickly running out though. Must order more!
11 comments:
Ack! I am so going there and begging for some of that sandwich! It looks and sounds phenomenal! Figonzola...I love it (wait til Katrina sees this!) :)
Nens, we need to get some of Ian's Butter Pecan ice cream because we had it with fig jam and the combination was crazy-good!
- December 01, 2006 10:21 PM
- Oggi said...
Ooh, I love fig preserves and apple sandwich but with manchego. I must try your figonzola and the ice cream suggested by joey.
- December 01, 2006 11:06 PM
- Unknown said...
Now make it a grilled sammich and we're in buisness!
- December 02, 2006 11:37 AM
- christine said...
Oh no, Jo, you need to come quick because I don't have much left. But I've ordered more. Wow ice cream and fig jam?! I'm so there!
Oggi, I sometimes have guava jam with manchego in pan de sal! I love the sweet-salty combination. :)
Garrett, I did! I grilled the next one on my George and it was even better. I always prefer my sandwiches grilled, regardless of filling, it just always tastes better.
- December 02, 2006 12:13 PM
- Didi said...
All this fascination with FIG from Joey, Marketman, Lori and now you!! Makes me really really curious on this stuff!! :)
- December 02, 2006 2:24 PM
- briliantdonkey said...
Guess I will have to be in the minority. Anything involving bleu cheese or Gorgonzola(same thing to me but I know most say different)is out the question. I can't get either one of them past my nose. blechhhhh!
Lol, just had a vision of My nose LITTERALLY growing instantly and blocking off my mouth like a hockey goalie. And then mixing it with jelly? wow that sounds like a wacko combination. Don't get me wrong I LIKE wacko combinations(see bananna and butter sandwiches, tuna fish with mustard and cheese, for instance) but Me thinks I will have to pass on this one. That said, what do you know, you made me hungry again. At least it isn't 2 am this time.
- December 03, 2006 1:46 AM
- Señor Enrique said...
I get suddenly hungry whenever I read your food posts, Christine! Boy, would I love a sandwich now.
- December 04, 2006 7:33 AM
- christine said...
Candishh, I'm sure you would love it too once you try it. I really wish we had access to fresh figs here in the Philippines.
BD, somehow I'm not very surprised with your reaction, I know this isn't your type of thing. And btw, I LOVE banana and peanut butter sandwiches (or did you really mean banana and butter? in that case you are wacko :p), and though I've never tried tuna fish with mustard and cheese, it sounds like something I would like as well.
Hi Eric, hehe, that isn't a bad thing right? :)
- December 04, 2006 3:21 PM
- Watergirl said...
Nena, we had butter pecan ice cream and I had a jar of fig jam (not your figonzola, but a good substitute) with the roast duck a couple of months ago. It was a great combination, and definitely something to do again.
As for jams with cheese, I too was not into it until I was in my late teens. Best with a sharp cheese though as the processed kind never has that right balance of salt. I love grating a cloud of queso de bola and then mixing it with blueberry preserves, eat it with a toasted brioche. Yummers.
- December 06, 2006 9:23 AM
Am late to the party (still trying to catch up on all the blogs), but I'm HERE and oooohhhhmigosh, Nena, that picture just pulled my eyes straight to it! It was like, "Teotihuaaat's that sandwich?!" ;-) Cheese & jam/fruit is one of my fave combos. And yes, grilled is always best with sandwiches, especially with lots of butter! (There I go with my butter obsession again...) But, like BD, blue cheese just isn't for me. Give me the fig jam with manchego, or maybe pecorino, or good ol' quezo de bola...Which brings me to: Mila! Grating QdB and mixing it with jam?! Do you melt it then, or just eat it that way? I MUST try that ASAP, what perfect timing for the holiday QdB overload!
- December 06, 2006 9:03 PM
- christine said...
Mila, Joey told me about that! It sounds too good to be true, so I gotta try it for myself! I would have never thought of combining jam and ice cream, what an interesting thought. OOohhh queso de bola, I love it with guava jam (one of my most favorite jams thanks to my lola).
Katrina, I love the combo too! The combination of sweet and salty, with the crunch factor of the crusty bread or a few slices of apple, it's just perfect.
Ok girls, we should have a cheese and jam party! Like our own little cheese club. We can even include raclette and cheese fondue. Oh gosh, wait I need a bib for all this drool.
- December 08, 2006 11:55 AM


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Release Date: February 21, 2018
BUFFALO, N.Y — Collective trauma and resilience are compelling Parkland High School students to rally in Tallahassee, Florida, today for gun control, mental health and school safety, says Mark Seery, PhD, assistant professor of psychology at the University at Buffalo.
An expert on resilience, vulnerability and stress, Seery says a collective trauma — like that experienced by the Parkland students — often produces a resilience and an urgency that inspires people, even those not directly affected by a tragedy, to take on big challenges like advocating for new laws or other societal changes.
Below, Seery summarizes the current research on collective trauma and resilience. He is available today for interviews and can be reached at firstname.lastname@example.com.
Collective trauma can inspire action, even by those not directly affected
"By collective trauma, I mean a potentially traumatic event that affects an entire community, if not the entire nation," Seery says. "With constant media coverage, it is possible for people to experience psychological symptoms even if they were not literally at the school themselves. This has been documented, for example, after the terrorist attacks of 9/11. For this reason, it would make sense to me if not just students at the school were taking action, but also if other more distant people did the same. Beyond people who were already politically active, this could prompt young people who have never championed anything before to act now as a result of having been touched by this horrible event in a real and individual way."
Resilience gives students some sense of control and purpose
"By resilience, I mean coping well with stressful situations. Research suggests that being able to find slices of control in stressful situations can contribute to responding to them with resilience," Seery says. "The fundamental events of this tragedy cannot be undone, but there can be control to be found around the edges. Whether exercising control in the everyday details of one's own life or by helping others, this can contribute to resilience. Advocating for changes in gun laws is one way for these survivors to try to find some control in the situation. We as human beings often seek to see the world around us as a meaningful and orderly place, and seeking action to right a wrong can further help people to reestablish that sense of meaning."
Tragic events teach life-long lesson in adversity
"Looking forward, as terrible as tragedies like this are, there can be a silver lining for people who experience them," Seery says. "Research suggests that experiencing adverse life events — even something horrendous like this — can contribute to future resilience. In other words, the process of going through serious difficulties in life can leave people better prepared to face other stressful situations in the future. For example, research I've conducted shows that people who have never had to deal with serious adversity are actually worse off in this regard compared to people who have dealt with several such adversities in their lives. So even when things seem to be at their worst, there is reason to believe that they can get better."
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The Super Smash Bros. series has had a very rocky history when it comes to balancing, an important aspect of all video games, but especially ones in the fighting genre.
The director of the series, Sakurai-san, has often insisted on fine-tuning each character personally. As such a critical task, he really only trusts himself (and holds himself responsible) for how the game ships.
And as the cartridges or discs were produced and transported to the retailer, that's exactly how the balance remains to this day. It wasn't until Super Smash Bros. for 3DS & Wii U when patches were enabled.
If you go back and play the first three iterations of Super Smash Bros., you won't find balanced games. Many characters are completely inviable, and certain ones can be selected for their exploits; Ice Climbers and Meta Knight are a few prime examples. These characters were so off-balance that a handful of techniques had to be regulated by tournament organizers, and Meta Knight wasn't allowed in many competitive Brawl events!
Thankfully, Nintendo finally created an online infrastructure for their 2012 Wii U console (only a decade late, give them a break) to allow for patches. The result? One of the most balanced fighting games ever: Smash 4!
What made Super Smash Bros. 4 so balanced? A huge change was made to the ledge mechanics; getting rid of ledgehogging and introducing trumping. This effectively allowed the entire roster to reliably make it back to the stage. And the aforementioned patches, which constantly tweaked stats in order to level the playing-field, ensured that no character was too overpowered.
Super Smash Bros. Ultimate is increasing the character count by 28%. Is it possible that Sakurai can maintain such minute balance when adding an extra quarter of the cast?
I don't think the game will be balanced at launch. I remember fondly my Smash 4 pre-patch Sheik, who could kill with forward-air, back-air, up-air, down-B, and jab. (I'm joking about that last one.) But over the coming months, Sheik was nerfed to an appropriate level. I think you'll see a similar pattern in the 5th Smash title; some characters will launch OP and others will be UP, but we'll have to wait for a few tournaments to take place to discover which characters are the most abusable by professionals.
Non-pros will also have an influence on the game's balance, as the development team has already gone on record to say that Elite players' results will be monitored! So if a certain attack is killing way too often, or a specific set-up is impossible to avoid, those things are going to get expedited into a patch.
Ultimate will be the biggest Smash game yet, but also has the potential to be the most balanced.
If not, I guess that's one good reason to go back and play 4!
Latest posts by Scott (see all)
- TBC 024: Rumors, Hype, and Disappointment - 09/05/2020
- TBC 023: Nintendo and the Apocalypse - 05/26/2020
- TBC 022: Animal Crossing: New Horizons - 04/27/2020


text: stefanhendriks 29 Posted September 30, 2008 There are several Dune II - The Maker movies on Youtube. First, i figured there where 2 movies (almost identical), not from me.As a response, i have made 3 others my own:Skirmish mode in 3.5 (revision 72) - no soundshttp://nl.youtube.com/watch?v=xNlXRzmvcoIAtreides mission 9 , part 1 and 2 (revision 72) - with soundshttp://nl.youtube.com/watch?v=Qh1wBnwz6mshttp://nl.youtube.com/watch?v=qrHBIKnaYFkif you have found any; list them here. Also, let me know what you think about them. I think i'll post movies of features, so you can see how you can do several things in game. Like, repairing units. You can repair them as structures now (hit R, select unit, a carry-all will pick it up, bring it to the repair pad and repair it for you).Using rally-points is also possible now (click structure, hold CTRL and click somewhere).If you want to play this version, you need to checkout the latest revision with SVN. Then go to the BIN directory and run it from there. Quote Share this post Link to post Share on other sites


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China has welcomed an interim trade deal with Washington and said the two sides need to address each other's "core concerns."
A foreign ministry spokesman said Thursday that the "Phase 1" agreement shows Beijing and Washington "can find appropriate and effective solutions to relevant issues through dialogue."
China agreed to buy more American farm exports and Washington dropped plans for additional tariff hikes on Chinese goods. Beijing still wants earlier punitive tariffs to be lifted, which the agreement fails to do.
Asian financial markets were mixed amid questions about how China can carry out promises to buy billions of dollars of U.S. soybeans, gas and other exports.


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CDN$ 28.11Prices & availabilities may vary.
Add your creative touch to some of the most beautiful cities, both of and not from, this world! Splendid Cities is a feast for the imagination. Buy it for your daydreaming friend and give the gift of time.
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Bugs Bunny and the Indians is a 1951 book from Little Golden Books featuring Bugs Bunny and Porky Pig.
Bugs Bunny and Porky Pig are spending the summer at a cowboy ranch. Bugs is the only cowboy to have guns. Porky points out to Bugs that none of the other cowboys have them, but Bugs says that they have to be prepared because there might be "Indians" around. All of the cowboys laugh, especially Cowboy Slim, because he actually is a Native American. Slim feels that Bugs needs a lesson, so he teams up with the other cowboys to help Bugs arrange an opportunity to meet some real Native Americans. That night, Cowboy Slim heads for "Indian territory."
The next day, the cowboys ask Bugs if he would like to ride to the ranch to possibly see some Native Americans. Bugs says that he promised to ride into town, but Porky says that he will go for him. Bugs and the cowboys ride off to "Indian territory." Just as they enter the first hills of the valley, several wild Native Americans jump out. The cowboys immediately surrender, but the Native Americans only want Bugs. The other cowboys say that they will rescue Bugs. The warrior takes Bugs to Native territory, but just as they arrive, everybody starts shouting and dancing. Finally, one brave walks up to Bugs and asks him to shoot the guns he has prepared. Bugs says that the guns were actually water pistols and gives them to the brave, who shoots it. The other Natives quickly have fun with the water guns. By the time the cowboys arrive to rescue Bugs, the rabbit reveals that he had already sold the pistols for some goods. The "Indian brave" is then revealed to be none other than Cowboy Slim.


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Learning and hands-on opportunities are scheduled in the park system Feb. 24 through March 2 as part of National Invasive Species Awareness Week. Providing advice and hands-on experience will be members of the local volunteer groups making up the park system's Invasive Plant Task Force.
Task Force coordinator Mary Wickham says, "The goal of our NISAW events is to encourage Richmonders to see the park system and their own yards differently. A little work goes a long way, and if we control the invasive plants at our own homes, we help improve the health of the park system and the James River watershed."
Throughout the week from Monday, Feb. 25, through Saturday, March 2, you can join park staff and Task Force volunteers to remove invasives in a different area each day.
Click on the schedule above to see a PDF of all activities.


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For a company or business to run successfully, effective communication is highly essential. Hence, besides professional communication skills, it is important to design a business communication tool, which ensures that the communication in the workplace is faster and smoother. Here are five ways to communicate effectively at the workplace to keep things up and running.
Through Applications
Resort to internal team apps in order to strengthen the communication within the team. The development of business communication applications has made the process of effective communication faster and easier. Available on mobile devices as well as desktop, they provide a reliable way to communicate with the team members. These applications serve best to the organizations with multiple branches or freelancers on board. Gridle mobile app development can give you a glimpse of corporate mobile application development for better communication.
Through Private Messaging or Group Chats Tools
Private messaging or group chats are considered to be one of the most potential business communication tools. Develop a customized application with features like private messaging and group chats. Through this app, all the employees are available on one common platform. Hence, it becomes easier to manage the team and convey the message, thus saving time. Such applications gain more importance when the business is spread across different geographical locations and time zones.
Through Intranet Software
An intranet software allows the companies to build a private, secured network that can only be accessed by the companies' employees, internally. It ensures smooth and reliable communication as the employees are able to collaborate, communicate and share documents, updates and information on the portal.
By Creating Blogs & Videos
This is a great tool for the top-level management to convey their message on a personal level. Instead of communicating through various channels or a series of employees, writing a blog or creating a short video is more advisable. Besides making the communication faster, without losing its essence, blogs and videos will give a feeling of one-to-one communication, which may turn out to be highly effective.
Discussion Forums
Apart from a formal channel to communicate all the corporate information and project details, the companies should have an informal platform where the employees can share random information that can benefit the company as well as workforce. Providing a discussion forum will enable the employees to ask queries, share doubts, update information and communicate the happenings in the workplace. Sometimes, many employees may have a common query. Putting this forward on a common forum will clear the doubt of all the employees and save time and effort of replying to the same query repeatedly.
How Gridle Contributes to Improving Team Communication?
Gridle is a platform that provides team-based communication channels that are also used internally for our intra-team and inter-team communications. These channels ensure that there is seamless flow of information across the entire team in the quickest duration possible. Check the Gridle internal team app to experience this platform for your organization!


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We take delivery as seriously as we take design. We've organized our shipping to be affordable, fast, and transparent. Below, we've outlined our shipping options, and what to expect once you have placed your order.
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International Shipping
Unfortunately the costs of shipping furniture are exorbitant to the point where we no longer offer international shipping. Many of our customers have used third party services to enable international shipping. See our suggestions on our international shipping page.
Delivery and Returns
Orders arrive in 5-10 business days. If you're not completely happy, send the item back to us within 30 days for a hassle-free refund (excluding shipping costs).
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Aperture Magazine
The magazine of photography and ideas
Gordon Parks, a Brazilian Child, and an Exposé that Shocked the World
Should an American publication have tried to "rescue" a boy from poverty?
A 1961 photo-essay about the struggles of Flávio, a twelve-year-old Brazilian favela dweller, elicited unprecedented response. But should an American publication have tried to "rescue" a boy from poverty?
The artistic career of Gordon Parks (1912–2006), which spans nearly seven decades and a variety of mediums, is so rich and diverse that it refuses simplification. Even singular projects resist linear interpretation. Case in point: the Flávio story. On assignment for Life magazine in the early sixties, Parks traveled to Rio de Janeiro with the mandate to produce a visual exposé on poverty that would elicit empathy. Eschewing instructions from the magazine's editorial leadership to follow an impoverished father, he chose to focus on an adolescent suffering from bronchial asthma and malnutrition, Flávio da Silva, who lived in dire conditions in Catacumba, a hillside favela near an affluent enclave of the city. Nearly sixty years later, a new book and exhibition, Gordon Parks: The Flavio Story, reconsider the legacy of this famous encounter.
"Breathing hard, balancing a tin of water on his head, a small boy climbed toward us. He was miserably thin, naked but for filthy denim shorts. His legs resembled sticks covered with skin and screwed into his feet. Death was all over him, his sunken eyes, cheeks and jaundiced coloring. He stopped for breath, coughing, his chest heaving as water slopped over his bony shoulders. Then jerking sideways like a mechanical toy, he smiled a smile that I will never forget. Turning, he went on up the mountainside," Parks wrote in his autobiography Voices in the Mirror (1990). "This frail boy bent under his load said more to me about poverty than a dozen poor fathers."
For the next eighteen days, according to the diary published alongside the feature, from March 22 to April 9, 1961, Parks would climb that very mountainside to photograph the young boy and his family. Bleak images show Flávio struggling to breathe in bed, caring for his siblings, and getting through his daily chores. He appears, in many ways, to be the man of the house, responsible for the family's survival despite his own illness. It's a portrait of resignation. There are no smiles being exchanged, no hints of love, joy, or even playfulness, aside from a small image of Flávio and his brother kicking sand on the Copacabana Beach, where Parks took them after learning they had never been, despite living only ten minutes away from it.
Published under the headline "Freedom's Fearful Foe: Poverty," the photos pulled at Life readers' heartstrings. They sent letters of sympathy, offering money and help. The Children's Asthma Research Institute in Denver wrote to promise pro bono care for the ailing teenager. Parents imagined how they would feel if this were their child. Life couldn't have hoped for a better response. Thirty thousand dollars (the equivalent of roughly $250,000 today) were collected. The family was resettled in a nicer neighborhood. Flávio was flown to the United States to receive treatment at the aforementioned hospital. Life made sure to document these efforts in a report printed five weeks later, entitled "The Compassion of Americans Brings a New Life for Flávio."
Gordon Parks: The Flávio Story dissects this feel-good narrative. Curators Paul Roth, from the Ryerson Image Centre in Toronto, and Amanda Maddox, from the Getty Museum in Los Angeles, in partnership with the Gordon Parks Foundation in New York and Instituto Moreira Salles in Rio de Janeiro, interrogate the context in which the feature was created, look at reactions it spurred in Brazil, and explore the lasting consequences of what was at the time referred to as a "rescue." Earlier this fall, I spoke to Roth about the alleged power of photography, the influence and responsibilities of publication owners, editors, photographers, and readers, and the necessity to reject easy, black-and-white interpretations of iconic works.
Laurence Butet-Roch: The Ryerson Image Centre, as a photo institution set within a university, has the responsibility to provide exhibitions that examine the medium and its practices. Last year, you featured the project Collaboration by Ariella Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler, which offers an alternative history of photography grounded in a range of collaborative processes. Before that, you hosted an exhibition of historical images of Canada from the New York Times archive in a bid to discuss the representation of the country in news media. And before that, you programmed Attica USA 1971: Images and Sounds of a Rebellion, curated by Philippe Artieres for Le Point du Jour, which recontextualized the coverage of the Attica prison riots, to name a few recent memorable exhibitions at the RIC. How does Gordon Parks: The Flávio Story fit within that mandate?
Paul Roth: Before I even came to the Ryerson Image Centre, I had the idea of organizing an exhibition about this reportage, which was once Gordon Parks's best-known photo-essay. But, the truth is, I'm not sure we could have curated it this way at any other institution. It fits so perfectly with our mandate of trying to interrogate what photography is, how it communicates, and how people understand it. To unpack The Flávio Story, to place it in historical context and reveal its social impact, we're showing Parks's photographs alongside images by many other makers, professional and amateur, and with documentary materials that many institutions would be reluctant to exhibit. This includes lots of publications, corporate and institutional records and correspondence, Parks's original working materials, and images that have never been printed, that we found in the course of our research.
More importantly, we discuss The Flávio Story not just as a classic picture story with extraordinary images, but also as the product of Parks's midcareer ambitions, as an ambitious corporate media project, for its stunning appeal to Life's middle-class audience, and for the controversy of its publication in Brazil. Now, obviously, many museums and curators have become more flexible and open in their examination of historically important artistic projects, in making their checklists and in exhibition display, in order to better contextualize the stories they tell. But for many others, especially older institutions, it can be hard to make these shifts.
Our partners at the Getty Museum are trying, as we speak, to figure out how to handle a lot of the display choices that we've been able to make more easily at the RIC, because we aren't bound by the same traditions and ideas about audience, and thus we can think quite differently. Ultimately, it seems to me that our goal in this time and place is to find new ways of telling the stories of photography, so that we not only retell the stories that the artist or photographer told, but that we also question how the stories were told, and how they have been understood. Because of this, we're actually asking our audience to come to a Gordon Parks show where a majority of the pictures are not by him!
Butet-Roch: Many uphold The Flávio Story as one of the few examples of photography's purported power to effect positive change. Here, you challenge that conclusion.
Roth: It's really up for debate. Looking at Parks's story and the effort to save Flávio only as a cautionary tale would also be too easy. Some of my colleagues here in Canada have analogized it to the residential schools program, whereby indigenous children were ripped away from their parents and dropped off in abusive spaces to have their culture removed. To this day, Flávio doesn't see his experience that way. He shared his point of view with us over several interviews. Instead, he's angry that he was taken away from the place he was brought to!
The initial situation he was taken from was so perilous. He was twelve years old, on the verge of dying due to asthma, had a terrible relationship with his parents, was physically abused, and lived in a swirl of psychic violence that we can hardly imagine. So for him, being on the cover of a big American magazine, getting toys and clothes, being deposited with a family that he liked better than his own, felt like winning the lottery. He was so incredibly distraught when he eventually had to leave his new life in Denver. He acknowledges that something wrong happened to him, but to him it isn't that Gordon Parks and Life interfered in his life, but that he wasn't permanently adopted by any of the people involved, like Gordon Parks, Ruth Fowler, the executive assistant to Life's publisher, José Gallo, the longtime business manager at the Rio de Janeiro bureau of Time Inc. assigned to assist Parks as reporter and interpreter on the Flávio story, or the family he lived with in Denver. He asked all of them to adopt him. They all said no. They all felt that they were doing the right thing by returning him to his own family in the country of his birth. But Flávio didn't want to go home to his family. Photos taken by José Gonçalves, his surrogate father in the United States, bear witness to these emotions.
Having said that, Flávio was fourteen years old at that point, and one could argue that he had no way of understanding the complexity of his situation. All the people involved were already terribly worried that they were going to cause him harm. They obsessed over that, the magazine's employees included. Yet at the same time, they didn't really understand, they couldn't. And, it's important to remember that they weren't doing all this for purely innocent or altruistic reasons; they had very complicated motives. All this to say that an uncomplicated absolutist read of this story, positive or negative, is not only misguided, but also not really that illuminating or interesting. Like all claims made about the power of photography, it's much more revealing to look at the fragility of those declarations than to take them at face value. That's why I love this story so much: there are so many moments and details you can interrogate.
Butet-Roch: The first part of your investigation rests in scrutinizing the context in which this photo-essay was commissioned by Life. It was part of a series entitled "Crisis in Latin America," which was launched with an introduction that began: "The messianic eyes of Fidel Castro, hypnotic and hungry for power, summon up a new and nightmarish danger for the U.S." This came six weeks after the failed CIA-supported Bay of Pigs invasion and as the Kennedy administration was pitching the "Alliance for Progress" economic interventionist policy for Latin America. Knowing the strong relationship between Life's owner, Henry Luce, and the American leadership, should it be apprehended as propagandist?
Roth: Certainly, but it's complicated. Henry Luce was many things, including an absolute anti-communist crusader. At the same time, he was also a self-proclaimed humanist. In other words, his corporatism and paranoid defensive foreign policy coexisted with his human-uplift politics. He embodied the idea of American exceptionalism. He built many magazines to carry this message forward—principally Time, Life, and Fortune—which became citadels for the people he employed, many of whom were political liberals, thereby empowering them. So, in a sense he created a paradoxical situation: On the one hand, he stated very clearly to his editors and reporters that he needed them to be propagandists in this war—these are words he actually used—believing that their role was as important as any army's. However, and this is no surprise, many of Time-Life's staff and contributors resisted Luce's politics for a variety of different reasons.
Butet-Roch: Where does Gordon Parks fit within that milieu?
Roth: Gordon Parks didn't directly oppose these ideals per se; rather, he was opposed to the tedium of politics and what that would mean for his pictures. He had enough power by this point in his career, in 1961 when he was assigned to make pictures for this Latin America story, to fight back a little. He felt that it would be dull for Life's readers to see a programmatic set of pictures that exemplified the editors' political convictions. So, while he fulfilled some of their demands, which came in the form of an assignment list of desired images, Parks more or less ignored the editors. Rather than build his picture story around the father, as he had been assigned, Parks chose to focus on Flávio.
You can feel this uneasy marriage between the assignment and the images Parks actually brought back in the text that accompanies the photographs in Life magazine. The first block of text is very much what the editors wanted to get across about communism. The lead writer, Timothy Foote, presented poverty as a compelling pretext for the United States to solve, in order to prevent Latin American countries from being swallowed whole by communism. The cover headline, "Shocking Poverty Spawns Reds," is telling. Yet, at the end of the photo-essay, an additional text is provided by Parks himself, a direct yet emotional diary of his experiences.The politics have been drained out of the pages and replaced by a language that buttresses the emotional impact of the pictures.
This is why this story is so complicated. Yes, Henry Luce was trying to support Kennedy; and many Time-Life staff members certainly voted for him and wanted him to succeed, believing that the Alliance for Progress would be a force for good in South and Central America. But they also had a more human reaction to this story of a single child suffering in poverty. When Life's readers responded in kind, the staffers got excited because they could now help a single family, as a kind of proxy for all the people of Latin America.
Butet-Roch: The ideals you speak of, the context in which this work was created and seen, and the readers' response evoke the white-savior complex, especially given how the humanist instincts of the magazine and its readership were then celebrated, just five weeks after the original picture story was published, in a self-congratulatory follow-up story: "The Compassion of Americans Brings a New Life for Flávio."
Roth: I think that's certainly true. The reaction expresses several things at once. For one thing, the magazine was just bluntly kissing up to their readers. At that time, Life's publishers were increasingly concerned about their subscription and newsstand sales. In fact, circulation numbers were at their highest in the magazine's history, just over seven million per week. With each copy passed between families and neighbors, it's been estimated that anywhere from thirty-five million to one hundred million people saw every issue. But the publishers were still very worried, because it's 1961 and television is increasing its market share and taking more advertising dollars from the magazines. There's also a more crowded competitive space among weekly publications. So that's why the cover featured Flávio smiling, in a clean bed, with a stuffed dog. The message was: you, the readers of Life magazine, contributed to saving this boy's life.
Another reason Life was drawn to this intervention is that it helped them to visualize a journey from poverty and suffering to middle-class life, which was kind of an obsession with the magazine—because of who their readers were. The layout of the "rescue" issue is actually organized to reflect that ascent: Flávio and his family climb down the hillside of their favela, enter their new home, they get new furniture and clothes. Flávio flies to the United States, he's diagnosed and treated by the best doctors, he learns how to play with other children, he learns how to speak English, then he starts making new friends.
So this story of redemption from poverty served many purposes for Life. The magazine could demonstrate its own power and reach, while also suggesting to its readers that by reading Life, they could contribute to the betterment of the world. Furthermore, the intervention suggested that John F. Kennedy's policy—a continental foreign-aid program designed to save families like Flávio's—could be successful.
Butet-Roch: Still, this story encountered some criticism, initially and almost immediately, from the Brazilian government and media.
Roth: When North American media outlets do a story on poverty or war on the other side of the world, we, the North American readers, typically only care about our own reaction to that story. Very few people would even wonder whether there's a response in the media of that place. In 1961, the press in Brazil immediately condemned the Flávio piece. They knew what Life and the story represented: a stalking horse intended to promote a financial aid policy that wasn't fully supported within Brazil. There were opinion columns, news articles, even editorial cartoons.
One publication, O Cruzeiro, launched a two-pronged attempt to attack and debunk the story. First, they critiqued Parks's photo-essay by flipping Life's idea on its head, by sending their photographer Henri Ballot to depict poverty in the U.S., in New York, where Time-Life kept its corporate headquarters. O Cruzeiro's counterattack was deliberate and overt. When they published Ballot's photographs of a Puerto Rican family living in poverty on the Lower East Side, their page spreads were designed to echo corresponding page spreads in Life, so that the repetition of Parks's visual tropes would undermine his pictures and reveal Time-Life's motives. In response to that, Life's sister publication Time retaliated with an article alleging that Ballot staged one of his hardest-hitting photographs. And that wasn't the end of it! O Cruzeiro fired back and commissioned Ballot to debunk Gordon Parks's photographs. He interviews the da Silva family in their new home and even takes them back to their shack in the favela in a bid to demonstrate how Parks's reportage was staged.
Butet-Roch: Was Parks aware of the Brazilian backlash against his photo-essay on Flávio?
Roth: Yes. Interestingly, Parks did in fact set up a lot of his shots, working with the family to depict their lives, though that's not altogether atypical of this kind of press photography. Ballot, a fellow photojournalist, knew this fact; hence he knew he could attack Parks in this way. He takes a particular stab at the Life picture story's central image of Flávio getting out of bed before his family. In order to get the picture, Parks had to manufacture a high vantage point in this tiny shack, so he set up something to stand on. He had the family stage the scene in broad daylight so he would have enough light to expose his film. And his contact sheet shows that he made twenty-plus frames of this moment, with Flávio, suffering from asthma, holding his arms up for as long as it took. Parks, like a lot of photojournalists, wouldn't think of this as dishonest. He needed to make a picture that conveyed what it's like for Flávio to get up first in the morning. He doesn't see it as fake, and in many respects, it isn't.
Butet-Roch: Henri Ballot's photo-essay brings to mind the work that Gordon Parks subsequently did in Harlem in 1967, on the Fontenelle family, to illustrate American poverty. How did his time with Flávio and the O Cruzeiro riposte inform that series?
Roth: Certainly the Flávio story inspired that later story. However, while both Life and Parks later compared the two photo-essays, I wasn't able to find any direct evidence in the Life corporate archives that his editors said: "Let's redo the Flávio story in Harlem." There are clear parallels, but also differences. There's something darker, much more stark and harrowing, about Parks's coverage of the Fontenelle family, with the exception of his iconic, melancholy image of the mother talking to a social welfare bureaucrat, surrounded by her children. By comparison, the Flávio story is a story of hope, and is quite romantic in its pictorial values and composition. I don't know that Parks set out to romanticize or exoticize either of the families. He was working within the visual idioms of the times. While he certainly related to Flávio on some level, he must have seen himself even more in a couple of the Fontenelle boys. He grew up very poor in Fort Scott, Kansas, and then in St. Paul, Minnesota. Entering adulthood, he lived briefly in poverty in Harlem himself. He knew the Fontenelle story better, so perhaps that fostered more of an edge in his style. Or maybe, having passed through the experience with Flávio, he was more jaded as the 1960s were drawing to a close.
Butet-Roch: Why is it relevant to reflect upon such works and their impacts half a century later?
Roth: As a great photographer, filmmaker, writer, and composer—and also as a pioneering black American—Gordon Parks is somewhat like Jackie Robinson. Just as baseball historians exhaustively look at his career, you can exhaustively look at Parks, his work, and his place in history. There's just so much there. He worked in so many different genres and with different media. At the end of it all, what he really boils down to is a great storyteller, one well worth examining and understanding.
In many ways, Flávio was his greatest story. It just couldn't be contained. It was so compelling that the audience took it over and carried it forward. That makes it unusual. Yet at the same time it's paradigmatic of his photojournalism.
It's no surprise that Parks's photographs had such a significant effect on Life's audience. He wanted to move people, to shake them up, to take them into the lives of this distant family. He was intent on conveying the suffering of poverty. He succeeded beyond the wildest dreams of his editors. In a way there was nothing new about his approach. Characterizing poverty by representing the life of a single individual or family had been done before; taking readers from the developed world on an armchair journey to pockets of the developing world is a mainstay of documentary photography.
This idea, that photography has the power to change people's lives for the better, is the mythology that gives us hope and makes so many of us look at similar pictures year after year. We believe that by looking at these images, we can change things, we can relieve the relative guilt we have over our affluence by looking at the lives of others. The Flávio story endures because the pictures affected Life's readers so much that they decided to try to change fate. The fact that things didn't work out as expected is what makes it so resonant and revealing, even today.
Gordon Parks: The Flávio Story travels to the J. Paul Getty Museum, Los Angeles, in July 2019.
How Can Native Artists Challenge the Story of North America Today?
Announcing Aperture magazine's fall 2020 issue
Endnotes to An Introduction to a New Book about the Zealy Daguerreotypes
1. [democratic medium] See John…


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If you don't like taking risks, this article is for you. Maybe you are shy and worried about embarrassment, or you are competitive and afraid to look like you don't know what you are doing. Perhaps you are risk-averse professionally, as a lawyer or accountant, for example.
There's good and bad news for you. First, the bad news: Learning and playing music is risky! Not only is it likely that you'll make bad sounds, hit wrong notes, and forget something you thought you learned — all in front of other people — but these "mistakes" are the only pathway to learning an instrument.
Now here's the good news: Playing music is a very low-stakes gamble. Hitting a wrong note or a bad sound is not life-threatening, nor (contrary to some people's fears) will it wreck your reputation.
Too often, learners derail themselves, and slow down or even prevent learning, by taking out precious time to berate themselves or apologize for making a "mistake". I put "mistake" in quotes because hitting a wrong note or string, or squeaking, or doing anything you didn't intend to do, is not a mistake. What you might call a mistake is really like a symptom; it reveals something you don't yet understand, or something you didn't prioritize because you're busy taking care of something else. Imagine if every time you went to a doctor you took a bunch of drugs so that you showed no symptoms. There'd be nothing to fix! Then you'd get home and start feeling miserable, with no doctor there to help.
If you missed a note, or squeaked, or misplaced a bowing, did you notice if that happened there before? If not, it was a fluke, so why worry? If it has happened in the same place before, it may be a flaw worth attending to, so do you know which phrase was it in? Is it part of a pattern that is similar to another place in the tune? Rarely is a note missed in isolation; it is usually missed because of its relationship to the note(s) before or after. It could have been missed because the bow felt awkward getting to it, and might not be the finger's fault at all. The point is, there are so many possible interesting angles to the puzzle that you really have no time to go pretending you "should have" got it right. That won't fool anyone, including your teacher — or yourself!
Anybody who has gone through the process of learning an instrument, for any length of time, knows about "mistakes". If you make one in front of them, not only are they not likely to care, they may not even notice, and if they do, they are more likely to be totally understanding toward you than to criticize (unlike some situations in the actually-risky parts of life!).
People who are driven to succeed tend to think they can drill, memorize and practice until perfect. I'm not sure these are very efficient ways to learn (at least not according to the latest cognitive science) but they can lead to successes in some areas such as math or the law. In music, these strategies of being "prepared" don't actually help you enjoy playing with or for other people. That's because music needs you to develop performance skills, skills that are physical and anchored in time, skills that can't be fully honed in isolation. It's not even possible to get everything "correct" in music, because there's no clear definition of what "correct" means. Playing with good timing, getting a good sound, playing in tune — these are all skills that are only meaningful in relation to the phrasing, the tune, the moment, the mood, the company you're in.
Risks must be taken in order to learn, but they're fun risks! Nobody minds mistakes when the intentions are good and you're trying to contribute to a group sound, or trying to convey a good tune. This means that in the end, you just can't take yourself too seriously. You can't afford to focus on yourself at the expense of others. The group sound, in a session or band, is more important than the individual. I like to say, "it's better to be together than to be correct." In fact, focusing too much on yourself is the recipe for stagefright — a previous article speaks about this and how to avoid it.
Play with others and take the risks! And as you do, be sensitive to the sound of the other players, so that you can really learn and improve. Thinking only about whether you're getting the right notes will not help you improve; always try to pay attention to how you can contribute to the group sound. Keep in time even if you skip notes. Back off if people play a quiet tune. If people play a tune you don't know, listen and allow others to enjoy their tune. They'll soon enjoy hearing your tune or helping you by playing with you.
Music flows in time, like a river in its banks. "Mistakes" are like water under the bridge. Make a mental sticky note about them if you can, observe and learn, but above all, move on with the river, and enjoy the process!
©2019 Ed Pearlman


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Inequalities in health and healthcare among the ethnic minority community are being tackled by Stockton's Sehat project which in the last year has helped more than 1,000 people.
The project, which is led by Stockton International Family Centre, offers a range of services to help people in ethnic minority communities access healthcare. There is also an advocacy services which is free and aims to empower the people, make their voices heard and help them bring about changes so that services better reflect their needs and preferences.
Drop-in sessions are held to help make health appointments, book interpreters and offer access to services.
Over the last year, the Sehat project has been forging stronger links with different organisations such as North Tees Primary Care Trust health promotion, Stockton Council, Durham University, Queen's Campus, Stockton, Mosques and schools across the area.
For more information on the Sehat project, call (01642) 612400.


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Dimitri Payet double helps West Ham to home win against Newcastle
West Ham United finally nabbed their first home win of the Premier League season, with a brilliant Dimitri Payet brace helping the hosts dispatch Newcastle United 2-0.
It did not take long for the goal-hungry Hammers to get off the mark at Upton Park, as lovely link-up play between Mark Noble, now named official skipper, and striker Diafra Sakho opened up the Northeast outfit in only the eighth minute.
Sharp Sakho's cheeky back-heel bamboozled visitors Newcastle, allowing the captain to pick out Payet on the edge of the area, where the Frenchman ditched marker Vurnon Anita and unleashed an unstoppable strike past Tim Krul.
The Magpies enjoyed plenty of possession, but it was hosts West Ham that always looked likelier to make the most of their chances, as playmaker Payet was gifted another golden opportunity shortly after his stunner.
Summer loan signing Victor Moses left Dutch defender Daryl Janmaat for dust, and some resulting pinball in the Magpies' box fell to instrumental Payet, who sliced wide.
Steve McClaren's side had their own attempts, with Janmaat wasting a weak shot when in on Darren Randolf's goal, while a sloppy Noble pass almost allowed Papiss Cisse sight of net. As the story has been so far this season, however, the Tyneside team could not convert.
It was Payet who once again caused further panic towards the end of the half, as he supplied lively Manuel Lanzini, but the eager Argentine young-gun blazed his punt over the bar. Quick on the counter, Slaven Bilic's boys then capitalised on a blocked Janmaat attempt, with Payet once again splitting open Newcastle's defence in response, unleashing Moses, though the Chelsea-owned wingman could not control his shot.
The Hammers hitting their guests on the break was also an exhilarating feature of the second half, as Newcastle won an early free kick but were unlucky to see their loose set piece seized upon by Moses, who rampaged up the pitch at great speed.
Having done all the hard work, the Nigeria international could only rattle the bar, but impressive Payet was on hand to make sure his weaving run was not wasted, and simply slotted in the rebound to make it 2-0 around the 48th minute mark.
A double substitution from McClaren livened proceedings up a little, with attacking pair Siem de Jong and Ayoze Perez both brought on, but it was Janmaat, rampant from right back all match, who next tested Randolf from a tight angle and again later with a stretched shot straight at the stopper.
Still, as the match wore on, West Ham looked increasingly comfortable, and Bilic will take heart from finally overseeing a league victory at Upton Park, over former international football foe McClaren no less, with his summer purchases continuing to gel seamlessly.
McClaren's Magpies adventure, meanwhile, is still stuttering and there will be recriminations back at St James' Park now that Newcastle have slipped into the bottom three following a third defeat.


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Disney is gearing up to celebrate Easter in a big way this year. Rent a timeshare and plan a very special family Easter vacation.
An Orlando timeshare rental will put you in the middle of these fun Easter activities at Walt Disney World:
At Walt Disney World's Magic Kingdom Park Mr. and Mrs. Easter Bunny will be out greeting guests during the entire week leading up to Easter. And on Easter Sunday, April 24, a parade is scheduled that features an Easter theme with Mr. and Mrs. Easter Bunny and Mickey and Minnie dressed in their Easter finest.
And be sure to meet the Main Street Poodle Society Ladies and the Mobile Azalea Trail Maids in Town Square on Easter Sunday. They also will stroll down Main Street with Mr. and Mrs. Bunny in the pre-parade show.
On Easter Sunday in Epcot there will be Easter egg hunts for children ages 3 to 9 every 20 minutes from 10 a.m. to 5:20 p.m. at Heritage Garden at the American Adventure Pavilion. Easter egg relays will also be held for children ages 6 – 12 at Future World West Garden every 40 minutes from 10:40 a.m. to 4:40 p.m. You might even find cupcake stations set up where kids can decorate a special Easter treat.
At Disney's Animal Kingdom the "Good Times Gathering Spot" returns to Camp Minnie-Mickey from 10 a.m. to 3 p.m. through out Easter week. You'll be able to meet Thumper and Miss Bunny, listen to Pocahontas tell stories, and even groove to a D.J. The Easter Bunny will greet guests at 2:30 p.m. Easter Sunday (April 24).
You will also have an opportunity to join Easter religious services at WDW on April 24th. Disney's Contemporary Resort will host a Protestant service (9 a.m.) and Catholic Masses (8 a.m. and 10:15 a.m.) in the Fantasia Ballroom on Easter Sunday.
Rent an Anaheim timeshare and enjoy a special Easter brunch or dinner at Disneyland.
Goofy's Kitchen Easter Dinner is where you'll be joined by Goofy and his Friends to celebrate Easter as only Goofy can arrange. All the regular buffet items will be available along with a few Easter surprises.
At the other end of the spectrum, enjoy a special Easter dinner menu at the elegant Napa Rose, the award-winning restaurant located in the Grand Californian. The seasonal menu offers unique fresh tastes such as Portobello mushroom bisque "Cappuccino," and strawberry sage barbeque duck breast. Reservations are required.
Easter celebrations are even found at the various Disney resorts. For example, rent a timeshare at Disney's Vero Beach Resort in Vero Beach, FL, where the popular Easter egg hunt will once again get underway at 7:00 am to 9:00 am Easter Sunday morning. An amazing Easter buffet will be offered at Shutters where you can enjoy chilled seafood, spring pea bisque, and a special holiday Beef Wellington.
The White Rabbit from "Alice in Wonderland" will greet guests at various times throughout the day in the resort lobby.
For Easter festivities your family will always remember, plan a Disney timeshare rental Easter vacation.
(Photo credit – disneyparks.disney.go.com)
Categorized in: Anaheim timeshare, Disney timeshare, Orlando timeshare rentals, timeshare rental


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wrap chains with pretty colors
for a DIY Venessa Arizaga's look
|left: Venessa Arizaga - collage by moi
Loved these multi-chains necklaces, and picking different chains and the possibilities are endless if you play with the selection of colors.
Of course, after browsing and browsing... my selection fell on the blues with silver chains.
DIY Venessa Arizaga necklace: supplies
* Silver Curb Chain 4mm x 6mm / 8 feet
* 4mm Open Jump Rings 21 Gauge / 12* 5 strand end bar / 1
* 14 mm lobster clasp / 1
* dmc pearl embroidery floss - I used these colors: DMC 115 3-311 Navy Blue, DMC 115 5-796 Dark Royal Blue, DMC 115 5-798 Dark Delft Blue, DMC 115 5-996 Medium Electric Blue
* Metallic Embroidery Floss Aquamarine Blue
* Fray Check
* Flat Nose Pliers (easier with two sets)
* a crochet hook (the hook has to fit into the chain links- mine is a 1.4mm )
* a large needle
DIY multi strand chain necklace the how-to / tutorial:
|Cut another strand of chain of 22"
Place the second row of chain just next to the one which has been crocheted
Use the big needle and the floss #798
and wrap around the first two links a couple of time
(leave a 1-1/2" tail)
|To connect the two chains with the embroidery floss, I used a mattress stitch
Pass the needle trough the chain links, from the one without crochet to the one with the crochet
leave a loop and pass the needle trough the loop.
I did the mattress stitch for 45 links.
|To end the floss neatly on the front part of the necklace,
wrap the last stitch two more times around the last links,
then turn the necklace on the wrong side, and make an overhead knot.
Seal with Fray check and trim the excess.
xox, d.
...and check Stripes & Sequins' version, too!
keep in touch!


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Modern Members' Holiday Film Screening
- December 17, 2017 4:00 PM
Modern Members' Holiday Film Screening
This event is at capacity. Please call Sonya at 817.840.2115 to be added to the wait list.
Celebrate the season at a family-friendly gathering featuring the beloved film Elf
December 17, 4-8 pm
Free for all Modern members and their children or grandchildren
4:30 pm Film screening of Elf
PG; 1 hour, 37 minutes
After the film, enjoy complimentary hot chocolate and a dazzling display of sweet treats inspired by Buddy the Elf. With cocoa in hand, stroll through the beautiful holiday lights throughout the Museum grounds.
Seats are limited. Reservations will be accepted in the order received. To rsvp, email email@example.com or call 817.840.2115.
Cash bar available.


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Some dismay and concern is being expressed about the person put forward as next US ambassador to New Zealand.
Stuff: 'It's an insult!' Backlash against Trump's pick for diplomatic post to New Zealand
Donald Trump's pick to be the next United States ambassador to New Zealand has been labelled an "insult".
Scott Brown, a former US Senator, is being vetted to become Trump's representative in New Zealand, according to reports in the Boston Globe.
The 57-year-old supports torture, posed nude for a photoshoot, and was named as having groped and made sexually inappropriate comments towards former Fox News contributor Andrea Tantaros. Brown denies the allegations.
Former US intelligence advisor Paul Buchanan said Brown's appointment was an "insult".
"It just shows you what importance we have to the Trump Administration."
Buchanan said Brown's support of waterboarding was "very troubling."
Buchanan said Brown is "not the brightest bulb", and while he could grow into the job, he was "pretty much useless as a Senator."
He said that the Senator's appointment would come as a reward for supporting Trump, because he knows nothing of New Zealand.
Brown has previously said he wants to come here to cycle, but that's about it, Buchanan said. "It'd be an extended holiday. New Zealand deserves a little bit better, certainly better than this guy."
'A little bit better' may be in short supply.
Brown lost his Senate position in 2014 and has been a contributor for Fox News.
Details at Wikipedia: Scott Brown (politician)
Many picks for ambassadorial positions in the US seem to be personal, political and paybacks rather than diplomatic.


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Life is unpredictable and at times can bring sadness and heartache. While there is a belief that you should walk through these moments unscathed, there is incredible strength in letting go to feel through them. 🧡
It takes great courage to allow yourself to feel the emotions within, and is not a sign of weakness, but an indication that you are human. 🦋🧡 Have a fantastic day!