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Saturday, July 14, 2007
Taking the cartooniness out of the cartoon does not make it realistic
This my biggest complaint about modern animation and it goes back to Disney. If you are going to go to great lengths to take the cartooniness, magic and imagination out of your cartoon characters, then you better replace it with something else - like maybe good specific designs and and an understanding of human nature and individual multi-layered characters.
Rich personalities derived from observation of real life humans interacting the way they really do in the actual world around you.
This never happens.
Instead we dig into the file of "animated" personalities-characters from Disney films or Saturday Morning cartoons. Very inhuman simplistic characters from the archaic past or from the modern TV cliches. These characters don't look, or act like anyone you have ever met nor do they have normal human motivations or believable reactions to familiar and odd situations.
Try taking some typical one-note animation characters out of a cartoon and shooting a live action story with them. You would see instantly how shallow these modern animated characterizations are. Wait a minute...someone did do that! Ever see "Titanic"?
If you don't want to animate silly cartoony characters, and you really have a talent for a more acute observation of human nature, if you understand honest motivations and psychology, you would create characters that aren't cliches torn from previous Disney cartoons, Saturday Morning Cartoons or sitcoms.
You would make stories that come out of the characters' dynamics and chemistry with each other. You wouldn't just take a stock animated feature story, plug stock leads, villains and wacky sidekicks in and then beg everyone to take you seriously, like you are a real FILMMAKER, rather than a mere lowly cartoonist.
But then you'd have to have a way to SHOW the audience this depth of character.
With the drawings, expressions, design, gestures, vocal artistry, etc.
It's not enough to just have the character tell the other characters what their one personality trait is and why they have it. Am I the only one that notices that? "I'm a strong woman living in a man's world and I'm not gonna let a wimpy snot nosed kid like you stand in my way!" "Oh yeah!? Well I'm the villain! I hate people who are happy, because I had a lonely youth with 3 Moms and no Dad."
But most likely, if you really did understood character and story and didn't like imaginative exaggeration, you probably wouldn't make cartoons at all. You would write novels or make dramatic live action movies - which is really what everyone who produces or writes animation these days wants to do anyway. They just aren't good enough to get into the real world of live action.
Bland formula cartoons to me, and to every cartoonist or animator with a mind of his/her own are just big boring lies. They aren't realistic, have nothing important to say (unlike what the producers would have you believe) and are completely transparent. "This is not merely a "cartoon". It is an experience, a study of the nature of the family." That kind of stuff.
No matter what the marketing and press releases tell you about how everything is new and daring and has a message, this is really what it comes down to:
Conservative animators and definitely executives just don't like cartoons. Real cartoons are too much fun at once. It's too-big helping of imagination and the audience doesn't deserve that. Serious animation people want to poo in the ice cream.
They have a million theories as to why an audience couldn't bear to sit through non-stop entertainment, but the theories are just a mask to cover up the real reason: Bland people make bland entertainment.
Worse than than that, they see to it that talented people don't get to use their talents, whether their talents are observational or imaginative, or some combination.
How many artists have been told to tone down their stuff, even if it is not "wild" at all or "Tex Avery"?
"Trace those model sheets! More pathos! More contrived misunderstandings between the two bland characters who are obviously in love! More crowds! More camera angles! Let's have someone die! More Pop culture references than the competition! More pores! No soul! Our movie is QUALITY!"
You would think that with the billions (not an exaggeration!) of dollars being spent on formula cartoons every year, someone would be smart enough to carve a measly few million off to make imaginative cartoony cartoons that take advantage of the medium.
They'd clean up, because there would be no competition at all.
41 comments:
- John said...
John Man I hate to say it but the way Cartoons are now that I got a feelinng that even if they were cartoony theyd still be the same bland charecters that every other cartoon TV Show and movie has they'ed just look better.While that would be somewhat of an improvent what we really need is creative minds working on all aspects of it not just the style its done in.But if that were to happen imagine how great things would be cartoons would start to be relooked by the general pubic and could finally have back their old glory.While your definitly right we do need more cartoony looking cartoons we need real stories and interesting charecters and situatins for them to be in that havent been done a million times before and while i know you realize this there are too many people who automaticly think that if it looks cartoony its definitly great(although anyone who comes here knows better).My point is we need people who are good at all sorts of vital parts of cartoons bt unfortunutly money talks and when all those morons go see the next stupid disney movie their just gunna make more of same instead of lookin for people with real minds! We need real caroons despritly now adays so people can realize what they coulda had if disney didn't rule the world!
- Emmett said...
Mr. K,
I truly agree with much of what you say here. I would like to understand more of it.
To better understand, could you provide some examples of the good work and examples of the bland stuff.
- Roberto González said...
I'm a lot more benevolent with new stuff than you are, but still, I agree. It happens every time. In a comic the author usually does what he wants to do. In a cartoon series there is some kind of trends or censure. But feature films are the worst. The more people involved the more cliche-filled and unsincere it gets.
For example, in Wallace and Gromit shorts I see more originality in the plot and type of villains than in the feature film (which was pretty good for today standards, but still).
However, my opinion about this whole "taking advantage of the medium" thing is that it's not strictly necessary to go surreal, or at least not too much. You mentioned something about Family Dog, there were some aspects of it you said you like about it, but I guess it's not something you love. Anyway, the pilot episode of the series I thought it was canonic. It was not very surreal but character expressions were funny, personalities were good and the dog has acting that you couldn't do with a real dog.
The same thing partially happens with the Simpsons. Maybe a fantastic actor could play a good Homer, but you know what, that's probably got worst recently cause I actually find the look of the characters in The Simpsons funnier than in most real-life action these days. So the Honeymooner comparison is valid, but maybe a little out of date.
But Family Dog had not rigid on model characters like the Simpsons, but good designs and the first cartoon has good plot and dialogues. I actually like it better than the rest Brad Bird stuff (which I still find good) but it has become more realistic and Cal Arts like. Family Dog looks a lot like Chuck Jones, there is one guy in the pilot episode watching the match next to the master of the dog that looks totally like a Chuck Jones design.
It's too bad that the Family Dog series didn't seem to have the same natural writing or character interaction. And though animation was good for modern tv standards it wasn't almost never as good as in the pilot episode.
I would like "sitcom" cartoons to be a lot more like Family Dog and a lot less like Family Guy.
If a George Liquor episode were wrote with good character interactions I wouldn't mind if nothing extremely surreal happens.
You seem to pinpoint this in those Flinstones post, that surreal stuff doesn't have to be THAT evident, but I would be interested to see this point more explained.
Of course something like the Looney Tunes is almost totally absent these days. The most similar to it were your cartoons and the best parts of Spongebob. That style is great and should come back, I am not making excuses for the bland stuff. I am just saying you can have some fun with cartoon character interactions as long as you have good, fun designs, even if the plot or even the visual elements are not very surreal. And you were still taking advantage of the medium if the shape of the characters is impossible for example. I mean, even Roger Ramjet could be filmed in live action probably, in therms of plot, I'm almost sure some of the plots could be done. But the characters would look like real humans, that are not as funny as strange-shaped ones.
In fact that's why all those movies that translate cartoony characters to life action don't work. Cause the actors are not nearly as fun as the cartoons. And they sometimes get the special effects so perfect the actors can almost do everything the cartoons did, yet they doesn't have such funny expressions or shapes. I guess you know about the european comic Asterix and its awful real life action adaptation. Of course the scripts in the movies are also shit, but even if they had the exact same script than the comic I think it wouldn't work. And Asterix has some surreal elements, but not a lot of them.
- JohnK said...
Hello John
I appreciate your thoughts. But man, press the spell check button!
Hi Emmett, if I did, everyone would freak out.I wanted just the concept of all this to sink in first.
But I'm getting to it.
- harpo said...
'but I'm getting to it."
this is gonna be fun!
Some of John's comments kinda blow my mind (open)
but there's nothing I can't agree with.
Freak me out man!
John, who is actually telling artists to "Trace those model sheets! More pathos! More contrived misunderstandings between the two bland characters who are obviously in love! More crowds! More camera angles! Let's have someone die! More Pop culture references than the competition! More pores! Our movie is QUALITY!" because it sounds like an executive is saying it.
I did some digging and I found out that some of the people who worked on Shrek are actually screenwriters.
- CM said...
Just a random drive-by thought—
Many studios try to do genuine depth of character, but for them it amounts to nothing more than another fill-in-the-blanks template. What they do is take a stereotype and rather than playing it for the expected stereotype-based yuks, they carefully insert one characteristic that doesn't fit the stereotype. Look, it's a plucky female who's smarter than all men, but she secretly likes arranging flowers! Look, it's a Southern religious fanatic, but he's gay! Look, it's a bald suited corporate executive, but he likes dressing up in women's clothing! Oh wait, that's almost become a stereotype anyway.
All they're doing is faking sincerity.
Good points all, John; that said, though, Ratatouille does do a better job than many contemporaries at avoiding these pitfalls, which perhaps isn't saying much, but damn if it isn't a fun movie to watch.
- Craig said...
Hello John,
A friend turned me onto your blog last year but I've only now started actively reading your posts. I am not an animator and work in live action, however I still appreciate good animation and often enjoy watching the older stuff from the 30's-50's. I did enjoy your cartoons as a kid so first, thank you for those experiences :) I've read this recent series on design principles and character design and honestly I think the concepts apply well beyond animation. Thank you for making the effort on these posts!
I've tried to think about a few examples of cartoons that I like on TV, but it's difficult. What kind of format are we talking about? Cartoons made in the old shorts-before-the-movie are the best to me. I remember a few of these before theatrical film on the edge of my memory in the 80's and I loved the few Roger Rabbit cartoons Disney produced. I can't recall any I've seen in theaters since that time.
Most of the cartoons I grew up on were cable TV reruns of Fliescher Popeye, Betty Boop, Superman, Warner Bros character cartoons, MGM cartoons (mostly the Tex Avery shorts) and too many others I probably couldn't name if I tried. There were also many Film Board of Canada cartoons and Ren & Stimpy in there somewhere. And then there was some assorted 70's anime by Tezuka and Leiji Matsumoto that had a completely different impact on me.
I don't see that kind of imagination on TV any longer. I know there are great animators out there, but I imagine that what you say is very true, that many of them aren't allowed to create something silly just for the sake of being silly or to make a cartoon with almost no plot just to try out ideas. That's the stuff I remember being fun to watch. Now it's as if hammy bad jokes with bland, nonthreatening plots with flat drawings are all you get on TV shows.
What on earth happened to having fun? I think you're right. If bland people make bland animation then there must be more bland people in the producers seats these days. I feel it's almost been the same with live action films for the last ten years-- with a few exceptions.
Live action film has its power in the use of time-image and use of visual space and montage to build upon ideas. Animation has those things but it also has the ability to explore completely surreal ideas through the drawings themselves and through a language that has almost infinite possibility because you can invent a gag almost on the spot simply by drawing it.
I hope I've made sense out of this reply. It is frustrating that the cartoons that are commercially successful right now bear almost no resemblence to the cartoons that made the medium great and fun and interesting decades ago.
I'm really sick of the "contrived misunderstandings" you mentioned. I'm an eighteen year old hormone driven teenybopper, but I can put up with romance in movies if I must, but do it WELL. Other than that, I'd just rather the sex scene, and then get on with the plot.
In most movies, it's all painfully obvious, predictable and sickening.
-Character is introduced.
-Plot begins.
-Love interest is quickly introduced, then dissapears again (hero knocks her suitcase over or something)
-Plot continues
-Meet again and fall in love
-Sex scene
-Plot continues with an overly complicated "love story" pasted on
-There's a big misunderstanding (some hooligan makes her think he cheated on her!)
-Hero saves the day
-Back in love!
Old movies weren't much better though in that respecet. Most of the time, the love plots were just as cheesy. But at least the guys were always handsome and manly, as opposed to the pansies in movies now. The girls are still hot, but the "manly" guys look like lisping swishes! There's only a few heroic heroes now!
- Eddie Fitzgerald said...
good point! Bland people do make bland cartoons but executives seem to prefer them sometimes, I guess because they're team players and won't rock the boat. Entertainment corporations should do what rock n' roll execs used to do and tolerate excentricity from proven performers.
- litlgrey said...
Oh my GODDDD-DD-DDD-DD, John, I SO much agree with you on this! And you are entirely right, it came from the stultified atmosphere - the rigidity - of Disney.
And now with Flash, CGI, animatics, the problem is even worse. It's simply impossible to get a computer to simulate the robustness of either a character or a scenic element that the skilled human touch can provide.
WHY watch a cartoon if not to see the joyous stretching of reality from an envelope pusher like Clampett, Tytla, Avery (whose excruciating racism still infuriates me)... and John, I'd adore it if you would do a post on just the glorious, mid-1940s work of Frank Tashlin. The pose work in "Nasty Quacks" is godhead to me, and I can't even draw!
I had meant to ask a question a short time ago, John, regarding Robert McKimson's one weird deviation from his own model sheet - the "chunky" Bugs of 1948, from which he had retreated by 1949.
Basically... what was McKimson thinking? "Chunky" Bugs isn't attractive in the least - this at a time when Freleng was perfecting the sleek and nearly unflappable Bugs that carried him through the '50s; and Jones' more quietly anarchic Bugs (with ever more stylized big feet and rounded eyes). "Chunky" Bugs just seems toothy, pissed off, and neurotic.
Be of good cheer, John!
- Micah said...
What in the real world could be done about it with the blandiacs controlling the purse strings? Here's what I think:
Everyone has to work, we need food and shelter and all that. So go in to work like good soldiers and put out the stuff, but try to inject excitement even if it's slapped down. Most studios don't have such strict contractual agreements as to prohibit personal work at home or take ownership of the same (stop me here if I'm wrong, please.) So build a better mouse trap there. Better still: find a few like minded friends to make a short together with in your garage.
Enough people do this, make good things following not just your ideas here, John, but their own interests, and the things that excite them and you're going to have something. New material for the world to see. An economic structure will solidify around them and when Hollywood sees that people want more variety then things may change a little.
Not much. Cause c'mon. this is real life.
But that's just what I was thinking as I read your post.
Good stuff. I really wish there was more variety in the workplace and the market.
- Emmett said...
There are people who work in independent animation. Knowing several of them, I can safely say that they are anything but bland. Independent animators can give themeselves the opportunities that commercial executives don't. The only drawback is that it is extra work in getting their stuff out to an audience (for which there is an audience for, I know because I am part of it.)
I am also a huge supporter of RATATOUILLE's accomplishments. Unlike Dreamworks and such, Pixar seems to do a good job at keeping their work interesting.
- julian said...
hi john i hope one day you'll do a long lenght movie without bland character, pathos and all that shit and with great cartoon desing, crazy gags and all the stuff you can do great. i think you must be banned or something from all the big studios for you ideas about how animation should be done and the people you blame for it so it's gonna be hard to get the money from them. it would be great if you consider doing a low budget movie, like the ones plympton does. i love to see rough animation in pencil. anyhow that just one way. do you have any idea for a movie allready in you head? have you ever tryed to make it happend and hit the wall or why is it that you've never made one?? i hope one day i can see a movie directed by you and laught out loud like the good lord want us to do in the theaters when we go out to see a cartoon feature.
best of luck!
- JohnH said...
I think an obvious example you could give are the Marx Bros. movies. They made some of the most brilliant comedy of all time, yet the studios eventually demanded they include sappy love stories and idiot plots. Watching a later Marx Bros. movie without access to a fast forward button is horrible.
I agree with everything you said, John, but I don't understand why you cartoonists don't DO something about it and become actual executive and shareholders and get some financial capital in these corporations and then demand change.
Instead of being abused cartoonists, become the bosses and management and change things. Wear suits and make speeches at shareholder meetings, buy stock, and work your way up the corporate ladder. All that good stuff.
"After all, heh heh, we are not communeests."
I think if you guys are ever gonna change things you gotta start looking and acting like square executive types. Except when you're making cartoons. Would that be the worst thing in the world? I think that's a fair trade-off.
In any case, that's what I'm gonnna try.
- JohnK said...
>>I am also a huge supporter of RATATOUILLE's accomplishments. <<
In what, realistic backgrounds? Not in character of course.
They do have pliable lips now and that's a first for CG animation.
- pinkboi said...
The problems here are organizational. The badness and blandness of today's cartoons (and, indeed, today's movies and pop music) is not despite the huge budgets, but because of it! That kind of environment is not the optimal for creativity. When the stakes are high, formulae that are sure to crowd-please will be used time and time again. Psychologically, the quality of the output must matter and matter not too much.
Even if an executive can't understand what makes a good cartoon or a bad cartoon like a cartoonist can, it is his job to use good HR and organizational behavioral principals that ensure consistent output of good work and creativity.
- Clinton said...
Hi John,
What are you talking about, I think relates to the whole cartoon lineup on Disney's Jetix. The producers there focus more on the message than anything else. You have the "don't do drugs" episode, the "teamwork" episode and so on. These plots are reused over and over again. The characters are thrown into those reusable plots just to preach the message again and again. I think kids don't pay attention to the message at all. They would be more entertained watching a funny looking cartoon character bend oddly and blow up at will. All it takes for cartoons to be cartoony again is for someone to just throw it in the kids' faces. I think the general public is willing to try something new once at least.
- Clinton said...
Oh John, a quick question:
When you and Spumco delivered your first Ren and Stimpy episode to Nickelodeon, did Nick put the episode through an audience test? How did that go, and does television animation still do it?
- PCUnfunny said...
"More camera angles!"
I remember discussing TITAN AE with one guy and he loved the film but not because of the animation or drawings, but because there were great camera angles. This is probaly the most abused cheater move in anbimted films these days. Just look at any moment in 90's Disney films, they have no impressive animation or artwork they just have fancy shots of mundane stuff happening. Mufasa's pludging to his death or Belle dancing with the Beast,it was all camera angles.
- Sean Worsham said...
I don't know if the world is ready for our kind of fun entertainment John, it's getting to the point where it get's harder to talk to other folks around me about fun cartoons or life experiences, they just would rather talk about anime or playing World of Warcraft computer game than anything else. What you as well as I and everyone else here on this blog likes, I'm already beginning to lose hope in the entertainment industry. It seems to me nowadays that a lot of execs try to force everyone that they think their stuff is cool so they create these tabloid style stories and ads in order to get people to think that way. Nowadays everything has to be dark and more realistic (because reality is better pffftt) and to me while doing realistic stuff isn't bad it's doing it right that's the hard part and it seems nobody in the higher chairs want to take that risk. They think people want copies of copies and in order to do that they try to control the media to get people to think that in order to buy their crap.
While I don't mind realistic, cartoony or even in-between these entertainment stratospheres, I just want to live in a world where we can just have fun for once and laugh at ourselves. For me it's getting harder and harder to talk to people around me as I get older. Serious and Emo is in, laughter is out to them (unless it is extreme, mean and spiteful).
It gets harder for me to browse a comic store everyday, not to mention video games and movie outlets. It seems to me the biggest pleasure I have is drawing my best friends in goofy ways (I try my best) or talking to weird folks and looking into their personality and souls. Making a cartoon is the best soul cleansing of all. For some reason when making a cartoon I know I made I don't feel so empty anymore. The biggest reward is watching them smile afterwards even if it is just one person.
We all need to smile sometimes (not all the time otherwise we'd all wear happy helmets XD) for I see less and less of that everyday.
- Kali Fontecchio said...
"Bland formula cartoons to me, and to every cartoonist or animator with a mind of his/her own are just big boring lies."
Yes, and it's infuriating.
"You would think that with the billions (not an exaggeration!) of dollars being spent on formula cartoons every year, someone would be smart enough to carve a measly few million off to make imaginative cartoony cartoons that take advantage of the medium."
One would assume so, but alas, no. How terrible! It should be a crime to be stuck in such a long humdrum pit, as we are in, in this day and age. The cartoonist doldrums.
- Wutatool said...
"It's not enough to just have the character tell the other characters what their one personality trait is and why they have it. Am I the only one that notices that? "I'm a strong woman living in a man's world and I'm not gonna let a wimpy snot nosed kid like you stand in my way!" "Oh yeah! Well I'm the villain! A shallow no talent bum who has nothing better to do than make money critiquing those who do have talent!"
haha you didnt like ratatouille too much did you. ;) i did find it odd that the character expositioned all that and then hardly ever even showed that sort of crazed side again. i still liked that movie though.
- flashcartoons said...
John I think its time for another cartoon series!! Why not, try it again. Make a new series to show these other companies what real animating is. I know you can!!
i would watch them and buy the dvds :)
- Sean Worsham said...
I wonder when that George Liquor movie will get made John?
- Mr. Semaj said...
I don't understand why you cartoonists don't DO something about it and become actual executive and shareholders and get some financial capital in these corporations and then demand change.
Two words: John Lasseter
If it weren't for this guy, Disney would still be firing their next round of animators over NOTHING, and creating annoying sequels that rape their vintage films.
- Mr. Semaj said...
To build up on my previous statement, regardless of what the general attitude is about Disney content-wise, it's a good thing that one animator worked his way up the ladder, and is now shearing Disney of its bureaucracy.
We need someone like that for pretty much all of the movie and television outlets. Someone fun who can banish the boring stuff for once. Those who are running Cartoon Network today can't keep their jobs forever.
- R. Banuelos said...
I believe most film makers would agree with you on this one. Alot of times when they speak about animation in major media it's on a lower plane then live action. This might be one reason why animators try to make serious themes. I knew a lot of students in art school that really wanted to do Family Guy stuff and dumb boring characters. They would gaurd their little creations too and become egotistical about it. I hated these people. 3D shouldn't be compared to 2D cartoons. What Pixar does is closer to stop motion; they use puppets, sets, and cameras. 2D is on another realm, there is no limitations at all to what you can draw.
On a side note, I don't believe that a real 3D movie has been made yet. Everytime I watch one it seems more like an experiment in film making. There are some elements kind of right, some off, some that have nothing to do with anything else. Perhaps the medium is still too new and we need a "genius" that can wrap it all together. Some one like a Chuck Jones or Tex Avery. Or maybe not who cares.
- miss 3awashi t said...
the thing is people keep going to see the sucky movies.
it's sad.
i go too it's a family thing whenever theres a kids movie out our mom and all my little brothers and sister go to see it.
we can't not go it's a family thing.
i swear that the only reason these sucky movies don't bomb is because of thousands of people going to see them to qwell their need for family fun.
in short ,they're making a bratz movie >: ( i think i'm going to vomit
Heh Heh.John K is going crazy.Dont be so serious-people are making their own cartoony cartoons at home these days.
I'm with "Micah". Like minded individuals need to join forces in their garages and basements and do what they love. Figure out a cheap 'elastic, fishing line and duct tape' way to do things and do it. If enough people do what they feel passionately about...maybe something will come of it.
- Tibby said...
You need to get the bland ppl out, and get more imaginative ppl (like me) back in. The execs only understand money and ratings. They also tend to hire the bland ppl over the truely inspired ones. For reasons I do not know. Well, that's not true, I know that they tend to hire what they think works or is sellable.
They are affraid to try new things and ppl with passion and true talents mean nothing to them. If you have 1 "bland" artist as the director and the boss, he's going to hire only those who share his style and/or mindset. Not the outsiders (like me - for instance).
If you are so desprate for a change, take a chance on someone new. Not the been there, done that ppl. Cartoons back in the day where fantastice because the bosses where talented and wanted to surround themself with others who where somewhere on the same plane and inspiration as they where.
Execs and directors are affraid to take the gamble on something new. Because the risk for failure is so high. So they continue to go with the same artists, who do the same work, all the same time. Same, Same, same. That and they are affraid to take the gamble on someone who is out on the edge, maybe they are flakey? Maybe the audience will think they are too contovercial or won't like their bizzare styles. It is a huge gamble.
If you want talented and passionate ppl to start the driving again. Hire them - teach them the ways of the masters, and treat them with a tiny bit of respect. And the work quality will show.
- JohnK said...
>>The execs only understand money and ratings. <<
Well they know how to waste it, and ratings are lower than ever.
- Gavin Freitas said...
I don't understand why you cartoonists don't DO something about it and become actual executive and shareholders and get some financial capital in these corporations and then demand change.
Two words: John Lasseter
If it weren't for this guy, Disney would still be firing their next round of animators over NOTHING, and creating annoying sequels that rape their vintage films.
Excellent point! John fired most of the 3D people at Disney and hired 2D folks. And re-opened the Disney studio. RATATOUILLE's a great flick! A little more cartoony on the backgrounds and such would be cool but those characters are great. Their animation is looking better too, Pixar does it better than anyone that I've seen. I saw a little of squash and stretch in there too. However this movie in NOT a cartoon, but for CG it's getting better.
- harpo said...
John: when are u gonna have a new Beautiful People contest?
I'm dying to participate!
- Dan said...
John - I think a huge part of the problem comes from starting purely with scripts, and the aeons you have to spend in development with any project while the money is raised because the networks only commission in chunks of 26 half-hours, during which it gets all its corners rubbed off by the people in charge of the money, and the scripts are done largely for free, and the (retch) Series Bible, which details the minutiae of all the characters and plots, has been written and rewritten to pitch the series at cartoon forums, again for free, never mind that the goddamn show hasn't even been worked out yet. Add to that the fact that animation writers tend on the whole to be on the way up or the way back down (because we're talking about kids TV here - animation is of course only for kids, at least that's what is commonly believed here in the UK) and you get the same tired retreads of the same tired characters for yet another bland Eurotoon with the same woman doing the same goddamn voice for the same goddamn sassy female character.
Phew... that felt good.
- Chris E. said...
This was my complaint with Disney and Nickelodeon. A good example is that typical cliche of some teenager in a high school backdrop, always worrying about their stupid social status in popularity. All in the while, hanging around cliché characters who share the same personality from one show to another--Right down to that freaking slob who'll eat anything. Then, you have that popular brat with the league of soulless, unnamed characters who follow him/her around (usually her). And let's not forget that every adult character is a blithering idiot?
Of course, another good example of a "realistic" cartoon would be this:
- John_Fountain said...
This is an interesting topic that (as far as I'm concerned) should be discussed in art/animation schools...
Everyone with an art degree has to take 'Art History' but I think a lot of students out there could benefit from a good dose of 'Art Philosophy'... to study the "why" and not just the "how".
- Ed said...
You know John, I really wanted to say I get alot out of these posts. When you clinicly break down all that is wrong with an image and then challenge me by asking, "does anyone like this?" as if to say I'm a poor artist simply by disagreeing with you it feels just as shallowly manipulative as when music swells in a disney production and the sheepish and bland hero is forced by fate to kiss the girl. The posts where you talk about a philosophy of entertainment that produces compelling plots and interesting characters makes me want to go out and do things like observe my co-workers interact with those they're paid to pretend to like. These posts inspire me to think and consider and evluate rather than making me first feel like I have to deprogram myself from just imbibing your opinion as law. In ether case, though, I appreciate your blog and what you're doing. You're finally taking back commercial art to a unique art form rather than a confused fine art that has an inferiority complex. You've given it back its respect and it's virility. If even more that what you say about cartoons and art teaching me anything you've taught me what a good teacher SOUNDS like. I feel as though I now have a more discerning ear for those who actually have something worthwhile to say and teach, something which seems important for an art student.
Once you mentioned possibly commenting on superhero cartoons and I would still love to hear your thoughts on them.
- Raff said...
John, I'm so glad you're doing these posts, particularly the few before this one, because they're making me think.
I've been trying to figure out what happened to people's imaginations nowadays, and what happened to my imagination - it used to be much better.
A great possibility occured to me: Our private imagination brainspace has been completely invaded! We've been publicly and callously talking about sex, violence, pedophiles and things we'll always be uneasy with so much that we can't even make a single gesture without someone reading into it in a way that's judged against you. Instead of looking for nuances, we look for "possible liabilities".
"Mister Rogers is creepy. He's gentle, it's not normal for a man to be gentle, therefore he must be a monster." No!! He's MISTER FRIGGIN' ROGERS!! You're right, it IS unusual for a man to be that nice and gentle, and that's to his credit.
"You said Mister Rogers is nice. Therefore you're gay." No!
"You've got a problem with being called gay, therefore you're a homophobe." No! Wrong again!
"Your tone is confrontational as you've used the word no. You must have been told you're bad in the sack." NO! SHUT UP!!
Once you used to be able to say "The private dick rose when the cock crowed the next morning" and no one would bat an eyelash (unless the sentence was clearly a double-entendre). Now this comment will show up in 30,000 search engines just on account of those words.
Hell, I don't even think it's legal anymore to draw Little Audrey in a bikini and still have you convinced she's under twelve. Jim Henson wouldn't be able to chain Animal to the drumset (posible slavery reference) or make Crazy Harry blow stuff up (suicide bomber reference).
And that's only one factor. The other thing is this obsession with saving time. Our attention spans shorten as we're told to multi-task and efficiently zip through things faster than the next guy.
And you'll notice that both these problems are somewhat specific to North America, which is why we're increasingly looking to Europe and Japan for entertainment with passion in it.


text:
Queen Anne's County, Maryland Genealogy
- 1 County Courthouse
- 2 History
- 3 Places/Localities
- 4 Resources
- 5 Societies and Libraries
- 6 Web Sites
- 7 References
County Courthouse
Queen Anne's County Government
107 N. Liberty St.
Centreville, MD 21617
ph: 410.758.4098
- Named for Queen Anne of Great Britain, at the time was reigning when the county was formed (Ireland was added to her title in 1707.)
Parent County
- Created 9 April 1706 from Talbot County.
Boundary Changes
- 15 June 1773, a part was taken off to create Caroline County.
Variant Spelling
- Queen Anne[1]
Record Loss
Populated Places
Census Districts
Neighboring Counties
Anne Arundel | Caroline | Kent | Talbot | Kent County, Delaware
For a more detailed list, including addresses, phone numbers, and external links, see Queen Anne's County, Maryland Cemeteries.
The following is a list of cemeteries in Queen Anne's County:[2]
Federal Census reports available 1790-1930 including slave and veterans schedules.
Maryland State Archives' Guide to Maryland Religious Institutions identifies all churches known to have existed in Prince George's County, Maryland. It covers all denominations and includes record descriptions. The following records, taken from its collection, have been digitized and made available to view for free online:
- Protestant Episcopal (Church of England), St. Luke's Church, St. Luke's Parish, Church Hill, Md. (includes parish registers 1722-1957 and vestry minutes and papers 1729-1952)
Family Histories
It is anticipated that this bibliography will eventually identify all known family histories published about residents of this county. Use this list to:
- Locate publications about direct ancestors
- Find the most updated accounts of an ancestor's family
- Identify publications, to quote Elizabeth Shown Mills, about an ancestor's "FAN Club" [Friends, Associates, and Neighbors]
- Barnes, Robert W., F. Edward Wright, Vernon L. Skinner and Henry C. Peden. Colonial Families of the Eastern Shore of Maryland. 23 vols. Westminster, Md.: Family Line, 1996-2003; Lewes, Del.: Delmarva Roots and Colonial Roots, 2007. FHL US/CAN Book 975.21 D2b v. 1 ff. [Queen Anne's County families appear in Vols. 4-5, 7, 13, and 21.]
- [Brown] Brown, John B. "The Posthumous Son of William Turbutt Wright of Queen Anne's County, Maryland," National Genealogical Society Quarterly, Vol. 53, No. 1 (Mar. 1964):46-50. FHL Collection 973 B2ng v. 53
- [Claiborne] Washington, S.H. Lee. "William Claiborne: His Parentage and Pedigree," The William and Mary Quarterly, 2nd Ser., Vol. 19, No. 4 (Oct. 1939):474-475. Digital version at JSTOR ($).
- [Claiborne] Torrence, Clayton. "The English Ancestry of William Claiborne of Virginia: Part I: A Critical Study of the Traditionally Stated English Origins," The Virginia Magazine of History and Biography, Vol. 56, No. 3 (Jul., 1948), pp. 328-343. Digital version at JSTOR ($).
- [Claiborne] Torrence, Clayton. "The English Ancestry of William Claiborne of Virginia: Part II. The English Connection," The Virginia Magazine of History and Biography, Vol. 56, No. 4 (Oct., 1948), pp. 431-460. Digital version at JSTOR ($).
- [Claiborne] Dorman, John Frederick and Claiborne T. Smith. Claiborne of Virginia, Descendants of Colonel William Claiborne, The First Eight Generations. Baltimore: Gateway Press, Inc., 1995.
- [Claiborne] Davis, Virginia Lee Hutcheson. "William Claiborne, 1621 The George to Virginia," Tidewater Virginia Families: A Magazine of History and Genealogy, Vol. 12, No. 1 (May/June 2003):3-7. FHL Collection 975.51 D25t
- [Paca] Harris, Mrs. Norris. "The Paca Family of Queen Anne's County, Maryland," The Maryland and Delaware Genealogist, Vol. 31, No. 2 (Spring 1990):69. FHL US/CAN Book 975 B2m.
- [Wright] Brown, John B. "The Posthumous Son of William Turbutt Wright of Queen Anne's County, Maryland," National Genealogical Society Quarterly, Vol. 53 (1965):46-50.
The New Early Settlers of Maryland database is a great place to start searching for immigrants who had arrived in the colony by the 1680s. The database "comprises 34,326 entries from Gust Skordas' Early Settlers of Maryland and Carson Gibb's Supplement to the Early Settlers of Maryland." Available online, courtesy: Maryland State Archives.
Other Queen Anne's County immigration resources include:
- List of indentured servants and transported convicts from Europe who completed labor terms in Colonial Queen Anne's County, Maryland (work in progress), courtesy: Immigrant Servants Database. [Includes Richard J. Cox's abstracts of Maryland Gazette runaways.]
Through a Joint eGovernment Service of the Maryland Judiciary and the Maryland State Archives, free images and indexes of the complete series of Queen Anne's County Deed Books (1706-present) have been uploaded to their website: MDLandRec.Net: A Digital Image Retrieval System for Land Records in Maryland. (Requires free registration.)
Local Histories
Revolutionary War
- A Census of Pensioners for Revolutionary or Military Services: With their Names, Ages, and Places of Residence, as Returned by the Marshalls of the Several Judicial Districts, Under the Act for Taking the Sixth Census]. 1841. Digital version at Google Books et. al. 1967 reprint: FHL Collection 973 X2pc 1840. [See Maryland, Queen Anne's County on page 128.]
War of 1812
- List of Pensioners on the Roll, January 1, 1883; Giving the Name of Each Pensioner, the Cause for Why Pensioned, the Post-Office Address, the Rate of Pension Per Month, and the Date of Original Allowance... Washington, D.C.: Government Printing Office, 1883. FHL Collection 973 M2Lp v. 5; digital versions at Google Books and Internet Archive. [See Vol. 5, Maryland, Queen Anne County, p. 154. Identifies War of 1812 veterans living in this county in 1883.]
- Queen Anne's County newspapers are identified in "Guide to Maryland Newspapers," available online, courtesy: Special Collections, Maryland State Archives.
- [1783] Queen Anne's County Tax List of 1783: This is an alphabetical index to names to all property owners assessed. The index cards at the Maryland State Archives include county, hundred, names of tracts of land and whether individuals were paupers or single males as provided in the law.
Vital Records
- Maryland Death Certificate Index 1898-1944, available online, courtesy: Vital Records Indexing Project, Maryland State Archives.
Societies and Libraries
Family History CentersIntroduction to LDS Family History Centers
Web Sites
- FamilySearch.org Family History Library Catalog for Queen Anne's County.
- The Queen Anne's County MDGenWeb Project, a member of The MDGenWeb Project, an affiliate of The USGenWeb Project.
- The USGenWeb Archives Project for Queen Anne's County.
- ↑ List of Pensioners on the Roll, January 1, 1883; Giving the Name of Each Pensioner, the Cause for Why Pensioned, the Post-Office Address, the Rate of Pension Per Month, and the Date of Original Allowance... (Washington, D.C.: Government Printing Office, 1883), 154. FHL Collection 973 M2Lp v. 5; digital versions at Google Books and Internet Archive.
- ↑ USGS Map, Trails.com

subset: commoncrawl


text:
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Thank you for visiting my website. I consider it an honor and a privilege to represent Placer County's Third Supervisory District. The Third District includes a portion of North Auburn (home of the Placer County Government Center), the scenic and rustic communities of Ophir, Newcastle, Penryn, the Town of Loomis (where a small town is like a big family) and the majority of the City of Rocklin. As a former Wolverine, I am pleased to say that Sierra College, one of the top community colleges in the state, is in my district.
As the Third District Representative to the Placer County Board of Supervisors, I promise to be active in the community, to be available, to listen to all sides of the issues and make common sense decisions that are in the best interests of current Placer County citizens and future generations.
My greatest goals during my term of office are to preserve and protect the agricultural heritage of our beautiful county and insure quality, customer friendly government services.
Listening to your concerns is the most important part of my job as your Supervisor. Please feel free to contact me at my office (530-889-4010) or by electronic mail (email@example.com).
Jim was elected in 2004 and assumed his seat on the Board of Supervisors January 4, 2005. He is currently serving his 4th term. He represents the 3rd District, an area that includes a portion of North Auburn, Ophir, Newcastle, Penryn, Loomis and the majority of Rocklin.
An Auburn native with more than 29 years of business experience, Jim has been dedicated to community service throughout his adult life, serving on:
Jim went to local schools, graduating from Placer High School and Sierra College. He has a bachelor's degree in political science from Humboldt State University.
He and his wife, Pat, have two daughters, Stacy and Amy, a son, John, and granddaughters Amber, Mandy, Lyla, and Mia.
Placer County has many committees and commissions to assist in the successful governing of the county. These committees and commissions have a far reaching impact for all of us.
Goals of committees and commissions:
Collect and provide information about issues facing our county from you, your neighbors as well as other interested parties. Advise the Board of Supervisors and to other county decision-making bodies, officials, and staff based upon this information.
The following are the committees and commissions to which I have been appointed to in order to assist our county:
The information contained herein is provided under the authority of Placer County Supervisor Jim Holmes, District Three. This website is a reflection of the views of District Three Supervisor Jim Holmes and may not reflect the views of the Placer County Board of Supervisors. If you have any questions concerning information on this website contact:
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Administrative Aide


text:
Immune Responses in Patients Treated With Raltegravir (RAG-1/2)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00785967
Recruitment Status : Withdrawn (Unexpected and severe difficulties in recruitment.)
First Posted : November 5, 2008
Last Update Posted : April 14, 2015
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
Hypothesis: Treatment with raltegravir does not alter V(D)J recombination or immune responses to neoantigens.
A process known as V(D)J recombination is essential for developing lymphocytes and the specific functioning of the immune system. Raltegravir is the first approved drug of the new integrase inhibitor class of anti-HIV drugs. Integrase inhibitors have been shown in some studies to interfere with DNA cleavage and the activities of RAG-1/2. These studies suggest a potential to affect aspects of both B-cell and T-cell development, therefore, it is important to evaluate the potential effects that integrase inhibitors may have in clinical use. If immunoglobulin and T-cell receptor genes are altered by HIV integrase, then patient lymphocytes will fail to display normal responses to vaccinations.
|Condition or disease
|HIV Infections
|Biological: Various vaccines
|Phase 3
V(D)J recombination is essential for developing lymphocytes and the specific functioning of the immune system. Germline gene coding segments become rearranged to create functional immunoglobulin and T-cell receptor genes by this recombination. The process depends on site-specific cleavage of chromosomal DNA by RAG-1 and RAG-2 recombinase. Two recombination-activating gene proteins (RAG-1/2) in conjunction make up a complex of enzymes that join gene segments of B-cell and T-cell receptor genes. RAG-1 contains most of the V(D)J recombinase active site and RAG-2 is essential in joining DNA segments during V(D)J recombination. RAG-1/2 have similarity in action to other DNA transposases and HIV-1 integrase. These similarities suggest that HIV-1 integrase inhibitors may have the potential to affect aspects of both B-cell and T-cell development.
Induction of primary immune responses to neoantigens involves the generation of specific T-cells and immunoglobulin M (IgM) antibody secreting B-cells. As part of this process, T and B memory cells are also generated, which have specific cell surface receptors to the antigen. On repeat exposure to the antigen, these memory T- and B-cells are triggered to generate rapid and intense secondary responses. During this secondary response, B-cells secrete abundant specific IgG antibodies with greater affinity to the antigen than for the IgM isotope. This memory response is mediated by T-cells with CD45+ RO+ phenotype. These T-cells provide B-cells the help required to generate the specific IgG. Sub-optimal antibody responses are seen in both acquired and hereditary immunodeficiency, which are due to impaired T-cell function including poor T-helper responses to B-cells and defective neo-antigen responses.
An established method to evaluate T-cell function involves testing antibody production to vaccination with phiX174, a stable bacteriophage of E. Coli that is critical in demonstrating T-cell competence. Antibody titers after primary and secondary immunization correlate with abnormal CD4 cell help. Patients with functional B-cells that lack T-cell help show a characteristic failure to switch from IgM to IgG, making this assay essential in the evaluation of V(D)J recombination.
Currently, raltegravir is the only approved integrase inhibitor that targets the integration stage of the HIV-1 lifecycle. The clinical manifestations of raltegravir-related potential adverse effects on V(D)J recombination may be so rare that they may only be observed after large numbers of patients are exposed to this drug. Evaluating the direct in vivo interaction of HIV integrase inhibitors on RAG-1/2 is difficult, therefore the best approach may be to evaluate the potential negative effects on recombinase activity downstream by studying immune function. If gene rearrangements of immunoglobulin and T-cell receptor genes are altered by HIV integrase, then patient lymphocytes will fail to display normal responses to neo-antigen exposure. Since untreated HIV-infected individuals have an impaired ability to respond to new antigens, it is difficult to evaluate the responses to neo-antigens in these individuals. Therefore, to test this hypothesis, it would be best to choose patients with long-term control of HIV that have recovered immune function.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|0 participants
|Intervention Model:
|Parallel Assignment
|None (Open Label)
|Primary Purpose:
|Basic Science
|Official Title:
|Immune Responses to Neo-Antigens in Patients Treated With Raltegravir: Insights on V(D)J Recombination and RAG-1/2 Recombinase Function
|Study Start Date :
|January 2009
|Actual Primary Completion Date :
|August 2011
|Actual Study Completion Date :
|August 2011
Experimental: 1
raltegravir 400mg bid + Truvada 1 tab qd
Biological: Various vaccines
VAQTA: 1.0ml IM at weeks 24 & 48; Pneumovax 23: 0.5ml IM at screening; Td ADSORBED: 0.5ml IM at screening; phiX174 bacteriophage: 0.02ml/kg body weight IV at weeks 28, 32, 36, 40.
Other Names:
Active Comparator: 2
efavirenz 600mg qhs + Truvada 1 tab qd (or Atripla 1 tab qhs)
Biological: Various vaccines
VAQTA: 1.0ml IM at weeks 24 & 48; Pneumovax 23: 0.5ml IM at screening; Td ADSORBED: 0.5ml IM at screening; phiX174 bacteriophage: 0.02ml/kg body weight IV at weeks 28, 32, 36, 40.
Other Names:
- Percent of patients with phiX174 IgG greater than or equal to 30% of total anti-phiX174 titers [ Time Frame: Two weeks after fourth phiX174 immunization ]
- Total phiX174 antibody titers [ Time Frame: 2 and 4 weeks after each immunization ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- HIV-1 infected males, as determined by ELISA and Western blot;
- >18 years of age;
- Current ARV therapy with efavirenz + Truvada® for >52 weeks;
- HIV-1 RNA (bDNA) <50 copies/ml for at least 52 weeks;
- No history of hepatitis A vaccine, and HAV antibody negative.
Exclusion Criteria:
- any immunomodulatory therapy within 24 weeks of screening or during the trial;
- any type of vaccine within 24 weeks of screening or during the trial;
- current opportunistic infection, malignancy, acute infection, or febrile illness;
- history of hypersensitivity to a vaccine, components of a vaccine, or components of a vaccine container.
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00785967
|Canada, Quebec
|Immune Deficiency Treatment Centre, Montreal General Hospital, McGill University Health Centre
|Montreal, Quebec, Canada, H3G 1A4
|Principal Investigator:
|Christos M Tsoukas, MD, FRCPC
|McGill University Health Center
|Responsible Party:
|Chris Tsoukas, Director, Division of Allergy & CLinical Immunology, MUHC, McGill University Health Center
|ClinicalTrials.gov Identifier:
|NCT00785967 History of Changes
|Other Study ID Numbers:
MK0518-048-00, Version 2.2
HC-TPD Control # 120132
|First Posted:
|November 5, 2008 Key Record Dates
|Last Update Posted:
|April 14, 2015
|Last Verified:
|April 2015
Keywords provided by Chris Tsoukas, McGill University Health Center:
V(D)J recombination; RAG-1/2 recombinase function
Additional relevant MeSH terms:
HIV Infections
Lentivirus Infections
Retroviridae Infections
RNA Virus Infections
Virus Diseases
Sexually Transmitted Diseases, Viral
Sexually Transmitted Diseases
Immunologic Deficiency Syndromes
Immune System Diseases
Raltegravir Potassium
Heptavalent Pneumococcal Conjugate Vaccine
Anti-HIV Agents
Anti-Retroviral Agents
Antiviral Agents
Anti-Infective Agents
HIV Integrase Inhibitors
Integrase Inhibitors
Enzyme Inhibitors
Molecular Mechanisms of Pharmacological Action
Immunologic Factors
Physiological Effects of Drugs


text:
WASHINGTON — College students taking out new loans for the fall term will see interest rates twice what they were in the spring — unless Congress fulfills its pledge to restore lower rates when it returns after the July 4 holiday.
Subsidized Stafford loans, which account for roughly a quarter of all direct federal borrowing, went from 3.4 percent interest to 6.8 percent interest on Monday. Congress' Joint Economic Committee estimated the cost passed to students would be about $2,600.
Efforts to keep interest rates from doubling on new Stafford loans fell apart last week amid partisan wrangling in the Senate. Democratic senators and the White House both predicted that a deal would be reached in Congress to bring the rates down again before students return to campus.
But if an agreement remains elusive, students could find themselves saddled with higher interest rates this year than last.
"The only silver lining is that relatively few borrowers take out student loans in July and early August. You really can't take out student loans more than 10 days before the term starts," said Terry Hartle, a top official with colleges' lobbying operation at the American Council on Education.
Students only borrow money for one school year at a time. Subsidized Stafford loans taken before Monday are not affected by the rate hike, nor are federal PLUS, Perkins or unsubsidized Stafford loans slated for the coming year.


text:
The public has opportunities to comment on the Common Core State Standards for mathematics and science.
The public has opportunities to comment on the Common Core State Standards for mathematics and science.
The California Department of Education released the draft mathematics framework for kindergarten through 12th grade Thursday for public comment, said State Superintendent of Public Instruction Tom Torlakson in a press release.
"This draft math framework is an important step on California's path toward the Common Core State Standards, which provide a practical way to prepare children for the challenges of a constantly changing world by learning step-by-step the practical skills they need for career and college," Torlakson said. "I'm looking forward to feedback from the public as we put these standards to work remodeling our education system."
Frameworks provide guidance for implementing the new standards. Standards define the knowledge and skills students should acquire at each grade level. The draft math framework differs from the last one approved by the State Board of Education in 2005, because it is aligned to the Common Core State Standards for Mathematics.
The draft framework shows the progress from kindergarten to higher-level math using three principles. The first principle is focus, an emphasis on the math concepts and content in the standards. The second principle is coherence, the connections between mathematics topics that create a progression of learning from kindergarten through high school. The third principle, rigor, calls for instruction with an equal emphasis on developing students' understanding, procedural skills, and ability to apply mathematics to solve problems inside and outside the classroom.
This draft math framework links to implementation tools and research, describes options for higher math even at the middle-school level, including Algebra I, provides greater support for universal access for English learners and students with disabilities, changes the approach to technology, and aligns with the Smarter Balanced Assessment Consortium's test content specifications. Smarter Balanced is the new computer adaptive student assessment system. The draft frameworks also will help guide publishers in developing instructional materials.
California is part of a multistate consortium that developed the Common Core State Standards for math and English. They keep the best of California's current standards, but replace outdated ways of learning with a clear focus on the key knowledge and skills students need, and provide teachers the time to teach them well.
California Education Code Section 60207 requires the State Board of Education to adopt a revised mathematics curriculum framework. The draft math framework is the culmination of several years of work involving educators, content experts, and other education and community leaders.
The public has until June 20 to review the draft math frameworks located at the California Department of Education's Public Review and Comment on the Math Framework Web page. To leave comments, people may use the online 2013 Mathematics Frameworks Online Survey, or visit one of the 23 learning resource display centers statewide, where hard copies of the draft will be available.
The public comments will then be presented to the Instructional Quality Commission this summer for review and possible inclusion into the final frameworks. The State Board of Education may take action on the final math frameworks this fall.
Three public meetings will be held throughout California in April and May to accept public comment on the latest draft of the Next Generation Science Standards.
The updated NGSS reflect the major advances in science over the past 15 years and aim to help students achieve the practical skills they need to succeed outside the classroom, maintaining California's economic and technology leadership in the world.
A review of the NGSS by a panel of science experts is underway. Later this spring, the panel will review the public comments. In the summer, the State Board of Education is expected to receive feedback from the panel and public meetings. The State Board is expected to consider adoption of the standards this fall.
To view the latest draft of the science standards, go to the Next Generation Science Standards website. The public may also submit comments by webinar at the second public meeting April 30 from 3-5 p.m. at the Santa Clara County Office of Education, 1290 Ridder Park Drive, San Jose, CA 95131-2304. The Webinar address is http://connect2.sccoe.org/cde-ngss.
Comments may also be sent by email to email@example.com, by mail to 1430 N Street, Room 4309, Sacramento, CA 95814-5901 or by fax to 916-323-2833.
Other meetings are scheduled for April 29 at the Sacramento County Office of Education, 10474 Mather Boulevard in Mather and May 2 at the Riverside County Office of Education, 3939 Thirteenth St. in Riverside.
If any member of the public has further questions about the meetings, contact Karen Martin at the California Department of Education's NGSS Office at 916-323-5847.


text:
Housed in the Palazzo della Crocetta the Archaeological Museum is a landmark in any understanding of Etruscan civilization and art. There is also a section devoted to Ancient Egypt, the second most important in Italy following the Museo Egizio in Turin.
The Museo Archeologico developed out of the Etruscan collections of the houses of Medici and Lorraine, originally held in the Uffizi; while the ancient Egyptian section was established in the first half of thee 19th c. by Leopoldo II trough the acquisition of existing collections and through "field expeditions".
All of the collections were moved to the present location in 1880.A visit to the Museum starts with the section dedicated to Egyptian arts. The finds of the Palaeolithic Age: the prehistoric Egypt that had to have started two million years ago.
To this period belong the numerous utensils and instruments on display. Objects of diverse dating and origins narrate the long history of the Egyptian people and culture: domestic utensils, beauty instruments (rooms I-V).
Room XI holds various instruments relative to the ritual of Mummification, the so-called Canopic Vessels: containers for the vital organs of the deceased and essential for the funeral trousseau. Following are the artefacts relative to the Protodynastic Age: Ancient, Middle, and New Reigns, until the age of Copta (310 a. D.).
Among the cult objects of this polytheist civilization, the Museum exhibits some fragments of papyrus, the chapters of the Book of the Dead: a story of the formula and ritual for the survival of the deceased in the afterlife (room VI), an exceptional facet of this great people.
The second section of the Museum is dedicated to Etruscan art: funerary sculpture and urns in terracotta (III-IV b. C.). The Mater Matuta is the most important find in room IX: a funerary urn in the figure of a woman with a baby in her arms, symbolic of fertility and motherhood.
The artefacts were found in Chiusi, Chianciano, and Volterra and date between the Fourth and Seventh Century b. C. The Etruscan section holds a bronze collection rich with devotional objects, domestic utensils, and small bronzes of animals and human figures in the act of making offerings (room XIV).
Finally, there is a series of ancient bronze arms for attack (daggers, helmets, knifes and lances) and shields for defence, providing protection for the heart (VII b. C.). The third section is dedicated to the Attica Ceramics: funerary amphorae, geometric cups and vases from the VIII Century b. C.
One can see the particular vases, painted with the black-figure technique asserted to be from the VI Century b. C. (room I): life scenes and those of abduction, mythological images, athletic competitions and races between carts and horses decorate the production of the famous Attic painter Lydòs (560 b. C.).
Between 550 and 530 b. C. the attention of the Attic ceramicists dwelt on few personages and dramatic scenes: the refinement culminates with the narration of the deeds of courageous heroes. The famous Hidrìa, a vase for drawing water covered with scenes of women at the fountains, makes the exposition cases of Room II even more invaluable.
A fourth section holds numerous Roman bronzes: portraits, helmets, statues, and masks of noble and valorous heroes. Very important are the two Elogia Arretina, dedicated to Quinto Fabio Massimo and Appio Claudio Cieco: two marble tablets that illustrate the name, career, and the military and political enterprise of the two.
A visit to the Archaeological Museum is a trip, a leap through the times of peoples now gone and cultures extinct, but deeply imprinted in the memory of man. Particular information is available to the visitor in each room.
For any information:
Museo Archeologico
Via della Colonna 38 (055 235750).
Open Mon 2-7pm, Tue/Thu 8.30am-7pm, Wed/Fri/Sat/Sun 8.30am-2pm.
Admission: 4 euro


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6 Qt. S/Steel Roaster, Nescote� Non-Stick Cookwell
6 Qt. S/Steel Roaster, Nescote� Non-Stick Cookwell
Item Number: 4816-25-30
6 Reviews
Write a Review
Sale: $49.99
In Stock
Available Color/Flavor:
Stainless Steel
Cooking Chart Guidelines
Roaster Recipes
Sale: $49.99
Stainless Steel ($49.99)
Most versatile appliance ever made! This is one of the original Nescos®, just like the one that Grandma had, but better! Nesco's® Nescote® non-stick interior makes cooking a breeze!
Roasts, bakes, cooks, steams, slow cooks, and serves all in one. Unique "Circle of Heat®" heating element provides moist, even cooking. Perfect for a batch of chili or soup, a chicken, pot roast, or cornish game hens.
6 Qt. Roaster Manual
• Patented Nescote® Non-Stick cookwell is removable and easy to clean.
• Convenient, portable size is great for entertaining.
• Includes chrome rack for better baking and fat-free roasting.
• Adjustable temperature control. (175º-425ºF)
• Large enough to hold a chicken, pot roast, or turkey breast.
• 750 Watt, 120 Volts.
Customer Ratings and Reviews
6 Customer Reviews
5 out of 5
Write a Review
5 out of 5
Dorothy T
Oakland, CA
My Nesco products:
Mar. 30, 2018
I have 2 of the 18 roaster ovens, and 1 6 qt non stick roaster oven. I love all 3 products. My 6 qt non stick roaster is very convenient for cooking spaghetti, other meals and vegetables. I rate it a 6 star. The others are also rated 6 stars. All are very easy to clean and have multiple uses for cooking, baking, steaming, roasting, and barbeques. Wonderful products.
5 out of 5
Randy D
Dec. 28, 2017
I have used my 6 qt., for well over 10 years. No telling how many 100's of pounds of various foods have been ran through it. I use it multiple times, weekly. It is quite simply, THE most used cooking appliance that I have in My kitchen. If I had a complaint, it would be that I wish there was a slightly larger version (possibly a 9 & 12 qt. version) I quite often find myself having to fill the "6" all the way up. Sometimes, for Family carry-ins, I will even take additional (previously prepared) food to add, as needed. A larger unit would eliminate that issue. While the 6 is outstanding for a lot of recipes, the "18" is just too big. But, the "6" BLOWS AWAY any "Crock Pot" simply because of its infinite heat control. It's too bad I can't give My "6" more than 5 stars, its versatility is worth more than 5 stars. Buy it, You won't regret it.
5 out of 5
BJoe C
Douglasville, GA
Great kitchen appliance
Nov. 29, 2014
I have used the 6 quart cooker for more than ten years and use it weekly. Perfect size for counter top cooking. Makes great roast, baked chicken but my favorite is fresh corn ,green beans, roasted bake potatoes, and most of all turnip greens. I love being able to set the temp to the foods requirements. It does not heat up the kitchen in the summer and makes wonderful soup in the winter. I call this my right arm in cooking because it makes complex tasks simple. A reliable product that makes cooking a blessing. I use mine at church and for family reunion and present consistently hot, attractive food. Buying 5 for Christmas for the five children's families. They have admired mine long enough.
5 out of 5
Linda J
Raleigh, NC
Excellent Product
Mar. 4, 2014
I purchased this roaster about 10 years ago for myself and have loved it. The non-stick surface has lasted for many years of heavy cooking. I have now purchased a total of 5 because everyone that has seen mine roaster needs to have one. I am getting ready to purchase my 6th roaster for another gift. The ease and speed of cooking is one of the highlights of this roaster. I highly recommend it to anyone who is considering purchasing one.
5 out of 5
Jeanine G
Fort Mill, SC
Best cooker I own
Feb. 3, 2014
My 6 qt roaster is probably 25 years old and still cooks like a charm, never burns, never disappoints. The inner pot is easy to handle and a dream to clean. Everything comes out falling off the bone delicious. Ordering two more, a new one for me and one for my sister!
4 out of 5
Nona C
Raymond, WA
Own two Nesco Roasters!
Dec. 13, 2013
My first Nesco roaster was purchased at an "Antique" store several years ago.
It is probably 50 years old and still cooks a 20 lb turkey to perfection. I purchased the smaller 6 quart roaster and love it, too, for smaller meals. It does cook a little hot, must use a lower heat than recommended to roast a chicken, and soups will need to be set below the 200 mark. I love that it browns and steams. The non-stick insert is light, easy to handle and non-chip, but it still collects some burned oils at the sides. All in all, I am quite happy with this and will be getting one for my Daughter-in -law for Christmas! Quote:"I want one,,?!"
Accessories and Related Products
18 Qt Roaster, Porcelain Cookwell - Silver Body
1.5 Qt Slow Cooker (Metallic Red)
12 inch Electric Skillet
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Though a retailers group is not wavering in its campaign against the Gov. Chris Christie administration's plans to privatize the sales and marketing operations of the New Jersey Lottery, a representative for one of the companies planning to bid on the state's proposal said the coalition's concerns are unfounded, based on the firm's existing operations in Illinois and Europe.
"In the first year of our operations in Illinois, the lottery has seen 18 percent growth under our management — making it one of the fastest-growing lotteries in the U.S.," said Robert Vincent, a spokesman for GTECH Corp., a Providence, R.I.-based subsidiary of Lottomatica, which the Big Gamble NJ grassroots campaign is most opposed to managing New Jersey's lottery. "That success is a strong credential for us … and we have a broad level of experience in being able to take on new lottery operator roles."
Of the four potential bidders for the 15-year contract to take over the state lottery's marketing and sales arms, Vincent said GTECH has "earned the position of being one of the only private lottery managers in U.S.," noting the firm holds the majority stake in an "80-20 partnership" with Scientific Games Corp., which has been operating Illinois' lottery since July 2011, and it won a contract to singlehandedly run Indiana's lottery in October.
"Our role to date in New Jersey is a lottery technology solutions provider, but that's not to say we don't have other skills that they're looking for in lottery management," Vincent said.
While Satish V. Poondi, director of legislative affairs for Green Brook-based Asian-American Retailers Association — which formed the Big Gamble NJ coalition with the Communications Workers of America — said GTECH is underperforming in Illinois after it "promised bells and whistles," Vincent said the firm holds "a complicated contract as to how you get penalties and incentives, and there's still more to come from Illinois on what those are, though we've expressed we will easily meet our commitments as they are adjusted."
Even if GTECH keeps its promises by increasing lottery revenues in Illinois and Indiana — and potentially New Jersey — Poondi said the company's Internet sales platform would block brick-and-mortar businesses from entering the market and shift lottery revenues from small retailers to the online marketplace.
But Vincent said the firm's online lottery business in Illinois has barely reached 1 percent of overall sales, and based on its years of experience operating Internet lottery platforms in Europe, he said it could take up to five years for any state's Web-based sales slice to grow to 10 percent.
The companies competing for the lottery contract are New York-based Scientific Games, United Kingdom-based Camelot Group, Greece-based Intralot and GTECH. Bids are due to the Division of Purchase and Property on Dec. 4.


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It is in italian. Can somebody translate?
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text:
posted by Thom Holwerda on Thu 14th Feb 2008 21:06 UTC
Having almost disappeared completely late last year, SCO says it has been resuscitated by a new financing plan. Under the terms of the deal, Stephen Norris Capital Partners and "its partners from the Middle East" will supply up to $100 million, enabling SCO to reorganize and launch a new series of products. SNCP will gain a controlling interest in the company, and take it private, allowing it to slip out of Chapter 11 bankruptcy protection. Update: As part of the reorganisation, Darl McBride will be let go. Buried in the proposed MOU (Memorandum of Understanding) between Unix vendor and Linux litigator SCO and SNCP is the note that "upon the effective date of the Proposed Plan of Reorganization, the existing CEO of the Company, Darl McBride, will resign immediately."


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We all know that to stay in good shape we need to eat our fruit and vegetables. Well Mirta is certainly the living proof of that fact!
In this new film catch the delectable Mirta eating her fruit and veg quota. Gaze on as she gently sucks the soft, succulent flesh of a peach, licking and probing with her pink tongue as ripe juices trickle down her chin.
And that's just for starters! It's a hot day and as the temperature soars Mirta decides to satisfy her hunger and cool down with a cucumber.
Is it just me or is it hot in here? We promise you that this film will blow you away!
Would you like to comment? Join us today, or sign in if you're already a member.


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FORKS OVER KNIVES claims that many degenerative diseases can be controlled, or even reversed, by rejecting animal-based and processed foods. Using the results of studies conducted by Dr. T. Colin Campbell and Dr. Caldwell Esselstyn, the film puts the idea of food as medicine to the test. Cameras follow "reality patients" who have chronic conditions ranging from heart disease to diabetes as doctors teach them how to adopt a whole-foods, plant-based diet as the primary approach to treating their ailments.
Join Professor Joan Benson from the University of Utah College of Health for a discussion of current research on diet and disease prevention following the film.
Directed by Lee Fulkerson
Run time: 90 minutes
Rated PG
Science Movie Night is presented by the Natural History Museum of Utah in partnership with the Utah Film Center. We thank the Salt Lake City Public Library, our presenting sponsor.
This event is free and open to the public.


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LEXINGTON, Ky. — Alex Poythress scored 20 points, including two free throws with 1 second remaining, as Kentucky survived LSU 75-70 Saturday.
Archie Goodwin added 15 points, Ryan Harrow 11 and Nerlens Noel 10 with six blocks as the Wildcats (13-6, 3-2 Southeastern Conference) recovered from Tuesday's loss at Alabama.
LEXINGTON, Ky. — Alex Poythress scored 20 points, including two free throws with 1 second remaining, as Kentucky survived LSU 75-70 Saturday.
Archie Goodwin added 15 points, Ryan Harrow 11 and Nerlens Noel 10 with six blocks as the Wildcats (13-6, 3-2 Southeastern Conference) recovered from Tuesday's loss at Alabama.
Poythress also grabbed 12 rebounds to help seal Kentucky's victory, which featured some drama at the end with the Wildcats almost having six players on the court.
The Wildcats led by as many as 15 points before halftime and were up 69-63 with 1:57 remaining before LSU rallied to within 71-70 on Johnny O'Bryant III's follow with 3.9 seconds left. Kyle Wiltjer was fouled on the inbounds pass just as Noel appeared to be on the court before being pulled back by Wildcats assistant John Robic.
Despite protests from the LSU bench, no call was made. Game officials declined comment to a pool reporter afterward and referred all inquiries to the conference office.
Wiltjer made two free throws with 3.1 seconds left to put Kentucky up by three and Poythress clinched it with two more after rebounding Anthony Hickey's missed front end of a one-an-one.
Kentucky shot 52 percent (27 of 52) and outrebounded LSU 39-26.
O'Bryant had 21 points for the Tigers (10-7, 1-5), who lost to the Wildcats for the fifth straight time.
Hickey added 15 points and Andre Stringer 13 for LSU, which shot 39.7 percent (25 of 63).
Kentucky's 59-55 loss at Alabama on Wednesday created some urgency on Saturday for the Wildcats, who were looking to build their NCAA tournament resume while trying to avoid their first conference losing streak of the season.
The Wildcats' individual play in blowing a nine-point halftime lead to the Crimson Tide led Kentucky coach John Calipari to consider sitting some players. That didn't happen with the starting lineup as Noel, Poythress, Goodwin, Harrow and Julius Mays began their third straight game together as center Willie Cauley-Stein continued healing from a procedure on his left knee last week.
Just about every combination worked in the first half for the Wildcats, who seemed more in sync in building a 42-31 lead. Just as impressive as Kentucky's 58 percent shooting (19 of 33) was its balance as every starter had at least two baskets while Wiltjer added six coming off the bench.
Poythress, whose low-key demeanor on the court has made him a frequent criticism target of Calipari's, was particularly energetic with 11 points and six rebounds in 13 minutes. His most impressive sequence came late in the half as he let out a yell muscling for a tip-in and drawing the foul.
Poythress completed the three-point play for a 38-25 lead, drawing a sustained cheer as he went to the bench.
Kentucky also outrebounded LSU, 22-16, efficiency that thwarted LSU's hopes of disrupting the Wildcats with pressure defense and perimeter shooting. The Tigers entered the game leading the SEC in steals at 10.6 per game in league play but tallied just two in the first 20 minutes.
They were also 12 of 34 from the field (35 percent) in the first half. The Tigers turned up the pressure down the stretch and forced several turnovers that got them close.


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product description
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Maker: Kobayashi (click to see more by this maker)
Price: $384.90
Item num: 88175
Blade length: 7.10 in.Total length: 13.00 in.Blade height (at heel): 2.18 in.Blade thickness (near bolster): 0.31 in.Item weight: 13.75 oz.Shipment weight: 19.7 oz.Blade: Single bevel blue steel #2 (aogami) carbon steel forge-welded to mild steel for an extremely hard (61-63 Rc) cutting edge that will be easy to maintainBolster: Buffalo hornHandle: Ho woodSheath: Ho wood saya (blade guard)
Description: Deba Hocho have a thicker blade and are a general purpose kitchen knife suitable for meat preparation and many other cutting tasks. Both the handle and the blade are created specifically for left-handed use. The knife is accompanied by a saya made specifically to the blade for a perfect fit. This ho wood sheath protects the blade for chefs on the go or while in the drawer.
Traditional Japanese chef's knives differ from European styled knives in that they are sharpened with a bevel on only one side. The opposite side is slightly hollowed. Consequently, these knives can be honed to a sharper edge than can double bevel knives.
The professional level blade is forged using the Hon Kasumi technique -- a forging process which creates the misty appearance at the lamination line between the two kinds of metal. These blades are hand forged from a combination of hard Aogami Hagane 'blue steel' forge-welded to a piece of Jigane mild steel. The most exacting standards as well as considerable time are required for this type of forge work. After forging, each blade is individually tempered to Rockwell 61-63 (very hard!) leaving a razor edge that is very easy to keep sharp.
Availability: In stock. Usually ships in 1-2 business days


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About this Publication TitleCensus - US Federal 1930
The 1930 census schedules are arranged by state or territory and then by county. All 48 states are included, plus the territories of Alaska and Hawaii, as well as the District of Columbia and U.S. possessions like Puerto Rico. Unique content added to this census is whether or not the household owned a radio.
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The report covers the present scenario (2012-2017) and the growth prospects (2018-2023) of the global Tube Hydroforming market. The research report includes diverse topics like total market size, key market drivers, challenges, growth opportunities, technological changes, key players etc. To calculate the market size, the report considers the 90-95% of the total addressable market (TAM) by the major players across the various segments.
The global Tube Hydroforming market is anticipated to grow at a steady rate and post a CAGR of 10-15%.
This report provides detailed analysis of worldwide markets for Tube Hydroforming from 2012-2017, and provides extensive market forecasts (2018-2023) by region/country and subsectors. It covers the volumes, prices, historical growth and future perspectives in the Tube Hydroforming market and further lays out an analysis of the factors influencing the supply/demand for Tube Hydroforming , and the opportunities/challenges faced by industry participants. It also acts as an essential tool to companies active across the value chain and to the new entrants by enabling them to capitalize the opportunities and develop business strategies.
The report provides separate comprehensive analytics for the North America, Europe, Asia-Pacific, Middle East and Africa and Rest of World for the top 5 countries in each region. In this sector, global competitive landscape and supply/demand pattern of Tube Hydroforming industry has been provided.
Kindly ask for a sample to understand the structure and scope of this report at https://www.marketinsightsreports.com/reports/0415429975/global-tube-hydroforming-market-professional-survey-report-2018/inquiry?source=apexnews
The report answers key questions like the market size through 2012-2022 along with the respective growth rates for the various years. The report also studies the market trends for the key competitors and provides their market shares in terms of sales and revenue generated. While forecasting the market and deriving the CAGR the analysts have taken into account the key market drivers, Macro and Micro economic factors, policy and regulatory changes and effect of company policies.
The research methodology employed is a mix of primary and secondary research. The secondary research providing the base figures for the historical years from 2012-2017. The CAGR used for forecasting is arrived at using data from primary research with key players and insights from the analysts.
Kindly check the report summary and TOC at https://www.marketinsightsreports.com/reports/0415429975/global-tube-hydroforming-market-professional-survey-report-2018?source=apexnews
Tube Hydroforming Market is predicted to grow at a CAGR of 10-15% from 2018 to 2023
There are 15 Chapters analyzing in detail the global Tube Hydroforming market.
Chapter 1, to describe Tube Hydroforming Introduction, product scope, market overview, market opportunities, market risk, market driving force;
Chapter 2, to analyze the top manufacturers of Tube Hydroforming , with sales, revenue, and price of Tube Hydroforming , in 2012 to 2018;
Chapter 3, to display the competitive situation among the top manufacturers, with sales, revenue and market share in 2012 to 2018;
Chapter 4, to show the global market by regions, with sales, revenue and market share of Tube Hydroforming , for each region, from 2012 to 2023;
Chapter 5, 6, 7,8 and 9, to analyze the key regions, with sales, revenue and market share by key countries in these regions;
Chapter 10 and 11, to show the market by type and application, with sales market share and growth rate by type, application, from 2012 to 2023;
Chapter 12, Tube Hydroforming market forecast, by regions, type and application, with sales and revenue, from 2018 to 2023;
Chapter 13, 14 and 15, to describe Tube Hydroforming sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source.
Customization of the Report:
This report can be customized to meet the client's requirements. Please connect with our sales team, who will ensure that you get a report that suits your needs.
Connect With us On:
+1 (704) 266-3234 | email@example.com


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