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Counter Cards
Counter cards, tabletop easel cards, and easel back cards are all names for the same product. Counter cards are most often printed on foam board and attached to an easel back stand that allows it to stand up on a table, desk, check-in counter, or dining table. Display your specials where your customers will see it best.
- Basic:3/16' rigid foam board, 3 mm white PVC
With several sizes to choose from and the option of lightweight Foamcore or durable PVC, Counter Cards fit a variety of applications. Counter Cards have white chipboard easel backs and are recommended for indoor use.
PVC: Our 3mm (1/8″) PVC material is a smooth, bright white rigid plastic that is lightweight, yet very durable and weather resistant.
Foamcore: 3/16 Rigid Foamcore is made of a relatively delicate material and is best for one time use; it can last longer with proper care. This product is not waterproof and is recommended for indoor use.
Easel Backs: 5″ Double Wing Easel Backs are made of white chipboard material and are applied to the printed material by 4over. Shipped flat. Final assembly required.
Uses & Ideas
- POP Counters
- Promotion displays
- Informational displays
- Menus
- Reminders
- Warnings


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Friday, October 11, 2019
HOUSE ON HAUNTED HILL 20 Years Later
House on Haunted Hill (1999) works in the way a remake should. It took the premise of House on Haunted Hill (1959) and modernized in logical ways to set itself apart from the original. I heard once (maybe from Elric Kane?) that a good remake is one you could play as the second feature on a double bill with the original. House on Haunted Hill (1999) is exactly that. It brings to the story modern horror elements (gore, special effects) that were either prohibited or unachievable when the original film was released 40 years prior. What the two films have in common is that they're both a lot of fun, especially the emcee, which in the case of the remake, is a great horror performance by Geoffrey Rush doing a John Waters impression of the original's turn by the legendary Vincent Price.
Deep Blue Sea, The Mummy, Sleepy Hollow, Stir of Echoes) and all-timers (Audition, The Blair Witch Project, The Sixth Sense). We were truly spoiled.
House on Haunted Hill (1999) gets its mileage both in front of and behind the camera. The cast of Geoffrey Rush, Famke Janssen, Taye Diggs, Ali Larter, Chris Kattan, Bridgette Wilson, Peter Gallagher, and Jeffrey Combs are game, the direction by William Malone is enthusiastic and assured, and the makeup effects (by Howard Berger, Greg Nicotero and Dick Smith), cinematography (Rick Bota), production design (David F. Klassen), art direction (Richard F. Mays), and set design (Lauri Gaffin) give the movie a vitality that's fitting for a movie about a "house" (in this case an asylum) with a life of its own. This is one of the most beautiful-looking horror movies of the '90s, along with the aforementioned Sleepy Hollow and the all-time champ, Bram Stoker's Dracula. My favorite aspect of the film's visual language is how equally inviting and scary it is. The original 1959 film is a blast but never scary. The remake has the leg up in that department, where you want to explore the house along with the characters but also are anticipating some disturbing imagery along the way, including unnerving hallucinations in a "Saturation Chamber," jittery ghosts and mad doctors.
I also really enjoy the plot details involving the money. The strangers are told by Price that if they survive the night in the house, they will receive $1M made out to cash the next morning. If any of them should die, then the deceased's money will be added to the pool to be evenly split among the survivors. That's all well and good but (SPOILER) at the end of the movie, Geoffrey Rush's character is dead (or perceived missing) so wouldn't Ali Larter and Taye Diggs cashing millions of dollars in checks made out by Rush seem suspicious? Are they going to be arrested because no one will believe what happened? Also, how the hell are they going to get down from the top of the house where they're stuck at the end? I say these not as nitpicks but as details I find silly and fun.
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It was just recently I discovered that "House on Haunted hill" and "The Haunting of Hill House" are two separate entities.ReplyDelete
I've always assumed they were just remakes/retelling of one another but NOPE. Two entirely different ghost stories.
A remake of the haunting of hill house titled "The Haunting" came out the same year as this.
I wonder if they titled this film to sucker in fans of the other story. Like when you accidentally rent "Transmorphers" thinking it was "Transformers"Replies
This comment has been removed by the author.Delete
Having just watched the original House on Haunted Hill, your review of this remake definitely intrigues me! I may just have to add this to my ScaryMovieMonth viewing!ReplyDelete
I was totally going to leave a comment about how this has a neat little unexpected kill, and then I realized that I was thinking of the Jan de Bont joint, The Haunting, which starred Catherine Zeta-Jones, Lili Taylor, and Owen Wilson. It also starred Liam Neeson, which I have no recollection of, despite him being on the poster. 1999 was a blur, and I'm gonna watch House on Haunted Hill ASAP.ReplyDelete
I haven't seen this movie since High School. I need to revisit this flick.ReplyDelete
I watched this in the theater and thought it was a scary and fun romp then. I've always defended it and am stoked to hear it holds up.ReplyDelete
I'm pretty sure this is my favorite Geoffrey Rush performance.ReplyDelete
Watching it now for the maybe fifth time, had to get the DVD after I saw it the first time, special effects, wow, characters quite believable despite the wild story, the star, tho is the House, and I have been a fan of Jeffrey Combs since I saw him longer ago in From Beyond, also a flick with very impressive special effects.ReplyDelete

subset: commoncrawl


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Ti West has made a name for himself as one of the most acclaimed of a new generation of horror auteurs. His The House Of The Devil is considered by many to be one of the best horror films of the new century, including this very site. He's continued to be active in horror, releasing found-footage chiller The Sacrament and contributing segments to V/H/S and The ABCs Of Death, as well as branching out into directing TV, such as several episodes of Wayward Pines. But his biggest and most ambitious move out of indie horror is his latest project, the old-school Western revenge flick In A Valley Of Violence, which comes to theaters this weekend. Boasting a top-name cast (Ethan Hawke, John Travolta) and a surprisingly funny and crowd-pleasing story, the picture bodes well for West's future outside the genre in which he made his name. The A.V. Club spoke with West the morning after his film premiered at SXSW, where the director talked about audience reception, utilizing genre conventions, and how working with a talented dog ended up being some of the most amazing moments of his career.
The A.V. Club: The movie played super well.
Ti West: I don't really—I've seen it so many times, I don't generally watch the movie. It's sort of like hearing your voice on tape. But since it's the first night, there's moments that I'm like, is this going to play? Is this going to get the laugh I want? So I poke my head in the back.
AVC: Was this one of the rare times you did sit and watch along with an audience?
TW: I mean, I've done it with all my films. I always keep an eye on the first time I show it because… I don't know. Neurosis. You have to. But I generally try—I'll creep in the back. I'll be outside. I'll pace around. I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like—is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever. But it's the worst when you meet someone who's like, "You could barely hear it," or "The projection's fucked up." That's the stuff that drives me crazy. Because that stuff—that's not fair. That's truly what keeps me up at night. If people don't like it, the ship's sailed. There's nothing I can do about that.
AVC: There's that element, whether you've made a record or a movie or whatever—
TW: Humor is more so. If you make just a straight scary movie, people are just—you don't know what they're thinking. For this, there's definitely moments that I think, "I know this part is really funny and I want to see people laugh." And they do and you go, "Yesss." That's really satisfying, because I'm so proud of the performances in the movie and everybody worked so hard. Tommy Nohilly, who plays Tubby, he came down to see the movie for the first time and I was like, "You've got to come just to see people react to your [big scene]." I knew that would go well, but it's satisfying to me when he's sitting there and it actually does. I'd been all hyped about it, I was like, "Please come," and to have that and know he's probably going like, "This is cool," it makes me feel good.
AVC: The most unexpected thing is how funny the film was. There's been humor in your other work, like The Innkeepers, but this is one of the first times it's been so consistent. As you were writing it, were you like, "Wait, this is a funny story I'm telling?" Or did it come out more in the execution?
TW: It was always sort of meant to be. The movie is in no way a comedy, but I would put some of the funny scenes up against some of the funnier comedies this year. I think it's genuinely really funny, but it's out of the gallows. It's out of the construct of the context of the movie. To me, the film was always about a bunch of people in a violent movie who are totally incapable of being in a violent movie. It was people that started all these problems and are like, "We're in way over our head." Because that's real life—the guy who talks a bunch of shit is always a wimp and he's actually just insecure. And that's what's scary is stupid, insecure people. That's more dangerous than the big, tough guy. Because the big tough guy doesn't really care. But all these dipshits that get involved in the thing they think they're supposed to get involved in, and then when it turns on them, they're like, "What have we done?" And they're in over their heads. To me, that was always funny.
But that's what's interesting about people. It can be funny, but when Travolta got there and did [comic moments] you're like, "Oh! This is really funny." Or when Karen [Gillan] and Taissa [Farmiga] do something, I'm like, "This came out so much funnier." Or when PJ's [James Ransone] in the street, talking shit, and it's so awkward. All those awkward moments—that's on the cast for doing such an amazing job. I think it was funny on the page, but when they did it, you definitely went, "Oh!" Watching it with a crowd that, like you said, was not expecting it to be funny, but then genuinely finding it funny, is totally a credit to their performances.
AVC: What's also surprising is how much the movie, especially the first half, before the pivot point, feels almost like an old-fashioned Hollywood crowd-pleaser. Did you conceive of it as being in a certain tradition of outsized, emotional, classic studio film?
TW: I did the movie from two perspectives. You're with Ethan [Hawke] the whole movie, but for the first half, you're really with Ethan. For the second half, you're with him, but also you're with the bad guys because he kind of becomes the bad guy. No one's really good in the movie. The second half, you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right—maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details—that's what people will hopefully take away from the movie. It's not the plot—the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives. The first half was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.
Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things. I was like, "What if in this really bravado genre all the people decided, 'I don't want to do this anymore. It got too fucked up.'" That to me seems like real life, and I'd never seen that in that genre before. It just felt like a really fun thing to play with. And from a performance standpoint, it just gives them so much—I had such a great cast—and it gives them the ability to go wild with it and to have performances that are memorable.
AVC: This might be the best cast you've ever assembled.
TW: I mean, dude, it's Ethan Hawke and John Travolta. It's awesome. They're awesome.
AVC: When you've got people so accomplished who've been working for so long, they often have certain ways of doing things. Was it interesting to discover how the collaboration panned out between you guys? Were there things that surprised you about that process?
TW: They—both Ethan and John—really, really got the movie. I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great. If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it. We talked a lot. I always talk about movies a lot beforehand, and then we would get there, and I'd say, "Let's play around and see how it goes." And they would do it, and I'd go, "Well, that was awesome." It was really—I don't know, it was really special to watch them.
That scene with the two of them was the first day of John shooting. They went and did that in the morning, and it was just like, yes, I'm there working, but I was also kind of just watching it. And it was really great. They're both so good. In that scene, that scene when John gets up and walks over to him, and they're in the doorway, I thought, "This could very well be the best thing I ever shoot. This is awesome." It's hard to explain. But they're consummate professionals and you see the little choices they make—you see it in their eye. You see these little details they do where you go, "That's why they're them." There's a great moment when Taissa comes out and Ethan's about to leave town, and he takes his hat off to talk to her. We didn't talk about that, he just did that. That's brilliant. You know what I mean, such great moments.
AVC: Going from horror to a Western, the only genre maybe more laden with iconography than horror would be Western. How much were the tropes—the iconography of the Western—going on in your head as you structured the film?
TW: In my head, a lot. I mean PJ—James Ransone—he was a friend of mine, he probably heard all this stuff, but for the rest of the cast, we mostly just talked about their characters and things like that. That was the business at hand. Of course, we talked about Westerns we like, but it was always thematically in relation to the movie and what the themes of the movie were. And with Ethan, the PTSD, the character and how this would come out—just how weird it is, if you take a step back, that the whole movie, he's talking to a dog. That's crazy. And we would set up shots and I'd be like, I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie, but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.
But also to do all those scenes where Ethan is acting with a dog. One of my favorite scenes of the movie is when he's sitting at the campfire with the dog. It's this long monologue with him talking about life and everything with a dog. That's not in movies. Hopefully when people think about the movie when they go home, they're like, "That's weird. He's maybe crazy. He's talking to a dog the whole time."
AVC: The dog is fucking incredible.
TW: I know. We owe a lot to that dog. Riding that dog all the way to the bank.
AVC: Most of that process is working with the dog's trainer, right?
TW: Jumpy is the most incredible animal of all time. The movie is the tamest example of what that dog is capable of. Everything he could do was too much. If I put it in the movie you would all check out. When he wraps himself up in the blanket, that's as far as I could go, and that's not even close. The dog's amazing. I found him on YouTube. I wrote a movie about a guy with a dog and was like, "What have I done? This is going to be a nightmare. We're a small movie and we're never going to be able to do this."
AVC: Everybody warned you about working with animals?
TW: Yeah. And then I found this guy, he was in L.A., and I went and I met him and I met the dog. And I was thinking like, all right, it'll be cool. The dog's cool looking. And then he showed me what the dog could do. And I just went, "Oh." They put marks down, like T-marks for actors, and he goes, "Go to mark," and the dog goes to mark. Not like sometimes—every time. So much so, that the joke on set with every other actor was, "Taissa, go to mark." "PJ, go to mark." That would be it. He would go to mark or you would go, "Back up," and he'd back up slow, he'll walk slow, walk even slower, crawl—you just say that and he does it.
It made me think every one of my friends who has a dog is wasting their dog's brain because I've never seen anything like it. There's one trick that he does where four people stand, like, 5 feet apart, and you go, "Pick numbers between one and 10." And they'll go, "two, "eight," "seven," "four." You go, "Jumpy, go to seven." He'll go and put his paw on the person who said seven.
AVC: That's insane.
TW: It's unreal. I mean, the dog backflips. It's amazing. Google Jumpy on YouTube—I had seen the dog first and I was like, "Y'all don't even know." Then we got to New Mexico and the AD was worried, like, "I don't know, man…" And then Jumpy showed up and hit the mark, and he was like, "I'm going home. I can't believe I just saw that."
AVC: Since the technical stuff with the dog is what you didn't need to worry about at all, does that mean the relationship with him and Ethan was the most difficult part?
TW: It went well. It definitely could have been a horror story, oh my God, if the dog was impossible. So could the horses. The hardest animal was the vulture. But the horses were great, the dog was great. It was really easy. And Ethan just—they got along great. He got to act with a dog, for real, and it felt like Jumpy was acting with him. It was a surreal thing to watch. When you watch the movie, you just kind of accept it. But if you do think about how we show—there's a dog and a movie star interacting—and you buy it. That's crazy. Sometimes I look at it and go, "How did we do that?" But it's a credit to Ethan, he had done White Fang, so Ethan is like, "Oh God, that's right."
AVC: After the massive scale and the sheer number of people in The Sacrament, this seems like a return to the small, almost chamber-room dramas you've done. That seems to be something you really get inspired by. Is there something about sparseness or minimalism, in terms of numbers when you're telling a story, that appeals to you creatively?
TW: It's a combination of yes—making a movie about the characters—and then, also, budget. We can't make a giant sprawling movie. We're going to make a small movie. And what we got is what I could get, performance-wise. That's what I hope people take away from the movie—it isn't necessarily the plot, it's the part where Toby [Huss] gets shot, or that part when Travolta says this, or the part where Ethan says that cool thing—those details are the things that are interesting to me. So just acknowledging we don't have a lot of money, so we're going to make a Western that's kind of contained, but we're going to make it super charismatic and we're going to make it memorable for what it is as opposed to what we couldn't afford.
I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting. With my horror movies or with this movie, same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker. I don't go to see movies to see plots. I'm not interested in puzzles like an Agatha Christie story. In general, I go to see the stuff that for me is, "Thank God for that actor, he's doing something that I never imagined; thank God for this filmmaker, because if this person didn't exist, this movie wouldn't exist." That's why I go to the movies. That, to me, is what's so exciting about this movie. It is a very classic Western, and if you like Westerns, you'll like this movie, but there's a tone to it that's all its own that I think is unique and memorable.
AVC: Speaking of actors, at what point did you get James Ransone on board or involved? It feels like it was written for him.
TW: It was written for him. PJ's a friend of mine, I've known him for a long time, he's always like, "Dude, when are we going to make a movie together?" I finally called him. "Oh, I know what I'm going to do. I'm going to write this movie for you." I wrote it entirely with PJ in mind. I get such a joy out of watching his performance and seeing people watch this. He's so great. The bravado thing and the foolishness, he does them both so well. It's weird because he's so hateable in the movie, but in the end, you're also going, "I feel bad for him." That's hard to do. It's hard to do that to where you're like, "This guy's the worst, but I know why he's the worst, so it's a shame this is happening." That's the whole thing. To me, when you wrap the movie up, it's a shame that this went this way. All these people aren't necessarily bad people.
AVC: None of this needed to happen.
TW: It's such a shame. It's one of those things, when you look back on it, you'd go, "Oh, I could've done without that. If I could go back in time, I would do it different." That's the thing with violence in general. The whole thing is, they could've just avoided it. Their whole lives have been fine and they all fucked it up.
AVC: Is it hard to not be hyperaware of all the thematic and political resonance? Just like with horror films, they're always so full of allegory. Do you try to push that all out of your head while you're actually making it?
TW: You mean with regards to the commentary that's in the movie?
AVC: Yeah, the commentary—it's so suffused with political subtext.
TW: Of course. I don't think you want to preach to people. I don't think In A Valley Of Violence, and the same with The Sacrament, there's a social commentary and a political element to both the films, but it's not like, "Think this because I think this."
AVC: They're not message movies.
TW: If we're talking about this, even the fact that you don't think of PTSD from the Indian wars. We don't associate it with that. But surely it exists, and whether it was a good experience or a bad experience, he's fucked up from it. Whether you believe in why someone's been at war or you don't, it fucks people up. That's the same thing with the film: Whether they should've had this fight or they shouldn't have had this fight, it happened, and now everyone's fucked up because of it. You want to be able to say [to Hawke's character], "Dude, it's okay," but maybe it's not. Maybe he's not a good person. I don't know. That's the thing about people. There is no real good guy or bad guy. It's all context. Like you said, it's not a message movie, but those political elements are certainly part of the movie. There's cinematic history with it being a Western. All this stuff. But really, I wanted to make a movie about: How does violence affect people? This is a take from me on how violence affects people.
AVC: Even though it's transitioned you into this Western territory, it seems very much thematically of a piece with your work. You've always been interested in this idea of what terrible situations do to people emotionally.
TW: That's always been what all my movies are about. These bad situations—it's like in House Of The Devil. She makes this dumb decision because she's broke, a decision she never would have made otherwise, but she's broke and she's there, and now, how is this going to affect her? The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people. The bad guys, when they start getting picked off, they're upset that their friends died, too. But that's the thing. That's what life is. It's that weird gray area.


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Jason Mackenzie, HTC's North American President, took to Twitter today with a reminder that will please many HTC One users, stating that "Sense 6 will push to current HTC One users by end of May." This will be coming to both the United States and Canada.
There is no word on whether the complete features of Sense 6.0 will be included or if parts will be omitted. While the changes from Sense 5.5 are minor, mainly focused on the camera feature set, the update will be welcome to current M7 owners looking to take advantage of that Ultrapixel camera which, unlike the M8, comes with optical image stabilization. However, when additional details arrive HTC will post the full feature list for Canada on their software update site.
Source: Twitter
Via: Android & Me, Engadget


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Nicole Darian
Born and raised in Chicago, you can find me taking advantage of living steps away from Lake Michigan, exploring new foodie joints, and planning my next adventure. I'm always up for anything and trying something new!
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text: Sam (Dan Lam) is about to have his final practical examinations to become a qualified doctor – but who is faking it, him or the "patients"? The setting is a teaching hospital, somewhere in the UK. As Sam comes in from outside he looks like any other trendy 20-something (sorry Dan Lam, I know there's nothing worse… Symptoms (Short Film) Read More


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Highlights from the Edinburgh Festival
For three weeks in August every year, Edinburgh showcases the very best in international opera, music, theatre and dance as part of the Edinburgh International Festival. Here are some of our favourite performances of 2012
1. Opera North at the Edinburgh Festival
Opera North's production of Janáček's The Makropulos Case featured at the Edinburgh Festival Theatre
2. Nicola Benedetti
Scottish violinist Nicola Benedetti performed at the Edinburgh International Festival with the London Symphony Orchestra at Usher Hall
3. The Ricercar Consort
The period-instrument Ricercar Consort performed two concerts of early English music at Greyfriars Kirk
4. Julian Milford and Toby Spence
Internationally renowned British lyric tenor Toby Spence and pianist Julian Milford prepare for their performance at The Queen's Hall
5. Concerto Caledonia
Concerto Caledonia, one of Scotland's premier early-music ensembles perform at Greyfriars Kirk as part of the Edinburgh International Festival
6. David et Jonathas
Les Arts Florissants performed David et Jonathas at the Festival Theatre, Edinburgh. This 1688 opera by Marc-Antoine Charpentier contains incredibly poignant music, used brilliantly to convey the opera's themes of love, loyalty and valour
7. London Symphony Orchestra
Conductor Valery Gergiev, the Edinburgh International Festival's Honorary President has brought the London Symphony Orchestra to the festival for a four-concert residency at Usher Hall
8. Scottish Opera
Clemency is a new work for Scottish Opera written by James MacMillan performed at the King's Theatre. The opera puts a contemporary twist to a Biblical tale, here Janis Kelly plays Sarah in the new work.
9. John Williams and John Etheridge
Two of the world's greatest guitarists, John Williams and John Etheridge collaborate for a fantastic performance at The Queen's Hall
10. Philharmonia Orchestra
Led by Principal conductor Esa-Pekka Salonen the Philharmonia Orchestra perform one of Bruckner's most popular works, the Fourth Symphony at Usher Hall
11. City of Birmingham Symphony Orchestra
The CBSO perform as part of the Edinburgh International Festival at the Usher Hall
12. Royal Scottish National Opera
The opening concert presented one of the grandest choral pieces ever written: Delius's A Mass of Life performed by the Royal Scottish National Opera conducted by Sir Andrew Davis at Usher Hall
13. Franz Welser-Möst and the Cleveland Orchestra
Conductor Franz Welser-Möst and the Cleveland Orchestra performed Smetana's Má Vlast and Lutoslawski Concerto for Orchestra at Usher Hall
14. The Calder Quartet
The Calder Quartet from Los Angeles performed their incisive interpretations of Classical repertoire at The Queen's Hall. Alongside the short piece '... toward sunrise and the prime of light...' by young US composer Andrew Norman they performed Mozart's String Quartet in C K465 'Dissonance', British Composer Thomas Adès's Arcadian and Mendelssohn's last major work, String Quartet in F minor Op 80
15. Trio Zimmermann
Trio Zimmermann was formed in 2007 by violinist Frank Peter Zimmermann, violist Antoine Tamestit and cellist Christian Poltéra. They performed Schubert's String Trio in B flat D471, Schoenberg's String Trio and Mozart's Divertimento in E flat at The Queens' Hall.
16. Orchestre des Champs-Élysées
Conducted by Philippe Herreweghe, the period-instrument Orchestre des Champs-Élysées returned to Edinburgh International Festival to perform Brahms's Gesang der Parzen and Bruckner's Te Deum Symphony No 9 at Usher Hall
17. Musicians of the Imperial Household Agency, Tokyo
Performed by the Musicians of the Imperial Household Agency, Tokyo. Gagaku is the world's oldest living orchestral tradition. This music dates back to 5th century Japan and is performed by a powerful ensemble of wind instruments, plucked strings and deeply resonant percussion. The slow-moving melodies and exquisite harmonies suggest a serene world of ancient ritual and contemplation.
18. Alim Qasimov Ensemble
One of the foremost mugham singers in Azerbaijan, Alim Qasimov performed at The Hub with his ensemble. They present the complex art of Azerbaijani mugham, illustrating a thousand years of musical tradition with vocal and instrumental performances. Described as one of the world's greatest vocalists Alim Qasimov, here he shares the stage with his daughter Fargana.
19. The European Union Youth Orchestra
Under the guidance of conductor Gianandrea Noseda, the exceptional young players of the European Union Youth Orchestra performed Richard Causton Twenty-Seven Heavens a New Music 20x12 UK premiere, Debussy's Nocturnes and the incredible Piano Concerto by Busoni.
20. Daniil Trifonov
Praised for his astonishing technical command and his overwhelming energy, young Russian pianist Daniil Trifonov performed Scriabin's Piano Sonata No 3, Medtner's Three Fairy Tales, Stravinsky's Three Dances from The Firebird, Debussy's Images, Book 1 and Chopin Etudes Op 25 at The Queen's Hall


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daveamos started the forum topic Custom post types and Buddypress — should I wait for 1.3? in the group Miscellaneous: 12 years, 9 months ago
Hi there, I have a small recipe-sharing site I want to port to WordPress/Buddypress, but from my research it doesn't seem like custom post types are fully supported yet. From what I can tell, http://thepioneerwoman.com/tasty-kitchen/ makes each recipe a post. That's fine, but it is a hack when compared to creating a custom post for […]
daveamos joined the group Miscellaneous 12 years, 9 months ago
daveamos joined the group One Quick Post 12 years, 10 months ago
@daveamos Not recently active


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LOS ANGELES (CNS) -- A coronavirus testing company is asking a judge to allow some discovery of Los Angeles County Sheriff Alex Villanueva's cellphones and to take a limited deposition of the sheriff ahead of its plans to sue him for defamation.
Fulgent Genetics Inc. and its subsidiary, Fulgent Therapeutics LLC, allege in a petition filed Friday in Los Angeles Superior Court that Villanueva, in a Nov. 29 letter to the Board of Supervisors and published on the LASD website, falsely stated that the FBI warned him against using Fulgent's COVID-19 testing services because of "concerning information'' that the company would provide China with the DNA data of county employees.
The letter referred to an FBI briefing Villanueva said was held the day after Thanksgiving.
According to the petition, Villanueva made the China claim and other false statements about Fulgent even though the FBI neither accused the company of wrongdoing nor alluded to any evidence that Fulgent provided or would provide private medical information to China.
Villanueva's attorney, Linda Miller Savitt, said Saturday that there is no need for early discovery.
"I suspect Fulgent wants to find out what the FBI said about it," Savitt said.
Kobe Bryant's widow Vanessa discloses witness list ahead of trial over helicopter crash photos
According to the petition, Savitt maintains that Villanueva did not post the letter to the LASD home page and that the sheriff's IT department is investigating whether the website was hacked or accessed by someone outside of the department.
Villanueva knew the statements he published about Fulgent were false five days later, and the county emailed its employees stating, "The county has no evidence from any law enforcement agency or any other source that any County employee data has been or will be shared with the Chinese government,'' according to the petition.
Villanueva's statements were shared on social media, including those of some anti-vaccine activists, and led to a protest against Fulgent on Dec. 14, the petition states. In addition, a window was shot out at Fulgent's Temple City headquarters, according to the petition.
Fulgent seeks the pre-litigation discovery both to preserve evidence for use in its lawsuit and to ascertain the degree to which Villanueva himself may have organized the FBI briefing and authorized or perpetuated the publication of the letter, the petition states.
Fulgent seeks a court order directing Villanueva to produce any personal and LASD-issued cell phone text messages and emails related to or discussing Fulgent, the publication of the letter and any involvement he had with the coordination and scheduling of the FBI briefing. The company also wants Villanueva to sit for a four-hour deposition.
"The requested information will likely provide Fulgent with definitive answers regarding whether (Villanueva) orchestrated/arranged the FBI briefing, publicized the letter himself and authorized its publication in contravention of his official duties,'' the petition states.
Fulgent is further concerned that if Villanueva loses his re-election bid later this year he could "erase, lose or otherwise destroy all information, including whether and when he acted outside the scope of his office.''


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Join YaleWomen Atlanta for a thoughtful, non-partisan discussion about the national and local political environment and how women on both sides of the aisle are getting involved.
Featuring Andra Gillespie '01 MA, '02 MPhil, and '05 PhD, Associate Professor, Emory University, and Patricia Russo, Executive Director of the Women's Campaign School at Yale.
Dr. Andra Gillespie
Patricia Russo
Click here to RSVP!
Having trouble with the link? Go to http://october6.rsvpify.com
Please join us for networking and socializing before the program begins. Friends and significant others are welcome to attend; please include them when RSVPing.
When: Thursday, October 6, 2016
Time: 6:30 PM-8:30PM
Where: At the home of Yale alumna Laurel Lucey, 2295 Mount Paran Road, Atlanta, GA, 30327 (See it on Google Maps)
Street parking is free and plentiful on Cloudland Rd., directly across from Laurel's home. Look for the blue and white balloon's on Laurel's mailbox.
2295 Mount Paran Rd
Atlanta, GA 30327
United States
Google map and directions


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Comedy (jokes, funny 'casts, comics, comedians, crazy sh^%)
Knock yourself out. Roll on the floor & laugh. We did.
Could you be forced to speak Swedish?
Take the survey!
ROCKETBOOM 2.0 - Daily with Amanda Congdon. Scratch that -- daily with Joanne Colan. A fake, funny news show based in NYC featuring the lovely hostess and her spiffy accent, M-F, 9am EST. A phenomenon even in its revised edition.
read & feed: http://www.rocketboom.com/vlog/
WEEKLY RADIO ADDRESS - How do you go from 90% approval to THIS? Who knows! PARODY of the President's weekly radio address. Clever, and mercifully short. Where does Dubya's website end, and Weekly Radio Address begin...? (Not intended for listeners under voting age.)
read: http://www.weeklyradioaddress.com/ (audio is playable from this site)
feed (iTunes): http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=73801577
TOM SCHILLUE - New York comic Tom Shillue shoots the sh^! - right off the top of his head (huh?). His stories are way better than yours.
read: http://tomshillue.com/
feed: http://www.shilluecast.blogspot.com/
TIKI BAR TV - Potent vidcast cocktail of comedy and... cocktails. Goofy trio in a one-of-a-kind liquor induced chuckle fest. Should win award for "Most relentlessly used prop, Tiki Bar category." Some watch just for the Lala. Actual drink recipes included! Mercifully brief.
read: http://www.tikibartv.com/
feed: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=73330667
THE POST SHOW - sketch comedy video 'cast updated twice a week with brand new skits to keep you from being productive. (Some "language" - brace yourself.)
read: http://www.thepostshow.com/
feed: http://www.thepostshow.com/feed
THE ONION - Satirical 'news.' The Onion is published by Onion, Inc. and not intended for readers under 18 years of age. That's what they say.
read: http://www.theonion.com/
feeds: http://www.theonion.com/content/radionews
daily - http://www.theonion.com/content/feeds/daily
weekly - http://www.theonion.com/content/feeds/weekly
Jackie Harvey's Harveywood - http://www.theonion.com/content/taxonomy/term/780/0/feed


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4-year-old Virginia boy befriends baby deer while playing outside
MASSANUTTEN, Va. (WWBT) - It's an experience Stephanie Brown and her son Dominic will never forget after he brought home a new friend he made while playing outside.
As the Westmoreland County family was packing up to leave their rental in Massanutten on Tuesday morning, 4-year-old Dominic played outside.
Stephanie says while she finished taking things out of the fridge, she heard Dominic's footsteps at the door as he cleaned off his boots.
But what she saw when she peeked around the corner definitely took her by surprise.
"I see him and the baby deer standing next to each other, almost to come inside!! I was completely shocked! I froze for a second because I literally didn't know what to do!" she said.
That's when she quietly walked away to grab her phone to snap the picture that had now gone viral on Facebook.
Stephanie says Dominic acted as if nothing was out of the ordinary and wanted to bring his new friend inside for some cereal.
"After I got the picture, I asked Dominic to walk his new friend back to the woods so his mommy could find him," she said.
Dominic then walked his new friend back to the woods, and the family left.
Copyright 2021 WWBT. All rights reserved.


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Rise of The Blue Moon
Blue Moon is term for the second full moon in any given month. The phrase 'once in a blue moon' is supposed to indicate a rare event – thought the blue moon sighting is actually once or more in around 3 years. And no - the blue moon is no where near blue. Actually it was having a more warm yellowish glow as it was rising behind the Mt Hood.
This shot was from Jonsrud view point at Sandy, Oregon during the blue moon of Aug 31,2012. Photographing the moon at times can be quiet intimidating. U might be tempted to treat it as night photography. the moon being a source of light can appear just as a white blob if not exposed properly. If you are planning to shoot just the moon, then a long zoom and couple of tips could get your started. Shooting it along with the landscape required a bit of planning. The moon slated to rise just 30 mins prior sunset, created a very conducive and magical light. The beautiful colors were just as such and created by the alpine glow of the setting sun on the opposite side.
This shot required some pre work ; being at the right place and at the right time made all the difference. The Photographer's Ephemeris (TPE) available for both desktop (requires Adobe AIR) and mobile greatly helped in finalizing the shooting spot and the location / time of the moon rise across the horizon. Enjoy the blue moon as it rises :)
P.S: This was taken from the same spot from where this sunrise was shot, wow how much of a difference light can make !


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SMPTE program to offer insight into IPTV
The Society of Motion Picture and Television Engineers will kick off its new SMPTE Professional Development Academy (SMPTE PDA) Jan. 17 with an interactive webcast on IPTV.
The event, called "IPTV – What Does it Really Mean and How Does it Work?," will offer a discussion of end-to-end IPTV systems and will feature Greg Thompson, chief video architect, Video & Content Networking Business Unit, Cisco, as a guest speaker.
IPTV Update caught up with SMPTE executive director Kimberly Maki and director of professional development Joel Welch to learn more about the event and the new SMPTE PDA effort.
IPTV Update: Obviously, when people think of SMPTE, they think of motion picture and television engineering. I was wondering what the organization's decision to devote its inaugural Professional Development Academy webcast to IPTV says about the evolving importance of IPTV and the evolving nature of SMPTE?
Kimberly Maki: Yes, many folks think of motion pictures, film and broadcast television when they think of SMPTE. In actuality, our membership spans an even greater spectrum. For example, we also have cable, telco and satellite members. I think of it in terms of being all about the content, and there are professionals who are members of SMPTE in all sides of content — creation and management for the most part and then to some degree the distribution. Basically, the core of what we do affects all three and our membership reflects the desire of folks to be kept up to speed on the technology and standards in this area.
So, to your base question of why IPTV for our first SMPTE PDA Now webinar, data communications and networking are becoming an ever-growing part of what is happening in motion imaging. We see this as a hot topic of interest in the industry and among our membership. In early February, we are also hosting a joint conference with the Video Services Forum and traditionally IPTV has been a significant topic there.
Joel can address the topic a bit further, but basically, we hope to answer the question of what is IPTV from the SMPTE perspective since it seems to be mean many things to many people.
IPTV Update: What's planned for the topics that will be covered in the Web cast on IPTV? Will the Web cast be confined to the so-called "walled garden" of a TelcoTV IPTV implementation, or will it cover the broader issue of distributing video over the public Internet as well?
Joel Welch: We plan to cover IPTV end-to-end from a technology perspective. We will provide a general explanation of IP and IP packets, how they are used to carry information, including video and audio signals. We will also go deeper, where it's implemented, flow from source to distribution. By source, I mean upstream of the satellite, cable and telco distribution networks. Finally, we'll look at some of the IPTV standards work underway.
IPTV Update: In what areas of IPTV technology do television engineers in general and your members in particular need the most education?
Joel Welch: That's a good question. It really depends on which members you are talking about. In general, you have the folks who are at one end of the technology spectrum. They're very technologically advanced individuals who are developing the standards and leading the way with IPTV implementation. Then there is a broader audience on the other end of the scale. They are technical in nature with a lot of practical experience who would like better general understanding of IPTV. I think a majority of what we will cover will address this broader base. We want to help answer questions about technology and give our audience direct access to experts to answer those questions.
IPTV Update: As television stations over the past several years have and are continuing to transition from a linear tape-based workflow to a file-based IT workflow, have television engineers become more familiar with IP networks and gained some knowledge that makes IPTV a more comfortable topic about which to learn?
Joel Welch: Absolutely. Many of our members now deal almost exclusively with IT-based infrastructures. But many more are interested in learning about IT-based systems and IPTV distribution, and we intend to make the education accessible to them.
IPTV Update: Who do you expect will attend?
Joel Welch: In looking at those who are registered so far, and seems to be a very broad range of IPTV knowledge.
IPTV Update: What's the background of the webcast's guest speaker Greg Thompson and can you give me a preview of his message?
Joel Welch: I won't speak for him, but I will tell you that he has been in this area for many, many years. He was CTO of a company in this technology area before it was acquired by Cisco, and currently he is the chief video architect at Cisco's Video & Content Networking Business Unit.
He is also very active in a lot of the IPTV standards development work, including several international standards organizations. He is probably one of the most knowledgeable people in the industry in IPTV.
IPTV Update: What is behind SMPTE's launch of the SMPTE Professional Development Academy, its mission and plans?
Kimberly Maki: One of the first things I did when I came on board with SMPTE about a year ago was to solicit feedback from our members about what they wanted from their society. SMPTE has done a very credible job of standards development in the industry and is well-known for its standards development. We have already addressed issues such as Forward Error Correction optimized for IP transmission of video. We have a strong peer-reviewed journal for our members. Basically, the one area where we found that we needed to add more services was for the individual member who was developing his or her career and needed information on technology.
So we are doing a number of things including the Professional Development Academy to focus on education as a member benefit on an individual level – and these services can also be used by a member company for training purposes as well.
Tell Us What You Think! IPTVU invites response from our readers. Please submit your comments to email@example.com. We'll follow up with your comments in an upcoming issue.
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Best Civilization VI Let's Play? — I'm thoroughly enjoying Quill18's
While I'm not a gigantic fan of Civilization VI (I think Civ IV is a much better game), I do enjoy watching Let's Plays of the game. Especially when it is a good Let's Play, played by a Civ player who knows his stuff.
One of my favorite Civilization VI Let's Players is Canadian YouTuber Quill18, who is currently mid-way through what I think is one of the best Civilization VI Let's Plays at the moment. He's playing the Civilization VI – Persia and Macedon Civilization & Scenario Pack as Persia.
One of the most-watched grand strategy game players on YouTube with almost 200 million views, Quill18 has been playing Civilization in all its various versions for quite a few years, so knows most of the ins and outs of the game. He also has an informative yet relaxing gameplay style that I enjoy, as he's great to watch at the end of a long day when you don't want anything too stressful.
Is he an absolute expert who never makes mistakes? No, he's not.
But that's what I like about him. As Quill 18 is a much better Civilization VI player than I am, so he gives me something feasible to aim for without being so mind-blowingly good I will never stand a chance.
Plus he explains in depth about every aspect of playing as Persia before he gets started, and then adds relevant information as he gets going in the game. Which means, by the time he's finished playing, I will know enough about the civilization and its strengths and weaknesses, and the best way to approach playing a game as Persia, to be able to do a reasonable job myself.
You can watch Quill18's Civilization VI Let's Play as Persia in the video series below. He's currently over 18 hours into the Let's Play and it's well worth a view.
He also livestreams most of his Let's Plays on Twitch, so you can watch him in real time if that's what you prefer.
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Big League Clu weighs in on Interleague play, and if it's good for the game.
So here we are folks, heading well into the summer season, going to the beach, grilling hotdogs, hamburgers and drinking something nice and cool on the back patio, soaking in the sun and tuning into the great summer pastime that is baseball. Does it get any better? Well, it's been a hell of a month of baseball and we had quite a slew of Interleague games take place. So I decided to come up with a bit of a discussion topic: is Interleague play still good for baseball? I mean who cares right?! The Baseball game is just too damn long! (little reference to Jimmy McMillian for those who didnt get it)… Anyway, I've dug deep and looked at the history of interleague play, some of the rivalries and hey! Maybe I will just give my opinion about the matter.
A little history for those bandwagon fans…
The idea of interleague or interconference play is not a new concept. It has been seen in other professional American sports. It was originally brought up by former Cleveland Indians GM and minority owner Hank Greenberg in the 1950's. Although it was never adopted, it was very similar to the type of interleague play we have today (Greenberg proposed they play 28 games after the all star break against teams from the opposing league). The idea would be tossed around throughout the decades until the 1990's when Major League Baseball decided to use it as a way to renew the interest of the fans and get them coming back to the ballparks following the 1994 strike. For the most part, it worked! Fans started coming out to the parks again, and it helped renew some interest in baseball heading into the early 2000s.
The first interleague game was played on June 12th 1997 when the San Francisco Giants faced the Texas Rangers in Arlington. Darren Oliver was the starting pitcher for the Rangers, and if I am not mistaken, he's still pitching (15 years later) for Toronto! It was also the first time that the a National league team ever used a DH in a regular season game. The Giants would go onto win that game 4-3.
How much has Interleague has changed since 1997?
In the beginning, NL teams from each division would pair up against their AL counterparts (so AL East teams would play NL East teams, and so on and so fourth). That changed when they decided to start mixing it up in the early 2000s, with the exeception of local rivalries that we were used to seeing… but more on those later. In the sense of the game itself, not much has changed… It's still a 9 inning game, if an American league team is hosting the DH rule is in effect and if a National league team hosts, then the pitcher has to hit, which I find funny and awesome at the same time. I mean how often to you see players like Mariano Rivera having to hack it at the plate? Here's a little bit of bar room chat for ya: Since 1997, the New York Yankees have had the best winning percentage in interleague play with a 144-102 record (the Yankees went 13-5 in interleague play this season). They are followed by the Chicago Whitesox at 143-104.
How many Interleague rivalries are there?
All in all there are nine cities/states that share two MLB franchises, so you see where we get some of those Interleague rivalries. I wont go into all of them in detail, you will just have look them up yourself, but here's are a list of some of the more meaningful interleague rivalries in Major League Baseball, and the names of the series that go with em:
- The Windy City Showdown: Chicago Cubs/Chicago White Sox
- The Beltway Series: Washington Nationals/Baltimore Orioles
- The Freeway Series: Los Angeles Dodgers/Los Angeles Angels
- The Subway Series: New York Mets/New York Yankees
**Side Note: The Houston Astros and Texas Rangers also played in a interleague matchup known as the Lone Star Series. However, in 2013 the Astros will be moving from the NL Central division to the AL west division, so there will no longer be an interleague play in the Lone Star State. Instead, they will be division rivals.
What does Big League Clu think of interleague play?
Well for the most part, I have never had anything against interleague play, although this season I did not understand how some teams faced one another more than once (i.e. the Atlanta Braves and the Yankees). I feel like there were still other teams that could have been used in those situations.
I think that Interleague play does help draw fans out to ballgames too. It makes the games more interesting and, in a way, kind of kicks off the summer. I for one got a chance last season to see the Yankees face the Colorado Rockies. How often do the Rockies come out to New York? Maybe once to play the Mets but hey, im not going to give my money to Shiti Field! I think it is going to be an intricate part of Major League Baseball for many years to come. The only thing that may or may not change will be if the Designated Hitter role. I think it will become part of the National League staple. But that is another topic for another time!
Featured image courtesy of: David Banks/AP Images
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- Rant of the Week: Does Montreal Deserve Another Baseball Team? - July 27, 2013


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Multimedia School Show "Visions of Turtle Island" includes live singing and dancing in Powwow & Haudenosaunee styles, ending with the ever popular Hoop Dance. Ontario Curriculum - Study Guide available. Singing & Dancing workshops for all ages, grades and skill levels. Festivals, Weddings & Private Functions. We can design a show to suite your needs! Available for travel Nationally or Internationally
Wednesday, May 19, 2010
Woodland Cultural Centre
So I was cruising www.gatheringofnations.com and I came across these photos of us in the gallery from this years powwow. This is pretty cool because we certainly weren't able to get good pix from where we were seated. I have to go back and check again soon because all the galleries weren't up yet and I hadn't found any pix of Derek or the girls yet.
We are going to be doing some shows as well as some dance workshops in the month of July at the Woodland Cultural Centre. Come and check us out!
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NIKE Junior Golf Camp
Raspberry Golf Academy is proud to team up with US Sports Camps to offer NIKE Junior Golf Camps at Virginia Golf Center. These programs are designed for players of all skill levels looking to improve their game in a fun, camp environment. Our same great RGA Certified staff will be on hand to help your junior golfer get better this summer!
NIKE Half Day Camps (Ages 6-14)
The half day program offers campers of all abilities the opportunity to work on and improve every part of their game. Half day campers receive three hours of instruction with emphasis on putting, chipping, bunker play and full swing. From beginning players to advanced, these are great camps for anyone who wants to improve. Half Day Camp runs from 9:00am - 12:00pm and is open to golfers ages 6-14. Half Day camps do not include lunch. Camp fees vary per session and availability.
To register online, click on one of the locations below to view full camp details and registration info.
For more information and registration details, please visit NIKE Junior Golf Camps, Virginia Golf Center.


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In obedience to an Act of Congress of the 10th Inst, of which the enclosed is a Copy, I am to request that your Excellency will be pleased to give the necessary orders for forwarding the Troops of North Carolina, directed to go to South Carolina, with all possible despatch.
An object so important and interesting as the defence of a Sister State cannot fail to engage your attention to every measure necessary for that purpose. I shall therefore decline enlarging on the subject.


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How did craft brewers lose their grip on white ales, the most popular craft beer style?
For nearly three decades, small, independent brewing companiescraft brewers, specialty brewers and microbrewershave brought long-lost variety back to the American beer scene. Against a backdrop of light, mass-marketed lager, these pioneering companies offered diversity: pale ales, porters, dunkels and doppelbocks. After years of scraping by, the craft beer niche regularly enjoys growth in the double digits.
Naturally, the big brewing companies noticed, not so much because craft beer siphoned much from their own bottom linethe craft segment in total is still less than 10 percent of the beer marketbut because no successful company can afford to overlook growth of 15 percent-plus in a corner of its own industry.
Over the past 30 years, the big companies have tried their luck with brands based on craft-beer styles. For the most part, Big Beer didn't do well with this experiment. Not that Anheuser-Busch or MillerCoors couldn't master the necessary technique; their brewers can make anything they decide to. Instead, their efforts faltered in marketing and execution. Bold craft styles were reformulated in a manner meant to appeal to a wider (read "more timid") audience, which resulted in beers that were still too odd to win over Bud Light drinkers, but too boring to lure beer enthusiastsat any price point.
Then came a little "craft beer" called Blue Moon. This pale, cloudy, spicy brew seemed to appear out of nowhere, an overnight success that was actually years in the making. Garnished with a slice of fresh orange, Blue Moon was refreshing, approachable, sophisticatedand brewed by Coors.
Blue Moon is based on the white ales, or witbiers, of Belgium. The history of witbier is a story of the near extinction of an ancient beer style, its rebirth in America and acceptance by the craft brewing community, and the successful re-establishment of the style on home soil. It parallels the narratives of other stylesporters and imperial stouts, for exampleand has all the passion and triumph-of-the-underdog elements that craft drinkers admire.
White beers were once widespread, not only in Belgium but also across a swath of Europe. The style lost popularity and, by the middle of the 20th century was being brewed only at a single site in Flanders. A young man named Pierre Celis, a milkman in the town of Hoegaarden, hoped to revive the style. In an unlikely move, he relocated to Texas, built a brewery and began producing Celis White, at that time the only commercial witbier in the world.
Drinkers appreciated the marriage of lightness with intense flavor. A traditional witbier is pale and cloudyhence the name wit, or "white." It is brewed with wheat as well as barley, which gives it a light, citrusy tang. Belgian yeast, curaçao orange peel and coriander, and sometimes chamomile or grains of paradise add spicy notes. It's an intriguing beer, complex and refreshing, and a great companion for food.
Celis' fortunes rose and fell. Miller bought his brewery but then closed it. A Michigan company acquired his brand and distributed it with modest success. But by the time Celis died last year, his real legacy was the return to viability of the witbier style, a feat for which he deserves credit. The original Belgian brand, Hoegaarden, is doing well, as are other Belgian versions. And witbiers have enjoyed the support of brewpub patrons and craft beer lovers here in the U.S.
Flavor, tradition, novelty, romance: These should have made witbier the ideal gateway style for craft brews. And yet, the style has gone in another direction. Instead of serving as an approachable introduction to the world of craft beer, wit is the bold outpost for mainstream drinkers.
For comparison, in two weeks early this summer, Sierra Nevada Pale Ale sold almost 130,000 cases. Samuel Adams Boston Lager, the other giant among craft beer brands, moved about 101,000 cases. Blue Moon Belgian White sold more than 381,000 cases. Blue Moon outsold the entire India pale ale category, currently the most popular style of craft beer.
Add Blue Moon's figures to those of Shock Top, the Belgian-style wit produced by Anheuser-Busch, and the sales of these two craft-ish beers made by mainstream mega-brewers was upward of $18 million. The sales of all the witbiers brewed by craft brewers? About 1 1/2 percent of that amount, or $266,000, according to brand data excerpted from industry reports.
Is it worth lamenting that this Belgian beer style has become hugely popular in the hands of corporate brewing companies and not American craft brewers? A few small breweries have embraced the white ale, Allagash White from Maine has a complex flavor and slightly creamy texture, with subtle peppery notes. Ommegang Witte or Avery's White Rascal will reward you with their depth and spicing, without overwhelming a meal.
Closer to home, Triangle Brewing Co. features a Belgian White in its regular lineup, and Top of the Hill and Mystery both include wit styles in their rotations.
But for every one of these craft-made wits, there are probably 10 or more IPAs on the market. Did the wit style never really catch on with craft drinkers or did we abandon it too quickly? What potential did the big breweries grasp that craft brewers didn't see? I can't help but think that we let a great opportunityand a beautiful styleslip away.


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I'm seeing a lot if reports of nausea on the Facebook groups lately. Nausea can be caused by many things, but it's not normally caused by eating a well-balanced diet. So what might be causing it?
- Illness. It's that time of year. My daughter just got over a virus that had her in the bathroom for most of two days. She was nauseated before and after, but that nausea resulted in uncontrollable vomiting and diarrhea. Almost nothing stayed in her stomach. This wasn't just the loose stool many of you experience as your body adjusts to the new way of eating, but rather totally uncontrollable waterworks from the anus. Gross, I know, but it's not really related to what you're eating, just simply to the fact you are eating. You would puke up anything, not just healthy food. This might be accompanied by a fever. Check with your doctor for this one.
- Food poisoning. See above. If you experience nausea, which is followed by vomiting/diarrhea, and you've ruled out an infection, you might have food poisoning. Check with your doctor for this one.
- Pregnancy. Unless it's impossible, just check to be sure 😉
- Hunger. Many people can't actually recognize the sensation of hunger, and when they feel it, think it's nausea. Make sure you are eating the recommended amounts of protein, fat, and veggies. If your nausea isn't leading to vomiting and/or you don't have other digestive distress (diarrhea, etc…) try eating a mini meal. If that makes the nausea go away, you now know that wasn't nausea you felt, but hunger! If the nausea is leading to vomiting, see above, and check in with your doctor.
- Food aversion. You know you can't stomach food in the morning! Nope, nope, nope! Not gonna happen! And because you know it, even if there is no basis in fact, your body responds exactly as you expect it to respond. It's not necessarily related solely to a specific meal, but could also be related to specific foods. For example, just typing out "bologna" makes me gag a little, thanks to an unfortunate incident with an entire pack of bologna and a merry go round when I was a child. This nausea is all in your head. Try to think positively. You can eat breakfast. It doesn't event have to be breakfast. Try having your favorite meal for "meal 1." And if you eat that delicious meal (which isn't breakfast, wink-wink-nudge-nudge) and still feel sick, or vomit, then check with your doctor! By the way, I'm still not eating any bologna, but it's not part of my healthy way of eating, so I get a free pass 😛
- Food allergies and intolerances. You might experience nausea after eating specific foods. If you find that every time you eat shrimp, for example, but you're fine eating anything else, then it's very possible you either just don't like the food for some reason (seriously, bologna, puke!) or it could be that you have an allergy or intolerance to that food. Sometimes these allergies and intolerances will cause other symptoms, such as rashes, diarrhea, abdominal pain, and swelling. If you've ruled everything else out, check with your doctor, because food allergies can become life-threatening.
So what if you're not sick, pregnant, or hungry, and you don't have any aversions, allergies, or intolerances, but you're still experiencing nausea? There are many other things that can cause nausea. As I've said throughout this post, check with your doctor if you're concerned. You should not feel nauseated all the time. Nausea is your body's way of telling you something is wrong.


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Indianapolis—The Indiana Historical Society (IHS) will debut a new concept in its storytelling with You Are There: That Ayres Look, stretching the interpretation of its popular You Are There format. The exhibit will open March 14 and will be available through Aug. 6, 2016 as part of the Indiana Experience at the Eugene and Marilyn Glick Indiana History Center. The History Center is located at 450 W. Ohio St., along the canal in downtown Indianapolis.
The IHS exhibitions team knew it had a winning story on its hands following the success of its book L.S. Ayres & Company: The Store at the Crossroads of America, written by Kenneth L. Turchi. The business spent more than a century catering to the needs of Hoosiers—and captured their hearts along the way.
Rather than centering on the story told through a single photograph, That Ayres Look highlights many stories from more than a century of the company's history—and intermingles traditional techniques and emerging technology.
As with past You Are There spaces, the journey still begins with a walk through a fog screen, as guests step through an image of the iconic Ayres department store clock. On the other side is a half-scale, blank replica of the downtown landmark. By pointing a provided iPad at the clock, an augmented reality experience will begin—creating the illusion, complete with sound, of two workers cleaning the icon in the late 1930s.
The use of new technology doesn't end with the entrance of the space. Guests will encounter virtual "dress" display mannequins on monitors, allowing them to witness ever-changing fashion, patterns, colors, hemlines and silhouettes of the decades that comprised what became known as "That Ayres Look."
Guests can also interact with costumed actors representing historical real-life characters from 1959, such as owner Lyman Ayres II, Ayres Fashion Bureau director Elizabeth Patrick and Ayres model Bea Fatout. IHS has also created videos that celebrating different facets of the Ayres story—including the business, family, fashions and shopping experience.
As visitors continue through the gallery, they will encounter historical photographs, documents, artifacts and videos to provide a multi-faceted illustration of the company, its people and its innovations. IHS will also display original items borrowed or donated from individuals, and additional clothing items and other artifacts are on loan from the Indiana State Museum.
Guests will learn about the early growth of the company, the family behind it, the company culture that fostered a high level of customer service, innovation and respect for its employees; the dynamic environment where cutting-edge ideas were developed; the lasting memories L.S. Ayres made for people during the holidays; and the Ayr-Way off-shoot that was a forerunner of future discount retailers.
Another included Ayres tradition is one of Indianapolis' most cherished and famous seasonal residents. The Ayres cherub, which has never been on view outside of its resting place atop the downtown clock, is on loan from Downtown Indy and will reside inside the exhibit when she's not performing her holiday duties.
You Are There: That Ayres Look is presented by Ayres Foundation Inc. and Nancy Ayres, with support from Nicholas H. Noyes, Jr., Memorial Foundation, Inc. and Lisa Carrington Bohn; Ruth Lilly Philanthropic Foundation and Mr. and Mrs. Peter Nicholas; and Griffith Family Foundation, Inc.
You Are There: That Ayres Look is Included with Indiana Experience admission.
For more information about this and other IHS programs, call (317) 232-1882 or
visit www.indianahistory.org.
About the Indiana Historical Society
Since 1830, the Indiana Historical Society has been Indiana's Storyteller, connecting people to the past by collecting, preserving, interpreting and sharing the state's history. A private, nonprofit membership organization, IHS maintains the nation's premier research library and archives on the history of Indiana and the Old Northwest and presents a unique set of visitor exhibitions called the Indiana Experience. IHS also provides support and assistance to local museums and historical groups, publishes books and periodicals; sponsors teacher workshops; produces and hosts art exhibitions, museum theater and outside performance groups; and provides youth, adult and family programming.
For more information and/or images, contact Amy Lamb, media relations manager, at
(317) 232-1878 or email@example.com.


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The Institutes RiskStream Collaborative Announces Plan to Launch Blockchain-based Subrogation Tool
Application will use smart contracts to help insurers streamline the subrogation process through net settlements
MALVERN, Pa. – April 9, 2018—The Institutes RiskStream Collaborative™, a blockchain consortium for the risk management and insurance industry, announced today it is moving past the minimal viable product stage on its blockchain-based subrogation tool and is developing a production-ready subrogation application for insurers. The new tool, anticipated to launch in summer 2018, will use blockchain-enabled smart contract technology to facilitate the netting of consortium members' payments, thereby reducing manual processes and improving efficiencies in the payment and accounting aspects of claims processing.
"Subrogation is a notable example of how claim settlement can be improved with blockchain adoption," said Christopher G. McDaniel, president of The Institutes RiskStream Collaborative. "Subrogation is the process used to exchange money between insurers to settle a claim. This process is time-consuming and largely manual. A shared ledger, like the one used within the RiskStream Collaborative, can facilitate the netting of payments among consortium members, eliminate manual processes, and speed up the entire process. This can eliminate or reduce administrative costs, especially if the netting principles are automated through smart contracts."
Subrogation was the focus of one of the RiskStream Collaborative's first use cases. Many insurers supported it as a logical starting point for use of distributed ledger technology as it involves a B2B monetary exchange. The RiskStream Collaborative is partnering with other industry providers in the subrogation space to integrate their capabilities into the blockchain solution.
"We are seeing really exciting innovation occurring in the claims space, partly due to the rapid advancement of technologies such as distributed ledgers," said Bennett Neale, enterprise architect at Farmers Insurance® and a RiskStream Collaborative subrogation working group lead. "Subrogation is a key focus area with the opportunity for immediate impact if capabilities for real-time, inter-carrier settlement are added via distributed ledgers, enabling us to provide a better experience for our customers."
The subrogation tool is just one solution in the RiskStream Collaborative's suite of applications poised to use the blockchain to address issues across the industry. Other solutions focus on proof-of -insurance verification, first notice of loss data sharing, and parametric insurance. Each use case has an associated working group of individuals from various member companies. Members prioritize and determine which blockchain use cases to pursue based on strategic analysis and member agreement.
"Blockchain will undoubtedly play a role in the future of insurance, and likely a disruptive one," said John Pileggi, assistant controller II at Liberty Mutual Insurance and a RiskStream Collaborative subrogation working group lead. "Liberty Mutual is pleased, through its membership in The RiskStream Collaborative, to be one of the companies collaborating with our peers in a safe environment to build a blockchain-based subrogation application. We seek to influence the impact blockchain has on insurance and we are committed to developing leading edge technologies and applications in partnerships with groups like the RiskStream Collaborative."
More information about The Institutes RiskStream Collaborative, including details on membership, is available at TheInstitutes.org/riskstream.


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Technology has created a wide variety of ways to reach audiences all over the world. All you have to do is think outside the box and you can market a self-published book in creative, affordable, and affective ways. Consider book tours! Tours are a great way to connect with your readers directly through their phones and computers! Thanks to technology expanding your readership is easier and more cost effective than ever!
Author Steven Chernikeeff is taking his latest book The Esoteric Apprentice, on tour — a Virtual Book Tour with Outskirts Press. This will allow Steven to take his book into the far corners of the globe, all from the comfort of his own home! Keep an eye out for Steven's book as he will be featured on several blogs over the weeks and months ahead!
Luckily for us, Steven was kind enough to answer a few questions as the tour was getting started so that we can give you a sneak peek into the mind of the creator of The Esoteric Apprentice.
OP: Tell us a little bit about The Esoteric Apprentice. What is it about?
Steven: This book is about my personal journey with an esoteric group working in group formation along the lines as taught by Alice A. Bailey and her work with the Master D.K.
OP: Why did you decide to write this story?
Steven: I led the group for over 20 years in different countries. The book chronologically details that work.
OP: How did you get your book published?
Steven: It was a long time wish to publish this work together as a reference, especially for those who are interested in karma and planetary change.
OP: What types of readers would be interested in this story?
Steven: Students of the Theosophical, Esoteric, or even the Occult.
OP: What is special about your book?
Steven: It details working in Groups of Twelve people for planetary change.
OP: What differentiates your book?
Steven: It's never been done in Groups of Twelve before – ever.
OP: Have you published any other books?
Steven: No.
OP: Do you plan to publish more?
Steven: Yes, I am currently working with contributing authors on a book about the significance of the year 2025.
OP: Thanks for your time, Steven! We look forward to learning more about you as you visit other bloggers!
For more information or to contact the author, visit https://www.outskirtspress.com/TheEsotericApprentice
This author purchased the Virtual Book Tour marketing option, which allows self-publishing authors to connect with bloggers and harness the power of the blogosphere by taking their book on the "virtual road." Learn more about this service by visiting your Publishing Center and reviewing the available marketing options.
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Mr. Piwowar's Bio
Hello! I am excited to be your 7th and 8th grade teacher at our amazing school!
My name is Mr. Piwowar, I love social studies, especially ancient history, and this is my second year teaching. I grew up around St. Cloud, Minnesota where the Summers are wonderful for three months, then the (almost) nine months of Winter are brutal. I met my wife while we were in third grade, and we got married in the Winter of our freshman year of college. We now live in beautiful Colorado and have one daughter.
In addition to social studies, I love the outdoors and just about everything you can do under the sun. A few of my favorite activities include snowboarding, playing chess, and disc golfing! My favorite book series is The Kingkiller Chronicles by Patrick Rothfuss. I have read the first two books of the trilogy many times and have eagerly awaited the third for ten years.
I can't wait to meet you all and I look forward to a wonderful year together!


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Good morning, class! Today's Word of the Day is: Ironic. The definition of ironic is, "happening in the opposite way to what is expected, and typically causing wry amusement because of this". And what do we love more than a little "wry amusement" to get us through the day? Tinsley Mortimer and Dorinda Medley from Real Housewives of New York are going to teach us a lesson in irony.
Tinsley and Dorinda have shared a fairly basic relationship. When Tinsley first appeared on RHONY, she was living at
Grey Gardens Sonja Morgan's exceptionally clean townhouse. When Tinsley began having issues with Sonja, Dorinda defended her. More recently, Tinsley sided with Dorinda during last season's #clambakegate. Dorinda was uninvited to a party unless she apologized to Luann de Lesseps. Basically viewers have not seen a lot of animosity between Tinsley and Dorina in the past. All of that might change this year, as Tins and Dor have been spotted engaging in a war of words. Here's your irony, it was at an anti-bullying event.
When one of our Housewives is supporting a cause that will benefit others, most of the time their co-stars will show up for support. Sometimes reinforcement from friends at a public event can lead to public squabbling. As the old saying goes, any publicity is good publicity, but does that standard hold true in all cases? Can you have a positive experience supporting an ideal that is the antithesis of what your friends are doing? In reality television, you can.
Thankfully, cameras are up and running and captured Luann's good work with STOMP Out Bullying. She held a function last Tuesday and both Dorinda and Tinsley graciously came out to support the cause. Not really sure Dor and Tins were on board with the theme, as apparently their good vibes only flew right out the window. According to Us Weekly, the ladies were filmed… fighting with each other. Kind of at the one place where you shouldn't be fighting. Tacky, party of two? Your table is ready!
RELATED: Melissa Gorga, Porsha Williams, & Sonja Morgan Want Tinsley Mortimer To Be More Comfortable On Camera & Show Her "Wild" Side
An eyewitness shared the details saying, Tinsley "seemed really upset." The witness also said Tins appeared to be "wiping her eyes" before she peaced out with new Housewife, Leah McSweeney. At this time, the cause of the argument is not known. Hopefully they weren't still discussing Scott Kluth and the mystery of the Gucci tennis shoes because, give me a break.
Sonja and Ramona Singer were also on hand to watch Luann host a comedy show. Wait, so Luann is both a chanteuse of cabaret AND comedic stylings? The Countess is a multi-tasking enigma! Luann was thrilled her fellow stars showed up. She said, "I love that they're all here for me, and for a great cause!" Lu then reinforced the fact that even if they fight, they still do the right thing. "Of course they came out for me. We always include each other as much as we can," she explained.
RELATED: Carole Radziwill Says No One From Real Housewives Of New York Wanted To Film With Tinsley Mortimer
Sonja echoed Luann's sentiments explaining the RHONY ladies "always support each other." Sonja added, "We're always advocates for anti-bullying whether it's children, LGBT, animals." It really is positive that any ill feelings can be pushed aside to form a common bond of support. Though I expect the LGBT community might want Sonja and Dorinda to educate themselves on the difference between a drag queen and a transgender person. Not the same thing, dears.
Now that Bethenny Frankel is off saving the world (no snark, good on Beth), the remaining cast and any new additions have some gaps to fill. Looks like some of the gaps will be filled with… fighting at an anti-bullying event. Unconventional? Yes. Typical? Also yes. Ironic? Definitely. No word on whether or not a particularly dirty martini (or five) is guilty of encouraging the heated exchange between Dorinda and Tinsley. But don't worry, I have a feeling we will find out soon enough.
RELATED: Sonja Morgan & Dorinda Medley Make Offensive Comments About A Transgender Model At Fashion Week
[Photo Credit: Bravo]


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Vigilance Encouraged
At MLK Celebration
The sanctuary at First United Methodist Church in Oneonta was filled with inspiring words, social commentary and song this afternoon as crowds gathered to celebrate Dr. Martin Luther King Jr.'s 91st birthday. The event, hosted by the Oneonta NAACP, featured over a dozen speakers and performers including Yolanda Bush, seen above with Rich Mollen, as she sings "Rise Above," written by Robin Seletsky and dedicated to the Oneonta NAACP. Mayor Gary Herzig, inset right, was also among the speakers, where he praised the NAACP and the Oneonta Police Department for their leadership in civil rights issues. He continued, encouraging vigilance, saying there was still work to do even in a "progressive and diverse" City like Oneonta: "Here in Oneonta, an individual visited our DMV and was told, 'We cannot serve you,' and was told to go to Cooperstown. In the year 2020 we are hearing this! As Dr. King said, 'Injustice anywhere is a threat to justice everywhere.' Oneonta must be open and welcome all persons." Herzig's reference was to the "Green Light" Law, where the state Legislature directed the issuance of driver's licenses to illegal aliens; because of the special equipment and training required, county Clerk Kathy Sinnott Gardner has centralized processing those license applications at the main office in Cooperstown. (Ian Austin/AllOTSEGO.com)


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DVI to VGA Adapter DVI 24+1 Male to VGA Female Converter Connector for PC
DVI to VGA Adapter DVI 24+1 Male to VGA Female Converter Connector for PC Laptop Projector
It is suitable for the signal transmission between the computer with DVI interface, for PS3 and the TV and projector with VGA interface.
It can be used as the extension of VGA wire rod, and the connection mode is DVI (24+1) male head to VGA female head.
Material: gold-plated heads and gold-plated screws.
Convenience: lossless signal, plug and play
Effect: high definition quality, 1080P
Product size: 55mm*40mm*15mm/2.16*1.57*0.59''
Packing weight: 31g
Please allow 1-3mm differs due to manual measurement.
Due to the different display and different light, the picture may not show the actual color of the item. Thanks for your understanding.
Package Content:
1 x DVI to VGA Adapter


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How can we stop uncontrollable and unintentional weight gain? What can we do about it, what works and how do we stick to it? Should those with serious weight problems consider bariatric surgery and medication?
I recently learned so much about obesity from incredibly informed health psychologist Dr. Dina Goldstein Silverman. After watching her excellent presentation at the 2020 NJPA Conference I asked her if she would be a guest on podcast. We are joined in this conversation by attorney and my husband, Neill W. Clark.
Expert guest Dr. Dina Goldstein Silverman is the recipient of the Frank and Mary Ann Dattilio Education Award from the Pennsylvania Psychological Association. She was recently recognized by South Jersey Magazine for the Reader's Choice Award in 2019 and 2017. She is an Assistant Professor of Psychiatry and Psychology at Cooper University Hospital where she teaches evidence-based psychotherapy and provides individual supervision to psychiatry residents, medical students, and post-doctoral and pre-doctoral clinical health psychology residents.
If you have found any value from this show, please show your encouragement by buying me a coffee: https://www.buymeacoffee.com/dralexandra
Support the show (https://www.buymeacoffee.com/dralexandra)


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UAE announces major new oil, gas discoveriestext_fields
Abu Dhabi: The United Arab Emirates, a leading OPEC producer, on Monday announced "significant" oil and gas discoveries and launched a new pricing mechanism for Abu Dhabi flagship Murban crude.
The Gulf state's highest energy decision-making body, the Supreme Petroleum Council (SPC), said the new discoveries included seven billion barrels of crude oil and 58 trillion cubic feet of natural gas.
That raised UAE crude oil reserves to 105 billion barrels, overtaking neighbour Kuwait for the world's sixth largest oil deposits, Abu Dhabi National Oil Co said in a statement.
Natural gas reserves were also boosted to 273 trillion cubic feet (7.7 billion cubic metres), ADNOC said. In addition, the UAE discovered about 160 trillion cubic feet of unconventional natural gas.
UAE pumps about three million barrels of oil per day (bpd) and produces some 10.5 billion cubic feet of raw natural gas, according to ADNOC.
"We are very pleased and honoured to have enabled the UAE to move from the seventh to the sixth-largest oil and gas reserves in both global rankings," said ADNOC CEO Sultan al-Jaber.
The SPC also gave its approval to list ADNOC's Murban crude oil on an internationally recognised exchange, with the goal of boosting the UAE's position as an energy provider, particularly to fast-growing Asian markets.
"The initiative will enable our customers and other market participants to better price, manage and trade their purchases of Murban," which pumps some 1.7 million bpd, Jaber said.
Last year, ADNOC granted concession rights in existing and new oilfields and earmarked some USD 132 billion to invest in the oil sector over the next five years.
ADNOC plans to boost crude output capacity to four million bpd in 2020 and to five million bpd a decade later.


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By Jeoffry B. Gordon, MD, MPH
As I watched Mr. Trump's behavior at the first Presidential debate, feelings grew within me that were not exactly political. I felt worn out, fatigued, put down, oppressed, overwhelmed and bullied; then disappointed, then irate, then angry, then scared. These responses were made boldly understandable when I listened to a post-mortum commentary by MSNBC's Nicole Wallace: She described Mr. Trump's behavior as frankly "abusive."
Now I viscerally understood. In a small, albeit vicarious and totally sheltered way, I and the whole nation had an insight into the personality defects that produce abusive behavior toward defenseless children. I found it painful to understand what would happen to me – as an adult, never mind as a child – trapped in close quarters in a home dominated by a man like Mr. Trump. Painful to see. Sad for our country and upset to know 30% of Americans support him no matter what.
Then comes another insight as I read the papers this morning.
Surely the debate was controversial and Mr. Trump's behavior was notable. Nonetheless, a good many of the pundits, although critical, find a whole dictionary of words to describe Mr Trump's outbursts which are much more neutral, diplomatic, and polite than able to recognize the dramatic abusive behavior. In a complimentary fashion, almost unanimously they discounted Mr. Biden's successful maturity. They were not able to recognize the calm, mature patience and resilience inherent in Mr. Biden's mostly quiet resistance and successful efforts to at least survive if not rise above the storm.
Short videos of this debate would make excellent teaching material for explaining and experiencing abusive behavior.
Jeoffry B. Gordon, MD, MPH


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WOLF is a box-making house with a storied family history; beginning in Germany, setting-up in Sweden, and flourishing in England and the United States. Over five generations, the company has been spearheaded, consistently, by the vision of a gentleman named 'Philipp Wolf'.
Established in 1834 by silversmith Philipp Wolf I, the company was created when the entrepreneurial German discovered that his silver pieces sold especially well when presented in beautiful boxes. Spotting a niche in the market, he focused his attention on crafting sophisticated jewellery cases, which were both easy-on-the-eye and durable – able to protect the treasures within. Philipp's son, his apprentice, decided after an enjoyable Swedish summer that he would immigrate to Malmö and set up shop (anyone who has been to the Swedish archipelago can relate) – becoming established as a master in the tradition of box making.


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Rail/Highway Grade Crossing Accidents
Federal Employers Liability Act (FELA) Cases
Video and Computer-Generated Animation
IronWood Technologies, Inc.
Video and Computer-Generated Animation
IWT obtains broadcast-quality, vibration-free, gyrostabilized video footage from hyrail vehicles, trains, helicopters or fixed wing aircraft in all weather and lighting conditions. Video footage is taken with a special lens arrangement to closely approximate the range of vision experienced by a motorist, locomotive engineer, or eyewitness.
IWT can direct reenactments of the events leading up to the accident, coordinating with railroad operations management to schedule crews, equipment and track necessary for the reenactment. Video or film footage of the reenactment can then be closely matched to actual event recorder data from the incident to recreate as closely as possible what participants saw in the final moments leading up to the accident. Sight distances can be measured and compared for both on-board personnel, bystanders, and victims.
A train headed by two General Electric 8-B40 locomotives approaches a grade crossing. Overlaid on the animation is a computer-generated "dashboard" showing up-to-the-second data from the locomotive's event recorder.
A General Motors Electro-Motive Division (EMD) SW-1500 locomotive, computer-modeled in 3-D for use in an animated reenactment of a yard derailment.
In addition,
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