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VIDEO: Oscar Robertson career retrospective
Oscar Robertson on his NBA beginnings, lawsuit | Robertson on 3-pointers, big men and today's NBA | Robertson on race relations in the 1960s | Who is the greatest of all time? | Robertson on his life & legacy
Kareem Abdul-Jabbar, who played with or against many of the NBA's most legendary players in a Hall of Fame career that spanned 20 seasons, was asked recently for his take on the simmering Michael Jordan vs. LeBron James greatest-of-all-time debate.
"LeBron is awesome, MJ was awesome, but I think Oscar Robertson would have kicked them both in the behind," Abdul-Jabbar said on ESPN radio. "He had all the skills. He could rebound and box out guys four and six inches taller than him. He was ruggedly built. He had fluid, quickness, and just understood the game. No flair, he just got the job done every night. Who's going to average double figures in points, assists and rebounds?"
It was a rhetorical question because, in the 52 years since Robertson became the first NBA player to average a triple-double – in his case, 30.8 points, 12.5 rebounds and 11.4 assists per game – he remains, famously, the only one to do so.
Ask Robertson who the most neglected great player in league history is and he'll tell you Elgin Baylor, whose moves and above-the-rim bursts made him a precursor of Julius Erving, Jordan and the rest. Ask plenty of others, though, and the name that bounces back is Robertson's, a.k.a., The Big O.
That was an easy one for Wayne Embry, NBA lifer as a player, team executive and Springfield, Mass., inductee himself as a contributor.
"Look, there's no question about it: Oscar Robertson is the greatest basketball player of all time," said Embry, now working with the Toronto Raptors after his years with Milwaukee (as sports' first black general manager) and Cleveland. "No disrespect to Michael Jordan, Magic Johnson or LeBron James, but I want people to remember this: Oscar Robertson played in a time where we didn't have ESPN and this and that, but look at his achievements.
"Nobody [else] has averaged a triple-double, and that was with 30 points by the way. And he also averaged 11 assists. Combine the two, how many points does that equate to for your team? In the age of analytics, you want to factor in that he averaged 12 rebounds on top of that. Now who in the history of the game has done that?"
This is an appropriate spot to note that Embry was Robertson's roommate during their years together on the Cincinnati Royals in the 1960s. Still, stats are stats, and giant steps are giant steps. Robertson did spread that triple-double across 1961-62, the same season in which Wilt Chamberlain averaged his mythic 50.4 points.
Impressed? Hold on. If you take Robertson's first six NBA seasons – 460 games played from 1961-1966 – he averaged 30.4 points, 10.0 rebounds and 10.7 assists. Those numbers are staggering at a time when doubling up in two of those categories can earn a player $20 million annually.
As Robertson's 75th birthday approached – the milestone is Nov. 24 – we sat down at one of his favorite haunts, the Montgomery Inn Boathouse, on the riverfront in his adopted hometown of Cincinnati. He passed on the ribs for which that restaurant is known, but skipped little else in a wide-ranging, part-cantankerous, part-charming, relentlessly honest and insightful two-hour conversation.
The following is excerpted from that:
NBA.com: This place is decorated with jerseys of famous Cincinnati and Ohio sports stars, but I don't see anything of yours on the wall.
Oscar Robertson: I've got a college jersey here some place. I don't know where it is now. Nothing from the NBA, nothing form the Royals.
NBA.com: Is it odd living in Cincinnati after all these years, when the city hasn't been an NBA market in more than 40 years.
Robertson: Yes it is. Because I have to wait late at night to get the scores. Newspapers don't write anything about it. You can watch some games on television but it seems to me, have they forgotten basketball here? They've got football and baseball and that's all they write about, the Bengals and the Reds. But there are other teams!
|Also in Hang Time
|West praises former rival Robertson
Hall of Famer Jerry West discusses what it was like entering the NBA and matching up regularly with Oscar Robertson, the trials they both faced in trying to overcome the Celtics to win a championship and the early years of the NBA.
Pro basketball is never mentioned around here. They don't mention when the Pacers are playing, and the Pacers don't do anything about advertising over here either. That's an hour-and-a-half ride. They should have a bus, picking up 40 or 50 guys and taking 'em over to games.
NBA.com: You played in Cincinnati and Milwaukee, and you had no control over your playing whereabouts thanks to the Draft and the lack of free agency back then.
Robertson: You can be the greatest player in the world, but if you're with a team that's going nowhere, you're not going anywhere either. You can play great but if the players around you don't complement what you do, you don't go anywhere.
NBA.com: Hardly anyone did if they didn't play in Boston back then. Was it hard falling short against the Celtics year after year after year?
Robertson: Not really, because I realized we didn't have the talent. We didn't have the bench. We didn't have management. We didn't have athletes on our teams, even our starters. Then you've got to make the right trades sometimes. No team has won without making a trade.
NBA.com: Now teams have free agency, which you know a little about. [The "Oscar Robertson lawsuit," a class-action case brought by Robertson and other players against the league, opened the door to basketball free agency when it was settled.]
Robertson: I think the Oscar Robertson case made guys into movie star-type athletes. Big money and personas about them, people following them around and wanting to meet and greet them. But still, if owners did not want to try to get that player, you still couldn't go anywhere at all. Owners will say a lot of players are greedy and all they want is a lot of money. But they're there to give the money out. Without the owners, this never would have been possible.
NBA.com: If that case had been brought earlier and been called the "Sam Jones lawsuit" so you might have benefited from it, would you have looked to leave Cincinnati?
Robertson: I probably would have. … I realized after I played a few years, we were not going to win anything in Cincinnati. Great guys. But like anything, it takes talent. It takes a good bench. It takes people not [just] liking each other but playing well together, which is a real key.
NBA.com: Some would say these days that it takes two or, in Miami's case, three stars to win a title.
Robertson: That's always been the case. you look at championship teams. The Lakers, Boston, they had more than one star on their team. They had two or three stars, sometimes four. That's how you win basketball games.
NBA.com: So those great Celtics teams led by Bill Russell – were they great because they were stocked with Hall of Fame players or did their players get to the Hall because of how much that team won?
Robertson: I'm sure because they won, a lot of guys went into the Hall of Fame. But even the Hall of Fame, it's changed over the years. It's not because of your talent or how good you were that gets you in anymore. It's a lot of different things. If someone likes you and thinks that what you did is a credit to the game of basketball, they can put your name forward and really broaden the campaign for you, and you can get in. I like football because … a lot of people go into [football's] Hall of Fame but during that induction ceremony, it's only the players. And they don't have any year where there are no players who go in.
NBA.com: Did the ABA ever come after you? You would have been a tremendous "get" for that league.
Robertson: Yes, I talked to them at one time. It wasn't that big a deal. I spoke to the Indiana Pacers once because I'm from Indianapolis. It wasn't anything I was looking forward to. It was a decent league. It had some good players in it. It was almost a dunk league, a show-me league, a big-time-play league. I guess I didn't realize that it [four ABA teams merging into the NBA] eventually was going to happen anyway. It's like the NFL and the AFL, it was going to happen.
NBA.com: Is there anyone who's not in the Hall of Fame who ought to be?
Robertson: Probably Guy Rodgers [who played 12 seasons, 1958-1970, mostly for the Warriors, Bulls and Bucks]. He did a great job for many, many years. Handled the ball well. I think he should be in the Hall of Fame. Excellent leader. For the people who vote for a guy to be inducted, I don't know if they understand what happens on the basketball court. I think maybe they read a lot of stats. … You should have some basic knowledge of the game other than saying, "I saw this guy play and he averaged 25 points a game." But what about the other things that happened? Could he play any defense? Could he get a rebound? Were there [other] factors?
On 3-pointers, big men and coaches in today's NBA
VIDEO: A look back at Oscar Robertson's career awards
NBA.com: What jumps out at you about the NBA today?
Robertson: There are no good inside players anymore. The offenses don't work off the pivot anymore either. So it's just a different game. If you can't score from outside, you're not going to win. The 3-point line is great, but it's backed up much of the game. Even though you score a thousand points – the other night, I think the Clippers had 37 3-pointers. But the other team was 10 behind 'em. I think you've got to get inside. If you've got decent inside people, you'll do well.
NBA.com: Are the best big guys born or made?
Robertson: I don't think they're coached right. I don't think anyone takes time to teach the centers how to pass out of the pivot. How to make a move off the pivot. You don't make cuts off the pivots anymore. There are no back-door plays. No weak-side plays at all. Those things are so important to spreading the floor out, keeping the floor covered.
Dwight Howard is a great athlete – doesn't have a shot off the pivot. See, [Tim] Duncan could score off the pivot. Duncan is simple. He just gets it down. But you don't have a [Bill] Russell, Wilt, Nate Thurmond, those big centers. It's all gone. And the guys you do have, they don't seem to be able to play defense off the pivot. I'll never forget the first time Wilt faced [Walt] Bellamy, he must have blocked his first seven or eight shots.
NBA.com: That was mentioned in some of Bellamy's obituaries [the Hall of Famer died Nov. 2].
Robertson: Wilt was trying to prove a point to him. And Walt was averaging 31 points a game and 19 reobunds, which goes unheard of anymore .Wilt want to prove who the top dog was. Fortunately you don't play against Wilt every night. No one could handle Wilt. Wilt saved basketball when he averaged 50 points a game. For TV or what-not.
VIDEO: Take a look back at Oscar Robertson's exceptional rookie year
NBA.com: Is the game better coached now?
Robertson: No. You have one little play [pick-and-roll]. Hope somebody tries to double-team you, throw the ball to the guy in the corner, he makes a long 3-point shot, something like that. I don't think there's much coaching at all, because players today are such gifted athletes, they do that without thinking about it. "I pass you the ball, I pick your man off, try to roll off" – that's just natural play when you don't know anybody. Whether you're playing in the park or in the All-Star Game, you did those things without thinking about them. It's great, if you can score without a lot of movement – if you can score. If you don't score, everybody else stands around and watches you.
VIDEO: Some of Oscar Robertson's best plays
NBA.com: Do you believe in the concept of "clutch?"
Robertson: Could be. Here again, I think that what happens at the start of the game is just as important as what happens at the end. Jerry West was called Mr. Clutch because he got the ball at the end. And he should have had the ball. Fortunately for him, he made those baskets. If you don't get the ball where you're in position to make a basket or miss it, you're not considered clutch. Some players don't mind having the ball at the end of the game, when there are seconds on the clock. Some players don't want that. [For more on Jerry West, click here]
NBA.com: You took those shots on your teams?
Robertson: Some of them, not all of them. But I'd been in so many big games when I younger, in high school and college, it didn't bother me. No pressure at all. I just wanted to make the shot. If it happens, it happens. [If I missed] it didn't bother me at all. I think the game of basketball is up and down. You're not going to win every game. In sports, they think it's a life and death situation but it really isn't.
On crowds and race relations in the '60s
VIDEO: Oscar Robertson talks about the off-the-court challenges he faced
NBA.com: What were the crowds around the NBA like, when you played?
Robertson: Some were very nasty. Boston. Philly had nasty fans – they'd yell insults at you a lot. Chicago had tough fans at times. I think they wanted their teams to win, so if you came in and defeated them, they didn't like that at all. Sometimes it was a personal jealousy thing. But you get used to that.
NBA.com: Did it ever get racial?
Robertson: Oh hell, back then? That goes without saying. Being born in the south [Tennessee], growing up in Indianapolis where the Ku Klux Klan actually built our high school [to segregate black students] – Crispus Attucks – and being segregated in an all-black neighborhood, some things you get accustomed to. Not that you liked them, but you got used to them.
It's almost like animals out in the wild, where they teach their young how to survive. Our parents were like, "You can't go here. You can't go there." If you go to visit your parents and grandparents in Tennessee, you ride on the back of the bus. You don't go into a restaurant anywhere along the route to get anything to eat. All those things. You learn that over a period of time, more or less so you can exist.
NBA.com: People have praised sports for breaking down those types of barriers. Is that overstated?
Robertson: No, it's not. My high school had an all-black team and a lot of our friends were white guys, and they'd come to the park and we'd play together. The Olympics is a prime example of what athletes can do not only in their country but in the world.
I'm sure all the players I played with didn't like black people, but we were in a setting where we had to work together in order to win. Then people got to know you and you got to know them.
I always said, on a team, you don't have to come home and live with me. We just have to play together for a couple hours. Most of the guys were great guys. During my playing career, I never felt I had someone I disliked.
It's like a soldier fighting in the war. Some guys from the deep South don't like blacks, some blacks from up north don't like whites. But you get in a foxhole, it's a different story. Then when they left their foxholes, they'd still go their separate ways.
As a race, there was so much going on. It was so volatile – the right to vote. Right to go into a restaurant or a movie. Sit where you want to sit on a bus. Be able to go from this side of town to that side. Or get a job. A lot of whites didn't think about that, where it concerned me or other black people.
VIDEO: Oscar Robertson talks about the racial aspect of playing in the NBA
NBA.com: So what is your take on the Miami Dolphins' locker room controversy?
Robertson: When I heard that, I almost couldn't believe it. The young man [Jonathan Martin] was a starter. But you have a lot of people in football who think that type of attitude is what makes you a good player. I don't think that – it's whether you can play or not. But for them to blame everything on that [Richie] Incognito, as if the coaches didn't know anything about it? Some coaches knew all about that stuff. Then you hear black players say, "How can that guy turn in a player?" He ain't no player to me.
Direct your energy to the guys on the field you're playing against. If you feel like you want to call a guy the N-word and he's as big as you and he's across the line from you, then it's a different story. You get an immediate response. It's a different story then. But if I'm playing on your team and I hear you calling this guy a name that I don't like? Damaging, to say the least.
NBA.com: Some people say that the 1960 U.S. men's Olympic team on which you played might have challenged the more famous 1992 "Dream Team."
VIDEO: Oscar Robertson reflects on playing for the 1960 U.S. Olympic team
Robertson: We went out to Denver for the trials. I think you had, I'm gonna say, 10 teams and you played a game every night for seven nights to get into a championship round. So we picked our team. My starters were myself and [Terry] Dischinger at forward, [Darrall] Imhoff in the pivot, Jay Arnette and Jerry West at guard. And Bellamy came off the bench.
[Coach] Pete Newell played Imhoff because the starting team that won was [our] first team in the Olympics. He was telling me how he had such a hard time with AAU getting Bellamy on the team, which you really needed to win in Rome. AAU was so powerful then. They put four or five guys on the team. Actually, AAU was more powerful. But we won, so we got to place our first team on the Olympic team.
On the Greatest of All Time and the greatest today
VIDEO: Oscar Robertson leads the Bucks to the 1970-71 championship
NBA.com: What do you make of Kareem's comments about you in relation to Jordan and James?
Robertson: I appreciated him saying that. You know what happens today in sports: With the advent of all the ads and things, it makes players much bigger than they really are.
To say this guy could outplay that guy, it's ridiculous. I could play against anybody. Elgin Baylor, they never even mention his name, they couldn't handle Elgin Baylor on the basketball court. None of these guys playing today.
Everyone thinks because a guy can dunk a basketball … [that] doesn't mean he can play. Can he make a play? Can he set a pick? Can he roll to the basket right? Can he help out in the right position? All of which has nothing to do with … it's what TV is today. Highlights. They want the sensational windmill dunk – the guy who hits the jump shot never gets a look. Oh, the one [Ray Allen] hit for Miami, they'll throw that in, because it was a pressure shot and he got it in the basket.
NBA.com: How high should Kareem rank on these G.O.A.T. lists?
Robertson: Russell was great. Wilt was great. Kareem was great. Just because you can say he didn't do this or that … no one could stop Kareem off the pivot. I don't think Bill or Wilt could stop him from shooting that sky hook off the pivot.
NBA.com: The Internet would blow up if someone averaged a triple-double over his first six seasons in the league. Was that a big deal for you to do that?
Robertson: Not at all. I thought everybody played the same way. That's the way I learned to play: Pass the ball, shoot when I got open, rebound if I'm inside.
An assist was different when I played. "A pass that leads to a basket." Now I can throw you the ball outside, and you can dribble eight or nine times and shoot, that's an assist.
You see guys throw alley-oops to players – how in the world can a guy get an alley-oop? If I'm guarding somebody, OK, the first time you get an alley-oop on me. The next time you're not gonna get it because I'm going to play defense on you. These players seem like they go brain-dead when it happens. How can a guy score four or five of these things on you in a game?
Say you're a good 3-point shooter and you hit the first one. I'm not gonna get off of you anymore. Just like when Kobe Bryant scored 81 points – I'd have fouled out. He might have got 'em on the foul line but not shooting the ball. It seemed like they got out of his way.
VIDEO: Oscar Robertson's trade to Milwaukee reshapes the NBA
NBA.com: Which player today do you enjoy watching?
Robertson: There are a lot of good players. I like the guard at Cleveland [Kyrie Irving]. I like to see LeBron play. I love San Anotino's team — they actually come down and run plays. Indiana has come on. They have a collection of good athletes who make plays.
A lot of team can't do that at all. I don't think Miami's very good, other than [Dwyane] Wade and LeBron. Seems like the other guys can't even dribble the ball two or three times and get a shot off. Now this is me looking in.
And they blame Carmelo [Anthony] for the demise of Denver. I thought he played great out there. Other guys couldn't get a basket, they threw it to him and he put it in the basket – and they didn't like him for that? Isn't that something.
NBA.com: Who do you want taking the shot at the end of the game?
Robertson: You tell me.
NBA.com: I think that's Carmelo's greatest skill.
Robertson: You can say that again. He can really shoot it, can't he? But other guys are good shooters like that. At Indiana, very good shooter, Danny Granger. And this kid from San Antonio, he made so many one night against Miami it was unbelievable. Danny Green. Then the next night, he doesn't get a smell of it.
NBA.com: Any thoughts on the one-and-done college rule?
Robertson: I've spoken to [Kentucky coach John] Calipari about that a little bit. He says there's nothing to be done about that. It's what the players want to do. But why one-and-done? You can go to the Army when you're 18. Why shouldn't you be able to play [pro] basketball and football if you have the ability to play, and someone will pay you? You shouldn't have to say, I'll go to college for a year. That doesn't make sense. … Then they want you to play well but they don't want you to play well enough so you'll leave.
NBA.com: Did you work under year-to-year contracts or multi-year deals? We hear that a lot of guys played hurt back then.
Robertson: Mostly year to year. Sure, you had to play. Plenty of times. The year we beat Baltimore, the final game [1971], I was hurting so bad, I was up all night. I had a bad groin. I was hurting like crazy. I put heat on it all night long. It got to the point, I'm getting close to game time, I told 'em, "Look, I'm gonna go out and try to play. If I can't go, I just can't go." I went out there and started running and running, it stopped hurting. I just got used to the pain, I guess.
I had a broken finger one year, I just taped it up. Achilles tendon messed up one year, I kept playing, knotted up. Hamstring pull. If you play enough, you're going to get hurt.
NBA.com: You a fan of instant replay?
Robertson: To get it right? I think it slows the game down. Make the call and if you miss it, too bad. Players adjust. Why don't they have someone else there at the game look at the call? You can tell in one second who knocked the ball out of bounds.
NBA.com: There's a question that gets asked around the NBA: "Steve Nash or Steve Kerr?" In other words, would you rather have multiple MVP awards and the All-Star career that Nash has had or multiple championships as a role player.
Robertson: Russell won with a lot of different people in Boston. The kid [Robert Horry] who played for Houston, played with the Lakers and San Antonio … he's got seven or eight rings himself, doesn't he? [Horry has seven.] So just because you win a ring … not demeaning Bill's ability, but does that say you're the greatest player? Bill played great for the Celtics, no doubt about it.
Different people have different thinking about it. Steve Nash played great for Phoenix a few years ago, won MVP a couple times. I don't think he should have won two. You'll see writers anoint someone before a season starts. I don't know who they're going to give it to this year. It's not going to be LeBron. They want to pass that award around.
NBA.com: Never mind multiple rings, how different would your career feel to you if you hadn't managed finally to win a championship in Milwaukee.
Robertson: It wasn't any big difference-maker for me. I didn't even think about it. Because we had a little better team. We had a great bench. That's how we won. The next year they traded almost all our players away. You'd have to ask the Bucks management about that. I could not understand how they could do that.
The start of my last year, to start practice, you'd run three laps around this [gym]. Being a veteran, I took my time going around. Kareem would always outrun everybody. [Milwaukee beat writer] Bob Wolf wrote in the paper, saying I was too old and couldn't play anymore. I called him up and said, "All right, you can write what you want. But I don't want to do another interview with you." This is practice, man. We hadn't even started playing yet.
NBA.com: You sounded a little like Allen Iverson.
Robertson: [Laughs] But I think the Bucks set it up for me not to play anymore after that year. If you look, my last year, I was playing [35] minutes a game. But I was gonna quit anyway.
NBA.com: Did you still have some game in you?
Robertson: Oh sure. I could play with those guys. But it got to a point where they kept on making trades, bringing in the wrong people each year. It wasn't working at all.
On life after the NBA
NBA.com: Once you were done playing, you worked one season as a TV analyst. But you often have said that your lawsuit against the league led to you being blackballed because owners resented your involvement as the head of the players' union and as a big-name player.
Robertson: I got involved with CBS, which was a joke. They decided that, because of the lawsuit, I was an adversary. It really was a blackballing when it happened. But the players association didn't do anything about it. Over the years, I've thought about it a lot. But when the NBA said they were going in another direction, I said, "Fine."
The NBA has done a lot of things over the years. A lot of great things but that doesn't mean they haven't done some things they shouldn't have been doing. At first they didn't want any black guys coaching. Then they got Russell – he wouldn't have played for nobody else. That's when Red [Auerbach] named him the coach.
NBA.com: Was the lawsuit worth it to you?
Robertson: It had to be worth it. I was involved in a situation when I first got there, I didn't understand it but I grew into it. I saw some of the situations that were happening to players. When I first started playing, we got $8 a day for meals. Didn't have a trainer. You flew on the first [commercial] flight going.
Look what that lawsuit did for basketball. Propelled them to the atmosphere. Beyond the moon. And they talk about great things that changed basketball. Not because I was involved – I was with some other guys, Wes Unseld, Bill Bradley, Dave DeBusschere – it changed basketball. It made guys millions of dollars. You see entourages they have with them, limousines going to games, guys making $20 million. Now they get shoe contracts that make them superstars.
NBA.com: It shifted the balance of power to the players.
Robertson: No, it really shifted the power to the owners. Say you had a real good team and you needed Wilt. … If you were outside your contract, you could go. It made a lot of teams different.
NBA.com: It's been said that you're only old when your regrets outnumber your dreams. Do you still have some dreams?
Robertson: Sure, I have things I still want to do. Especially in business, which I haven't gotten there yet.
NBA.com: Your business ventures might surprise some people. You founded Orchem, a chemical manufacturer, in 1981. You also put your business degree to use, too, through Oscar Robertson Solutions, a document management and consulting firm. I know you've had some challenges, financial and otherwise, in those endeavors. Does business scratch the same itch as basketball, in a competitive sense?
VIDEO: The Beat crew talks about Oscar Robertson's legacy
Robertson: Yes. Sometimes it's a little more difficult. Because in sports, you're out there and either you do it or you don't do it. People could say anything they wanted until I hit the floor, then it was up to me. But in business today, it's up to a lot of people.
I just wish I had played a little later [at a bigger salary]. Then I could have gone into what I wanted to go into. When I was with the players association, we talked to [late head of the NBA players union] Larry Fleisher one year about groups of players getting together and buying car dealerships in every NBA city. It didn't work out – couldn't get the financing. But it would have been great. In every city, you set up a Ford and a Chevrolet dealership? Man!
NBA.com: Generally it sounds like you're OK that you played when you played and were paid what you were paid.
Robertson: I didn't make a million dollars in 14 years. But times are different. I just think that players today are instantly gratified to be making the money. Some don't appreciate that they're making what they're making. They take it for granted.
NBA.com: How would you like to be remembered?
Robertson: I have no idea. It doesn't really matter that much to me. People are going to say what they want to say anyway. Like one [reporter recently] asked, "Do you think you could play in the game today?" I said, "It's obvious you don't know anything about basketball or you wouldn't ask me that question. So I have no comments for you at all." I just walked away from him.
Did he think, if they had eight teams, how many guys wouldn't be playing now? Or 12 teams or 16 teams? How many guys would not be playing [in the NBA] now?
NBA.com: You've never been shy about speaking your mind.
Robertson: My wife [Yvonne] gets on me. She says, "Don't tell 'em all these things." I say, "I won't. But if they ask me, I'm not going to lie about it."


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text:
HOW-TO check out PKP applications from git
- 1 Intro
- 2 Create github.com user
- 3 Delete existing personal forks
- 4 Fork the official application repositories
- 5 Clone your personal application repository locally
- 6 Set up pkp submodule in your local application repository clone
- 7 Add the official repository
- 8 Create development branches
- 9 Where to go from here?
- 10 Resources
This is the official process to check out OMP with the PKP library as a sub-module. The same process applies to all other PKP projects. Just exchange omp for ojs, ocs or harvester.
Create github.com user
This tutorial assumes that you'll work with forked copies of our software on github and that you intend to publish your changes back. You can do without forks, especially if you want to have only read access. You'll have to adapt this process a bit then (e.g. exchange the read/write URLs to forks with read-only URLs to the master repository). Please refer to the git documentation for this.
If you want write access to the repository then go to github.com and create your own user account there and log into it. See the github documentation to generate/add your RSA key to your github account.
If you want to write back to the official PKP git repositories then you'll need write access there. Please ask Juan or Florian to grant you access.
Delete existing personal forks
First you have to delete existing personal forks of omp/pkp-lib if you have cloned these repositories before. You obviously shouldn't do this when there are still changes in there you don't have in other locations! If you don't have existing forks then you can jump to the next step.
Otherwise do the following:
- Go to your personal github dashboard.
- In "Your Repositories" select the forks you want to delete.
- Go to Admin tab.
- Down on the page click on "Delete This Repository".
- Repeat these steps for both omp and pkp-lib
Fork the official application repositories
- Go to http://github.com/pkp/omp and fork it.
- Go to http://github.com/pkp/pkp-lib and fork it.
- Go to http://github.com/pkp/ojs and fork it.
- Go to http://github.com/pkp/ocs and fork it.
- Go to http://github.com/pkp/harvester and fork it.
You can fork a subset of these projects if you do not intend to work on all of them. You'll always need the pkp-lib repository together with any of the application-specific repositories.
Clone your personal application repository locally
Please replace "your-pkp-workspace" and "your-user" with the appropriate values.
cd ~/your-pkp-workspace git clone firstname.lastname@example.com:your-user/omp.git omp cd omp
Set up pkp submodule in your local application repository clone
edit .git/config with your favourite editor and find (or add if it's not there):
[submodule "lib/pkp"] url = email@example.com:pkp/pkp-lib
Change the url to
url = firstname.lastname@example.com:your-user/pkp-lib.git
git submodule init git submodule update
Add the official repository
The 'official' respositories can be compared to the role that PKP's old CVS repositories used to fill. Adding the official branch allows you to synchronize your code with the rest of the team, and should be pulled from before creating a patch or making a commit.
cd lib/pkp/ # The following only works if you already have write access to the official repository: git remote add official email@example.com:pkp/pkp-lib.git
# If you don't, use this instead: git remote add official https://github.com/pkp/pkp-lib.git
git checkout master git pull official master cd ../..
# Again, use this if you have write access to the official repository: git remote add official email@example.com:pkp/omp.git
# or this, if you don't: git remote add official https://github.com/pkp/omp.git
git checkout master git pull official master
Now edit .git/config and lib/pkp/.git/config again. Find:
[branch "master"] remote = origin merge = refs/heads/master
And change it to:
[branch "master"] remote = official merge = refs/heads/master
for both repositories.
Save the files and execute
git pull
for both repositories.
This should give you the output 'Already up-to-date'.
Create development branches
You'll not usually develop directly on the master branch. We can use the master branch to track released code and tested changes. You should have development branches for actual code changes.
Create development branches in the main project and the sub-module. The canonical set-up uses a branch called "dev".
git checkout -b dev git push origin dev cd lib/pkp/ git checkout -b dev git push origin dev cd ../..
Next you edit lib/pkp/.git/config and '.git/config' and insert the following configuration to the end of both files:
[branch "dev"] remote = official merge = refs/heads/master rebase = true
You can now (optionally) delete the master branch in your personal remote github development repository as you won't probably need it. To do so you'll first have to go to the github website and switch your default branch to the dev branch:
- Goto: https://github.com/your-user/omp/edit (replace 'your-user' in the URL with your github user)
- Change the default branch to dev
- Goto: https://github.com/your-user/pkp-lib/edit
- Change the default branch to dev
Now you can enter the following commands locally to remove the remote master branch
git push origin :master cd lib/pkp git push origin :master cd ../..
Be very careful to never enter this command with official rather than origin. Otherwise you'll drop the master repository!
Where to go from here?
Have a look at frequent git use cases for typical git use cases you'll encounter in your day to day work with git.


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With fall well underway, I'm finding myself knee-deep in all things seasonal. I've been systematically working through a list of spooky movies leading up to Halloween, and have my trip to the pumpkin patch written into my planner in bold and underlined. These are things that can make anyone and everyone excited about changing season, making the weather change a little more bearable, and I highly recommend getting festive in any possible way.
That said, coffee people are able to integrate their fall enthusiasm into their daily routine. When coffee shops break out the pumpkin spice and the caramel apple flavors, coffee addicts like me are helplessly tempted to upgrade our daily brew to something more exciting and seasonal, then are hooked to return again and again. For my fellow coffee friends in Lincoln looking for your next fall fix, I've listed downtown coffee shops and their fall specialties to help you make autumn a part of your daily routine.
The Mill Coffee & Tea – The Mill features both a classic Pumpkin Spice Latte and a Spiced Cider Chai, both of which will absolutely cure an aching sweet tooth and a caffeine craving. If you still want to get festive, but like to go a little simpler, the Mill also features Pumpkin Spice and Maple Spice brewed coffees, for which the beans are available for sale.
Latte – Photo courtesy The Mill Facebook page
Method Cycles – If you haven't been to Method yet, put it at the top of your list. Their fall (and winter!) situation is unique in that they have new features each month. In October they have their Apple Cider Espresso, which they call ACE, that gets whipped cream, cinnamon, and apple slices. November's special is a Cinnamon Plum Tea, and December sees a Rosemary Latte.
Pictured above is the ACE – Photo courtesy of Method Cycle Facebook page
Lincoln Espresso – This shop truly goes all out for autumn. Their specialty drinks include the Pumpkin Spice Chai, available cold or hot, in which you can add a shot of espresso to make it a dirty chai. That said, they offer six different seasonal coffee flavors. Six! They include: Autumn Harvest (oh, yum), Caramel Apple, S'mores, Pecan Pie, Pumpkin Spice, and Toasted Almond Toffee.Mr/Ms Bronx 33956-A 33956-A Womens Booties B076N3C61Q B076N3C61Q Parent Ideal 28968 gift for all occasions Impeccable various kinds 4936230
Photo courtesy of Lincoln Espresso Facebook page
Java Depot – Okay, PSL people, this is your spot. Java Depot offers your standard Pumpkin Latte. But they also have a Pumpkin Pie Latte, which is an even richer version of the original. So if you're a bold PSL lover who wants to turn up the volume, give this drink a go.
Photo courtesy Java Depot Facebook page
Indigo Bridge – This shop is putting new spins on old favorites and bringing you fall drinks you didn't know you needed. I've never tasted anything that gave me more trick-or-treat vibes than their Candy Bar Latte, or loved a fusion more than their Chaider (Chai + Cider). Their final seasonal drink is the Maple Spice Latte, which is worth changing up your usual order for.
Photo courtesy Indigo Bridge Facebook page
Crescent Moon– Can I just say that Crescent Moon stands out for being so surprising with their interesting combinations and concoctions? This season you can order The Raven, a lavender and dark chocolate cortado; The Black Cat, a triple espresso with vanilla, ice, and cinnamon whip; The Tell-Tale Heart, a rose affogato; or the Withering Rose, a pumpkin spice and rose latte. These seasonal drinks are for the bold and for those looking for an experience beyond the normal.
Photo courtesy of Crescent Moon Facebook page
Scooter's Coffee– If you're interested in getting some variety, but are a pumpkin all-fall-long sort of coffee drinker, check out Scooter's selection of drinks to get your fill. They include: Pumpkin Caramelicious, Pumpkin Spice Latte, Pumpkin Pie Smoothie, Caramel Apple Butter Latte and Blended Pumpkin Caramelicious.
Caramel Apple Butter Latte – Photo courtesy of Scooters Coffee Facebook page
Starbucks– Because sometimes, you just need the old faithful, the always good, the on-every-corner Starbs PSL or Salted Caramel Mocha, available hot, iced or blended. This year, Starbucks introduced the Maple Pecan Latte, which is amazing for those of you who can't wait until Thanksgiving for your maple pecan pie!
Maple Pecan Latte – Photo courtesy of Starbucks Facebook page
Click here for location information on each coffee shop, and includes some of their food options as well. I hope you get the chance to try each and every one of them, as they all offer something a little different! Which fall drink is your favorite? Personally, I don't discriminate as long as it has whipped cream on top. Let us know in the comments or on Twitter @DealAnyDay and Facebook.
Written by Erin Johnson


text:
Theory Versus Practice: The Great Divide in Programming Languages
Last week, I talked about four major, early programming languages: Cobol, Fortran, Algol, and Lisp, and said that Lisp differed from the other three in a fundamental way. That difference is really comes from a philosophical difference about the relationship between programs and computers.
Here's the key question: Do programs exist in order to tell computers what to do, or do computers exist in order to execute programs? In theory, this is a silly question, because the two "alternatives" amount to the same thing, and they are both obviously true. In practice, however, preferring one or the other has a profound effect on the design of programming languages and, to a lesser extent, of computers.
For example, if programs exist in order to command computers, it follows that programming languages should expose those aspects of computers that their users might wish to command. This viewpoint might well lead to the conclusion that assembly languages are the most important kinds of programming languages, as they offer the most direct way of telling computers what to do that is consistent with humans' being able to write programs in those languages.
In contrast, if computers exist in order to execute programs, then it is less important to design programming languages to fit particular computers well than it is to design computers to fit the best programming languages. Of course, this strategy leads to another hard question: What is the best programming language? Moreover, it offers no guidance as to how to figure out which language is the best.
Designing a programming language in order to command a computer leads to the conclusion that the language should look like the computer. If, on the other hand, the programming language comes first, how does one decide how the language should work? If it's not based on an existing computer, and there are no earlier programming languages to use as a model, where does one start?
One logical starting point is mathematics. Mathematical notations have been around for millennia, and mathematicians continuously refine the notation they use in order to make that notation more effective at expressing their abstractions. Accordingly, it makes sense to use some form of mathematical notation as the basis for a programming language.
Every mathematical notation that I have ever seen uses names to refer to concepts that, once defined, do not change within a single context. Such a concept might refer to other values to be defined later, or tentatively defined, but the concept itself remains the same. For example:
Let z be the length of the hypotenuse of a right triangle with legs of lengths x and y, respectively.
This sentence defines
z in terms of
x and
y. It leaves
x and
y unspecified, but once they have been defined,
z is also defined. As long as we are talking about this particular
z, it will never be used to mean anything else. So, for example, although we might write something in Fortran that looks similar:
there is a profound difference between the Fortran statement and the corresponding mathematical statement. In Fortran, there is nothing to stop us from writing
after which the variable
Z has a different value from the one it had before. This kind of statement is a natural way to expose the fact that a computer has memory, and the contents of that memory can change from time to time.
In contrast, a mathematician would never write
Let z refer to its previous value multiplied by 2.
Instead, a mathematician might write something like
Let z' = 2z
Here, the apostrophe (pronounced prime) indicates that
z' is related to
z in some way; but aside from this relationship,
z and
z' are two different names. Accordingly, there is never any confusion about which value is associated with
z at which time; one always writes
z or
z' to make the choice explicit.
How do mathematicians deal with problems that involve iteration? For example, consider the following C++ function:
unsigned collatz(unsigned n) { assert(n != 0); unsigned count = 0; while (n != 1) { if (n % 2 == 0) n /= 2; else n = 3 * n + 1; ++count; } return count; }
This function takes a strictly positive integer and repeats the following:
- If the integer is even, divide it by 2.
- Otherwise, multiply it by 3 and add 1.
If this process eventually yields 1, the function returns the number of repetitions required to do so; otherwise, the function never terminates. As the function's name suggests, the Collatz conjecture is that this function always terminates for any value of
n. The conjecture has been shown by experiment to be true for all integers up to 5*260, but whether it is always true is still unknown.
Obviously, this C++ function uses the names
n and
count to refer to quantities that vary during the program's execution. In effect, each of these names refers to different things at different times. This programming style is so natural to programmers who have started by learning programming languages that are based on how computer hardware works, such as C or C++ (or Fortran, Algol, or Cobol), that it may be hard even to imagine how one would express such a computation without using a single name to refer to multiple quantities.
Nevertheless, basing a programming language on mathematics yields a workable, although completely different, way of expressing such computations. I'll continue exploring that way next week. Between now and then, I invite you to try rewriting this function in a way that avoids ever changing the value of a "variable" once it has been initialized.


text: Kim knew that hairstyling was her passion from an early age. Her family, friends and teachers instilled the mantra that if you believe in yourself, anything is possible. In addition to her passion for the art, Kim has a passion for education. This has kept her excited and passionate about her career and has been a huge part of her success.


text:
a blog and Super Collections for all Classic Tagalog Movies and Actors from 1912 to 2016 from famous and not so famous Movies in the Philippines, Actors and Actresses, Directors, Movie Company and Great Actors of Silent Films from Prewar up to the Present of Movie Video, Bluffs and other happenings and Award Giving Bodies.
Friday, September 11, 2015
Kaban ng Tipan (1939) - Lucita Goyena & Reynaldo Dante
Posted by Edgar Ebro 09482197306 at Friday, September 11, 2015
Labels: 1939, Fausto J. Galauran (story), Jose Nepomuceno (direction), Juanito Lazaga, Kaban ng Tipan (1939) - Lucita Goyena & Reynaldo Dante, Metropolitan Theater, precioso palma
Born: March 23 Zodiac Sign: Aries Chinese Sign: Dragon Kinder: Proj 3, Kindergarten School School: Proj 3., Elem. School College: Feati University P.S.B.A. Movie Apperance: 150 Tv Appearances: 220 Contestant: Lunch Date; Decoadin Eat Bulaga: Music Maestro (11x Champion)
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text:
January 5, 2009 Issue
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LoyNews is an e-newswire produced by the Loyola University New Orleans Office of Public Affairs. LoyNews is distributed weekly to local, regional and national news media outlets, communicating the latest news and accomplishments of the university and its community.


text:
Rapunzel – iBigToy
By iBigToy inc.
Release Date: 2011-04-09 00:06:13
App Category: Book
Current Version: 19.6
App Rating: 3.5 *Star
Rating Count: 47+
Developer: iBigToy inc.
File Size: 127,725.00 KB
Compatibility: Android, iOS Both Devices
Short Review About Rapunzel – iBigToy App
Rapunzel – iBigToy Mobile Application is very popular among Android and iOS Smartphone users. You can easily download Rapunzel – iBigToy application on your Android and iOS Mobile Phone. This mobile aplication was uploaded for the first time by iBigToy inc. of 2011-04-09 00:06:13 on the App Store.
The file size of this Amazing very popular Application is 127,725.00 KB and Users have a 3.5* star rating on the App Store.
You can easily download the APK version of Rapunzel – iBigToy application, follow the steps given below to download the APK file to your Android, iOS and Tablet devices.
In this article, I will tell you how to install the apk file of Rapunzel – iBigToy application and applications on your mobile phone, not only that, I will also tell you that how you can install OBB File in your android, iOS or Tablets.
How to install an APK File from your Android/iOS device?
You may also install APK files from the browser to your Android, iOS phone or tablets.
- Simply open your browser, find the APK file you need to down load, and tap it –
- You should then be able to see it down-loading on the top bar of your Android, iOS phone or tablets.
- Once it's downloaded, open Downloads, Click at the APK file, and tap yes when prompted.
- The app will begin putting in to your android/iOS device. simple.
Provide it a attempt to allow us to recognize how it went inside the feedback.


text:
What to Know About: Auto Damage »
When a car is damaged by an accident or weather, what can be repaired and what must be replaced? Or is it time to buy a new car?
YP - The Real Yellow PagesSM - helps you find the right local businesses to meet your specific needs. Search results are sorted by a combination of factors to give you a set of choices in response to your search criteria. These factors are similar to those you might use to determine which business to select from a local Yellow Pages directory, including proximity to where you are searching, expertise in the specific services or products you need, and comprehensive business information to help evaluate a business's suitability for you. "Preferred" listings, or those with featured website buttons, indicate YP advertisers who directly provide information about their businesses to help consumers make more informed buying decisions. YP advertisers receive higher placement in the default ordering of search results and may appear in sponsored listings on the top, side, or bottom of the search results page.
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When a car is damaged by an accident or weather, what can be repaired and what must be replaced? Or is it time to buy a new car?
Salvaged cars present a unique opportunity to sellers and buyers.
Vehicle salvage yards can be a great place to find cheap parts to restore your car with. However, the benefits don't stop there. Find out more about these businesses.
Automobile owners have plenty of avenues to explore for making quick fixes to their vehicles. You don't have to wait for costly repairs if you are resourceful enough to know exactly what needs to be fixed and are sure of the parts required. By heading to your nearest salvage yard, you'll find the parts you need and more.
Salvage yards collect old vehicles and the accompanying parts. Depending on the condition, the materials can either be repaired or sold. Parts are then made available for you to purchase.
Salvage yards play a big role in ensuring old vehicles are disposed of in an environmentally friendly manner. The auto industry is the largest in the world and therefore generates the most waste.
Junkyards tend to operate on a local basis and typically purchase damaged cars from insurance companies, auto owners or cities looking to tow abandoned vehicles. Salvage yards then dismantle cars for sellable parts, while unusable components are scrapped and recycled.
You'll first need to identify exactly what parts you need. You can sometimes use generic parts, whereas other instances will require you to stick to the specific manufacturer.
Not every driver has detailed knowledge about specific parts, and that's understandable. Luckily, you can take advantage of various tools to narrow down your search. If you know your car's model, year, make and more, head to the online database carparts.com to search through categories ranging from alternators to suspension.
You can also speak to a mechanic or someone with detailed knowledge about the inner workings of a car to specifically get a better understanding of the parts you need.
You are not out of luck if you bought your car from the secondhand market and didn't get specific details regarding the year, model or submodel, or if you misplaced the owner's manual and no longer have access to that information.
Since 1981, every car has contained a vehicle identification number, otherwise known as a VIN. This 17-character code is comprised of three sections:
Where Do I Find the VIN?
The VIN is commonly found on these locations:
After you find this information, you'll have an easier time finding the necessary parts from the salvage yard.
Once you've confirmed your car's model, the next step is to locate the nearest salvage yard. While a quick online search will yield plenty of results, not all junkyards are the same, and the differences will have an effect on how you obtain the parts.
The first type of salvage location is known as a you-pick yard. Here, you bring your own tools and walk around with full reign to take any parts you find. You can set out to find a specific part for that much-needed repair, or you may stumble upon an item that is harder to find and carries a high market value.
A you-pick yard offers endless opportunities and costs very little to run, which directly benefits salvagers because so many types of salvage yards are popping up, according to Popular Mechanics.
The second type of salvage yard is known as full-service. Here, you can directly request certain parts and workers will deliver them to the front desk. No tools are required, nor will you spend time wandering the endless car piles. The catch: You'll have to pay a fee for the added convenience.
Important Steps to Take
Once you decide on the type of salvage yard to visit, your best course of action is to call before arriving. You can get a better idea of what the yards offer. For example, some salvage areas only have domestic cars for you to look through, while others may deal strictly with foreign, high-performance or vintage cars. After all, you don't want to make the trip to the salvage lot only to discover the cars will not have the parts you're looking for.
Luckily, most yards are generalists, meaning they carry what most scavengers demand. If you happen to own a rare car, chances are the yard will not carry that part simply because the demand is not nearly as high.
What to Expect
Entering a salvage yard can be an overwhelming first experience. With so many cars spread out over a wide stretch of land, the feeling is understandable. Most yards operate the same way, so you can expect the same general experiences throughout each location.
For you-pick salvage yards, you'll have to sign a liability document and pay a small fee, typically around $1. Think of this dollar as a worthy investment, particularly if you stumble across a rare component that can net you a high sale.
Navigating the Lot
Once you enter the lot, look for the ground maps to make your scavenging life a bit easier. According to Popular Mechanics, most lots are organized by keeping the in-demand parts near the front. Here, you'll find parts for vehicles that have a tendency to break down, which works to your advantage if you own a similar car.
The rear of the lot will typically contain items for cars that don't suffer from as many breakdowns. As you walk from the front to the rear, the middle of the lot will gradually progress from cars that frequently suffer mechanical issues to vehicles that don't.
Some lots will even have manufacturers grouped together to help simplify your search. However, not every salvage lot will have this type of organization - some will have no organization whatsoever. While you may spend more time searching for a specific car and an accompanying part, you also have the chance to find some hidden gems.
Don't go into the salvage yard expecting to find price tags on each individual part, as that would be a tedious task for the lot's owner.
Instead, salvage lots will usually have a price board containing necessary information. Different parts will have a generic price, and this method is generally beneficial to you and your wallet.
For example, say you drive a luxury car and are in need of a radiator. When visiting a salvage lot, the pricing for a luxury car's radiator will be around the same amount as a cheaper car's radiator.
Now that you know how the layout and pricing structures work, you have to actually find the parts, which for some, represents the most tedious and exhausting task - and for others, the most fun. You don't want to just grab the first component you need.
After finding something you think can be useful, carefully inspect it. Make sure the part isn't damaged. Likewise, check for interchangeable parts. You will then have an easier time searching for parts because you open up the number of cars to look through.
Tools Are Needed
Salvaging for auto parts is labor-intensive and sometimes dangerous. You'll want to stock up and go to the yard with the necessary tools to help pry loose much-needed parts, such as a full door.
Keep in mind though that you'll carry home any and everything you bring along. While you do want to have the tools, you also don't want to tire yourself out from the weight. Luckily, you can carry along some equipment while leaving heavier items in the car for when you get back.
Typical gear includes:
Keep these tools in the car:
Getting the Parts
Not every part will be easily accessible in a junk car. The tools you bring along will be helpful if you need to destroy portions of the vehicle - just make sure you don't accidentally destroy the part you're looking for because some areas of the car are easier to take apart than others.
When rummaging through a car or walking around the lot, stay aware of your surroundings. Remember, you aren't the only visitor looking to salvage parts. Other individuals are also looking for components, and not everyone works as safely as possible.
If you find a car you'd like to inspect, make sure working conditions are suitable, and if anything looks suspicious or dangerous, don't hesitate to find a safer vehicle to tear apart.
Buying a Specific Component
Instances may arise where you find yourself looking for a smaller component of a larger part, such as the latch to a door. It is in your interest to call the salvage yard before arriving to see if they sell smaller components individually, because some yards do not.
Some owners choose to not sell small components for financial reasons. According to Car-Part, owners will find difficulty selling the higher-priced assembly. If salvage lots come across a door without the handle, they will have to pay extra to get the handle and attach it to the entire assembly. It is therefore cost-effective for salvage lots to sell entire assemblies.
After you've successfully found a part or multiple components, take everything up to the clerk. Inform them of what you have and pay. It is in your best interest to avoid lying about what you have as a way to to pay less. You will potentially be banned if you're found lying.
Parts May Be Expensive
You-pick salvage yards will display the prices for categories of parts. However, prices may fluctuate depending on the demand. Harder-to-find items may carry a higher price tag than a brand-new one. In such instances, you have to use your best judgment to decide on which route to choose. Keep in mind that if you are salvaging for auto parts, you may also stumble across items that are difficult to find and subsequently be able to sell them for a profit. Doing so can offset the cost of the price you're paying for the parts you personally need.
Salvage yards will have different policies regarding warranties, but in most instances, the parts you find will be covered. Some salvage yards will offer warranties of anywhere from 90 days to six months, and may even offer the option for extended coverage.
Automobile owners looking to fix up their cars and save money will benefit from visiting a salvage yard. Time and dedication will be needed on your end, but the payout will be worth it because you'll save money and may even find old car parts that can be useful for non-auto purposes. You may even find rare parts you can then sell.
Before visiting the salvage yard, call ahead and ask questions about warranties, pricing and the types of cars they have for you to look through. Then, gather your tools, and get the most out of your auto salvage trip.


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It's not simply just a piss. It's the fact it seems like Goodell is targeting certain players. I'm sure Sherman's perfectly fine with taking another test. It doesn't change the fact that these things are supposed to be random. Goodell feels like he was made to look a fool (he does that on his own), so now he's trying to get him back, so to speak.
Hey I'm all about freedom and personal liberty and I understand that angle. I don't think it applies in this case. If Sherman doesn't want to take the test he's free to renege on his contract, walk away from his paychecks, and get another job.
I've made this argument before but think about the kids man. If some get away with it, eventually most will get away with it to keep up, and eventually the pressure will mount on kids to keep up, most of whom will never see an NFL paycheck. THEY are the real reason why PEDs must be banned. If Sherman is clean, and if he's thinking about the kids, he should be more than happy to volunteer to be tested daily. Like I said, what the big deal? A minor inconvenience for what most of us would consider to be a pretty good gig.


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Ames Lettering Guide
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A useful device for drawing lettering guidelines. Has metric calibrations ranging from 2 to 10 millimeters and 3 standard lettering heights in U. S. drawings (3.08, 6.1, 9.75mm) specifically indicated. Sides are at 68 for drawing guidelines for slanted letters and 90 for drawing guide lines for vertical lettering. Directions included.
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KingAragorn (Talk | contribs)
(Rewrote eymology)
|Line 49:
|Line 49:
''Þrór''a dwarf from the ''[[Völuspá|Dvergatal]]''. means "".<ref>, "Names", in '''', . </ref>
==Portrayal in Adaptations==
==Portrayal in Adaptations==
Revision as of 12:54, 12 March 2012
This article or section needs more/new/more-detailed sources to conform to a higher standard and to provide proof for claims made.
|Art by David Wenzel
|Dáin I
|Physical Description
|Images of Thrór
Thrór (Third Age 2542 – 2790, lived 248 years) was King of Durin's folk for 201 years, from 2589 to 2790. He was the eldest son of Dáin I and brother of Grór and Frór.
After a great Cold-drake killed both his father and brother Frór, with his younger brother Grór he led his people away from the Grey Mountains. Thrór led some of the Dwarves back to Lonely Mountain, where he became King under the Mountain, a title held earlier by his ancestor, Thorin I. Grór continued east with a great following of Durin's folk to the Iron Hills, where he founded his own realm.
King under the Mountain
At Erebor, Thrór and his people re-established the Kingdom under the Mountain and were very prosperous. Gaining the friendship of the Northmen who lived along the river Celduin. These people later founded the town of Dale and had much trade of goods, beautiful trinkets, and weapons with the Dwarves. The Dwarves of Erebor also had much traffic of ores with their kinsman in the Iron Hills. And the region had peace and prosperity for many years.
In 2770 though their prosperity ended. The Dragon Smaug heard of the wealth of Thrór and his people. And he came south from the Ered Mithrin and sacked the Lonely Mountain, killing many Dwarves. But from the destruction many escaped last of them being Thrór and his son Thráin from the hidden Back Door. So with a small company of kin and faithful followers they made the great wandering south, until they reached the hills of Dunland.
On a Midyear's Day, Thrór created his map of the Desolation. With runes he wrote information about entering Erebor from a secret way. He used Moon-letters for this.
Dunland, and the journey to Moria
In Dunland, his people tried to make a living, but twenty years after the Sack of Erebor despondent and homeless, Thrór left his people and went north with a single companion, Nár, but not before giving his son Thráin II his Ring of Power, along with the map and key to the Lonely Mountain. Thrór wished to see the fabled city of his ancestors, Khazad-dûm.
Eventally they made it over the Redhorn Pass down into Azanulbizar the Dimrill Dale. And when Thrór came to the East-gate of Moria he found it open. Nár begged him to beware, but he took no heed of him, and walked through the gates as the heir who had returned. But he did not come back.
Nár stayed nearby for many days in hiding until he saw Thrór's body flung down the steps; his head was severed and lay face downward on the ground. As he knelt there, Nar saw branded across his forehead in Dwarvish runes the name AZOG.
The Orc then threw a small purse of silver coins at him, calling him a beggar. Nár fled weeping as he went down the Silverlode, while Orcs emerged and began hacking Thrór's body into pieces and throwing them to the crows.
When Nár told Thráin what had happened, he declared war on the Orcs and called all the Seven Houses together for vengeance. Nine years later at the Battle of Azanulbizar, the climax of the War of the Dwarves and Orcs the death of Thrór was avenged, and Thráin took Azog's severed head, shoved the purse of coins into his mouth and then set it on a stake.
Dáin I | ________|________ | | | | | | THRÓR Frór Grór | | | | Thráin II Náin
Jim Allan has suggested that the name Thrór derives from Þrór, a dwarf from the Dvergatal. According to Allan, Þrór means "boar", deriving from a root meaning "to expand" (linking the meaning to Thrór's expanding of the "diggings and wealth of the Lonely Mountain").[1]
Portrayal in Adaptations
2003: The Hobbit (2003 video game):
- A statue of Thrór stands in the great hall of Erebor.
- Thrór will be played by Jeffrey Thomas.[2]
House of Durin
|Preceded by:
Dáin I
|King of Durin's Folk
|Followed by:
Thráin II
Thorin I, 350 years earlier
|3rd King under the Mountain
Thorin Oakenshield,
151 years later
- ↑ Jim Allan, "Giving of Names", in An Introduction to Elvish, p. 223
- ↑ Peter Jackson, "Production begins in New Zealand on The Hobbit" dated 20 March 2011, Facebook (accessed 23 December 2011)


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The other day, my best friend mentioned that her old Ikea Ektorp sofa, which is well-used by her two young children, is in need of a pick-me-up. The slipcover had washed up just fine, but she really wanted to liven up her family room. She was thinking a new set of toss cushions and a stylish throw. I was thinking Bemz.
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Transmitter Type: Sony
Connector Type: 1/8" (3.5mm) Locking Mini (SN)
1/8" (3.5mm) Locking Mini (SN)
This item is noncancelable and nonreturnable.
The Countryman EMW Omnidirectional Lavalier Microphone is designed to reproduce vocals, musical instruments, and ambient audio sources with pristine detail and minimal handling noise. The capsule is highly resistant to moisture, making it a suitable solution for outdoor use, placement against skin, etc.
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|Polar Pattern
|Frequency Response
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|-40 dB re: 1 V/Pascal
|Equivalent Acoustic Noise
|24 dBA
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|Power Requirements
Phantom: 6 to 50 V @ 4 mA
Wireless: 1.5 to 24 V 400 μA
|Output Impedance
600 Ohms balanced for wired operation
1500 Ohms unbalanced for wireless
|Output Connector
|1/8" (3.5mm) locking mini for Sony wireless transmitters
|Cable Length
|5.0' / 1.5 m
|0.5 x 0.26" / 12.7 x 6.6 mm
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