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Hydroformer Benefits from Carbon-Fiber Tooling
Initially established as a hydroforming-technology proving ground, the Canton facility has evolved to take on full commercial hydroforming production. It operates a press line comprising a Schuler 500-ton hydraulic preform press and an 8500-ton hydroforming press. The line is tended by five high-payload robots—model KR150 robots from Kuka Robotics Corp., Clinton Township, MI. The robots are particularly well-suited for transfer and load/unload tasks, allowing Schuler to support the design and manufacture of prototypes as well as high-volume production.
Discovery of Carbon-Fiber End Effectors
Prior to 2005, all of the robots' end-of-arm tooling used at Schuler for part handling was constructed by outside suppliers. This approach proved costly and still resulted in some reconfiguration and tuning at die tryout, according to Schuler plant manager Craig Zeleji. The firm then decided to try its hand at building end-effector tooling inhouse. It developed a design based on readily available, interchangeable components using standard 2.5-in.-dia. tubular aluminum for the main boom. Extension arms, designed to hold clamps and magnetic grippers, were fabricated from 1-in.-dia. aluminum tube.
While attending an industry trade-show in 2006, Zeleji spied an alternative tooling solution: carbon-fiber tooling (from German supplier Bilsing Auto-mation, also in Clinton Township, MI). The tooling was designed to replace traditional aluminum products. What piqued Zeleji's interest was the potential benefits associated with tooling constructed from high-modulus, lightweight graphite carbon fiber.
Zeleji set out to evaluate the carbon-fiber tooling on a Chrysler production-hydroformed component for an engine cradle, weighing about 20 lb. At the time, the baseline tooling being used in production at Schuler was constructed of aluminum, with a rotation device mounted on the leading edge of the end effector. The tool handled two blanks—it picked and placed one blank for cleaning and lubrication, and placed a second blank, following lubrication, into the die cavity.
A Heavy Load
Schuler designed the process with a two-cavity die, although the robot could only load one component at a time due to the combined weight of the parts and the end effector. The weight of the tooling limited robot efficiency and made tool changes cumbersome. Further, the weld joint at the end-effector pivot point became susceptible to cracks.
Common Misconceptions
Work remains in order to convince more metalformers to consider use of carbon-fiber tooling, according to Ben Pauzus, general manager of Bilsing Automation North America. "We can dispel some of the common myths associated with carbon fiber if companies would take a look at the benefits to be gained," says Pauzus. "Although carbon-fiber tubing is more expensive than aluminum, in the overall scheme of production tooling, the end-of-arm framework comprises just a fraction of the overall cost when you include the pricetag for the grippers, magnets, clamps, etc. Therefore, the premium paid for the carbon-fiber framework is easily offset by its light weight and stiffness, and the potential gains in productivity."Generally speaking, carbon-fiber components weigh half (or less) than do comparable aluminum parts. Carbon-fiber tools also exhibit good toughness and wear resistance, and can be used in applications where high heat and hot flash are issues. Contrary to popular belief, today's high-modulus carbon fiber offers increased strength and rigidity without being brittle. This makes the material easy to manipulate and simple to integrate into tooling
How does this benefit press-tending applications? Consider, for example, a recent Bilsing customer that had designed a large steel end effector required to carry a 2700-lb. load. The frame itself weighed more than 615 lb. Altogether, the weight of the part, end effector and tooling exceeded the capacity of the robot. A redesign of the end effector using carbon fiber reduced the weight of the end effector by 500 lb., resulting in a 114-lb. tool and bringing the total weight within the robot's capacity limitations.
Additionally, carbon fiber can help to extend the service life of robots simply due to the harmonics. Carbon fiber absorbs vibration rather than transferring it to the robot, where it wears on joints and other components. Carbon-fiber tools also cease to bounce or shake almost immediately after settling into position, reducing or eliminating the need for clamping devices used to prevent bounce and shake associated with aluminum end effectors.
Says Zeleji: "The challenge was to more efficiently manufacture these types of parts, since we were running at below rated press capacity for stroke rate, because the robot could only handle one part at a time."
Carbon-fiber tooling addressed these problems by providing a lighter, stiffer alternative. Because robot performance depends on the weight (and weight distribution) being cantilevered, the use of carbon-fiber material leads to increased speeds and quicker settling times within the working envelope of the robots, promising throughput gains.
The Carbon-Fiber Value Proposition
When Zeleji began working with Bilsing, Schuler already had designed the tooling for a complete solution, from the part back to the robot's wrist. Conforming to standard interchangeable sizes, Bilsing's carbon fiber was relatively simple to integrate into the end effectors.
Says Zeleji: "Since the carbon fiber is interchangeable with the aluminum, it was used as a direct replacement. This allowed us to immediately begin ramping up for production."
Use of carbon fiber not only allowed the engineers to manufacture tooling in the same diameters, but it offered significant strength and stiffness advantages over aluminum. To achieve the same strength of carbon fiber, Schuler would have had to double the wall thickness of the aluminum tubing—and still would not realize the high stiffness properties of carbon fiber.
According to Zeleji, "because carbon fiber made the overall tooling so much lighter, we were able to handle additional part weight, achieving a 10- to 15-percent increase in production weight. We also realized a 6-sec. reduction in cycle time, representing an overall productivity gain of 15 percent. And, part consistency and process repeatability improved because the new tooling proves to be more harmonically stable—there is less bounce."
The Ergonomic Advantage
Further process improvements included increased ergonomics, noted particularly when it comes time to change tools. Says Zeleji: "We don't have automated tool change capability, so it was important to make it easier for our operators to change tools—yet another benefit of switching to the lighter-weight carbon fiber tools."
George Douglas, Schuler's maintenance supervisor and process engineer, adds that "with aluminum, changing one end effector was a two-man job. With carbon fiber, while we still need a second operator to help guide the end effector to its nest, the tools are light enough for one operator to carry. The carbon-fiber tools also prove easier to guide into place because of their increased rigidity, which helps avoid damage to magnets and other parts during changeovers."
Speaking of damage, Schuler found that its older aluminum tools were prone to bending or breaking in the event of an occasional crash. Not so with carbon-fiber tooling. Says Douglas: "With carbon fiber, in the event of a crash only one piece of the tool breaks, and there are no bending problems. This makes crash recovery much simpler and quicker. And, there's no dust like there is with aluminum."
The Transition is Complete
In spite of the misconceptions surrounding carbon fiber, the benefits of developing a lighter, stiffer and more harmonically stable tool was a challenge that Schuler could not afford to overlook. The value proposition of using carbon fiber over aluminum or steel is justified in the design and construction of stamping and body-shop end tooling, particularly in high-speed robotic applications.
Recently, Schuler's facility has made the transition complete. According to Zeleji, "the entire shop is now fully realizing the benefits of carbon fiber, and there hasn't been a single instance where we have not been able to use it. There has been no call to develop special tubing profiles—everything has been issued in standard stock. Aside from having to develop some custom bracketry, carbon fiber is working on everything." MFArticle provided by Bilsing Automation: www.bilsing-automation.com; 586/463-0686.
See also: Schuler Incorporated, Bilsing Automation North America
Related Enterprise Zones: Automation, Other Processes, Tool & Die


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The VINE : Vital Information Exchange is a colleciton of vital records and local history from Indiana libraries, historical and genealogical societies and other related agencies. Recently, I was directed to their site and was quite pleased with what I found.
Although not every county in the state was represented, enough of them in my areas of research were, and I was able to find some potential leads for further research. Lately, newspaper research has become an area of concern for me and through the VINE database I was able to locate information regarding an obituary for an ancestor that I didn't know existed.
For example, I searched for records of the BEALS line and was able to determine that the Tipton Daily Tribune had published an obituary for Elizabeth BEALS on 9/28/1935 page 4. Previously, I had only that she had died in September 1935 in my database. By writing to the Tipton County, Indiana library, I was able to obtain her obituary and add another fact to my database. Since Elizabeth was buried in Hamilton County and her death had been listed in my database as "near Greentown, Howard County", I would not have thought to search in Tipton County.
I found it quite easy to search for obituary records for a particular surname, and the number of hits I received in return made it a site that I will be returning to as I continue to research. Particularly for me, ancestors in Hamilton County, Indiana are listed in this database as the Hamilton East Public Library is a participating member.
Hopefully, other libraries in Indiana will join with VINE to increase the availability of genealogical data to the community.

subset: commoncrawl


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Our site provides referral links to merchants running an Affiliate Program. It is the responsibility of the patient to determine the accuracy and authenticity of the Pharmacy while placing an order with the pharmacy. We make no warranties or representations or any endorsement about the services of the pharmacy listed on the site. We are neither liable nor responsible for any claim, loss, damage, or lawsuit resulting from any medication use whether purchased on their website or any other website with which this website may associate. You should read carefully all product packaging.
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Get DVD Talk Feeds
"Such a kind little man," says the hotel guest, of Albert Nobbs (Glenn Close), the headwaiter. Prim and proper, Albert is quiet, introverted, hard-working. He's also a woman, masquerading as this man for decades, stashing away every pence he's earned. He dreams of owning a shop--a tobacconist's, perhaps, with a parlor in the back for tea and a girl working the counter. Ah yes, a girl. A wife. That's where it gets complicated.
Glenn Close first played the role of Albert on stage all the way back in 1982, in a play based on George Moore's 1927 short story "The Singular Life of Albert Nobbs." She spent a decade and a half trying to get a film version made (she's credited as a producer, as well as co-writer of the screenplay with John Banville), and it's not hard to see why--this role allows the kind of physical and vocal transformation that most actors die for. The mask Albert wears is one of timidity, and, when he fears his secret will be revealed, it is one of fear. But Albert is all he knows how to be. He/she is asked his name--his real name. "Albert," he replies, without hesitation.
Albert Nobbs is a small, muted movie; Nobbs doesn't raise his voice, and neither does the film. It lags, in spots, but it's not dull--director Rodrigo Garcia (who gave us last year's unjustly underrated Mother and Child) enjoys hanging out in the hotel's staff quarters and kitchen, soaking up atmosphere, and he employs a nice, light comic touch. Close and Banville's screenplay delights in puncturing presumptions; not just of Albert's true self, but that of visiting painter Mr. Page, or of the unexpected pairings among the staff and the guests. At this moment, in this place (1898 Dublin), there are secrets being kept in every room--not just Albert's.
To enact those secrets, Garcia assembles a first-rate supporting cast, prompting earthy, energetic performances from Janet McTeer and Brendan Gleeson, a warm turn by Brenda Fricker, and pure charm from Mia Wasikowska. The latter has one joltingly false moment (in an emotional physical scene with Close, she pulls her punches in a way that is too telling), but for the most part, she's quite good--particularly in the sequence that intercuts her courtship with Albert with her increasingly complicated relationship with handsome handyman Joe (Aaron Johnson), who turns out to be quite a bit less sympathetic than originally indicated.
The centerpiece, of course, is Close, who is eerily convincing as Albert--blank-faced, wide-eyed, pale-skinned, and withdrawn. It's an utterly believable performance, on both levels (the character she's playing, and the character her character plays); late in the film, she plays one scene with Albert in a dress, and it genuinely looks like a man in drag, rather than a woman in double-drag. Close gets the big showcase monologue we expect in this kind of role, but underplays it deftly, and refuses to push too hard.
Same goes for the picture, which is both its blessing and its curse. It's so low-key and understated that it's ultimately a bit of a whisp. And the ending is rather labored--we're just a couple of steps ahead of the movie, in moments where that kind of slack calls attention to itself. But Albert Nobbs is a fine film, handsomely mounted and sensitively acted, and proves well worth the effort exerted on its behalf by the talented Ms. Close.
Jason lives in New York. He holds an MA in Cultural Reporting and Criticism from NYU.


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WOW, that are good news. So, no issues with the Canon TS 17mm?
If you were buying digital now for landscapes, would you recommend this over all other FF cameras? Do you think you can get away from grad ND filters?
Focus peaking will show you exactly how your focus plane moves.
Focus Peaking works nice. However to nail focus the x14 Zoom is better. With the EVF this is easy. For tilt you focus for infinity and then just dial in a little tilt. Just like the theory says, but now it works. Focus peaking will show you exactly how your focus plane moves. Also what happens if you you open/ close aperture. Impossible with any other cam.
Thanks for the report; I am glad the camera is performing well, and i am becoming more persuaded that focus peaking would be nice to have in my next camera. But I do not understand that last sentence (underlined above): aren't there a number of other cameras that offer both focus peaking and magnified live view for focusing?
Congratulations on your acquisition. Would you mind explaining how focus peaking works with this camera? I have a D800 and now a Pana Lumix m4/3 that has focus peaking with the click of a button. Focusing with the Lumix is so easy.ACH
You are right. I mean FF.
I should have guessed. Yes, the A7 and A7r give us the first look at the combination of new "digitally driven" viewfinder and focusing technologies with the "biggest and best" of DSLR sensors, and the opportunity to compare more directly with the best DSLRs from Canon and Nikon.
aren't there a number of other cameras that offer both focus peaking and magnified live view for focusing?
The Leica M has a "digitally driven" viewfinder option and a full-frame sensor. $omewhat le$$ acce$$ible though.
on-sensor AF using both contrast detection and phase detection, etc.


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Do you want to get a fast, easy credit decision? Whether you choose to lease or buy a vehicle, with Pre-Approval Credit our credit application is short and simple. Here is how it works:
By submitting this application form, you certify that the information you have provided herein is true and correct to the best of your knowledge. You also authorize the Bank/Auto Dealer to conduct a personal investigation, and by submitting this, you accept as notice in writing of and authorize the obtaining of any information required that may be relating to this application, from any source to whom the Bank/Auto Dealer may apply and each source is authorized to provide the Bank/Auto Dealer with information. In addition, you authorize the Bank/Auto Dealer to disclose, in response to direct inquiries from any other lender or credit bureau, any information concerning your loan and account that the Bank/Auto Dealer considers appropriate and agreement is made to release the Bank/Auto Dealer and save it harmless from any claims, damages or otherwise arising from such disclosure made by the Bank/Auto Dealer.
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- WiFi
- Car park
- Air conditioning
Choose your room
"Flower Inn" is a newly built B&B with excellent location, only 15 minutes from downtown Rome and within walking distance from the famous hills of the Castelli Romani. All rooms are nicely decorated and enriched with details that make them unique and customized. The spacious rooms with twin, double and bunk beds are equipped with air conditioning, TV, large balconies and windows, private bathroom with shower, internet service via cable LAN and wi-fi, children's bed. Single, double, triple and quadruple rooms are available. The common area is furnished with a sofa, a kitchenette and tables for dining. Every morning a hearty breakfast buffet is provided with a menu mostly sweet. At about 50 metres from the B&B you will find ample free parking area where you can leave your car.
Useful information:Other names for Bed & Breakfast Flower Inn:
Flower Inn


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NEWS- Casualty: Digitals close Camera Center
Early in 2005, Rapid Photos announced it was closing its doors, no longer able to continue processing film in a world gone digital camera. The end of the year saw another victim of virtual photos: The venerable Camera Center, Charlottesville's– and maybe Virginia's– oldest camera store ended its 56-year run December 31.
News of its demise left photographers reeling. Charlottesville-based photographer and author Mary Motley Kalergis considered herself speechless.
"It was like getting a divorce," says Kalergis, a customer for 35 years.
"I kept waiting for it to bottom out," says Camera Center owner Gary Alter. He blames the continued decline in photo printing– "the bread and butter of camera stores"– for his decision to pull the plug. "I felt bad," he says. "It gets to the point where there are no more resources– and that's the way it was."
Alter bought the Camera Center 26 years ago from Zack and Bessie Taylor, who opened the West Main Street store in 1949. When Seminole Square shopping center opened, Alter was among the original tenants, opening a second store there 17 years ago.
In the spring of 2004, as digital cameras were already eroding traditional photo processing, Alter closed the Camera Center on West Main.
Alter says that camera sales, while strong, are a loss leader that did not bolster the bottom line. "There is no profit in selling cameras," Alter acknowledges. "We were trying to attract customers. People came to us for our expertise."
The consistent good quality of prints is one reason Kalergis, whose prints have been exhibited in museums and galleries across the country, depended on the Camera Center for so many years.
"Gary would listen to my needs as a professional photographer," says Kalergis. "If I wanted borders, that happened. He listened to what the customer wanted."
Half of his 14-person staff lost their jobs over the past year and a half. The other seven, including Alter, started the New Year unemployed.
While independent photo labs continue to perish, Alter thinks the consumer who stores images on a computer is going to be the ultimate victim of digital technology.
"One of these days, it's going to crash, and a person will lose hundreds of photos that they thought was their photo album," he predicts.
Nor does he see printing photos at home as a solution for long-term preservation. It's cheaper to print digital photos at a lab, which uses archival paper, compared to an inkjet printer at home, says Alter. "Those pictures will fade away," he says. "And the last thing you want to do when you get home from vacation is print 200 pictures yourself."
Alter describes an industry in transition with new technology that people are still figuring out. In the meantime, three independent photo labs remain in town.
"I was shocked when Gary came to me and said he was closing," says Alan Bittman, who owns F-Stop Photo, which also has a location in Seminole Square. Bittman calls Alter a friend and fellow merchant, but he refuses to use the word "competitor."
Bittman says his revenues increased in 2005. "I don't know if it's because Rapid Photo closed or because people are finding out you can't print quality prints at home in a timely manner," he says.
Despite his surprise at the Camera Center's closing, Bittman doesn't foresee any other independent labs shutting down in Charlottesville. "I think the market has thinned out pretty well," says Bittman. "And I'm too doggone stubborn to quit."
Alter is keeping the doors open for two hours a day to fulfill existing orders and tie up loose ends, but he plans to leave the Seminole Square store by the end of January. He'll move inventory and equipment to the West Main store, which he owns, until he can sell the equipment.
And after that? "That's a good question," says Alter, 61. "I'm not in a position to retire."
"I do think the closing of the Camera Center is like how people would feel about the closing of Bodo's," compares Kalergis. "It's a real loss to the photographic community."
Camera Center owner Gary Alter kept waiting for digital's erosion of photo-lab printing to bottom out. Instead, he had to close Charlottesville's oldest camera store on New Year's Eve.<>FILE PHOTO BY JEN FARIELLO>
The Camera Center had already closed its West Main Street store. Now the Seminole Square Center will be empty by the end of January.


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There is a reason why Jerry Brown has lasted longer than just about any other politician in the history of California, and the nation.
That reason can be found in the message sent out following his veto of a bill designed to conserve water.
The legislation would have kept homeowner associations from banning artificial turf.
U.S. & World
News from around the country and around the globe
The idea was to make sure homeowners had the ability to replace water-guzzling lawns with plastic grass. The law also would have helped limit the use of fertilizers.
Brown vetoed the bill Monday morning.
"A decision to choose synthetic turf over natural vegetation is best left to individual homeowners associations, not mandated by state law," he said in the veto statement.
This is part of Jerry Brown's "canoe theory" of politics.
Paddle a little to the right, a little to the left, and you will head straight down the middle.
This latest veto was a stroke on the right side of the canoe.
Brown has long been a strong environmentalist but he has always been concerned about government over-reaching.
Having Sacramento set ground rules for lawns, at least now when the drought is over, went too far. Let that be an issue at the local level.
The Governor is also reluctant to make wholesale changes to institutions he feels still have the capacity to reform themselves.
Another paddle to the right was his veto of the "card check" bill backed by unionezed farmworkers that would have eliminated the secret ballot and made union organizing far easier.
Brown thought the measure was too much of a radical departure from the Ag Labor Relations Act which he put together in the mid 70's. That measure paved the way for formation of farm labor unions.
Will any of this give him credibility with conservative Republicans?
Doubt it.
But it may help with some of the moderates. They realize that Jerry Brown has never been an idiologue.
That's why he navigates so well.
Photoshopped image of Jerry Brown by Olsen Ebright


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2013 National Arbor Day Awards
Frederick Law Olmsted Award
Indiana University Professor Burnell Fischer
Indiana University Professor Burnell Fischer is the recipient of the Frederick Law Olmsted Award. Hundreds of Indiana communities—both large and small—developed urban forestry programs and hired professional staff as a direct result of his leadership and vision. Dr. Fischer was also instrumental to the growth of the Tree Campus USA program, which provides resources and recognition for colleges and universities that make tree care a priority.
This year's winners are:
J. Sterling Morton Award
Kemba Shakur
Promise to the Earth Award
Public Awareness of Trees Award
Alliance for Community Trees
Forest Lands Leadership Award
The Florida Forest Service
Rachel Carson Award
- Donna Love
- Lakeshore Learning Materials
Arbor Day Celebration Award
The City of Punta Gorda, Florida
Award for Education Innovation
Eden Reforestation Projects
Good Steward Award
Plant With Purpose
Award for Excellence in Volunteer Management
The Minneapolis Park and Recreation Board
Excellence in Partnership Award
The Lost Pines Forest Recovery Campaign
Excellence in Urban Forest Leadership Award
Friends of Grand Rapids Parks
Lawrence Enersen Award
Dr. Waddell Barnes
Frederick Law Olmsted Award
Indiana University Professor Burnell Fischer
Award winners are recognized for their leadership in the cause of tree planting, conservation,and environmental stewardship.
Leaders in tree planting, conservation, and environmental stewardship from around the country and world are honored each year at our annual Arbor Day Awards celebration held in Nebraska City, Nebraska. The awards ceremony is part of the annual Arbor Day weekend celebration held at Lied Lodge & Conference Center.
Photos provided by: ACTrees - Burnell Fischer - City of Carmel, IN - City of Valparaiso, IN - Dimensions Educational Research Foundation - Donna Love - Dr. Waddell Barnes - Eden Reforestation Projects - Florida Forest Service - Friends of Grand Rapids Parks - ©Joseph O'Brien / USDA Forest Service - Kemba Shakur - Lakeshore Learning Materials - Minneapolis Park and Recreation Board - Northern Indiana Public Service Company - Plant With Purpose - Punta Gorda - Steve Schroeder - Texas Forest Service - Texas Parks and Wildlife Department - The Salinas Californian - UPS - Urban ReLeaf


text:
There Will Be Blood Lyrics
There will be blood
And violence in the panic streets.
Can you feel the danger?
There will be love
Deep inside the veins of a broken heart.
Can you feel the danger?
These promises we made, can you feel the danger?
We coexist
Through broken dreams in love,
Will you miss me?
We coexist
Through broken dreams in love,
Yeah when London turns to dust.
When I go mad
I lose my voice and everything is gone.
I can feel the danger
But there, there go love
To pull me back through a violent set of eyes,
I am not in danger.
Ten, Ten is for the lonely hearts
And nine, nine is for the lame.
Eight, eight is for the working class
Now seven, seven starts today.
Well six, six nights to get it right.
Five nights to hold me tight,
Four candles glowing bright,
Now three, three seconds left to tell,
Two stories parallel and oh how you'll miss me.


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CNET is reporting that Microsoft in planning on creating Office apps that will run natively on iOS and Android will finally launch early next year. In a statement to CNET , Microsoft said that "Office Mobile will work across Windows Phones, Android phones and iOS, and we have nothing additional to announce today about retail availability of the new Office."
This is an interesting development in the world of smartphones as Microsoft attempts to reach across the aisle with their competition. Having already created a line of "Windows Phones", Microsoft is looking to expand to other operating systems. Would you use Microsoft Office on your Android or iPhone?


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Over-the-top declarations can provoke, but they are not the most provocative rhetoric in politics.
A good question is.
Assembly Republicans, in a letter to Attorney General Kamala Harris, have asked a very good question: is the California state budget passed at the end of June constitutional?
U.S. & World
News from around the country and around the globe
The question stems from a deal on education funding and policy that was at the heart of the larger budget deal.
Gov. Brown and the Democrats undertook a manuever that attempted to lower the constitutional education funding guarantee, first approved by voters as Prop 98 in 1988.
In return for not challenging this legally questionable act, teachers' unions won a variety of new concessions on education policy, including legislation that prevents teacher layoffs -- legislation so inflexible that local school boards are howling.
Assembly Republicans are interested in this question because of the leverage Prop 98 provides them.
Prop 98 requires a two-thirds vote to suspend the education funding guarantee.
But the manuever that was part of the budget passed with a majority vote. Republicans want to know if the manuever was effectively a suspension of Prop 98 -- and thus should have required a two-thirds vote.
Who is right?
Anything involving the famously complicated Prop 98 is difficult to answer, but Republicans have a pretty decent case that the two-thirds vote in Prop 98 was violated.
That said, since that two-thirds vote is bad policy because it makes budgets so difficult to do, here's hoping that this manuever is upheld -- and creates a precedent for future attempts to get around Prop 98's provisions.
The legislature is so hemmed in by the constitution and a budget system full of difficult provisions that almost any hole it can punch in the system, and any method it can use to get a bit more discretion, is healthy.


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Obama: Assaults hurt effectiveness
President Barack Obama said Friday that as Americans' trust in major institutions wavers, it's the responsibility of each person serving the country to act with integrity, even when no one else is looking.
"It's no secret that many Americans have lost confidence in many of the institutions that have helped shape our society and our democracy," he told the graduates of the U.S. Naval Academy during a rain-soaked speech in Annapolis, Md. "But I'm here to stress to you that institutions do not fail in a vacuum. Institutions are made up of people. We have seen how the actions of a few can undermine the integrity of those institutions."
From the misconduct of executives during the financial crisis, to the IRS employees who targeted conservative groups and to the members of the military committing sexual assaults against their fellow service members, individuals have done wrong and tarnished far more than themselves, Obama said.
( Also on POLITICO: John Boehner: Military sexual assaults a 'disgrace')
"We've seen how the misconduct of some can have effects that ripple far and wide" as battlefield photos of troops "falling short on their standards can go viral and endanger our forces" and as members of the military commit sexual assaults, he said. "Those who commit sexual assault are not only committing a crime, they threaten the trust and discipline that makes our military strong. That's why we have to be determined to stop these crimes — because they've got no place in the greatest military on Earth."
Reports of military sexual misconduct have been on the rise in recent weeks. The latest story involves a member of the Army who planted video cameras in women's bathrooms at West Point — following the Defense Department's estimate earlier this month that there were 26,000 sexual assaults in the military during 2012.
Obama alluded to the IRS scandal and other controversies.
( Also on POLITICO: A strategy to combat military sexual assaults)
"Every day our civil servants do their jobs with professionalism, protecting our national security and delivering the services that so many Americans expect," he said. "But as we've seen again in recent days, it only takes the misconduct of a few to further erode the people's trust in their government. And that's unacceptable to me, and I know it's unacceptable to you."
To restore the public's trust in their institutions, "all of us have to do our part," the president said. "And those of us in leadership, myself included, have to constantly strive to remain worthy of the public trust."
Obama told the graduates, newly minted members of the Navy and Marine Corps, that he will work to maintain U.S. military superiority, while fighting to end the "foolish" cuts put in place by sequestration.
"With deficits falling at the fastest rate in decades, it's time for Congress to budget in a smarter way that protects middle-class priorities, preserves investments in our future and keeps our military strong, because we have the best-trained, best-led, best-equipped military in history," he said. "I am determined to keep it that way, and Congress should be, too."


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January 22 - 31, 2018
Far from the Laws
The cinema of Margarida Cordeiro and António Reis
In Portugal António Reis (1927–1991) is regarded a visionary, a master who had a major influence on the awakening of Portuguese cinema after Salazar's dictatorship and on a new generation of film-makers in the 1980s and 1990s. Alongside his wife, psychologist Margarida Cordeiro (1939), he directed four films, shot in a new lyrical and hypnotic language. These films are presented in this film series with Manoel de Oliveira's film Rite of Spring, on which Reis worked as assistant director and which denoted the beginnings of ethnographic and poetic film-making.


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new composition! "Waltz of rememory" feedback wanted!
This music music has a sense of tragedy with romanticism and a bit of modernism accents.
Of course you will hear one of the most popular classical music progressions (baroque epochs progressions of fifth) but i wanted to do my own version of that progression. Maybe you can relate my piece with someone others... leave your comment i would like to know what others think...


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Click a swatch below to change colors.
CLOSEOUT Port Authority® Ladies Concept Crewneck Tee. LM1001
It's not just the contemporary cut and details that set this tee apart. We took the already-smooth 40-singles 100% cotton knit and made it even softer with a unique silk wash that adds an easy drape and a softer hand for a truly wearable, layerable tee.
Ladies Sizes: XS-4XL


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The KRATOS KRAS55Bi 1150 wheel pull essentially ushers in a new era of BMW power. The closest BMW 3-Series we can find to this output is an E30 with a turbocharged S38 swap making 1225 horsepower. Again, no factory M3 motor or modern F-Series including the S63 V8 powered models are making more power.
Let's look at the graph:
Looking at the their previous pull of 975 whp at 35 psi you could tell based on the torque curve there was more in it. Not to mention the log.
They could squeeze more out of it but at this point you have to start worrying about the block integrity plus nobody else is putting the DCT transmission through this level of output. As the fuel used is Ignite E85 which is more consistent than pump E85 fuel timing likely could safely be bumped a little bit.
You could also look into custom cams but these turbos are already making over 300 wheel horsepower more than what they are rated to make by KRATOS. What more do you want?
Mod list below and keep in mind this pull was done with a recorded 77 degree ambient temperature. There literally is nothing hidden here and nothing left to prove regarding what these turbos can do.
Keep in mind the KRAS55Ti Titanium set is coming next.
List Of Modifications:
Built Engine Stock Bore/Compression (CP Pistons/Carrillo Rods)
Headgames Motorworks Cylinder Head (Please Contact Headgames For Details)
ASR Engineering Intercooler
ASR Engineering Heat Exchanger
Catless Downpipes
Dodson Sportsman Plus DCT Clutch Kit
Fuel-It PI
Stock Intake Manifold
Burger Tuning 4 Bar Map Sensor Kit
Maximum PSI Crank Hub kit
HCP Custom 4 Bar Tune
KRAS55Bi Turbo System (Standard Billet Wheel Option)
Ignite E85 (83% Via Fuel-It Sensor)
Motul Sport Esther Engine Oil
More details from KRATOS:
Originally Posted by KRATOS


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Taylor, Linda L.
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LibertyCabbage wrote:overall: Correcting the lettering and resolution should be top priorities, and I'd say that the comic's just not worth reading until those two issues are addressed. While the new artist is way better than the previous one, the comic isn't really taking advantage of him since the art looks pretty bad at 72 ppi. Maybe it has something to do with the PNG format. The amount of copy-pasting is also pretty excessive and obnoxious. I didn't comment on the writing because I'm not gonna bother reading slanted text.
Wow, komrade. PacwupeHue 3a Haw cYems for only 7300py6? How can I resist? I'll take fifteen.VapQuepmeaddy wrote:...
LibertyCabbage wrote:I've done group projects, and I see them as being a major pain in the ass. The main reason I'm not making comics anymore is that I've realized I don't like drawing and I'm too antisocial to collaborate. But it sounds like you pretty much either have to just accept it and go on hiatus, or try to be more pushy and get the artist to manage their time better somehow. I personally have a habit of just saying "fuck it" and playing video games, so you might need to ask somebody else for advice on that.
As for the lettering, I can't recall ever seeing another print comic or webcomic with slanted text like that, so I'd kinda expect a better explanation from the designer.
LibertyCabbage wrote:Overall: It's pretty good, and better than when I reviewed it, but Dy-Gar's dialogue seems kind of inconsistent. It might be that he's malfunctioning or going crazy, but if that's the case, then it needs to be handled better. I like pages like 9, 10, 11, 16, and 17 the best where the comic gets analytical/philosophical, as you seem to really excel in that area.
I see that you have some new pages up, so it apparently worked out somehow.JSConner800 wrote:Well, it's been over two weeks with no communication, so the question has gone from: "should we go on hiatus?" to "is our artist still alive?"
Yeah, it's an interesting dynamic, especially when you're talking about some of the really big projects that have, like, 20 people working on different parts of them. It might be a topic I should do an article on at some point so that I can take the time to really explore it.JSConner800 wrote:I can't really argue for or against group projects. On the one hand, I can't draw at an acceptable level and I don't have the time to devote my life to becoming a master or even an acceptable artist, so without collaboration I would never be able to make a webcomic at all. On the other hand, they are an absolute pain in the ass and the more people you have to depend on, the greater the chance of something going wrong. Like, say, the death of one of your artists >_>
Maybe he should've just had a more extreme change so that it's more clear that his personality's fractured. You could also add a visual cue if you want, like a different font, or he could have different eyes, or something. As for Roger's question, the way I read it is that Dy-Gar sarcastically insults him when he says he has a question, so when Dy-Gar says it's a good question, I do see that as Dy-Gar admitting that he was wrong for insulting Roger. And it's been emphasized a lot in the earlier pages that Dy-Gar's an egomaniac, so I don't expect him to admit to being wrong that easily.JSConner800 wrote:Thanks for tackling the dialogue. Dy-Gar isn't exactly malfunctioning or going crazy, but his personality has always been deliberately fractured, and meeting Roger/finding out that he's an insignificant house 'bot has fractured him even more, hence the change in strip 14 (this shows more of what he's really thinking, underneath the "mad demon king," as he puts aside his various fronts and even forgets to call Roger "Fis-Tor"). The inconsistency that you mentioned in strip 8 wasn't really Dy-Gar admitting he's wrong, but rather admitting that Roger had a good question, and the only reason he admits that much is because Dy-Gar thought of it himself (as mentioned in strip 10). I did take a lot of things in your review into account when rewriting Part II, and I'm glad it worked out. Strips 12-17 were created in response to that. It all seems kind of moot if the comic dies halfway through part II, but I still appreciate it.
I think I can do line-widths okay, I just fucked up with the tangibles. I drew tiny panels on generic 8.5 x 11 copy paper when I should've given myself more space to work with. I also struggled with the Micron felt-tip pens and planned on switching to brush pens eventually for more control over my lines. It was a good learning experience, but, in hindsight, I was a little too impatient to get started when I probably should've given myself more time to try out different stuff first.Yeahduff wrote:LC, your outlines and your hatch lines are very nearly the same weight (or are the same weight). Makes it hard to make out what is what, which does have artistic merit in a comic that seems to want to be disorienting. But it might be something use sparingly.
LibertyCabbage wrote:Post your best work and/or critique what other people have posted. There aren't any guidelines, so just use common sense.
Yeah, there are a few webcomics that do the "generic humanoid" thing better than I do. And this page is from about halfway through the chapter. I picked it for this 'cause I like how it came out.Jpac wrote:The style in the first panel made me think of 4chan. If this is the first scene in a comic, I'm certainly interested in why this guy is here and what exactly he is doing.
When you're done studying, you should comment on Steel Salvation too since it's a really cool webcomic.Jpac wrote:The prison cell (or what I assume to be a prison cell) has a lot of activity on it. I felt like going through the second and third panel instead of studying it. I'd say the panel was active but not interesting enough to make me want to study the background. I don't know if the cell is important to the scene. I went back and looked at it as I started to write this paragraph and can appreciate the detail, though if I wasn't in a sit down and study mood I'd skip and focus on what's happening.
Dang, I forgot I had posted something in here. Thanks for the crit LC. Sorry for the late, late response. Apologies for the wall of text coming.LibertyCabbage wrote:Chainmail Bikini:
In response to your critique like two years ago, I tried to move away from the super bright colors I had started with. I probably went a little too dark on a few pages, but I'm pretty happy with the look of my current page (9 book 2).LibertyCabbage wrote:1. With the coloring, I guess you're trying to take the comic in a more serious direction, but it's kinda hard to pull off with this title in this genre. And I'd probably argue that if you're doing a serious fantasy webcomic, then you really need to be bringing some baller art and writing to the table.
I was going for quadruple R's, actually. Roslin is not supposed to be sexy. My idea behind her proportions are in regards to a cultural (societal?) marginalization of large breasted women. This mostly isn't even about sexuality, though there are some macromastia fetishits out there, it's been my experience that most people, even other women, find overly large breasts (and the women who have them) to be worthy of ridicule, and even obscene or disgusting. Could you imagine the political circus that would ensue if a woman with an overly ample bosom ran for President, for example? I feel as if our society tells us to think that we're each special on the inside, but god forbid if you look different on the outside. Those people who dare flaunt the fact that they are not the norm, are worthy only of derision and contempt.LibertyCabbage wrote:2. How big are the dwarf's tits supposed to be? Triple-Qs? I mean, I guess dwarf chicks are busty, but it looks more goofy than sexy.
Hah, this reminds me of the good ol days, when you reamed me out over using Comic Sans. Apparently I'm terrible at picking fonts. I went for something comic-booky that I felt was easily legible. I should probably look for something more evocative of fantasy. I will look into that.LibertyCabbage wrote:3. Speaking of goofy, what's up with the font? I thought this is trying to be more on the serious side.
Heh, I honestly hadn't thought about it like that. I kinda wanted it to morph every panel, but I figured that might get confusing, so I just have the patterns on it changing instead.LibertyCabbage wrote:4. It's kinda funny how a D&D group is trying to get something that looks like an eight-sided die.
Thanks!LibertyCabbage wrote:5. The action in panels 1 through 3 is pretty good.
Thanks again! I had originally planned to make it very feathery and colorful, but quickly determined that would be a pain in the ass. I've had a few compliments on it though, so I guess I did OK.LibertyCabbage wrote:6. The cockatrice looks really cool.
Yeah, I get that. Sounds, and emphasized exclamations I find to be one of the weirdest aspects of sequential art. I guess I never gave much thought to the value of a properly placed BIFF! BAM! and OOOOF! I find myself skipping opportunities to convey sounds and such because I don't feel like I can do it justice.LibertyCabbage wrote:7. "AHH!" is too mild of a sound effect for that panel. It should also be in a speech bubble. The beak crushing her shoulder could use a sound effect as well.
Thanks! I was a bit worried about how that would come across, but I was pleased with the results. If I had to do it over again, I might replace the panels of Deedle and Tyr's reactions with Val looking at her hand as it was turning to stone or something like that.LibertyCabbage wrote:8. Stone-Val looks really cool.
Whenever I link to my site, I always include a NSFW disclaimer due to violence, foul language, and gratuitous nudity. I'd have a cover page too, but I don't know if that would work on CG?LibertyCabbage wrote:9. It's pretty unusual for webcomics to drop the F-bomb, and especially fantasy comics since they often have made-up words. So, you might want to, like, put up a "mature language" warning on your site, although I don't know if there's really a certain way you're supposed to handle this sort of thing.
Yeah, I should update that.LibertyCabbage wrote:10. There's "copyright 2013" on a page you just made.
I absolutely agree with your assessment. I have no idea what I'm doing (besides the very general idea of making a fantasy web comic), where my story is going, or what the underlying purpose of my story is or even why I feel so compelled to be, very probably, wasting my time and effort on this project at all. I have no idea of how it will end, or what exactly the tone should be. I'm very much teh n00b at sequential art and story telling, and I recognize that.LibertyCabbage wrote:Overall: It seems like the comic's still in that awkward situation where it's half-campy and half-serious, and it doesn't seem like you know what you want to do yet. The really dark coloring and random F-bomb make it seem like you're trying too hard to push the genre towards noir in a way that doesn't really fit the rest of the comic. Using Steel Salvation as an example, it's obvious that it was designed from the start to be a noir with some comic relief (e.g., Roger), and it seems a lot more coherent because of that. I also don't think you're experienced enough to be attempting a complex mixed-tone comic. And that's fine; it's just that, you know, you have to give yourself time to start from the beginning and gradually work your way up to an advanced level. But anyways, for now, you need to focus on picking a tone and then applying that tone consistently. So, like, if you want to do a noir-ish fantasy comic, then you need to give the dwarf a boob-reduction and pick a more appropriate font, and also consider changing the title to something more serious.
That title's too boring and generic. Compare it to other fantasy titles.I absolutely would like to change the title of my webcomic. I just haven't really figured out what I'd change it too. The only idea I've had so far that I thought had a little merit (but not much) is 'In the Days of the Dwelmlands' with the 'in the' really tiny so the emphasis is on the other words. But I dunno. Seems kinda cumbersome.
Fantasy can work. You just generally need to put some sort of unique spin on the genre.You won't hear any argument out of me about the art and writing. I know my art is pretty good, but I also know it's not where it needs to be yet. I keep trying to push that envelope, because fantasy is my favorite genre and I'd rather focus on that than anything else. So, I guess I get better, or start drawing chibi garden gnomes protecting their tomatoes from evil grubb soldiers or something.
It's easy to find writers unless you're just being really, really picky. That said, your writing could be a lot worse, and at least you're trying to get better at it.Now, as for my writing, I have no illusions, I'm not good. Mediocre, maybe. I don't see a lot of recourse here, I've never been able to find a writer that wanted to write what I want to draw. I don't have any money to pay one, regardless and we all know how multi-person projects can go, which has been discussed elsewhere on this thread.
Readers are just gonna think that you're bad at drawing women, not that it's some form of social commentary. Also, having tits that huge would probably cause severe back problems and mobility issues. OK, maybe she has superhuman strength, but like I said, it looks goofy, even by superheroine standards.I was going for quadruple R's, actually. Roslin is not supposed to be sexy. My idea behind her proportions are in regards to a cultural (societal?) marginalization of large breasted women. This mostly isn't even about sexuality, though there are some macromastia fetishits out there, it's been my experience that most people, even other women, find overly large breasts (and the women who have them) to be worthy of ridicule, and even obscene or disgusting. Could you imagine the political circus that would ensue if a woman with an overly ample bosom ran for President, for example? I feel as if our society tells us to think that we're each special on the inside, but god forbid if you look different on the outside. Those people who dare flaunt the fact that they are not the norm, are worthy only of derision and contempt.
Social commentary's fine, but like you said, your story's only twenty-nine pages long and you've already gone from it being a gaming parody to what looks like a gritty action comic and now to a social commentary comic. No story's going to be this tone-confused and work well. And yeah, actually, virtually every creator changes how their characters look over time.Now, that all said, am I getting that across in the story? Probably not, I'm not that good at writing. Is a webcomic the right forum to be addressing this issue on? Probably not. Is it an interesting topic that people want to hear about or helpful/integral to the plot at all? Probably not.
What she is, is a character I've already created in a story that's 29 pages long so far. I know that's not a lot compared to a lot of other books, but it was a lot of work for me, and I'm mostly proud of my story even though there is a lot of stuff I'd do different if I could start over now. Should I go back and redo everything to give her a smaller chest? Should I pull a reverse Powergirl and make her boobs gradually shrink over time?
I mean, dwarves look goofy in general. But again, I think the dwarf chick is just drawn badly.So that you know, I absolutely agree. She is a goofy looking character. Should all my characters look like Conan and Red Sonja?
Well, I hate Comic Sans. But I would just look at other fantasy webcomics and see what they're doing.Hah, this reminds me of the good ol days, when you reamed me out over using Comic Sans. Apparently I'm terrible at picking fonts. I went for something comic-booky that I felt was easily legible. I should probably look for something more evocative of fantasy. I will look into that.
My advice is K.I.S.S.: Keep It Simple, Stupid. Just have fun making comics and don't overthink it or try to do too much. The most important thing is actually probably just trying to update on a regular schedule.Is that dichotomy easy to pull off well? Any mention of Tom was left out of the movies and the animated adaptations of LotR, presumably because he was too silly in what was an otherwise SRS story and the writers/directors felt it would be too jarring and/or irrelevant to the overall plot. I sincerely doubt I can do better than Tolkien, Salvatore, Weis and Hickman. But, I feel that it isn't out of sorts for the genre of high fantasy. Now, sword and sorcery, sure.
Generally with "AH" sounds, more "A"s means screaming and more "H"s means relaxing.Yeah, I get that. Sounds, and emphasized exclamations I find to be one of the weirdest aspects of sequential art. I guess I never gave much thought to the value of a properly placed BIFF! BAM! and OOOOF! I find myself skipping opportunities to convey sounds and such because I don't feel like I can do it justice.
No, the issue's that it's real-world slang. It's very common for fantasy stories to have made-up slang words or expressions as part of the immersion, and it'd make sense for each race to have their own slang words as well. This also has the practical benefit of letting characters curse without alienating younger and/or prudish readers.I think it's weird that strong language raises more eyebrows than all the people they just killed. I realize, that's the world we live in, were graphic depictions of violence and even murder are common place, but nudity and vulgarity are considered out of bounds. Once again, though, this probably isn't the platform for me to be pushing my poorly thought out counter culture revolution on.
I'm really big on planning and scripting, and I'd even say that probably the single biggest newbie mistake is not scripting enough. (Although, maybe not having a buffer is worse.) It helps a ton to have a big-picture design for a comic that you can use as a foundation for planning your scenes and giving your pages context. Storyboarding's also generally a good idea, especially if you're less experienced with sequential art.I absolutely agree with your assessment. I have no idea what I'm doing (besides the very general idea of making a fantasy web comic), where my story is going, or what the underlying purpose of my story is or even why I feel so compelled to be, very probably, wasting my time and effort on this project at all. I have no idea of how it will end, or what exactly the tone should be. I'm very much teh n00b at sequential art and story telling, and I recognize that.
Don't start over. Everyone hates their old work.Even so, I feel it would be a disservice to the (haphazard) story I've created so far, to quit now and start over. At least until I've brought the current story to a plausible sort of end point at least... After thinking on this for a bit, though, I can probably wrap up the story in two pages, though it will leave Val's fate unknown.
I came up with this design for my characters a while back and I kinda wish I'd gone with a more cartoony look/style like that. Obviously that would be more fitting if I dial back the grim dark. But, I'm really happy with my current page look, too and I've always been more comfortable with western comic style/realism. I've only tried cartooning a little in the past few years.
Making mistakes, yeah, but more importantly, getting feedback on those mistakes and not whining about it. As for the name, it's impossible to say without knowing what tone you're going for, but generally, a name should be A) informative, B) memorable, and C) unique. As for fonts, I think most people pick one from Blambot, or at least they used to.This has been a learning experience for me and I think I've heard somewhere that you learn best by making mistakes. Hopefully my next project will be the better for it. I'm open to suggestions for a new name and font if anyone has any ideas?
It's handwriting, and the comic was intended to be 100% hand-drawn, although I ended up adding some digital effects here and there. I have horrendous chickenscratch handwriting, though, and this is my best attempt at writing legibly.2. The font is, I think, by hand? Which is a nice touch. Quite legible, but still somewhat slightly disjointed enough to add to the mood. My only problem here is the lack of white space between the words and the word bubbles, but then again that small element of wrongness might just be a carefully calculated attempt to further increase the anxiety level of the reader.
I explained this earlier in the thread, but I think this was a technical issue. I used 8x11 copy paper and an old, broken scanner, and I ended up with low-quality scans that I had to try to quickly fix in Photoshop. If I had a do-over, I would take the project more seriously and/or get a tablet.3. In the 2nd and 3rd panels there is a lot going on in the background, and since most of the line work is the same weight, it gets a little confusing. Maybe consider putting a heavier outline around important elements on the page. I could see a new reader looking at the 2nd panel and not realizing she was looking at the back of Freakboys head right away.
I looked at plenty of toilets on Google Image Search. But yeah, it could've came out better.5. Toilet looks flat. Try taking a ¾ view pic of your toilet for reference. References never hurt.
Yeah, the page is supposed to be symmetrical. I made a lot of pages with a certain design like that in mind.6. I like the simplicity of the black backgrounds in the 1st and 5th frames. It adds a certain weight and pulls the eyes in both directions, which would normally not be a good thing, but I think works for this story.
I haven't seen the Running Man, but yeah, it's supposed to have a bit of that eerie Twilight Zone eerie feel to it.7. The artwork is simple, but it, along with the other elements on the page work together to give me that nagging suspicion that something is terribly awry here. Something like The Running Man mixed with a little Twilight Zone.
I tried using some grayscale early on, but I thought the characters looked weirder and uglier this way. And again, I was sort of challenging myself to rely on hatching.8. Have you thought about maybe adding some gray screen tones to help flesh out your forms?
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Jul 26, 2011 | ISBN 9780345523709
"Mesmerizing . . . a great place to begin with what I guarantee will become a Perry addiction."—Los Angeles Times
"Once again . . . Perry amazes us."—The New York Times Book Review
"As in most good detective fiction, no one and nothing—including death—is exactly as it seems."—Pittsburgh Post-Gazette
"Taut with tension and political intrigue."—San Francisco Examiner
"[A] brilliant series."—The San Diego Union-Tribune


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Der Weibliche Führer Lyrics
I am Oedipus at the brink of decision. To escape my demons we will meet face to face. You stand with eyes like the winter and a reptile heart. With the fury of a lion and the face of an angel, you bear the riddle "how far will a man go to dance with the machine?" The answer is poison when the question is lust. Poetry's a lipstick that doesn't complement your skin and those wings don't mean you know a thing about Heaven. I've sold this body to poor taste and pale skin one too many times. I know our lips fit but it doesn't mean that they belong. Your voice is a ghost that haunts every inch of this town. They say the end comes in fire but from what I've tasted of your desire, yours will burn in ice. You pave the road to unrequited dreams and I'm the hypocrite who follows. I'm the fool who stumbles. Grace grant me strength.
I must resist.


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After nearly nine years of blogging here at Just Thinking, sometimes regularly, sometimes intermittently, it's time to close this blog and turn toward something new.
I'm grateful to each and every reader who has read this blog, made comments, shared a link, sent me an email, and offered friendship. Thank you so very much.
Here's the link to my website. This is where I'll be based from now on. I'm not sure what the new thing is yet that I'm turning toward but you'll hear about it there. I hope it has something to do with the eventual publishing of the manuscript I've been working on. I hope it has something to do with online contributions to some wonderful sites I've been discovering in recent years. Perhaps, just perhaps, it will involve starting a different very minimalist blog as part of this main website.
I invite you to stay connected by signing up for my mailing list. You can find that by clicking here. I'll let you know, in very occasional notes, where my new writing can be found and updates on the book.
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text:
Man charged in playground threat case appears in court
Bail reduced to $250
A Portland man accused of making derogatory racial comments and threatening a group of children on a playground appeared in court Friday.
Derek Weeks, 32, pleaded not guilty to charges of threatening and civil rights violations. Both are misdemeanors.
He was initially facing seven charges, but prosecutors chose to combine them.
His bail was reduced from $250,000 to $250.
Police arrested Weeks on Wednesday afternoon.
They said Weeks approached half dozen students from third- through fifth-graders -- all students of color -- at Reiche Elementary School, made reference to their race and threatened to shoot them.
The situation caught many parents off-guard.
"It's a small city. You don't really think about stuff like this happening in small cities, especially fourth- and fifth-graders," said Travis Bettney.
Bettney is just one of many parents who found the news of this incident disturbing.
While police said the children were never in danger, they said the man they arrested made a gesture pretending his hand was a gun and shot it.
"Just after hearing that, I almost feel safer having an officer posted while she's at recess," Bettney said, referring to his child.
Portland's superintendent, Emmanual Caulk, met Thursday morning with the students involved.
"Obviously the students were still visibly shaken by this experience," said Caulk.
Rather than keep it quiet, Caulk chose to publicize the situation, believing what happened affects not just the school but the entire community.
"It lets our parents in our community know that this is -- we're not going to tolerate this sort of conduct or behavior," said Caulk.
"Kids need to know that that's not OK and him doing those steps makes it seem like it's not acceptable, and it's not acceptable," said Heidie Valeriana.
Caulk said he is proud of the racial diversity he sees at both the Reiche school and the entire city of Portland.
While he said this is one of the most serious situations he has faced during his first year on the job, he's confident it's a rare situation.
"Fortunately, as I've come to know Portland, this one individual and his actions don't define our city, don't define our community," Caulk said.
Weeks' longtime girlfriend, Emily Sweeney, his daughter and several of his friends attended the hearing, saying someone made a huge mistake.
"This is horrible. They have ruined these children's lives," said Sweeney.
Sweeney has three daughters with Weeks, including one who also attends Reiche Elementary School.
"We went to pick up our daughter and we played on the playground like we do every single day with our 5-year-old daughter," said Sweeney.
Sweeney said the alleged incident involving Weeks happened during the five-minute stretch that she left the playground to buy food across the street. When she returned, Sweeney said everything seems normal and the group of students was still playing.
"I took a block of cheese out. All of them took a piece of cheese. All of them continued to play, and then when we left 20 minutes later, they're knocking at the door saying this happened," Sweeney said.
"My dad is not a racist. My best friend Diamond is black, and she's there at my house almost half the week, so if he's racist, I don't know," said Weeks' daughter, August Weeks.
Weeks' supporters are convinced the case doesn't have merit, that somehow, someone has made a grave mistake.
"Not once would I ever feel scared of putting my kid or my friend's kid in his home," said family friend Aurora Smith.
As a condition of Weeks' bail, he's not allowed to go to the Reiche school, talk to any of the alleged victims or possess a firearm.