text:
'Spicey' event to take place Jan. 26
JACKSONVILLE � New River Harley-Davidson is looking for the best chili cooking teams in Eastern North Carolina to show off their skills for its sixth annual competition this month.
Each year, the Screamin� Eagle High Performance Chili Challenge gathers competitors from across the area to prepare their best batch of hot chili to benefit a worthy cause. This year�s event is set for Jan. 26 at 9 a.m. at New River Harley-Davidson, but teams are encouraged to register as soon as possible before the Jan. 23 deadline.
Event Coordinator Shannon Hogan said that last year�s challenge produced a record number of attendees to watch teams compete and sample the varieties of chili.
�It�s fun the way the teams pick on each other and the camaraderie,� Hogan said. �Last year was awesome. The weather was 60 degrees and we had 1,000 in attendance so we�re hoping to beat that this year.�
The event also raises money in support of the Injured Marine Semper Fi Fund, a nonprofit organization that provides immediate financial support for injured and critically ill members of the U.S. Armed Forces and their families.
This year, the challenge will officially start at 9 a.m. Teams will set up booths to whip up their recipes during the allotted time, while guests watch them in action and listen to live music performed by Electric Shake.
�There�s a charge of $20 to enter to buy hamburger that is used in (the chili),� Hogan said. �No one can bring their own meat, but everything is else supplied by them.�
Sampling will take place from noon to 2 p.m., allowing attendees to try each recipe for a $5 donation. At 3 p.m., a panel of judges will then sample each chili based on criteria such as consistency, overall look, flavor, smell and color. Trophies and the freedom to brag will be awarded to first and second place teams. Hogan said that the overall goal is to gain 25 to 30 teams this year.
Area businesses, organizations and more are invited to take on the challenge.
�Each team is different and we even had some of them decorate their tents last year,� Hogan said. �We had a team who made their tent look like an actual corral. It�s a good time to be had by all, even kids.�
Contact Aniesa Holmes at 910-219-8473 or firstname.lastname@example.com.


text:
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subset: commoncrawl


text:
Carolyn Wood
Thanks, Jina, for a very nice article. I find that when you're working on a project you love (for example, when I worked with Scott Boms on a recent project), no matter how late it was or how intensely we were working, the time just flew by. Although it was a "side project" it made me feel nourished and more enthused about other "real work." You covered a lot of points in the article that one would think are common sense but are exactly the things we lose track of during these busy, busy days. I think momentum is one of the most difficult things you mentioned—many demands and requests from many different directions can be interruptions, they keep you out of that state of "Flow" no matter how enjoyable or engaging they may be. There are times I'd like to lock myself up somewhere and Just. Work., yet networking and making some kind of attempt to "keep up" seem to be absolute necessities in the web world—whether you're a writer/content/ux person (my main thing) or a designer (my secret love) or a developer.
By the way, I was just looking at the Crush + Lovely site the other day and I love it. You're doing beautiful work.


text:
Peter Losher Al Hopper
|Ben Rockwood
It's 16 hours before the public launch of OpenSolaris as I write this paragraph and I'm getting really excited, but I'm also really tired. I've been working furiously to try to get a community run OpenSolaris site online in time to support launch. The actual hardware did'nt arrive at Logical Approach until late afternoon on Monday the 6th of June. The site hardware consists of 4 Sun V20Z servers in a maxxed out configuration - two 146 gigabyte drives, 8 gigabytes of memory and two AMD 252 (2.6GHz) Opteron processors. Three of the V20Zs and an N2120 Applications Switch (aka Server Load Balancer (SLB)) were sponsored by Sun, the 4th V20Z was contributed by our company, Logical Approach.
Now if I did'nt have a day job at Logical - having this hardware arrive on Monday afternoon, with a scheduled install in an internet co-location facility 1,700 miles away on the Friday of the same week, would be doable. A push, yes, but doable. But, unfortunately we have our customers to look after and that week was pretty busy around here - aside from the ongoing Community Advisorary Board (CAB) activity and trying to keep up with the OpenSolaris Pilot program and mailing lists that were becoming increasingly noisey as we approached launch.
We put off the planned Friday hardware install in Palo Alto, until Saturday, shipped out 3 of the machines for overnight delivery on Thursday and then shipped out the 4th V20Z and the Application Switch on Friday for Saturday (next day) AM delivery. You don't want to know what our FedEx bill looked like!
But everything did'nt go smoothly. In fact we got stymied by the Application switch configuration process. Now, you may already know this; but Load Balancers, as a class of tech toys, are complex devices. That is just the nature of the beast. But, unfortunately, moving from one load balancer to another is like moving from one country to another foreign one; almost everything you learned previously is instantly obsoleted - including the language. The terminology changes completely. The menu system changes; the order of configuration setup steps change. In short, you may even feel that your previous experience (with Foundry Networks ServerIron and Alteon Websystems (now subsumed by Nortel)) seems more like a curse, than a blessing. Again, that's the nature of the beast.
So I raised my hand for help (from Sun) on Friday around midday (Central Time). Yep .... that's a great time to ask for help! And finding the right person at Sun can be daunting, especially within such a large organization. It turns out that the N2120 Application switch is a product Sun acquired when they bought Nauticus Networks. It also happens, that the right person to help configure the switch was off getting married. How inconsiderate of him (just kidding)!
So we shipped the switch in a state of less than digital nervana, overnight to Palo Alto and I was on the first flight on Saturday morning, departing from DFW (Dallas Fort-Worth) for San Francisco. The flight was great - the fun started after the plane landed. I had to check a roller-board type case, because it contained hand tools that would have been confiscated if I had tried to bring it onboard as carry-on baggage. It also contained a bunch of CAT-5 and CAT-6 ethernet cables - so it would very likely be given close scrutiny and hand checked.
After the flight landed at SFO, it took about 40 minutes for that bag to make it to the baggage area! Now you know why everyone uses carry on baggage and all the storage space inside the cabin gets exhausted on most flights. Next up: Budget car rental. The first thing that was easy to see is that the entire car rental area at the airpot was mobbed out. I stood inline for about 30 minutes, got the paperwork done and then the lady helping me had an argument with someone responsible for getting cleaned cars ready for pickup in the nearby parking garage. She slams down the phone angrily. Another woman cuts across me and speaks sternly to her asking her "Why do I have to wait for my car". The answer - because it had to be moved and cleaned. The woman looked at me and said "I don't know why I have to wait..." and hurried away still muttering. I guess she was in a rush to continue waiting. I asked if it would help if I could get a dirty car. "No" came the response; along with a look that told me to quit while I was still ahead. In the meantime I gave my ISC contact, Peter Losher, a heads up message that I'm going to be late at the Colo. He had already begun his drive there from his office, after I told him I was in the car rental line. I was driving out of the car rental garage about 50 minutes after first getting in line! How is that for service! :(
So I get to the CoLo in record time. It's possible, that I may have exceeded the legal speed limit on the drive there. Luckily I did'nt have a law enforcement officer confirm whether I did or did not. So I'll admit to the possibly only! :) I arrived at the CoLo close to 1:30 PM - a far cry from the 11:00 AM planned time. Here I met up with Ben Rockwood, the other person crazy enough to try to make the community site happen on such a tight deadline.
So what happened with the App switch I hear you ask? Well, help did'nt arrive in time and we shipped it at the last possible moment on Friday evening. Luckily, and thanks to FedEx, everything made it to the CoLo and was waiting for us when we arrived. We immediately got down to work. The racks were too shallow for this current generation of 1U gear - which Peter rightly says "grew in depth" to make up for what it lost in height! We had to mount the equipment on shelves. We had to move some shelves to get the ones deep enough for the cabinet we were assigned. When it was time to mount the App switch, we could not find any more deep shelves, so we had no option but to mount it, on an available shallow shelf, in a neighbouring rack. Before we did that, I pervailed on everyone present to mount a shallow bracket in the same rack as the V20Zs and temporarily mount the App switch, with a human holding up the other end, so that we could get a group shot of all the equipment front panels. In the pictures you see, the 3rd person is actually holding up the rear of the App switch so that the other 2 people (person in front of the camera and person behind the camera) can snap a photo with all the equipment front panels visible.
We also had a funny incident, where Ben, in his rush to get the job done, applied a mounting rail to the wrong side of a V20Z. This was before we figured out that we had to mount the servers on shelves. Since it was mounted backwards, it's locking mechanism locked the rail in place and then became inaccessible. It proved very difficult to remove. This was one of those embarassing moments that anyone would rather forget. Bens' ultimate solution, however, was ingenious. He removed the end tab from his tape measure and used it to slide down, in the narrow space between the rail and the computer case, until he was able to poke at the locking mechanism and release it. Later that day, after using the tape measure to measure rack spacing, the spring loaded retraction mechanism gobbled up the tape and it disappeared inside the case forever - since it no longer had the tab which would normally prevent that happening!
We ended up being practically thrown out of the CoLo by 4:00 PM - our work complete. This was unfortunage, because I had planned on spending considerable time at the CoLo, but Peter was supposed to be somewhere else at 3:00 PM and we had to leave.
The CoLo cage is a difficult environment to work in; it's noisey and you're constantly bombarded with hot and very dry air. We yelled at each other the entire time and I ended up dehydrated - because of the dry air and not drinking much water that day. We also missed a meal - and that took its' toll on us all. Especially since we'd all been working crazy hours that week. Peter was in the worst shape - he was still recovering from a really bad case of the flu.
Without the App switch, the original, carefully designed site architecture design had to be discarded. Also, we pretty much had to redesign it on the fly - so that if App switch config help arrived on Monday, we would still be able make use of its load balancing capabilities. So some of the server ports were connected up to the app switch and others were connected to Peters new HP 2824 gigabit switch. The IP addressing plan was obsoleted - since the App switch has NAT (Network Address Translation) facilities, and without it, we had no NAT capability. There were other features provided by the App switch which were also part of the design, which I won't go into. We barely had enough time to configure routeable addresses on the SP (Service Processor) management ports and set them up. That was to be our point of entry into the system to make the other changes that were required without the App switch - since the servers were configured per the original design (with the App switch present) while they were on the bench.
On Day 2 (Sunday) of the install I prevailed on Peter to allow me to work in the CoLo, but had to promise him it would only be an hour, maximum. I made the best use of the hour, doing a lot of tidying up work that should have been completed the day before. We also discussed the ISC network topology and peering and made plans to have ISC host our DNS records, at least initially. Also we got the App switch console wired into a terminal server. But setting up remote access to the terminal server, and hence accessing the App switch console port, would be deferred until later that day. Also populating the DNS data would be left until Peter was in a much more hospital work environment - his office.
Both Ben and I assumed we would have as many hours as we needed at the CoLo - but that was not to be, because the policies in place, demanded that we be shaparoned. This was a big factor in the issues that plagued us later. We were simply too rushed and did'nt have time to check then double check, our work. After leaving the CoLo I jumped an earlier flight and ended up back in the DFW area around 11:00 PM. Perfect. On the way home from the airport, I know I exceeded the speed limit. I had a police officier catch up with me about a mile after he first saw the car, and tell me my exact speed at the time: 82 MPH. The following morning I started the work of finishing up the machine configs and making the changes mandated by the lack of the App switch. I hit a "minor" (yeah right!) problem. I could connect to the V20Z SP (Service Processor), but I could not see a console login! I could not access the Operating System. Initially I took this in stride. Knowing that I had only played with the SP facility on the V20Z previously - it was just a case of reading the manual and figuring it out, or so I thought.
Meantime there were other fires to extinguish. I was still seeing DNS errors - our new domain, genunix.org, was not resolvable. Also I did'nt know how to access the App switch console port remotely. A couple of calls/emails to Peter and he assured me that all would be well with DNS within 30 minutes and that we'd be able to get to the App console port soon. In the meantime I had an email from a gentleman at Sun offering support for the App switch. He emailed very early that morning (around 7:00 AM). But we did'nt have console access to the App switch until around noon. In the meanwhile I had sent him a scaled back App switch specification and details of our (modified) addressing scheme. I told him that I was looking to gain access to the servers that were already (physically) connected to the App switch, but had been unable to figure out how to put the required switch ports in the correct VLAN, and enable them. His first issue was not being able to resolve the name for the unix box that ultimately gains us console access to the switch serial port. Then, after he got the IP address, he could not connect to it (no route to host) from his office. Obviously their office internet access (DNS and routing) is totally foobarred. Last I heard he was working the issue (fire up a GPRS cell modem on his laptop or go home & use his home DSL), but it turns out he was unable to do either. So, I've been hacking on the App switch since about 4:00 PM (CDT) while Ben Rockwood took a fresh look at resolving the "no console access via the SP" issue - using any resources he could find online. We've probably hit an SP bug, in that the factory config (BIOS, SP code and OS) etc. won't allow console access out of the box.
On the App switch, I got to the point where I could ping one of the private interfaces on the servers, but the switch does not appear to have an SSH client or a telnet client. The App switch specialist was able to confirm that it does not have SSH client capability. I came to the realization that it did'nt have a telnet client all on my own. After I had achieved the ability to ping a server and I went looking for the telnet command in the menu system. It does, however, have an SSH daemon and a telnet daemon. How strange. So by 6:00 PM Central, after 2 hours (wasted) on hacking on the App switch config I realize that access to the servers via the App switch had reached a dead end.
Meanwhile Ben is trying every trick he can think of to get around the SP to console login issue and making use of every resource he could think of, on the 'net. By about 8:15 PM or so this avenue was not yielding any results. So I talked with Ben and then reported the bad news to the OpenSolaris Pilot community and several people (via a CC list) that I had made promises to. It was bitterly disappointing.
Now it's 12:35 AM (CDT) on Tues the 14th: OpenSolaris Launch Day. Stories have already been posted and I got a call about 15 minutes ago from Ben who says he has been successful in making arrangements to gain physical access to the CoLo. Pretty amazing. I was about to turn in ... but he'll need some help to test (now that's a novel idea, is'nt it!) from the outside. So I'm working this blog while waiting and then we'll see what we can get done.
1:00 AM (CDT): I get a call from Ben and we've in business thanks to his heroic efforts and the incredible co-operation of the ISC folks. So now we _start_ working the machines.
4:15 AM (CDT) and I just emailed Cyril Plisko and let him know that the SVN repository zone and logins are ready for his use - as promised. He has his own zone on the machine, called svn, and the fully qualified hostname is svn.genunix.org. He just logged in and I'm checking with Ben R to see if there is anything he needs help with.
4:30 AM: I get some sleep while Ben continues to finish up the "starter" site.
8:15 AM (CDT) - One hour and 45 minutes before launch: I send an email to Derek Cicero telling him that we're ready for content. The subject line reads: "Rabbit emerges out of hat". After receiving a reply with a URL on where to get the content, I wake up Ben (by phone) and send him Dereks' URL. Minutes later, there's content available on genunix.org! :)
9:00 AM (CDT): I get on the Sun launch conference call and help out where possible. It was a great opportunity to "live" the launch event. I continued to watch our site (www.genunix.org) and do some cleanup & further testing on it. The press releases fly and the file downloads begin to fly, everything goes very, very smoothly.
10:00 AM (CDT) Official Launch Time: Looking at /. (slashdot) I see that OpenSolaris gets a comparitively easy introduction to the world. Nothing much of a dreaded Linux jihad emerges - thankfully.
Later in the morning I settle into my "Day Job" and interact a little on IRC and the OpenSolaris mailing list. It was your typical Monday. BTW: I hate Mondays!
So lets summarize what went wrong
- not setting realistic expectations and timelines
- not anticipating air travel hassles
- budgeting a 36 hour window of CoLo time; getting 3 1/2 hours
- lack of testing
- working a project while fatigued. Fatigue will allow you to make silly errors and not catch them. I know this from my pilot training.
- delegating a simple task that looks like it can be done easily/quickly (DNS) and then failing to recognize that its not a viable strategy.
- using non "main stream" equipment that you're not familiar with.
- assuming, that if you can "talk" to the SP, you can get a console login.
- and did I mention lack of testing?
And lets summarize what went right
- we pushed out 90 gigabytes on content on launch day.
- we saw incredible cooperation from many, many exhausted individuals.
- we saw Sun Nack, Ack and then deliver on hardware sponsorship in 18 days. Thats pretty incredible for a company as large as Sun.
- we got incredible co-operation from Peter and the folks at ISC.
There were many heroes in this tale. I've already mentioned some and I apologize for those I have left out. PS: send me email if you want something included and I'll update this book.


text:
Mewlana Jalaluddin Rumi
Mewlana Jalaluddin Rumi [Rumi] (1207 - 1273 / Persia)
» Click to list general statistics » OR, select a date :
In The Arc Of Your Mallet
Don't go anywhere without me.
Let nothing happen in the sky apart from me,
or on the ground, in this world or that world,
read more >>
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- Dates, poems and poets that have "0" hits may not be shown on the list. Statistics are generated daily.


text:
Does it cost money to see an adviser at IDP Education?
IDP Education's services are free for students. There is no cost to students to book an appointment with IDP Education. Students do not pay an agent fee to IDP Education to study overseas. There may be some small fees such as courier fees or document verification fees. For more information, phone or speak to your nearest IDP Education counsellor or complete our enquiry form.


text:
hello nobody my name is jimmi rock i'm a guitarist and dragon age fan. My intrests include: playing guitar, playing computer, reading and drawing.
The member you are trying to view has set their account to private. You do not have permission to view their details.
Continue browsing the member list, to find the profile you are after.


text:
New York, N.Y. - The 2013 All-Skyline Baseball team has been selected in voting by the Conference's nine head coaches. Seven members of the Farmingdale State team were named All-Skyline Conference this season.
Senior outfielder David Zilnicki (Riverhead, N.Y.), junior pitcher Michael Dolce (St. James, N.Y.), senior catcher Eric Wiener (Deer Park, N.Y.), senior first baseman Ron Remi (Massapequa, N.Y.) and sophomore utility Mike Scarlato (Holbrook, N.Y.) were each named to the First Team, while sophomore second baseman Tom Rydzewski (Franklin Square, N.Y.) and junior third baseman Daniel Paccione (Commack, N.Y.) earned Second Team honors.
Zilnicki holds a team-leading .462 batting average with 49 hits, 40 runs scored, 22 RBI and 26 walks. He has a .578 on base percentage, a .575 slugging percentage and 35 stolen bases to date. In Division III, Zilnicki ranks second in both on base percentage and stolen bases per game, third in total stolen bases and seventh in batting average.
Dolce leads the pitching staff with a 5-0 record including a 0.57 earned run average. He ranks second in the nation in ERA. Dolce has allowed three earned runs and 38 hits in 47.2 innings of work this season.
Wiener is batting .286 with 22 hits, 20 runs scored, 13 RBI and nine stolen bases. Defensively, Wiener has committed only one error (.994 fielding percentage), while appearing in 36 games.
Remi, who has appeared in 37 games, holds a .357 batting average with 24 RBI and 13 runs scored. He has 15 stolen bases which is tied for the third most on the Rams. Remi ranks 28th in the nation in sacrifice bunts and has a .973 fielding percentage.
Scarlato has appeared in 26 games with a .262 batting average. He has 16 hits, 12 runs scored and 10 runs batted in this season. Defensively, Scarlato has seen time at second base, third base, shortstop and outfield.
Rydzewski, who suffered a season-ending knee injury on April 9th against New Jersey City, was batting .395, with a .455 on base percentage and a .474 slugging percentage. He tallied 19 runs scored, 12 RBI and 15 stolen bases.
Paccione has appeared in 26 games and holds a .397 average at the plate. He has 23 hits, including three doubles, three triples and a team-high three home runs. Paccione holds a team-high .707 slugging percentage.
To view the complete Skyline Conference press release, click HERE.


text:
Alternative Names
Oral ulcer; Stomatitis - ulcerative; Ulcer - mouth
Mouth ulcers are caused by many disorders. These include:
Canker sores Gingivostomatitis
- Herpes simplex (
fever blister) Leukoplakia Oral cancer Oral lichen planus
- Oral
A skin sore caused by histoplasmosis may also appear as a mouth ulcer.
Symptoms will vary based on the cause of the mouth ulcer. Symptoms may include:
- Open sores in the mouth
- Pain or discomfort in the mouth
Exams and Tests
Most of the time, a health care provider or dentist will look the ulcer and where it is in the mouth to make the diagnosis. You may need blood tests or a biopsy of the ulcer may be needed to confirm the cause.
The goal of treatment is to relieve symptoms.
- The underlying cause of the ulcer should be treated if it is known.
- Gently cleaning your mouth and teeth may help relieve your symptoms.
- Medicines that you rub directly on the ulcer such as antihistamines, antacids, and corticosteroids may help soothe discomfort.
- Avoid hot or spicy foods until the ulcer is healed.
Outlook (Prognosis)
The outcome varies depending on the cause of the ulcer. Many mouth ulcers are harmless and heal without treatment.
Some types of cancer [link to Squamous cell carcinoma [01-000829] that may first appear as a mouth ulcer that does not heal. See:
Possible Complications
Cellulitisof the mouth, from secondary bacterial infection of ulcers
- Dental infections (
tooth abscesses)
- Oral cancer
- Spread of contagious disorders to other people
When to Contact a Medical Professional
Call your health care provider if:
A mouth ulcer does not go away after 3 weeks.
You have mouth ulcers return often, or if new symptoms develop.
To help prevent mouth ulcers and complications from them:
- Brush your teeth at least twice a day and floss once a day.
- Get regular dental cleanings and checkups.
Daniels TE. Diseases of the mouth and salivary glands. In: Goldman L, Schafer AI, eds. Goldmans Cecil Medicine. 24th ed. Philadelphia, PA: Saunders Elsevier; 2011:chap 433.
Mirowski GW, Mark LA. Oral disease and oral-cutaneous manifestations of gastrointestinal and liver disease. In: Feldman M, Friedman LS, Brandt LJ, eds. Sleisenger & Fordtrans Gastrointestinal and Liver Disease. 9th ed. Philadelphia, PA: Saunders Elsevier; 2010:chap 22.
Review Date:
Reviewed By:
Linda J. Vorvick, MD, Medical Director and Director of Didactic Curriculum, MEDEX Northwest Division of Physician Assistant Studies, Department of Family Medicine, UW Medicine, School of Medicine, University of Washington. Also reviewed by A.D.A.M. Health Solutions, Ebix, Inc., Editorial Team: David Zieve, MD, MHA, Bethanne Black, Stephanie Slon, and Nissi Wang.


text:
Deus Ex: Human Revolution is a single-player game only. Being the first project out of the new Eidos Montreal studio, and staying true to the Deus Ex legacy, the development team wanted to focus purely on the single-player experience to ensure we delivered on that front.Dugas goes on to comment that although Human Revolution shares some similarities with Quantic Dreams' Heavy Rain in terms of "choices and consequences," the overall game experience will be very different.
Bryn says: Does it bother you that the new Deus Ex won't feature any sort of multiplayer? It doesn't worry me one bit. I'd rather have a rock-solid single-player experience that holds true to the series' roots than some extra junk tacked on. Would you like to have seen multiplayer in the new game?


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Puppet Master II (UK - BD RB)
Our Marcus heads towards Halloween with a horror sequel with killer toys.
Beginning in the graveyard out the back of the Bodega Bay Inn, we see our star puppets digging up the remains of Andre Toulon from his grave. Not long after, a group of parapsychologists, led by Carolyn Bramwell (Elizabeth Maclellan), are sent to the hotel to investigate the strange murder of Megan Gallagher and look into the lunatic ravings of a now insane Alex Whitaker. The puppets begin to attack the new group in a series of wild puppety ways and when a strange, bandaged man named Eriquee Chaneé (Steve Welles) arrives stating that he has inherited hotel, things begin to get even stranger, especially when we discover he is in fact the resurrected Andre Toulon.
You know it's really Halloween when dodgy horror sequels begin to turn up and when it's the first sequel to the Puppet Master franchise it doesn't get much dodgier. As a piece of fun horror, toys are always the go to department for creepy silliness. Chucky has become the king of toy based horror but the puppets in puppet master, now like ten or so movies into their own franchise bring their fair share of nasty, even if you know full well they'd be easy to fight off really.
Here in the second of the series, the story is thin, the scares are thinner and it's really only the semi gory killings, the creepy as hell visuals of the bandaged and non bandaged Toulon and the single topless scene of Charlie Spradling that makes this an real adult movie. What holds it back is how straight this is all being played as all the while it's wildly unbelievable in how its moving through the messy plot. The majority of this feels decidedly 80s (even though the film was released in 1991), with hokey TV style dialogue, characters that respond to these bizarre supernatural situations and the deaths of their friends far too easily and really a ridiculous set up all round.
As the movie travels on, things get sillier and it's really only the visuals of Toulon's master plan and the human sized puppet he's going to transfer his soul into that could ever creep out an audience. It's not all that gross but everything is just plain offbeat weird about this film's outcome and just how much is packed into the final ten minutes is almost impressive. The cliffhanger alone, with a life sized puppet and all our little puppets setting out on a bit a road trip is enough to question how the hell there were more sequels after this this but somehow Puppet Master lives on.
Beside the odd effects shot, Puppet Master II actually looks pretty bloody great for its age and low budget cult status. Colours glow off of the screen throughout and edges are wonderfully sharp all things considered. There is a veil of grain over the image giving the presentation a slight look of viewing it through gauze but it's just not a big deal given the overall result here.
Lighting is vastly improved in this upgrade and is a big part of how this HD presentation comes to life. There's a pretty big difference between an exterior naturally lit scene and an interior set based scene in overall quality but everything still feels fairly fresh. Even the darker scenes hold up. The darkness enables the grain to become more apparent but even so the colours still manage to pop in albeit in a reduced manner.
This is only a stereo track but it has a good deal going for it given the source material. There's a hiss to quieter moments, especially exterior ones but other than that the audio is solid. Dialogue is good and strong and there's even a fair bit of ambience to the outdoor settings which was quite surprising, with clicking crickets and general sounds of nature. The score is cheap and sort of weak but it comes to life when it needs to and the more thrilling scenes provide a good all round horror experience for the era the film was made in. Of course the suspense is weak but gorier moments sounds better than they ever have on home release I'd imagine.
The commentary with Charles Band is a track from a guy who knows his stuff and knows how to sell it. He talks up the differences between model work in the films he's been involved with over the years and how they compare to the modern CGI effects. He also talks up the many sequels of Puppet Master and other projects for his studio and how a low budget still provides amazing results. He's not all that specific a lot of the time and he rambles a little from time to time too but its usually something to do with franchise even if its not about Puppet Master II specifically. Funnily enough, he does get specific for the topless scene though, in fact it almost clicks him back into the film.
As well as the commentary, we also get the Charles Band Intro (02:35 HD), presented from the set of Puppet Master 10!!!. It's actually quite a personal introduction to the Full Moon releases in HD and the film's history on home releases. It's breifly skims over the improvements made for the Blu-ray format and the forthcoming titles to look forward to as well. This is great stuff for fans.
The archival 'Full Moon Video Zone Magazine Making of' (21:37 SD) is a great retro look at the film and it's effects as well as offering up trailers of the studio's other projects. There's also the film's trailer, two 'Rare Toy Commercials and a 'Full Moon Trailer Pack' featuring trailers for their newer stuff.
Puppet Master II was low budget when it was made and age hasn't been kind to it really, despite it still outshining most modern low budget horrors that seem to fill up our retailer's shelves of late. On a technical level the puppets still sort of hold up in a retro nostalgic way but the story is lousy and if even one actor wasn't hamming it up, it might sell the scares a little bit more.
The Blu-ray is technically sound. The video and audio takes advantage of the HD upgrade and fans of the series should be very pleased with the results. The extras are also pretty great for fans of Full Moon and their productions, so this release should sit well with the Puppet Master crowd, even if the general modern horror audience will struggle to get the appeal.
* Note: The above images are taken from the Blu-ray release and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.
Review by Marcus Doidge
Chris Johnson Member Join Date: October 2005 Location: United States Posts: 1,465
I had no idea there was a widescreen version of this.
Suitable only for persons of 18 years and over
Disc Details
Release Date: 22nd October 2012
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.78:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 2.0 Stereo
Subtitles: None
Extras: Commentary, Introduction, Trailers, Making Of
Easter Egg: No
Feature Details
Director: Dave Allen
Cast: Elizabeth Maclellan, Collin Bernsen, Steve Welles
Genre: Horror
Length: 88 minutes
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LEICESTER — The newly published book "Eighteen Months To Live" is the poignant real life story of Midge Rylander in her own words.
Rylander moved to Vermont from California in 1963. The mother of three was employed for many years as a legal secretary and then worked for the trust department of a local bank. Rylander lived on Lake Dunmore from 1977 until she died in 1992.
She succumbed after being diagnosed with malignant pleural mesothelioma, which is a form of lung cancer from prior exposure to asbestos.
After Rylander was told that she had less than 18 months to live, she decided to keep a journal of her thoughts, feelings and experiences. When Midge's daughter Rachele recently re-read her mother's journal, Rachele realized that her mother wanted her journal published so that it could help others.
"Eighteen Months To Live" is the transcription of Rylander's handwritten journal as well as letters that Midge wrote to her daughter Rachele during that time. Rachele Baker wrote the prologue, epilogue and narration of the book, which is available on Amazon.com.
The story takes readers through Midge's last days in which she experienced pain and fear but also found peace within herself and joy in life.
After reading "Eighteen Months To Live," one reader wrote on the website Goodreads.com: "For such a sad book, it is a happy book too. Although you know that Midge is terminally ill, and this made reading it weigh heavily on my chest at times, she is so full of life, hope and love, fighting the cancer that is trying to defeat her from the inside. It is an account of slowing down, of taking life each day at a time and appreciating the truly wondrous things around oneself in a way that we often don't get time to. It is a lesson to us all, to take that time, to enjoy it, to live in the moment and love those around us."
Baker is a small animal veterinarian and writer living in southern California. "Eighteen Months To Live" is her first book; and she is preparing to write a series of books about medical problems in dogs and cats.


text:
Iraqi president in a coma after suffering stroke, officials say
BAGHDAD – The president of Iraq is in a coma after suffering a stroke, sources tell Fox News.
Jalal Talabani's health has reportedly deteriorated significantly, and The Associated Press reported his medical team is attempting to stabilize him. Reuters reported Talabani is in "critical but stable condition."
Talabani, a rare unifying figure who is seen to rise above the country's ethnic and sectarian fault lines, has been actively involved in trying to mediate an ongoing crisis between Iraq's central government and the country's Kurdish minority.
The spokesman, Ali al-Moussawi, told The Associated Press on Tuesday that Prime Minister Nouri al-Maliki is at the hospital where the president is being treated.
Doctors have not decided whether Talabani will continue to be treated in Baghdad or will be flown to another country for treatment, he said. He was unable to provide further details.
Talabani's office earlier said the Iraqi president had been rushed to the hospital after showing signs of fatigue on Monday evening, and that he was being treated for an unspecified health problem.
Talabani's spokesman could not immediately be reached for comment.
An Iraqi Cabinet official said Talabani fainted Monday and remains unconscious. The official agreed to speak only on condition of anonymity because he was not authorized to release details about the president's health.
The Iraqi presidency is seen as a largely ceremonial post, though it does retain some powers under Iraq's constitution. The president must sign off on laws approved by parliament and has the power to block executions.
Talabani, a member of Iraq's Kurdish minority, has frequently used the post to mediate disputes within the government and among Iraq's various sects and ethnic groups.
He has recently been working to resolve a standoff between the central government and the Kurds, who have their own fighting force.
The two sides last month moved additional troops into disputed areas along the Kurds' self-rule northern region, prompting fears that fighting could break out.
Talabani last week brokered a deal that calls on both sides to eventually withdraw troops from the contested areas, though there is no timetable for how soon the drawdown might take place.
Talabani met with al-Maliki earlier Monday. They agreed that al-Maliki would invite a delegation from the Kurdish regional government to Baghdad to continue the talks, according to the prime minister's office.
The Associated Press and Reuters contributed to this report.


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Nina Dobrev & Ian Somerhalder: 'Fifty Shades of Grey' Co-Stars?
Nina Dobrev and Ian Somerhalder make separate entrances into their hotel on Monday (May 14) in New York City.
The Vampire Diaries costars and real-life couple both kept a low profile in sunglasses.
In a recent interview with MTV, Nina discussed the possibility of working with Ian on the upcoming adaptation of Fifty Shades of Grey.
"I think it would be better [if] either he should get it or I should get it," Nina said. "I know that apparently he's really great for the role, so I hope that he gets it."
FYI: Nina is wearing Dylan George jeans and a Linea Pelle Collection bag.
10+ pictures inside of Nina Dobrev and Ian Somerhalder arriving at their hotel…


text:
Another Brewers win over Bucs, but without drama
MILWAUKEE -- There was no brawl, no melee, no fracas.
There was, instead, simply baseball.View Full Game Coverage
MILWAUKEE -- There was no brawl, no melee, no fracas.
There was, instead, simply baseball.View Full Game Coverage
There had been suggestions that open warfare was about to break out between the Pittsburgh Pirates and the Milwaukee Brewers. What occurred instead was actually a well-played baseball game. This was both a relief and a joy.
What did occur when these two teams played Tuesday night at Miller Park was the conventional thing. Milwaukee won, 5-2.
Since 2007, the Brewers are 83-37 against the Pirates, including 7-1 this season. The Bucs' only winning season against the Crew in that period occurred last year, when Pittsburgh went 12-7.
But even with that, the Brewers have gone 52-12 against the Pirates at Miller Park since 2007. There is no explaining that kind of domination, particularly now. The Bucs, in their breakthrough season of 2013, were a National League Wild Card team, finishing second in the NL Central. The Brewers finished fourth. At the moment, of course, Milwaukee is leading the division, while Pittsburgh is in fourth.
In any case, when these clubs last met each other, on April 20 at PNC Park, there had been a fight, which included real punches and the evidence of real animosity. Four players were suspended, including two from each team, although Brewers outfielder Carlos Gomez's three-game suspension, which Gomez has appealed, has not yet been served.
Gomez and Pittsburgh's Travis Snider met by chance at a Milwaukee restaurant Monday night, and according to Gomez: "We shook hands and he gave me a hug, and everything is good. There's no hard feelings."
Peace and love, man.
The managers of both clubs did a nice job of dispelling the notion that Tuesday night's game was anything other than a game. Nobody's manhood was at stake.
"I expect us to play with emotion, but not to play emotionally," Pirates manager Clint Hurdle said before the game. "I think that can take away from your play. This is a good team we're playing; we're playing a team in first place. There's enough adrenaline flow, I think, that we just need to control what we can control, beating the Brewers. We don't need to beat them a certain way. We don't have to have X, Y and Z happen. We just need to stay focused on the job at hand, play the game, win the game.
"I know the way I want us to go about our play; to go out and fear nothing and respect everything; those are two things we talk about repeatedly here."
"I just don't think anything is going to happen," Milwaukee manager Ron Roenicke said. "I don't know why it would."
And nothing of a negative nature did happen. Pittsburgh starter Gerrit Cole did plunk Gomez with a pitch in the third, but it was an offspeed pitch and no damage was done.
The Miller Park crowd of 24,176 booed Cole as though he had just defaced Henry Aaron's statue, but nobody on the field saw evil intentions behind an 86-mph pitch.
Tempers were high on April 20, but that was then. This, Tuesday night, was baseball.
"I think that stuff's behind us," Brewers catcher Jonathan Lucroy said of the fracas in Pittsburgh. "I don't think anybody wants to do any of that anymore. I think we're all over it."
What was left for Milwaukee was a hard-earned victory, a 25-14 record, first place and yet another triumph over Pittsburgh. The contemporary Pirates seemingly should be competing on something like even terms against the Brewers, but it isn't working out that way so far in 2014.
Roenicke said he could not isolate one single reason why his club has fared so well against a Bucs team that since last season can be considered a legitimate postseason contender.
"We seem to play good baseball [against the Pirates]," Roenicke said. "We've pitched well. I think when we're pitching well, I don't think there's anybody that's going to hit our guys. But I don't have an answer for that [success against Pittsburgh]."
Marco Estrada was in charge of the starting pitching portion of the task for Milwaukee on Tuesday night. He had an effective performance, despite atypical command problems.
"Every inning, I battled," Estrada said. "Mentally, I was there. I struggled physically, making pitches."
But after six innings, Estrada had allowed the Bucs just one run. His teammates, meanwhile, had scratched and clawed to come up with three runs over the same period against Cole, whose fastball reached 98 mph.
It was good after this Pirates-Brewers contest to hear a starting pitcher say, "I battled," secure in the knowledge that he meant he was trying very hard to make pitches, not that he was throwing left jabs and right hooks.
It was just baseball again. And that was more than enough.
Mike Bauman is a national columnist for MLB.com.


text:
The City of Markham Transportation Planning Study outlines a four-point strategy that balances road improvements, transit, education and policy to manage existing and future transportation needs. The strategy provides a blueprint for the City to plan and implement annual projects. The following outlines the status of some key initiatives completed to date.
Executive Summary [PDF]
For more information, please contact the City of Markham Engineering Department at 905-477-7000 extension 3630.


text:
Fast Reliable P. A26. 10. The Student Is Citing Information From An Article Answers.
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m. T. 2003 2002 APA Documentation for a List of References Documenting Sources for APA: List of References Below are citations from a student paper that uses APA-styl Fast Food Nation by Eric Schlosser. It was published in Boston by Houghton Mifflin Co. in 2001. In-Text Citation: Schlosser (2001) noted the connection between outsiz Eric. Fast Food Nation. Boston MA: Houghton Mifflin 2001. b. Schlosser E. (2001). Fast food nation. Boston MA: Houghton Mifflin. 1. The student is quoting from page 153 of a book Health in the New Millennium by Jeffrey S. Nevid Spencer A. Rathus and Hannah R. Rubenstein. The book was published in New York by Worth Publishers in 1998. In-Text Citation: As Nevid Rathus and Rubenstein (1998) argued "Modern civilization bombards us with external food cues" (p. 153). List of References: a. Nevid J. S.


text:
Luminous Landscape Forum
The Art of Photography => But is it Art? => Topic started by: Moynihan on January 25, 2009, 10:40:52 AM
eauclair's "The New Color"
Post by:
January 25, 2009, 10:40:52 AM
I have finally gotten around to reading (I am almost 1/2 through it) Sally eauclaire's "The New Color photography" (1981). Has anyone in this forum read it, what are your thoughts on it?
eauclair's "The New Color"
Post by:
January 28, 2009, 04:20:43 PM
Hi there,
I used the book as the basis for an advanced color photography course. We referred to the course as "Big Color". Some of the essays were interesting and useful as jumping off points for class discussion, but others were a bit esoteric. In the course we discussed and put into practice the use of color as the organizing principle for a photograph.
We talked about warm and cool colors as compositional "forces" in a photo - warm colors tending to advance while cool colors tend to recede. Juxtaposing warm and cool colors made for an interesting tension in images (warm colors in the background pushing forward and cool colors in the foreground pulling back).
We used the term "constellations of colors" to describe how the eye might move through an image based on color "events". We discussed the idea of vernacular color (the decisive moment of color - momentary, temporary occurrences of color compositions) and looked at Meyerowitz and some other color street photography from the book. We talked about color formalism as basically image-making predicated primarily on color concerns. We were trying to make images ABOUT color as much as about whatever stuff they depicted.
All these techniques and strategies are a useful way to expand your image-making and helped the students in the class pay more attention to the decisions they were making when photographing. Anything, really, to help move people from picture-takers to conscious image-makers...
I might be able to locate some of the discussion questions I used if you're interested..
eauclair's "The New Color"
Post by:
January 30, 2009, 07:42:17 AM
Yes that would be nice, and thank you for the reply. i have not read a "formal" critique photography book for a number of years, and getting back into the language is slow going for me.
eauclair's "The New Color"
Post by:
January 30, 2009, 10:10:39 AM
I didn't read this book, but many years ago I read "Theory of Colours" by JW von Goethe (I have it french, maybe there is an english traduction) wich explain very clearly all shapes and colors forces composition and perception wise. Very scientific and theoric but turn to be some real explanation of some intuitions we can get about all these. Interesting reading, even if I'm against rules in creation, which is more a freedom vision from the heart, not a construction from the brain.
eauclair's "The New Color"
Post by:
January 30, 2009, 12:54:44 PM
Ok. Here's the discussion questions. Some are just questions (and I have little memory of how the class discussion went!), one set has my answers (although there are other answers too!). So here ya go. ps - if this is too long a post, etiquette-wise, please let me know.
Discussion Questions pertaining to Color Formalism:
What is the purpose of reading about photography or reading critical essays in particular?
Why might it be useful to your image making to read essays and critical writing?
What are some strategies you might use to get the most out of an essay?
What are some of your thoughts in general on the subject of color formalism?
What did you think of the essay?
Did you have any questions during the course of the reading? Share any questions you had and come up with one additional discussion questions relating to the essay or the subject of color photography. Discuss these questions and present that discussion to the class.
Page 17
Second paragraph
Typically, their nonhierarchical compositions reflect many of the same visual principles that govern nonrepresentational painting. Yet photographys unseverable connection to optical reality makes the modernist ideal of the autonomous artwork elusive, if not impossible.
What does it mean for an artwork to be autonomous?
Why might a school of thought (modernism) that assumes the existence of and prizes the search for a single, objective truth consider this kind of autonomy ideal?
How does the nature of the photographic medium make achieving this artistic autonomy elusive, if not impossible?
Might color photographic formalism be a means to achieve this autonomy? Why or why not?
Page 24
Is only highly saturated color useful in photographs about color? Why?
What might the black and white image equivalent of a color photograph using only highly saturated colors look like?
Page 24 second full paragraph
In careless cropping, negligent alignments, and imprecise exposures of amateur snapshots, Eggleston recognized potent effects that under his direction could produce mesmerizing contrasts and shifts of conventional emphases.
How might carefully utilizing many of the elements found in amateur snapshots allow a photographer to produce mesmerizing contrasts and shifts of conventional emphases?
How might that be useful in creating images that are about color (rather than stuff)?
What are some of the strategies discussed in the rest of this paragraph that could be used to move an image away from a description of individual objects towards a collective pictorial cohesion?
Discuss the 3rd full paragraph, paying particular attention to the following:
Eggleston achieves pictorial cohesion and emphases through contiguous visual relationships that are more specific to his photograph than to the scene itself.
What does this mean?
How do you make relationships between different, unrelated objects in an image stronger than they are in reality?
Why is it useful when making color photographic formalist images to subvert the intelligibility of spatial relationships and the individuality of objects?
Page 26
2nd full paragraph
modern painting where color is a fundamental, structural force contains the most significant precedents for the strategies employed by the best contemporary color photographic formalists. Unlike premodernist paintings, which retain much of their spatial intelligibility and decorative cohesion when reproduced in black and white, these new color photographs share with modern painting a heavy dependency on color. When translated into monochrome, they lose their formal and metaphorical meanings.
Imagine a color formalist image that has formal and metaphoric meaning.
What might an example be? Describe it.
How could we make a color formalist image with metaphoric meaning?
3rd full paragraph
Of the principal color photographic formalists, Stephen Shore has most successfully adapted Evans objectivity and aesthetic autonomy. Yet unlike Evans, who so ably absorbed the significance and sensuousness of his subjects, recognizing the potent ambiguities in the real, Shore avoids mythic possibilities for purely pictorial meaning.
What do you think aesthetic autonomy means?
What might it mean or what might some of the possible consequences be of switching from real, social, ambiguities to pure pictorial, abstract ambiguity?
What might such a switch say about a culture or society? What has changed in culture/society to make this change in art possible?
You may reverse this question, so life imitates art, rather than art imitating life (How has such a switch in the concerns of art changed culture or society? What needed to change in culture/society for this type of art to be accepted and internalized and what might the consequences be?).
4th full paragraph:
Shores paradigms are order, balance, and serenity. Objects, shadows, and intervening spaces provide Shore with vital components of co-equal visual significance.
Discuss what is meant by co-equal visual significance.
How might using order, balance, and serenity allow you to make socially or symbolically disparate objects coequal?
What might the impulse to do so or the act of doing so mean? What might that say about someone if they used color formalist techniques to make 2 very different things equally important in a single scene (i.e. a bar of gold and a discarded soda can)?
Page 27
Stephen Shore
Halfway through first block of text (before the first full paragraph)
The almost spiritual sense of balance and quiet harmony that his best photographs contain derives from the sensuous effects of cumulative, rhythmic motifs that remain well integrated, even camouflaged within the continuum of recorded data. Close examination may reveal fugal relationships between various elements, but the individuality of any motif is superseded by its role in the pictorial whole. Consequently, the effect, not the technique, predominates.
What do you think of these ideas?
Do you believe that the effect described above is something that can be perfectly achieved or is it more an ideals towards which one can strive? Why do you believe the way you do?
Page 31
8th paragraph:
In giving pictorial realization to epiphanies experienced at the site, Meyerowitz is always cognizant of the rectangular frame.
What does you think giving pictorial realization to epiphanies experienced at the site means?
What are some strategies to being more open to experiencing epiphanies at a site? How can one make themselves more receptive and ready to experience a site-specific epiphany?
Page 34
Paragraph 5
In the Bay/sky photographs, man-made elements provide minute concentrations of rich, often complementary hues that punctuate the fields of nature texture and color.
How could this strategy of incorporating elements both manmade and natural help to foreground color?
7th paragraph:
Although Meyerowitzs selection of light obviates the extreme or abrupt contrasts typically associated with the rendering of clearly defined space, precise readable detail extends throughout each picture. The illusion of spatial depth thus afforded preserves pictorial tensions.
How does the selection of specific types or qualities of light obviate the extreme or abrupt contrasts typically associated with the rendering of clearly defined space, precise readable detail extends throughout each picture.?
How does it effect the image to reduce spatial articulation while maintaining a high level of individual photographic detail?
Page 35
1st full paragraph
The ineffable color effects arise from the immaculate presence of apparent visual facts. Meyerowitz thus implicitly rebuts the painter Mark Rothkos notion that the familiar identity of things has to be pulverized in order to destroy the finite associations with which our society increasingly enshrouds every aspect of our environment.
Discuss. Do you agree with this statement?
Discuss the following questions and answer one. They are all pretty similar.
What gives an object in a photograph its specific social meaning or cultural association? How is it that we can read objects in a photograph as symbols that stand for actual objects we may have had experience with?
If apparent dissolution of an objects individuality is dependent on that object being rendered precisely (details rendered photographically) but being defeated by a collective color strategy what then, if not photographic detail alone, allows us to understand an object in a photograph?
If color can be used to bypass or de-emphasize the symbolic/social/cultural meaning of an object in a photograph without obliterating detail (leaving the details of an object present) how does a photograph sometimes make us see only the symbolic/social/cultural meaning of an object?
Discussion Questions for Vernacular Color:
Vernacular Reading Group Discussion Question (Master List)
What are some strategies that you have used or might use to help you recognize and capture vernacular color images?
From the Reading: Page 69
He [Cohen] would agree with Garry Winogrand, who has said he photographs to see what something looks like when photographed, and Eugene Ionesco who has written, If lucidity is required a priori, it is as though one shut the floodgates. We must first let the torrent rush in and only then comes con troll, grasp, comprehension.
Discuss this statement.
What do you think the floodgates are? What is the torrent? Why might lucidity close the floodgates and stop the torrent? How can we let it rush in? What might be some strategies for encouraging it to do so? How do we exert control, grasp, comprehension over the product or result of the torrent?
What are some strategies that you have used or might use to help you recognize and capture vernacular color images?
From the Reading: Page 69
Cohens methods preclude definitive formal images. By the mid 70s he was increasingly attempting to the expressive rendering of immediate observations, not in the romantic sense of transforming the ordinary into the ideal, but for the purpose of making the ordinary vividly apparent.
Discuss this statement.
Do you think Cohens methods preclude definitive formal images? Why?
What might it mean to expressively render an immediate observation? Is such a thing worth doing? Why?
Imagine and describe examples of images that will demonstrate the difference between romantically transforming the ordinary into the ideal and making the ordinary vividly apparent.
What are some strategies that you have used or might use to help you recognize and capture vernacular color images?
From the Reading: Page 72
He [Meyerowitz] operates energetically, experiencing things in a continuous way. Thats part of what small-camera photography is about, keeping your experience sensation alive as you move, he says
Discuss this statement.
Why might it be important to try to experience things in a continuous way when attempting color vernacular photography?
What might it mean to keep your experience sensation alive as you move? How do you think one goes about doing it? What might some strategies be to help you do so?
What are some strategies that you have used or might use to help you recognize and capture vernacular color images?
From the Reading: Page 73
What narratives can be constructed here exist only in the picture, not in the situation.
What does this statement mean? What might the consequences be of recognizing or creating alternate realities through an unmanipulated photographic image?
Discussion Questions for Chapter 8:
Discussion / Focus Questions for Chapter 8 Reading
Here are some things to help you focus and explore the reading. Some of the techniques discussed in the article are older techniques (use of Polaroid). While still active and rewarding techniques, ask yourself what are some current equivalent (technically and culturally) techniques and materials than might function today in the same way the Polaroid functioned in the 70s and 80s.
Identify the thesis of the essay
Identify a statement / passage you disagree with and support your view.
Questions to consider:
2nd sentence:
Why do you think observers might focus more on the mode of the work (fabrication) than the message of the work (intrinsic value)?
3rd paragraph:
What is the difference between expanding narcissistic tendencies through fabrication and examining the narcissistic tendency using fabrication to provide poignant perceptions of it?
6th paragraph:
How has an increased interest in and use of Polaroid products figured prominently in the increase of fabrication and fantasy?
How does the physicality of the Polaroid as an object (and the cultural associations attached to it) effect the interpretation of the work produced on it?
234 Mark Schwartz:
What does it mean to extract the visually sublime and provocative from a mundane scene?
Jo Ann Callis:
Do you agree that a technique that delivers forced clinical scrutiny withholds clarification or conceptual resolution? Why or why not?
What are some techniques you can think of to achieve similar ends? (Think mystery derived through (meaningless?) clarity )
OK - there you go... Hope that's not to confusing. I think the intro essay in the book is probably the best of the bunch in that it provides an excellent overview of the entire subject, but there are some interesting ideas to be found throughout.
If you want these as word docs, I can email them to you...
eauclair's "The New Color"
Post by:
January 31, 2009, 09:32:25 AM
Quote from: jim.batzer
Ok. Here's the discussion questions. ....
Thank you much for sharing that with me.
eauclair's "The New Color"
Post by:
Rob C
January 31, 2009, 03:33:01 PM
Thank God photography sometimes just comes naturally!
Rob C
Simple Machines


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Taylor Swift Wins Entertainer Of The Year -- 4 CMA Awards!
Taylor Swift sparkles in Reem Acra at the 2009 CMA Awards at the Sommet Center on Wednesday (November 11) in Nashville, Tenn.
The 19-year-old SUPERSTAR won all four categories she was nominated in — Music Video, Album, Female Vocalist and the night's top honor — ENTERTAINER OF THE YEAR! She's the youngest person to win E.O.T.Y., cementing her place in country music history.
"I want to thank everyone in this room tonight for not running up on this stage," Taylor joked during one of her acceptance speeches.
10+ pictures inside of Taylor Swift @ the 2009 CMA Awards…


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Very few residential properties have a hydro resource to tap. But if you have it, hydro can be a cost-effective and reliable renewable electricity source with a modest investment.
Hydropower comes from a combination of vertical drop (head) and water flow. It takes both in reasonable quantities to make meaningful amounts of energy. If your stream only has a little head, you'll need a lot of flow. If your stream only has a little flow, you'll need a lot of head.
Head is the vertical drop from the intake, where water enters the pipeline (penstock) to where the water hits the "runner"—the wheel that converts the energy in the water jet into rotational force. Head is measured in feet, meters, or pounds per square inch (psi). Vertical drop and pressure are the same thing—every 2.31 feet of head results in 1 psi.
Smart hydro designers consider all possible head on a site, and choose what is needed and most economical to tap. Not taking advantage of available head will shortchange your available energy—double the system's head and you double your potential energy.
Flow is the amount of water that runs through the penstock and nozzle to hit the runner. It is typically measured in gallons per minute (gpm), or cubic feet per second in larger systems.
The penstock need not follow the stream, but should be as short as reasonably possible, follow a route that is secure from physical damage and frost, and preferably runs continuously downhill. Pipe sizing is crucial to good hydro system design, to minimize friction loss. Undersizing the diameter of a penstock means losing some of the pressure to friction—and that means losing some of the power potential. Friction-loss tables and calculators can help make the right pipe size and type choices. Choosing the appropriate type and pressure rating of pipe is also important.
A rough formula for estimating your site's hydro potential says that the flow (in gpm) times the head (in feet) divided by 12 (or thereabouts) will give you the potential power (in watts). For example, if your stream has a flow of 22 gpm and a head of 120 feet, it might provide about 220 watts, or about 5 kilowatt-hours per day (22 × 120 ÷ 12 × 24 hrs./day).
Once you've generated the electricity with a hydro turbine, you need to transmit it to where you want to use it. This may entail using low-voltage (12 to 48 V) lines if the distances are short, or using higher-voltage (120+ V) lines for longer distances. Exact system electrical details will depend on whether you are charging batteries on- or off-grid, or connecting directly to the utility grid.
Whatever you end up powering, the energy available comes back to how much head and flow you have. So measure both carefully, including seasonal flow variations. Without reliable measurements, any microhydro dreams you have may not come true. Get the numbers, see if you have the resource, and then work on making those dreams a reality.
—Ian Woofenden


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Until recently I actually though "Sriracha" was a brand name. Apparently it is named after a region/location just like pilsner.
I used the recipe from this page and made the fermented version. It is excellent!http://www.vietworldkitchen.com/blog/2009/07/homemade-thai-style-sriracha-chile-sauce-recipe-tuong-ot-sriracha.html
Quote from: tschmidlin on November 18, 2013, 06:30:10 AMI used the recipe from this page and made the fermented version. It is excellent!http://www.vietworldkitchen.com/blog/2009/07/homemade-thai-style-sriracha-chile-sauce-recipe-tuong-ot-sriracha.htmlThat does look good...and the article accompanying that recipe was interesting as well. As soon as I can score some peppers of the right type, I'm gonna give the fermented version a try.


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CSD faces lawsuit over Figley employment
The Colville School District is currently embroiled in a civil lawsuit with the parents and guardians of three children who were molested by former Colville School District counselor Craig Figley. The suit, filed under aliases to protect the identification of the minors involved, alleges that the district was negligent in their duty to protect students by not properly monitoring Figley or the technology the district provided him. According to court documents filed in Eastern Washington Division of U.S. Federal District Court, Figley was working for the Colville School District in 2000 when the district issued him a laptop for work purposes. During his employment, Figley used the laptop to download pornography of adults and children that he showed to students to "begin a process of grooming children for his own sexual gratification." The suit asserts that had the district installed software to prevent misuse of the laptop and if the laptop had been properly monitored by the district, it would not have been a tool for exploiting students. The documents also argue that if the district knew about the pornography on Figley's computer they could have terminated his employment. Documents filed in the case also assert that when complaints about Figley were turned over to law enforcement, Colville School District employee and Fort Colville School Principal Clayton Allen called Figley to warn him that there was a pending search warrant of his residence and school computers. As a result, Figley attempted to destroy evidence that would implicate the district in his wrongdoing, but forensic computer retrieval discovered the materials, said court records. Figley was tried and sentenced in May of 2010 on three counts of child molestation and one charge of possessing materials showing minors in a sexual act. He received a minimum of 14 years in prison that could be extended to life when he goes before a review board for sex offenders. The lawsuit is asking for damages, including medical expenses; compensation for pain, anguish, stress, inconvenience and disability, as well as lost wages and earnings. The suit does not request any specific monetary figure, but asks that damages be determined at trial. The school district's lawyer, Michael McFarland of the Evans, Craven and Lackie law firm in Spokane, said if the district loses the suit, the loss will be paid out by the district's insurance policy. The suit is currently scheduled for trial on Oct. 29, 2012.


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Those even remotely familiar with the work of German director Wim Wenders should not be surprised that he has a title like Kings of the Road in his resumé. Rüdiger Vogler plays Bruno, an itinerant movie-projector repairman, who tools about the dusty roads along the East-West border of Germany in search of work. A traffic accident brings Bruno in contact with suicidal Robert (Hanns Zischler).
Bruno gives Zischler a ride, and the two become friends. Eventually Zischler decides to give civilization another chance, while Bruno continues his freewheeling ways alone.
Along the way, director Wenders makes several trenchant comments about the breakdown of society by showing the number of movie theaters that have either closed down or resorted to showing X-rated films. Prominent German film critic Hanns Zischler plays one of the protagonists.
|Wim Wenders


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Graphic Designer
Evil Rick
Black Dragon
Last Activity: 2017-04-13 15:49
About Me
- About Evil Rick
- Gender
- Male
- Biography
- Loves to draw, do graphics and create stories (fics, comic, whatever!)
- Location
- In the Netherrealm, thinking who to betray next...
- Interests
- Draw, Animation, Computers, Graphic Design, Anime, Videogames & MARVEL Comics
- Occupation
- Student. Illustrator.
- PC Configuration
- PC Connect 2008
- Currently Watching
- High School of the Dead
Spartacus: Blood and Sand
- Favourites
- Basilisk Kouga Ninpou Chou
Magical Girl Lyrical Nanoha Series
Shaman King
Card Captors Sakura
Full Metal Alchimest
Tokyo Mew Mew
Rozen Maiden series
Pita Ten
Soul Hunter


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Get DVD Talk Feeds
This set is really for the collector and die-hard genre fan interested in more obscure offerings like Cowboy G-Men and The Last of the Mohicans rather than familiar fare like Bonanza and The Lone Ranger, shows already available on DVD in better versions, or likely to turn up eventually in authorized editions.
None of the episodes approach the kind of pristine presentations one expects from mainstream labels like CBS DVD, but all of the episodes this reviewer sampled were at least okay. Most seem drawn from 16mm TV prints, second-generation dupes on tape. Considering the rarity of many of these shows, I'm willing to make allowances, and happily almost everything in this set appears uncut and not time-compressed, though there is at least one glaring alteration done to one particular show for obvious legal reasons; more on that below.
Here's the dizzying lineup:
26 Men (Syndicated by ABC, 1957-59) Former serial star Tristram Coffin plays real-life Arizona Ranger Thomas H. Rynning in this series, produced by cowboy actor Russell Hayden. Kelo Henderson co-stars. (Included: 2 episodes)
The Adventures of Champion (CBS, 1955-56) That's right, a half-hour series built around Gene Autry's horse. Human being Barry Curtis and German Shepherd "Rebel" co-star. (1 episode)
The Adventures of Jim Bowie (ABC, 1956-58) Cheap-looking series starring British actor Scott Forbes as the knife-wielding adventurer later played by Richard Widmark in the 1960 epic The Alamo. (6 episodes)
The Adventures of Kit Carson (syndicated, 1951-55) Bill Williams stars as the famous American frontiersman. (6 episodes)
Annie Oakley (syndicated, 1954-57) Gene Autry's Flying A Productions produced this Republic Pictures-esque series about the famous sharpshooter. The appealing Gail Davis stars in this wildly inauthentic but fun show. (6 episodes)
Bat Masterson (NBC, 1958-61) Gene Barry (War of the Worlds, Burke's Law) stars as yet another Western icon, in a series produced by Ziv Television Productions (Highway Patrol, Sea Hunt). (2 episodes)
Bonanza (NBC, 1959-73) The second-longest Western series in the history of television after Gunsmoke, Bonanza was on the air for a whopping 430 episodes. Lorne Greene, Dan Blocker, and Michael Landon star. Note: Fearing legal reprisals, these episodes have replaced the iconic theme song with really awful generic music. (10 episodes)
Brave Eagle (produced by NBC but aired on CBS, 1955-56) Keith Larsen (The Walking Major) stars in the title role, a young Cheyenne chief. It was the first series to feature a Native American as its leading character. Bert Wheeler, one-half of the '30s comedy team of Wheeler & Woolsey, co-stars. (1 episode)
Buffalo Bill Jr. (syndicated, 1955-56) Another of Gene Autry's Flying A productions, the series starred Dickie Jones, the voice of Pinocchio as an orphan adopted by a kindly judge (Harry Cheshire). (17 episodes)
The Cisco Kid (syndicated, 1950-56) One of the first and most durable of Western series, The Cisco Kid starred Duncan Renaldo in the title role, with Leo Carrillo as his faithful, comical sidekick, Pancho. Its producers get an "A" for foresight: reportedly this was the first television series filmed in color (albeit 16mm), though long before the advent of color television. (34 episodes)
Cowboy G-Men (syndicated, 1952-53) Russell Hayden, who got his start riding alongside Hopalong Cassidy in the 1930s and early-'40s, stars as government agent Pat Gallagher. Co-star Jackie Coogan, not the first actor to come to mind for such things, plays his comical sidekick. (5 episodes)
Death Valley Days (syndicated, 1952-72) Another long-running series, this one a Western anthology hosted at various times in its history by Ronald Reagan and Robert Taylor. These episodes are introduced by Stanley Andrews as "The Old Ranger." The episodes this reviewer looked at were surprisngly entertaining. (3 episodes)
The Deputy (NBC, 1959-61) Norman Lear scored big by signing movie star (as Western movie icon) Henry Fonda for this series - but he's hardly in it. Fonda's marshal leaves most of the leg-work to co-star Allen Case (in the title role). Fonda was at the center of just 19 of the series' 75 episodes. In the rest, he puts in a brief appearance at the beginning and/or end. Boo! (2 episodes)
Frontier Doctor (syndicated, 1958-59) Rex Allen, former late-period singing cowboy, stars in this series, which is rather like Gunsmoke scripts focusing on Milburn Stone's Doc Adams, except there's no Matt Dillon or Chester or Miss Kitty here. (13 episodes)
Fury (NBC, 1955-60) Long before Mission: Impossible, Peter Graves starred in this British-produced series about a beloved stallion, which co-starred Ann Robinson (War of the Worlds). (4 episodes)
The Gabby Hayes Show (ABC, 1956) George "Gabby" Hayes, endearing sidekick to Hopalong Cassidy, Gene Autry, Roy Rogers, and others, ended his career with this dreadful series, which opens with Gabby yammering about nothing in particular for several minutes, more or less introducing extremely condensed versions of crummy PRC Westerns from the '40s. Of course, even though those films generally ran under an hour, they're still cut to about 20 minutes for these episodes, and are utterly incoherent. (6 episodes)
The Last of the Mohicans (syndicated, 1957) Intriguing series filmed in Ontario, Canada by ITC and the CBC starring John Hart (who replaced Clayton Moore for a time as The Lone Ranger), and Lon Chaney Jr. The snow-covered locations and authentic feel to the Native American scenes add a lot. (15 episodes)
Hudson's Bay (syndicated? 1959)Another Canadian production about fur trappers and the like, starring British actor John Clark and American Barry Nelson, the original James Bond. (3 episodes)
Judge Roy Bean (syndicated, 1956) Edgar Buchanan stars as the infamous title character, "the law west of the Pecos," in a series produced in color (quite rare for the time) by Cowboy G-Men's Russell Hayden. Jack Buetel (Billy the Kid in The Outlaw) co-stars. - (14 episodes)
The Life and Legend of Wyatt Earp (ABC, 1955-61) Long-running series that climaxed with the Gunfight at the OK Corral in its final season, with Hugh O'Brian as frontier marshal Earp. This series is slowly being released to DVD, so consider this something like a free sample. (1 episode)
The Lone Ranger (ABC, 1949-57) The first TV Western. Like Wyatt Earp an official DVD release of The Lone Ranger with superior masters is underway, so you'll want to skip these inferior looking shows. (17 episodes)
Northwest Passage (NBC, 1958-59) Another early color show, this one was produced by MGM and starring Keith Larsen (late of Brave Eagle) and Buddy Ebsen (late of Davy Crockett), and set during the French and Indian War of the mid-18th century, a rarely touched-upon period for the Western. (8 episodes)
Pistols 'n' Petticoats (CBS, 1966-67) Western sitcom from Joe Connelly, the co-creator of Leave it to Beaver and The Munsters, featuring movie star Ann Sheridan, who died midway through the show's first season. Alas, though produced in color, these (3 episodes) are in black & white and in faux letterbox format.
The Range Rider (syndicated, 1951-53) Jock Mahoney, step-father of Sally Field, stars in this Gene Autry-produced series that co-starred Buffalo Bill Jr's Dickie Jones. (18 episodes) Note: Jock Mahoney fan Sergei Hasenecz expressed dismay that I had slighted the actor's career, noting, "[He] was Yancy Derringer, which certainly should be of some interest to a reader of your review since this was a TV western with a gimmick and could easily have been included in this set. He did many other westerns - movies and TV, as actor, stuntman, and stunt coordinator - including a part as Raquel Welch's husband in Bandolero! He played Tarzan. He appeared in Three Stooges two-reelers, including Squareheads of the Round Table, where the Stooges perform one of the funniest spoofs of the sextet from Lucia di Lammermoor ever done." Well said.
Red Ryder (syndicated, 1956) Famously disagreeable B-Western actor Allan "Rocky" Lane, later the uncredited voice of Mr. Ed, starred in this unpopular show that followed the popular film series. Louis Lettieri replaced Robert Blake as Little Beaver. (1 episode)
The Rifleman (ABC, 1958-63) Chuck Connors is homesteader and Civil War veteran Lucas McCain, a widower raising a young son (Johnny Crawford, now a popular Hollywood musician specializing in vintage music). I'd hold out for official full season sets. (3 episodes)
The Roy Rogers Show (NBC, 1951-57) Poor Roy Rogers! Though he and wife Dale Evans (and Roy's horse, Trigger, and their sidekick, Pat Brady, etc., etc.) were genuinely beloved by several generations who grew up in the 1940s and '50s, Roy's movies for Republic and his TV show have to a large extent fallen into the public domain. Somebody needs to give this series the same loving attention as has been given to similar shows starring Gene Autry and William "Hopalong Cassidy" Boyd. This is a fun show, but I sure wish it looked better than this. (30 episodes)
Sergeant Preston of the Yukon (CBS, 1955-58) Richard Simmons (no, not that one) stars as the rugged Northwest Mounted Policeman fighting crime with his lead sled dog, Yukon King. This is another one to skip, as a legitimate full season set debuts later this month. (12 episodes)
Shotgun Slade (syndicated, 1959-61) Scott Brady (He Walked by Night, The China Syndrome, and Lawrence Tierney's brother) plays a private eye of the prairie packing a combination shotgun/rifle in this offbeat Western featuring a jazzy score a la Peter Gunn. I was rather taken by this unusual but appealing genre jumble. (15 episodes)
Sky King (NBC, later ABC, 1951-59) Kirby Grant plays rancher and aircraft pilot Schuyler "Sky" King in this popular adaptation of the long-running radio series. A complete set of the entire series is available. (4 episodes)
Stoney Burke (ABC, 1962-63) A pre-Hawaii Five-O Jack Lord stars as a rodeo rider in this cult series, which featured Warren Oates and Bruce Dern as his pals. Created by The Outer Limits' Leslie Stevens with many episodes directed by Tom Gries (Will Penny), this is an obscure series I'd sure like to see more of. Alas, here there's just ...(1 episode)
Stories of the Century (syndicated? 1954) Jim Davis (Dallas) stars in this Emmy-winning series, produced by a dying Republic Pictures and using much stock footage from its films. (27 episodes)
Sugarfoot (ABC, 1957-61) Popular Warner Bros. Television-produced series starring Will Hutchins as frontier lawyer Tom Brewster and wild-eyed Jack Elam as Toothy Thompson (like the audience is going to notice his teeth first). (1 episode)
U.S. Marshall (aka Sheriff of Cochise) (syndicated, 1956-58) This Desilu production stars John Bromfield as lawman Frank Morgan (as opposed to MGM actor Frank Morgan) working in Arizona, where location footage was filmed (near Bisbee). (5 episodes)
Wagon Train (NBC, later ABC, 1957-65) Another series you might want consider holding out for; an official DVD may be in the offing soon. The box credits Ward Bond but he died halfway during the show's run and these (3 episodes) all feature his replacement, character actor John McIntyre.
The Wide Country (NBC, 1962-63) Another rodeo drama that aired the same season as Stoney Burke. This starred Earl Holliman and Andrew Prine as bronco-bustin' brothers, and featured real-life rodeo star Slim Pickens. (1 episode)
Needless to say, I haven't watched everything, and for the purposes of this review could only come close to sampling at least one episode from every show. Most are cheap though adequately produced and unambitious, while a few are polished, adult and sometimes offbeat. Many of these shows are geared for kids, but even some of these are surprisingly violent.
For this reviewer's tastes, the transfers are such that this kind of set works best late at night when you're not quite sleepy yet and have a good half-an-hour left in you, it's 11:50pm and that episode of Shotgun Slade will either intrigue you with its intelligence or will have the same effect as a warm glass of milk. I found myself really enjoying some shows, and was left eager to see more, or I'd be sound asleep 15 minutes in (I'd watch the rest the next day.)
Video & Audio
As previously stated, these are public domain titles of varying quality, but unlike some fly-by-night outfits hawking ghastly, unwatchable junk, everything this reviewer sampled was at least minimally acceptable as reference copies until something better comes along, the one exception being those episodes of Bonanza with the replaced music, and a few shows in faux letterbox, I'm betting to hide the watermark of some other PD label.
The disc comes in a thick plastic DVD case about the size of a standard-issue Leonard Maltin's TV Movies guide. Inside are the 24 discs, in individual sleeves that helpfully note what shows are included, along with the episode titles. The discs are region-free but have no alternate audio or subtitle options, and there are no Extra Features.
Parting Thoughts
If you're a fan of classic TV or Western shows, this set is a good value crammed with enough varied material to keep you busy for months. I'd prefer to see many of these shows released in official DVD version mastered from original camera negatives, but until then this comes Recommended.
Stuart Galbraith IV is a Kyoto-based film historian whose work includes The Emperor and the Wolf - The Lives and Films of Akira Kurosawa and Toshiro Mifune and Taschen's forthcoming Japanese Cinema.