text:
Tuesday, September 11, 2012
Graham Harman's "Weird Realism: Lovecraft and Philosophy"
I recently read Graham Harman's new book Weird Realism: Lovecraft and Philosophy, published by Zero Books, and would like to share a few thoughts concerning the book. Let me say first that it is very enjoyable. Lovecraft and phenomenology? Why the heck not! Of course the book represents what seems to be an exceptionally idiosyncratic project, arguing that a position similar to the one Hölderlin fills for Heideggerian phenomenology should be occupied by H. P. Lovecraft for thinkers of Speculative Realism. I am a passionate fan of Lovecraft but even I found the project at first audacious. Being the type of thinker I am, however, I also found this very audacity amusing and intriguing, an affect I suspect Harman intended. There is, in and of itself, a philosophically important performative force in placing Lovecraft beside accepted standard bearers of high art who have become central figures for philosophy such as Hölderlin, Mallarmé or Beckett. What would it be for Lovecraft to occupy a position of world historical importance in the manner that Heidegger thought Hölderlin did?
Harman's book does not, admittedly, really offer an answer to the question I have asked largely because his own hopes for his philosophical project or the insights it offers seem, perhaps refreshingly, more subdued than Heidegger's. There is little intimation that history might find a new beginning in Lovercraft, rather we are left with the suggestion that Lovecraft rather uniquely relies on insights that nicely fit Speculative Realism, or more specifically Harman's own Object Oriented Philosophy, in the development of his stylistic methodology. As Harman very successfully points out, Lovecraft's style is defined by a dependence on two major gaps between appearance and being developed respectively in the works of Heidegger and Husserl. The first gap, developed from Heidegger's thought, is that between an object's reality and the sensuous appearance behind which the object's full reality always withdrawals. The second is the gap found in Husserl's phenomenological descriptions of experience between the collection of aspects or perspectives that make up our consciousness of an object and the unity of these perceptions that constitutes the object itself. Lovecraft's writing, rather than attempting to bridge these gaps, focuses upon them in the construction of his suggestive purposefully failed descriptions. This fulcrum of Lovecraft's style is what has often frustrated critics of his work who can't get beyond the sense that Lovecraft relies upon "indescribable horrors" and "impossible vistas" to the point of falling into a total lack of concrete description. As an apology for Lovecraft, Harman's book convincingly demonstrates that Lovecraft doesn't fail to provide concrete description and avoids using the indescribable as a stylistic crutch. Rather, his works follow the strategy of offering powerful succinct descriptions in order to provide a concrete phenomenological experience of what it is like to face the untotalizable reality of an object. During a very interesting discussion of the impossibility of paraphrase, Harman stresses that Lovecraft does not simply say "the monstrosity couldn't be described" but rather offers extensive detailed descriptions that then make clear their own inadequacy at capturing the object. In short there is nothing lazy or indistinct here, but rather a very successful capturing of experiences more straightforward descriptions would simply fail to touch upon at all. Where ordinary description pacifies, we might suggest that description by means of gaps vivifies.
In order to support his reading of Lovecraft's style Harman provides, in the second part of the book that really makes up its heart, a careful analysis of one hundred passages from eight of Lovecraft's most well known and best stories. The attention to detail and careful interpretation here is very impressive and it is at points very pleasant to revisit well loved moments in Lovecraft's work. However, I can't help but note that the passage by passage analysis can get a little exhausting. Nonetheless, here Harman provides both a detailed presentation of Lovecraft-as-Object-Oriented-Thinker and answers to some of the immediate concerns that come to mind when considering Lovecraft as an important artistic application of philosophical insight.
The concern that came immediately to my mind when considering Harman's project was Lovecraft's seemingly blatant xenophobia. In this he seems to represent a fairly colonial perspective consistently horrified by the barbarism found in generally dim witted "foreigners" or isolated inbred communities, both of which are repeatedly found to be in league with terrible forces of evil. Ultimately, Lovecraft can't be saved from his xenophobia and racism, and Harman certainly does not attempt to save him, but what he does do is very interesting nonetheless. Harman uses a double strategy to dodge these aspects of Lovecraft's perspective. First, he insists that what is important and interesting about Lovecraft is primarily his style and method, not the content of his work. For this same reason Harman also insists that it is not of central importance for the philosophical message of his work that Lovecraft wrote horror. The genre could have been different and the style would have been equally important. I will have more to say about this point later.
Other than setting aside the content of Lovecraft's work, Harman secondly provides Lovecraft's seeming xenophobia a rather refreshing close reading that makes the issue far more complex and nuanced than it first seems. Harman's nuanced reading of Lovecraft's xenophobia relies heavily on the elements of comedy in Lovecraft's work. The comedy in these works seems generally unrecognized, and I admit myself to never having consciously considered it, but upon reflection it seems clear that comedy is both present and very effective in adding to the entertainment value of the text. Lovecraftian comedy comes through in the general tendency of Lovecraft's main characters to be pedantic, reassured in their own rational explanations of the world, and generally far more clueless than the reader when it comes to the events going on around them. These characters are perfect comic foils, then, because they are both arrogantly self-certain and blind. At a particularly striking moment in Harman's text he focuses briefly on how this comedy diffuses at least some moments of apparent racism. During a scene in "The Call of Cthulhu" when a horrifying ritual is depicted in the swamps of Louisiana the narrator notes that an "excitable Spaniard" is fooled by his imagination or echoes into thinking he has heard a non-human response to the ritual's chants from further off in the swamp. The narrator dismisses this from the arrogant fortress of his rationalism and implies that the mistake can be traced to a racial flaw. But the reader of course recognizes that the Spaniard was anything but deceived. The reason this point is important generally is that it focuses on the central role the racism of Lovecraft's characters plays at times within their comic configuration and the way in which this very role debunks the racism. The passage in "The Call of Cthulhu" is effective precisely because the narrator's self-assured racist superiority is part of his ignorance, which the audience recognizes perfectly well. It is a shame of which Harman is well aware, however, that Lovecraft too often resembles his comic characters and not the more nuanced view his style at times makes accessible.
To turn to the actual philosophical content of Lovecraft's style we need to discuss what Harman calls his ontography, which he presents in terms of four main tensions that arise between sensuous objects, sensuous qualities, real objects and real qualities. We began discussing this issue earlier in terms of the two basic tensions from Husserl (sensuous qualities and sensuous objects) and Heidegger (sensuous qualities and real objects) but this list can be expanded to include tensions between sensuous objects and real qualities (also drawn from Husserl) and real qualities and real objects (for which Harman appeals to Leibniz). Harman convincingly shows that Lovecraft's style relies at times upon each of these tensions.
The first tension, from Husserl (SQ - SO), Harman describes as cubist and includes under the general category of fission. It occurs in Husserl or Lovecraft when we experience a gap between a sensuous object (for example the mountainous ruins in "At the Mountains of Madness") and the many sensuous qualities that make up the object but seem impossible to meaningfully unify. Here there is no implication that the ruins (or in Husserl something as commonplace as a book) is anything more than the unity of its sensuous qualities (as Harman points out this tension is purely on the phenomenal plane and is not appealing to a Kantian intuition concerning things-in-themselves) but this unity seems impossible to achieve when we are given only the seemingly endless flood of perceived partial aspects.
The second tension, from Heidegger (SQ - RO), represents a break from Harman's earlier views that Lovecraft was in no way Kantian. Here we find a tension between the reality of an object and the qualities it offers through experience. The actual object always withdrawals behind its sensuous qualities. The main example of this is the description of the idol of Cthulhu in "The Call of Cthulhu" in which various elements, such as the aspect of a dragon and octopus, are put together and then we are told that they do no justice to the spirit of the thing and the general outline of the whole. Despite seeming similarities between this tension, which Harman describes as based in allusion and fitting in the general category of fusion, and the first Harman insists here we are dealing with several sensuous qualities which do not build up, or fail to build up, to a sensuous object but rather sensuous qualities not meant to be taken literally as qualities of the real object at all. Rather they are simply allusions to the actual sensuous qualities and "spirit of the thing" which language can't capture.
The third tension, once more a Husserlian one (SO - RQ), is drawn from Husserl's work on eidetic variation in which one varies imaginatively the sensuous qualities of a thing in order to discover its essence i.e. those qualities which can not be changed while still leaving you with the same object. This is a tension, then, that arises between the sensuous object upon which one practices eidetic variation and the real qualities it is discovered to have. Harman groups this as another form of fission, much like the first Husserl tension, and admits this is rare in Lovecraft but can be found in those cases where scientists are baffled when investigating sensuous objects within which they uncover real qualities that they can make no sense of. He refers here to an example from "The Dreams in the Witch House" in which scientists investigate a statue apparently brought into the waking world from a dream and discover elements that science has not yet discovered and which have no place within the standard periodic table.
Finally we face the last tension, between a real object and its real qualities, which is the final example of fusion. This is found in the most extreme experiences found in Lovecraft's work, for example descriptions of the mindless horror in the heart of the ultimate chaos that is known only as Azathoth, where it is hard to even say that we witness allusion as in the case of the Cthulhu idol but rather are offered little more than proper names that cover over impossible real qualities of an inconceivable real object.
Though the third and fourth tensions are fairly uncommon in Lovecraft and, in the case of the fourth, distinctions between it and the Heideggerian-Kantian tension seem rather tenuous, Harman does do a nice job of showing that there is an important and meaningful difference between the first two tensions in Lovecraft's work. His deployment of the rest of the ontography can be charitably understood as showing the greater depths of analysis Object Oriented Philosophy makes possible even where they were not fully appreciated or deployed by Lovecraft himself. The book, however, is largely a work of literary theory with the presentation and development of Harman's own philosophy playing a fairly brief role in the text. However, Harman's underlying philosophical commitments very clearly provide the foundation for his larger reflections on the practice of literary criticism and theory and offer some interesting connections with philosophy of art generally. In order to transition to some philosophical suggestions of my own I will turn briefly to the issue of literary theory and philosophy of art now.
It is possible that the most interesting part of Harman's book is his argument for a literary theory that is in line with Object Oriented Philosophy. Based on the central claim of that philosophy, according to which objects are radically unique and thus not reducible one to another or interchangeable, Harman argues against paraphrase and any context focused literary theory. Nothing in existence can be converted into anything else without distortion, and so the attempt to convert a work of art into either its context or its effects is to distort the radically unique being of the work. There is a sense in which this fits nicely with the views of both Heidegger and Gadamer, i.e. a work of art is characterized precisely by its ability to continually give rise to new and unexpected experiences and meanings. An art work is precisely that which always exceeds any previous grasp of its being. Harman basically extends this characteristic of art works to all objects in general. Again this is not so very different from Heidegger who, arguably, extends the analysis of art he gave in "The Origin of the Work of Art" to all things through his attempt in his later works to address the thing. Based on these reflections, I rather wish Harman had talked a bit more about Heidegger's middle and later works and less about Heidegger's tool analyses from 1919 to 1927 which are the areas of Heidegger's project that seem to be Harman's main focus.
Despite the above mentioned similarities to Heidegger, Harman himself points out that common readings of Heidegger seem to be in tension with his own dismissal of context. When we consider Heidegger's tool analyses don't we come to see that the important point is the location of the hammer within the context of its world, and not its sensuous qualities or the way our consciousness engages with it? Harman suggests that here either Heidegger, or the interpretation of Heidegger, is mistaken. The object which is the hammer is more than either its place in a world context or its Husserlian constitution by consciousness. It has a radically unique existence that escapes from any of our attempts at reduction, paraphrase or contextualization in the same way Harman claims a work of art does. This brings me to a point of philosophical contention I believe I hold with Harman. This disagreement first began to come into focus when Harman described the Heideggerian elements of Lovecraft in terms of Kantian noumena. It then became much more clear for me when Harman criticized literary theories which focus on the historical context of a work.
Heidegger was able to dissolve the centrality of the subject/object distinction in philosophy, at least according to many readings, by shifting from an "object oriented" focus to an event oriented one. The reason that event ontology escapes the subject/object distinction is because subjects and objects are understood in terms of the larger events or contexts which alone make them possible and meaningful. To clarify this we might glance at Heidegger's "The Origin of the Work of Art". There Heidegger insistently shifts the discussion from one focused on the work of art to one focused on Art itself as a historical event. The art object and the artist both are discussed in terms of the art-event that makes each what they are. To discuss art, then, is to discuss the historical event in which art works and artists arise with both works and artists being recognized as secondary to the originary events within which they show up. A similar move occurs in Heidegger's later thought concern the thing. There things are understood primarily in terms of thinging, an event of meaningful interplay between the fourfold. At times thinging itself is even understood as the way in which the world and the fourfold come to appearance.
The important point here is that a major shift taking place in philosophy through Heidegger is a move from object focus to event focus. Events, of course, can become objects for us but when they are so experienced we have already lost them to distortion. This insight is consistent in Heidegger's work, from his earliest lecture courses to his latest essays. Where Harman, then, wants to talk about the impossibility of converting one object into another without distortion, Heidegger's insight was the impossibility of converting events in which we find ourselves into objects standing before us and apart from us without distortion. This, then, was the continual challenge of Heidegger's philosophy: to think the event from within the event without excepting oneself distortingly from it.
The above considerations make clear why Harman's concerns about objects being reduced to context seems to miss the point. Shakespeare's Hamlet wasn't an object within the context of Elizabethan England. Rather it was an event within the larger event of Elizabethan England which itself was an ongoing event within the larger event of Western History and so on. To understand adequately any of these events in isolation from the larger one they are part of is impossible and to exhaust the meaning of any of them is impossible, but neither of these facts means that these events were something over and beyond the woven tapestry of "context" which was their being. In this sense there is only context, no content. Or, rather, context is content and vice versa depending on the level from which it is experienced.
Harman assumes that we will want to account for some common sense intuitions that the above view seems unable to address, for example the idea that we are still discussing the same object even when we discuss alternative possible histories for it or alternative ways to use it. Hamlet, then, is Hamlet even if it had been a lost play or even if it is performed in the future in some dramatically avant garde manner (Harman actually mentions berries, and how they are the same berries whether they are shipped elsewhere or eaten where the grow). It is certainly true that event ontologies have trouble accounting for hard and fast lines between particular events or things. But the question is really how much hangs on this issue. There are practices (i.e. events) which allow for us to carve up what happens in various ways and other practices which offer other ways of carving things up. We have little trouble navigating these whether we are object oriented or event focused. Any such concerns can just as easily crop up when discussing objects with just as little real difficulties being raised (i.e. are we still dealing with the object that is Lovecraft's "The Call of Cthulhu" if one period has been mistakenly left out in the printing, or a whole page, or if it has been adapted and used in an avant garde theater performance, etc?).
I would like to offer a few closing considerations on the topic of horror and whether it was important that Lovecraft was a writer of horror. Although I have stressed Harman's use of the style/content distinction to dodge problems with some of Lovecraft's content, Harman also claims that a change in his view about the importance of Lovecraft as a writer of horror was part of what motivated his book. At the start of the third and final part of the book he suggests he will address the issue but his engagement with the subject is fairly minimal. It seems that his general suggestion is that horror is uniquely suited to bringing us face to face with situations in which we experience dramatic breakdowns in our relation to objects and their relation to their qualities. This certainly seems true, as does Harman's claim that Lovecraft's style still could have been used in a different genre. What Harman is touching upon seems to be an interesting reworking of the problem of the sublime from the perspective of phenomenology. As such, however, I tend towards the view that the sublime is always to some degree horrifying, as indeed is an experience of objects as always other than familiar qualities totalized in terms of our expectations, even when such experiences don't arise specifically within the genre of horror. How, then, are we to address the reverse question, not whether Lovecraft had to be a writer of horror but whether Heidegger, Kant and Husserl are necessarily in some sense philosophers of horror? Each in their own way are thinkers of the uncanniness of the ordinary even if, in Husserl and Kant's case, this aspect is not consciously recognized (we can, however, see this aspect of Husserlian thought brought out very strongly in Sartre). For this reason, I think there is a robust sense in which each is indeed a philosopher of horror, a philosopher who makes clear we are far less comfortable in the world than we attempt to convince ourselves we are.
It is possible, however, that there is one other aspect necessary to make one a philosopher of horror which would correspond with Lovecraft's writing. This missing aspect has to do with an element of Lovecraft's content that calls for the inclusion of a philosopher in the discussion who seems to have been overlooked. Lovecraft is not just committed to the breakdowns in experience Harman has discussed, he is also committed to an anti-rationalist view that insists that truth is not good for us. Consider this quotation from "The Call of Cthulhu":
"The sciences, each straining in its own direction, have hitherto harmed us little; but someday the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age."
It is this view, perhaps, which more fully makes Lovecraft a thinker of horror. It is not just that the world and its objects are other and stranger than we ever suspect it is also that we are not well served by knowing the truth concerning these objects, rather this truth destroys us. To find a philosopher of horror such as this we need to turn to Nietzsche, or students of Nietzsche such as Georges Bataille. In them is it suggested that faith in the truth, faith that it will be good for us and that it is better to know than not to know, is likely an ungrounded or false faith. But this view could not exist without one first having made the realization of the uncanniness of the ordinary, for example as found in Nietzsche's "On Truth and Lies in an Extra-Moral Sense". It seems that Lovecraft's style, with all of its overlaps with Kant, Husserl and Heidegger, is intimately connected to the claims concerning truth he makes within the content of his stories. If Lovecraft is to be the Hölderlin of Speculative Realism it is likely that thinkers such as Harman are going to have to come to terms more fully with the philosophical content of his horror and more fully grapple with the connection between his style and content. To do that they will likely have to turn their Husserl and Kantian-Heidegger to face Nietzsche, a challenge that Heidegger himself struggled with throughout his career.
Posted by William Koch at 2:14 PM
Labels: Graham Harman, Heidegger, Husserl, Kant, Lovecraft, Object Oriented Philosophy, Speculative Realism, Weird Realism: Lovecraft and Philosophy
1 comment:
I would like to thank Professor Harman for mentioning this review on his blog. As he mentions there, and I meant to mention myself above, I have not previously engaged with his work and so am indeed unaware of his own arguments against an event focused reading of Heidegger. Having enjoyed his book, I do indeed intend to read more of his work and consider further our disagreements on the interpretation of Heidegger.ReplyDelete
Subscribe to: Post Comments (Atom)


text:
MEXICO CITY (Reuters) – The finance committee of Mexico's lower house of Congress on Wednesday approved a draft law by the ruling National Regeneration Movement (MORENA) that it says will give pension funds more flexibility in how to invest their portfolios.
The first proposal to reform Mexico's pension system since President Andres Manuel Lopez Obrador took office on Dec. 1 could offer foreign investors more opportunities to tap into nearly $175 billion worth of pension savings.
However, critics cautioned the reform could also make it easier for Lopez Obrador's leftist government to use savings to finance its planned infrastructure projects.
Marco Antonio Medina, a senior MORENA member of the lower house finance committee, said under the new law Mexican pension funds would have greater flexibility in their investment choices and be able to generate greater returns.
Most lawmakers in the committee backed the draft law on Wednesday, but some from the opposition said it needed modifications to ensure savings were properly protected.
Fernando Galindo, a lawmaker for the opposition Institutional Revolutionary Party (PRI), said clear rules needed to be established on what pension funds could invest in, especially when it came to infrastructure projects.
"They need to be profitable infrastructure projects and there must be an analysis of costs and returns," in order to avoid "workers' savings being used politically," he said.
The centrist PRI and the center-right National Action Party (PAN), the biggest opposition group in Congress, want to amend the bill so that the Finance Ministry and the Bank of Mexico are consulted on the legislation and give their approval to it.
Financial inclusion is still low in Mexico. Only 31.3 million people, or 40 percent of the adult population, have formal retirement savings, a government survey in 2018 showed.
The bill now moves to the full lower house, where it can still be modified. If the measure passes, it goes to the senate.
Reporting by Stefanie Eschenbacher; Editing by Cynthia Osterman

subset: commoncrawl


text:
Shift in saving for Britain's 18-24s
Some Quick Facts:
- 1/3 are saving more than they were in 2008.
- Over 70% make an effort to save each month.
- 2/5 are preparing themselves for redundancy by saving for an emergency.
The recent rise in unemployment is having a surprisingly positive effect on the saving habits of Britain's youth, according to the latest research by money-saving website MagicFreebiesUK.co.uk.
MagicFreebiesUK.co.uk questioned nearly 1000 18-24s about their finances, and found that more than 70% are making an effort to save each month, despite 1/5 being unemployed. 60% are saving the same or even more than they were last year, with over 40% saving in case of an emergency such as redundancy.
With 731,000 18-24s currently facing unemployment in Britain – an increase of 36,000 compared with last quarter *[Source:ONS] – 18-24s have been hit the hardest by the recession, but the survey reveals that young people are taking the warnings seriously and making the effort to prepare for their future.
The results also showed that despite their reckless reputation, over 2/3 of young people in Britain do not spend anything on a credit card each month, and out of those that do, over 50% pay off their bill in full at the end of month.
Tom Bryant, founder of MagicFreebiesUK said: "In the current climate the future is uncertain for much of Britain's youth, but the survey has proven that young people are taking the situation very seriously. Almost half of the savers questioned put money aside for the future, rather than to spend on holidays or cars, and over 50% use a savings account to protect their money."
The results also revealed that only 1/3 of the sample surveyed saved nothing at all, while 25% of those that do save, manage to put away over £50 per month. The survey also demonstrated however, that despite almost 80% of young people use saving accounts, only 4% would trust an overseas bank with their money.
Updated daily, MagicFreebiesUK.co.uk features a host of money-saving ideas for the UK consumer including the latest free samples, offers and discounts as well as money making ideas and advice on how to make savings on household bills.


text:
A photo series by Susan Sermoneta for last night's Ladies and Gentlemen, the Fabulous Stains party:
Thanks everyone for making the night such a success and special thanks to the event's sponsors, Stella Artois, 42Below Vodka and Viva Radio.
A photo series by Susan Sermoneta for last night's Ladies and Gentlemen, the Fabulous Stains party:
Thanks everyone for making the night such a success and special thanks to the event's sponsors, Stella Artois, 42Below Vodka and Viva Radio.
TONIGHT ONLY! A special Film Society screening and party! Retrieve your angst, throw on your fishnets and doc martens and get ready to rock! Ladies and Gentlemen, the Fabulous Stains screens tonight, with a post-punk afterparty and raffle of memorabilia associated with the movie! We all know what happened last time. You don't want to miss out.
A special Guy Debord retrospective this weekend! You'll be thinking to yourself: the more things change, the more they stay the say the same while partaking in Debord's incisive, visionary take on culture in films such as Society of the Spectacle and In girum.
Brand new films you won't see anywhere else! No-holds-barred Korean thriller The Chaser and the whimsically wayward Mexican comedy Lake Tahoe later this week.
Check the filmlinc blog each day for exclusive dispatches from the series!
For a film that fell straight into the midnight TV movie lineup upon its 1981 release, Ladies and Gentlemen, the Fabulous Stains has certainly clawed its way up to the ranks of cult classic over the years. Credited as an early predecessor to the riot grrrl movement – Bikini Kill drummer Tobi Vail once called it "the most realistic and profound film [she had] ever seen" – the film follows 15 year-old Corinne 'Third Degree' Burns and her band, the Fabulous Stains, as they go on tour with a brash English punk band (members of The Clash and Sex Pistols moonlighting) and an aging American rocker unsuccessfully attempting to channel Gene Simmons. For what the film lacks in coherence – plotlines flare and fizzle, serious family issues are left unaddressed, and the ending is nothing short of completely bewildering – as a snapshot of the early stirrings of punk rock and fuck-you feminism, The Fabulous Stains is a resounding success.
In classic Hollywood rags-to-riches formula, after a disastrous first performance at a seedy local bar, the band suddenly takes off, generating an army of prepubescent fans united behind a common rallying cry: "We're The Stains, and we don't put out! (Ironically, as we soon find out, at least one of them does). Concert scenes and tour montages are punctuated by one of the film's most bizarre features – a pair of talking heads who spar over the band's role in corrupting America's girls. Trying desperately to impose a message onto The Stains' success, the newscasters serve as a welcome source of comic relief, and inadvertently reveal both the band and the film's most punk rock quality – the refusal to accommodate expectations.
– Jessica Loudis
Jessica Loudis' work can also be read at Black Octovo.
Check out Ladies and Gentlemen, the Fabulous Stains during Film Comment Selects, and then stay for a FREE post-punk afterparty with DJs courtesy of Viva Radio, a raffle of film merchandise and refreshments. Buy tickets: Wed Feb 25: 8:30
Our Oscar Micheaux series wraps up with some more underrated rarities of pre-war black cinema, including Hallelujah!, directed by King Vidor, the first sound film featuring an all-black cast.
No need to fret about your movie picks when Film Comment Selects! That's right, the yearly two-week series is here, and more provocative than ever. This week, see debut director Pablo Fendrik's minimalist thriller The Mugger, as well as two renowned classic documentaries: Demon Lover Diary and Seventeen. Check out the whole line-up.
Another Film Society party is here: Saved from late night 80s cable/USA Up All Night/Z Channel quarantine and slapped right onto the big screen, it's Ladies and Gentlemen, the Fabulous Stains! Come to see angst-ridden, pre-fame Diane Lane and Laura Dern in fishnets and then stay for the post-punk afterparty with DJs! Sponsored by Viva Radio. RSVP on Facebook or buy tickets.
The yearly two-week series of idiosyncratic visions, must-see restrospectives and the occasional nekkid lady handpicked by the editors of Film Comment is back and it's more provocative than ever. A few highlights of this year's selection:
A rare chance to see a pair of legendary cult documenaries from the early 80s by filmmaking couple Joel DeMott and Jeff Kreines. A must for fans of American Movie and American Teen, here's your chance to check out Demon Lover Diary and Seventeen.
A rocking Guy Debord retrospective. We whetted your appetite with In girum at the New York Film Festival, now you can fully immerse yourself in Debord's unique world-view. What you were looking for, puppy dogs and rainbows?
One more major Film Society screening and afterparty: see Ladies and Gentlemen, The Fabulous Stains–a backstage satire and valentine to the faded glory of punk featuring a then-unknown Diane Lane and Laura Dern in flaming eye shadow and fishnet stockings–followed by a post-punk afterparty featuring DJ's Dan Selzer (Acute Records) and Aileen Brophy (Corita). We all know what happened last time. You can RSVP on Facebook.
The Hurt Locker, Kathryn Bigelow's rewriting of the action genre, a high-adrenaline look at soldiers putting their lives on the line in Iraq that's been garnering lots of festival buzz and year-end list love.
An unrelenting new action thriller from South Korea (and a mega hit and award-winner in that country), The Closer.
Michael Almereyda's latest, Paradise, a fragmentary video diary that defies categorization. Almereyda will join author Jonathan Lethem onstage after the film for a Q&A.
Stayed tuned for in-depth coverage from the filmlinc blog, but for the moment, see the whole program here.


text:
MMAquotable.com | Motivational and Inspirational Quotes with pictures and images
Thursday, December 11, 2014
Jordan Brackins on lessons from MMA fighting
I've learned to stay humble whether you win or lose. Its taught me that no matter how good or how bad you are you always need to improve your game in MMA. I love the sport and its the best outlet for passion. I love the platform to express who I am and what I feel inside.
—Jordan Brackins
Subscribe to: Post Comments (Atom)


text:
John Hampu, a long time host for Spectrum Channel 1022, received the Regional Roxie Cole Leadership award on Saturday during the Keynote Address for the Central States Media Conference and Trade Show hosted by the Alliance City School District.
"I was very surprised," Hampu said. "I think the work that we've done here kind of exemplifies what the award represents."
The award is given to an individual in the media industry who is a community leader and strives to make a difference everyday. The recipient is chosen based off of nominations submitted from Ohio, Kentucky, Indiana and Michigan. Kyle Schwarz, director of Spectrum Channel 1022, nominated Hampu for his continuous dedication to the station and to the Alliance community.
"John handles all his roles as husband, father, grandfather, manager and host with professionalism and patience," Schwarz said in her nomination letter. "He is extremely reliable, has strong faith and is good natured, working well with both the staff and students at Channel 1022."
Hampu has been a host for Channel 1022, previously Channel 11, since 1992. He has hosted numerous shows over the years including Sup's On, AroundTown, It's My Alliance and Taking it to the Streets. He loves being able to spotlight Alliance students and community members by helping them to tell their story during interviews and programs.
His favorite programs each year are his interviews with the students graduating in the top ten percent of their class.
"The top ten percent is one of my passions," Hampu said. "These students are going to be success stories, they need to know how to communicate well."
Conducting an interview with each of the students encourages them to learn communication skills on a higher level and how to express themselves and their ideas. Hampu believes in order for a person to succeed and be the best they can be, they must be able to communicate well in front of others.
However, he recognizes that not everyone is comfortable behind a camera. He likes to help each person forget the cameras are recording and encourages them to focus on the conversation they are having instead.
During his time as a students at Alliance High School, Hampu was a member of the band and would often perform with his own musical groups.
"I am a musician, and because I am a musician I have the opportunity to stand in front of people," he said.
He was used to being in the spotlight and performing in front of people and cameras.
"When you're in front of people, you learn to know how to communicate a little more skillfully," Hampu said.
It only seemed natural for him to step up and assist with Channel 11 when the opportunity arose in 1992. While he didn't have a media background- in fact he was a teacher at AHS for many years- Hampu was a great fit to host shows because of his experience as a musician. He learned about the media industry along the way. Over the years, Hampu has helped the program grow and watched as Schwarz built it to include a variety of shows each week.
Hampu credits his success in life to three people- his late father, John N. Hampu; John E. Weitzel, his high school band teacher and Carol Hampu, his wife. He wouldn't be where he is today without their guidance and support.


text:
- Discussion
- Edit this page
- History
- Upload
Committee of 100
The Committe of 100 was a British ant-war group formed in 1960 by former CND (Campaign for Nuclear Disarmament) president Bertrand Russell, and Reverend Michael Scott.
Bertrand Russell, 3rd Earl Russell, OM, FRS (May 18, 1872 � February 2, 1970) was an English philosopher, logician, mathematician, historian, socialist, pacifist and social critic, who was awarded the Nobel Prize in Literature in 1950, "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought. He was imprisoned for his pacifist activism during World War I, campaigned against Adolf Hitler, for nuclear disarmament, criticised Soviet totalitarianism and the United States of America's involvement in the Vietnam War.
Reverend Michael Scott (July 30, 1907 � 1983) was a British anti-Apartheid activist and leading international promoter of Namibian independence. He was the first white priest to fight racial oppression in South Africa, shortly before it was formalised as apartheid. He was jailed four times and deported from three countries, including post-colonial India. The white settlers in British-ruled Kenya sang hopefully of killing him on safari.
Russell had left CND because its leadership would not sanction any form of unlawful protest (although many within CND did), and drew the line at marches and demonstrations, while he wanted to pursue a more militant course of direct action employing civil disobedience, as pioneered by Mahatma Ghandi, which demanded a policy of non-aggression and non-retaliation by protesters. Those involved would seek to occupy an area, defend their position, refuse to obey any order given during their protest, and allow themselves to be arrested without offering any form of resistance or making any retaliation.
The group produced its own bulletin, Resistance, which kept members informed of any current actions, and was also made available to related groups such as CND.
On February 18, 1961, the first action called by the Committee saw 5,000 protesters attend a sit-down protest at the Ministry of Defence in Whitehall. This was followed by a protest against nuclear testing, with marches and sit-down protests at both the US and Soviet embassies, and at the Holy Loch, where a US submarine refit facility had opened in 1961, to service American Polaris submarines.
On September 17, 1961, protesters blocked roads at both the Holy Loch and Trafalgar Square. A week before this action, 36 supporters had been summoned to appear in court for "inciting members of the public to commit breaches of the peace" and were considered likely to continue to do so. Asked by the court to bind themselves to a promise of good behaviour for a period of 12 months, 32 of those present, including the 89-year-old Bertrand Russell, chose the alternative of a one month prison sentence.
On December 9, 1961, some 5,000 demonstrators attempted to blockade the American Air Force bases at Wethersfield and Ruislip. The groups continuing activities led to an escalation in the official response, and prosecutions were been raised from a simple charge of incitement to commit a breach of the peace to one of the considerably more serious offence of conspiracy under the Official Secrets Act. Six organisers of the blockade were charged with this offence and later sent to prison.
The Committee of 100 was not only opposed to Western nuclear weapons, but also opposed Soviet nuclear weapons. In 1962, its Industrial Subcommittee organised a demonstration in Red Square, Moscow, handing out leaflets entitles Workers of the World Unite, calling for the abolition of all nuclear weapons.
1962 also saw the Committee's campaigns expand into areas other than nuclear weapons, taking on issues such as civil liberties in Greece, London's third airport at Stanstead, and the Wilson government's failure to provide a promised Vietnam peace initiative. The group expanded, and soon had a network of regional committees and working groups, all reporting to a National Office based in London. However, the group also became increasingly radical, with some members perceiving it to be part of a revolution against the state, leading Russell to resign from the London Committee of 100 and transfer his support to the Welsh Committee of 100. The public image of the Committee fell after this move, and by 1963 most of the original Committee member had resigned. Although the group had insisted that its demonstration were non-violent and peaceful, protesters had been surprised by the level of force used by the police, and this, together with the use pre-emptive arrests, would contribute to a dwindling level of support for the Committee.
In 1966, Committee members were responsible for the escape of convicted Soviet spy George Blake from Wormwood Scrubs Prison.
The Committee of 100 was finally wound up in October 1968.
Spies for Peace
Members of the Committee of 100 were involved with Spies for Peace, a group which believed in direct action using methods such as infiltration, and was responsible for revealing details of the Regional Seats of Government (RSGs) in 1963, a secret network of government bunkers intended for use in the event of nuclear war.
External links
You may add a comment or offer further details which may be included in the page above.
Commenting has been disabled thanks to the attention of scum known as spam commenters
Recent Page Trail:


text:
- For the title of Simply Heidi, see (Simply Heidi).
Heidi Turner is a student at South Park Elementary. Heidi is portrayed as one of the "popular girls" in the fourth grade. She is usually seen with Wendy, Bebe, Red, Nichole, Annie, Nelly, Jenny, Lola, and many other 4th grade girls. She hosted a sleepover in "Marjorine", at which most of the "popular girls" attended, once again illustrating her popularity. She has been shown with different parents in four separate instances, most likely continuity errors. She serves as the primary female character in Season 20 and Season 21.
Character Development
Heidi went from being a minor background character that was introduced in Season Three, to a much larger presence on South Park. Like other characters used mostly in the background of the early seasons, her model would be used to fill in space and occasionally was given color swaps.
Later, as the series progressed, Heidi was given a permanent color scheme and eventually a name, making her more usable for recurring roles. She obtained further establishment in the episode "Marjorine", where she was shown more prominently, hosting a slumber party.
Since then, she has kept her place in the girls' clique throughout the series. Her role had seemed to be gradually growing, but hadn't dropped off until "The Hobbit". Heidi became a key character in Season Twenty, as she was forced off of social media by the internet troll Skankhunt42, and eventually became Eric Cartman's girlfriend, joining with him to end the gender war engulfing the school.
Criminal Record
Heidi has committed the following crimes during the series:
- Civil Unrest/Rioting: Participant in the South Park Elementary gender war during "Proper Condom Use".
- Graft/Corruption: She, along with numerous other girls on the South Park Girls' List Committee, altered the list of cutest boys so that Clyde would be on the top, in order to get free shoes from him. This is graft, because Heidi abused her authority for personal gain.
- Assault: Got in a fight with Cartman at the beginning of "SUPER HARD PCness"
- Violation of Firearm Laws/Threatening with a deadly weapon: At the end of "Splatty Tomato", Heidi took the gun from Mr. White's hands and points it at Cartman's head, blaming him for the person she became.
- Theft: In "Moss Piglets" Heidi steals Jimmy and Timmy's Water Bears in order to make the school and the NFL cancel the Special Ed. Science Fair so she doesn't have to present herself as a judge.
- Sexual harassment: She is one of the many girls participating in Bebe's sex party in "Stupid Spoiled Whore Video Playset", making unwanted sexual advancements to the male attendants.
- Property Damage: In "Moss Piglets", Heidi attempts to destroy Jimmy and Timmy's Water Bears by drinking them. They survive, but that doesn't justify the fact that she intentionally tried to get rid of someone else's property.
- Sedition: In the movie, she was a member of La Resistance, a group with the goal of stopping the execution of Terrance and Phillip by the government. However, she did it to save the world from being ruled by Saddam Hussein and Satan, so it can be justified.
Voice Acting
She has had four voice actors throughout the series. Heidi is currently voiced by Jessica Mackinson, who has been voicing her since 2005. She was voiced by Mary Kay Bergman in South Park: Bigger, Longer & Uncut, which was her first speaking role. She was voiced by Mona Marshall from 2000-2001. She was voiced by Eliza J. Schneider from 2001-2005. In older seasons, her voice is similar to Wendy Testaburger's voice.
Heidi has dull brown hair. She wears a lime green jacket, dark brown trousers, and red gloves. In her initial appearance in "Rainforest Shmainforest", she had black hair (though it was shown as its later brown shade in various shots) and wore a green sweater when she wasn't in her choir uniform. She was also depicted with black hair in South Park: Bigger, Longer & Uncut.
When she was dressed like a whore in "Stupid Spoiled Whore Video Playset", she wore a white crop-top and matching skirt, very similar to Sally's. When dressed for bed, she wears lavender plaid pajamas with a pink collar and pockets, as seen in "Marjorine".
She looks similar to Linda Triscotti and Karen McCormick, who both wear the same clothes as Heidi. The only differences are their hairstyles, Heidi's lack of a hairclip, and differently colored hair.
In "Skank Hunt", she gains an orange hat with black, white, and purple accents; a purple flower is also attached to it.
Heidi starts to gain weight in "Doubling Down", following her discovery of "Beyond KFC". Her weight increases in "Moss Piglets", where she ends up being almost as fat as her boyfriend, Cartman. She also appears to have developed facial acne while fat, with pimple clusters on her left cheek and above her right eye.
In "The Problem with a Poo", she has lost all the weight and facial acne looking like her normal self again, though she is still wearing her hat.
- To see images of Heidi Turner, visit Heidi Turner/Gallery.
Heidi is often sweet and socially friendly, although in earlier seasons she proved to sometimes be unkind to the point of cruelty. In "Marjorine", she initially displayed a dislike of the 'new girl' Marjorine, openly mocking her, despite later comforting Marjorine and offering her a makeover as an apology for their teasing. She is a "popular girl" among the 4th graders, she was shown participating in the girls' meeting in "The List", discussing which girl's purse was the cutest. Since the major developmental growth of her character, and her promotion to a significant character in current seasons, Heidi is always portrayed as a genial, thoughtful, and sweet girl. Since Season Twenty, she has become one of the nicest and most socially sensitive girls in South Park, quitting social media after being horrendously bullied by a troll.
In "Sons A Witches", it is shown that Heidi cares a lot about her appearance, and as a result, it takes her longer than usual to get ready for special events. According to Cartman, she has "no time management skills, whatsoever."
A negative attribute to her personality is that she is very prideful. This is the reason why she's willing to tolerate Cartman's abuse as its revealed "Doubling Down" that she refuses to admit to her friends she made a bad decision by hooking up with Cartman, and when she does break up to with him, her friends mock her for ever dating him in the first place. This resulted in her getting back together with Cartman and allowing him to manipulate her emotions. In the following episode, "Moss Piglets", Cartman's meddling indirectly causes Heidi to become menacing, wicked, and dejected.
In the Season Twenty-One finale episode, "Splatty Tomato", Heidi hits her breaking point and was prepared to kill Cartman, blaming him for her negative personality change. She would soon come to realize that Cartman wasn't one who caused it but her own victim mentality. She decides to abandon the victim mentality and break up with Cartman.
As she appeared as her old self prior to her weight gain in "The Problem with a Poo", it can be assumed that she has also reclaimed her kind and caring personality as well.
Heidi and her parents were first seen in the story arc "Do the Handicapped Go to Hell?" and "Probably". When Cartman founded his church and the parents were trying to convince their kids to come back, Heidi went inside. Her dad told her to come back, but then a beam from the roof of Cartman's poorly made church landed on him, killing him, after she stated she didn't want to go to Hell. Although her father was dead, he was later shown alive in "Helen Keller! The Musical", telling his wife that he regrets cheating on her with another woman. She has a different set of parents in "Marjorine". Further, in "Cartoon Wars Part I" she was shown yet again with a different set of parents and a possible sibling. Her latest, again different, parents were shown at the end of "Proper Condom Use", and in "The End of Serialization as We Know It". All of these are likely continuity errors.
Heidi is seen crying and screaming, "No Robby! No!" over a dog's body, that appears to have been run over by a car. It is likely that Robby was her pet.
Eric Cartman
Their relationship goes all the way back to Season Four's "Probably", where her parents arrived to pick her up from Cartman's church. Cartman convinced them to let her stay, for selfish reasons, so she can be "saved".
They were paired together in "Follow That Egg!". Heidi was displeased when she was paired with him. Cartman, however, did show remorse for breaking the egg and asked Mrs. Garrison to let her pass and have him fail. However, this was done for a selfish reason, as Cartman figured an A and an F would average out to a C-. Since that episode, Heidi and Cartman didn't interact with each other, until in "Stunning and Brave". In that episode, Cartman calls Heidi 'clitty litter', which may suggest that even Heidi doesn't get along with him.
However, Heidi and Cartman developed a relationship starting in "The Damned", where she goes on to show Cartman a life outside of social media. In "Wieners Out", the two are confirmed to be a couple, and in a "Douche and a Danish", they surprised their classmates by kissing. The couple worked together to help Denmark get TrollTrace.com up and running. They even sing a song named Let's Come Together As a School with each other, when the children were making danishes for the fundraiser.
In "Fort Collins", Cartman is unable to tell Heidi about his bigotry in the past and lies to her about an incident with Jimmy. Their relationship becomes strained in "Not Funny", when Heidi is focusing all her attention to solving the rocket problem. However, at the end of Season Twenty, Heidi and Cartman are still together.
In the Season Twenty-One premiere episode, "White People Renovating Houses", their relationship becomes strained. Cartman begins to be annoyed with Heidi for not being submissive to him. He blames her for his unhappiness in their relationship, accusing her of being mentally abusive. Heidi grows confused, and cries, as she can't figure out why Cartman has been acting so indifferent towards her. At the end of the episode, Cartman breaks up with Heidi, and leaves her heartbroken.
In the following episode, "Put It Down", Cartman leaves Heidi a voicemail, threatening her that he will commit suicide if she doesn't take him back. Worried about him, Heidi accepts this, and they get back together.
The toxicity of their relationship plays a large role in the Season Twenty-One episode, "Sons A Witches". In the episode, Cartman grows frustrated with Heidi for taking so long to get ready when they planned to go to the pumpkin patch together. Instead of telling her how he felt, he attempts to spare her feelings and therefore any guilt he'd feel for telling her by irrationally attempting to get rid of her. Kyle reprimands Cartman for this, saying that "Heidi is a nice girl", and tells him that he should just break up with her instead of creating horrible schemes to get rid of her, adding that she didn't deserve to be treated so badly. Cartman dismisses this, and later he convinces Heidi to dress up as Gretel, while dressing himself up as Hansel. Immediately after he takes Heidi into the woods with him at night, and ultimately ditches her in the woods to die, and gets her kidnapped by a witch.
It was revealed in the episode, "Doubling Down", that Heidi tolerates Cartman's abuse towards her because she doesn't want to admit she made a mistake when she became his girlfriend. These feelings are directly influenced by the other girls, who laugh at her, and tease her for ever dating him, albeit playfully. They also expressed concern for Heidi's sanity, and her safety while in her relationship with Cartman, all holding a personal vendetta against him. Kyle addresses this and politely asks the girls to cease their teasing because it's making her feel insecure about herself. The girls assume that Kyle has feelings for Heidi, leading Kyle to question his relationship with her, and he soon develops an interest in her. After breaking up with Cartman the girls take Heidi out for dinner at Buca De Faggoncini, where they again chastise Heidi repeatedly for dating Cartman (all except Lola, who notes that Heidi already admitted she made a mistake). It soon comes to light that Heidi has become Kyle's girlfriend, angering Cartman. Cartman recognizes Heidi's confusion about what she wants and uses this to manipulate Heidi into taking him back while making her unintentionally prejudiced against Jews.
In the episode, "Moss Piglets", we see the result of the toxicity of Cartman and Heidi's relationship. Heidi's weight increases dramatically, and her tolerance to tank, turning into an emotionally damaged bully with really aggressive tendencies. Cartman and Heidi switched attitudes in their relationship, and Heidi grew irritated with Cartman, while Cartman became more compassionate, acting much nicer to her. Eventually, Cartman has enough of Heidi's antics and begs her to go back to being the sweet girl she once was, only for Heidi to refuse.
In "SUPER HARD PCness", Eric and Heidi enjoy being awful together, getting into a fist fight, and watching the premiere of Terrance and Phillip on Netflix. This parallels their early relationship from Season Twenty, and proves that their dynamic is healthiest when they're both either at their best or at their worst.
In the Season Twenty-One finale episode, "Splatty Tomato", Heidi battles with her inner conscience over her relationship with Eric. While walking with the boys through the forest, they pass landmarks from the previous season, including the bridge Heidi threw her phone into when she quit social media. She recounts and reassesses the events that lead her to meet Eric Cartman, and what made her fall for him. She later recognized the place where she was kidnapped by the witch from Halloween and Cartman had her dress up as Gretel realizing Cartman tried to have her killed. She then held Cartman at gunpoint blaming him for the person she became, but soon realized she's been engaging in self-victimization ever since she's been seeing Cartman. She decides to abandon the victim mentality and break up with Cartman. Cartman tries to get Heidi to take him back by threatening suicide but the attempt failed as Heidi is now fully aware of Cartman's manipulative nature and simply leaves him.
The two haven't had much onscreen interactions since then, but it can be assumed that they are currently on bad terms since their final break-up. Heidi is shown sitting far from Cartman in her two appearances in "The Problem with a Poo" implying that she's intentionally trying to avoid him. Likewise Cartman claims to have anxiety in "Buddha Box" because he can no longer trust or stand people anymore, possibly still holding Heidi in contempt for breaking up with him, and in "Board Girls" he insults her and the other girls for reading the rule books to win at board games.
Kyle Broflovski
Kyle first becomes concerned for Heidi in "Sons A Witches", when Cartman devises plans to kill her off right in front of him. Kyle reprimands Cartman for this, saying that "Heidi is a nice girl", and tells him that he should just break up with her instead of creating horrible schemes to get rid of her, adding that she didn't deserve to be treated so badly.
They briefly dated in the episode, "Doubling Down", after Kyle convinced Heidi to break up with Cartman, and they develop mutual feelings for each other. However Heidi breaks up with Kyle, inadvertently calls him a "dirty Jew", shocking him, and walks away with Cartman who manipulated her into taking him back.
In "SUPER HARD PCness", Heidi teases Kyle by comparing him to his mother.
In "Splatty Tomato", Heidi accuses Kyle of not wanting her around because he had a crush on her and she rejected him. In response, Kyle says he'd never be interested in who she is now, leaving her hurt.
In "The Problem with a Poo", Heidi returns to her old self and sits behind Kyle in the music room with the two showing no hostility, implying that they are now on amicable terms. However, it is unclear if they still have feelings for each other or not as they haven't interacted with each other throughout the rest of Season Twenty-Two.
Butters Stotch
In "Marjorine", she was angry that Marjorine, who was Butters in disguise, was coming to her sleepover. Heidi was the one that insulted Marjorine in the first place, although after seeing how much she had upset "her", she felt guilty and tried to cheer "her" up.
In "Members Only", Butters appears to get along with Heidi very well after he starts copying Cartman's behavior around her, much to Cartman's annoyance.
In "Moss Piglets", she tries to burden Butters into taking her role in judging the Special Ed Science Fair.
"Getting Gay With Kids"
Her earliest appearance in the show was in "Rainforest Shmainforest", as part of the Getting Gay With Kids choir, though her first appearance as a South Park resident was in the background in "Tweek vs. Craig".
The Girls
Heidi seems to be in good relations with all members of the popular girls clique. She is often paired up with one of the other girls either talking with them in the background or playing with them in the schoolyard, mainly Esther. When she hosted a slumber party at her house, she invited nearly all the girls in her clique.
In "Douche and a Danish", the girls are all shocked to see that Heidi is in a relationship with Cartman, Annie faints and Bebe vomits.
In the episode, "Doubling Down", Kyle discovers that Heidi tolerates Cartman's abuse towards her because she doesn't want to admit she made a mistake when she became his girlfriend. These feelings are later revealed to be directly influenced by the girls, who laugh at her and tease her for dating him, albeit playfully. Not intentionally trying to hurt her feelings. They also express concern for Heidi's sanity, and her safety while in her relationship with Cartman, all holding a personal vendetta against him. Kyle addresses this and politely asks the girls to cease their teasing because it's making her feel insecure about herself. The girls assume that Kyle has feelings for Heidi, leading Kyle to question his relationship with her, and he soon develops an interest in her. They later all treat her and take her out for lunch, trying to make her feel better which ultimately falls apart when Cartman is mentioned, and they all rip on him.
In the episode, "Moss Piglets", the girls notice how Heidi has changed, and express their concern for her as they watch her evolve into an entirely different person. Heidi's relationship with Cartman caused her to become deeply and emotionally deterred. Her attitude changed and all throughout the episode she acts savagely toward the girls, ripping into them, and teasing them. This is obviously meant to parallel Cartman's treatment of the boys, except with clearer roots.
In the episode "Splatty Tomato", she returns to them after she breaks up with Cartman.
In the episode, "The Problem with a Poo", she appears to be back on good terms with the girls as she's shown sitting with them during a school assembly.
In the episode "Board Girls" she is seen celebrating Heather Swanson's defeat with them.
- Many girls have the same hair as Heidi; Karen McCormick was an example until her hair was changed; likely to avoid this similarity.
- In "Skank Hunt", Heidi became the second female character shown to wear a hat, the other being Wendy.
- Other girls have the same jacket as her, such as Linda Triscotti from "Go God Go" and a red-haired background girl in Home Economics class in "Tweek vs. Craig".
- It was revealed in "Doubling Down" that she is of Irish descent.
- She hasn't been seen in the school assembly scenes during Season 23. However she did briefly appear at the end of "Board Girls", albeit amongst the other girls and wasn't wearing her hat.
- "Rainforest Shmainforest" - Debut appearance; she is shown in the Getting Gay With Kids choir.
- "Spontaneous Combustion" - Seen in the church.
- "Tweek vs. Craig" - First appearance as a South Park Elementary student; seen in Home Economics.
- South Park: Bigger, Longer & Uncut - First speaking role; she was shown singing the choir.
- "Hooked on Monkey Fonics" - She was seen at the school dance with the boys.
- "Mr. Hankey's Christmas Classics" - Singing "Mr. Hankey, the Christmas Poo" with the other children.
- "Do the Handicapped Go to Hell?" and "Probably" - She is first introduced, as a girl named "Marcie". Her father tries to stop her from joining Cartman's church, but gets killed in the process.
- "Helen Keller! The Musical" - She is shown crying over her dead dog Robbie.
- "Fourth Grade" - Briefly seen walking down the hallways, chatting with an orange-haired boy.
- "Trapper Keeper" - Briefly seen on the playground.
- "Scott Tenorman Must Die" - Seen at Cartman's Chili Con Carnival.
- "Proper Condom Use" - She is scared with the other girls that they might get pregnant.
- "Terrance and Phillip: Behind the Blow"
- "Professor Chaos" - Seen on the log ride at the amusement park.
- "Bebe's Boobs Destroy Society" - She is seen having lunch with Bill Allen.
- "The Biggest Douche in the Universe" - Seen briefly on the playground as Rob Schneider plays on the hobby elephant in the Rob Schneider Is Kenny trailer.
- "A Ladder to Heaven" - Seen in the background of the first flashback of the episode.
- "It's Christmas in Canada" - She was upset with Cartman, Kenny, and Clyde.
- "The Jeffersons" - Seen at Michael Jefferson's house.
- "Stupid Spoiled Whore Video Playset" - Seen with the "stupid spoiled whores". She was also seen at Bebe's party.
- "Miss Teacher Bangs a Boy" - Seen in the hallway.
- "Cartman's Incredible Gift" - Seen in the hallway, shocked at Cartman's "powers".
- "Grey Dawn" - Seen at the farmers market.
- "Casa Bonita" - Seen in the cafeteria and later at Casa Bonita with a possible adult relative.
- "Raisins" - Seen on the playground.
- "Marjorine" - Holds a sleepover, which Butters attends in hopes of stealing her fortune-telling device. Her name is revealed to be "Heidi" for the first time.
- "Follow That Egg!" - She paired with Cartman for the project, despite her objections; Cartman breaks her egg and pleads with Ms. Garrison to give her an A.
- "Smug Alert!"- Seen at Cartman's party.
- "Cartoon Wars Part I" - She was seen at the Park County Community Center.
- "Go God Go"- Seen in the corridor when Garrison celebrates getting a date.
- "Cartman Sucks" - Seen in the class.
- "Le Petit Tourette" - Seen at the toy store and at Whistlin' Willy's.
- "Imaginationland" - Seen at Cartman's party.
- "The List" - She was with a group of girls.
- "Eek, A Penis!" - Seen in hallways; background only.
- "Super Fun Time" - Seen during the field trip as Millie Larsen's partner.
- "Breast Cancer Show Ever" - Seen watching the fight; background only.
- "Pandemic" - Seen at the shopping center.
- "Elementary School Musical" - Introduces Bridon Gueermo in the first musical number.
- "The Ungroundable" - Seen in the computer lab and in the background on the playground.
- "The Ring" - Seen at the Jonas Brothers concert.
- "The Coon" - Seen looking for Mysterion.
- "Eat, Pray, Queef" - Her and the other girls had Samantha Dunskin queef on Butters.
- "Fatbeard"- Seen in the class.
- "Medicinal Fried Chicken"- Seen in the class.
- "Insheeption" - She was seen having lunch with the girls clique.
- "Funnybot" - Seen in the background.
- "T.M.I." - Seen in the hallway.
- "Bass to Mouth" - Seen in the hallways when WikiLeaks is being chased.
- "Reverse Cowgirl" - Appears on one of the bathroom screens sitting on the toilet.
- "Cash For Gold" - Seen in the background on the playground.
- "Faith Hilling" - Seen in the memeing class with the other 4th Grade students.
- "Jewpacabra" - Seen at the Easter egg hunt.
- "Butterballs" - Seen in the background at the school assembly and in the cafeteria.
- "Cartman Finds Love" - Seen in the background in the school's hallways.
- "Raising the Bar" - Seen in the Gym when Cartman talks about anorexia.
- "A Scause For Applause" - Seen in the background in the school hallways talking to Lola. Stan Marsh is cited to have asked her for a bottle of superglue.
- "Let Go, Let Gov" - Seen eating in the cafeteria.
- "World War Zimmerman" - She is shown to be one of the South Park Elementary cheerleaders; she is seen in the middle.
- "Taming Strange" - Seen in the background in Mr. Garrison's class.
- "Ginger Cow" - Runs off to see the Ginger Cow along with several other students.
- "The Hobbit" - Seen as a cheerleader.
- "Gluten Free Ebola" - Seen in the burnt down gym with the other students.
- "The Cissy" - Seen in the hallway.
- "Grounded Vindaloop" - Seen in the background in the school's hallways.
- "Stunning and Brave" - Mentioned by Butters Stotch as he spreads the news of Cartman getting four days of detention for calling Heidi "clitty litter".
- "PC Principal Final Justice"- Seen at the school assembly.
- "Member Berries"- Sits down during the American National Anthem, and is also seen in PC Principal's office.
- "Skank Hunt" - Quits social media in a dramatic way, by tossing her phone in the river. Although she Does not speak
- "The Damned" - Becomes friends with Eric Cartman and shows him life outside social media.
- "Wieners Out" - Seen in a relationship with Cartman, and notes that the two are "out of it now" after leaving social media behind.
- "Douche and a Danish"- Attempts with Eric Cartman to make a fundraiser for TrollTrace.com to stop cyberbullying. Cries when the plan fails.
- "Fort Collins" - Seen revealing her plan to identify Skankhunt42 using "emoji-analysis". Later lied to by Cartman to keep his internet history a secret.
- "Oh, Jeez" - Follows Cartman on his quest to go to Mars by walking to SpaceX's headquarters in fear of his internet history being exposed.
- "Members Only" - Along with Cartman and Butters, she tours the SpaceX building.
- "Not Funny" - Seen using EmojiAnalysis to solve a rocket science problem.
- "The End of Serialization as We Know It" - Seen at SpaceX helping Elon Musk trying to get to Mars. Later seen being walked home by Cartman.
- "White People Renovating Houses" - Cartman breaks up with her for not submitting herself to him.
- "Put It Down" - She gets back together with Cartman and helps him raise suicide awareness.
- "Franchise Prequel" - Asks Cartman if he still wants to go to the park with her. Later cancels plans when Cartman becomes agitated with her.
- "Hummels & Heroin" - Rallies with Marcus Preston after witnessing his presentation in the school cafeteria.
- "Sons A Witches" - Goes to the pumpkin patch with Cartman but they show up too late. Cartman gets her kidnapped by a witch as revenge. She is later rescued when the witch is killed.
- "Doubling Down" - Kyle and the girls convince her to end her relationship with Cartman. She and Kyle later develop mutual feelings for each other, and she becomes his girlfriend instead. Cartman twists her beliefs and takes her back.
- "Moss Piglets" - Is now molded into Cartman's image and picks on the other girls in the school cafeteria, and at the bus stop. Becomes irritated with Cartman. Drinks Timmy and Jimmy's science experiment.
- "SUPER HARD PCness" - Watches Terrance and Phillip's new Netflix series with the boys; frequently picks on Kyle by comparing him to his mother.
- "Splatty Tomato" - Fights with her inner conscience; dumps Eric Cartman.
- "The Problem with a Poo" - Seen in the school band and at the assembly. She has lost all the weight she gained in Season 21.
- "Bike Parade" - Seen at the bike parade.
- "Board Girls"- Seen at the Board Girls Gaming Club. She isn't wearing her hat.
South Park: The Stick of Truth
Heidi Turner appears in the girls' secret base, where she is revealed to be the two-faced bitch since the translated abortion records reveal that her mother had been to the abortion clinic. However, the girls soon forgive her since she's really sorry. She can then comment that the New Kid should stay as a girl, since it would be "so much better".
- ↑ "Jessica Makinson". IMDb.com.
|Turner Family
Heidi Turner | Mr. Turner | Nancy Turner | Robby
|See also:


text:
If you have actually been yearning to obtain your very own helicopter however have actually been required to sweep that concept under the mats due to budget plan constrains then this is the short article that you must check out. In this post you will be familiar with about " Absolutely no", which is a single person helicopter that has actually been developed by Hector del Am. The shape of the helicopter is circular and this is the only factor for it to be called hence. The copter looks really streamlined and the designer has actually utilized all modern-day innovations in this copter. Go to the link and be impressed at the current innovation by this designer.
So look out for personal helicopter you always wanted.
If you're trying to search for personal helicopter, you have actually stay on the incredible lading page.
More Info: mymodernmet
More Amazing Topics!


text:
Tuesday, October 27, 2009
1 down...3 to go!!!
my latest project(s)...designing some custom nursery art for a student of mine's new little baby brother! this is painting #1~ryan in autumn! there are 3 other seasons left to go. i am almost done "ryan in winter" and then i have spring and summer left to do! this is a big project but i am MORE than happy to do it for the walshes...they are such the perfect little family and i am soooo flattered that they chose me and my art to decorate ryan's nursery:)))
below is my pencil sketch...i always think it's neat to see how artists/illustrators go from the initial sketch/idea to the finished masterpiece:)
Posted by nicole at 8:51 PM No comments:
Thursday, October 22, 2009
"frozen"-illustration friday 10-16-09...and back from germany!!!
first things first...here is an illustration i did last year entitled "peek-a-boo". i thought it fit this week's illustration friday theme of "frozen". that is little me behind the snowman in my signature favorite colors~pink and orange. i LOVE winter and snowmen so i thought this would be a cute little illustration for a winter card. i wound up using it for an educational poster for the canadian company called sharing books and it is available for download though their website at www.sharing-books.com
second part of this blog...back from germany..with NO pictures...SORRY:( it was a whirlwind of a trip to say the very least!!! carsten's family was awesome and the language barrier had it's ups and downs, but for the most part, it was pretty easy to get along with them...considering my german was non-existent;)
the van gogh museum on sunday took a MAJOR back seat to the untimely and unexpected death of my paternal grandmom:( that was quite a horrific blow delivererd to me by my dad in the country of amsterdam thru a message! i was devistated to say the least and in the middle of a foreign country and completely helpless!!! i tried, for the sake of carsten to carry on with the trip to the van gogh museum bec i know we were in amsterdam for ONLY that reason. i couldn't let him down...he wanted me to see that place so badly considering it was my dream since i was a little girl. needless to say, it had hardly any impact bec i was so preoccupied with the news i had just received:( funeral services are tomorrow and back to work on monday! what a way to end my first trip abroad:(
i have so many things to pick up on starting monday when things hopefully resume to a normal state! hopefully there will be another opportunity to go to europe with carsten again:)
NOTE: wasn't real keen on the city of amsterdam but absolutely ADORED germany and the quaint little town of doerpen:))))
Posted by nicole at 2:02 PM 2 comments:
Thursday, October 8, 2009
frieda's fairy princess...and off to germany!!! and ironically, this week's new illustration friday topic of "flying"!
here is a sweet little fairy princess for my boyfriend's niece freida who lives in germany. we are going there this coming wednesday (oct. 14th) for his brother's wedding. i thought it would be a nice gesture to make frieda this sweet little princess...i am hoping she loves it:) i am nervous beyond belief!!! NEVER been out of the country and his family speaks NO ENGLISH!!! i guess i won't be saying much for 5 days, huh?;)
it will be a whirlwind of a trip to say the least. we land in amsterdam on thurs morn and take a train to germany to his parents then to a hotel to stay for the night before the wedding. friday is the wedding, saturday back to another hotel in amsterdam and then...the HIGHLIGHT of my LIFE...the van gogh museum on sunday!!! i am still in shock that i will be going there...it's all i have ever wanted to see my whole life and it is so sweet of carsten to take me there:) and then, home on monday! definitely going to be a whirlwind...but so worth it:)
this weekend i will be painting another fairy princess for my girlfriend laura's little girl mia:) i am hoping that painting will help take away some of my nervous energy and anxiety about the flight/trip on wednesday!!!
just an update- saw this week's new i.f. topic is "flying"...figured this piece was appropriate;) enjoy:))))
Posted by nicole at 10:15 PM 9 comments:
Monday, October 5, 2009
aubrey's apple tree...ALL DONE!!!
here it is...all done!!! i can't wait to give it to little aubrey for her birthday next week:)))
next project(s)...4 custom pieces of nursery art for a little baby named ryan. i figured since his mom wanted 4 paintings, what perfect way to incorporate the 4 seasons! timeless and adorable...little ryan sitting under an apple tree in a pile of leaves is my first sketch/painting for the season of autumn. i am still tossing around winter, spring and summer. below is the sketch for ryan in autumn. i am currently working on the painting...
Posted by nicole at 8:07 PM No comments:
Saturday, October 3, 2009
aubrey's apple tree
here is what i am working on now (well, one of the things anyway). this is a pencil sketch of a painting i am doing for my FAVORITE little girl in the world...aubrey:) it is a gift for her 5th birthday coming up on oct. 16th. she LOVES apples...anything made with apples and this girl is there;) apples and bees are her thing and i can't wait to give it to her!!! i am about 3/4 of the way done the actual painting and i'll be sure to post it as soon as it is complete:) down below is a photo of me and aubrey and her little brother derek...LOVE THIS GIRL!!!
Posted by nicole at 5:09 PM No comments:
Subscribe to: Posts (Atom)


text:
The flying machines of the Bengaluru International Airport play a crucial role in its smooth and safe operation.
Story by:
Bhushan Mhapralkar
As fire breaks out, two Rosenbauer 6×6 Aircraft Rescue and Fire Fighting (ARFF) machines rush to the spot with their sirens blaring and lights flashing. They come flying at speeds in excess of 100 kmph (they have a top speed of 120 kmph each) to the scene. Accelerating from 0 to 80 kmph in 25 seconds with a GVW of 36-tonnes each (including 12,500 kg of water, 1,500 litres of foam and 200 kg of dry chemical powder), the two Rosenbauer 6×6 airport trucks, painted in a shade of highly visible red, are a sight to behold as their canons unleash a strong spray of water mixed with foam. In a few seconds, the raging fire is out. Fortunately, the fire was a simulation of what could actually be the case, and how the ARFF machines are capable of clearing with it. Departing as quickly as they arrive, the two Rosenbauers, according to Javed Malik, the chief operating officer of the Bengaluru International Aiport, cost a million dollar each. "I get a fever if these machines are not running. The airport stops operating. And, if the Bengaluru Airport stops operation, the country stops flying," he quipped. The third busiest airport in India according to Malik, the Bengaluru International Airport is Indigo's second biggest base and Air Asia's largest base. It is thus well integrated into the network.
Procured in 2006 at a cost of Rupees-five crores each, the three Rosenbauer 6×6 ARFF machines are part of a fleet of flying machines the Bengaluru International Airport has come to acquire. Each Rosenbauer is propelled by a 705 hp 18000cc Caterpillar engine and contains a pump that can discharge 7000 litres per minute. The roof turret discharges 6000 litres per minute and the bumper turret discharges 1500 litres per minute. Designed and developed to meet the response protocol of reaching the edge of the runway in two minutes, unique about the Rosenbauer is its low visibility enhanced vision system. A highly sophisticated fire and rescue vehicle according to Selvaraj Anumugam, Deputy General Manager – ARFF, each Rosenbauer includes a forward-looking infrared camera mounted on the cabin roof. Equipped with ground spray nozzles to protect the tyres and the underbelly when driving over burning fuel, the low centre of the gravity of the Rosenbauer enables it to accelerate quickly, attain high speeds and indulge in high-speed manoeuvring. Each Rosenbauer has onboard breathing apparatus, proximity suits, hydraulic rescue tools, power saws and a 14 m extendable ladder. Looking forward to four new Rosenbauers (two 6×6 and two 8×8) joining the existing fleet next year as the second runway opens and a new fires station is commisioned to support it, the Bengaluru International Airport is banking on technology to stay ahead.
With a top speed of 140 kmph, the two Rosenbauer 8×8 ARFF machines will possess a boom with a nozzle and a drill that can pierce the skin of the plane if necessary to douse the fire more effectively. The operation will be guided by thermal imaging, and enable the boom to quickly attack the exact area of fire inside the aircraft to contain it. Leveraging augmented reality to stay efficient and successful, the airport experience air traffic movement of 700 aircrafts per day. Spread over an area of 4000 acres, the airport is preparing to handle 32 million passengers per annum next year compared to 27 million passengers last year. Anticipating the number of flyers to rise to ten per cent of the population compared to the current seven to eight per cent, the airport bridged the 95,000 people (embarking and disembarking) mark per day recently. This makes it the third busiest airport in the country. "Experiencing an air traffic movement of 700 aircrafts a day, the Bengaluru International Airport is keen to attain a digital edge. Setting benchmarks in various areas, it is looking at fire-fighting suits with augmented reality," said Malik. The firefighting suits with augmented reality would simulate conditions close to an actual fire incident and accordingly heat up. The suits would also simulate the lifting of a body by applying pressure.
Aligned to national disaster management, both for on-site and off-site and in case of a crash, the priority being saving lives, controlling the fire and the damage to property, the fleet of flying machines at the Bengaluru International Airport include a Mobile Command Post (MCP). The first airport in the country to procure such a vehicle in 2013, the MCP is built on a Swaraj 4×4 high ground clearance chassis. Capable of travelling off-road, the vehicle was built by Bengaluru-based Mitral Solutions. The command room seats four key officials across the table to direct an operation – give commands, control and co-ordinate, as per the protocol. Fitted with hydraulic stabilisers, telescopic masts (of up to 6 m) with 40 kg head load, mast mounted HD PTZ camera with VMS, wireless radios, GPS-based digital clocks, mast mounted heavy floodlights, PA system with four speakers, wireless microphone, auto-tracking mobile DTH TV antenna, a diesel generator and an UPS system, the MCP is also equipped with a foldable canopy, which would enable the officials to stand besides it.
Painted in an interesting shade of yellow, the five 'Follow-Me' vehicles of the airport in the form of customised Mahindra Scorpios do the job of guiding the aircraft to its respective parking bay soon after landing. The Scorpios also communicate with multiple command centres within the airport and oversee airside as well as runway maintenance. Equipped with VHF Communication and TMRS Communication Systems, the Scorpios are also fitted with a PA system with multi-directional broadcasts. Equipped with a Vega transmitter as well, to communicate and regulate aircraft traffic in coordination with Air Traffic Control personnel, the 'Follow Me' Scorpios have high-intensity searchlights to inspect the runway at night. A part of the airport fleet, the tool vans perform airfield electrical and recovery functions. They, according to a senior airport official, fix runway lights since fusing of two lights in a row renders the runway non-operational. Procured from Sweden, the Airport Surface Friction Tester (ASFT) in the form of a Ford Galaxy estate measures friction on airport runways and taxiways. It has a measuring wheel at the rear made of the same rubber that an aircraft wheel is made of. the wheel deploys to read the friction levels, essential for a safe and successful landing or take-off of an aircraft. Achieving a speed of up to 95kmh on the runway, the friction tester applies a thin layer of water (there are spray jets placed near the deployed wheel) on the surface as it moves down the runway to simulate wet surface conditions.
A MAN CLA 16.280 4×2 truck is the basis of the Bengaluru International Airport's Runway Rubber Machine (RRM). It is used to remove the rubber deposition caused by frequent landing and take-off of aircrafts, to remove painted lines on the runway, taxiways and apron. Built with a water tank capacity of 5000 litres and debris-holding capacity of 7000 litres, the vehicle also has a high-pressure water jet capable of generating a pressure of 2500 bar at a temperature of 12 degree Centigrade to clean 800 sq. m. per hour. Stated a senior airport official that they operate the spray at a pressure of 1400 to 1600 bar for 1000 to 1400 sq. m. area. The runway sweeper at the airport is a Mercedes-Benz Axor 4×2 truck. Clearing Foreign Object Debris (FOD), which is considered to be a great threat for aircrafts, the Axor is able to pick up metal objects as small as a bolt with a magnet beam fitted at the front of the truck. Also fitted with dust-suppressing water spray mechanism and an environmentally-friendly air-extraction diffuser, the truck uses an auxiliary 230 hp motor to power its vacuum system. The sweeper has a hopper capacity of 9.5 cubic m., a sweeping width of 3.5 m. at 40 kmph for cleaning an area of 14,000 sq. m. per hour.
For weekly centre-line painting, the airport has a special machine by Graco, USA. Equipped with a video guiding system for accuracy, it uses a hydraulic striping system with airless line striping technology. Powered by an 18 hp Kohler engine, the machine, called the Road Lazer, is equipped with three pumps that work at a maximum pressure rate of 2000 psi (133 bars) with a flow rate of 9.5 litres per minute per pump. The Line Lazer consequently is powered by a 160 cc Honda engine and is used to paint the lead line, etc. It has a maximum litres per minute flow rate of 8.14 at a pressure of 3300 psi (227 bar). The Bengaluru International Airport has a grass maintenance machine driven by a 90 hp Holland tractor. The machine, procured from Italy, called the Ground Master, trims lawns spread over the sprawling 25 acres with the help of a 35 hp liquid-cooled diesel engine. The engine presents the machine with a maximum mowing speed of 21 kmph with zero steering turning. The low centre of gravity of the machine gives it good stability when cutting the grass. High ground clearance enables it to climb an eight-inch curb. Yet another interesting machine that the airport has are the electric buggies, which perform the task of Foreign Object Debris (FOD) collection and disposal. Running at a maximum speed of 11 to 15 kmp, they have an integrated design to hold FOD collection bins and are equipped to carry four large-sized waste bins.


text:
Your shopping cart is currently empty.
Stentor 1372 3/4 Size Violin Case - Blue
Product code: 1372/C/BU
(£27.50 ex VAT)
Price: £33.00 (GBP)
(Read reviews)
Special Order Only: This product will be ordered exclusively for you more info
Special Order items are not held in stock and will be ordered from the manufacturer exclusively for you. When your order has been received, we will contact you to double check it is the correct item and advise an estimated delivery time. If your order is urgent then please contact us prior to placing the order to ensure we can meet your deadline. Please note that Special Order items do not qualify for Free Returns.
This product qualifies for
price match - If you see this item cheaper elsewhere, please forward the details or contact us and we will do our best to match, or even better the price.
Stentor 1372/C/BU 3/4 Size Violin Case - in Blue
1372/C/BU 3/4 Size Violin Case - in Blue by Stentor
We think:
Lightweight protective case, featuring reflective safety strips & useful zip pockets, ideal for students on the go!
- Lightweight hard case with plush lined interior
- Reflective strips for extra safety whilst on the go
- A large pocket possibly for sheet music, and small pocket for a potential shoulder rest
- Two bow retainers and compartment for rosin
- Shoulder straps included
- Blue finish
- Supplied in 3/4 size. Other sizes available
- When purchasing our Stentor Violin range - the Stentor I Violins come with these Blue cases, and Stentor II Violins are supplied with Red cases
Customer Reviews
Delivery & returns
UK Delivery costs for this Item are listed below.
For more detailed information on our delivery service please visit our Delivery Information page.
Please visit our Returns Information Page for full information on returning items to us.
For further country specific delivery information, please select your country from the dropdown below.
Delivery costs for this item
United Kingdom (Mainland UK)
- RM2,DPDStandard Delivery - £3.99 (GBP)
Delivery 2-5 days from order
- Standard Delivery - FREE
Delivery 2-5 days from order
- RM2,DPDExpress Delivery - £5.99 (GBP)
Next working day delivery (Mon-Fri) for orders placed before 2pm
- YXL,PALLarge Parcel Delivery - £4.99 (GBP)
- RM2,DPD,PIAWeekend Delivery - £16.99 (GBP)
Orders will need to be placed before Friday at 2pm to be delivered this weekend. If you order after this time, they will be delivered the following weekend
Loading Products


text:
What would you like to know?
Mortgage Calculator
For new mortgages, if the downpayment or equity is less then 20% of the purchase price, the amortization cannot exceed 25 years and the maximum purchase price must be less than $1,000,000.
Mortgage rates are estimates of current rates. No fees are included.
What is your availability for a viewing?
3795 Fir Street, Burnaby
$2,458,000Calculate Mortgage Calculate Mortgage
4571 Sq.Ft. 7 Baths 8 Beds 7,552 Lot SqFt 2018 Built
Google Maps Map WalkScore Email Us Request a Viewing
Gorgeous luxury New House, beautifully designed and layout of 8 bedrooms, 7 bathrooms with a big family room in Burnaby Hospital area, just a few minutes to Metrotown and Vancouver. Flat corner Lot on high side of street, 2 Bedroom Legal Suite & 1 Bedroom Nanny Suite with separate entrances as bonus. HRV/AC/Radiant Heat, Security Cameras & Surveillance, Designer finishing, hardwood, tile, Open kitchen with extra large Island & Spice Kitchen, Jenn Air appliances are chef inspiring. Supreme quality, fine selected materials and craftsmanship, built to last! Mountain & City Views! 2-5-10 Home Warranty. Come and check it out!
Taxes (2019): $7,835.16
Clothes Dryer ClthWsh Dryr Frdg Stve DW Garage Door Opener Heat Recov. Vent. Intercom Microwave Range Top Security System Smoke Alarm Vaulted Ceiling


text:
- Did you mean
- information rate
Search results
OCAMM odds & ends
constant-rate and variable-rate manure application on crops, soils, water and air. In year 1, the variable rate ...
The MCIC is pleased to welcome Dr. Jelmer Poelstra
The MCIC is pleased to welcome Dr. Jelmer Poelstra, who will lead the bioinformatics activities ... bioinformatics and computational tools for genomic analyses, as he has been working with high throughput ...
The rates listed below are for OSU/OARDC faculty. Rates for other educational institutions are 50% ... higher, rates for industry are 100% higher. We offer free technical help for first time pilot genomic or ... (non-OSU users only) $ 30.00/hour Bioinformatics MCIC Computational Biology Laboratory membership (for ...
CFAP Program for Beef Producers
Economic Security (CARES) Act and the Commodity Credit Corporation (CCC). Because of this, payment rates ... April 15, 2020 multiplied by the corresponding animal species CFAP Act payment rate per head. See CARES ... Act payment rate in Table 1. Part 2: The highest amount of livestock inventory (number of head) on ...
Economic Assistance Available for Dairy Farms
(CARES act rate) plus (1 st quarter milk production x 1.014) x $1.47/cwt. (CCC rate) The CARES rate of ... 1.4% production increase. The CCC rate represents anticipated price losses in April, May, and June. ... 1 st quarter milk production (cwt.) x $4.71/cwt. (CARES act rate) 7,280 cwt x $4.71 = $34,288.80 ...
Applied Precision Agriculture
prescription mapping, variable rate technologies, and remote sensing with a focus on practical application of ...
Performance of Mobile Power Units
engine power ratings, fuel efficiency and other factors affecting the performance and application of ...
Bioinformatics: The bioinformatics laboratory is accessible to users, however we can have only one person at the ... bioinformatics help or any other bioinformatics question you might have. He also keeps open office zoom hours ...
About Our Village
in the housing rates paid each semester (gas, water, electricity, cable television, and wireless ... list can be found above as well as items that are prohibited on campus. Rates & Fees Rates and ... Click the link above to view our current rates. The required $125.00 academic year housing fee allows ...
Tuition and Fees
Here's the scoop on tuition and expenses at Ohio State ATI. Rates are different for Ohio State ATI ... fees, housing and dining. The guarantee sets rates for in-state tuition, mandatory fees and housing and ... dining costs for each entering class of first-year Ohio resident students and freezes those rates four ...


text:
Sunset Hills Golf Course
- 6000 Sunset Dr, Guymon, OK 73942
- (580) 338-7404
18 total holes at facility
Green fees - $10 to $35 (estimate)
Built in 1942
Driving Range: Yes
Municipal golf course
Sunset Hills Golf Course is an 18-hole regulation length golf course in Guymon, Oklahoma. This short layout has 3 sets of teeboxes for a fun, but challenging golfing experience. Online tee times may be available at Sunset Hills Golf Course or at nearby golf courses, usually offered at a discount from the normal rate.
Back Tees
Course Rating
Golf Pro: Brett Wilson
Course Superintendent: Irvin Winters
Manager: Brett Wilson
Remember, in some cases there may be mistakes, even though the data is most often valid. Should you spot anything that needs updating, please visit this form.
Beneath this text, aerial imagery should load of Sunset Hills Golf Course at 6000 Sunset Dr, Guymon, OK 73942. If you can't find the course, try panning around and looking at the surrounding area.
Please login to add your review.