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Now available on iOS AND Android!
- Panel by panel navigation
- Full archives
- Official artist support
And here's another reason to love Comic Chameleon: The reading experience on a small screen is excellent. It's a panel-by-panel interface that plays perfectly for a strip like mine. It's just a great way to read comics on a smartphone.
- Brad Guigar, Evil Inc./Webcomics.com
Comic Chameleon is mobile webcomics publishing done right. Comic Chameleon aims to be the single, ultimate way for webcomic fans to enjoy all their favorite titles on iPhone and Android, and for webcomic artists to share their content with the massive and unstoppable mobile market. It's the first webcomics app being built by a webcomics artist, for webcomic artists.
Our lineup currently consists of 153 of the most amazing comics on the web, and we're also gearing up to expand to include as many titles as possible! Follow us on the Twitter and Like us on the Facebook or join our email list for updates on new comics, features, and platforms!
Also there's this video tour of the app in action, you know, if you like looking at awesome things.
Big news! People have been clamoring for a QC iOS app for a long time, and now there finally is one! NOT ONLY THAT, it contains dozens of other fantastic webcomics! It is called Comic Chameleon and if you have an iPhone or iPad you should totally check it out.
- Jeph Jacques, Questionable Content
- What are the device requirements for the Comic Chameleon app?
- What about an Android version?
- Can I please pay to turn off the ads?
- Is there an iPad version?
- Why does the app require iOS 8+ (and thus no iPad 1)?
- I'm a webcomic creator! Would you like to publish my comic?
- I'm a webcomic fan! How do I request my favorite comic?
so excited to be on @comicchameleon. it's a really neat reader app by a developer who works directly with the artists. thanks @bernieh!
- Meredith Gran, Octopus Pie
Bernie's doing it right — he contacted me and a bunch of other cartoonists, offered his development skills, worked out permissions and contracts, and I was thrilled to be a part of it. Now the app is out, and it's great!
- David Malki!, Wondermark
This app is the Real Deal, a webcomics reader made by cool dudes with creator authorization and revenue sharing
- Amazing Super Powers
- David Willis, Dumbing of Age


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The purpose of this piece is to shed some light on the way the intelligence community operates, to describe how legal rules shape some of its most sensitive work, and to offer a perspective on the way the Central Intelligence Agency (CIA or Agency) fits into the debate about interrogation and torture. The debate is not about, and indeed cannot be about, whether our government should conduct torture. The answer to that question is and must be, by law and standards of human decency, no. As recently as March 2005, CIA Director Porter Goss reiterated the Agency's position that it is bound by the laws banning torture and that the Agency adheres to those laws. But at a level deeper than the denials and the blanket statements, there is a difficulty that cannot be avoided. That difficulty lies not in the abstract form of the question, but in the real, on-the-ground scenarios that develop where interrogations are taking place. What can an interrogator do? When can she use deception, discomfort, fear, fatigue, punishment, physical contact, and similar tactics?
The CIA and the Torture Controversy: Interrogation Authorities and Practices in the War on Terror
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subset: commoncrawl


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Dental Laser Therapy
A laser is effectively a machine that pumps out trillions of photons (light particles) all at once in the form of a really concentrated light beam. It has been used in the field of medicine for 50 years now for various functions, including incision and cauterization, and it is also used to promote healing, reduce inflammation, and reduce pain.
The orthodontic industry has adopted the use of laser to enhance orthodontic treatment by literally getting to the "root" of the problem. Specifically, we use Low-Level Laser, which can reduce pain signalling and the sensation of pain, and also increase blood flow to remove the pain-inducing chemicals in the area. Ultimately, it allows us to effectively reduce discomfort and pain typically associated with orthodontic treatment.
In a recent issue of American Journal of Orthodontics and Dentofacial Orthopedics (AJODO), it was found that a single dose of Lower Level Laser Therapy (LLLT) applied immediately after treatment was effective in reducing the pain associated with braces. It was found that on the first day after a braces treatment, LLLT showed a 63% reduction in spontaneous pain and 56% reduction in pain on chewing when compared with placebo. And the effect lasts for a week after treatment!
LLLT had also been shown to be able to energize the cells to increase cell activity and cell growth, it has the potential to stimulate remodelling of the bone around teeth. This means teeth could move faster, resulting in quicker treatment time. Furthermore, when used after treatment is done, the bone could stabilize and adapt to the new tooth position better, potentially reducing the chance of relapse.
We are very pleased to be able to offer this fantastic treatment to our patients at PacificWest Dental Group, and we excited for the possibilities this treatment can bring to help us serve our patients better!


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Cyclist taken to hospital following collision with taxi
Published Thursday, July 2, 2020 5:35AM CST Last Updated Thursday, July 2, 2020 6:20AM CST
WINNIPEG -- A cyclist was taken to hospital following a Thursday morning crash in Winnipeg's Brooklands area.
Winnipeg police were called to the crash near Keewatin Street and Pacific Avenue West around 3 a.m.
The collision involved a taxi and cyclist, who was taken to hospital in unstable condition, but has since been upgraded to stable condition.
Northbound Keewatin was closed between Pacific and Roy Avenues as officers investigated. Police said Keewatin is open, but one police car is still on scene as they wait for a tow-truck, so there is a partial closure of a lane or two.


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Chris Donohoe (CEO, Chairman)
Chris is the founder of Seed Partnerships. Chris has CEO experience in funds management and considerable experience in the initiation, capital raising and management of Listed Investment Companies. Chris is a member of the investment committee of the Future Generation Global Investment Company, after serving as the co-CEO in the company's inaugural year. Prior to forming Seed Partnerships in May 2015, Chris was the CEO, Board Director and Compliance Committee Member at PM CAPITAL Limited. He was also the CEO and Director of the PM CAPITAL Global Opportunities Fund Limited (listed in December 2013) and PM CAPITAL Asian Opportunities Fund Limited (listed in May 2014). Prior to a 14-year career in funds management, Chris gained several years' experience trading in the derivatives and bond markets. Chris is a Graduate of the Australian Institute of Company Directors. He holds a Masters of Business in Finance, majoring in Funds Management, from the University of Technology, Sydney.
William Spraggett (Director)
Will is a Partner of Seed Partnerships and was previously Head of Listed Managed Investments (LMI) at Bell Potter Securities. In that role he was responsible for the LMI research function including the author of the highly regarded LIC Weekly and Quarterly, and actively involved in a large number of capital raisings in the Listed Investment Company space. Prior to that appointment Will was an Equities Analyst with Bell Potter Securities and IWL Limited, and an Analyst with Goldman Sachs International. Will Spraggett is a passionate financial services executive with over 20 years' experience in the industry. Will is a director of ClimateWorks Australia. Will holds a Bachelor of Business, majoring in Economics and Finance, and has passed Level II of the CFA Program.
Fraser McAusland (Executive)
Fraser has over 25 years' experience in the financial services industry, having begun with Deutsche Bank in 1995. Fraser has worked for international and domestic investment banks such as Macquarie Bank and RBS. Initially in Fixed Income, Fraser settled in the Equities business, focusing on the structuring and distribution of protection strategies for large single stock holders in ASX listed companies, through financial planners and private banks. Most recently Fraser was Head of Investment Sales business at BT Financial Group.
Nicholas Morris (Executive)
Nick has over eight years of experience in capital markets and financial services. Most recently Nick worked in the Corporate Finance team at Ord Minnett where he was responsible for executing wide variety of capital raisings, including public and private transactions across debt, equity and hybrid structures. Prior to joining Ord Minnett, Nick worked in Suncorp Bank's Treasury team where he spent time in Funding, Sales and Balance Sheet Management teams. Prior to Suncorp, Nick worked as an investment analyst for a boutique private equity firm.
Eleanor Salt (Executive)
Eleanor is a Marketing and Communication Executive of Seed Partnerships, and was previously employed at BT Financial Group in the area of Investment Distribution. During her time at BT, Eleanor was actively involved in coordinating pitch and tender opportunities, campaign management, marketing and stakeholder liaison for the wider sales team. Prior to joining BT Financial Group, Eleanor was employed at Ascalon Capital Managers in a support role to the Head of Ascalon Capital Managers Australia.
Advisory Committee
Andrew Reeve-Parker (non-executive)
Andrew has over 20 years experience in the financial services industry. He is a representative director and responsible manager of NW Advice Pty Ltd, and is responsible for providing advice to NW Advice Pty Ltd clients, principally focused on strategy and asset allocation. Andrew is a non executive director of Absolute Equity Performance Fund and Datacenter Limited, and representative director and responsible manager for Wealth Focus Pty Ltd and Personal Choice Management Pty Ltd.
David Willington (non-executive)
David is the founder and Managing Director of Mannagum Capital, a company that provides advice and capital to clients on a diverse range of corporate transactions. David has 25 years of experience in corporate finance and has significant international experience on transactions with enterprise values of between A$10m – A$2b. David was previously a Senior Equity Partner for 11 years at Deloitte Corporate Finance where he was responsible for advising clients on major merger, acquisition and capital raising processes.
Prior to that David was a senior investment banker at Citigroup and N M Rothschild & Sons. David is a Chartered Accountant, Fellow of FINSIA, has a Masters of Applied Finance and a Bachelor of Commerce.


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MIAMI — Hurricane Jeanne appeared to be zeroing in on the Southeast coast Thursday, and forecasts put Florida firmly in the deadly storm's sights with landfall possible this weekend.
While meteorologists at the National Hurricane Center in Miami said Jeanne and its 100-mph top sustained winds could hit as far north as the Carolinas, storm-battered Florida was a more likely target than it was a day earlier, said Eric Blake, a meteorologist at the hurricane center.
"It's time for Floridians to seriously pay attention," Blake said.
At 5 a.m. ET, Jeanne was centered about 475 miles east of Great Abaco Island in the Bahamas. It was moving west near 3 mph, a speed that would bring it near Florida by Sunday. An eventual turn to the northwest was predicted, but it was unclear if that would happen before Jeanne reached Florida.
Bahamas in storm's path
Jeanne could first pass over the northwest and central Bahamas; those areas were under a tropical storm watch. Blake said it seemed less possible that Jeanne would curve back out to sea and avoid land.
Jeanne was blamed for more than 1,070 deaths in Haiti, where it hit over the weekend as a tropical storm and caused severe flooding. It moved out to sea before looping back toward land.
Many Floridians hoped that they were done with hurricanes this year. Hurricanes Charley, Frances and Ivan hit the state over a span of five weeks this summer, causing billions of dollars of damage and more than 60 deaths.
Ivan's remnants reformed Wednesday into a tropical storm in the Gulf of Mexico and were forecast to make landfall again by early Friday in either Texas or Louisiana. As a hurricane, Ivan battered the southeast last week, killing at least 57 people before breaking apart. One of the pieces headed back across Florida into the Gulf and became a tropical storm.
At 5 a.m., Ivan had top sustained winds near 40 mph and was about 180 miles southeast of the upper Texas coast, forecasters said. It was moving north-northwest near 15 mph.
Karl, Lisa remain far at sea
Meanwhile, Hurricane Karl stayed on an open-ocean course that only threatened ships, while Tropical Storm Lisa moved slowly far out in the Atlantic.
Karl, the seventh hurricane this season, had top sustained winds near 125 mph, up from about 110 mph a day earlier. It was expected to weaken as it moved over cooler waters. At 5 a.m., Karl was centered about 1,150 miles west-southwest of the Azores and was moving north-northeast near 23 mph.
At the same time, Lisa had top sustained winds near 50 mph. The 12th named storm of the season was centered about 1,180 miles west of the Cape Verde islands and was moving west near 2 mph. Lisa was expected to turn toward the northwest, possibly following Karl's path in open seas.
The hurricane season ends Nov. 30.
© 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Real Effects of Exchange Rate-Based Stabilization: An Analysis of Competing Theories
NBER Working Paper No. 5197
This paper uses a unified analytical framework to assess, both qualitatively and quantitatively, the relevance of the different hypotheses that have been proposed to explain the real effects of exchange rate-based stabilizations. The four major hypotheses analyzed are: (i) the supply-side effects associated with an inflation decline; (ii) the perception that the exchange rate peg is temporary; (iii) the fiscal adjustments that tend to accompany the peg; and (iv) the existence of nominal rigidities in wages or prices.
Machine-readable bibliographic record - MARC, RIS, BibTeX
Document Object Identifier (DOI): 10.3386/w5197
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- "Tull. Tull! TULL!!"
- ―Chant in the Dool Arena of the The Broken Tusk
Tull Raine was a pit-fighting Barabel shock boxer. He held the Outer Rim Title for years during the Age of the Galactic Empire and into the New Republic. He did most of his fighting in the Dool Arena of the The Broken Tusk on Reuss VIII.
An absolute monster of a Barabel, Tull Raine had been fighting in the Outer Rim for years and showed no signs of stopping or slowing down. Of all the other fighters in the Dool Arena, Tull held the ominous distinction of killing the most opponents.
It should be noted that he was not unbeatable, however. Other top contenders in the Dool Arena had beaten Tull in matches before. However, his reign remained uncontested and unblemished as he hadn't lost a fight since winning the title.
Personality and traitsEdit
Tull's personality was the same as his fighting style: blunt, aggressive, and punishing. He was not much of a conversationalist and any argument he had quickly devolved into a fight. He was a bit of a showman, turning his shock boxing gloves up to the max and performing a quick shadowboxing routine that sent blue sparks arcing through the air until he pounded his fists together in in a thunderous explosion of blue energy.
Skills and abilitiesEdit
Enormous natural strength combined with tremendous skill in boxing resulted in a supreme combatant that earned his title with every fight. He was also very intimidating when he wanted to be, knowing just how to glower and growl to make even the staunchest enemy cower.
He wore custom-made shock boxing armor and used a pair of custom shockboxing gloves that allowed him to dial the energy delivered up or down as required.
Behind the scenesEdit
Tull Raine was designed by Paul Danner and Bill Smith for Wretched Hives of Scum & Villainy, a supplement for the Star Wars: The Roleplaying Game that was published by West End Games in 1997.
- Fists of Ion on Hyperspace (content removed from StarWars.com; new link on Suvudu; backup link) (First appearance)
- Wretched Hives of Scum & Villainy (First mentioned)
- Ultimate Alien Anthology
- Galaxy at War
- Take Me Out to the Ball Game: Sports in the Star Wars Galaxy, Part 2 on StarWars.com (article) (backup link)


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How Long Will My Divorce Take?
One of the most frequently asked questions by those approaching divorce is, "how long will the process take?" Of course, each case is unique. It is very difficult to pinpoint the exact length of time your divorce might take to finalize, as there are many factors at play. Some of those factors include the following:… Read More »


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Apple's Tim Cook has, in a brief Time op-ed, laid out a mini-manifesto for what sweeping privacy regulation in the US might look like. Here's the crux:
[W]e believe the Federal Trade Commission should establish a data-broker clearinghouse, requiring all data brokers to register, enabling consumers to track the transactions that have bundled and sold their data from place to place, and giving users the power to delete their data on demand, freely, easily and online, once and for all.
Apple has come in for some criticism lately for talking a big game on data privacy, while simultaneously enabling firms like Facebook and Google to collect it through the iPhone.
But this piece from Cook seems to consider the wider picture, taking aim not so much at the big firms already in the spotlight, but those working behind the scenes to scrape together data from various dubious sources and sell it on to advertisers. For a dissection of how that can happen, I'd recommend this alarming New York Times investigation published last month.
Here's what Cook says on these so-called "data brokers":
Right now, all of these secondary markets for your information exist in a shadow economy that's largely unchecked—out of sight of consumers, regulators and lawmakers.
Let's be clear: you never signed up for that. We think every user should have the chance to say, "Wait a minute. That's my information that you're selling, and I didn't consent."
If Cook's recommendations come to bear, it will leave the question of what happens to the internet advertising economy if its most important commodity – personal data – is restricted.


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The FYP Podcast is supported by The Athletic. Visit theathletic.co.uk/fyp to start a 30 day free trial and receive 50% off your yearly subscription (£2.5 per month).
A very upbeat podcast this week as JD, Kevin, Enders and pod debutant Chloe Petts look back at the very enjoyable win over Aston Villa.
They also laud the Ghanaian Messi, Jordan Ayew, answer your questions and feature an article from pod sponsors The Athletic.
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The best way is to subscribe on iTunes here
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Saam Gabbay's silver dream: shooting the 'Triple Nickel' bike
© Saam Gabbay for Petrolicious
US-based photographer and filmmaker Saam Gabbay teams up with classic bike enthusiast Stacie B. London to showcase her passion for racing in a film that touches on something more, as CPN Editor David Corfield discovers...
A conversation with Saam Gabbay takes many twists and turns. In the space of 45 minutes we go from animated discussions on philosophy, film and Porsche 911s to human behaviour and man's continuing search for expression. Gabbay is as much occupied by people as the machines that define them. And in the case of Stacie B. London and the 'Triple Nickel', it was too good a story to miss...
A what? The 'Triple Nickel' is her affectionate moniker for a 1968 Honda CB160, a stripped–back racing motorbike that has become her passion as she races it across the USA in the American Historic Motorcycle Association race series. Saam ran into her at an art gallery and soon realised that she would be the perfect subject for a motoring website called Petrolicious that creates beautiful films of individual, engaging people for its discerning audience.
Saam takes up the story: "Stacie has a unique speaking cadence and I thought it would be great to have her describe her world to the Petrolicious audience. At the same time, motoring has been shot in just about every way and yet we still feel the need to bring a new angle to the genre. I wanted my film to feel handmade and intimate, so no sit-down interview, no dolly shots, no slider, no slo-mo. I wanted it to feel live and raw."
Saam likes to bring a spirit of improvisation to a shoot, invoking curiosity. "Stacie was very generous with her inner workings and I was grateful for our connection during filming. It definitely opened the door for me creatively," he remarks.
"My experience is that people show up depending on what kind of room you give them. I know Stacie as a competitive racer and I was thrilled she shared an incredibly vulnerable version of herself. You don't necessarily see the hard racer; this film was more about her journey."
If there is a sense of 'winging it' for Saam, it's for good reason. "When I do observational documentaries, it just seems like I show up with gear and just start, with no visible agenda," he smiles. "That's not what's going on inside me of course. I feel more like a jazz musician. When people listen to a pianist improvise, they forget that actually that piano player has been playing for, like, 20 years... I wouldn't say the piano player was winging it as much as flowing with it."
He continues: "I show up to shoots knowing that as a creative, it's my duty to contain the nausea and absolute terror of knowing that nothing is there. Nothing is pre-organised. It's that terror of responsibility. But there is this weird pull inside of me that says that if I apply my process and apply my expertise then the story will present itself. I just need to dust and chip away until it starts to piece itself together. I love working this way because it requires that I forget entirely about myself and get into an acute state of listening and curiosity, focusing my attention on the subject. So it was with Stacie, and I was lucky that what unfolded was magic."
"We started off by filming her in her garage as she prepared the bike for an upcoming race weekend. I took my EOS 5D Mark III , EOS-1D Mark IV and a handful of EF L-series lenses – 16-35mm f/2.8, 24-70mm f/2.8, 85mm f/1.2 prime and a 70-200mm f/2.8 – and filmed her as she prepared her engine and got the bike rebuilt ready for testing. I shot inside the bike shop with mixed available light and would sometimes leave the [EOS] 1D [Mark IV] on the monopod on a tight shot as I would move to another camera to get timelapse."
"Probably the first question we all get asked as creatives is 'what kind of camera did you use?' and every so often I reflect on why I use the gear I have," Saam ponders. "Every camera creates a different connection to the subject, so what we point at the world really makes a difference. But the biggest decision for me is how a camera feels, and Canons feel a part of me. I truly love holding them."
He continues: "The really great thing about the EOS 5D Mark III is that – as well as being easy to shoot both still and video – the image quality continues to astonish me. Every iteration of this camera increases its wow-factor. It's the ideal camera for do-it-alls and Canon has done a wonderful job of making it easy to go back and forth from stills to video."
"For my kind of work, a camera is much more than just its technical specs," Saam affirms. "The EOS 5D Mark III is not a threatening object. You choose your camera according to the impression you want to make and to be successful at films like 'Triple Nickel' I believe it's important to be able to disappear – which is so unlike me usually because when I'm with a group of people I'm the loud clown and a complete pain-in-the-ass! Shooting with a stripped down 5D creates a very different on-set psychology than when I'm shooting a built-out C300 kit with a cage and booms and such. Ultimately for me, what makes Canon special is that it feels like home in my hands. The Canon UI for me is 'home'. When I shoot with a 5D I add the BG-E11 battery grip because I like the extra weight and balance. Let's face it, aren't they just beautiful objects? I love their form and that is important to me as much as how they work and the quality they give. I like a camera that is a muse!"
"Speaking of quality, I wish I had a photograph of people's faces when I lift up that 85mm f/1.2 prime," he laughs. "That in itself is a joy to watch. My bare-bones rig consists of a Zacuto finder on the back of the 1D or 5D to help with focus and a RODE mini-boom mounted to the hot shoe for sync and backup sound. For this shoot I had the main camera mounted onto a monopod with a tripod base, with a fluid ball head that allowed me keep the camera alive. I used a couple of external audio recorders placed around the bike shop to capture dialogue."
"After the initial garage scenes we then took Stacie and her bike to El Mirage Lake, a dry lake bed in the Mojave Desert in San Bernardino, California, where she could perform some tests with no speed restrictions – and also because those bikes don't really have brakes. That's what I really wanted: just her, in her leathers, on the bike, riding flat out and free of other visual distractions. I filmed her out of the back of the Petrolicious camera van and let me tell you, I'd never experienced dust like it... thank you EOS-1D Mark IV! I looked like a white zombie from a 'Mad Max' film and I was grateful that the camera was weather-sealed. Everything cleaned up just fine. I only regret not having a photo of me with eye-cup raccoon eyes…"
Saam continues: "Many photographers and filmmakers use physical sensations inside them to guide their creative decisions when in the moment of shooting. I'm hooked on those feelings, of being in the zone and focusing on the positive. I shot hours of footage for this film – literally gigabytes of stuff – because I would get no second chance. When I know I am getting good material I often get quite animated and vocal and by the end of the second day in the desert I had no voice left! That was definitely a good sign."
There were five very distinct ways this film could have been edited. Saam reflects: "We could have focused on Stacie's accident, or the motor build, or her race day with the Le Mans-style start. Nadia Fugazza, Petrolicious' in-house editor, had an immediate sense of how to focus on the human nature of the film and did an expert job of wrangling all the material."
"I'm grateful to Petrolicious for the platform they have created for filmmakers. Petrolicious handled all of the post-production. The colouring was very true to how it was shot. I'd say 90 percent of what I wanted made it to the final cut. That's not bad going when you hand over your footage to somebody who wasn't there. For the stills, I took a lot of yellow out of the sand in the desert and I moved the blue hues of the sky. I was very pleased with the colour on the stills and impressed with the tonal range of the 5D in that harsh desert light."
"As much as I love motoring, it's always about people for me," says Saam. "This film is not just about a bike. It's a moving portrait of Stacie," he concludes. "It's about her heart and her love. And I couldn't have got that with any other camera. I believe in serendipity. No other camera lets me move so quickly."
To view Saam Gabbay's complete film on the Petrolicious website, shot with the EOS 5D Mark III (with the EOS-1D Mark IV used for B-roll footage), just click here!
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Biografie: Saam Gabbay
© Saam Gabbay
Saam Gabbay is a director, photographer, and creative director based in Los Angeles, USA, and working internationally. He has collaborated with some of the most recognisable brands in the world including Apple, Shell, Toyota, Acura, Infiniti, PlayStation, Ford, Coke and TrueCar in motion graphics, directing commercials, branding, photography, interactive, and music. Outside his commercial projects, his photography has been published in Numero, Big Magazine, Flash Art, Art Forum and "911 Love," a new book about the history of the Porsche 911. Fine art collaborations with Katy Schimert, Kip Fulbeck and Michael Joaquin Grey have been exhibited at the Whitney Museum of American Art, MoCA, and the Tate Modern, plus museums and galleries worldwide.


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Henry Jacoby was born in 1733 in Zweibruecken, Pfalz. This region was known as the Palantine, an area of present day Germany which had been devastated by years of conflict and war. He was the son of Peter Jacoby (1709 – 1761) and Maria Elizabeth Jacoby (1708 –1790) who immigrated here in 1741 when Henry was a child of 8 years.
The Jacoby family resided in Bucks County, Pennsylvania, where they, like so many German immigrants, made a living farming. Sometime around 1760, Henry married Maria Kern, the daughter of Frederick and Anna Margaret Kern. She was born in 1742 in Rockhill township, Bucks County, Pennsylvania.
Henry Sylvester Jacoby, in his book, The Jacoby Family Genealogy, 1930 provides comprehensive detail of all records regarding Henry and his family. Tax records show that he lived in several places as the family migrated north out of Bucks County into Northampton County. In 1761 they were living in Springfield Twp., Bucks Co., and from 1762 to 1772 various records locate the family in Salisbury township where in 1766 the birth of his son Peter is recorded in the Jerusalem Church. By 1775 he is found in Lower Mount Bethel Township, Northampton Co. where the tax list for January 1775 shows, "Henry Jacobe, 200 acres of land, 100 acres cleared, 20 acres sowed, 2 horses, 3 horned cattle, no sheep, 4 mills, no inmates, no negroes and no bond servants." (Jacoby, 99) While these records are referenced in the book, they can be located online through different sources like Ancestry.com, Heritage Quest, and Family Serch.com
Henry and Maria were the parents of six children who were: John, 11 December 11,1761; Peter, September 11, 1766; Catherine, August 31, 1769; Elizabeth, April 17, 1772; Mary, born in 1774; and Susanna, born about 1776.
Henry was involved in service to the Militia throughout the duration of the Revolutionary War. His name appears many times with different spellings in the Pennsylvania Archives, 5th Series, Vol. 8, p. 406, 412,426, 429, 559 and others. Henry Jacaoby, private, 1st class, 3rd Company, 6th Battalion, Northampton Co. Militia, Captain John Nelson, May 14, 1776. Henry Jacobie 1st class, in the Muster Roll of the 6th , Battalion of Northampton Co. Militia, for May 14, 1778, 3rd Company, Capt. John Nelson. Henry Jacobe , Private, 1st class, 3rd Company, 5th Battalion, Northampton Co. Militia, Captain Hugh Gaston, 1781. And Henry Jacoby, 1st class, Capt. Hugh Gaston's, Company of Militia, 5th Battalion of Northampton Co.,1782 among others. His service is recognized by both the DAR (Ancestor #: A061388) and The Sons of the American Revolution (membership # 75838)
Henry Jacoby is found on the Census records of Lower Mount Bethel for 1790 and 1800. He died November 12, 1809 and is buried in the Scotch Irish Cemetery in Martins Creek, Northampton County, Pennsylvania. His wife, Maria Kern Jacoby, died August 25, 1812 and is buried in the Warrior Run Presbyterian Church Cemetery, near McEwensville, Northumberland County, Pennsylvania. "In memory of Mary wife of Henry Jacoby who died August 25 , 1812 in the 71 year of age." (Jacoby 104)
Their son Peter Jacoby, born 1766, also gave service in the Revolutionary War. Peter's daughter Mary married Joseph Snyder and had a daughter named Amanda. Amanda Snyder married Jacob Fangboner. They were the grandparents of Edna Frey Good. More about Peter on the next post.
- Find A Grave Memorial# 11934648, http://www.findagrave.com
- Jacoby, Henry Sylvester. The Jacoby Family Genealogy - A record of the Descendants of the Pioneer Peter Jacoby of Bucks Co., PA,1930.
Please see this list of all My Revolutionary War Ancestors.
This page © 2014, Cynthia H. Smith
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This site may be linked, but not duplicated in any way without consent. The copyright on this page must appear on all copied and/or printed material. All rights reserved! Commercial use of material within this site is prohibited!


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Employability and the Liberal Arts: A Career Readiness Initiative
by Katherine E. Brown
When discussing the role of higher education as it applies to students, responses often devolve into two opposing camps: one for people who advocate for and defend the role of liberal arts education as basic to the preservation of democracy and freedom, and the other for people who care about the connection between what students learn in classrooms today and how well prepared they are to enter and succeed in their desired careers.1 But concerns with the employability of our graduates need not be read as an invitation to erode the liberal arts values underpinning public higher education. What purpose is served by serious, committed teachers and scholars adopting a defensive posture in conversations about the employability of our students? We miss important opportunities to make the case for liberal arts, humanities, and public higher education in new ways when we approach the employability conversation defensively.
College Readiness, Career Readiness, And Employability
Higher education faculty, administrators, and staff have made significant commitments and strides in the past decade toward recruiting and retaining undergraduate students from under-served and at-risk populations. Many of us are fortunate to be at campuses with programs designed to encourage college readiness, persistence, and academic success of first-generation college students, military veterans, underrepresented, and returning or nontraditional students. We speak the language of "high impact practices," undergraduates working with faculty in research, community service learning, and the importance of internship courses.2 We see how these all play a role in keeping students focused in college. Opportunities to connect theory and practice inside and outside the classroom are fertile ground for students to explore post-collegiate next steps. Skills and connections developed in "college readiness" activities also contribute to "career readiness" and employability. Yet, as embattled advocates of public education are navigating the upheavals of what Slaughter and Rhoades refer to as "academic capitalism," it becomes easy for some faculty to regard any reference to "skills translation" or "career readiness" as a euphemism for feeding the kids into a nameless corporate chipper.3
Some reticence to participate in "the employability conversation" may be, for others, based on awareness of the limits of our frames of reference or recent experiences. For faculty who have been exclusively employed in higher education, or those whose last job search was ages ago, this is understandable. The presence of campus career centers with resources, staff, current information, and advice for specific steps and tools useful at various stages of career exploration may lead faculty to assume we have little to add to the conversation. We also know students must seek answers on their own to many questions about their future careers. However, faculty can help students engage and employ their critical thinking, goal formation, and research abilities long before (or after) these students visit a campus career center. Every educator has more to offer than they may realize to help students find connections between the ideas and issues we engage deeply with on our campuses and students' emerging career interests and goals.
Possibilities, Rewards, And Challenges
This essay offers some possibilities, rewards, and challenges associated with developing assignments, activities, and programs for faculty seeking to showcase and expand the ways we prepare students for post-college life. It begins with reclaiming or discovering the everyday opportunities we have to help students articulate what they can bring to the table as members of any organization. This question connects the employability conversation to a tenet of the National Education Association (NEA) mission "to help students succeed in a diverse and interdependent world."4 Success is broadly defined, but for many it likely includes finding a "fit" between our values, skills and abilities, and the goals, needs, culture, and practices of an employer. Many possibilities flow from reflecting on how we encourage students to connect what they are learning in our classrooms to planning their next steps after college. Some rewards include seeing students confidently making a case for what they have to offer organizations of interest to them, taking initiative, and developing and claiming a professional voice of their own in communicating with new audiences inside and outside academe.
Among the challenges are these: How and where may educators play a role in helping students talk about their ideas, goals, and abilities to people who are not their teachers, peers or others inside the discourse of an academic discipline and campus environment? What does such a role require of faculty in terms of thought and action? The National Association of Colleges and Employers (NACE) publishes an annual list of the top 10 skills that surveyed employers seek from college graduates.5 Many of the skills ranked highly year after year are practiced in our classrooms and other campus learning environments every day, including the ability to "verbally communicate inside and outside the organization," to "work in a team structure," to "obtain and process information," and to "make decisions and solve problems."6 Consider this: if a student's interest in social justice, conservation, public policy, or child development leads to his or her seeking employment in a non-profit organization, in public service or teaching, mere "interest" and a resume alone won't land a job for which there are many qualified, committed applicants. While many faculty can easily articulate the connections between what we teach and the benefits to non-profit or for-profit organizations of hiring our graduates, we will not be at the job interview. Students must be able to make the case for themselves. Long before that interview moment, students need practice demonstrating their soft skills and answering the question: "Why me for this opportunity at this organization at this time?"
Faculty can help students recognize the importance of soft skills developed inside and outside the classroom long before their senior year or first job interview. We can access the wisdom and talent in our networks of alumni, former students, area professionals and supporters of the humanities and liberal arts who populate many career fields. The professional staff and administrators we interact with every day, in career centers, offices of service learning, and community engagement, are also excellent resources for making contacts for guest lectures, panel events, mentoring, and other opportunities for conversation and networking for students.
Skills Translation In Context And Coursework
Once a year, I teach a course I designed over a decade ago as a faculty member in the Communication Department at CSU San Marcos. This course lends itself to adaptation by a variety of departments and programs. I offer this description of it as an example of how to resist the tendency to portray any concern with employability as somehow anti-intellectual, or as a rejection of the ideals and traditions of liberal arts education.
The course begins with a series of professional communication exercises. Any instructor can find available textbooks with exercises of this type. Students learn (or review) the basic elements, conventions, and genres of professional writing such as letters, e-mail and memos, and reports and proposals. They practice audience-centered communication in oral presentations demonstrating application of these skills, and they also learn collegial ways to offer and receive peer feedback on presented work. For example, a student might be tasked with composing and presenting a letter that responds to an inquiry of a particular type. Her peers' feedback to that presentation will attend to word choice, tone, and inclusion of pertinent details. Where some students assume at first that there is one correct way to write such a letter and one correct way to interpret it, the limits of this view soon become apparent. Each student reflects on the feedback received, and then decides what to incorporate and what to disregard, relative to her goals and information provided about the context, the task and her own interpretation of its nuances. Students learn clarity and concise writing, the importance of revising drafts, and proofreading. Students at any level can benefit from these exercises, and many have had some practice with these forms in high school or freshman year in college, but students who are preparing to communicate with new audiences, conducting career research or working with a mentor often take such activities more seriously.
Next, students write a curriculum-reflective essay about ideas and experiences abiding in memory from their major coursework. I want students to be able to answer those basic questions posed to them by friends, family and potential employers or mentors about why they chose their majors, and what they've learned. This activity helps prepare students to explain the contribution their studies have made to their toolkits for living.
Martha Nussbaum's book Cultivating Humanity: A Classic Defense of Reforms in Higher Education speaks of three capacities cultivated by a good liberal arts education: (1) critical self-reflection, (2) being a citizen of the world, and (3) the narrative imagination.7 Her second book, Not for Profit: Why Democracy Needs the Humanities, further explores the importance to democracy itself of privileging the creative, critical, imaginative aspects of the humanities and liberal arts, resisting the pull of efficiency and profit motives.8
The related assignment in the course I am discussing here is to write a paper reflecting on coursework, connections between the student learning outcomes for the major, and Nussbaum's ideas. It's worth noting the vitality of these ideas in many fields and disciplines. Gregory Petsko wrote an open letter to the president of SUNY Albany in 2010, characterizing that executive's decision to eliminate several programs in languages and the arts as a "Faustian Bargain."9 Petsko, a professor of biochemistry, celebrated the crucial role studying languages, art, and literature has played in his own career, and in advancing recognition in all fields that what we often think of as problems of only one place, moment or people can be found elsewhere in the record of human history and experience.
The third text I use in this course is a novel, in keeping with Nussbaum's advocacy of the importance of the "narrative imagination."10 Many novels, films, plays, poems, or other texts explore individual choices, interpersonal relations, and the institutional and societal power dynamics playing out in workplaces. Students explore how fictional representations of work, workplaces and characters came to be as they are and where they are, what the people in the story want from their lives, and whose values are served or are in conflict in a novel. I am confident readers of Thought & Action can easily generate a list of novels, films, or other texts exploring how the concerns of their academic disciplines play out in fictional depictions of work and workplaces. Any number of discipline-specific research, writing, and speaking assignments around this topic could be constructed to align with course learning objectives. These reflections (on curriculum, on depictions of work and workers) can easily accompany the professional skills exercises. They also complement other course assignments, such as writing a career research paper, conducting informational interviews with professionals, and writing reflection papers on what students learn from these interviews relative to their own goals. Thus, there are many ways faculty might engage with the employability conversation without abandoning our disciplinary objectives and values of public higher education.
Institutional Challenges And Possibilities
Small departments and programs may not have the resources to offer such a course regularly. One solution is for faculty to include career exploration, professional writing, analysis of representations of work, or interview assignments in existing courses. Another is to offer an interdisciplinary or college-wide version of such a course for students from several majors to do both common and individualized assignments linking career exploration to their programs of study.
In 2013, the dean of CSU San Marcos' College of Humanities, Arts, Behavioral and Social Sciences launched a Career Readiness Initiative.
In the first two years of the initiative, contingent and tenured faculty alike from half a dozen programs and departments in our college volunteered to showcase their career readiness-related practices in teaching and other work at our campus faculty center. We also have organized a series of panels on different employment sectors (non profit, public, etc.) in which professionals reflect on how they formed their career paths and how, specifically, students from liberal arts and humanities backgrounds might explore these careers. These panels offer deeper kinds of engagement for students than interactions typically possible at a large campus-wide job fair, namely opportunities to discuss the connections between college majors and career paths. We also have benefited from strengthened connections between faculty and career center staff. In addition, we began a new Career Mentoring Network for Humanities, Arts, Behavioral and Social Sciences majors, pairing volunteers (area professionals, alumni and campus professional staff) with students.12
On another level, collaborative work among several units across campus has contributed to the creation of an Office of Internships to inform and support community members, students and faculty who seek to expand student participation in internships. Finally, we are preparing a pilot adaptation of the course structure I described earlier in this essay to serve those students and faculty in departments and programs currently not able to offer such a course.
We are at different stages in achieving the goals of each of these efforts as we move out of an "initiating" phase into fostering a culture of career readiness in our college. Hopefully, readers of this journal may be encouraged to reexamine and reframe the notion that the employability conversation is outside the immediate concerns of those safeguarding the great traditions of public higher education. It is important to remember some students have access to models for building a career path versus getting a job. Some have contacts who can help them gain access and navigate occupational and professional routines and cultures, while others do not. We understand this when we work to build ladders and pipelines to higher education. But we also must understand this when we relate to our students' transition from our campuses into occupational and professional routines, cultures and networks. A career readiness initiative offers another way faculty, students, staff, and friends may work together to mitigate inequities and the consequences of uneven access to resources and information. This approach to thinking about the "employability of our graduates" advances the cause of strengthening public education.
Katherine E. Brown is an associate professor of communication and faculty director of the Career Readiness Initiative in the College of Humanities, Arts, Behavioral and Social Sciences at California State University San Marcos.
1. From Thought & Action's Call for Papers for a Special Focus for Fall 2015: "The Greeks and Romans saw the liberal arts as the tools necessary to make a person free. But some students and many policymakers today more likely see public higher education as a means simply to make people employable."
2. Kuh, High-Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter.
3. Slaughter and Rhoades offered an analysis of the emergence of several intertwined developments they refer to as "academic capitalism" in Academic Capitalism and the New Economy: Markets, the State and Higher Education.
4. See the National Education Association's Mission Statement. Retrieved from: www.nea.org.home/61003.htm
5. National Association of Colleges and Employers Job Outlook Survey.
6. Ibid, figure 1, NACE Employers rate the skills/qualities sought in new college hires.
7. See Nussbaum, Cultivating Humanity: A Classic Defense of Reforms in Liberal Education. Chapters 1-3.
8. See Nussbaum, Not for Profit: Why Democracy Needs the Humanities, p. 8.
9. Petsko's Open Letter to George M. Phillips was published in Genome Biology.
10. See Nussbaum, Cultivating Humanity chapter 3, for description of how the narrative imagination allows one to "to be an intelligent reader of another person's story."
11. Career Readiness Initiative, CSU San Marcos.
12. I wish to thank and acknowledge Dr. Adam Shapiro, dean of the College of Humanities, Arts, Behavioral and Social Sciences at CSUSM; Dr. Darlene Piña, associate professor of sociology and co-developer /co-administrator of the Career Mentor Network, and the students, faculty, staff, panelists, mentors, sponsors and friends engaged in the programs and activities of the Career Readiness Initiative. Thanks to my "Power Writer" colleagues for their encouragement to submit this article.
Works cited
Kuh, George W. 2008. High-Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter. American Association of Colleges and Universities, Washington, D.C. Retrieved from: http://secure.aacu.org/store/detail.aspx?id=E-HIGHIMP
National Association of Colleges and Employers. 2014. "Job Outlook Survey." (April). Retrieved from www.naceweb.org/about-us/press/skills-employers-values-in-new-hires.asp.
Nussbaum, Martha C. 1997. Cultivating Humanity: A Classic Defense of Reforms in Liberal Education. Cambridge, MA: Harvard University Press.
_____. 2010. Not for Profit: Why Democracy Needs the Humanities. Princeton NJ: Princeton University Press.
Petsko, Gregory. 2010. "A Faustian Bargain." Genome Biology, 11: 138. Retrieved from: http://genomebiology.com/2010/11/10/138
Slaughter, Sheila and Gary Rhoades. 2009. Academic Capitalism and the New Economy: Markets, State and the New Economy. Baltimore, MD: Johns Hopkins University Press.
Thought & Action: The Higher Education Journal. 2014. "Call for Papers, Fall 2015, Special Focus: What is the Purpose of Higher Education?" Vol. 30. Washington D.C. Retrieved from: www.nea.org.home/61003.htm.
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Employability and the Liberal Arts: A Career Readiness Initiative (PDF)


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Get it right when it comes to calculating returns
Many advisers seldom — if ever — take the time to determine the return of investments on their own. Often, they will rely on third-party calculations for the average annualized performance of funds and stocks.
That isn't necessarily a problem, because high-quality data providers always use the geometric mean when showing "average annualized returns." The problem may arise when you are called upon to calculate an average return of an investment over a multi-year period.
Here's a bold statement for all advisers: If you are called upon to calculate the "average" return of an investment, make sure you use the geometric rather than the arithmetic mean.
Doing the math wrong means your clients will not fully understand their investment returns – and it's adviser jail time for you. …
…okay, jail time may not happen. But, misrepresenting performance can certainly result in a fine.
Here's why.
The calculation for the arithmetic mean is simply the sum of all the numbers divided by total number count. It can never be an accurate guide for investment returns over the years, unless there is zero volatility, which is a next-to-impossible scenario.
The geometric mean, on the other hand, takes into account compounding — the returns compound upon each other. The arithmetic mean ignores compounding. In other words, the geometric mean recognizes the process by which investments actually grow or decline, which is geometric in nature, not arithmetic.
You must calculate the geometric mean to get a truly precise look at how a fund or stock has performed over time.
Here's how it works.
The following statements are found in the "Global Investment Performance Standards Handbook," 3rd Edition, 2012, published by the CFA Institute:
Section 2: Calculation Methodology (page 15)
2.A.2. Firms must calculate time-weighted rates of return that adjust for external cash flows. Both periodic and sub-period returns must be geometrically linked.
Section 3-5 Provision 5.B.2.d (page 204)
… Annualized returns represent the geometric average annual compound return achieved over the defined period of more than one year. Annualized performance is only permitted for periods of one year or more.
Annualized Return (%) = {[(1 + R)1/n] – 1} × 100, where R is the cumulative return for the period, which is calculated by geometrically linking the sub-period returns during the period, and n is the number of years in the period.
Not recognizing the difference between an arithmetic mean and a geometric mean is where the problem begins.
Let's consider the returns of the S&P 500, the MSCI Emerging Markets Index and the three-month Treasury bill from 2000 through 2016 (see "Three Asset Classes").
Per the chart, the correct 17-year average annualized return (or geometric mean) for the S&P 500 is 4.51%, whereas the incorrect arithmetic average return is the significantly higher 6.16%.
The next column displays the annual growth of $10,000. The terminal value by the end of 2016 is $21,167. The correct growth rate (or average annualized percentage return) that turns the $10,000 into $21,167 is 4.51%, not 6.16%.
As clearly illustrated, the geometric mean is the rate of return that correctly expresses the growth of $10,000. The arithmetic mean dramatically overstates the actual annualized growth rate of $10,000. For this reason, the arithmetic mean is always incorrect when expressing the rate at which invested money grows over time.
Also worth noting is the fact that the gap between the incorrect arithmetic mean and the correct geometric mean widens as the standard deviation of return increases. For example, the difference between the two means is very small for the 3-month Treasury bill (1.69% arithmetic mean vs. 1.67% geometric mean). But the standard deviation of the 17 annual T-bill returns is also very small, at 2%.
By contrast, the fluctuation of returns for the MSCI EM Index is huge, as evidenced by the standard deviation of 32.6%. Accordingly, the difference between the arithmetic mean (11.09%) and geometric mean (6.18%) is quite large.
Now we will examine two case studies to illustrate how to calculate the correct average return of an investment. Our first simple example will illustrate the problem of representing the arithmetic mean as the average return.
The case of the missing three-year average annualized return for the Zippy Fund. The Zippy Fund had a cumulative return of 13.241% over the three-year period.
With that calculated, we now can compute the three-year average annualized return (or the geometric mean). To invoke a driving metaphor, the cumulative percentage return represents the total distance traveled over three years, whereas the average annualized percentage return is the rate of speed traveled per year.
The correct geometric mean will always be smaller than the incorrect arithmetic mean—precisely because the geometric mean is taking compounding into account, whereas the arithmetic mean fails to do so.
To make matters worse, the arithmetic mean becomes more wrong as the annual returns of the asset being analyzed are more volatile, as we observed in "Three Asset Classes."
If you choose to perform this type of calculation in Excel, you can calculate the average annualized percentage return directly without first calculating the three-year cumulative percentage return.
The first step is to convert the raw returns into a format that Excel will accept when using the Geomean formula. You will need to divide each raw return by 100 and then add 1, as follows: (using the returns of the Zippy Fund):
This transformation of the raw annual return data allows the Geomean function to work correctly, inasmuch as the Geomean function in Excel cannot work with negative numbers. To solve this, we express the negative return of -14.70% in year two as 0.853.
Thus, in this transformed format, positive annual returns will be represented by a number over 1 (such as 1.2165). A return of 0% will be represented as 1 exactly, and negative annual returns will be transformed into a number less than 1.
Now you are ready to use the "Geomean" function in Excel. In cell B4, you would enter the following formula: = Geomean (B1:B3)-1. The result will display as 0.0423. If you change the cell format to %, the result will display as 4.23%.
The bottom line, no matter which method you use, is this: When you're tempted to calculate an average return, always, always, always think geometrically. Use any other method and you'll be wrong.


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Zamrock leads Panthers with goal and assist
STAMFORD, Conn. – Junior Sydney Asselstine (Hartington, Ontario) broke a 2-2 tie with 6:39 remaining in the third period Friday night and Manhattanvillege college went on to a 4-2 victory over Plymouth State University in an Eastern Collegiate Athletic Conference (ECAC) Women's East Conference ice hockey game at Terry Connors Rink.
Sophomore Marisa Zamrock (Lewiston, Maine) tallied a goal and two assists to lead Plymouth State. Zamrock's short-handed goal midway through the third period tied the score at 2-2 for the upset- minded Panthers, but Asseltime potted the game-winner three and a half minutes later and junior Aubrey Bachand (Harwichport, Mass.) added a short-hander for an insurance marker with 1:10 remaining.
Manhattanville improves to 2-2-1 on the season and 2-1 in the ECAC Women's East, while PSU drops to 2-4 overall and 1-3 in conference play.
After killing off an early Panther two-man advantage, Manhattanville scored on its ensuing power play as junior Alla Traun (Edina, Minn.) tipped in a shot from the blueline from senior Caitlyn Beauvais (Port Coquitlam, B.C.). The Valiants continued the pressure but PSU tied the game with five minutes to go in the period when sophomore Olivia Leon (Natick, Mass.) capitalized on a Manhattanville turnover in front of the net and lifted the puck over DeMartino and into the top corner.
After outshooting the Panthers in the first period 12-6, Plymouth State had majority of the scoring chances in the second but Valiants scored the only goal. After winning a faceoff in their own end, junior Trennah Stauffer carried the puck the length of the ice and came down the outside of the faceoff circle, fired a shot and scored to give the hosts a 2-1 lead. PSU had an 8-5 shot advantage in the middle frame but went into the third period down a goal.
Manhattanville had the upper hand in the third period against the Panthers, outshooting them by a total of 9-1. The only shot of the Panthers happened to be a shorthanded goal as the puck was dumped into the corner and senior Meghan Cassidy (Somerville, N.J.) centered the puck near the goal. The puck caromed off the skate of Zamrock and between the legs of the goalie to tie the game at 2-2 with 10:13 remaining.
From then on, it was all Manhattanville. The Valiants were able to convert less than four minutes later with some beautiful passing in the offensive zone which culminated with Asselstine's backhander. Bachand put the game out of reach when she intercepted a breakout pass and broke in on the goal for the unassisted short-hander.
Freshman goaltender Dana DeMartino (Massapequa Park, N.Y.) made 13 saves to pick up her first collegiate victory for the Valiants. Senior Ali Ponte (Richmond Hill, Ont.) made 22 saves for PSU.
PSU continues its weekend road trip Saturday with a conference game against Nichols College at Levy Rink in Harrisville, R.I. The Valiants look to build some momentum as they take on undefeated Southern Maine Saturday afternoon at 4 p.m. at Terry Conners Rink in Stamford.
(With Contributions from Manhattanville College Sports Information)
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2 months ago
Feb 3, 2007
Gaining Traction
hat perspective, that things are gaining traction, came up briefly in the dinner conversation tonight. Ironically, the conversation took place at a restaurant that may be losing traction after being here since 2002…had a chance to talk to the guy who runs the restaurant after dinner and he was bemoaning that, but noted that his restaurant on the ISAF base was doing well, quite well. And that, in itself, may be a good indicator of what one recent thrust has been, towards more militarization…"more", of course, being relative to the past 2-3 years (absent the escalating previous year) of relative calm. Read more at Kabulog ...
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On 15th October 2012 Roger Godsiff MP tabled Early Day Motion 573 which called for the introduction of pilot safe standing areas in the Premier League and Championship. 67 MPs eventually signed EDM 573, which is now closed.
The Football Supporters' Federation rallied hundreds of supporters to contact their MPs in support of EDM 573 and organised The Case for Safe Standing in Parliament on Tuesday 11th December 2012. The event received widespread national media attention.
The Safe Standing Campaign has the support of dozens of clubs and significant football figures. Find out more about the campaign here and keep up-to-date with the latest news via www.fsf.org.uk, Twitter @The_FSF or the FSF's Facebook page.


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I have spent the past week traveling throughout Tunisia and have seen so many beautiful places. I have spent time in the mountains, at the sea, and almost everything in between.
Our journey began early Monday morning at 8am. We boarded the twenty passenger bus that was to become our means of transportation for the next six days. We stopped at Carrefour on our way to pick up some snacks in preparation for the length of our trip. Needless to say we ended up buying too much food, but what can I say? College students love shopping for snacks, especially when someone else is paying.
We started heading southwest towards Le Kef. On the way we stopped at the ancient Roman city of Dougga.
Our academic director was eager to show us all around this site. I was amazed at how well preserved most of the city was. I guess that is one of the benefits of building a city on a giant hill near the mountains. I also couldn't get enough of the mountain air. I love the sea, but every time I travel to the mountains I feel so refreshed. I'm still deciding which I like more.
After spending roughly an hour learning about the history of the ruins and exploring it, we ate lunch at a nearby restaurant and continued our journey to Le Kef.
Here are a few more pictures from Dougga:
After spending a few more hours on the bus, snacking along the way and singing a few tunes we arrived in Le Kef. It was beautiful! I have been waiting to visit Le Kef ever since I applied to the SIT program in Tunisia and researched where we would be going on our excursions. It just looked so beautiful and it did not disappoint!
As soon as we arrived we had free time to explore. We decided to head up towards the center of the city. We walked through winding streets and found some beautiful lookouts from which to snap some great pictures, such as the one above.
We also found some adorable kittens while walking around the city. Cats are everywhere in Tunisia and in order to have some fun my SIT cohorts and I created an Instagram called selfie Tunisian cats. The title is self-explanatory, but check it out if you're looking to kill some time, or maybe you just love cats.
After walking around a bit we had some free time. We all napped for a little and lounged around. I got to work on reading my first Kurt Vonnegut book. I know, I know, what as I thinking waiting this long?? Luckily Mounir has more Kurt Vonnegut books in his library at SIT so I plan to continue to add to my list of Kurt Vonnegut books. For those of you who are Vonnegut fans the book I read was God Bless You Mr. Rosewater, and if you haven't read it I would highly recommend it.
We were told dinner would be at 7pm so we all gathered in the main room at that time. We soon discovered we would have to wait a bit for dinner. The reason being was that we needed to wait for the police. Yes, you read that correctly. Everywhere we went we were to escorted by policemen, be it the national guard or the local police. Although this may sound strange and scary, it is something that happens every year on the program.
Our AD has to submit our itinerary to the Ministry of Tourism and they need to approve our travels. We were lucky to walk around for a little in Le Kef because after that we were told by the police that that was no longer allowed. I want to make it clear that Le Kef is not a dangerous place and neither is Tunisia. I have never felt unsafe while I have been here. However, Tunisia cannot afford for something else to happen to another group of tourists. They were with us to ensure our safety and would have been with us even if the Bardo and Sousse attacks had not occurred.
If you were to travel to Tunisia as a tourist you would not need to submit an itinerary to the Ministry of Tourism and you would not have police escorting you places. We are given special protection because SIT wants to ensure our safety by cooperating with the Ministry of Tourism.
After our police escorts arrived we went to what is supposedly the best restaurant in town called "Restaurant Venus." It wasn't one of my favorite meals in Tunisia, but I enjoyed the company. After dinner we all watched a movie. It was called "Begin Again" and was a romantic comedy. It wasn't the best movie and we were too tired to finish the whole thing, but it was fun bonding as a group.
On Tuesday morning we had to rearrange our schedules a bit. We had planned to meet with an NGO that deals with education, but they were not ready to meet since school has not yet started for the younger kids. Instead we visited some more ruins. It was very small and judging by how long it took the attendant to open the gate it seemed the place has not had many visitors recently.
After the ruins we headed back to Le Kef for lunch. Tunisians usually take a two hour lunch break. Not all of the break is for eating however, some of it is for napping and simply taking a break. School children are also sent home for a two hour break as well. In keeping with Tunisian culture, we also went back to the hotel for a little down time.
In the afternoon we had the chance to visit an organic farm located only 6km from Le Kef(that's a little over 3.5 miles). One of the reasons we were visiting the farm is because one of the girls on my program will be graduating this semester an wants to stay in Tunisia to work on a farm. She was very excited about this opportunity.
The owner of the farm is named Moez and he is part of the "slow food movement," as in the opposite of fast food. They grow various grains out of which they make traditional cakes and pastries. Part of the farm's mission is to educate youth about eating natural healthy food. Many kids in Tunisia may eat processed goods, Moez and his team try to teach kids about alternatives.
They also sell their products to the local community. They have many grape trees and I know how delicious these grapes are because we were given about ten bunches by Moez. We pretty much all had a stomachache after we left the farm and we still had more grapes.
Next we visited the Kasbah of Le Kef. The Kasbah is an old fortress that was used to protect the city. As such it sits on a giant hill and provides a great view of the surrounding areas.
We continued exploring the city a bit with our escorts in tow. After Mounir gave us a brief tour we went back to the hotel before dinner. Ironically inner was served to us by Moe's mother. His sister owns the little villa we were staying in and has arranged for her mother, who owns a restaurant in Le Kef to cook for us. The food was all delicious and very fresh. Much of the food cam from the farm we had visited earlier that day.
After spending two nights in Le Kef it was time to say goodbye. We enjoyed a delicious breakfast before leaving (the breakfast was delicious on the first morning as well, I just forgot to mention it). There was fresh honey along with some sort of date biscuit, fresh orange juice and many others things that tasted wonderful even if I'm not sure what they were.
I'll have to leave you in suspense and end the first part of the excursion here. But don't worry, I'll be back soon!
A bientot!


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Oscar-winner Curtis Hanson has died of at the age of 71. TMZ reports that the cause of death was a heart attack; the LAPD released a statement that he perished due to "natural causes." Hanson has been retired from filmmaking due to his battle with Alzheimers since 2011. His last credit was for the surfing biopic Chasing Mavericks, which he had to bow out of before production ended due to complications from heart surgery. Michael Apted shared a co-directing credit on that film.
Hanson won his Oscar for Best Adapted Screenplay for L.A. Confidential (which he co-wrote with Brian Helgeland). The gritty 1950s-set film noir was a passion project that was originally set for television before Hanson got the go ahead at Warner Brothers. Under Hanson's careful direction, Confidential was a resounding financial and critical success, which confirmed an immense gamble on the part of the studio when Hanson assembled an amazing group of character actors for a period detective genre that Hollywood had long ignored. The biggest "star" was Kevin Spacey, who was not yet widely known to the public (despite an Oscar win for The Usual Suspects). Hanson's film was not only responsible for casting Russell Crowe and Guy Pearce in their first major Hollywood roles, as detectives Bud White and Ed Exley, but the immensely textured story of corruption in the LAPD—and how it intersected with both Hollywood coverups and mobster drug trafficking—also revived Hollywood's long dormant interest in the labyrinth plotting of classic film noirs such as The Big Sleep.
Although most known for that beloved film, Hanson had a very interesting career. A high school dropout who started as a photographer before becoming an editor at Cinema Magazine, Hanson wrote a few potboiler scripts in the 1970s before getting more steady work in the 1980s. As a screenwriter—aside from Confidential—his most recognizable scripts involved communication with dogs. For Samuel Fuller's White Dog, it concerned a dog that was trained to attack black men and who is tamed by a black dog trainer—very patiently and with awareness that racism is taught and not innate. The next year, in 1983, Hanson was one of several screenwriters who contributed to the adaptation of the popular adventure story Never Cry Wolf, for Disney. Again this film concerned the communication between a man and a wild animal; here, a pack of wolves in the Great White North.
Communication was a major theme throughout Hanson's work. In L.A. Confidential it was the trail of information that various policemen find but need each other to fully put together, as the web of corruption is so large it stretched across both vice and homicide departments. And Hanson's follow up, Wonder Boys, concerns a novelist (Michael Douglas), his students (including Tobey Maguire and Katie Holmes), his publisher (Robert Downey, Jr.) and his mistress (Frances McDormand) and all the ways he keeps them away from his follow-up novel because he's too embarrassed to admit that he's overthinking everything and just writing and writing and writing without making any choices for any of his characters. It's one of the best films set on a college campus; a somber comedy and an underrated gem.
Hanson's most profitable film, 8 Mile, continued the communication theme, following a high school dropout/factory worker (Eminem) who engages in rap battles to temporarily escape his barren existence of trailer park living, writing lyrics on his hand and crumpled pieces of paper. And in 2005, Hanson directed In Her Shoes, a sitcom-like comedy starring Cameron Diaz and Toni Collette that morphed into a much deeper relationship drama involving grandmothers, mothers, sisters, and the truth in the words of the poetry of Elizabeth Bishop and e.e. Cummings.
Hanson, whose breakout hits pre-Confidential included the femme thrillers The Hand That Rocks the Cradle and the Meryl Streep vs. Kevin Bacon vs. whitewater rapids thriller, The River Wild, purposefully chose distinctly different genres. He hopped from a pregnancy thriller (Cradle), to a white knuckle adventure (River Wild), to a film noir (Confidential), to a liberal arts comedy (Wonder Boys), to a Detroit rap battle (8 Mile), to a retirement home dramedy (In Her Shoes), to a gambling film (Lucky You), to the 2008 financial crisis (Too Big To Fail) to the surfing film that closed his career (Mavericks). And that's not even going backward to his early Tom Cruise sex comedy, Losin' It.
Because he hopped around genres, Hanson didn't have an identifiable director's flair that easily lent itself to auteur discussions. But he really hit his stride for a decade of great films, in many different genres. In a way, his career recalls another undervalued American director, Hal Ashby (Harold and Maude, Coming Home) who put together an enviable decade-long resume in different genres. Like Ashby, in addition to working his way up through production and dabbling in many genres, Hanson routinely got career best work from his actors. Whether it was Rebecca DeMornay in Hand That Rocks the Cradle, or the most popular musician of that time period (Eminem) or the entire casts of L.A. Confidential and Wonder Boys. Because those two casts in particular are each so deep, that marks an incredible achievement. Hanson wasn't showy, but he was very giving. He fought against studio wishes to get the Hollywood untested Aussies Crowe and Pearce in Confidential and he fought against the idea that Downey Jr was too risky (in 2000) to hire because he was on parole. All actors were entrusted by Hanson and delivered some of their most layered work under his direction.
Personally, Hanson will always mean a lot to me. L.A. Confidential was released when I was 15 years old. I'd never seen a detective story like it. It was released at a time that I was hungry for cinema, but Confidential did something amazing for me. It so enraptured me from the opening credit narration (by Danny DeVito) on the promise of Los Angeles— before Hanson revealed its ugly (but still glamorous) underbelly—that it made me look backward and watch the films that critics very favorably compared it to. First to The Big Sleep and then to Chinatown for their meticulously layered mysteries amidst broken dreams, empty glasses of booze, and complex femme fatales. In essence, Hanson's film was so rich, smoky and beguiling, he was able to push me to Fritz Lang, Roman Polanski, Humphrey Bogart, Otto Preminger, John Huston and the list goes on and on. What a gift to a young burgeoning cinephile. And then, in Wonder Boys, he followed it with something completely different, but so full of such quiet charm and warmth.
But was it really entirely different? Wonder Boys, L.A. Confidential, In Her Shoes and 8 Mile are so literary. This is a man who had a love of words and how they can direct you onto many different paths. He even appeared as Meryl Streep's husband (briefly) in one of the most beautifully literate works of all time, Spike Jonze's Adaptation. about Charlie Kaufman's difficulty of turning someone else's beautiful prose into words of his own. In retrospect, his casting makes absolute perfect sense (in addition to how delightful he looks and sounds at a dinner party with Streep's Susan Orlean).
Our condolences go out to Hanson's family and I hope that my own words fully express the level of gratitude that I have for his work. He's made films that will stand the test of time (L.A. Confidential was enshrined in the National Film Registry last year). And for me, he also kicked off my journey into the wonderful world of film's past. Rest in peace.
RIP Curtis Hansen . Thank you for believing in me & standing your ground. In reality you made my job a career. Love & respect my friend.
— Russell Crowe (@russellcrowe) September 21, 2016
Obviously distracted & upset…RIP to Curtis Hanson… this correction because he would have asked for another take…"in technicolor sir"
— Russell Crowe (@russellcrowe) September 21, 2016
RIP Curtis Hanson. Thanks for Silent Partner, Hand That Rocks The Cradle, Wonder Boys & others. But especially for the epic LA Confidential.
— edgarwright (@edgarwright) September 21, 2016


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Tried something at home and wrote a song called 'Lab Rat'. Very open to feedback!
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Re: Lab Rat
I like it, in my unprofessional opinion you play and sing well.
I look forward to another installment.
I look forward to another installment.
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Steve the Miner is so 2009. It's time for something newer. It's time for something totally 2011. Modder WildBamaBoy, mostly known for his Minecraft Comes Alive mod, has resurrected the famous Spider Queen mod in Spider Queen Reborn! Let's take a look…
Becoming the Spider Queen
Spider Queen Reborn puts you into the shoes of a vicious spider queen (or king, you are able to switch skins with a special new item called the Skin Switcher), with a goal to rule the world. Though you can do most things Steve can do, like craft and build, the spider queen is a bit more mobile and creative. The first big concept to grasp is the web - a new item crafted by placing 3 strings in whichever shape you like in the crafting grid. You should have plenty of string, since you create it over time (it'll just pop up in your inventory), and you get more for doing pretty much anything spider queen-related.
The first thing you can do with the web is shoot it at blocks. Shoot a block once, and you'll create a thin layer of spiderweb, which will allow you to climb up vertical slopes. Shoot the same block once more, and you'll create the spiderweb block you know all too well from mineshafts and caves. The first thing to build is the spider bed. You're a spider queen, mortal beds are no good for you! Besides, spiders are nocturnal creatures, so you need to sleep through the day and hunt in the night, not vice-versa. The spider bed is built by placing a 5×5 frame of logs, and then filling it with full spiderweb blocks (blocks - so shoot web twice). Once you have your bed, you can sleep through the day and wake up rested and ready to hunt.
Raising your Spider Queen army
The next step is creating your spiderling army - after all, what's a queen without her subjects? This is the second main purpose of the web, as you can use it to cocoon weakened creatures. You can pretty much cocoon any creature - just shoot a web at it to cocoon it, but try to weaken it first to make sure the web sticks (kinda like Pokem-err-Pixelmon). Right click on a cocooned foe to eat them, turning them into creepy little cocooned husks.
Sometimes, upon cocooning and eating an enemy, a spider egg will drop, and herein lies the path to your army. Placing a spider egg will cause it to hatch after a period of time (like, an in-game day or so). Upon hatching, the spiderling will try to consume the nearest cocooned enemy, which will affect its abilities, so try to put your eggs down near cocoons. If there are no cocoons nearby, the spiderling will hatch weak and tiny. If it feeds off a passive creature like a pig or a cow, it will just be a regular spider, however, if it feeds off of a mob like a creeper or a skeleton, it will get special powers, according to this neat chart by the mod's creator:
- Creeper -> Boom Spider -> Attacks enemies in a radius with explosions.
- Enderman -> Ender Spider -> Spawns Enderminions to a fight. Does not fight.
- Blaze -> Inferno Spider -> Produces flame webbing. Surrounded by flames when you are able to gather some. Right-click to gather.
- Horse -> Rider Spiders -> You can ride these spiders. They carry you up walls without webbing. Speed increases with level.
- Skeleton -> Slinger Spiders -> Webs up creatures that you attack.
- Villager -> Pack Spider -> Has a small inventory that you can use.
- Wolf -> Nova Spider -> Runs extremely fast and distracts targets.
- Zombie -> Tank Spider -> Moves slowly, but has a lot of health.
In addition to these special abilities, spiderlings will also get stronger over time as they fight and level up.
Factions and reputation
You might have noticed that mobs that would otherwise attack you as Steve, do not attack you as the spider queen. This is due to the reputation system - which tracks your alignment with factions of creatures in the world. Killing a certain type of creature will reduce your reputation with them, but avoid killing their kind for a day, and your reputation will rise. You can also give factions appropriate gifts to raise your reputation. This usually includes giving the appropriate item to the appropriate faction - for example, give a zombie a brain, and your reputation with the zombie faction will rise.
Get your reputation up to 3, and the faction will send you an ally to fight with you. Get it down to -5, and they will declare outright war on you, making all members of the faction attack you on sight. You can check your current reputation with all the factions in the mod by using the command /sq.checkrep.
The factions currently in the mod are:
- Creepers
- Skeletons
- Zombies
- Other Queens
- Humans
- Endermen
- Evil Queen
The Evil Queen bit might require an extra bit of explanation - killing regular spiders is blasphemy, after all, they are your kin, therefore it will reduce your reputation with the Evil Queen, and you can't increase that reputation in any way. Get it too low, and she will come at night and attack you. She acts as kind of the big boss of the mod.
The Human faction might garner some explanation as well - humans act as kind of the default enemies in the mod since your reputation with them starts at -1 and killing them gives you useful items that you can gift other factions to raise your reputation with them (like the aforementioned brains for zombie faction reputation gain). However, these aren't your boring old humans. The humans in this mod are real players - not controlled by real people, but with their skins, armor, and name, making the hunt a bit more interesting.
That's it for this mod. It's a really interesting twist on regular Minecraft gameplay, and makes for a unique playthrough that you should definitely check out. You can get it here:
Download the Spider Queen Reborn mod here!
Installation instructions:
- Install the Forge API.
- Run Minecraft at least once.
- Put the .jar file in the mods folder located in your .minecraft folder.
- For any additional info, head to our big Mod Installation Guide.
- Ready to go! Enjoy.
Like always, feel free to leave any feedback you might have in the comment section below.
Version of mod reviewed: v1.2.2 on Minecraft 1.7.10.


text: This year marks the 100th anniversary of Gene Autry's birth. There's big doin's in celebration of the centennial of the birth of Americva's favorite singing cowboy. Now, The Beat's Dad was a Roy Rogers man himself, but, even though he wasn't much of a singer, taught us the beauty of the cowboy's "Ahh-haahh" yodel.


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You're just a few steps away from becoming an expert in Collaborator. At SmartBear Connect you can improve your skillset and expand your knowledge.
This October, you can take advantage of live and interactive product training workshops. SmartBear Connect is a can't-miss opportunity to learn all about Collaborator best practices with SmartBear fellow customers and industry experts.
Read on for more information about just a few of this year's sessions.
Growing with Git
October 29th (10:00am – 10:30am)
Git is the dominant source control management system in the market for its ability to reduce bottlenecks and speed up development. Attend this session to explore how Gitflow, and hosted Git services like Github can pair with Collaborator to help your team develop a source control strategy that compliments a faster and more efficient delivery cycle.
Custom Script Workshop
October 29th (11:30am – 12:00pm)
If you are interested in custom scripts, this session is for you! Work with our team and learn how to build custom scripts for things like automation and tool integrations so that Collaborator supports your peer review process as fully as possible.
How to Grow Software Talent via Rigorous Code Review
October 30th (2:00pm – 2:30pm)
The prevailing focus of technology companies today is on recruiting top software engineering talent – but how you develop that talent once you've brought it on board is a critical factor in building (and retaining) a great technical team. In this session you'll learn how mentorship via rigorous code review has become a highly effective means of growing software talent, by using SmartBear's Collaborator tool.
How Capital One Scaled API Design to Deliver New Products Faster
October 30th (2:45pm – 3:15pm)
You may be familiar with API Developer Experience and can design a good RESTful API. If you're designing for one development team, you're in good shape, but what if you have 2,000 development teams working independently across various lines of business, and each of them creates APIs as needed on an ongoing basis? Capital One has established a Platform Services Center of Excellence to do just that. Join this session and learn all about it!
See full agenda here for more information about SmartBear Connect 2018.
Remember to get your ticket today to unlock the full benefits of Collaborator at SmartBear Connect this October 29th & 30th in Boston.
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A few stories and cultural news moments that caught our eye recently:
• After Frida Kahlo died in 1954, husband Diego Rivera shut her belongings in a bathroom at their Mexico City home declaring that it would remain locked until 15 years after his death. Only in 2004 was the room opened and photographer Ishiuchi Miyako invited to document its contents. (via The Guardian)
• We are not Devo after all? "A multifaceted examination of the musical properties of hit songs from 1960 to 2010 concludes that pop is, in fact, continually evolving. "Darwin Meets Devo: The Continuing Evolution of Pop Music." (via Pacific Standard)
• Because: CATS. "'The second half of the 19th century begat a cat-painting renaissance. 'It was a trend that snowballed,' says 19th-century paintings specialist Madalina Lazen. Bourgeois collectors, interested in enhancing plush domestic interiors, bought the cat canvases." "The Cat-Painting Renaissance Of The 19th Century." (via Vulture)
• Will a retrospective of the art of Yoko Ono help New York's Museum of Modern Art redeem itself after the widely trounced Björk exhibit? "Yoko Ono and MoMA, Together at Last." (via The New York Times)
• We've got recommendations for the West Austin Studio Tour, here, here and here.


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Posted by: Kasra Hassani
Recently antimicrobial peptides (AMPs) have received a lot of attention due to their ubiquitous presence in defence systems along with diversity of structure and function and of course putative commercial and therapeutics usages. Organisms as diverse as bacteria, fungi, insects and vertebrates possess a 'personalized' set of AMPs that fight invaders with low or no effect on hosts; interestingly, AMPs seems to be highly tolerant to emergence of resistance.
A study in Science by Haine et al. has suggested that insects use a two step mechanism in fighting infections. Firstly, up to 99.5% of the bacteria are killed by the phagocytic haematocytes and other immune mechanisms of the insects within the first few hours. Secondly and interestingly, the remaining low percentage which have been selected due resistance to the first immune response are 'mopped up' by a load of AMPs secreted from the host for the following days (up to two weeks). Because different AMPs with different properties and functions (pore forming, modulatory, inhibitory…) are secreted at the same time, very low chances for emergence of resistance remains for the surviving bacteria. The authors have highlighted that when thinking of AMPs for therapeutic purposes, their exact ecological role in nature has to be kept in mind.