text:
|Biographical Information
|Other names
|American English
|Rochester, New York, USA
|Edit Count
|Physical Description
|Hair colour
|Eye colour
|Contact Information
|Talk page
- "When winter first begins to bite, and stones crack in the frosty night, when pools are black and trees are bare, 'tis evil in the Wild to fare."
- ― Bilbo Baggins to Frodo in The Fellowship of the Ring, "The Ring Goes South"
[edit] About Me
I am DoctorWellington, a huge fan of Tolkien's works. I am very much a beginner to this website, and though I most likely have many accidental errors, I am trying my best to help. I am very interested in all of Tolkien's works, particularly The Lord of the Rings (In fact I have lost count of how many times I read it). I also enjoy maps (I like to study maps of all kind, fictional or otherwise), and languages, mostly Quenya and Sindarin roots. Here is a link to my new screenplay for the Beren and Lúthien story!
[edit] Username
I suppose my username needs some explanation. I am not a doctor (a job I could never do, I am haemophobic) and my last name is not Wellington. I'm still not quite sure how I came up with it.
[edit] To-do
- Chapters (especially those of The Silmarillion and other works; I have finished The Lord of the Rings)
- Infoboxes: Add them
- Tense: Most chapters seem to have been written in present tense; rewrite in past (including The Hobbit)
- Links: At various points links are forgotten or reoccur
- Dates: Add "other versions of the legendarium" with references to The Return of the Shadow, et cetera.
[edit] My Collection
[edit] Books
[edit] By J.R.R. Tolkien
- The Lord of the Rings and The Hobbit boxed set
- The Lord of the Rings one-volume edition
- The Hobbit illustrated by Jemima Catlin
[edit] Edited by Christopher Tolkien
- The Silmarillion illustrated by Ted Nasmith
- Unfinished Tales
- The Children of Húrin
- The Fall of Gondolin
[edit] By others
- Guide to Tolkien's World: A Bestiary by David Day (this gets little use)
- The Atlas of Middle-earth by Karen Wynn Fonstad
- A Middle-earth Traveller by John Howe
[edit] Games
[edit] Fantasy Flight Games
- The Lord of the Rings: The Card Game Core set
- The Shadows of Mirkwood cycle
- Khazad-dûm expansion
- Dwarrowdelf cycle
- Heirs of Númenor expansion
- Against the Shadow cycle
- Voice of Isengard expansion
- The Ring-maker cycle
- Over Hill and Under Hill saga expansion
- On the Doorstep saga expansion
- The Black Riders saga expansion
- The Road Darkens saga expansion
- The Treason of Saruman saga expansion
- The Massing at Osgiliath scenario
- The Stone of Erech scenario
- The Old Forest scenario
- Fog on the Barrow-downs scenario
- The Ruins of Belegost scenario
- Assault on Dol Guldur scenario
- Murder at the Prancing Pony scenario
- Lord of the Rings (board game)
[edit] Other items
- The Lord of the Rings Instrumental Solos, for cello
[edit] Favourites
Character: Erkenbrand (My favourite characters are usually unsung heroes; in my opinion Erkenbrand is the unsung hero of the Battle of the Hornburg)
Location: Fangorn Forest
Book: The Silmarillion
Chapter: Of Beren and Lúthien
[edit] Favourite quotes
- "Faithless is he that says farewell when the road darkens."
- ― Gimli to Elrond in The Fellowship of the Ring, "The Ring Goes South"
- "A man that flies from his fear may find that he has only taken a short cut to meet it."
- ― Sador/Labadal to Túrin in The Children of Húrin
- "Glorfindel was tall and straight; his hair was of shining gold, his face fair and young and fearless and full of joy; his eyes were bright and keen, and his voice like music; on his brow sat wisdom, and in his hand was strength."
- ― Description of Glorfindel in The Fellowship of the Ring, "Many Meetings"
- "A fox passing through the wood on business of his own stopped several minutes and sniffed. 'Hobbits!' he thought. 'Well, what next? I have heard of strange doings in this land, but I have seldom heard of a hobbit sleeping out of doors under a tree. Three of them! There's something mighty queer behind this.' He was quite right, but he never found out any more about it."
- ― Description of a fox encountering Frodo, Samwise, and Pippin sleeping out of doors in The Fellowship of the Ring, "Three is Company"
- "Help now to repair the evil in which you have joined, and afterwards you shall take an oath never again to pass the Fords of Isen in arms, nor to march with the enemies of Men; and then you shall go free back to your land. For you have been deluded by Saruman. Many of you have got death as the reward of your trust in him; but had you conquered, little better would your wages have been."
- ― Erkenbrand to several Dunlendings in The Two Towers, "The Road to Isengard"


text:
Cafes in the SGV – blah, blah.
There was a discussion on Chowhound re: late-night restaurants in the SGV started by The Offalo, and all I could think of was cafes. My conclusion: SGV is not a culinary haven after 10pm. But if I did have to choose a cafe, then Baccali would arguably be my current choice. Typical expansive menu that you'd find at a typical cafe, but Baccali executes it pretty well. Don't get the chicken though, even if they do feature it as a specialty – it's dry and fairly bland. Steak is decent for a medium-well cheap cut, as good as it's going to get at a cafe. I usually stick to the noodles, and that's where I would direct most people. After you party hard with your AzN and FOB friends, there are far worse things to eat.
Chris Hei grade: B-
245 W Valley Blvd
Alhambra, CA 91801
(626) 293-3300

subset: commoncrawl


text: There are 22 apps "running in the background" when I start my tablet (Next Issue & others) that are pre loaded apps and some that I will never use. Uninstalling is effectively moot as the app reinstalls on the next session, Force Stopping scares me. The apps are using nearly 1/2 of my cache. Is there a free app that can manage these apps, is there a way to stop unnecessary apps until I need them? My tech jargon is noobish so please type in layman's term.


text:
The Adjustable Closure for Friendship Bracelets is a versatile, neat, and easy way to create a functional bracelet. It is suited for polyester cords (like this Knotting Cord) that melt instead of burn.
The photos used in this tutorial are from our Super Easy Friendship Bracelet Kit, but we use this start and finish method for every friendship bracelet we do!
If you need a refresher on how to tie a Half Left Knot check out our Breezy Friendship Bracelet pattern.
Cut all of the cords to the length as directed by the specific pattern.
Line up one end of the cords and tie them together in a simple overhand knot, 5 inches from the aligned ends. (Do not pull this knot too tight because you will be pulling it out later.) Safety pin the knot to your pants or to another secure location, or tape down the ends on a flat surface.
Once you have macraméd or braided your bracelet to the length directed in your pattern, select the right most cord (the Working Cord). Tie the Working Cord around all of the other cords (the Base Cords) with two Half Left Knots in a row and pull them very tight to the right.
Snip off the ends of the Base Cords a few millimeters beyond the last knot. Cut the Working Cord 2 inches from the last knot for kids or 3 inches for adults. Tie a simple overhand knot at the very end of the Working Cord's tail. Put one of the snipped off Base Cords aside. You will use it as the Tie Cord in the next step.
Use a lighter to quickly melt the ends of the Base Cords, as well as the knot at the end of the Working Cord tail. If you're a kid, please ask an adult to help you with this step.
Untie the beginning knot, and flip the bracelet around so that the cords are at the bottom, the Working Cord on the right and the Base Cords hanging straight down. Tie two Half Left Knots, pulling up and to the right, and then finish this end in the same manner as the first.
Now, arrange the bracelet in a circle, making sure it's not twisted. Lay the two 2 (or 3)-inch tails parallel to each other, with the knots facing in opposite directions.
Using the Tie Cord, tie a tight half-granny knot (like the first step of tying your shoes) around the two tails. Make the knot in the approximate center of the Tie Cord.
Turn the bracelet so the closure is at the left. Tie a Half Left Knot with the bottom tail of the Tie Cord and pull it up and to the right, snug against the knot.
Then rotate the bracelet so the closure is on the right. Tie a Half Left Knot with the (new) bottom tail of the Tie Cord and pull it up and to the right, snug against the other side of the knot.
Flip the bracelet over so the bottom side of the closure is face up and tie a half-granny knot with the two tails of the Tie Cord.
Snip off the tails of the Tie Cord, close to the knot, and melt the ends (or have an adult help you).
Pull the knotted tails away from each other and the bracelet will close!


text: Jalinan Ukhuwah serves as a platform for the management and employees of Johor Corporation to interact directly with the public, with the aim to foster ties between Johor Corporation and the society. In view of its effectiveness, Jalinan Ukhuwah was registered under MyIPO as an intellectual property of Johor Corporation on 4th September2015. As at September 2016, 1,000 congregational members from selected locations in Johor were engaged through Jalinan Ukhwah. Community services, free health screening, mosque and charity activities were carried out by Briged Waqaf as well as representatives from the Corporate Responsibility Division and Strategic Communications Department. The programme has received positive response from the leaders of society in Johor


text:
Tel: 707.761.5214 Hours: Monday-Thursday 6-10pm and by appointment
|Dance Style: Line Dancing/Country
|Line Dancing/Country
|Country Dance Night
|Line Dancing/Country
|Line Dancing/Country Dancing
|Name of Location or Event
|The Davis Graduate
|Ballroom of Sacramento
|Stoney's Rockin Rodeo
|Opera House Saloon
|805 Russell Blvd
|6009 Folsom Blvd.
|1320 Del Paso Blvd.
|411 Lincoln St.
|Davis, Ca 95616
|Sacramento, Ca 95819
|Sacramento, Ca 95815
|Roseville, Ca 95678
|Phone Number
|916-927-6023 or 916-402-2407
|Distance from Studio
|20 miles
|37.5 miles
|38 miles
|53.9 miles
|Mondays, Wednesdays & Fridays
|Fridays 7:30pm - ?
|Thursdays, Fridays, Saturdays & Sundays by 9pm
|Wednesdays: 8:30pm-?
Saturdays: 9:30pm-?
I'd always check with the venue for more info.
|Music: Live, DJ or Both
|DJ only
|DJ only
|DJ only
|Wednesdays: DJ only
Saturdays: Live Band
|Country Nights: Mondays: 21+ free, 18+ $5 (Free w College ID), Wednesdays: 21+ free, 18+ $5. Fridays: Free before 9pm for 21+. (21+) $4 w College or Military ID ($6 without). (18+) $8 cover w College or Military ID ($10 without).
|Wednesdays: 21+: No cover before
9pm, $5 after 9pm. 18-20: $5 before 9pm, $8 after 9pm.
Thursdays: None
Fridays: 21+ are $5, 18-20 are $10
Saturday: 21+ are $5
Sunday: 21+ are free, 18-20 are $5
|Wednesdays: $7
Saturdays: $5
|Dance Floor(s):
|(1) Nice large oak hardwood dance floor.
|BOS has a beautiful huge ballroom dance floor with large mirrors.
|The dance floor isn't huge so it is generally fairly crowded.
|If I remember correctly, the Opera House has an upstairs and a downstairs floor. The upstairs floor was a beautiful large hardwood floor. Was never on the downstairs floor to know about the bottom floor.
|Wednesdays, Fridays and Sundays
are 18+
Thursdays and Saturdays are 21+
|Davis is a college town, so you can expect a good amount of college aged people there, but there are middle-aged adults there as well. Sometimes there are really good dancers there, and there are always beginners there too. While some people are "just checking it out", most people are there to dance. Even if you go by yourself, you'll have plenty of people to dance with. Just remember while out there with the other beginners to keep your own space as best you can.
|I haven't been there on a Country night, so I wouldn't know for sure. The ballroom night tends to attract an older adult crowd at this venue, but that doesn't mean it will be the same for the Country night.
|Obviously on an 18 and over night, there's younger crowd than on a 21+ night. Some of the people who wander into the dance side of the place are there to "hang out", watch, drink, and because of their liquid courage can end up on the dance floor, but others are there to dance. Just know there will be some wilder folks on the floor with you at times. Country Line dancing in particular is super popular there, and you'll only find a few there who can do a decent Country 2-Step, West Coast Swing or Night Club 2-Step. Country Line Dancing is really the draw for most people there.
|What to Wear:
|It runs the gamut. Some people choose to dress up a bit. Others choose to keep it casual.
|On a country night I'd expect to see more "Country style/themed" attire, like jeans and boots for men, and country skirts and boots for ladies, but admittedly I have not been there on a Country night.
|The girls usually wear short denim shorts or jeans, with country boots and a T-shirt. The guys usually wear jeans, cowboy boots and a T-shirt.
|On a country night I'd expect to see more "Country style/themed" attire, like jeans and boots. The younger ladies like to wear denim short shorts and country boots.
|Other Offerings:
|It's a bar, sports, hang out, dance place. They have a menu with burgers, sandwiches, pizzas and salads which includes other things like fries, mozzarella sticks and other fried things. There are also a few billiard tables.
|They typically have snack foods available.
|They have "pub" food like burgers, sandwiches and salads, and fried appetizer foods including nachos, chicken strips, onion rings, mozzarella sticks, etc. It is also a bar and they have Karaoke.
|The downstairs is a bar.
|The Grad is the closest place to us for some decent dancing. The crowd may be a little younger than you might be used to, but you'll find people your age there too no matter how many years you've been spinning around this planet, and no matter what, if you go to have fun, you'll find it there!
|I haven't been to this venue on a Country dance night, but I know their floor is huge and beautiful.
|If you're looking to have a "Rockin" good time country line dancing, than this is the spot you should go to.
|I've only been to the Opera House Saloon a few times, but I remember it was a beautiful venue.


text: It almost sounded too good to be true. Lauyrn Petrie hits it out of the park on all aspects of SDR. True rocker chick, former stripper, former drug addict, and now a comedian. Before you get to listen to this show – why not go check out the CUT THROAT COMEDY show, featuring our own Big Jay Oakerson?!?


text:
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Julie A. Foont, M.D.
Gastroenterology, Internal Medicine
Gastroenterology, Brown University
Hepatology and Liver Transplantation, University of Miami
New York University Medical Center
New York University School of Medicine
Columbia University
Dr. Julie A. Foont is board certified in Gastroenterology and Internal Medicine. She received her undergraduate degree from Columbia University. Prior to entering medical school, Dr. Foont worked as a professional medical illustrator producing drawings for textbooks, journal articles and lectures both nationally and internationally. She earned her medical degree from New York University.
Dr. Foont completed internship and residency training in Internal Medicine at New York University / Bellevue Medical Center. She then pursued additional training in Hepatology at Jackson Memorial Hospital at the University of Miami. After the completion of this program, she went on to complete her fellowship in gastroenterology at Brown University.
Her clinical interests span the entire breadth of gastroenterology and endoscopy, with a particular emphasis on Women's GI health issues, hepatitis and other disorders of the liver. She has published numerous original research articles and has presented at national meetings.
Dr. Foont is an attending physician with privileges at NYU Langone Medical Center and Lenox Hill Hospital. She is involved in teaching students, medicine residents and gastroenterology fellows.
Dr. Foont is a member of the American Gastroenterology Association, the American Society of Gastrointestinal Endoscopy and the American Association for the Study of Liver Disease.
Dr. Foont practices at the fifth avenue location. Call our offices today to book an appointment with Dr. Foont.


text:
The Chaos Boss is a professional organizing service based in Massachusetts that specializes in organization solutions for the home and office. My mission is to help clients consolidate, organize, and simplify in order to optimize their lives.
"Helping you become the boss of your own chaos."
Service areas include: Boston and suburbs, North Shore, South Shore, Central Mass, and MetroWest areas. To schedule a FREE consultation, please visit the contact page or call (978) 212-9004.


text:
The inner ear can be affected by diseases of different origin, which are generally poorly understood. Inner ear damage results in impaired hearing and/or balance, depending on whether the damage is located in the cochlea and/or the vestibule (or labyrinth).
Sudden SensoriNeural Hearing Loss (SSNHL)
- SSNHL is also known as sudden deafness and belongs to the group of rare conditions that affect the inner ear. Hearing loss is rapid (instant or in <72 hours) and typically unilateral. The loss is >30 decibels (or a 1000-fold reduction of sound perception). It is often accompanied by tinnitus and vertigo and a significant increase in risk of falling.
- SSNHL most commonly affects people over 45 years of age.
- SSNHL occurs with the damage or loss of sensory hair cells (sound detectors), the sensory neurons (conducting auditory information to the brain), or their connections.
- While the cause of most cases is unknown (idiopathic in 71% of cases), other possible causes include:
- infectious (12.8%) or otologic (4.7%) diseases
- traumatic injury including noise (4.2%), vascular/hematologic issues (2.8%), neoplasia (2.3%), or other (2.2%)
Ototoxicity and Cisplatin-induced ototoxicity
- Ototoxicity is the toxic effect of substances, such as solvents, foods and pharmaceuticals, on the inner ear. Some pharmacologic therapies can affect cochlear or vestibular tissue depending on their sensitivity. When administered orally, intravenously or intramuscularly, drugs spread throughout the body and reach the inner ear, entering the labyrinth liquids, vestibular and cochlear tissues. Substances can then damage the membranes and intracellular organelles of the hair cells. Such damage can lead to symptoms of vertigo, tinnitus and hearing loss, which may even progress to complete deafness.
- A wide range of drugs can cause this damage including:
- Antibiotics belonging to the aminoglycoside class
- Aspirin and some non-steroidal anti-inflammatory drugs
- Quinine antimalarial drugs
- Platinum salts, including cisplatin, used in chemotherapy
- The damage is typically bilateral and is a limiting factor for the chemotherapy, requiring dose-adjustment and occasionally a change in chemotherapy protocol.
- Platinum-based agents such as cisplatin, carboplatin and oxaliplatin, alone or in combination, are often used to treat a wide variety of cancers. However, ototoxicity leading to hearing loss and tinnitus is one of the common and often severe adverse effects.
- Cisplatin is used in 25% of primary chemotherapeutic treatment of various cancers. Hearing loss with cisplatin is seen in more than 30% of adults and observed to varying degrees in >70% of treated children. The hearing loss is also progressive with each successive chemotherapy cycle and irreversible.
- Patients with tinnitus hear subjective noises (i.e. noises not heard by those around them), which consist of buzzing or whistling in one or both ears or in the head, in the absence of any external sound source. These disturbances can be the symptom of Ménière's disease, a neuronoma or otosclerosis, or they can follow any kind of hearing loss.
- Predisposing factors to tinnitus include exposure to noise, past history of head injury, barotrauma, vascular disorders, severe anemia, and ototoxic drugs.
- Tinnitus adversely affects 26% of patients' quality of life by interfering with daily activities, such as reading, sleeping, concentrating on complex tasks and interacting socially. Patients suffering from tinnitus also have a higher risk of anxiety and depression.
Acute Unilateral Vestibulopathy (AUV)
- AUV, also called vestibular neuritis, cause a severe acute vertigo. It is an orphan, or rare, disease (annual incidence of 3.5 to 15.5 per 100,000 persons) that typically occurs between the ages of 30 and 60 years.
- Key signs and symptoms are acute onset of spinning vertigo, postural imbalance and nausea as well as a horizontal rotatory nystagmus beating towards the non-affected side, a pathological head-impulse test and no evidence for central vestibular or ocular motor dysfunction.
- The cause of AUV is not clear cut, but may have viral, traumatic, vascular, autoimmune or infectious origins.
- An AUV is diagnosed by clinical examination, patient history and, in complex cases, laboratory tests.
Benign paroxysmal positional vertigo (BPPV)
- BPPV is one of the most common causes of vertigo. The onset is sudden and recurrent attacks usually continue for 3 weeks to a month, after which the attack frequency decreases. It typically occurs between the ages of 50 and 70 years old and is more frequent in women. BPPV is a good example of paroxysmal (alternating between quiescent phases and severe attacks) dysfunction of the inner ear.
- Patients with BPPV have an impression of discomfort after attacks, and being apprehensive about readopting the position which triggered the problem. They may also have sensations of instability or feeling inebriated.
Ménière's Disease
- Ménière's disease is a chronic vestibular pathology described for the first time in 1861 by Prosper Ménière. It is characterized by recurrent and unpredictable.
- Patients suffer from a combination of rotatory vertigo crises from 20 minutes to 2-3 hours (even up to 6 hours in some patients), hearing loss and tinnitus.
- In Europe, 1 out of every 5000 persons is affected, women more frequently than men between 20 and 60 years old.
Vertibular migraine
- Patients with migraine may have recurrent attacks of vertigo that vary in duration and severity (from a few seconds to 2-3 days). Attacks can occur independently of the migraine (in up to 50% of cases).
- Vestibular migraine was shown to occur in 17% of patients with migraine. It is the second leading cause of vertigo in migraine patients, after BPPV.
- The average age at diagnosis is ~44 years old, and it occurs more predominantly in women than men.
- The pathophysiological origin of migraine-associated vertigo has not been clearly established and may involve both central (brain) and peripheral (vestibular) structures.
- Current therapies only treat the symptoms and are only intended to reduce the intensity and severity of the acute attacks.


text:
Ever participated in an extraordinary event and immediately wanted to share it with everyone you know? This was my reaction to a recent contemporary dance performance, Dialogue, by local choreographer Wen Wei Wang, presented at Vancouver's Dance Centre, May 25-27, 2017. I saw this performance several weeks ago and still have not lost the visual memory of that experience. I am compelled to share in words what I saw and felt on that evening in May, if only to persuade others to aspire to attend future works by this talented choreographer.
Dance is an exceedingly ephemeral form of communication; at its' very best, providing and provoking an assault on our senses, emotions and beliefs; challenging our ability to retain the messages received. In Dialogue, Wen Wei Wang has successfully risen to this challenge, providing the audience with an experience which was both emotional and thought provoking through an evolving set of individual stories of men of different cultures and backgrounds, performed by an ensemble of six highly talented male dancers. Wang told writer Shawn Connor (Vancouver Sun, May 24, 2017) that his goal in Dialogue was "to create a piece about our different cultures and different backgrounds and how we communicate and…..see each other" and to try "to find how we use our bodies to communicate, tell us something, feel something".
Dialogue opens with 'in your face' club bravado; the dancers creating a form of hip hop braille; conveying the sense of dissonance with one another, sexual energy on controlled display, electronic background soundtrack by Ben Frost reinforcing our collective feeling of unease and disconnection. Just when we were sufficiently on edge, the performances shifted to the very personal including the vulnerable and powerful writhing contortions of Nicholas Lydiate, exposing his inner demons, clad only in underwear and shades and the equally mesmerizing and provocative presence of Alex Tam, the cheeky bravado of his campy blurring of sexuality strutted repeatedly before his peers in a manner which engendered both envy and the desire to console and protect.
The stories told in Dialogue were an overlay of individual experiences juxtaposed on the larger community; each dancer sharing with the audience some aspect of his identity and background. Arash Khakpour conveyed his journey of displacement to inclusion, highlighted by themes of racism and exclusion, using the device of repeatedly pulling his T-shirt over his face and head. As the conversations of movements continued and trust and caring between the dancers revealed, his shirt was pulled back into place by the others and energy shifted to bringing the excluded into a circle of solidarity. The display of physical power, vulnerabiltiy and inter reliance portrayed by the dancers each time they came together in a circular movement of unity was particularly effective. Each of the dancers was masterful in their individual artistry. The communication without words between them was almost audible, truly dance as a transcendent form of expression. Wen Wei took the audience on an intimate journey into the experiences of these six men. It felt like something very private and personal; extraordinarily generous to have been invited to participate. Leonard Cohen's "Dance me to the End of Time" ushered us back into the here and now, desperate not to forget a single move. This performance was an exemplary example of dance as a communication form, the body moving through time and space, sharing with us intimate hopes and fears and challenging us to remember.
Judith Roche


text:
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Hemingway Martini Apartment / Ciclostile Architettura + Edoardo Morelli
interior design News
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Fuente: Archdaily -
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Hemingway Martini Apartment / Ciclostile Architettura + Edoardo Morelli
© Fabio Mantovani
architects: Ciclostile Architetturaarchitects: Edoardo MorelliLocation: Bologna, ItalyArea: 170.0 m2Project Year: 2017Photographs: Fabio Mantovani
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text:
Yes – it may be unwise, but it's generally not unlawful for a manager to scream, curse, or otherwise act like a jerk towards an employee.
A recent decision from the Eighth Circuit Court of Appeals illustrates this point well. In Rester v. Stephens Media, LLC, the court affirmed dismissal of a plaintiff's hostile work environment claim under Title VII based on an incident in which her manager screamed and cursed at her and physically prevented her from leaving the area. 739 F.3d 1127 (8th Cir. 2014). The court described the incident as follows:
Elderton slammed his hands on the desk and began screaming and cursing at her. Rester testified that she rolled her chair back, stood up, and said that she needed to leave, but Elderton put his hands on her three times, and physically prevented her from leaving until she began "wailing and cussing and screaming and hollering."
In holding that this incident did not give rise to an actionable claim, the court emphasized that the hostile work environment standard is "demanding" and requires "extreme" conduct "rather than merely rude or unpleasant" conduct. The plaintiff must show "that discriminatory intimidation, ridicule, and insult permeated the workplace." The court held that the single incident alleged by the plaintiff did not meet this standard.
Another reason why the plaintiff's hostile work environment claim failed is because the conduct alleged did "not denote a sexist connotation." The anti-discrimination laws only prohibit harassment based on certain categories protected by law, such as sex, race, national origin, religion, disability, etc… The conduct at issue in Rester, however, was based on a workplace disagreement, and there was no indication it was based on a protected class status.
In this latter respect, the Rester case was similar to another recent case, Lenzen v. Workers Compensation Reinsurance Ass'n, 705 F.3d 816 (8th Cir. 2013). In Lenzen, the court rejected a hostile work environment claim because the plaintiff could not establish that the manager's bad behavior was based on her disability. Instead, the evidence showed that the manager "created a hostile work environment for the whole support staff — including for those without any medical conditions."
Takeaway: Managers who scream, curse, and act like jerks may be undesirable for a host of non-legal reasons, such as employee morale, productivity, and retention. But acting like a jerk is generally not sufficient to create a hostile work environment claim unless the behavior is based on a protected class status and is so extreme that discriminatory intimidation, ridicule, and insult permeate the workplace.


text:
A religious figure should be a person you can trust. They absolve your sins and are there to provide guidance. There is a strong bond you form with a priest or pastor. But when that trust is violated in the most horrific way, the long-lasting effects are devastating.
At Fellerman & Ciarimboli, we have been fighting for the rights of minors and adults for decades. Our PA clergy abuse lawyers are committed to those who were victimized by a religious authority. We make sure your voice is not silenced and you receive the justice from not only the predators that committed these terrible acts but from those religious institutions that allowed them to occur.
Since the late 1980s, abuse allegations have been popping up throughout the world. Between 2001 and 2010, the central governing body of the Catholic Church, the Holy See, had been investigating sex abuse allegations involving 3,000 priests that date back at least 50 years.
Clergy abuse is not only occurring within the Catholic Church. According to the New York Times, a survey from the Center for the Prevention of Sexual and Domestic Violence found that up to 15 percent of clergy members in all religious groups have engaged in some inappropriate sexual conduct.
In Pennsylvania, a two-year grand jury investigation into sexual abuse of children within six Catholic dioceses across the state — Scranton, Allentown, Harrisburg, Pittsburgh, Erie, and Greensburg — was recently released, detailing more than seven decades of sexual abuse by more than 300 predator priests throughout six of the eight dioceses in Pennsylvania. Philadelphia independently did an investigation prior to the report. To read the report, click here.
Unfortunately, religious organizations choose to conceal the abuse rather than end it. This not only makes it difficult to know how many have survived sexual abuse but allows the cycle of abuse to continue.


text:
First timer? In this formerly once-a-day blog (and now pretty much a twice-a-week blog), I have my computer select a random latitude and longitude that puts me somewhere in the continental United States (the lower 48). I call this "landing." I keep track of the watersheds I land in, as well as the town I land near. I do some internet research to hopefully find something of interest about my landing location. To find out more about A Landing A Day (like who "Dan" is and what the various numbers and abbreviations mean in the first paragraph), please see "About Landing," (and "Abbreviations" and "Cryptic Numbers") above.
Landing number 2004; A Landing A Day blog post number 422.
Dan – My hot streak continues (barely, as you'll see) – I'm now 5/5 and 7/8. My landing turned this USer into a PSer . . . MS; 32/32 (see?); 8/10; 4; 152.3.
Here's my regional landing map:
A closer view shows that I landed near good ol' U.S. Route 61; I figured I'd be in for a Delta Blues kind of landing (and I was right, as you'll see). The closest town of any size is Port Gibson:
My GE shot shows that I landed in a lovely setting, along a pond, at the edge of the woods:
Backing out a bit, you can see that I landed deep in an extended forest area:
Backing out even more – the woods stretch all the way to the Mississippi River!
Here's a GE StreetView shot from the road that passes just south of my landing. Yup – there's woods, all right . . .
If you look back at the GE shot that shows the Mississippi, you can see streams north and south of my landing. To the north is the Big Black River, and to the south is the Bayou Pierre. It turns out that I landed in the Gunns Bayou watershed, which flows north to the Big Black (sixth hit); on, of course, to the MM (789th hit).
A quick word about Gunns Bayou. Some streams named "Bayou" are included on my rivers list. But I use discretion; Gunns Bayou would be just a creek in other more northern states. Had I landed a little further south, I'd be in the Bayou Pierre watershed, which would have been substantial enough to make it to my rivers list . . .
Moving right along – if you look back up at my closer-in landing map, you'll see the Natchez Trace Parkway just south of my landing. Like the above StreetView shot, it's also a two-lane ribbon of asphalt wending its way through the woods.
Of course, I had to Google "Natchez Trace." From Wiki:
The Natchez Trace is a historical path that extends roughly 440 miles from Natchez, Mississippi (located about 50 SW of my landing, along the Mississippi) to Nashville, Tennessee, linking the Tennessee and Mississippi rivers. It was created and used for centuries by Native Americans, and was later used by early European and American explorers, traders and emigrants in the late 18th and early 19th centuries. Today, the trail is commemorated by the 444-mile Natchez Trace Parkway, which follows the approximate path of the Trace. Parts of the original trail are still accessible (see photo below, very close to where I landed).
The first recorded European explorer to travel the Trace in its entirety was an unnamed Frenchman in 1742, who wrote of the trail and its "miserable conditions".
Here's a picture (Panoramio by Monc) of an old section of the Trace located just a few miles southeast of my landing:
On to Port Gibson, from Wiki:
Chartered as a town in 1803, Port Gibson is Mississippi's third-oldest European-American settlement, and was occupied in 1729 by French colonists.
Port Gibson was the site of several clashes during the American Civil War and figured in Ulysses S. Grant's Vicksburg Campaign. The Battle of Port Gibson occurred on May 1, 1863, and resulted in the deaths of over 200 Union and Confederate soldiers. The battle was a turning point in the Confederates' ability to hold Mississippi and defend against an amphibious attack.
Port Gibson has many historic buildings, which survived the Civil War because Grant proclaimed the city to be "too beautiful to burn." These words appear on the town's city limits signs.
Although Port Gibson no longer has a Jewish community, it boasts the only Moorish Revival building in Mississippi and the oldest synagogue in the state, the Gemiluth Chessedsynagogue, built in 1892.
Here's a picture of the synagogue from (of all places) TexasEscapes.com:
While I'm at it, check out the classy Claiborne County courthouse in Port Gibson:
Back to Wiki:
A historic marker has been placed by the Mississippi Blues Commission in Port Gibson commemorating the contribution The Rabbit's Foot Company has made to the development of the blues in Mississippi. This places the site on the Mississippi Blues Trail.
As all of you regular followers of A Landing A Day know, I've had numerous posts that feature the blues, the Delta blues in particular. Just for the heck of it, I did a quick review. Here's what I found:
Red Lick MS, featuring John Byrd
Durant MS, feature Elmore James
Smithville MS, featuring Lucille Bogan
Crockett TX, featuring Lightin' Hopkins
Angola LA, featuring Lead Belly
Pickens MS, featuring Elmore James (once again)
Como MS, featuring Mississippi Fred McDowell
Duck Hill MS, featuring Magic Sam Maghett
A couple of these posts feature "Junior's Juke Box" a great Delta Blues website. Click HERE to check it out (it's a hoot).
So, it turns out that no Delta Blues performer hails from Port Gibson, but the Rabbit's Foot Company spent many years headquartered in Port Gibson. From Wiki:
The Rabbit's Foot Company was a long running minstrel and variety troupe that toured as a tent show in the American South between 1900 and 1950. It provided a basis for the careers of many leading African American musicians and entertainers, including Ma Rainey, Ida Cox, Bessie Smith, Butterbeans and Susie, Tim Moore, Big Joe Williams, Louis Jordan, Brownie McGhee, Arthur "Happy" Howe, and Rufus Thomas.
Founded in 1900 by Pat Chapelle in Jacksonville FL, the show soon expanded to fill three railroad carriages, and was describing itself as "the leading Negro show in America".
By 1906 Chappelle was able to maintain multiple tent shows on the road. However, growing competition from other companies took its toll, and Chappelle died in 1911. The company was then sold to a white carnival owner, Fred S. Wolcott, who continued with the touring show.
By 1918, Wolcott had moved the show's headquarters to Port Gibson, Mississippi. Each spring, musicians from around the country assembled there to create a musical, comedy, and variety show to perform under canvas. In his book The Story of the Blues, Paul Oliver wrote : "The 'Foots' travelled in two cars and had a 80′ x 110′ tent which was raised by the roustabouts and canvassmen, while a brass band would parade in town to advertise the coming of the show. There were no microphones; the weaker voiced singers used a megaphone, but most of the featured women blues singers scorned such aids to volume…"
The company continued to tour among southern states until it disbanded around 1950.
A historic marker has been place by the Mississippi Blues Commission in Port Gibson, Mississippi, commemorating the enormous contribution the The Rabbit's Foot Company has made to the development of the blues in Mississippi and placing them on the Mississippi Blues Trail.
Here's a picture from aintnothinbut.com:
Here's a picture of an old Rabbit Foot truck from Vimeo.com:
Seaking of Vimeo, here's an excellent historical video that tells the Rabbit Foot story. I highly recommended clicking HERE to view the video. It certainly shows you a lost slice of Americana . . .
I'll close with this shot of the "Windsor Ruins" in Port Gibson. The Windsor Plantation included a mansion built in 1826 that burned down in 1890, leaving only these columns:
That'll do it.
© 2013 A Landing A Day


text:
Today's leading organisations are looking for ways to streamline their additive manufacturing workflows and ensure that every part of their businesses are connected.
AMFG can be integrated with over 100 enterprise software applications, so you can easily connect your additive manufacturing workflows to the rest of your business - and achieve a seamless digital workflow.
Connect with the rest of your business ecosystem.


text:
According to a recent report on the Edutech industry, New York City is poised to become a leader in this fast growing sector. What is Edutech? Edutech is an emerging sector that applies innovative technology to deliver learner-centric, personalized educational methods.
How big is the industry?
- Educational spending. Accounting for 7.6% of US GDP, educational spending is an important US growth industry. Though still a nascent sector, Edutech accounts for 2.5% of spending by US educational institutions.
- Higher education. The US is a leader in higher education with 40% of the top 50 universities located in the US.
- Growing US market. The total US Edutech market was $38.2 billion in 2008:
- Adult and continuous learning, at $13.1 billion, is estimated to grow at a rate of 9%.
- The K-12 Edutech market is estimated at $5.5 billion.
- Early childhood education currently represents the smallest market share at $1.6 billion.
The New York area was cited as having a few key advantages such as:
- Proximity to a large customer base of educational institutions and a large student population. New York City has the largest public school system, with 1.1 million students in nearly 1,700 schools. It is also home to the largest post-secondary population, with 626,000 students in 100 higher education institutions in the metropolitan area.
- An industry ecosystem that includes established educational publishing companies supplemented by a growing technology corridor.
- A supportive policy and programmatic environment, given the New York City Department of Education's pioneering in innovation and measurement-based progress in schools.
The education industry has been in the spotlight for the last couple of years with the cost of tuition rising across the country. Young innovators are out there trying to disrupt the space by bringing quality learning experiences to students more efficiently.
Look at San Kim and his company ShowMe which helps anyone teach anything. The platform has seen over 1.5 million lessons created and has raised just under $1 million.
Or 2tor, which was founded by Jeremy Johnson to help bring degree programs online and has raised over $90 million.
Young people in New York are already jumping on the opportunities in this field but it's just the beginning.


text:
The Starfish Story
Adapted from the short story by Loren Eiseley
Once upon a time, there was a wise man who used to go to the ocean to do his writing. He had a habit of walking on the beach before he began his work.
One day, as he was walking along the shore, he looked down the beach and saw a human figure moving like a dancer. He smiled to himself at the thought of someone who would dance to the day, and so, he walked faster to catch up.
As he got closer, he noticed that the figure was that of a young man, and that what he was doing was not dancing at all. The young man was reaching down to the shore, picking up small objects, and throwing them into the ocean.
He came closer still and called out "Good morning! May I ask what it is that you are doing?"
The young man paused, looked up, and replied "Throwing starfish into the ocean."
"I must ask, then, why are you throwing starfish into the ocean?" asked the somewhat startled wise man.
To this, the young man replied, "The sun is up and the tide is going out. If I don't throw them in, they'll die."
Upon hearing this, the wise man commented, "But, young man, do you not realize that there are miles and miles of beach and there are starfish all along every mile? You can't possibly make a difference!"
At this, the young man bent down, picked up yet another starfish, and threw it into the ocean. As it met the water, he said, "It made a difference for that one!"
This story has appeared all over the web in various forms. Sometimes it is a little girl throwing the starfish into the ocean, sometimes a young man. In any form it is a beautiful story and one that makes you think.
|Story - The Kings Teeth
|Story - The Worms
|Story - Stay Sharp
|Story - Bad Temper
|Story - Donkey in the Well
|Story - The Black Telephone
|Story - Judging Others Based On Their Looks
|Story - The Red Light Signal
|Story - The Dubai Beach and the Car Battery Issue
Success Story: Honda Motor Co - Soichiro Honda Story: Mary Speaks to the Rich Lady Success Story - Fred Smith | Federal Express Only t...


text:
Silhouette Crystal
Polished design with a hint of sparkle are key elements of this CITIZEN Silhouette timepiece. Powered by any light with Eco-Drive Technology, this watch features Swarovski® crystals within a gold-tone stainless steel case and bracelet and light champagne dial.Featuring our Eco-Drive technology – powered by light, any light. Never needs a battery. Caliber number J730.
We stand by the quality and craftsmanship of our timepieces. Every Citizenwatch.com purchase comes with our 30-day, money-back guarantee so that you can be sure your new Citizen timepiece meets your expectations. We offer free returns for added convenience.
Our 5 Year Limited Warranty accompanies your purchase on Citizenwatch.com, Citizen retail stores, and authorized Citizen dealers.
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In the course I teach on social class in America, I show students how capitalism generates inequalities in wealth, status, and power. What I offer is not a moral critique of capitalism but rather an empirically grounded analysis of how it works, at a nuts-and-bolts level, to create and maintain a disproportionate flow of material and symbolic resources to the capitalist class. That capitalism does this is, as Noam Chomsky might say, uncontroversial. Or, as a student double-majoring in sociology and business once said to me, "You talk about a lot of the same things my business professors do, but you sure talk about them differently."
Once my students understand how capitalism works and the full range of consequences it produces, their moral intuition tells them what's wrong with this form of economy. They recognize the unfairness of a system premised on the exploitation of labor; a system that allows wealth to accumulate to an unlimited degree and thus belie claims to provide equal opportunity; a system that wastes vast human potential; a system that undermines democracy by concentrating power in the hands of a relative few. I make the point that sociological analysis can't tell us what's right or wrong, but it can inform our moral judgments by helping us see how our social practices affirm or betray our best values.
The irony that hangs over our deliberations is that even as we pursue a critical analysis of capitalism—an analysis that exposes its inhumanity and thus at least suggests the desirability of change—the reality is that students aren't in college to learn how to overthrow an exploitive and oppressive system. In fact, what they are seeking, most of them, is a comfortable place in that system. This is no fault of theirs; they are economically compelled to seek credentials and skills that will help them avoid the worst that capitalism dishes out and, if possible, benefit from what it dishes out to less fortunate others. Under other historical conditions, higher education might serve different purposes.
Professors are no less trapped; we have simply found our comfortable place in the system years ahead of the students who are still seeking theirs. It seems to me that our mutual entrapment, combined with the seeming intractability of capitalism, are what largely account for the turn away from political economy and toward cultural matters—the turn that has resulted in many Left professors, mostly in the social sciences and humanities, being seen as mere champions of political correctness rather than as serious critical intellectuals with something useful to say about how capitalist society works and how it might be transformed.
At the classroom level, this turn toward the cultural is reflected in efforts to teach students to appreciate diversity, examine their privileges, and reckon with the unconscious racism and sexism embedded in their everyday behavior. To be clear, I think these are good things to do; no destructive inequalities should be given a pass. The problem is that, as useful as these strategies might be for making our students more sensitive and socially aware, they let the class system off the hook. It thus comes to seem that inclusion and diversity within a capitalist framework are the only sensible goals to aim for.
By focusing so much on the cultural, we also end up abetting what Adolph Reed has called an identitarian politics of proportional inclusion. All will be well, we lead our students to believe, if members of historically excluded groups are allowed to enter, in proportion to their numbers in society, the ranks of bosses, administrators, generals, and capitalists. This sort of cosmetic change is unthreatening to those safely ensconced in the system, and it naturally appeals to those trying to find a place nearer to the top than the bottom. Inclusion, yes. Upward mobility, yes. Transformation? Only après moi, maybe.
A now-retired colleague of Marxist persuasion once remarked on what he saw as a telling omission on the part of many academics who study inequality. He observed that while everyone agrees that racism and sexism are wrong and should be eradicated, few people make the same argument about class. "Why is it imperative to oppose racism and sexism," he asked, "and not class?" Between us, it was mostly a rhetorical question. We knew that the answer had to do with academics' class privilege and need to embrace an ideology of meritocracy to justify that privilege. To call class into question would be to question not just a system of inequality but our own deservingness.
While social scientists certainly haven't ignored class, the attention we've paid to it usually takes one of two forms: using class as a variable to predict the attitudes or behaviors of individuals; or studying the lives of people in certain class categories (e.g., ethnographic studies of working-class communities). Such studies can be useful for showing how people experience and are affected by their class locations. What's typically missing, however, is analysis of how the class system works—how it is used by those who control the means of production and administration—to generate and maintain the inequalities that shape people's lives.
Part of the problem is that some of the conceptual language useful for unpacking these matters has been stigmatized. The language exists but using it carries a high risk of being dismissed as an ideologue. To speak of a growing gap between productivity and wages over the last thirty years is acceptable. To speak of wage stagnation as a partial result of declining union membership is okay. To speak of ever more wealth accruing to the richest 1% is now within respectable bounds. But to speak of an increasing rate of expropriation enabled by capitalist victories in the class struggle is to invite trouble. Or invisibility.
This is not just a matter of how class is talked about in academic circles. How we study, talk about, and write about class has wider consequences. Focusing solely on diversity, inclusion, privilege, and mobility means having little to contribute when it comes to challenging capitalist power, advancing working-class interests, or transforming capitalism as a whole. It means, in effect, accepting a soft ringside seat.
If we hope to say anything useful about how to transcend capitalism, we have to examine the system itself—the rules of the game, the legal and political tactics, the ideological manipulation, the mechanisms of exploitation, the coordinated strategies of domination—not just its consequences for values, personal behaviors, and mobility prospects. We also need to take more seriously the implications of intersectionality.
Jargony though it might seem, "intersectionality" has two useful meanings. It can refer to the fact that we're all caught in multiple systems of inequality at once. Our life chances and daily experiences are the results not just of class position but also, simultaneously, of race, gender, ethnicity, sexuality, and disability status. Intersectionality can also refer to how systems that create and perpetuate inequality—capitalism, racism, and sexism—mutually reinforce each other. It's this latter sense of intersectionality, the structural sense, that has gotten lost in the cultural turn.
The failure to think structurally is evident in the term "classism," which is meant to parallel "racism" and "sexism." But whereas we grasp racism and sexism as broad systems of discriminatory practices and justifying beliefs, "classism" typically refers to what we used to call elitism or snobbery. A true parallel term would refer not to matters of attitude but to organized practices of economic exploitation and to the ideologies that justify such practices. It is this understanding of what class entails that also has gotten lost. Taking intersectionality seriously and recognizing that class is not merely elitism but rather a system of economic exploitation, has, as my erstwhile Marxist colleague suggested, a powerful implication: class, no less than racism and sexism, should be abolished—even by the moral standards of liberalism.
Cultural critique remains necessary. People live in a culture no less than in an economy. And if the truth is the whole, then both culture and social organization must be analyzed to arrive at a full picture of how any society works. But at this historical juncture it seems that our own frustrations and privileges have led us—academics who would presume to speak about class, about inequality, about change—to narrow our analytic view to the cultural and attitudinal. Ironically, by focusing on what has seemed most amenable to change we have perhaps impeded it.
Making the social machinery of capitalism the target of analysis exposes racism and sexism as tools of the capitalist class. Racism and sexism divide and weaken the working class and enable the super-exploitation of subgroups of workers. And by making these things possible, racism and sexism aid the accumulation of wealth that bolsters capitalist power. So if we are serious about eradicating racism and sexism and dismantling privilege, we must recognize that this can't be done within a capitalist framework. By implication, a well-meaning liberalism that takes its own moral commitments seriously must oppose capitalism, or collapse under the weight of hypocrisy. Honest intersectional thinking, in other words, has to become radical thinking if it is not to betray itself and its would-be beneficiaries.


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Marvel's newest big picture is finally out – the stakes are a lot smaller than in the Avengers flicks, but there are still huge connections. Is [REDACTED] alive? Where did [SPOILERS] go? Did you notice the first Ant-Man? (Not so) short answers, below.
This film had a rocky origin, as it began – sort of – before Iron Man premiered when director Edgar Wright wanted to make a quirky superhero flick. The test footage shown at Comic Con in 2012 was amazing, but creative differences between the indie director and the sprawling Marvel Cinematic Universe forced the auteur to split ways with the burgeoning franchise.
Personally, I liked the film. It had its slow points, but every scene with Paul Rudd was gold.
On With the Comic Connections
It's too bad Ant-Man didn't get made in MCU Phase One, because Ant-Man, along with Thor, Iron Man, Hulk and Ant-Man's girlfriend the Wasp, were the original founding Avengers in the comics. Captain America didn't join until Avengers #4, but he's been such an important member he's been listed retroactively as a "founder" in official Avengers meetings.
In fact, in his first appearance, Ant-Man wasn't even Ant-Man, he was just Dr. Hank Pym, "The Man in the Ant Hill" in Tales to Astonish #27 (you'll note Darren Cross makes a none-too-subtle reference to the title in his first scene). At the time, Marvel Comics were barely able to publish eight comics per month as part of an agreement with their distributor, DC Comics (yes, that DC Comics), and only some could be superhero comics. Hank Pym premiered as a sci-fi/horror character, and returned as a superhero. Due to some retroactive continuity, he also appeared in other pre-superhero stories, including one with a pre-Bruce Banner Hulk, in which the main character's name was changed to "Hank Pym" for reprints.
When the film opens in 1987, Hank Pym is tendering his resignation to SHIELD, talking with Cap's ex Peggy Carter, Iron Man's estranged (and not dead yet) father Howard Stark, and new guy Mitchell Carson during the construction of SHIELD base Triskelion (destroyed during Captain America: Winter Soldier). You know Carson will be important later simply because he's the only character audiences don't know yet.
Mitchell's comic book counterpart was also a less-than-scrupulous SHEILD agent. He was tasked with down Eric O'Grady, an (almost) irredeemable successor to Pym and Lang as Ant-Man. O'Grady was a horrible person, but Carson was worse. For the record, Carson was co-created by Walking Dead co-creator Robert Kirkman, so there's that.
We eventually learn that Hank had been a superhero for a few decades, operating alongside SHIELD in secret using his size-changing Pym Particles as the Astonishing Ant-Man, eventually joined by his wife Janet as the Winsome Wasp. As Coulson said in Iron Man, the Armored Avenger wasn't SHIELD's first superhero rodeo. Just as in the comics, Janet had to convince Hank to let her join him on missions, and her suit was made slightly different from his, as it included wings for flight and wrist-mounted lasers.
The Wasp apparently died stopping a terrorist ICBM from hitting the US, as she shrank "between molecules" going into what Hank repeatedly refers to as the "Quantum Realm." Pym speculates that the human mind can't handle existing at that level outside of our space and time (even exposure to Pym Particles without proper protection can cause mental problems, according to the film). Interestingly, this is exactly how the Wasp died in 2008's Marvel crossover, Secret Invasion. Wasp was affected by tainted Pym Particles and seemingly killed. Hank spent a long time trying to find her, even discovering what he thought was his ex-wife in the space between universes (turns out it was the girlfriend of cosmic threat Korvac, but whatevs).
It was eventually revealed that the Wasp wasn't dead – she was just too small to be detected. See, in the Marvel (comics) Universe, if you shrink far enough, you enter another dimension accessible only through size manipulation. Originally there were several different dimensions, including Subatomica (home of Fantastic Four baddie Psycho-Man) and Kosmos (which is where the excess matter used when Pym Particles enlarges things comes from). Many of these dimensions were merged into a single Microverse in the amazing Marvel crossover Small X-Pectations (which was never actually published, so don't bother looking for it!).
Jumping ahead to the present, we meet Scott Lang on his last day at San Quentin Prison. It seems Scott burgled the unscrupulous big wigs of Vista Corp and gave the ill-gotten money back to the people Vista swindled. After serving his time, Scott got into a friendly fight with fellow inmate Peachy and moved in with his old cellmate Luis, before meeting up with fellow ex-cons Kurt and Dave. In the comics, Scott had to kill a man in prison to survive (the incident traumatized him); he still has trouble keeping a job due to his record. Vista Corp wasn't originally in the comics, but interestingly Disney has a film division called Buena Vista. Coincidence? Luis later whistles "It's a Small World" because of course he does.
Scott is not supergenius like Stark or Pym, but he does hold a masters in electrical engineering and can figure out amazing things on the fly. Similarly, he's not one of the eight smartest people in the Marvel Universe, but he does figure out things that even Pym didn't realize. Recently Scott realized he could use Pym Particles to remain the same size while still manipulating his mass, durability and strength, enabling him to singlehandedly defeat Doctor Doom!
Scott visits his ex-wife Maggie and her new fiancée Paxton to see his daughter Cassie. In the comics, Scott's wife Peggy left him while he was in prison and raised Cassie on her own. Cassie, of course, eventually becomes the superhero Stature, and a member of the Young Avengers. Phase 4 or 5, maybe? Anyway, several years back Scott Lang died, then Cassie helped bring him back to life only to die herself thanks to Doctor Doom, then Doom had a change of heart and brought Cassie back to life. Comics everybody!
Meanwhile, over at Pym Technology, the long-absent company founder Hank Pym returns to see what his protégé Darren Cross is up to. In the comics Cross was an evil businessman scientist, but is most remembered for being the cousin of the villain Crossfire, basically a low rent Deadshot (who doesn't hold a candle to Bullseye). In the original story, Darren Cross kidnapped a heart surgeon and forced her to perform surgery on him, but Lang needed the doctor to help save his daughter, who was suffering from a potentially fatal heart condition as well. Scott broke into Pym's home to find money, but stole the Ant-Man suit instead and used it to save the doctor (and in turn his daughter) and stop the evil Cross. Pym was so impressed he let Scott keep the costume. Things go down fairly similarly in the movie, though Cassie isn't sick, and Hank actually tricks Scott into robbing his house.
In the film, Cross intends to found Cross Technology with Pym's daughter Hope, who has had a very strained relationship with her father since her mother's apparent death. In the comics, Hank and Janet don't have any kids in regular continuity, though there are little Pyms running around in alternate realities: in the near-future world of MC2, Hank Pym Jr. is the Big Man (seriously) and Hope Pym is the villainous Red Queen. The Red Queen hates the Avengers (or more accurately, the Avengers Next of the future) and seems to harbor a lot of resentment towards heroes in general – hopefully her cinematic counterpart will be better adjusted.
In the film, Cross attempts to recreate the Ant-Man technology using his Yellowjacket, which is actually an article of clothing, and it's yellow, so the name makes sense. Pym is understandably upset that his technology is being compromised, but is more concerned that exposure to Pym Particles causes mental instability overtime. He seems to believe the Ant-Man suit will protect the user from this, but explains that he has already been affected by years of exposure. In the comics, Hank Pym is Yellowjacket – shocker I know. See, in the comics, Hank has a long history of mental instability – some of it's been blamed on technology, some on time-traveling shenanigans, but the cause isn't as important as the effect. See, when Hank went really nuts one time, he concocted the Yellowjacket alias and began strutting like an alpha male jerk. He claimed to have killed Hank Pym, but the Avengers let him in the "dead" Pym's place at the insistence of the Wasp. She then married him, knowing full-well he wasn't in his right mind at the time (that's messed up), and in an incident that would become the stuff of comic book infamy, Yellowjacket hit his wife. It's been said time and again that this was not the intention of the comic creators, but the comic is what it is. Pym is often singled out for this when other "heroes" were just as guilty. Since clearing his mind, Hank Pym has spent the intervening years trying to make up for his behavior.
By the by, Hank Pym has had a lot of costumed identities (but fortunately, most were while he was in his right mind). He's been Ant-Man, Giant-Man, Goliath, Yellowjacket, and even went by the Wasp for while! Similarly, there have been several others who have used each of his identities, not just Scott Lang.
In the film, Yellowjackets are planned as an army of armored soldiers to be sold to the highest bidder (re: Hydra). Interestingly, Hydra is getting so routinely routed in the MCU that their inclusion doesn't even merit a second take in this film. Carson wasn't among Hydra leaders mentioned last season in SHIELD, so presumably he was working for Grant Ward.
After stealing the suit, Scott has the requisite getting-to-know-his-powers scene which ends when he falls on a cab driven by – Ant-Man! That's right, the cabbie is the original live action Ant-Man from the famous(?) Saturday Night Live skit!
Scott eventually learns about Hank's control of the ants and flies on Ant 247. Hank says there are too many ants to name, but Scott persists, naming 247 "Antony" (poor Antony…). In the comics, both Hank and Scott name their ants, and there are sooo many of them: Crosby, Stills, Nash (one through twelve), Korr, Spa Fon, Axel, Blitzen, Emma, Gambit , Indy, James, Jezebel, Kenny G, Mara, Martha, Prince, Purdey, Silver, Silver Streak, Steed, Van Halen, Vixen, Whitmore, and so many more…
Upon learning of the gravity of the situation, Lang suggests calling the Avengers, but Pym doesn't trust Stark (presumably any Stark), especially with the Avengers busy "dropping cities." Instead, Scott is sent to an old, disused Howard Stark storage facility in upstate New York – which turns out to be the New Avengers headquarters, guarded by Falcon. The fight was fun, but for the record, Ant-Man has defeated the Avengers single-handedly before – heck, he was the first Avenger to beat Loki!
Pym gives Lang weapons that allow him to quickly shrink and enlarge objects. Cross, meanwhile, is unable to get his technology to work on living tissue until he places the test subject inside an airtight container. In the comics, Pym Particles work on anything, but importantly, affect the size of things in the immediate vicinity as well (clothing, handheld items, etc.). Also, when things enlarge, they gain mass, strength and durability – which is why Thomas can destroy a police car or the ant can have the consistency of a dog. Speaking of, that means two things: a) Pym particles work on living creatures (unlike Cross's formula) and b) Pym Particles make things giant size. Lang better turn into Giant-Man by his next appearance!
The climatic battle between Lang as Ant-Man and Cross as Yellowjacket was pretty amazing, and seemed almost as much a parody of superhero films as it is a participant. Two powerful beings locked in deadly combat, throwing destruction in their wake – and it mostly destroys dollhouses and toy train sets. In the comics, Hank Pym made use of his particles in a silly-but-serious way when he created the Big House, a prison for hundreds of superhuman criminals, shrunk down small enough to fit in one SHIELD-monitored room.
Pym also pulls a fully functional (and gassed up?!) tank out of his pocket, something the comic book Pym does all the time, usually with vehicles of his own design.
Bonus: Denouement
The film seems to have three closers – in the first, Falcon spreads word that he wants to talk with Ant-Man (Spidey reference and Stan Lee!), in the second, Hope gets her own Wasp costume (let's hope she doesn't become the Red Queen), and in the last, Falcon and Cap examine a captured(?) Winter Soldier, Cap says they can't trust Stark, and Falcon says he knows a guy (presumably a small guy).
Civil War, anyone?
Kevin Garcia is a professional educator and freelance writer whose work has appeared in Marvel Comics, the Associated Press and on various blogs. As a fan, he doesn't get paid to write Secrets of SHIELD posts about Marvel shows – or any other geeky posts for that matter – but hey, wouldn't that be nice?


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1 quart heavy cream
14 ounces bittersweet chocolate, melted
Whip the cream to soft peaks and add about 1/3 of the melted chocolate. Fold gently with a rubber spatula. Mix the remaining chocolate into the whipped cream. Mix only until combined, as you will deflate the cream if you overmix. Place the mousse in a large pastry bag and pipe into decorative serving cups.
Makes 6-8 servings.
Source: Jacques Torres
Date: October 27, 2002


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January 25 is Burns Night, Scotland's annual feast to celebrate its greatest poet, Robert Burns. Whisky is an integral part of the evening, and Burns, a famous whisky lover, has for years proved a useful ambassador for his national drink. So much so, in fact, that a recently re-launched whisky called Usquaebach uses a quote from the Burns poem Tam O'Shanter in its marketing: "Wi' usquabae (sic), we'll face the devil!"
For whisky lovers in North America and Britain, Burns Night is a good excuse to crack open a decent bottle of single malt whisky—which has long been seen as the gold standard for the drink. But Usquaebach, like many other excellent whiskies at the moment, isn't a single malt—it's a blend. In fact, this is how most people take their Scotch. Single malts, which come from one distillery and are made entirely from malted barley distilled in a traditional pot still, make up less than 10% of global whisky sales. Blends, which are made of different malts and usually blended with grain whiskies, comprise the rest.
Don't be snobbish about blended whiskies. The best blends contain a high percentage of quality aged malts. And blending several malts with some lighter grain spirit can enhance a whisky's depth of flavour. Big brands do not mean bad whisky. In fact, without the big brands, most single malts would not exist—because many Scottish distilleries were founded to provide malt whiskies for blends. The backbone of one of the world's bestselling whiskies, Johnnie Walker Black Label, comes from three distilleries, Dailuaine, Mortlach and Benrinnes.
Blending together disparate whiskies into a consistent and harmonious whole is an art, especially as the brands are made in huge quantities. (Case in point: Diageo make around 20 million cases of Johnnie Walker whisky a year.) Whiskies vary in flavou
r and availability, so producers have to keep tinkering to keep the taste consistent. And woe betide you if you mess with someone's favorite. Dr. Nick Morgan, head of whisky outreach at Diageo told me: "We have to get it right every time. If you get it wrong, there's always an old customer who will pick up on it."
Blends were created in the 19th century to be an easily enjoyed product for export around the world, and different whiskies sell better in different markets. "When in different cultures, brands takes on a life of their own," said Morgan. Grand Old Parr, barely available in Scotland, is now so part of the culture in Colombia that there have been folk songs written about it. Another Diageo product, Buchanans, became popular in South America because its creator, James Buchanan, was a regular visitor in the late 19th and early 20 centuries to buy horses. It's now America's fastest growing brand—largely thanks to the Latin American market. Last year, Diageo ran a Spanish-language ad for Buchanan's entitled "Es Nuestro Momento" (it's our moment) during the World Series. It's a long way from Tam O' Shanter.
Blends aren't just about big brands, however. There are blenders producing whiskies every bit as exclusive as the rarest single malts. The Blended Whisky company produce a Half-Century Blend containing whiskies with a minimum age of 50 years. It's meant to be a taste of how whisky was before production techniques were modernized in the 70s and 80s, and it retails for around $1000. A snip compared with the Last Drop's 50 Year Old Blend—which comes in at $4500 a bottle.
More down to earth are Compass Box, a small blender who have taken the whisky world by storm since founded in 2000 by John Glaser, an American. The company sources aged whisky from big boys like Diageo and John Dewar, but they also buy new make, i.e. clear spirit, and age it themselves so that they can control quality of the cask. Jonathan Gibson, their head of marketing, told me: "We're fanatical about wood. It's at the heart of what we do."
Whereas there might be 40 components in a commercial blend, "our blends are much simpler," Gibson told me. "After more than 10 whiskies, you can't taste the subtlety. Put too many colors together and you get brown." Most blends don't tell you exactly what's in them, but Compass Box provide as much information as they're legally allowed to.
There's no reason why a blend shouldn't be as complex or stimulating as a single malt. Gibson pointed out to me that a single malt "is also a blend—a blend of different ages, casks, etc., to make a consistent product. The difference is we blend from different distilleries too."
So how should you drink your blended whisky? Morgan told me that lighter whiskies such as J&B or Cutty Sark are designed to be drunk with mixers: "Look at old ads. When you see whisky, there is always a soda siphon in the shot. Many people miss the point and complain that blends aren't that good on their own." The best blends, though, can be drunk neat as you would a single malt, but their strong flavours also work really well in cocktails. At Duke's Hotel in London, the legendary barman Alessandro Palazzi made me a special negroni with Grand Old Parr in place of gin. It tasted sensational—though perhaps not one to give to Scotch traditionalists on Burns night.
Click on the Food & Wine website for some recommendations:


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Friday, September 3, 2010
Winter Bird
I cannot tell you how hard it was NOT to make this bird RED! The challenge today was to make something with a bird, and use a color from your non-favorite palette. Blue is right there!!
Everyone else in the family, with the exception of one grandson (RED), and DD (yellow), loves blue. Yuck.
Anyway, this is an image from MFP's set called Tweet Blessings, which I just adore. The tree and bird are markered, and I used acrylic paint to add a little snow on the branches and ground. The snowflake charm is from MFP as well. I know you can figure out the rest.
It's very peaceful here. Mom went home yesterday, and is doing well. I have an incredible mess to pick up, but have NO other plans, except to go out for lunch and make comments that I've sorely neglected for the past week that Mom was here.
Have a wonderful long weekend, and cross your fingers for those of us who are anticipating a visit from Hurricane Earl.
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We are Less Than 2 Weeks Away from Kicking Off Our 2019
Field to Fork Dinner Series!
Jeffrey A. Miller from JAM Catering in Philadelphia
will be the first guest chef of the
Field to Fork Dinner 2019 season on July 10th!
Jeffrey A. Miller Catering started in 1980 as a brunch-in-bed school project by founder Jeff Miller, then a sophomore at the Wharton School of the University of Pennsylvania. While studying entrepreneurship during the school year, Jeff used his summers to train in some of the best kitchens in the world, working in New York, London, and a Michelin three-starred restaurant in the south of France.
The creativity in presentation, emphasis on freshness, and attention to detail that made these restaurants great is what inspired Jeff to try to reinvent catering, abandoning an old style of boring, cookie-cutter banquet food in favor of vibrant culinary offerings with flavors from around the world. Although what started as a one-man band is today a thriving organization, this spirit of innovation continues to guide our kitchen and all aspects of the JAM experience.
Sign Up Here for the July 10th Dinner with Jeffrey Miller
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Zhukov D.S., Lyamin S.K. Computer Fractal Modeling and Politological Analysis of the Destruction of Traditional Informal Institutions // Modern Research of Social Problems . 2013. №7. doi: 10.12731/2218-7405-2013-7-12 [статья, РИНЦ]
Полный текст публикации на сайте издателя
Abstract: The authors substantiate the objectives for the prospective research program dedicated to the destruction of the traditional informal institutions — the TII. TII is considered by many experts as one of the most significant obstacles for modernization of all systems of Russian socio-political institutions. The article contains a description of the social problems associated with the presence of the TII, also literature analysis on this issue and the statement of the suggested methodology. Creating fractal computer models is a new and highly promising research tool, not only in the natural sciences, but also in the socio-humanitarian disciplines. In the article it is talked about the approaches of construction of a fractal model that imitate, in particular, the transformation of the socio-political institutions (General fractal transition model — GFTM). Also we provide some most interesting — qualitative interpretation of experiments on the simulation of institutional modernization. Hypothetical variants of forced institutional modernization are constructed. Some non-linear effects that arise during the transformation of the «sedimentary» social structures are found. The whole set of such effects authors call «turbulent» accelerated modernization.


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