American Furniture 2013, edited by Luke Beckerdite, Chipstone Foundation, University Press of New England, 2013. Hardcover with dust jacket, 352 pages, color photos. List price: $65.
When it comes to research about American furniture, this is the book.
First published in 1993 and written by the foremost scholars in the field, this annual compilation of articles provides a comprehensive forum on furniture history, technology, connoisseurship and conservation. That sounds intimidating if not a bit egg-headed, but it's not meant as such. American Furniture 2013, the latest edition of this laudable project, is likely to be appreciated by anyone seriously interested in the genre.
Considered the publication of record in its field, American Furniture presents new research on furniture design, use, production and appreciation. The papers are research-driven, detail-oriented and heavily illustrated, with 384 images used in the latest edition.
The work concludes with a bibliography of recent writings on American furniture, compiled by Gerald W.R. Ward. The list primarily includes works published from 2012 through October 2013.
This reference book belongs on the shelf of any collector or dealer who has a serious interest in American furniture. Both informational and intriguing, it's well worth the price.
The conversation was birthed in a hospital waiting room. The two ladies to my left, friends of a friend who was having surgery, had ping-ponged a dozen topics that morning. When the word "eBay" bounced past, I looked up from my laptop and stopped them mid-sentence.
"What are you selling?" I asked.
One of the women lived near the Ohio River and had a collection of riverboat memorabilia, including older photographs and prints. She was downsizing and ready to part with the material.
She wasn't convinced. I went back to my work, but the mention of framed prints brought me back into the conversation.
The prints, it turned out, were poster-size. When I explained the hassles of shipping that type of item, the woman seemed more willing to explore other options, noting she was most interested in selling her collection of steamer photographs.
"How old are the photos?" I asked.
That's when I knew we might have a communications problem.
"The 1980s," she replied, as if it was ludicrous to think otherwise.
I forget sometimes that not everyone has the interest in and/or knowledge of antiques as those of us who have been involved in the hobby for years.
The Greenwood and the Ann Bailey at Point Pleasant, West Virginia.
The memorial is at Tu-Endie-Wei State Park, a bend of land where the Kanawha River flows into the Ohio River. The park is the site of the Point Pleasant Battlefield Monument, an 84-foot granite obelisk dedicated on Oct. 9, 1909, to commemorate the battle fought on Oct. 10, 1774. That single-day clash, the Battle of Point Pleasant, saw an undetermined number of Indians (possibly 300 to 500) led by Shawnee Chief Cornstalk attack about 1,000 Virginia militiamen under the command of Colonel Andrew Lewis. The fighting resulted in heavy losses on both sides, but the militia prevailed. The significance of the engagement went beyond the initial defeat of the Indians. The outcome led Cornstalk to remain neutral over the next several years, when British forces sought to build a coalition of Native Americans to fight against the Colonists.
Some have argued that if the Shawnees had prevailed at the Battle of Point Pleasant, it would have changed the power structure on the frontier, leading to a British-Indian alliance that might have reversed the outcome of the American Revolution.
In the vintage photograph of the Point Pleasant Battlefield Monument, the obelisk is clearly visible in the background. However, the two steamers are the main focus.
According to Way's Packet Directory, 1848-1994 by Frederick Way Jr., the Greenwood was built in Parkersburg, West Virginia, in 1898. A sternwheel packet with a wooden hull, the boat nearly sank on its trial voyage when it hit something in the river, resulting in broken floor timbers. After repairs, the Greenwood had a long career, running a number of routes over the next quarter of a century, including Pittsburgh-Parkersburg, Pittsburgh-Charleston, Cincinnati-Pomeroy-Charleston and Pittsburgh-Cincinnati. At Cincinnati in November 1925, the Greenwood was struck by the Chris Greene. The blow ripped open the Greenwood's hull, turning over the steamer. It was the end of the line for the ship, whose three boilers were salvaged for the towboat John F. Klein.
The Ann Bailey was a sidewheel ferry built in 1909 at Point Pleasant, where it operated between shores of the Ohio River. The boat was named after "Mad" Anne Bailey, whose first husband was killed at the Battle of Point Pleasant, leading her to join the militia. Dressed in buckskins, she became legendary as a frontier messenger and scout. The Ann Bailey ran until the Silver Bridge opened in May 1928, connecting Point Pleasant to Gallipolis, Ohio. The boat was sold in October 1929 and met its demise in heavy ice at New Haven, West Virginia, in February 1936.
There are stories in many of the things we collect, from early steamer memorabilia to riverboat posters from the 1980s. The thrill of the hunt and the discovery of history keep the hobby alive.
A recent 10-minute segment on The Story offered a look into a box of salt and pepper shakers removed from a Florida safety deposit box and sold at auction. "The Tale of Lot 180" is more about people than collectibles. You can listen to it here.
For those who like their Tuesday Tip short and sweet, here's a website dedicated to fakes and reproductions: Real or Repro. Americana is among the mix of antiques and collectibles highlighted.
Sometimes history and pop culture collide.
A bronze bust of a man likely went unnoticed by most people when it was sold by Garth's Auctions during the company's Ohio Valley sale on May 18, 2013. The sculpture depicted a distinguished-looking gent with a high hairline and a full moustache. You probably wouldn't recognize the guy, but you've certainly heard of him.
As a kid, it's almost a given you knew the name — Oscar Mayer.
Made by the Roman Bronze Works of New York, the bust was mounted on a marble plinth. In all, it measured 20 inches high.
According to Garth's, the piece came out of the boardroom at Oscar Mayer's headquarters in Chicago. After the company sold to General Foods in 1981, the firm's office relocated to Wisconsin. One of the movers involved in the transition was given the bust.
For most people, Oscar Mayer was the name of a hotdog, not an entrepreneur. That's where the history comes in.
Born in Germany in 1859, Mayer emigrated to the United States, where he and his brother Gottfried opened a small butcher shop in Chicago in 1883. Among their specialties were bratwurst, liverwurst and weisswurst, the latter being a white sausage popular in German neighborhoods.
By 1900 the company had grown to 43 employees and offered citywide delivery. Things got bigger from there.
As the firm grew out of its big-city breeches and wore the pants of a major player on the American meat market, advertising played an increasingly important role. That's where the pop culture comes in.
While sausages and hams were in demand with the company's customers at the turn of the 19th century, it wasn't long before bacon and wieners were also popular products. With that, a marketing icon was created. Enter the Wienermobile.
Shaped like a hotdog in a bun, the Wienermobile was the 1936 brainchild of Oscar Mayer's nephew, Carl G. Mayer. It was the first of 10 vehicles eventually produced. At least one example has remained on the road since then, except during World War II, when gas rationing put the oversized frankfurter out of service.
It should be noted, the driver of a Wienermobile is known as a Hotdogger. The job is reserved for recent college graduates who sign on for a year's duty of guiding the mechanical marvel around the nation and abroad.
The Wienermobile spawned generations of collectibles, including countless Wienerwhistles — toy whistles shaped like the vehicle. Related collectibles have ranged from Hot Wheels to plush beanbag toys to pinback buttons.
When it comes to advertising, however, the Wienermobile doesn't carry all of the company's weight. Several television commercials have become classics in their own right.
For several generations of Americans, that advertisement became the face of the company. Which brings this story back to Oscar Mayer himself and the bronze bust offered by Garth's. Outdone by a preschooler with a catchy tune, the replica of the founder of the company never had a chance. In a marketplace where plastic figural whistles can garner more excitement than a piece of antique art, the bust wasn't expected to set any auction records. Nonetheless, it sold toward the upper end of its presale estimate, realizing $588.
At least a few bidders must have recognized the face and/or knew the history behind that piece of art. And, it's highly likely any potential buyer could spell the name of the guy. They might have even learned it from a fresh-faced kid on TV.


Leah + Chloe got married at the Beverly Hills Court House on February 13, 2015 after being in a long-distance relationship and living back and forth between Montreal and San Francisco for 2.5 years. The two were fortunate enough to take an around-the-world trip for 6 weeks from October to December of 2014 ending their travels in Los Angeles. It became clear upon arrival that they never wanted to be apart again, so they decided to plant their roots in LA, tie the knot, and stay together forever. Seeing as they would need to apply for Chloe's green card they wanted to get the ball rolling with an elopement and simple courthouse wedding. In the summer of 2016 they help a weekend long celebration in Palm Springs, CA!


Jeddo Bridge is a location in Breath of the Wild.
Jeddo Bridge is a dilapidated wooden bridge that spans over the Tamio River between Hyrule Field and Hyrule Ridge.
A Yiga Footsoldier may pass through the Jeddo Bridge disguised as a Traveler.
Two Treasure Chests can be found on Jeddo Bridge in Master Mode. The first is a metallic Treasure Chest containing a Royal Bow, situated atop platform suspended by Sky Octoroks east of the Bridge. A second metallic Chest containing a Topaz, can also be found atop a platform west of the Bridge.
This page was last edited on 2 September 2018, at 21:14.


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This is a quick tutorial on how to use the screen options to declutter your dashboard.
Then click apply to save that change.
Now every time you log into the dashboard and go to the articles tab, it will look like this.


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September 17, 2019, 12:34 PM ET
NYPD School Safety Officer And Model Shot To Death While Celebrating Boyfriend's Birthday
Police believe that Jancy Dempster killed 44-year-old Naire McCormick before turning the gun on himself.
By Gina Tron
Naire McCormick Photo: Facebook
A New York Police Department school safety officer and mother was apparently shot to death by her boyfriend in an murder-suicide over the weekend while her son was in the home.
Naire McCormick, 44, was found dead with a gunshot wound to the head on Sunday in her Brooklyn apartment, the New York Post reports.
McCormick's boyfriend, Jancy Dempster, 47, is suspected of shooting her before killing himself.
Both Dempster's cousin and McCormick's 12-year-old son were present and in another room when the shooting occurred. They reportedly fled the home when the gunfire erupted. Someone called 911 after hearing screams, Brooklyn 12 News reports.
When police arrived on the scene, a handgun was found near Dempster's body, The New York Daily News reports. He, like his girlfriend, died from a gunshot wound to the head. McCormick and Dempster were both found in McCormick's bedroom and were pronounced dead at the scene.
The violence erupted as the couple was celebrating Dempster's 47th birthday, according to the New York Post. He had been drinking heavily, unnamed police sources told the outlet.
Dempster had been arrested in the past on weapons possession, robbery and assault charges.
McCormick had been a school safety officer since 2004. She also did some work as a model. She won the Face of Kurvacious pageant last year, the Post reports. She was described as sweet and outgoing, according to 12 News.
"Today is a sad day as we mourn the death of our beloved School Safety Agent Naire McCormick," the NYPD's school safety department tweeted Monday. "She will be deeply missed by her friends, family, the youth & faculty she served at her school and her NYPD School Safety Family."
Today is a sad day as we mourn the death of our beloved School Safety Agent Naire McCormick. She will be deeply missed by her friends, family, the youth & faculty she served at her school and her NYPD School Safety Family. #NeverForget pic.twitter.com/66OdUdf7gn
— NYPD School Safety (@NYPDSchools) September 16, 2019
Daughter Escapes Father's Murder-Suicide Plot
'Distraught' Dad Comes Home To Find Two Daughters Dead

redpajama_set_name: RedPajamaCommonCrawl


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Bindi Irwin honours late father Steve Irwin on his 55th birthday
By Katie Scott Global News
Posted February 22, 2017 2:38 pm
Bindi Irwin arrives for the Steve Irwin Gala Dinner at JW Marriott Los Angeles at L.A. LIVE on May 21, 2016 in Los Angeles, California. Gabriel Olsen/FilmMagic
Bindi Irwin, the daughter of late wildlife expert Steve Irwin (a.k.a. The Crocodile Hunter), took to Instagram today to share a touching tribute to her father.
The 18-year-old conservationist posted a photo of the legendary Crocodile Hunter on what would have been her father's 55th birthday.
"Always in our hearts," she captioned a picture of Steve wearing khakis and smiling face-to-face with a bird.
Always in our hearts.
A post shared by Bindi Irwin (@bindisueirwin) on Feb 22, 2017 at 5:44am PST
READ MORE: Bindi Irwin pays tribute to her late father on 18th birthday
On her 18th birthday, the Dancing With the Stars winner posted a tribute photo of herself as a newborn, being held by her father and flanked by her mother, Terri.
Hello lovelies. Well today marks 18 years of life for me, here in Australia and I really don't know where to begin in thanking so many people for an unforgettable journey so far. So I think that I'll start here, with this photograph. This photo was taken within the first year of my life. To be perfectly honest life has changed in a million ways since this photograph was taken. Along the way we gained another incredible part of our family, my brother Robert. Our conservation work with Wildlife Warriors took off around the world. Our home, Australia Zoo continued to expand and has become the greatest zoological facility on planet earth. Our Dad, Mum's soulmate and a superhero for us all, passed away. However, since this photo was taken, 18 years ago, one life ingredient has remained, unchanged, unbreakable. That is the unconditional love that is shared between my beautiful little family and the loyalty we have to eachother and everyone else who has taken this journey with us. I don't think that when this photo was taken even my beautiful parents could have known what life would evolve. I know that I am endlessly grateful for the love and light I have been given since Day 1 of my life.
A post shared by Bindi Irwin (@bindisueirwin) on Jul 23, 2016 at 2:25pm PDT
Bindi frequently posts images with her father, who she calls her "superhero."
Looking through old photos – Baby Bindi adventures with my superhero.
A post shared by Bindi Irwin (@bindisueirwin) on Mar 31, 2016 at 6:04pm PDT
READ MORE: Bindi Irwin breaks down during emotional tribute to her late father
In Nov. 2015, Bindi dedicated her dance routine to her dad in the first part of the Dancing With the Stars 2015 season finale.
She and her partner, Derek Hough, honoured Steve's memory to the song Footprints in the Sand.
Before the performance, Bindi announced that it was never easy to reflect on her father and his legacy.
"I never really talked about everything that I felt when Dad passed away, and I never thought I'd revisit that," Bindi said. "But to have Derek there to say, 'It's OK, I'm there for you,' was something that I was so grateful for. Sometimes during rehearsals it feels like there's three people in the room. And I do feel like Dad is still with me, every day."
READ MORE: Read Steve Irwin's touching letter to his parents, found years after his death
Bindi and her brother Robert have been following in their father's footsteps, working with animals at the family-owned Australia Zoo.
Last November, the Irwin family gathered at the zoo to celebrate Steve Irwin Day alongside some reptiles, and Bindi took to Instagram to share a heartfelt post.
Celebrating Dad's life and legacy with Steve Irwin Day this November 15th @australiazoo 🐊 Encouraging everyone to wear a touch of khaki on this amazing day to remember all that Dad did for our world, inspiring us all to love wildlife and wild places. Thank you.
A post shared by Bindi Irwin (@bindisueirwin) on Nov 14, 2016 at 12:27pm PST
"Encouraging everyone to wear a touch of khaki on this amazing day to remember all that Dad did for our world, inspiring us all to love wildlife and wild places. Thank you," she wrote.
READ MORE: 'Crocodile Hunter' Steve Irwin's last words were 'I'm dying,' reveals cameraman
Last week, Robert, 13, stopped by The Tonight Show to share memories of his father and show off his own animal expertise.
Dressed in his Irwin-esque khaki shorts and shirt, Robert introduced Jimmy Fallon to many live animals, including a dwarf crocodile, an armadillo, a sloth and a large boa.
When Fallon said, "It's so cool to see you like this, you're actually your Dad," Robert replied, "My Dad was actually on the Tonight Show quite a while ago, so it's really nice to be able to follow in his footsteps."
Bindi also commented on the similarities, tweeting a comparison photo of the two.
She wrote, "Tears in my eyes. So proud of Robert tonight. Robert, you are more and more like Dad every day. I'm forever thankful to be your sister."
Tears in my eyes.
So proud of Robert tonight ❤
Robert, you are more and more like Dad every day.
I'm forever thankful to be your sister. pic.twitter.com/XE0qcbcAIY
— Bindi Irwin (@BindiIrwin) February 17, 2017
Bindi has followed in her father's footsteps by helping to contribute to wildlife preservation and conservation. She donates 10 per cent of all her earnings to Wildlife Warriors, a charity founded by her family in 2002.
In October 2014, Bindi was awarded Young Conservationist of the Year by the Australian Geographic Society.
Steve Irwin was working on a documentary series titled Ocean's Deadliest when he was stung by a stingray off the coast of northern Australia and died on Sept. 4, 2006.
With files from Chris Jancelewicz
Bindi IrwinSteve Irwinrobert irwinbindi irwin twittersteve irwin deathbindi irwin DWTSbindi irwin instagrambindi irwin stevebindi irwin steve birthdayrobert irwin jimmy fallonrobert irwin the tonight showsteve irwin birthday


Welcome to the Free From Ireland Expo!
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Our Promise is Simple: Expos that deliver, by way of a fun family day out, providing you with all the answers you need under one roof! Join us in 2016.


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Interview: Concerto Tactics - The Music of Hiroki Kikuta and Hitoshi Sakimoto
November 30, 2009 | By Jeriaska
[We sit down with the composers behind Secret Of Mana and Muramasa, among many other titles, to discuss their art and new soundtrack albums, joining them as they reflect on one another's work.]
Previously, composers Hiroki Kikuta and Yoko Shimomura joined us for an informal interview titled "Magical Planet" on their music for Square Enix role-playing games. Their songs from Secret of Mana and Kingdom Hearts were arranged for the orchestra for September's Symphonic Fantasies concert in Cologne.
In this interview, Kikuta is joined by musician Hitoshi Sakimoto, whose music for Final Fantasy Tactics was arranged for the orchestra earlier this month in Tokyo. Sakimoto acted as sound producer on the Nintendo Wii title Muramasa: The Demon Blade, which will be receiving an original soundtrack album release from his studio Basiscape in December. The game represents a continuation of the collaboration between Sakimoto and Odin Sphere developer Vanillaware.
With Secret of Mana having recently been ported to cellphones in Japan, here the two composers share impressions of their influential Super Nintendo game compositions. The conversation delves into the processes behind more recent soundtracks as well, including Concerto: The Extraordinary World of Concerto Gate and Romeo x Juliet. Both scores reflect an interplay between electronic and orchestral music that has been a central theme of the musicians' careers.
[Kikuta and Sakimoto at Basiscape Studio in Tokyo]
You have both taken the step of creating companies, Norstrilia and Basiscape, for the purpose of writing and publishing music. How has founding a company factored into your work as composers?
Hiroki Kikuta: For me, it's simply a matter of convenience. In Japan's it's easier to negotiate with clients as a company rather than as an individual.
Hitoshi Sakimoto: There are a number of staff members at Basiscape that specialize in different tasks. I do most of the mixing for my music, but there are engineers, such as [Masaaki] Kaneko, who are assisting in the process. While it's not the same process as working entirely on my own, it's never produced strange results. Dividing up the labor between staff members leads to greater efficiency and allows for working on multiple projects at once.
How has process the process been adapted to the requirements of the upcoming soundtrack album for Muramasa: The Demon Blade?
HS: This is a game by Vanillaware, the company responsible for Odin Sphere. Because it's set in Japan, we decided it was our job to present listeners with an interpretation of the beauty of traditional Japanese instruments. I was asked to make something spare and pure, but it may have ended up more complicated than what was requested.
HK: I enjoyed the music. I thought it was a great example of mixing an orchestral ensemble with Japanese instrumentation.
HS: You discover rather quickly that with traditional instruments you're limited in how you can make use of them. For this soundtrack I decided to ignore all the rules, using samples in a way that sounded as natural as possible. I experimented with this approach, tried it in the game, and it just felt wrong.
HK: You mean you had the luxury of running such an experiment?
HS: Well, by then we were already running out of time. (laughs) You do your best while composing, but sometimes you miss the mark. During gameplay listeners are not paying their full attention to the background music, so I had to be careful about how much of a recognizable melody was present during less significant passages. In that respect, a lot of trial and error was involved, compelling me to backtrack to correct my mistakes.
HK: This process is actually the most time-consuming, and it's crucial to the success of the game, don't you think?
HS: It's the unique part of making music for videogames. You're forced to consider the experience of the game player when writing your score. It's the player's reaction to the game as a whole that's most important in the end.
Sakimoto-san, what was your reaction to the music of Secret of Mana when you first heard it?
HS: I played it all the way to the end. That's how I discovered Kikuta-san's name, in the end credits.
HK: Thank you for going through all that trouble.
HS: Well, I actually had a difficult time because of those notorious programming bugs. (laughs)
HK: It caught us off guard, because none of those bugs showed up during the playtesting. We only found out later that sometimes a door wouldn't open after you had defeated the boss, which made it impossible to progress.
HS: There were some glitches, but it was still a really fun game. I loved the music too. I still remember the field theme in the beginning. I thought, "Wow, there are actually people out there who write this kind of music for a videogame!" Then I found out about you and it was such a surprise.
HK: You were like, who's this weird Kikuta guy?
HS: You did look a bit different from what I'd imagined. Your music was totally original, very artistic.
[Kikuta at Sakura-Con in Seattle in 2008, where he joined a panel on videogame music]
Upon encountering Kikuta-san's musical style, what would you say were your overall impressions?
HS: I think composers sometime have to push their limits and do something adventurous. When I first heard this music, I thought it was by a person that lives by this ideal. I remember I wanted to meet you, but even after we first got in contact it was a long time before the subject of music came up. I kept trying to talk about it.
HK: Sorry about that.
HS: The subject would invariably turn to manga and high school girls. (laughs) I was trying so hard to talk with you about music.
HK: Maybe it just wasn't the right time for it. Don't you think it's actually pretty rare for us to talk about music, seeing as we are constantly preoccupied with creating it? The processes of expression and absorption can crowd each other out at times.
HS: Oh by the way, have you ever encountered any language deficits while working intensely on music?
HK: What do you mean?
HS: Okay, so I've been in situations where I won't be able to talk at all. I would be in the middle of work and someone would call me on the phone. I'd pick up and then I literally wouldn't be able to speak for a moment.
HK: I've never had that happen to me, but yeah I think I know what you mean. The brain just doesn't transition between modes that quickly sometimes. When you're focused on your work it can be hard to have a conversation with people.
HS: Something that interests me is having the opportunity to observe others compose and learn more about these things. In fact, I'd like to see what it's like when you compose, Kikuta-san.
HK: Actually, people have told me my process is unusual.
HS: In what way?
HK: Well, let me think... Okay, so that's what I was told while making this arrange album called Secret of Mana+. At that time, we spent two weeks recording at this studio called Take One and it all came together without my having to second guess my instincts. It was this feeling that I could make use of whatever happened to come to mind. Everyone could observe what I was doing, so it was an interesting experience.
Kikuta-san, what struck you about the Ogre Battle soundtrack when it was first released?
HK: When I first heard it I thought, "Wow, there are people who are writing music that's beyond my imagination!" This was music composed by someone who's thinking was entirely different from mine. It was wonderful, but at the same time it was counter to my way of thinking.
HS: I'm so happy to receive a compliment from Kikuta-san for the first time. It's been something like sixteen years since the Super Nintendo days.
HK: I honestly thought that writing compositions with Ogre Battle's level of fine detail was beyond me. I just didn't have that ability.
HS: Ogre Battle was my first orchestral-styled score. I discovered you can simulate a decent sounding orchestra using a Roland SC-55. It was vital that our music be dramatic because the only means we had to express emotions for our characters was through music.
We had to generate the best sound quality from small sound files. [Masaharu] Iwata found a book called the instrument dictionary, and it came with a sound sample CD, so you could hear all the individual instruments depicted in the pages. To be honest, I didn't even know what a harp looked like before reading this book. (laughs) We tried so many things, and a lot simply didn't cut it. The whole process was very technically oriented and a lot of fun.
HK: I think that your approach is very technical at its core.
HS: Well, I am a PC otaku. Tactics Ogre, which followed, actually required more work. I put all of my passion into it, too. Tactics Ogre had a rich, meaningful storyline and was very dramatic. It had that dark [Yasumi] Matsuno narrative. You're faced with these severe choices, like having either to assassinate someone or see your family killed. Here it was even more crucial that the orchestra be in service to the drama.
[Sakimoto before giving his presentation at the 2009 Game Developers Conference in San Francisco]
After your presentation at GDC in San Francisco, you spoke with Vincent Diamante, the composer of Flower. Have you played this title by ThatGameCompany?
HS: Yes, I actually completed it, too. I'm actually in love with the Playstation 3. I thought it's a rather innovative game. The experience is so powerful that it makes you wonder why more companies aren't making games like Flower.
These days games are becoming grander in scale with more complicated, intertwining storylines. Millions of dollars are spent on the technology. From the point of view of a game company, there's a certain rationale to the approach, but does it really guarantee the most lasting game experience? I think the quality of a game experience is derived from a different source. Flower is a perfect example in that respect. I don't know how exactly to describe the experience, but it's exceptional. You become the wind in that game. And I liked the music too.
What were the motivations behind your presentation at GDC?
HS: I certainly have an interest in the game industry in the States, and I thought it might be a good chance to strike up a dialog.
HK: I bet there were a lot of people in Japan who were wondering why you were making a public appearance all of a sudden.
HS: I guess you have a point there. I don't publicize my work or talk to the press very often. Way back when, I even refused to participate in interviews.
HK: I thought you were the kind of reclusive artist type that would never leave home. I was startled to hear you had gone to GDC to give a presentation. I'm certain there are a lot of people who listen to your music that would like to know what you spoke about.
HS: Unfortunately I spoke about too many things and wasn't able to come to any overarching conclusions. The point I tried to get across is that it's important to cultivate your own personality and distinguish your own unique characteristics as musician.
It's a relevant issue, don't you think? If you try to write in some other musician's style, you won't be able to improve upon it just through imitation. You would be much better off looking to discover something unique for yourself.
HK: Isn't that something that comes through naturally?
HS: For some people, yes. However, we have about eight composers at Basiscape, and the less experienced musicians have a difficult time with this problem. Personally I had never thought about it much until recently.
HK: Do you think maybe you intimidate them with your prodigious success and talents?
HS: I'm not so sure it's that exactly, but when I found out about this trouble they were having, the problem of discovering their voice, I spent hours and hours with them, trying to figure out a solution to the issue. That personal struggle actually motivated me to speak in public.
Could you imagine a case where you yourself would not be able to create music for a given project?
HS: If a direction is set, then I can decide on an approach to it. For a long time I wanted to write music for a game about a romantic relationship. I eventually did that for an anime, but what the experience taught me more than anything else was how little I was prepared for the challenge. I can't say whether I would approach the subject again because it was such an intense challenge.
HK: That was "Romeo X Juliet"? I thought the quality was very high. What do you think might give you trouble? Doraemon Original Soundtrack by Hitoshi Sakimoto?
HS: You know, I've done some comical themed music recently, sketches titled "Comical 1, 2, 3, 4..." so I might just give it a try.
Kikuta-san, your soundtrack for Concerto Gate is in the style of an orchestral score. What is your take on the use of orchestral music in games?
HK: In Concerto Gate I was able to use orchestral sounds, but I wasn't thinking of simulating the orchestra directly. The samples are recordings of orchestral instruments, but to arrange them with exact fidelity to the real thing has too many limitations. Sakimoto-san, you might be interested in the results I came up with.
HS: Live orchestral recordings can be very difficult, compared with manipulating sampled sounds.
HK: Well if it's a real orchestral sound you're after, then find an orchestra, right? Rather, I wanted to emphasize the effect of that sound, not struggle to create an exact replica. With this simulated approach, things a real orchestra would never be able to do are made possible, and that becomes a feature of this music.
Kikuta-san, I believe you've mentioned that you are interested in the idea of making a game in the genre of a musical?
HK: That's true, although it wouldn't be easy. I would first have to find good actors and singers from around the world. I think that the convention of the musical is great, so if I were to deliver that kind of emotion through a game it would be an incredible experience. I think that type of entertainment has been neglected by the whole gaming industry. It would be something new, but it would be a real challenge to do it right.
Would providing interactivity in the context of such a game prove difficult?
HK: I'm not sure whether interactivity is even necessary in the initial stages of planning. Personally I don't have any rules myself for how a game should be. I think that by providing the kind of experience the player is looking for, it's already an interactive process. I'm just not concerned with making something that sort of forces you to know it's a game.
[This article is available in Japanese on Game Design Current, in French on Squaremusic, and in Italian at Gamesource.it. The soundtracks CONCERTO and Muramasa Original Soundtrack and CONCERTO: The Extraordinary World of Concerto Gate can be imported from Amazon.co.jp. Images courtesy of Basiscape and Square Enix. Translation by Ryojiro Sato. Photos by Jeriaska.]
117137 newswire /view/news/117137/Interview_Concerto_Tactics__The_Music_of_Hiroki_Kikuta_and_Hitoshi_Sakimoto.php Loading Comments


text:
Polgooth Inn team named Licensees of the Year
by Darren | Tuesday, June 12, 2018 | CORNWALL NEWS, PUBS AND BARS
Husband and wife team Alex and Tanya Williams (pictured), of the Polgooth Inn, Cornwall, have beaten off competition from more than 200 other entries to be named BII Licensees of the Year.
Alex and Tanya made it through to the final judging day of the British Institute of Innkeepers contest, where
they displayed excellent knowledge and experience across three areas: business development, people and training, and financial awareness.
They picked up the trophy in front of a packed audience at the BII Summer event at the Honourable Artillery Company venue in the City of London, attended by the brightest and best from the industry.
Attending alongside fellow members of the Polgooth Inn team, Tanya said: "It's slightly surreal, but it feels amazing. The BII Summer Party is such a massive event so it's an honour even to be here, let alone win.
"The whole team has worked so hard to make this award a reality so we have to say a huge thank you to all of our staff. The competition process was so tough, so you have to believe in what you are doing, that it is the right thing to do. The other finalists are so amazing — we have all become friends."
Tough competition
David Rey, managing director of Sky Business, which sponsored the contest, said: "A huge congratulations to Alex and Tanya in winning the Licensee of the Year Award. Sky is delighted to sponsor this award and play a part in recognising the individuals that have achieved so much in the industry."
Mike Clist, chief executive of the BII, added: "I'd like to offer a massive congratulations to Alex and Tanya and the team at the Polgooth Inn, on behalf of myself and everyone here at the BII. This is a tough competition to win, but it was clear to the judges that the Williams had the dedication and passion deserving of Licensee of the Year winners.
"I'd also like to congratulate our other finalists for getting this far and being such fantastic candidates — it really was a tough decision as they all brought something unique to the competition."
As Licensees of the Year, Alex and Tanya will receive a study trip to Amsterdam, courtesy of Heineken, and honorary lifetime membership of the BII.
Alex said: "Running a pub is far more than a job, it's a way of life, and so it's truly important, not just for Tanya and me and our family, but also for the wider team and the community we live in.
"We all work hard to make the pub the focal point of the village and to make it work for everyone, so picking up an award like this is a huge thing for us, and we'd like to thank the BII and St Austell Brewery for their support
throughout the judging process."
The Polgooth Inn was one of two St Austell Brewery pubs to have made it through to the BII finals, with Kim Barker, of the Ship Inn, Pentewan, also up for the main award.


1-3/8" Hex Link Part #420122 3/8"-24 right hand on one end, left hand on the other. Typically used for clutch linkages and anti-roll bar links. Sold Each.
Our Quarter-Max Throttle Rod makes installing your throttle linkage easy. The solid rod is threaded on both ends and comes complete with rod ends and all hardware needed to install it. Available in 18" or 24" long.
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Our pro series clutch linkage uses 4130 high misalignment rod ends and weld in tube adapters.
This spring can be used as a throttle return or a clutch return.
Our ultimate clutch linkage kit is used in construction of our Pro Stock cars. Tapped link is only 2" long!


text:
OMNIBUS BILL | The Trump Administration & US Politics | Forum
ForumThe Trump Administration & US P…OMNIBUS BILL
bobdrake
OMNIBUS BILL-IT'S NOT WHAT YOU THINK!
https://www.youtube.com/watch?.....ECxWWksms0
Tweeting the 2018 Omnibus
Shame, shame. A pox on both Houses - and parties. Here's the 2,232 page, $1.3 trillion, budget-busting Omnibus spending bill.
Dissecting the massive Omnibus Bill
In this livestream Tracy goes over the first 327 pages of this massive spending bill.
H.R. 1625: Consolidated Appropriations Act, 2018
This was a vote to pass H.R. 1625 in the Senate. The federal budget process occurs in two stages: appropriations and authorizations. This is an appropriations bill, which sets overall spending limits by agency or program, typically for a single fiscal year (October 1 through September 30 of the next year).
Please click on the link below for details on who voted "Yea" or "Nay" in the Senate:
https://www.govtrack.us/congre.....5-2018/s63
Please click on the link below for details on who voted "Yea" or "Nay" in the House:
https://www.govtrack.us/congre.....-2018/h127
Text of a Letter from the President to the Speaker of the House of Representatives and the President of the Senate
http://www.godlikeproductions......793421/pg1
Dear Mr. Speaker: (Dear Mr. President:)
In accordance with section 7058(d) of division K of the Consolidated Appropriations Act, 2018 (H.R. 1625; the "Act"), I hereby designate as an emergency requirement all funding so designated by the Congress in the Act pursuant to section 251(b)(2)(A) of the Balanced Budget and Emergency Deficit Control Act of 1985, for the accounts referenced in section 7058(d).
The details of this action are set forth in the enclosed memorandum from the Director of the Office of Management and Budget.
[link to http://www.whitehouse.gov (secure)]
Edit Update:
Someone had a nice breakdown of what this means linked below
[link to threadreaderapp.com (secure)]
Building a Wall in the Dark
Congress is using budget shenanigans to funnel Pentagon money to President Trump's border wall.
[link to http://www.usnews.com (secure)]
Trump Just Hinted at Building the Border Wall Using the Military Funds
President Donald Trump briefly threatened to veto a giant spending bill on Friday and then reluctantly signed it to keep the military funded.
The lack of funding for a border wall with Mexico is likely one of the president's biggest frustrations. Trump mentioned the wall when he threatened to veto the bill. The $1.3 trillion budget includes just $1.6 billion for wall construction along the southern border, far short of the $25 billion needed to accomplish Trump's signature campaign promise.
To make matters worse, the spending bill specifically prohibits Trump from building the kind of wall he wants. The president nevertheless celebrated the progress and pointed out that construction can begin immediately.
But Trump also dropped an eyebrow-raising hint that he could take an unprecedented option and build the wall using the enormous military budget.
"I want to address the situation on border security, which I call national defense," Trump said. "I call it stopping drugs from pouring across our border. And I call it illegal immigration. It's all of those things. But national defense is a very important two words. Because by having a strong border system, including a wall, we are in a position, militarily, that is very advantageous."
For the first time, Trump underlined the significance of the barrier as a military structure and a matter of national defense. Up to now, the president promoted the wall as a way to curtail illegal immigration and stop the deadly flood of illicit drugs. The introduction of the wall's military function is significant, especially in terms of funding it.
Roughly half of the spending bill is dedicated to the military for a total of over $654 billion allotted to the Pentagon's base budget and overseas counterinsurgency operations. That's enough to build the wall 26 times.


I use all my social media accounts from Twitter, FB & IG to promote my brand as well as other peoples brand. I feel like when starting a business you have to treat it like it's your baby...... ask and I'll explain more.
Alot of people that I know and dont know normally come to me about issues and concerns they have in their life. I tell it how it is, I dont take sides, if your wrong or right I will let you know & ontop of it I am a great listener. I feel like their is always a solution to someones problem.
I have alot of gay, bi and straight friends so I seen and heard it all.
Alot of people that I know and dont know normally come to me about issues and concerns they have in their dating life. I tell it how it is, I dont take sides, if your wrong or right I will let you know & ontop of it I am a great listener. I feel like their is always a solution to someones problem.
I dated alot of people in the industry, in the business field and even 9-5 workers. I have alot of gay, bi and straight friends so I seen and heard it all.


text:
State police investigating death at shooting scene outside Beaver County Walmart
By Nicole Ford, WPXI-TV
MONACA, Pa. — Full of life and smiles — that's how 48-year-old Kenneth Vinyard is being remembered.
"He was such a kind and good man as evidenced as he was acting as a good Samaritan," Attorney Joel Sansone said.
His family's attorney is bringing light to his death, which happened in the parking lot of the Walmart in Monaca Sunday night.
PREVIOUS COVERAGE >> 1 person injured in shooting outside of Beaver County Walmart
Sansone said Vinyard was helping a man who was shot right by his car while he was waiting for his fiance to come out of Walmart.
"An unidentified man insisted he step away and violently pushed Mr. Vinyard to the ground where he struck his head on the pavement. His fiancé began to render aid to Mr. Vinyard including chest compressions because he had no pulse," Sansone said.
That's when Sansone said the man identified himself to the fiance as a police officer with Center Township. Just a few hours later, Vinyard died from his injuries.
"This appears to me to be another incident of senseless police violence. There was no excuse for the officer involved to engage in any physical act let alone a violence shove that caused the death of a man who was just trying to help another human being he did not know," Sansone said.
Download the FREE WPXI News app for breaking news alerts.
State police have confirmed they are investigating the death, but told Channel 11 it's early and they do not have any further details to release.
Meantime, the family wants answers and for this officer to be charged in the death of their loved one.
"On behalf of his fiancé and his family. I am demanding action. This officer should be immediately suspended pending the outcome of this investigation but the facts as I've been told he should be arrested and charged with manslaughter at the very least," Sansone said.
The district attorney said his office can't comment as state police are investigating.
The family has set up a GoFundMe fundraising site in order to help with the burial costs: https://gofund.me/512a8566.
Follow Channel 11 News on Facebook and Twitter. | Watch WPXI NOW
Nearly 40 students, staff become ill at Pennsylvania school
2-year-old dies after drowning in pond in Bethel Park
1 person injured in shooting outside of Beaver County Walmart
VIDEO: Crews called to early morning fire in Tarentum
Crafton Heights woman looking for answers after string of unexplained thefts
TOP STORIES FROM CHANNEL 11 NEWS
'It doesn't have to be like this': Pennsylvanians react to death of Tyre Nichols after video release
DISH chooses to black out all Cox Media Group TV stations across the country


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The Ride of a Lifetime : Lessons Learned from 15 Years as CEO of the Walt Disney Company
Categories: | Films, Cinema | | Memoirs | | Biography: Business & Industry | | Management: Leadership & Motivation |
Author: Robert Iger
Publisher: Random House USA Inc
#1 NEW YORK TIMES BESTSELLER - A memoir of leadership and success The executive chairman of Disney, Time's 2019 businessperson of the year, shares the ideas and values he embraced during his fifteen years as CEO while reinventing one of the world's most beloved companies and inspiring the people who bring the magic to life. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Competition was more intense than ever and technology was changing faster than at any time in the company's history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger--think global--and turn Disney into a stronger brand in international markets. Today, Disney is the largest, most admired media company in the world, counting Pixar, Marvel, Lucasfilm, and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era. In The Ride of a Lifetime, Robert Iger shares the lessons he learned while running Disney and leading its 220,000-plus employees, and he explores the principles that are necessary for true leadership, including: - Optimism. Even in the face of difficulty, an optimistic leader will find the path toward the best possible outcome and focus on that, rather than give in to pessimism and blaming. - Courage. Leaders have to be willing to take risks and place big bets. Fear of failure destroys creativity. - Decisiveness. All decisions, no matter how difficult, can be made on a timely basis. Indecisiveness is both wasteful and destructive to morale. - Fairness. Treat people decently, with empathy, and be accessible to them. This book is about the relentless curiosity that has driven Iger for forty-five years, since the day he started as the lowliest studio grunt at ABC. It's also about thoughtfulness and respect, and a decency-over-dollars approach that has become the bedrock of every project and partnership Iger pursues, from a deep friendship with Steve Jobs in his final years to an abiding love of the Star Wars mythology. "The ideas in this book strike me as universal" Iger writes. "Not just to the aspiring CEOs of the world, but to anyone wanting to feel less fearful, more confidently themselves, as they navigate their professional and even personal lives."
"I expected a book written by the person who has led Disney for decades to be defined by both gripping storytelling and deep leadership wisdom. Bob Iger delivers, and then some! The Ride of a Lifetime is leadership gold--you won't forget the stories or the lessons."--Brené Brown, #1 New York Times bestselling author of Dare to Lead "Nurturing creativity is less a skill than an art--especially at a company where the brand alone is synonymous with creativity. That's a lot to live up to. Bob Iger has not only lived up to ninety-six years of groundbreaking history but has moved the Disney brand far beyond anyone's expectations, and he has done it with grace and audacity. This book shows you how that's happened."--Steven Spielberg "People have been waiting years for Bob Iger to share his leadership secrets. Now he has, and they are utterly brilliant. The Ride of a Lifetime is not merely a memoir; it's a personal, all-access session with the wisest CEO you've ever met and a playbook for handling the key challenges of our age: how to drive change, leverage technology, build an enduring culture, and empower people. It's a rippingly good, revelatory read."--Daniel Coyle, New York Times bestselling author of The Culture Code
Robert Iger Biography
Robert Allen Iger (; born February 10, 1951) is an American businessman who served as the chief executive officer of The Walt Disney Company between 2005 and 2020, as well as the chairman of the Board and executive chairman. He previously served as the president of ABC Television between 1994 and 1995 and the president and chief operating officer of Capital Cities/ABC from 1995 until its acquisition by Disney in 1996. Iger was named president and CEO of Disney in 2000 and succeeded Michael Eisner as CEO in 2005. During his 15-year stewardship of the company, Iger broadened Disney's roster of intellectual properties, expanded its presence in international markets, and oversaw an increase of the company's market capitalization from $48 billion to $257 billion. He led the acquisitions of Pixar in 2006 for $7.4 billion, Marvel Entertainment in 2009 for $4 billion, Lucasfilm in 2012 for $4.06 billion, and the entertainment assets of 21st Century Fox in 2019 for $71.3 billion. Iger also expanded the company's theme park resorts in East Asia, with the introduction of Hong Kong Disneyland Resort and Shanghai Disney Resort in 2005 and 2016, respectively. Additionally, he was also the driving force behind the reinvigoration of Walt Disney Animation Studios, the branded-release strategy of its film studio's output, and the company's increased investment on its direct-to-consumer businesses, including Disney+ and Hulu.On February 25, 2020, Bob Chapek was named his successor as Disney CEO. Iger continued to serve as executive and board chairman until he was replaced by Susan Arnold on December 31, 2021.
Robert Iger was born to a Jewish family in New York City. He is the oldest son of Mimi (née Tunick) and Arthur L. Iger (b. 1926). His father was a World War II Navy veteran who served as the executive vice president and general manager of the Greenvale Marketing Corporation, and was also a professor of advertising and public relations; he also played the trumpet and had manic-depressive disorder. His mother worked at Boardman Junior High School in Oceanside, New York. Arthur's father Joe (i.e. Bob's paternal grandfather) was cartoonist Jerry Iger's brother. He was raised in Oceanside, where he attended the Fulton Avenue School and graduated from Oceanside High School in 1969. Iger developed a love of books from a young age. In 1973, he graduated magna cum laude from the Roy H. Park School of Communications at Ithaca College with a Bachelor of Science degree in Television and Radio.
Iger began his media career in 1972 as the host of Campus Probe, an Ithaca College television show. He dreamed of becoming a news anchor while he worked as a weatherman in Ithaca for five months, before shifting his career goals.
American Broadcasting Company (ABC)
In 1974, Iger joined the American Broadcasting Company (ABC). His first job was performing menial labor on television sets for $150 a week (over $700, adjus ... Read full biography
Authors: Robert Iger
Illustrations: 8-PP COLOR PHOTO INSERT
Bestsellers in Films, Cinema
Greenlights : Raucous stories and outlaw wisdom from the Academy Award-winning actor
The Beauty of Living Twice
Accidentally Wes Anderson
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The Art of Star Wars: The Mandalorian (Season One)
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Starting Point: 1979-1996
Home Work : A Memoir of My Hollywood Years
Home : A Memoir of My Early Years
Antkind: A Novel
The Anatomy of Story : 22 Steps to Becoming a Master Storyteller
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Walking With Ghosts : A Memoir
The Animator's Survival Kit : A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators


text:
Q: Update table with GENERATED BY DEFAULT AS IDENTITY column I have a database using Derby and am trying to execute an update statement on a table that has a column with "GENERATED BY DEFAULT AS IDENTITY". I am not trying to update this column, but all of the others.
I can't seem to find the correct syntax to update the rest of the columns without getting errors such as "Attempt to modify an identity column".
Trying to update the table I have been using the UPDATE command,
UPDATE TableName SET Name = '...', ..., WHERE Name = '...'

The first value within the table is an ID field that has the GENERATED BY DEFAULT AS IDENTITY design and I don't want to update this value, I just want to update all of the other fields within the UPDATE command. I don't know how to skip updating this value or simply update the ID field with itself.
Thanks in advance.

A: So, here's what I did; it worked fine. Can you identify what you are doing differently than this?
ij> create table t1 (a int generated by default as identity, b int);
0 rows inserted/updated/deleted
ij> insert into t1 (b) values (1);
1 row inserted/updated/deleted
ij> update t1 set b=2 where b = 1;
1 row inserted/updated/deleted
ij> select * from t1;
A          |B
-----------------------
1          |2
1 row selected

redpajama_set_name: RedPajamaStackExchange


text:
Granada Theatre
618 Kentucky Street,
1 screen
672 seats
4 people favorited this theater
Architects: Clarence Cullimore, Edwin J. Symmes
Firms: Symmes & Cullimore
Styles: Spanish Moorish
Rialto Theatre
Tejon Theatre
Vista Theatre
Maya Cinemas Bakersfield 16
The Granada Theatre opened on January 31, 1929 with Bebe Daniels in "What a Night". Around 1993 it was equipped with a 4 manual 24 ranks Robert Morton theatre pipe organ (originally installed in the California Theatre, Glendale, CA), which was linked to a Wurlitzer 2 manual console in the lobby. The Granada Theatre was closed in 2019 and was sold and gutted to become a funeral home. The building was vacant by 2020.
Contributed by William Gabel
Recent comments (view all 20 comments)
johnnyicons on November 10, 2007 at 10:35 am
Thanks for the above link. I do see (on the left-hand side) one of the designs. I can only hope the rest were preserved.
Joe Vogel on May 14, 2008 at 1:03 am
The L.A. Public Library misidentifies this 1928 photo as being of the California Theatre in Bakersfield. Given the Moorish detailing, suitable for a theatre called the Granada, I wonder if perhaps it actually depict this house. The size and shape of the facade is a good match for that of the Granada, which can be seen on this page as it looked long after its 1950 remodeling.
sawoodman on July 25, 2008 at 10:26 am
The Kern County Museum has an image of the Granada Theatre in Bakersfield: http://www.kcmuseum.org/stories/storyReader$1296
Joe Vogel on September 12, 2008 at 12:38 am
The photo to which Clara linked on July 25 clearly depicts the same building in the L.A. Library photo to which I linked on May 13. The distinctively-shaped attic vents above the arched windows to the sides are a dead giveaway.
JosephF on June 8, 2010 at 4:06 pm
@Joe Vogel: The photo you posted is, in my estimation, an early, if not original, depiction of the Granada Theater. According to an article in the Bakersfield Californian (1928 September 20, p. 11) construction of the theater had only just begun, and was to be completed by January 1, 1929. An article on January 30, 1929 states the theater was to open the following day (a Thursday), showing Bebe Daniels' film "What a Night." While in 1928 it was planned to cost only $55,000, it turned out costing $20,000 more. The theater was owned by H.H. Brown, who, the article says, was a prominent apartment owner in this East Bakersfield neighborhood, and leased by Josephine and Paul Davini (later owners, I believe). It sat 754 people, giving it the largest seating capacity on a single floor of any theater in the city. It also featured a "crying room," where mothers could take their babies so as not to disturb other guests, and a men's lounge and smoking room. It was built in brick, with a stucco siding. This 1929 article provides more detail about decorations used. The architectural firm Symmes & Cullimore prepared plans for the building, which was done in a "Morisco-Spanish style." William Eissler was the general contractor. Store display rooms were to be located on either side of the entrance. The 1928 and 1929 articles include a drawing (presumably by the architects) of the building, which looks strikingly like the "1928" photo you posted (it seems likely that the LAPL photo is dated incorrectly). A 1929 photo in a full-page ad for the opening of the theater (1929 January 30, p. 5) depicts the theater without the store window awnings and without the top sign, but otherwise very similar. I hope this helps.
Joe Vogel on June 10, 2010 at 8:43 pm
JosephF: The information you provided is very helpful indeed. Learning the names of the architects led me to several interesting discoveries.
According to an item in the November, 1927, issue of the trade publication Architect & Engineer, Edwin J. Symmes and Clarence Cullimore had just formed their partnership, so the Granada was probably one of their first collaborations. The firm of Symmes & Cullmore designed a number of buildings in the San Joaquin Valley, many of them public schools. Symmes died in 1935, but Cullimore appears to have returned to an individual practice in 1932, designing primarily residential buildings after that. He was also noted for his research into the architecture and building of the Spanish and Mexican periods in California, which led to his 1948 book, Adobes of Santa Barbara.
This page at the web site of the Kern County Museum includes a partial list of buildings designed by Symmes and Cullimore, individually and in partnership. There are no theaters listed other than the Granada. The page also has a link to a small photo of the Granada ca.1941.
Google Documents provides an 2004 article called Spohn's Old Granada Theatre, by Carla LaFong and Gilbert Gia. It includes a few period photos, history, and a fairly detailed description of the Granada at the time the article was written. The article can also be downloaded in pdf format from Gilbert Gia's web site (follow the "persons" link.)
Walnut Hill Productions featured the Granada's hybrid Robert Morgan/Wurlitzer theater organ on its web site in August, 2007. In addition to numerous photos and technical information, the page includes links to downloadable recordings made on the Granada organ.
rivest266 on August 9, 2012 at 6:03 pm
January 31st, 1929 grand opening ad uploaded here.
omargarde on December 12, 2019 at 6:25 pm
Sadly I believe this theater was sold and gutted for use as a funeral home after Jim Spohn's passing.
DavidZornig on December 12, 2019 at 6:41 pm
Coincidentally the July 2015 Google street view has "R I P" on the marquee…
Jake Bottero on May 21, 2021 at 2:57 am
A Google Street View timestamped 2020 shows it vacant, looking sad.


text:
2007-03-08 20:32 UTC How YOU can join the W3C HTML5 Working Group in six easy steps
So the W3C announced that they are restarting an HTML specification effort.
Anyone can actually join the W3C HTML Working Group. I encourage everyone interested in the development of HTML5 to take part. If you don't take part, and the language develops in a way you don't like, then you have but yourself to blame.
Taking part in the group is not a big commitment. You can spend as much or as little time contributing; you don't need to read every e-mail on subjects you don't care about, you don't need to call in or attend face-to-face meetings. In fact, the W3C has stated in the group's charter that no binding decisions will be made at meetings; you are guaranteed equal say whether you are present or not.
To join, you have to go through the following steps.
Fill in the Public Access Request Form; in the "Reason" field, put: "To apply for participation in the HTML Working Group as an Invited Expert."
Within about five minutes you'll receive a confirmation code by e-mail. Follow the instructions in that e-mail.
You should get a reply back from that within two days, giving you a username and password. Fill in the W3C Invited Expert Application form. Under "Financial Support", if you're not going to attend any meetings or if you're going to attend meetings on your own dime, just put "Self-supported". Under "Possible W3C Membership", if you're employed but your employer doesn't know you're doing this, or doesn't care, just pick "My employer does not intend to join".
E-mail Dan Connolly and Karl Dubost (connolly@w3.org, karl@w3.org) asking for approval. (Just say "Hi, I'd like to join the HTML working group. Thanks.")
You should get a reply back within about ten days, at which point you can fill in the Joining the HTML Working Group form.
You will get a reply back from that within about five minutes, at which point you're a bone fide HTML working group member!
Note: if you work for a W3C member company, the steps above don't apply to you. Instead, you have to follow these instructions.
I would encourage everyone interested in working with the HTML working group to go through these steps as soon as possible, so that you will be a member of the group before the work starts.
While you're at it, you can also join the WHATWG effort. We've been working on HTML5 since 2004, and have an active community with IRC channels, a help mailing list, forums, an open blog, and so forth. To join all you have to do is take part in one of those, or join our main specification development mailing list. All input is welcome.
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Taylor Swift has an affair in Sugarland music video tease
0 0 Thursday, June 7, 2018 Edit this post
Taylor Swift stars in the new music for Sugarland single "Babe." Photo by Jim Ruymen/UPI | License Photo
By Wade Sheridan, UPI
Taylor Swift is seen getting close to Legends of Tomorrow star Brandon Routh in a teaser trailer for Sugarland's upcoming music video for "Babe."
The teaser, released Wednesday during the CMT Music Awards, features Swift with red hair starting an affair with Routh who appears to be married to Sugarland's Jennifer Nettles.
Nettles is seen enjoying a martini alone at an empty dinner table. Nettles' Sugarland partner Kristian Bush also briefly appears in the video.
"Babe," which was co-written by Swift and Train's Pat Monahan, and features vocals from the singer, is the second single from Sugarland's upcoming Bigger album, their first project since 2010's The Incredible Machine.
The music video for "Babe" is set for release on Friday.
Entertainment - U.S. Daily News: Taylor Swift has an affair in Sugarland music video tease
https://3.bp.blogspot.com/-QeyTe8V5P98/WxoJbeRpCzI/AAAAAAAAtrY/_nWEfwKHNs86ZZLTgHEH9Ar9w48CUkvewCLcBGAs/s1600/2.jpg
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https://entertainment.dailynews.us.com/2018/06/taylor-swift-has-affair-in-sugarland.html


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Paul Cuffee: A Pan-African State Of Mind
April 6, 2018 December 10, 2018 H. Anderson	0 Comments
Paul Cuffee was a free black man who became well known for instituting the first "Back to Africa Movement."He was born in Cuttyhunk, Massachusetts, around 1759 (The exact year of his birth is unknown.).
In 1780, while Mr. Cuffee was still in his 20's, he led a group of free blacks to petition the Massachusetts government. Their demand was to either give African American and Native American people there voting rights or cease taxing them.
Even though the petition failed, it still paved the way for a new constitution that arrived in 1783, which granted certain levels of equality to Massachusetts black citizens. After serving as a Whaling Ship Captain for a while, he would eventually become a Shipowner.
By 1811, he was considered the wealthiest Black man in America and the biggest employer of free melanated people. Unhappy with the treatment of enslaved blacks as well as free blacks in the United States, he came up with a plan: Migrate all free blacks back to Africa.
On January 2nd, 1811, he launched his first expedition to Sierra Leone, sailing with an all African American crew to Freetown. While in Sierra Leone he helped create "The Friendly Society of Sierra Leone," a trading organization ran by African American's who had returned to West Africa.
The goal of the organization was to migrate as many free blacks back to Africa as possible. In 1815, Cuffee successfully migrated 38 free Black Americans to Sierra Leone. Once there, they were clever enough to secure new homes and were integrated into the community. Even though Mr. Cuffee ultimately died before he could see his dream manifest, his life and contributions to the melanated community should be marveled for generations to come.
http://www.blackpast.org/aah/cuffe-paul-sr-1759-1817
MELANATED MOGULS FLASHCARDS — Black Business Leaders In History
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Sa Scientist Receives Top National Accolade 6th November 2009 - Views: 991 This prestigious honour is part of the Australian Institute of Policy and Science's Tall Poppy Campaign and takes its name from Australia's first Nobel Laureate in Medicine, Sir Howard Florey, who made an indelible impact on world health by developing penicillin.
Obituary: Professor James Boyer Brown 4th November 2009 - Views: 978 The scientific and medical community mourns the loss of our esteemed colleague and good friend Emeritus Professor James Boyer Brown AM, MSc (NZ), PhD (Edin), MSc (Melb), DSc (Edin), FRANZCOG (Ad Eundem), Life Member Fertility Society of Australia.
Media Alert - Wireless Funds For Australian Science 19th October 2009 - Views: 939 A fund to support Australian science made possible by the success of CSIRO's Wireless Local Area Network (WLAN) technology will be launched tomorrow (Tuesday, October 20) by the Minister for Innovation, Industry, Science and Research, Senator the Hon Kim Carr. The Science and Industry Endowment Fund will support fundamental scientific research with potential to benefit Australia, as well as research aimed at solving major challenges facing us today and in future.
Geoscience Australia Open Day 2009 16th October 2009 - Views: 946 The world of geoscience will open to the community this Sunday 18 October as Geoscience Australia holds its annual Open Day from 10am to 4pm.
Media Alert - Csiro Medals Announced 13th October 2009 - Views: 1013 The CSIRO will tomorrow celebrate the work of some of its staff through the annual CSIRO Medals awards in Melbourne.


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Q: How much hard drive space should I give my Windows 7 Virtual Machine? I'm going to reformat my computer today and install Linux Mint on it. I developer on a .NET stack mainly for work and home, but I hate using Windows (go figure).
What specs do I need for Visual Studio 2010 to run decently on my Virtual Machine?
How much hard drive should I give my VM so I don't accidentally run out of space?
How well does Windows 7 run on a VirtualBox virtual machine?

A: A) Running a guest OS on a system that has hardware enabled x86 emulation is a must to maximize performance.  Verify if your processor supports AMD-V (if AMD) or Intel VT-x (if Intel).
B)  Increasing the size of virtual hard disks containing Windows after the fact is not the most enjoyable task in the world in VirtualBox, so I would suggest a larger "Expanding Drive" option.  Let's say, maybe 100 Gigabytes. Visual Studio doesn't like installing on a secondary drive, at least it didn't when I tried to do it in an XP guest in VirtualBox, hence leaving the extra space for yourself.
Larger fixed disks can be a pain to migrate, because VirtualBox stores it as one large file, which some filesystems (and flash drives/external hard drives) have issues with.
C)  Windows 7 should work well for you.  Make sure to install Guest Additions when you have finished your install for the best experience.

A: Minimum Specs:

*

*At least two virtual cores, more will be better

*At least 2GB of RAM, but it may need more depending on what you are developing (do you need SQL Server on the same VM?)

*I would start with at least an 80GB virtual drive - but really it depends entirely on what you are going to install and how large your working data set is. Don't pick the "automatically expand" option as performance tends to degrade over time as the bytes get written all over. Make sure the container is adequately defragmented, as well as the virtual drive itself.

*You can get the same performance out of a "dynamically expanding" drive through compaction and using sdelete.exe to clean up the free space, but it is more work and needs to be done periodically to maintain similar performance.

We use a bunch of virtualized machines for Windows (Hyper-V on the servers and VirtualBox on the desktops) and they work quite well, just make sure you have enough resources (CPU/RAM/IO) on the host to ensure good performance. I/O seems to be the often overlooked component that leads to sluggish VM performance. VirtualBox would probably be my first choice for Linux Mint as well.

A: *

*a) don't know.

*b) Give it as much as you want. Say several hundred GB. Select the "expanding drive" option, and it will only use what it needs. I have a 500 GB internal drive, and my Win7 drive is 500GB also, although I'm only using about 30GB right now.

*c) Very well.

A: Windows 7 ultimate SP1 plus all hotfixes should require about 20 GB. Visual Studio is a heavy install, but if you only care about installing that and a few other development utilities (and using only shared folders for actual project's storage), then a 40 GB fixed drive should be enough.
Migrating is not actually hard, but a major pain in the s, so if you WILL be using space for anything else, then 60-80 GB is recommended.


Jeremiah 1 1The words of Jeremiah, the son of Hilkiah, one of the priests living in Anathoth in the territory of Benjamin. 2The word of the Lord came to him in the thirteenth year of the reign of Josiah son of Amon, king of Judah. 3It also came throughout the days of Jehoiakim son of Josiah, king of Judah, until the fifth month of the eleventh year of Zedekiah son of Josiah, king of Judah, when the people of Jerusalem went into exile. The Call of Jeremiah 4The word of the Lord came to me: 5I chose you before I formed you in the womb; I set you apart before you were born. I appointed you a prophet to the nations. 6But I protested, "Oh no, Lord, God! Look, I don't know how to speak since I am only a youth." 7Then the Lord said to me: Do not say, "I am only a youth," for you will go to everyone I send you to and speak whatever I tell you. 8Do not be afraid of anyone, for I will be with you to deliver you. This is the Lord's declaration. 9Then the Lord reached out His hand, touched my mouth, and told me: I have now filled your mouth with My words. 10See, I have appointed you today over nations and kingdoms to uproot and tear down, to destroy and demolish, to build and plant. Two Visions 11Then the word of the Lord came to me, asking, "What do you see, Jeremiah?" I replied, "I see a branch of an almond tree." 12The Lord said to me, "You have seen correctly, for I watch over My word to accomplish it." 13Again the word of the Lord came to me inquiring, "What do you see?" And I replied, "I see a boiling pot, its lip tilted from the north to the south." 14Then the Lord said to me, "Disaster will be poured out[A]1:14 LXX reads will boil from the north on all who live in the land. 15Indeed, I am about to summon all the clans and kingdoms of the north." This is the Lord's declaration. They will come, and each king will set up his throne at the entrance to Jerusalem's gates. They will attack all her surrounding walls and all the other cities of Judah. 16"I will pronounce My judgments against them for all the evil they did when they abandoned Me to burn incense to other gods and to worship the works of their own hands. 17"Now, get ready. Stand up and tell them everything that I command you. Do not be intimidated by them or I will cause you to cower before them. 18Today, I am the One who has made you a fortified city, an iron pillar, and bronze walls against the whole land—against the kings of Judah, its officials, its priests, and the population. 19They will fight against you but never prevail over you, since I am with you to rescue you." This is the Lord's declaration.


Each project, whether it be a new construction, addition or remodel, begins with a conversation. That conversation first starts with listening attentively to learn our client's needs and desires. Then develop creative design solutions that solve those needs in a fun, unique way. We have built a reputation of building with conviction and quality. Serving our clients and doing the small things that make the process efficient and enjoyable is our passion.
We start by listening to what your needs are in a home and how you live on daily basis. We believe in creating a home that lives to you rather than conforming your lifestyle to what the house allows.
Each project is unique in location, function, and style, and so we start every project from scratch.
We study the path of the sun, wind direction, and approach. Doing this allows us to optimize the first thing you see when entering your home, that morning cup a coffee, the family dinner, and even the simple daily task.
We love designing every aspect of the home and we hold your hand throughout the entire process. From uniquely designed cabinets to product selections that enhances each space. We see the value in not just creating a shell, but an environment that will enhance memories for years to come.
From the very beginning we will help inform you on what and how a quality home is crafted and why our convictions of a quality built home is so important. We will partner with you to help you make informed decision on the best materials and building methods to use. Our construction process is unique as well as each project has its own set of in-house craftsman that our task to that specific job.
We pride ourselves in producing a well built home that will stand the test of time. In a world of production housing, we believe in taking the time to ensure that a home is around for generations to come.
Dan Waibel Designer/Builder is a design build firm specializing in residential architecture since 1987. The firm was started by Dan Waibel who spent a lifetime of not only building beautiful homes, but pursued a reputation of design, service and a job well done.
Dan's son, Will Waibel, and Brandon Schock have been running the day-to-day operations since 2009. Will and Brandon are continuing to build the business and reputation that Dan started.
Co-Owner, Will Waibel is a third-generation designer/builder who, as a youth, knew that his calling was architecture. He pursued this path through art, a Bachelor's Degree in Architecture and professional experience since 2005. Whether it is renovating an existing home or creating new one, Will has the unique ability of taking the needs of a homeowner and creating an environment that enhances the life of the people that live inside. With endless ideas, an eye for detail, and a heart for service, Will's passion for architecture is evident in his work.
Co-Owner, Brandon Schock has been in the building industry since 1997. His leadership, construction background and attention to detail has built a reputation for a quality build, great customer service and a job well done.


Entrepreneurial flair surfaced early in the young Steve Bolton. At the age of 8 he was following stocks and shares and by 11 he was gambling pocket money on horses. But like many other highly successful entrepreneurs, the traditional education system failed him and he left school at 16 with no qualifications. By 30 he had made his first million.
Steve is now one of the UK's most well-respected and successful property investors and business entrepreneurs and is highly regarded as an inspirational keynote speaker. He currently owns five very profitable businesses, including a substantial, multi-million pound, income-producing UK portfolio, and has a lead interest in international property projects worth over £50 million.
From being an unqualified teenager, determination to succeed, a love of the outdoors and a natural flair for teaching others led Steve to an apprenticeship working in outdoor pursuits, where he started to realise his own potential. He moved on a few years later and set up his first business, Ropes Course Developments, which built all the high and low adventure ropes courses for Center Parcs, First Choice Holidays and the RAF in Europe, as well as courses in 12 other countries. Once that was established, he started another business providing management consultancy and development training, servicing a number of well-known blue chip and other high-profile clients including the British Lions, Microsoft and KPMG. Steve had a beautiful house on the south coast, a great social life and two successful businesses, but then, as with most eventually successful entrepreneurial journeys, he hit a major bump in the road.
In the economic fallout that followed the terrorist attacks in America on 11th September 2001, Steve's businesses were all but wiped out, and he was forced to sell his own home to avoid going bankrupt. He credits that period as being "the best worst experience of my life". In being taken back to virtually nothing, he was shown the power of owning underlying assets. If he had owned his business premises which, over a 7 year period, in a fast-rising property market, would have translated into a substantial asset base, he probably could have ridden out the storm, but his company only rented the buildings. Steve learnt from this fundamental mistake and made sure he rebuilt his fortune on the solid foundation of property. He now helps others ensure they do the same.
Steve has appeared on television, on Sky's 'Property Pensions', 'Head to Head' and 'Property Kings', and featured in the national press – including the Financial Times and the Institute of Directors Magazine. He regularly contributes to other property, franchise and business start up publications, giving expert opinion and comment, and personal interviews.
Away from his business commitments, Steve is a keen sportsman: he has played tennis at club level and has also been a semi-professional footballer. He enjoys fishing and working on his boat in Poole Harbour, flying helicopters, and always strives to be a better parent and husband. Thanks to the financial freedom he has achieved, he has chosen to take three months off every year since 2004 to spend quality time with his wife and family, travelling the world and helping them to get a varied and balanced education. Steve is also the lead patron of Peace One Day – www.peaceoneday.org – which is dedicated to achieving global ceasefire and non-violence for one day every year, on September 21st, and is ratified by the U.N. He is actively involved in recruiting new patrons and fundraising and sits on the executive board of Patrons.
Steve lives in Bournemouth, on the south coast, with his wife, Lucy, four children – Nathan, Charlie, Ella and Jude. Most weeks he also spends time in London, meeting with potential and existing Platinum Partners.


My experience as a student in the Smart Living Learning And Earning With Autism (SLLEA) program has been tied not just to me as an individual on the spectrum, but to my integration into the working world. When I applied for the program I was intrigued by the idea of preparing young adults for jobs and bill paying, both of which seemed to be the most pertinent of skills to work on. Yet in the past few years I have found the most memorable challenges I've faced as someone on the spectrum are navigating the way the world around me is constructed from the perspective of a neurotypical mindset, and how jarring it can be when the people who represent institutions of work call on me to fit into their world rather than working with me to create an optimal situation.
The example that comes to mind was during my employment at a grocery store chain where I was having difficulty assessing the tasks to be done and what order to do them. After six months of integrating into the work routine I still felt a gnawing uncertainty about how to proceed throughout my day, and when I asked my coworkers what task to start on next they'd often tell me to just look around and see what needs to be done. I included this difficulty in the itemized list my job coach and me drew up with the aim of helping my workplace understand my struggle and propose some solutions. When I spoke with HR I brought this list to help me lay out my case, which would be the first time I had applied for accommodations on the job since I started work. I considered these requests to be minor, but more to the point I believed that HR's primary goal was to work together with me so that even if they weren't familiar with the requests I was making, we could still work together to solve my issues.
While our conversation was amiable, and the HR representative was very forthcoming, I found their approach to the problem to be different than I'd anticipated. They wanted me to speak plainly, rather then present my list of issues, which seemed like a good idea in theory except that as someone on the spectrum my ability to articulate specifics can falter. Nonetheless they listened as I read from my prepared list, and seemed to take what I had to say into consideration. They asked me "what kind of autism do you have?" and while they'd stated their past work with employees on the spectrum, I was put off by framing my condition as a category that would define my strengths and weaknesses when what I'd been hoping for was a person who would ask me about how my diagnosis relates to my particular challenges at work.
After I explained that my difficulty with executive functioning made it hard to prioritize tasks and caused me stress, as well as dealing with criticism from superiors who added to this by starting the day with a list of tasks that I'd been unsatisfactory at, I was hoping my HR person would advocate on my behalf to others who could take an interest in helping me feel more sure of myself. What I had not expected was for them to offer to move me to a different department even though I'd indicated that I was perfectly willing to work on my struggles and quite enjoyed where I was. Though I understood how to a member of a company, shifting around workers was a logical way to quickly solve an issue, I was put off the impetus was on fitting me into a position, and not how they could work with me to overcome some difficulties I had.
I felt in that moment like I was trying to navigate a workplace that expected everyone to either deal with their stress by powering through it, or giving up and moving on. Despite how important to me it was to be good at my job and develop skills, the prevailing notion seemed to be I needed to achieve the work skills of a neurotypical individual or else I was wasting company time. I had viewed the accommodations meeting as a time where I could work with the person rather than demanding they change their entire policy, but what they suggested made me realize that policy, whether reasonable or not, was made from the mindset of a person who believed people who did not fit in should be relocated rather than given the tools to improve.
Looking back after I left that job, I can't help but notice the underlying philosophy that governed that HR department, and how the idea of accommodations for them meant fitting me into the workplace, while to me they meant helping me become the person they needed. In my time with SLLEA the focus has been on how I can grow into a stable and functioning adult, and I've had countless people assist me and provide a framework where I know people are familiar with struggles of individuals on the spectrum and encourage me to get better rather than treat me like my shortcomings make me insufficient for certain tasks.
SLLEA was founded on the idea that people like me can make contributions to society if we are only allowed to develop in a framework that emphasizes our strengths and doesn't punish us for not fitting in. When done successfully an individual will in time feel greater loyalty and identification with a mission statement apart from what it does for us personally, and inspires us to go above and beyond. Companies exist to provide products and grow their businesses, but surely it is a net positive to have a workforce who feels accepted and identifies with their mission statement rather than one who resents and feels isolated? And if all it takes is educating and training the HR to recognize how to make neurotypical employees feel a part of the mission rather than luggage, how can we say no?


2019 Volkswagen Jetta Se First Drive, Pleasant to my own blog site, in this particular moment We'll show you regarding 2019 Volkswagen Jetta Se. And from now on, this can be the first impression.
Why not consider image preceding? is in which remarkable??. if you believe consequently, I'l t explain to you many picture once again beneath.


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redpajama_set_name: RedPajamaGithub