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October 22, 2020 Bethany Sattur Course Offerings, Courses, Curriculum 0
Spring 2021 Undergraduate English Flyer
Queens And Staten Island Campus
*ATTENTION FIRST YEAR AND SOPHOMORES*
PLEASE SEE BACK PAGES FOR THE NEW ENGLISH MAJOR REQUIREMENTS
ENG. 2060: American Literature and the Monstrous (11393)
*DIVISION III OR PRE-1900*
Dr. Jennifer Travis
ONLINE ASYNCHRONOUS
Email: travisi@stjohns.edu
This course will examine how images of witches, vampires, cannibals, and monsters have shaped American cultural discourse and literary history. Authors we will study include: Washington Irving, Edgar Allan Poe, Nathaniel Hawthorne, Charlotte Perkins Gilman, Edith Wharton, H.P Lovecraft, and more. For information email Dr. Travis, travisi@stjohns.edu.
ENG. 2200: Reading and Writing for English Majors (14039)
MR 10:40 – 12:05 PM
ONLINE SYNCHRONOUS
Dr. Dohra Ahmad
Email: ahmadd@stjohns.edu
The aim of this course is to teach you the skills that you will need to succeed as an English major, minor, or concentrator. We will read a small number of texts of various genres and historical periods at a fairly slow pace, collectively generating critical analyses and essay topics. Grading will be based almost exclusively on class participation, so it is imperative that you attend our zoom class and participate in the class discussion board. Some of the skills to be covered include identifying genres and literary techniques, analyzing passages, developing a thesis, drafting and revising essays, and conducting supplementary research.
TF 10:40 – 12:05 PM
Dr. Nicole Ricc
Email: ricen@stjohns.edu
This course introduces analytical, writing, and research methods critical for the English major. Making poetry our focus, we will scrutinize poetic language, learning key terms for analysis and working to connect close readings to larger arguments. We will pay particular attention to the material forms of poetry, from manuscripts to digital editions. The course includes several written assignments of increasing lengths, each incorporating different skills and methods. These will include a close reading essay, a comparative essay, and a final essay on Gwendolyn Brooks We will make a sustained effort to link careful reading with clear writing, using homework exercises, paper drafts, and peer review workshops.
ENG. 2210: Study of British Literature (11391)
British Fantasy from Beowulf to Harry Potter and Beyond
Dr. Steven Mentz
Email: mentzs@stjohns.edu
For millions of readers and fans worldwide, the best–known products of the British literary imagination are works of fantasy literature, especially J.R.R. Tolkien's The Lord of the Rings (1937–49), J.K. Rowling's Harry Potter novels (1997–2007), and the twenty–first century films made about each series (LOTR 2001–2003; HP 2001–2011). Though widely beloved, these novels are also controversial, in particular for their racist and sexist depictions of human and nonhuman figures in their imaginary landscapes. This course traces the literary and cultural origins of characters we know from fantasy, including wizards, dragons, monsters, and kings who mysteriously return to reclaim the throne. We will consider the long histories behind the blockbuster successes of Tolkien's and Rowling's worlds, and also explore how contemporary writers are re–imagining these legacies in anti–racist and feminist ways. The main texts will include classics works of British literature such as Beowulf, Shakespeare's The Tempest, and the stories of King Arthur as well as modern British fantasies by authors such as Philip Pullman and Diana Wynne–Jones.
Dr. Nicole Rice
This course offers a selective study of British poetry written from the fifteenth to the late twentieth century. We will mainly be reading short lyric poems, working closely with the texts at a formal level. The major goal of the course is to become conversant with the terms of formal analysis and proficient in the close reading and analysis of poetry. We will be focusing on the links between poetry and song, and we will become experts in the lyric form known as the sonnet.
ENG. 2300: Introduction to Literary Criticism and Theory (13955)
MR 12:15 – 1:40 PM
Dr. Elda Tsou
Email: tsouc@stjohns.edu
This course is an undergraduate introduction to the key concepts, thinkers, and intellectual movements called literary theory. What we term "theory" is a diverse a group of texts drawn from various disciplines like philosophy, psychoanalysis, linguistics, history, anthropology and sociology. The goal of this course is less about mastery than familiarity with a set of thinkers and their key concepts. Since this course takes the position that theory is not a set of formulas to be applied to various texts but a critical way of thinking, our emphasis will be on understanding these thinkers and comprehending their relationship to the conversations that preceded them. Our ultimate goal will be to try to understand theory as a way of thinking about the activity of thinking itself. We will try to view theory as a series of questions about the activities of thinking, interpreting, and meaning–making as they apply to different objects of study: the human subject, literature, language, sex, gender, race, society, In our readings, we will learn to think critically and carefully about the object of our scrutiny, and to examine our ways of knowing that object, and what that knowledge entails for us as knowing subjects.
ENG. 3110: Chaucer (14966)
*DIVISION I OR PRE-1900*
TF 12:15 – 1:40 PM
This course introduces the Canterbury Tales, Geoffrey Chaucer's late fourteenth-century poetic masterwork. This is a poem of tremendous variety, containing stories of chivalry and betrayal, fidelity and adultery, piety and blasphemy, romance and bawdy humor. We will study some of Chaucer's most important and engaging tales, learning to read and pronounce the original Middle English. Chaucer lived during a period of major social, religious, and political upheaval. We will situate the tales in their historical contexts while considering some important recent critical approaches to Chaucer. No previous experience with Middle English is required.
ENG. 3130: Shakespeare: Elizabethan Plays (15196)
(SI CAMPUS) Shakespeare among the Pagans *DIVISION I OR PRE-1900*
T. 10:40 – 12:05 PM – FACE TO FACE
F. 10:40 – 12:05 PM – ONLINE SYNCHRONOUS
Dr. Brian Lockey
Email: lockcyb@stjohns.edu
Despite the Christian context within which he lived i.e. Renaissance England), William Shakespeare often set his plays within the ancient pagan world. In this course, we will read a number of Shakespeare's plays that are set in the pagan or pre-Christian context of ancient Greece, Rome, and Britain. We will consider how Shakespeare and other early modern playwrights adapted historical and fictional pagan narratives to the Christian culture in which they lived. Among the questions we will be asking are the following: How did Protestant England incorporate pagan values associated with the pre–Christian past? How do Shakespeare and other authors during this period Christianize the ancient world, and to what extent do Shakespeare and his contemporaries preserve or even celebrate the pagan virtues associated with ancient Greece and Rome? To what extent do Shakespeare and his contemporaries see the ancient world as a model on which to build future civilization? Finally, how are the gender roles particular the roles of women–different in Shakespeare's pagan plays compared to those of his plays which are set in the Christian world? We will read Shakespeare's A Midsummer Night's Dream, The Comedy of Errors, Troilus and Cressida, Macbeth, King Lear, Antony and Cleopatra.
ENG. 3140: Shakespeare: The Jacobean Plays (12860)
Jacobcan Shakespeare: What Should We Do with Othello? *DIVISION I OR PRE-1900*
TF 9:05 – 10:30 AM
This course interrogates Shakespeare's Othello as a problematic and deeply paradoxical text: it is at once a racist fable, one of the greatest works of English literature, and a story that twenty–first century writers cannot stop revising and reinventing. By studying the play, its sources, and its adaptations, the course aims to show how Shakespeare can be both an example of and a response to racism and sexism. The course will engage with contemporary Shakespeare criticism that collects itself under the hashtags #ShakeRace and #Raceb4Race. We will consider how Shakespeare has historically been used to transmit racist and sexist ideologies, and we will explore how his works are currently being used in anti–racist ways. In addition to reading Othello, we will read two other plays that feature major African characters, Antony and Cleopatra and The Tempest. We will further consider twenty–first century adaptations and responses to Othello, including Tayeb Salih's Season of Migration to the North (1966), Lolita Chakrabarty's Red Velvel (2012), Tracy Chevalier's New Boy (2017), and Keith Hamilton Cobb's American Moor (2020). Student will have the option to reimagine a scene from Othello in contemporary context for the final project.
ENG. 3200: 18th Century English Literature (15202)
Eighteenth-Century Literature and Labor *DIVISION II OR PRE-1900*
Dr. Melissa Mowry
Email: mowrym@stjohns.edu
During the eighteenth–century English–speaking writers developed a fascination with labor who should do it, what it revealed about people's character, how it should be valued. Laboring class poets such as Stephen Duck and Mary Collier were celebrated, while one of the most iconic novels of the century, Samuel Richardson's Pamela featured a working–class heroine. In this class we will read a range of works from essays, to novels, to plays and musicals, to early magazines as we explore why English imaginative writing took this turn and ask how it fit in to England's imperial ambitions.
ENG. 3230: 19th Century Novel (14962) *DIVISION II OR PRE-1900*
Dr. Gregory Macrtz
Email: maertzg@stjohns.edu
This course will examine major sub–genres of nineteenth-century fiction, including the Gothic novel, the novel of social realism, science and detective fiction, and the novel of adventure. Special emphasis will be placed on the impact of modernity on literary innovation. Texts to include Mary Shelley's Frankenstein, Emily Brontë's Wuthering Heights, George Eliot's Middlemarch, Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, and Bram Stoker's Dracula.
ENG. 3330: African-American Literature (15194)
(SI CAMPUS) Freedom Dreams *DIVISION III OR PRE-1900*
T. 1:50 – 3:15 PM – FACE TO FACE FACE
1:50 – 3:15 PM – ONLINE SYNCHRONOUS
Dr. Robert Fanuzzi
Email: fannuzzir@stjohns.edu
Thanks to Black writers of the 18th and 19th centuries, "abolition" is not just another word for the end of slavery but a byword for freedoms and possibilities that challenge us still. What future were these writers trying to show us? Is it the America we live in today? Our class looks back at the classic antislavery literature of Frederick Douglass, Olaudah Equiano, Harriet Jacobs, and Sojourner Truth as well as the visionary anti–racist writings of David Walker, Ida B. Wells, and Pauline Hopkins for signposts and inspirations for the racial justice conversations we have now.
ENG. 3390: Special Topics in American Literature To 1900 (15270)
American Poetics of Persuasion and Understanding *DIVISION III OR PRE-1900*
MR 9:05 – 10:30 AM – FACE TO FACE
Dr. Granville Ganter
Email: ganterg@stjohns.edu
This course will be a cross-over inquiry between literature and rhetoric, investigating the difference between western traditions of persuasion (Aristotle & most debate manuals) and those of understanding, empathy, and consensus. We will read some famous American oratorical texts that contrast techniques of persuasion and empathy, ranging from Native, Abolition, and women's rights oratory. We will also look at novels that explicitly frame alternatives to the business of persuasion, such as James' Bostonians (about a women's rights speaker) and Hurston's Eyes Were Watching God. We will also consider the mechanics of contemporary social media, where conflict so often pushes all other forms of expression aside. Along the way we will survey theories of gendered discourse with excerpts from Men Are From Mars, Women Are from Venus; Deborah Tannen's research, and feminist rhetorics from Sonja Foss to Shirley Wilson Logan and Cheryl Glenn.
ENG. 3400: Modernist Literature (14042)
The Emergence of Modernism *DIVISION IV*
MR 12:15 – 1:40 PM ONLINE SYNCHRONOUS
Dr. Stephen Sicari
Email: sicaris@stjohns.edu
"Modernism" is one of those words that has come to stand for a period of literary history (roughly, the years between 1900 and the end of WWII) and so is a usef and arranging literary texts. But the word has come to have so many different possible meanings and emphases that it needs careful articulation and critique. In this course we will use World War I ("The Great War") as the "event" that comes to define a certain kind of literary response that we now call modernism. Before the war, there were already texts being written that were responding to radically new conditions in science and technology, politics, and intellectual history, and we'll read Conrad's Heart of Darkness, Forster's Howards End, and Joyce's A Portrait of the Artist as a Young Man to appreciate the literary responses to early twentieth century British culture. After the war, the experimental energies already driving literary developments "explode"; and we'll read the poetry of T. S. Eliot and the fiction of Virginia Woolf to gauge these experiments in style and technique. Feel free to contact me at sicaris@stjohns.edu if you have any questions or concerns.
ENG. 3520: Modern World Literature (14030)
*DIVISION II OR PRE-1900*
Dr. Amy King
Email: kinga@stjohns.edu
This course will look at literature around the significant historical events and ideological shifts that mark the start of a truly global modernity. We will concentrate on the enormous upheavals brought by the industrial and political revolutions of the late eighteenth and nineteenth centuries; the clash of empires in East and West; and the emergence of realism–a newly urban, unheroic, global literary style. Rather than reading the national literatures of Britain or America in isolation, this course will more broadly engage a selection of writers in translation from the broad expanse of world literature, focusing on the period from 1776 to roughly 1900. We will focus our course through the concept of freedom. In the eighteenth and nineteenth centuries, the question of freedom became an intense preoccupation worldwide. From debates about chattel slavery and the national independence from peoples under colonial rule in Asia, Africa, and the Americas, to freedom of thought and personal liberty, the question of what freedom entailed and who had a right to it shaped literary, philosophical, and political writers alike. How does literature represent the question of human freedom, and how might certain literary forms break free of convention? Beginning with our unit "revolutionary contexts" we explore the period's interest in broad political and social freedoms, and who was and was not entitled to them (citizens, women, factory workers, slaves across a variety of national contexts). We will also take up the rubric of freedom through a study of the Romantic poets and their successors, as well as through various nineteenth-century realist narratives from around the world, including Mexico, Russia, Brazil, Japan, and Bengal. The course concludes with a unit on empire and our reading of Peter Kuper's 2019 graphic–novel adaptation of Joseph Conrad's Heart of Darkness (1902).
ENG. 3570: Women and Literature (14969) *DIVISION IV*
Dr. Kathleen Lubey
Email: lubeyk@stjohns.edu
This course will focus on contemporary writing by and about cis, trans, straight, queer, BIPOC, and white women, spanning feminism's second wave to the present. Centrally, it will ask: what and who are women? How do we create a definition of gender capacious enough to be inclusive and clear enough to be the subject of political discourse and collective action? We will also query the category of literature broadly construed. What is the relationship between genre and gender, and how does this relation change across time? Readings will include novels, memoir, poetry, creative nonfiction, and theory by (in no particular order) Saidiya Hartman, Leanne Betasamosake Simpson, Torrey Peters, Myriam Gurba, Adrienne Rich, lề thi diem thủy, Marilynne Robinson, Gloria Anzaldúa, Audre Lorde, Susan Stryker, Hortense Spillers, Chandra Mohanty, Etel Adnan, Maxine Hong Kingston, Kamila Shamsie, and the Combahee River Collective. We will hold one synchronous and one asynchronous meeting per week, with three longer writing assignments including a creative option.
ENG. 3590: Literature & The Other Arts (14975)
Hip Hop Acsthetics: Now and Then *DIVISION IV*
W. 1:50 – 4:40 PM
Dr. Shanté Paradigm Smalls
Email: smalls@stjohns.edu
This course examines aesthetics in hip hop culture and production. Through studying hip hop film, music, visual art, dance, and literature, we will think through what is so valuable about the aesthetic practices in the 40+ year history of hip hop culture. This class is a rigorous attempt to think with critical and scholarly eyes and ears about a form many of us love. This course will concentrate on race, gender, and sexuality as produced in hip hop culture from primarily NYC, Chicago, LA, and ATL. The course meets once a week and will most likely consist of one individual paper, one group project, and one oral presentation.
Possible reading: Mark Anthony Neal, Looking for Leroy: Illegible Black Masculinities
Joan Morgan, When Chickenheads Come Home to Roost: My Life as a Hip Hop Feminist
Jeff Chang, Total Chaos: The Art and Aesthetics of Hip–Hop
Tricia Rose, Black Noise
Jessica Nydia Pabón-Colón Graffiti Grrlz: Performing Feminism in The Hip Hop Diaspora
Gwen Pough, ed. Home Girls Make Some Noise
MK Asante, It's Bigger Than Hip Hop: The Rise of the Post Hip Hop Generation
Loren Kajikawa, Sounding Race in Rap Songs
Greg Tate, Writing the Future: Basquiat and the Hip-Hop Generation
film and television shows like
The Get Down
Hip Hop Evolution
ENG. 3640: Vernacular Literature (14971) *DIVISION IV*
MR 3:25 – 4:50 PM
This class provides a general introduction to the large, international, and ever–growing area of vernacular literature – in other words, literature in a non-standardized form of English. We will read fiction, poetry, personal writing, and theoretical texts by writers from Barbados, Ireland, Jamaica, Nigeria, Trinidad, and the United States who choose to compose in various non standardized forms, including African American Vernacular English, Caribbean Creole Englishes, Hawaiian Pidgin, Irish English, Nigerian Pidgin English, and others. While considering these texts within the particular historical backgrounds that formed them, we will also maintain constant close attention to the aesthetic choices made by our writers. All semester, I will also be asking you to connect our course readings and discussions to your own daily observations about language and power.
ENG. 3610 – CLS. 3610: Classical Drama in Translation (14026/14333)
Dr. Robert Forman
Email: formanr@stjohns.edu
The course focuses on those plays of Aeschylus, Sophocles, and Euripides that most closely reflect the social and political events of fifth–century Athens––and, surprisingly enough, the social and political events of contemporary America. These include the consequences of protracted war and weak leadership, religious extremism, and class and ethnic conflict. Readings will include the Trojan War plays of all three playwrights; the Theban Civil War plays of Sophocles and Euripides, and the Medea, Heracles, and Dionysus plays of Euripides.
ENG. 3680: Critical Race and Ethnic Studies (15271)
M. 3:25 – 4:50 PM – FACE TO FACE
R. 3:25 – 4:50 PM – ONLINE SYNCHRONOUS
Dr. Raj Chetty
Email: chettyr@stjohns.edu
This class will introduce students to fundamental concepts and debates within the fields of critical race studies and critical ethnic studies. Students will learn about the emergence of critical race studies and ethnic studies as distinct academic fields of study. Students will become familiar with the particular ways in which these fields analyze the phenomena of racial forination, ethnic group formation, racism and racial discrimination, ethnic life, and ethnic stratification as centra features of global modernity. The processes of racialization and ethnic group formation will be viewed as components of overlapping historical processes of social stratification that are fundamental features of the modern world–system. Large–scale forms of group–differentiated marginalization will be examined through the lens of structural racism." Students will explore the role that ethnic and racial stratifications play in dominant economic and political systems and institutions, and the role they have played throughout the world.
ENG. 3710: Writing Across Genres (14036) *COUNTS FOR WRITING MINOR*
TF 3:25 – 4:50 PM
Professor Lee Ann Brown
Email: brownl@stjohns.edu
This class is designed to be a laboratory where students can explore modes and genres of creative writing: poetry, poet's theater, flash fiction, and memoir. We will collaborate and play generative writing games to get the words flowing. Each week there will be readings to sow "seeds" for our own writing. This course can serve as an introduction to, or a continuation of, an already established writing practice. Writing time is built into the class, with direction to expand, share and revise work into finished pieces gathered in mid–semester and final portfolios.
Texts will include Sonnets by Bernadette Mayer, Olio by Tyehimba Jess, Lunch Poems by Frank O'Hara, I Remember by Joe Brainard, rewritten fairy tales by Angela Carter and Italo Calvino, Walt Whitman's Song of Myself, Short Talks by Anne Carson and plays by Suzan–Lori Parks and Kevin Killian.
Digital resources will be engaged and multimedia creative work will be encouraged.
Cross references with St. John's University Interdisciplinary Minors, Multicultural and Multiethnic Studies and Women's Gender and Sexuality Studies. Interfaces with LGBTQIA Studies.
ENG. 3730: Poetry Workshop (14000) *COUNTS FOR WRITING MINOR*
W. 10:40 – 1:30 PM
Professor Stephen Paul Miller
Email: millers@stjohns.edu
This course will enable students to experience poetry from the "inside out." Within the context of students experiencing themselves as working poets we will also consider canonical, modern, and contemporary poetry, in addition to using other writings as models. Students will be introduced to many such poems as a way of igniting their own writing and learning to create their own innovative poetry.
ENG. 3740: Fiction Writing Workshop (12858) *COUNTS FOR WRITING MINOR*
Professor Gabriel Brownstein
Email: brownstg@stjohns.edu
This is an introduction to writing fiction. Students will write regular exercises and these exercises will lead to the writing of original work. Our reading will focus on writers of the 1970s––a period of crisis and reinvention in US fiction.
We'll read novels and stories by Donald Barthelme, Ursula LeGuin, Toni Morrison, Kurt Vonnegut, and others, and our reading will inform our understanding of storytelling in prose. Students will be able to experiment in forms and genres of their own choosing.
ENG. 3890: Topics in Film Genre (14031)
*DIVISION IV* Horror Film
Dr. Scott Combs
Email: combss@stjohns.edu
This course looks at major films within the horror genre, from its early stirrings in silent cinema to more recent works. Our focus will be on the political and cultural work that horror does, and our discussions will foreground issues of gender, race, sexuality, and ethnicity. Weekly screenings will be accompanied by selected secondary readings.
ENG. 4994: Seminar in Themes/Genres *SENIOR SEMINAR*
M. 10:40 – 12:05 PM – FACE TO FACE
R. 10:40 – 12:05 PM – ONLINE SYNCHRONOUS
The course presumes no interest in baseball or sport, instead looking at baseball as a meaningful cultural field where race, color, gender, and class are articulated and contested. We will engage critical writings on the concepts of culture, race, and sport, drawing from Black Cultural Studies to counter the idea that certain areas of cultural life, such as sport, are not sufficiently intellectual or academic, not "cultivated" or "cultured" enough for serious reflection or study. We will explore how this is a double dilemma for black sporting cultures. The course centers black cultural life in baseball, in the U.S. and the Caribbean. To develop a set of tools to study baseball as culture, we will study the landmark cultural study of cricket, Beyond u Boundary, by the Trinidadian intellectual C. L. R. James.
This class will engage an array of literary/cultural materials: novella, play, poetry, film, short fiction, and print and visual media. In addition to James, we will engage critical studies of baseball and blackness by Rob Ruck, Adrian Burgos, Andrew McCutchen, and José Bautista, and creative cultural productions by August Wilson, Don DeLillo, Anna Boden and Ryan Fleck, Yolanda Arroyo–Pizarro, Martin Espada, and Alejandro Gautreaux.
*WITH PERMISSION OF CHAIR ONLY*
ENG. 4903: Internship In English (11261) 3 CREDITS
ENG. 4953: Independent Study (13040)
The English Department has redesigned its requirements for the major and minors. Please consult the below guide. Juniors and seniors will continue with the major program they have been following (including selecting courses in Divisions 1–4), first–year students and sophomores will follow the revised major requirements. Please see below.
The Major
The major in English is a 36–credit program.
Revised Major Requirements (for students who declared the major in 2019 or later):
(9 credits)
English 1100C: Literature in a Global Context
English 2200: Introduction to English Studies
English 2300: Topics in Theory
Courses Prior to 1900:
Select any 3 courses.
Courses that qualify are indicated on the course description flier as (9 credits)
Additional Electives
to be drawn from any SJC English courses (15 credits)
Senior Capstone (3 credits)
Total credits in the English major: 36 credits
Major Requirements (for seniors and some juniors in 2020-2021):
Courses in Literary History:
One course in each of four divisions (12 credits)
Division I: Medieval & Early Modern Anglophone Literature
Division II: 18th and 19th Century British Literature and Culture
Division III: American Literature and Culture up to 1900
Division IV: Twentieth– and Twenty–First Century Literary and Expressive Arts and Cultures
Please note: the credit requirements for the English and Writing Minors has changed from 18 credits to 15 credits for all students:
Minor in English: 15 credits
Students wishing to minor in English must 15 credits in English. 1100c may count toward the total number of credits.
Minor in Writing: 15 credits
Students who minor in writing must take the following courses:
* Four writing courses
*Any additional course in the SJC English Department. 1100c may count toward the total number of credits.
Note: English majors who minor in writing must take four writing courses plus one additional English literature course (fifteen credits in all) in addition to their major coursework.
Dr. Shanté Paradigm Smalls's Podcast!


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Magellan Explorer
Magellan Explorer is a new and modern expedition vessel custom build for our Antarctic air-cruises. She was built in Chile to the latest Polar Code specifications to start service in 2019.
Magellan Explorer �A21
Magellan Explorer has capacity for 69 passengers in seven categories of accommodation, including dedicated single cabins. All cabins except Porthole cabins feature private balconies. All double cabins except two have two twin beds that can be configured as one king-size bed. All cabins feature a wardrobe, individually controlled heating system, a sitting area, and a private bathroom with shower.
The ship features a glass-enclosed observation lounge and presentation room with state-of-the-art audio-visual equipment, a spacious and stylish dining room, a well-stocked bar, a library, a meeting room, a gym, a sauna, and a medical clinic. The forward-facing observation deck leads to the bow of the ship, which is accessible to guests to offer proximity to marine wildlife. The ship has a fleet of 10 Zodiac boats that are well suited for disembarking and wildlife watching.
Passengers: 100 maximum
Expedition Staff & Crew: 60
Lifeboats: 2, fully enclosed, capacity of 160 (in addition to 8 life rafts, capacity of 160)
Length: 90.7 m
Breadth: 16.2 m
Draft: 4.3 m
Propulsion: Diesel engines, 3,440 kW
Ice Class: LR PC6
440 sq.ft., Suite with two bedrooms, balcony and a sitting area.
220 sq.ft., Cabin with sitting area and porthole.
Veranda Cabins
220 sq.ft., Cabin with sitting area and balcony
Deluxe Veranda
330 sq.ft., two-room suite with sitting room, balcony and bedroom.
440 sq.ft, two room suite with sitting room, balcony and bedroom.
Classic Antarctica Air-Cruise
Flying from Punta Arenas to Antarctica...
Polar-Circle Air Cruise
Antarctica Express Air-Cruise
Fly one way and sail the...
View Dates & Rates | FROM USD: $4,995
Ushuaia, Cape Horn & Falklands (Malvinas)
Sail from Ushuaia to the Horn...
Antarctica & South Georgia Air-Cruise
Discover these two distant and beautiful...
South Georgia & The Falklands (Malvinas)
Combine the Falkland Islands (Malvinas) and...

redpajama_set_name: RedPajamaCommonCrawl


It was my husband's birthday and we decided to have some dinner using the Entertainer Qatar App. Villagio has always been a famous choice for us because we can stroll and have movies after dinner. Unfortunately, there was nothing good in the cinemas last night except for Taken 3 which we have already seen last Saturday. So we just had some dinner and window-shopped.
We had dinner at the Butcher Shop & Grill, located at the perimeter of the skating rink. As their name would suggest, they serve some great steak. And because it's the husband's birthday (he loves steak, by the way), this was an obvious choice.
Of course, I had to get myself some Mint Lemonade, but this time around it was not just me. The birthday boy also wanted to try it, he says he got curious because I always have it.
This, by far, is the best salmon I've ever had in all of Doha. I don't know if it's the sauce or just the salmon itself but its definitely on the top of my list. It is served with fresh arugula leaves, cherry tomatoes and potatoes. They will also ask you to choose from a variety of sides, I chose a baked potato (blurred at the background).
The birthday boy had some Beef Espetada, well-done of course. While eating, Raymond was ranting endlessly about this dish, so I tried it. It was surprisingly tender and very juicy. I'm not much of a steak/barbecue fan but this dish is making me reconsider. It is served with a plate of fried sweet potatoes that are very crisp and you also get to choose another side, Raymond chose some coleslaw.
Now as I've said, we used the Entertainer Qatar App for this particular meal and it's our first time to use it for 2015. Our whole meal was supposed to sum up to QR238 but we paid only QR143. More about the App on another post.
I think they also have branches there in Dubai. You should it try it.
You vampire. Haha. But kidding aside, yes they are all delish!
Thanks! I hope you enjoy reading.
It's really great. I hope they open a branch in the Philippines too. I'm sure it will be a big hit.


School is about to start soon. You have all the supplies needed: pencils, paper, backpack, etc. But are you missing something else? Maybe it is a good time to check that your kids are up to date on their Immunization shots, too. When your kids are younger, they have a series of shots required to protect them from measles, polio, chicken pox, and hepatitis, but preteens should also have shots for a variety of illnesses, as well.


text:
#pragma once

#include <string>
#include "lcm1602.h"

namespace upm
{
/**
 * @library i2clcd
 * @sensor jhd1313m1
 * @comname JHD1313M1 Display
 * @altname Grove RGB LCD
 * @type display
 * @man seeed adafruit sparkfun
 * @web http://www.seeedstudio.com/depot/Grove-LCD-RGB-Backlight-p-1643.html?cPath=34_36
 * @con i2c
 * @kit gsk
 *
 * @brief API for Jhd1313m1 i2c controller for HD44780 based displays with
 * an RGB backlight such as the Grove RGB i2c LCD display
 *
 * The Jhd1313m1 has two i2c addreses, one belongs to a controller very similar
 * to the upm::Lcm1602 LCD driver which controls the HD44780 based display and the
 * other controls solely the backlight. This module was tested with the Seed
 * Grove LCD RGB Backlight v2.0 display which requires 5V to operate.
 *
 * @image html grovergblcd.jpg
 * @snippet jhd1313m1-lcd.cxx Interesting
 */
class Jhd1313m1 : public Lcm1602
{
  public:
    /**
     * Jhd1313m1 constructor
     *
     * @param bus i2c bus to use
     * @param address the slave address the lcd is registered on
     * @param address the slave address the rgb backlight is on
     */
    Jhd1313m1(int bus, int lcdAddress = 0x3E, int rgbAddress = 0x62);
    /**
     * Jhd1313m1 destructor
     */
    ~Jhd1313m1();
    /**
     * Make the LCD scroll text
     *
     * @param direction, true is typical scrolling to the right
     * @return Result of operation
     */
    mraa_result_t scroll(bool direction);
    /**
     * Set the color of the backlight
     *
     * @param r 0-255 value for red
     * @param g 0-255 value for green
     * @param b 0-255 value for blue
     * @return Result of operation
     */
    mraa_result_t setColor(uint8_t r, uint8_t g, uint8_t b);

 protected:
    virtual mraa_result_t command(uint8_t cmd);
    virtual mraa_result_t data(uint8_t data);

  private:
    int m_rgb_address;
    mraa::I2c m_i2c_lcd_rgb;
};
}

redpajama_set_name: RedPajamaGithub


text:
Epicallia är ett släkte av fjärilar. Epicallia ingår i familjen björnspinnare.

Källor

Externa länkar

Björnspinnare
Epicallia

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text:
Village vote against turbines
VILLAGERS have launched a campaign to oppose plans to build five wind farms, with as many as 130 turbines, in the countryside nearby.
People in the small community of Straiton, South Ayrshire, say they will be surrounded by a "ring of steel" and have vowed to fight the developments.
The five farms are currently at the investigation or planning stage and would all be built within six miles of the village. Many of the turbines would be visible for miles around.
Residents voted unanimously at a village meeting earlier this month to fight the proposals. Many fear the developments would have be detrimental to the local economy.
The campaign comes as Highland Council prepares to vote on a contested wind farm in the Monadhliath mountains.


text:
tizianacarraro » Vocal » Betty Carter - The Audience With Betty Carter
Betty Carter - The Audience With Betty Carter album download
The Audience With Betty Carter
Bop,Vocal Jazz
Bradshaw's Great American Music Hall, LA, CA
MP4 AU MP3 WMA ASF RA
Betty Carter Bop Vocal Jazz
The Audience with Betty Carter is a 1979 live double album by the American jazz singer Betty Carter. The album's first track, "Sounds (Movin' On)", is 25 minutes in length and features an epic scat solo. The Trolley Song" is a nod to the city of San Francisco, where the album was recorded. The second half of the album features several songs written by Carter.
After getting her feet wet with the first few releases, she came up with this double album, which some fans would consider her masterpiece. Eventually it was licensed to Verve. The set is as faithful as possible; a transcription of her nightclub sets with piano trio backing. Interestingly enough, it is not actually recorded at a nightclub per se, because the Great American Music Hall, formerly one of San Francisco's most posh bordellos, is actually more a small theatre, with the set up just intimate enough to pull off this kind of live recording.
Artist: Betty Carter Album: The Audience With Betty Carter Genre: Vocal Jazz Label: Verve/PolyGram Released: 1979/1988 Quality: FLAC (tracks+. cue) Tracklist: Disc 1: Sounds (Movin' On) After getting her feet wet with the first few releases, she came up with this double album, which some fans would consider her masterpiece.
Complete your Betty Carter collection. Betty Carter - Caribbean Sun 4:18. Betty Carter - Spring Can Really Hang You Up The Most (The Audience With Betty Carter) 7:23. TOUCHUSED Vocal LPs - 11/02/17 by touchvinyl. 1/26/17 A few oldies and contemporary limited-run house singles by touchvinyl. 1960-2010 - 50 ans de musique noires: 150 disques essentiels (Jazz Magazine/Jazzman n°649 Mai 2013) by TwinPowerForce.
Betty Carter (born Lillie Mae Jones, May 16, 1929 – September 26, 1998) was an American jazz singer known for her improvisational technique, scatting abilities, and other complex musical abilities that demonstrated her vocal talent and imaginative interpretation of lyrics and melodies.
Features Song Lyrics for Betty Carter's The Audience With Betty Carter album. Betty Carter Lyrics provided by SongLyrics. All Music News . Popular Betty Carter Lyrics.
The Betty Carter Album (1972) The Betty Carter Album 1972. The Audience with Betty Carter (1979). Pictures, videos, biodata, and files relating to The Audience with Betty Carter are also acceptable encyclopedic sources.
Betty Carter - Open The Door 05:02. Betty Carter - Sounds (Movin On) 25:19. Betty Carter - I Think I Got It Now 03:33. Betty Carter - Caribbean Sun 04:17. Betty Carter - Everything I Have Is Yours 06:16. Betty Carter - Can't We Talk It Over, Either It's Love Or It Isn't 07:26. Betty Carter - Deep Night 02:44. Betty Carter - Spring Can Really Hang You Up The Most 07:21. Betty Carter - Tight 03:44. Betty Carter - Fake 04:15.
Track List - Disc 1
Title/Composer
1 Sounds (Movin' On) Betty Carter Betty Carter 25:20
2 I Think I Got It Now Betty Carter Betty Carter 3:33
3 Caribbean Sun Carlos Garnett Betty Carter 4:17
4 The Trolley Song Ralph Blaine / Hugh Martin Betty Carter 3:37
5 Everything I Have Is Yours Harold Adamson / Burton Lane Betty Carter 6:16
6 I'll Buy You a Star Dorothy Fields / Arthur Schwartz Betty Carter 2:12
1 I Could Write a Book Lorenz Hart / Richard Rodgers Betty Carter 3:41
2 Can't We Talk It Over/Either It's Love or It Isin't Ned Washington / Victor Young Betty Carter 7:26
3 Deep Night Charles Henderson / Rudy Vallée Betty Carter 2:45
4 Spring Can Really Hang You up the Most Fran Landesman / Tommy Wolf Betty Carter 7:22
5 Tight Betty Carter Betty Carter 3:44
6 Fake Betty Carter Betty Carter 4:16
7 So... Betty Carter Betty Carter 7:03
8 My Favorite Things Oscar Hammerstein II / Richard Rodgers Betty Carter 4:39
9 Open the Door Betty Carter Betty Carter 5:09
Related at Betty Carter - The Audience With Betty Carter albums
Betty Farmer - Recorded Live in San Francisco album mp3 flac
Betty Carter - I Didn't Know What Time It Was album mp3 flac
Ron Carter - Ron Carter Plays Jazz album mp3 flac
Betty Carter - Love Notes album mp3 flac
Marian McPartland / Benny Carter - Marian McPartland's Piano Jazz with Guest Benny Carter album mp3 flac
Earl Carter - 495 album mp3 flac
Carter the Unstoppable Sex Machine - Splash It All Over: Live in Cologne album mp3 flac
Betty Carter - Meet Betty Carter and Ray Bryant/Little Susie album mp3 flac
Justin Carter - I Want to Live a Simple Life album mp3 flac
Crash Carter - Red Buttons Blink album mp3 flac


Hot diggity dog, the Good Food Awards has announced the pick of the litter for 2018. Entering its sixth year, the Good Food Awards honors American-based coffee roasters—along with chocolatiers, brewers, apiaries, and 11 other categories of craftsperson—who put as much attention on ethical sourcing of their ingredients as they do on the finished product.
To be considered for the Good Food Awards, roasters must submit coffees to be judged and ultimately decided on by their "exemplary flavor – sweet, clean, well developed body, balanced acidity and phenomenal aromatics." After careful consideration, the expert panel has decided on 27 different coffees to move on to the finals. The winners for 2018 will be announced on January 18th. But let's meet the finalists, shall we?
For more information on the criteria by which these coffees were selected or to view a list of past winners, visit the Good Food Awards official website.


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The Bowyer's Den
Primitve Archery information
American Indian Weapons
February 18, 2014 · by archeryrob	· in Bow Making.	·
This Information has been collected from various books. I will in the future try to find where all the information came from and list it so that anyone interested can look up these books for further information.
The Yurok Bow (Northern California)
Construction: The bow was made from Yew. It was short, wide and thin, it was sinew backed and had a sinew string. The bow was only made from the side of the tree that faced away from the river. After completion the, bow was painted on the sinew backing with red and blue triangles. The bows length was usually 3 to 3 1/2 feet. Typical Bows:
Width of Limb 1 7/8″ 1 1/2″ 1 11/16″ 1 15/16″ 1 3/8″ 2 1/2″
Width of Grip 1 1/4″ 1 1/8″ 1 3/16″ 1 10/16″ 1 1/8″ 1 3/8″
Greatest thickness 3/8″ 1/2″ 1/2″ 5/16″ 9/16″ 7/16″
Length 32 1/2″ 35 1/2″ 36 1/2″ 39″ 40″ 52″
The thickness of the bow included the sinew backing. This type of bow was built in other tribes from north to central California. Arrow length was said to be 28″ – 32″ but, was also said that it could not be drawn to the head implying that the arrow was short similar to the Plains arrows. A Bow tested by Saxton Pope was a reflexed sinew-backed Yew bow. It was 54″ long, 1 7/8″ x 1/2″ at the grip, 2″ x 3/8″ at mid-limb, and 1″ x 1/2″ below the nocks. It drew 30# at28″ and had a cast of 140 yards. He said it bends at the grip, had a flabby cast and produced hand shock.
A bow tested by Saxton Pope was made of birch with a bridge. It was 68″ long, 1 1/2″ x 1″ at the grip, 1 3/8″ x 3/4″ at mid-limb, and 1″ x 1/2″ below the nocks. It drew 60# at 25″ and had a cast of125 yards. He said that it twisted in the hand and was a poor shooter.
A bow tested by Saxton Pope was made of Osage orange. It was 59 1/2″ long, 1 1/2″ x 7/8″ at the grip, 1 1/4″ x 5/8″ at mid-limb, and 1″ x 3/8″ below the nocks. It drew 70# at 28″ and had a cast of 210 yards. He said it was it was the best bow tested.
A bow tested by Saxton Pope was slightly recurved, rawhide-backed and made of Red yew. It was 55″ long, 1 5/8″ x 5/8″ at the grip, 1 3/4″ x 1/2″ at mid-limb, and 3/4″ x 3/8″ below the nocks. It drew 48# at 28″ and had a cast of 205 yards. He said it had excellent workmanship and was an Ishi bow.
A bow tested by Saxton Pope was made of Ironwood possibly. It was 71″ long, 1 1/4″ x 1″ at the grip, 1 1/2 x 7/8″ at mid-limb, and 9/16″ x 3/8″ below the nocks. It drew 60# at 25″ and had a cast of 170 yards. He said it was poor workmanship but excellent wood. He retillered the bow and cut it down to 67″ and it drew 85# at 28″ and had a cast of 265 yards.
The Modoc Bow
This bow was very similar to the Yurok Bow and was said to have recurved tips. The Modoc used arrows that had rings behind the wooden tips that caused the arrow to skip across the water instead of plunging into the water making it easier to shoot a waterfowl on the water.
The Maidu Bow (Northwest Central California)
Practically identical to the Yurok bow, except it was not quite as thin or wide. It was painted in bands of triangles in green mineral pigments imported from the north. Arrow shafts were made from syringa (Philadelphus Lewisii) or rose bush (Rosa pisocarpa). A fore shaft was usually used but sometimes the shaft was reinforced with extra sinew wrapping at the tip. Sometimes the arrows were poisoned with rattlesnake venom. The quiver was made the same as most tribes in California with the hair side in. The release used was the primary one using the thumb and index finger. The left hand held the bow in the horizontal position and the index finger bent over the arrow to hold it's position.
The Yokuts Bow (Central Southern California)
The common bow used for small game hunting was little more that a shaped stick. Good bows were made from mountain cedar and were sinew backed. The Common type, primarily for hunting was nearly as long as a man, about 2 fingers wide and 1 finger thick. The ends were recurve, possibly due to the curling back of the sinew. Bows for fighting were shorter, broader, and flatter, and pinched in the middle. Except for being unpainted and probably not quite so extreme in form, this type appears to have been the same as the northern California bows. The arrow for war had no fore shaft but, a long wooden point, notched. The ordinary hunting arrow had a long sharpened fore shaft, but no real head. Deer arrows had a fore shaft and a flint head but, the fore shaft was socketed without glue or tie, so that the main shaft would disengage after impact.
The Washo Bow (Western Central California)
The bow was sinew backed and had recurved ends, it looks to be similar to Northern California bows. The arrows had fore shafts, The quiver was made of deer skin with the hair side in.
The Koso Bow (Northern Shoshone) (Northwest California and Nevada)
The bow was made of juniper, it was short and sinew backed. the string was sinew, or Apocynum, wild hemp, the usual cordage. The arrow was of willow, or Phragmites cane; the latter has a long point of grease wood.
The Chemehuevi Bow (Northern Shoshone)
The bow is distinctly shorter than the Mojave self-bow, with recurve ends. The back was sinewed and painted. the size and style is not known as no bows seem to have survived. The arrow was of cane, fore shafted, and flint tipped.
The Cahuilla Bow (Southern California)
The Bow was long, narrow, thick and unbacked and made of mesquite. The bow ranged from 52″ to 56″ in length, 1 1/16″ to 1 1/4″ wide, and 5/8″ to 15/16″ thick. They used two types of arrows. the first type is of cane with a wooden fore shaft, and the second of a single sharpened stem of Artemisia, without a head, similar to the Mohave type.
The Mohave Bow
The Mohave bow was made of unbacked willow a little less that a mans height. The bow ranged from 53″ to 70″ in length, 1 1/8″ to 1 3/8″ wide, and 3/4″ to 1 1/16″ thick. The arrow was made of Pluchea sericea, arrow weed, it was feathered but untipped. A bow tested by Saxton Pope was made of willow. It was 67″ long, 1 3/8″ x 1″ at the grip, 1 1/8″ x 3/4″ at mid-limb, and 3/4″ x 1/2″. It drew 40# at 28″ and had a cast of 110 yards. he said that it was whip-ended and had a flabby cast.
The Yahi Bow
The bow was made from the limbs of the Rocky Mountain Juniper. The end of the bow that was next to the tree trunk was the top of the bow. The bow was sinew backed and ranged in size from 44″ to 54″ in length, 1 3/4′ to 1 7/8′ in width, 5/8″ to 3/4′ Thick.
A bow tested by Saxton Pope made of Yew had a strong reflex and was sinew-backed. It was 47″ long, 1 1/2″ x 1/2″ at the grip, 2 1/4″ x 3/8″ at mid-limb, 7/8″ x 7/16″ Below the nocks. It drew 40# at 22″ and had a cast of 148 yards. He said that it bends in the center and it had hand shock.
Luiseno
A bow tested by Saxton Pope was made of willow. It was 55 1/2″ long, 1 1/2″ x 3/4″ at the grip, 1 1/2″ x 5/8″ at mid-limb, and 1″ x 1/2″ below the nocks. It drew 48# at 26″ and had a cast of 125 yards. He said it had a jarring recoil and was a poor weapon.
Other California Bows
Sinew-backed: Length Width Thickness
Tolowa 39″ 1 1/2″ to 1 7/8″ 9/16 to 5/8″
Northern Wintun 44″ to 45″ 1 3/8″ to 1 1/2″ 11/16″ to 3/4″
Miwok 44″ 1 3/8″ 7/8″
Self: Length Width Thickness
Klamath 40″ to 43″ 1 9/16″ to 2 3/16″ 9/16″ to 7/8″
Pomo 56″ 1 1/4″ 13/16″
Luiseno 64″ 1 5/16″ 1″
Karankawa
They used a bow that was made from cedar and was as long as the archer is tall. The bow string was made of twisted sinew. The arrows were made from cane with wooden fore shafts with three feather fletching. When shooting they drew the arrow to their cheek and wore guard on their left wrist.
They used a short double curve bow similar to the plains style bows. The arrows they used had three feather fletching and lightning groves on the shafts. A bow tested by Saxton Pope was made of Mesquite and was sinew-backed. It was 44″ long, 1″ x 3/4″ at the grip, 7/8″ x 5/8″ at mid-limb, and 1/2″ x 1/2″ below the nocks. This bow drew 45# at 26″ and had a cast of 150 yards. He said that it was well made and tillered.
[1] Plate LXXIX This figure is of a quiver and bow case and of a bow.
1. The quiver is 28″ long and is made of lion skin with the hair side out and has a wooden rod used as a stiffener. The lions tail hangs from the mouth of the quiver. The bow case is made of lion skin also and is made with the hair side in and is 44″ long. The case is decorated with fringes of lion skin ate the top and the bottom and is attached to the wooden rod on the quiver.
2. The bow is made from Mesquite wood and is round on the back and flat on the belly and is 3′ 11″ long. The back is lined with sinew and is bound with sinew twice on each limb and at the tips. The handle is wrapped with buckskin string. There are no nocks or modification to receive the string and the string is made of 2 ply sinew cord.
Some bows where made from Mulberry, Locust, Oak or Maple, but Mulberry was said to be the favorite. Sinew strings where made from leg sinew from deer. Arrow shafts made form mountain mahogany, Apache plume, and mulberry and where fletch with three feathers. No record of flint to stone points for hunting, but a record of sharpened and fire hardened wood tips is available. Poison was said to be used from the gallbladder of a deer or with Venom of snakes or spiders. [3]
[1] This bow was made from Hickory, is rectangular in cross-section and has a small double curve. The bow taper toward the ends, has a 3 ply sinew string and is 4′ in length
The best bows were considered to have been made from mulberry, although locust, oak and maple were sometimes used. They knew of double curved bows and made some but were thought to be inefficient to the single curve self bows they preferred. The preferred length was three to four feet. Bows were made from branches stripped of their bark and shaped to size and allowed to dry for a week. Then it was greased and bound to shape and placed in hot ashes to keep it shape and cured for a week and a half more. Bows were not fully drawn right away but gradually broken in. The bow string was preferred was a sinew string but mescal fibers could be substituted. The Apache made two different types of arrows. The first where about two feet in length and made of hardwood, preferably mountain mahogany, Apache plum, mulberry, and desert broom. The second was made from cane and had wooden fore shafts. Hardwood arrows were made from branches, had their bark pealed off and dried for several days. Then straightened against heated rocks. The cane arrows were made from Carrizo and dried for two weeks or more. Then straightened and fitted with six inch fore shafts. Half of the shaft went in to the cane and was bound with sinew and hide glue. The fletching was of three buzzard, eagle or hawk wing or tail feathers bound with sinew and hide glue.
1. One Apache double curved bow found was made from white hickory from a wagon hoop. This bow was 46″ long, 1 5/8″ wide & deep at the grip, 7/8″ x 1/2″ at mid-limb, and 5/8″ x 3/8″ below the nocks. T his bow was sinew backed and drew 28# at 22″ and had a cast of 120 yards. It should be noted that the native arrow for this bow was 24″ so this bow was under drawn by 2″ when tested.
2. Another bow from "Native American Bows" was 44 1/2″ long 43 1/2″ between nocks. It was rectangular in cross section and was made from white oak. The center of the grip is 22″ from the top of the bow and measured 1-5/32″ x 3/4″.Eleven inches from both tips measured 1-1/32″ x 5/8″. one inch below the upper nock measured 11/16″ x 1/2″ and one inch above the lower nock measured 11/16″ x 17/32″.
[1] Plate LXXVII and LXXVIII Two quivers and one arrow. The quivers are made from tanned deerskin tapering through their length. They are stiffened at the back by a wooden rod sewed in. The quiver are painted and decorated with flannel. The quivers are 34″ and 36″ long. The arrow is made from cane and is fitted with a hardwood fore shaft and an iron point.
A hunting bow would be made from Hickory and would have a string made from twisted groundhog (woodchuck) hide. Arrow where made from maple and tipped with flint or chert broadheads.
Blowguns where used to hunt small game
War clubs where made from Ironwood or another tough hard wood. Some war clubs where made with a large wooden ball on the end and some others had a flint blade or deer antler tip protruding to chop in like a tomahawk.
The Sioux used a double curved bow. these bows were made to length for each archer. The bow measurement was taken by measuring from the archers outstretched left arm that is parallel with the ground. The bow length is from the left middle finger to the right outside hip at the joint. It has been said that they liked their bows sinew backed and that they did not. I think that a little bow like this would be safer and last longer when backed. It has been said that they used Green Ash for their bows. The wood was cut green and worked close to size then greased and hung in the lodge to season before finishing. The arrows they used were of wood with three feather fletching running even with the nocks and lightning groves. The arrows were measured from the tip of the middle finger to elbow of the right arm and wrist to were the hand joins the middle finger combined to give the over all arrow length. they used stone, bone, and sinew arrowheads but used steel as soon as they could trade for it. Click here to see an Oglala bow.
[1] One Sioux sinew backed horn bow from Montana was 3 feet in length, rectangular in cross section and made from cow horn spliced at the middle with rivets. The bow is double curved and is bound at the handle and at the curves in the limbs with red flannel. The bow string is a traditional 3 ply sinew string.
[1] Plate LXXXIII A Dakota bow made from Hickory and is double curved, tapering toward the tips. Two notches at one end and one at the other for nocks. The string is made from 2 ply sinew cord and the bow is 3′ 7″ long.
[1] Plate XLVI Dakota Sioux Arrows These arrows are 24 to 27 inches in length and are banded with reds and blues. The nocks flare and are swallow tailed to help with pinch grip shooting. All 5 shafts where made from Osier and the fletching looks to be about 8″ to 10″ on average and is bound with sinew and some are glued down and one arrows fletching stands off the shaft and is bound at the ends. All arrows have the grooves of plains arrows and vary from wavy to zigzag.
1. This bow was had a slight reflex and was a self bow made possibly from ash. It was 47 1/2″ long, 1 3/8″ x 1 3/4″ at the grip, 1 1/4″ x 9/16″ at mid-limb, and 3/4″ x 3/8″ below the nocks. This bow drew 45# at 25″ and had a cast of145 yards and was said to have hand shock.
2. This bow was reflexed and was sinew-backed and was made of red hickory. It was 40″ long. 1 3/8″ x 5 8″ at the grip, 1 1/4″ x 1/2″ at mid-limb, 3/4″ x 1/2″ below the nocks. It drew 40# at 20″ and had a cast of 153 yards and was said to be a sweet shooter used for Buffalo hunting.
A bow tested by Saxton Pope was made of Ash and had a sinew-backing. It was 45″ long, 1 1/4″ x 7/8″ at the grip, 1 1/8″ x 3/4″ at mid-limb, and 7/8″ x 5/8″ below the nocks. This bow was tested at two different draw lengths. (1) 65# at 20″ and had a cast of 156 yards. (2) 80# at 24″ and no cast was recorded.
[1] Plate LXXX A quiver/bow case and a bow
1. The bow case 40″ and the quiver 25″ are connected together are is made from lion skin with the hair side out. The quiver and bow case are decorated with strips lion shin trimmed with red flannel and beads. The bandolier is of lion skin faced with duck cotton on the shin side.
2. The bow is made of Ash and is said to be of the common Plains style. It is made with a slight double curve and no mention is made to if it is self or backed.
[2] The wooden bows where made from Juniper (Juniperus scopulorum, Sarg.) as that was their favored wood. Osage Orange was used in the southern areas of their range where Juniper was not always available. The heartwood on the Juniper was not used and bows where made from small trees or staves split off a straight grained tree. In later times as Hickory became accessible it became highly favored as a bow wood.
Horn bows where made several different ways. The first way to glue several small pieces together and wrap them with sinew. The second was to cut a long piece from an antler even through it was crocked and boil it and heat it until soft and lash it to a wooden stick or form to take the desire straight form. The third was to cut straight with the grain out of a rams horn and boil to straighten and join the two pieces at the handle. The fourth was to cut a rams horn in a spiral across the grain and boil it so it could be straightened into a one long straight bow core. The elk horn and Buffalo horn bows where said to not to have lasted as long as the rams horn bows. The rams horn bow was said to be very durable and lasted a long time.
All of the backed bow where now sinew backed and after the last layer was applied a layer of glue was laid and then sprinkled with burnt gypsum to whiten the back of the bow and the belly was painted with any color the archer desired. The grip was applied of deer skin about 3/4″ wide and wound on and glued down.
Arrow shafts where made from The cherry bush, currant, red-willow and rose. The shafts were cut according to the rules of the arrow maker and where measured from the tip of the middle finger to the middle of the humerus (half way between the shoulder and the elbow). The arrow maker was always careful to check arrows for toughness as is was unlucky to break an arrow while straightening. The shafts where bundled and hung in the lodge until dry and seasoned. Then they would be straightened with an arrow wrench and grease as needed. The shaft would be run through a hole in a rib bone to check for even diameter of the arrow shaft. The arrow where grooved with one straight grove on one side and one zigzag or wavy grove on the other. The groves where said to be useful in helping the arrow retain it's straightness.
Arrows where then fletched with Turkey or buzzard feather as they where said to not be harmed by the blood. The feathers of hawks and eagles where damaged by the blood and where used for ceremonial arrows. The fletching was glue on each end and wrapped with sinew at each end to secure it. Then points where set with glue and sinew wrapping. The arrow heads were made from deer antler, chipped stone, Buffalo hoof and shoulder blade bones, and steel as it became available. The best wounds where said to be made from knapped stone heads.
Nocks where made by cutting away the wood to make a flared end for the pinch grip shooting style. The part of the nock that raised would have scratches carved into it to aid in gripping the arrow.
This bow tested by Saxton Pope was made of Ash and was probably a self-bow. It was 44″ long, 1 5/8″ x 1/2″ at the grip, 1 3/8″ x 3/4″ at mid-limb, and 1″ x 3/8″ below the nocks. It drew 38# at 20″ and had a cast of 150 yards. He also recorded that the bow broke one time when drawn at 20″.
[1] Plate LXXXI A Bow made nearly rectangular in cross section, Tapering towards the end; slightly double curve. One notch at each end and both on the same side for receiving the string. Length 3′ 9″
[1] Plate LXXXII The bow is mage from Osage Orange. It is rounded on the back and inside (belly) , and square on the sides. Largest at the grip and tapering to the tips. The notches are cut near the ends on alternate sides. The bow is double curved and 4′ 4″ long
A bow tested by Saxton Pope was made from Osage orange. It was 47 1/2″ long, 7/8″ x 7/8″ at the grip, 1 1/2″ x 1/2″ at mid-limb, and 5/8″ x 3/8″ below the nocks. It drew 40# at 20″ and had a cast of 92 yards. He said that it was a poor bow for the wood that was used.
[4] The bows where made from mulberry, witch hazel or ash and where strung with bear gut. The arrows where made from reeds (River Cane). The quivers where also woven from the same reeds. Arrow heads where made from knapped stone, most likely quartz, deer antler and deer bones. They where glued in place with a natural hide type glue, the author said glue made from deer antler, but I am not sure how strong that would be. Not much reference to war clubs other than hardwood was used to make them.
Susquehannock
[5] They made some arrows out of reeds if they where near the coast and some from hardwoods of the inland groups. The reed arrows where about 45″ long and had a fore shaft of hardwood that was about a 1/4 of the arrows length and was tapered to fit into the main shafts. The fore shaft on these reed arrows is thought to run about 3″ to 9″ long and slid into the main shaft with sinew or fiber wrapping to reinforce the shaft.
Some arrowheads where made of white crystal like stone (Most likely quartzite) Onondaga chert and jasper were used with quartz being most commonly used made in the shape of a heart and about an inch wide by an inch and a half long or more. Arrowheads of Brass have also been found in grave sites. Notice on this picture that the far bottom left nock is sinew wrapped. from the stems of these pieces they can tell the shafts have a pitch core and were unable to see any reference to two or three fletch on the arrows. One arrow shaft had lightning groves and the grove was filled with a red pigment.
Indians in the Mid-Atlantic area where also know to make arrow heads from a black flint type stone (could be Argillite or Rhyolite?) and bone and fish teeth.
They were know to be a large people and their bows where made in the eastern woodlands design. Most likely very similar to the Sudbury bow. The bows where about the same length as they were tall. Unfortunately no bows or bow parts are known to have survived.
The Susquehannock Indians were made up of several tribes. The name of these tribes have been lost. The names that are thought to be associated with them are: Akhrakuaeronon (Atrakwaeronnon), Akwinoshioni, Atquanachuke, Attaock, Carantouan, Cepowig, Junita (Ihonado), Kaiquariegehaga, Ohongeoguena (Ohongeeoquena), Oscalui, Quadroque, Sasquesahanough, Sconondihago (Seconondihago or Skonedidehaga), Serosquacke, Takoulguehronnon, Tehaque, Tesinigh, Unquehiett, Usququhaga, Utchowig, Wyoming, and Wysox.
The Sudbury Bow
This bow was constructed of red hickory and was 67 1/4″ long (65″ between nocks). It was 15/16 wide x 1 3/16 deep at the handle, 1 3/4″ wide x 9/16″ deep at mid mid-limb, 3/4″ wide x 3/8″ deep below the nocks. A replica of this bow drew 46 pounds at 28″ and had a cast of 173 yards.
[1] Otis Tufton Mason North American Bows, Arrows & Quivers From the Annual Report of the Smithsonian Institution, 1893 Three Hawks Native American Programs
[2] "The Cheyenne Indians Volume I" by George Bird Grinnell Bison Books
[3] "The Navajo" by Raymond Bial Benchmark books
[4] "The Iroquois" by Raymond Bial Benchmark books
[5] "Susquehanna's Indians" by Barry C. Kent The Pennsylvania Historical and Museum Commission 1984 #6 of series
Tags: archery, bow making, indian
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If you want to defeat climate deniers, the first thing you need to know, without a shadow of a doubt, is that global warming is, in fact, happening.
I already know that -- I'd like to think we all do, deep down -- but there are people who continue to insist that the data is wrong. That's why, after a week spent learning why climate deniers insist that human activity isn't responsible for the rise in global temperatures, the second week of online class at Denial101x was dedicated to understanding how we know what we know: that temperatures are increasing, sea level is rising and glaciers are melting.
And yes, those basic facts remain true even when it's snowing outside.
The lessons this week were rooted in the cold (er, warm), hard science, from a tidy takedown of the global warming "pause" to a neat explainer on the difference between climate and weather (though I'm partial to Neil deGrasse Tyson's take on that one). It also explored, in depth, why we can feel confident in trusting temperature records.
The data, when laid out in front of you, is difficult to dispute. But the University of York's Kevin Cowtan, who delivered several of this week's lectures, raised an important point in an additional piece of commentary: talking about climate science involves a lot more than holding up graphs and saying, "So there!" That, he explained, would merely be "fighting unskeptical thinking with more unskeptical thinking" -- a true skeptic, he said, would ask questions, and be able to explain why the graphs brandished as "proof" by climate deniers look different from the graphs proving that climate change is happening.
-Sea level rise is one of the clearest indicators of warming that we have, and it all comes down to simple physics. Lecturer Keah Schuenemann, a professor of meteorology at the Metropolitan State University of Denver, explains that there are multiple factors causing oceans to swell, one of the most obvious being that warming water expands. Knowing as we do that the oceans are absorbing more than 90 percent of the excess heat being trapped in the atmosphere, it makes sense that sea levels have already risen by about 20 cm (8 inches) since 1880, and are expected to get even higher. The melting ice sheets, of course, are contributing to that rise as well.
So how do climate deniers find "proof" that the seas are the same as they've always been? They rely on cherry-picking: zeroing in on the year 2010, for example, when there was an excessive amount of rainfall and flooding. All that water was delayed from draining back into the ocean, and sea levels temporarily dipped. What a climate denier who talks about this won't show you is the long-term trend -- or, for that matter, that fact that sea levels rebounded the next year.
-The glaciers are melting. Again, we have clear data documenting that. But, explains Robert Way, a PhD candidate in physical geography at the University of Ottawa, there isn't always a direct relationship between a warming climate and melting glaciers. Warming air, after all, hold more moisture. So if the winter air in an area warms, but remains below freezing, there may actually be an increase in snowfall, which in turn can cause a glacier to grow. Warmer summer temperatures, and thus increased melting, should cancel that out, but it isn't always the case. Way points out that our planet has a lot of glaciers -- over 100,000 of them. So if you really wanted to, you could totally find a few that are getting bigger. However, you'd be cherry-picking.
-Listen to climate deniers long enough, and you'll hear them shout out the accusation that scientists have been tampering with temperature data. Well, they have been -- sort of. Scientists sometimes have to adjust weather station readings, explains Cowtan, if there's been a change in the station's location, the instruments being used or other operating practices. But they don't just guess: they use observations from other nearby stations to reconcile the data. And the adjustments, in any case, they make only a tiny difference to the temperature record. Climate deniers who suggest these adjustments are the real reason for data documenting global warming are guilty of jumping to conclusions -- another common fallacy.
I'm going to be away next week. Fortunately, taking class online means there's always an opportunity to catch-up, so I'll be back two weeks from now with more updates from class. In the meantime, why not enroll for yourself?


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One way to enter recipes into MasterCook is to use the Import Assistant. This works great for recipes that are not in a format that MasterCook recognizes. Below is an example on how I do it.
1. First I find a recipe that I want to import from the Internet, e-mail and/or text file.
2. Next, I highlight the recipe and right click and choose Copy from the pop-up menu.
3. Then I open up a cookbook in MasterCook and right click on the Mail icon along the right side of the MasterCook screen and select the Import Assistant from that menu. I put my cursor inside the Import Assistant and right click and choose Paste from that menu. The recipe is then pasted into the Import Assistant.
4. I then clean up the recipe a bit by aligning everything on the left side of the Import Assistant window and putting blank lines in between the different recipe sections (between the recipe title and ingredients, between the ingredients and directions, etc.) The blank lines tell MasterCook that a new section of the recipe is beginning.
5. Next I highlight the recipe by right clicking in the Import Assistant window and choosing Select All.
Near the bottom choose "Generic" from the drop-down menu under "Assumed Format When Auto-filling Recipes."
*I make sure there are no hidden characters between the recipe sections by putting my cursor in front of the first ingredient and then using the Backspace key up to the end of the recipe title and then use the Enter key. This way I know there is a true blank line inserted between the recipe title and ingredients. I do the same thing in between the ingredients and directions as well as between the recipe title and the notes.
If you use Auto-Fill to put all the directions into one cell, but you later change your mind and want them spread across several cells, you can open the Import Assistant window again and press the back arrow button (down in the bottom left-hand corner of the screen) to redisplay the recipe you were working on. Cut the paragraphs you want to parse from cell #1 and paste them into the Import Assistant window. Highlight one paragraph and select Directions from the drop-down menu in the Import Assistant and press the Move to Recipe button, and it will place it in the second cell. You can then highlight the next paragraph (I triple click somewhere inside the paragraph to select the whole paragraph.) and select the Move to Recipe button, and it will place it in the third cell, etc. The directions will remain selected in the drop-down menu. You can do this to parse ingredients as well.
You can also copy/paste or drag/drop parts of a recipe from a web page or another Windows application to MasterCook. Try copying a list of ingredients on a web page, put your cursor into a cell in the ingredient section of a newly created recipe in MasterCook and then use the command 'Paste Text into Ingredients' from the Edit Menu. It will parse the ingredients out.
Beginning in version 6.0 and above there is a new, right-click functionality: Clean Up Paragraph. When you select some text and then use this command it will remove unwanted carriage returns. This is useful if you are importing recipes from e-mail messages and there are word-wrapped lines. However, don't use this with a list of ingredients, or it will combine them all into one big paragraph.


Susmita brings over 15 years of experience in account management and project management at a wide variety of companies including Qwest Communications, Network Commerce, and Merck & Co. Susmita has held a variety of functional roles in her career and has the acumen and flexibility to succeed in high stress environments and fit into diverse teams.
She holds an MS in Molecular Biology from The Ohio State University and an MBA from the University of Washington. She is married and is the mother of two energetic young boys.


The number of homebuyers considering a riskier mortgage — a kind of loan that became notorious during the housing boom and crash — has doubled since the presidential election.
Last week, 9 percent of total home loan applications were for adjustable-rate mortgages, or ARMs. That's twice the level seen in the first week of November 2016. It's also the highest level since October 2014, according to the Mortgage Bankers Association.
The average rate for 30-year fixed-rate mortgages was at 4.46 percent last week, while the 30-year fixed-rate loan backed by the FHA — popular among first-time homebuyers — increased to 4.33 percent from 4.29 percent the week before.
By contrast, the average rate for a 5/1 ARM — fixed rate for five years and variable after that — fell to 3.41 percent from 3.45 percent.
The difference can really add up. The monthly payment for a 30-year loan at the current rate on a $180,000 mortgage is $807 (not including taxes and insurance). For a 5/1 ARM at the current rate, it's $710 (without taxes or insurance). However, that payment can adjust either up or down after five years, depending on the interest rates at the time.
Many rates on ARMs track LIBOR, a widely-used benchmark. LIBOR lags the federal funds rate set by the Federal Reserve, which is currently between 0.75 percent and 1 percent. The Fed's median forecast for the rate after 2019 is 3 percent, meaning LIBOR will eventually increase and drag the ARM along with it. Depending on the parameters of the ARM, the rate could move up to 5.41 percent after five years, possibly more.
Unlike the ARMs during the go-go years of the housing bubble, these ARMs — usually with a fixed-rate period between five and 10 years — must include a disclosure that shows the very worst-case scenario for your rate and monthly payment. ARMs today also don't have prepayment penalties and offer lower caps on the interest rate.
ARMs are also easier to get because you qualify based on the lower teaser rate. Still, they are not good for every homebuyer. Those with great credit, sufficient cash reserves and who expect to be moving to another house before the teaser rate expires are good candidates for an ARM.
It also "allows a prudent borrower to save the difference between a 30-year mortgage and adjustable-rate mortgage and do something smart with that payment differential," says Scott Sheldon, a loan officer with Summit Funding. Otherwise, less disciplined borrowers might want to stick with the more traditional fixed-rate loan.


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Home › Feed › Ruby Rose reveals details of her experience on BATWOMAN, and they aren't pretty (UPDATED)
Ruby Rose reveals details of her experience on BATWOMAN, and they aren't pretty (UPDATED)
Viewers of The CW's Batwoman series were shocked when, at the end of the show's COVID-abbreviated first season, series star Ruby Rose announced she would not return for another year of the show. Now after much speculation as to the reasons behind her departure, Ruby Rose herself has taken to social media to share details of her experience on Batwoman. Her story includes allegations of unsafe working conditions, and intimidation and harassment from higher-ups and fellow actors on the series.
In a series of Instagram stories beginning with those screenshotted above, Ruby Rose laid out the experiences that led to her Batwoman exit:
Dear CW @carolinedries @sarahsawitty @gberlanti et al. Enough is enough. I'm going to tell the whole world what really happened on that set.
I will come for you so what happened to me never happens to another person again. And so I can finally take back my life and the truth. Shame on you.
Peter Roth [Former President of WB Television], you are first up. You are chapter one, not sure if you left after getting promoted to the highest position because you just couldn't stop making young women steam your pants, around your crotch while you were still wearing said pants or if you left after putting a private investigator on me who you fired as soon as the report didn't fit your narrative, either way. when it comes to you, there's already an army waiting for u.
Rose next shared a series of videos of a doctor's visit, including a CT scan of injuries to her ribcage:
Cut to 3 weeks later after this video. it's worse than abnormal. this was diagnosed years ago on set but if I got an XRay "we wouldn' make our day" I have documented this for years.
On top of that I have enough documentation to make a 1 hour documentary. pray tell what else would you like me to share, the broken neck or the broken rib split in two and the tumor?
Another video she shared was of her undergoing surgery:
To everyone who said I was too stiff on batwoman. imagine going back to work 10 days after this … 10 DAYS!!!!!! ( or the whole crew and cast would be fired and I'd let everyone down because Peter Roth said he would r recast and i just lost the studio millions (by getting injured on his set) that is be the one who cost so many people their jobs. Instead of spending half a day to rewrite me out for a few weeks to heal)
The final screenshot above includes her experience with Comic-Con in 2019, an event she was unable to attend because she says producers wouldn't adjust the show's schedule (in the video she posted at the time, she called missing the event "devastating"):
Imagine taking a huge pay cut to play a passion project and being so excited about Comic-Con and then being told they would not adjust the scheduled so I could attend … but then saying "we won't announce it, you have to." And me putting my foot down and sayin why must I be the face of this??? Only to be told if I didn't do this video they would be silent and people would turn up to find out on the day I wasn't there…. I folded, I wanted to do what it took… But then being told "Cover your scar, we don't want to see that scar on the video" and u wonder why I posted by surgery video. Y
The final three screenshots from Ruby Rose include details about Batwoman creator Caroline Dries's delayed reaction to the COVID-19 pandemic, allegations of on-set misconduct by former series regular Dougray Scott, and accusations of on-set leaks from current series regular Camrus Johnson:
So, in closing, please to my dear, dear fans stop asking if I will return to that awful show, I wouldn't return for any amount of money nor if a gun were to my head.. NOR DID I QUIT. I DO NOT QUIT, They ruined Kate Kane and they destroyed batwoman, not me. I followed orders, and if I wanted to stay i was going to have to sign my rights away. any threats, any bullying tactics or blackmail will not make me stand down.. A grew member got 3rd degree burns over his whole body, and we were given no therapy after witnessing his skin fall off his face but I was the only one who sent him flowers and cards and then were told we had to do a sex scene without a minute to process, we lost 2 stunt doubles, i got cut in the face so close to my eye in a stunt I could have been blind. a woman was left quadriplegic and they tried to blame it on her being on her phone, so much so CW didn't even help her to start with because they needed to "investigate" so she had to do a go fund me… she's a PA, they work via phones. Her accident occurred because our show refused to shut down when everyone else did because of Covid. @carolinedries has no heart and wanted us to finish the season throughout the pandemic and I told her it was a bad idea… i told her everyone was too distracted, constantly checking Covid updates checking on friends and seeing riverdale, the flash and super girl shut down already, i felt something bad would happen and @carolinedries maybe visited the set 4 times in a year… UNHEARD OF.. but in those 4-5 visits she decided she could tell me she knew my injury happened on set so i should comply with the PI, yet later denied it entirely and said it happened during yoga lol I don't do yoga. and now someone will never walk again. We shut down the next day.. not because she almost killed someone but the government pulled it. Also, I fought people on set, yes, not because i wanted to but because I wanted safety. Ask anyone in hair and make up what I did for them, after two were hospitalized, the only people who came out and spoke was Dougray who … talk about unprofessional. Called my agent after my exit to find a way to leave to which she replied.. "break your neck i guess" yet slammed me In the press.. I never raised my voice on set, never have.. Dougray hurt a female stunt double he yelled like a little bitch at women and was a nightmare. He left when he wanted and arrived when he wanted he abused women and in turn as a lead of a show i sent an email out asking for a no yelling policy, they declined.. I was late one time, because I was in hospital. Whoever does these stupid leaks I'm finding out who but it's Camrus, who after I left hospital said "yeah well maybe if people were not Late we would make our days.. a kid.. a egomaniac kid who worked one day a week had the audacity… or the stunt department who were furious Even though i never blamed them. But i went on fallen and spoke of my injury, and didn't play the game. Aside from them I was loved and loved my crew. Oh and they wouldn't drive me to work and knew I couldn't legally drive after surgery.. so they said "get a taxi"
Rumors about the unsafe working conditions on Batwoman have been swirling for a while, particularly after an accident on-set nearly left Rose paralyzed and resulted in emergency surgery. The new allegations of sexual misconduct against former WB President Roth, and of Dries's promotion of an unsafe working environment as the pandemic worsened, are impossible to ignore. Given the sheer volume of information Rose shared on Instagram, and the scope of it up to the top of WB Television, it will be interesting to see who, if anyone, comes forward to corroborate her story.
For The CW's part, it seems they never had any illusions about Ruby Rose returning to Batwoman. Last year the role of Kate Kane was recast with actress Wallis Day, and the series more or less resolved Kate's storylines and wrote her out of the series to make room for new lead Javicia Leslie's Ryan Wilder.
More to come on this, almost certainly.
Updated 1:15 PM PST: WB has issued a statement in response to Rose's allegations, claiming Rose herself was the subject of complaints about inappropriate behavior on-set:
Despite the revisionist history that Ruby Rose is now sharing online aimed at the producers, the cast and crew, the network, and the Studio, the truth is that Warner Bros. Television had decided not to exercise its option to engage Ruby for season two of Batwoman based on multiple complaints about workplace behavior that were extensively reviewed and handled privately out of respect for all concerned.
The post Ruby Rose reveals details of her experience on BATWOMAN, and they aren't pretty (UPDATED) appeared first on The Beat.
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Author: christy
Christine E. Reinhard and Michael J. Ritter publish article titled, "COVID-19's Impact on the Practice of Employment Law," in the May 2022 edition of the Texas Bar Journal
Christine E. Reinhard and Michael J. Ritter published an article titled, "COVID-19's Impact on the Practice of Employment Law," in the May 2022 edition of the Texas Bar Journal. They address how the pandemic's effects continue to pose difficult business decisions for employers in terms of continuing remote work opportunities, returning to work, and providing… Continued
Six Schmoyer Reinhard Attorneys Named Outstanding Women in Law by Scene in S.A.
Schmoyer Reinhard is pleased to announce the following attorneys were named Outstanding Women in Law by Scene in S.A.: Shannon B. Schmoyer (Employment Litigation: Defense and Labor & Employment) Christine E. Reinhard (Employment Litigation: Defense and Labor & Employment) Annalyn G. Smith (Business Litigation and Construction Litigation) Judy K. Jetelina (Employment Litigation: Defense and Labor &… Continued
William R. Liles Joins Schmoyer Reinhard
Schmoyer Reinhard is pleased to announce William R. Liles has joined the firm as counsel and will be based in Houston, Texas. Prior to joining the firm, Mr. Liles spent four years as an associate with a Houston law firm litigating Fair Labor Standards Act and state wage and hour cases across the country. Mr.… Continued
Schmoyer Reinhard is pleased to announce Thomas N. Cammack, III has been named a 2022 Rising Star by Texas Super Lawyers. Mr. Cammack was recognized in the Employment and Labor category. The selection process for the Rising Stars list is the same as the Super Lawyers selection process, with one exception: to be eligible for… Continued
Laura C. Emadi Joins Schmoyer Reinhard
Schmoyer Reinhard is pleased to announce Laura C. Emadi has joined the firm as an associate in our San Antonio office. Ms. Emadi's practice includes representing management in all aspects of labor and employment law in both federal and state courts. Prior to working in labor and employment law, Ms. Emadi began her legal career… Continued
Michael J. Ritter Receives the Outstanding Law Review Article Award From the Texas Bar Foundation
We are proud to announce Michael J. Ritter has received the Outstanding Law Review Article Award From the Texas Bar Foundation. Each year, the Texas Bar Foundation honors those who exemplify the highest standards of the legal profession. The article is titled, "Resolving the Anders Dilemmas: How & Why Texas Should Abandon the Anders Procedure,"… Continued
Three Schmoyer Reinhard Attorneys Named 2022 Rising Star S.A. Lawyers by Scene in S.A. Magazine
Schmoyer Reinhard is pleased to announce the following attorneys were named 2022 Rising Star S.A. Lawyers by Scene in S.A. Magazine: Thomas N. Cammack, III (Employment Litigation: Defense) Richard L. Clifton, Jr. (Labor and Employment) Dylan A. Farmer (Employment Litigation: Defense) The Scene in S.A. 2022 Rising Star S.A. Lawyers list features the city's top junior… Continued
Dylan A. Farmer Promoted to Partner
Schmoyer Reinhard is pleased to announce Dylan A. Farmer has been promoted to partner effective January 1, 2022. Mr. Farmer has been with the firm for over four years and has been an important member of the team working in both the labor and employment and construction litigation practices. Mr. Farmer's practice encompasses all aspects… Continued
Michael J. Ritter article titled, "Resolving the Anders Dilemmas: How & Why Texas Should Abandon the Anders Procedure," published in St. Mary's Journal on Legal Malpractice & Ethics.
Michael J. Ritter has published an article titled, "Resolving the Anders Dilemmas: How & Why Texas Should Abandon the Anders Procedure," in St. Mary's Journal on Legal Malpractice & Ethics, Volume 12 Number 1. Click HERE for the article.
Harrison M. Smith Named a Top Attorney by Fort Worth Magazine
Schmoyer Reinhard is pleased to announce Harrison M. Smith was named a Top Attorney by Fort Worth Magazine in the Nonprofit Law category. Every year, Fort Worth Magazine recognize the best attorneys in Greater Fort Worth, voted on by their peers, in two general categories: attorneys in practice for more than five years and attorneys… Continued


This portable, spring-loaded tool removes solder around component leads in PC board holes during desoldering applications. Simple-push-button trigger allows for easy one-hand loading and operation. 1/8" I.D. Teflon tip self-cleans each time pump plunger is depressed. Deluxe Model DS017 is made of high-impact plastic.


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48 Hour Film Project New Haven to host meet-and-greet, screening at BVFCC Thurs., July 11, 5-7 PM
48 Hour Film Project New Haven is hosting a meet-and-greet at Best Video Film & Cultural Center on Thursday, July 11, from 5-7 PM. As part of the event, organizers will screen the best films from the 2018 48 Hour Film Project.
The 48 Hour Film Project is a wild and sleepless weekend in which you and a team make a movie—write, shoot, edit and score it—in just 48 hours. Filmmakers from all over the New Haven, CT area will compete to see who can make the best short film in only 48 hours. The winning film will go up against films from around the world at Filmapalooza 2019 for a chance at the grand prize and an opportunity to screen at the Cannes Film Festival 2019 Short Film Corner. The 2018 48 Hour Film Project takes place July 26-28. More info can be found on their Web site.
They kick off their filming weekend soon on July 26th, so this might be the last time to gather and secure cast and crew in a stress free, neutral 48 setting. Organizers will be there to discuss 48-ing and films in general.
They will be showing the best films of 2018! If you missed these last year—or want to see the competition (they have a lot of returning teams)—come and check out this screening!
Nutmeg Crew by Newbreed Films & Podcast
The Road by Platinum Gear Productions
Wake Up! By Stepping Out
Greasetown by Jabroni Studios
5150 Greengrove Drive by Misfit Island Media
The Best Children's Book Ever by Straight Outta Storrs
Wicked Children by Good, Bad and the Fugly
Betaloop by Connecticut FilmWorks
Synth by Wax Idiotical Films
Manifest by Jester Pictures
A Slice of Chaos by Bounce Lounge Productions
Click here for the complete list of upcoming events.
Filed Under: BVFCC News, Performance Space Events Tagged With: 48-Hour Film Project New Haven
Best Video Film & Cultural Center hosts Anniversary Open House Extravaganza & Fundraiser Sat., Nov. 17, 9 AM-9 PM
On Saturday, November 17, 2018, Best Video Film and Cultural Center (BVFCC), celebrating its third anniversary, will host its first annual BVFCC Anniversary Open House & Fundraising Extravaganza—a full day of festivity, pageantry, and fun for all ages. BVFCC's parking lot will also play host to two food trucks—The Cheese Truck from 12-2 and the Taqueria Cinco taco truck from 4-6 PM.
BVFCC, has been running the former Best Video as a 501(c)3 nonprofit organization since November, 2015. The organization's mission is to "bring film, music and people together." BVFCC curates an archive of over 30,000 titles assembled by original owner Hank Paper; presents regular music, film-related and literary events; and maintains a welcoming space for the community. The Anniversary Open House is one of BVFCC's two most important annual fundraisers, along with its participation in May in The Great Give, a 36-hour fundraising marathon coordinated by the Community Foundation for Greater New Haven.
Click for an important note from BVFCC Executive Director Richard Brown!
The day begins with children's programming. From 9 am to 12 pm, BVFCC's Mike Wheatley will screen select cartoons from our collection of classic, contemporary, and hard-to-find children's titles. Musicians Robert Messore and Val McKee will play short sets of children's music.
From 1-4 pm, BVFCC presents a movie-related trivia contest hosted by BVFCC café manager Lena Olive-Reese and her husband Paul, an open mic for young people under the age of 18, short sets by local musicians, and a selection of short films produced by competitors in the annual 48-Hour Film Project New Haven. For the entire three hours, BVFCC hosts its inaugural Best Cookie Competition. Up to twenty kinds of cookies will be available for tasting; two winners will be chosen by popular vote. Please click here for entry guidelines—the contest is limited to 20 bakers! In addition The Cheese Truck—run by the former owners of Caseus restaurant—will serve gourmet grilled cheese sandwiches and other favorites from noon-2 PM.
The evening (5-9 pm) features live music, an open mic for adults, a preview of BVFCC employee Rob Harmon's Secret Cinema Series, and complimentary hors-d'oeuvres. Guests are invited to come dressed as their favorite movie character from 5 pm on! Taqueria Cinco taco truck will be parked outside for those with a taste for authentic Mexican food.
Finally, with the generous sponsorship of SLC Nationwide, BVFCC is holding a student art contest, children 18 or younger. Submissions are due by Monday, Nov. 5—more details are available here. The winning entries—in four age categories—will be printed in the event program book and displayed throughout the day. The rest of the submissions will be on display at the gala on November 17. Originals will be on display if space is available. If there is not enough space, the submissions will be displayed via video.
Best Video Coffee and Wine Bar—featuring Willoughby's Coffee, a distinctive wine selection, and craft beers—will stay open from 9 am to 10 pm.
On the occasion of the BVFCC ANNIVERSARY OPEN HOUSE CELEBRATION, Best Video Film and Cultural Center encourages donations. It is only with the support of our friends and neighbors that the organization can sustain the archive, the space, and programming such as literary readings, guided screenings, and live music shows. Donations, memberships and participation of the public underwrite this programming, the maintenance the brick and mortar space, and its diverse functions of library, performance venue, and community hub.
Filed Under: BVFCC News, Featured, Performance Space Events Tagged With: 48-Hour Film Project New Haven, Best Cookie Contest, fundraiser, open house, student art contest


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Ahead of the opening night of The String Quartet's Guide To Sex And Anxiety, we caught up with Cathy Tyson to talk about the show.
Can you tell us about the inspiration behind the show?
Calixto Bieito, the director, has collated a number of writings that reflect all the different elements of anxiety in everyday life. Calixto has studied these writers for a long time and the show was born out of these texts.
In the show, someone has OCD, someone has depression, someone has existential angst and someone is experiencing PTSD.
I think anxiety and depression are things that people firstly want to back away from. In my research for the production I've listened to people who have gone through painful situations and who have suffered grief. It has been a fascinating and educating journey. Depression, anxiety, pain are a part of life, but I think the show has the possibility of helping us to treat people who go through these situations in a kinder way.
What other elements make up the show?
The fabulous Heath Quartet are integral to the show and the music they play, Ligeti and Beethoven string quartets, feed into the themes of the show. As an actor I'm used to listening to words to trigger emotions, but in this there is music to listen to and to colour my character's experience. The music is beautiful and there is humour in there as well.
Why should audiences come to see the show?
It talks about things that we don't talk about very much. Mental health at the moment is fortunately being talked about a lot more and hopefully becoming less of a taboo.
Anybody who is having difficulties should definitely come to see it, and even if not, it might help us to be more compassionate towards people who are suffering. You never know when you might be hit by something yourself.
Society needs to learn how to adapt to people with difficulties, not the other way around.
I don't know whether this will change people's attitudes. People take from shows what they want. As actors, we're powerless over what people take, that's the beauty of it.
On Sunday 13 November at 8pm the story of we're here because we're here will be told for the first time in a new BBC Four documentary...
Adapted by Homer's The Iliad by Roderick Smith