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text:
static EnumTable::Enums cellModeEnums[] =
{
	{ GuiGridCtrl::Absolute, "absolute" },
	{ GuiGridCtrl::Variable, "variable" },
	{ GuiGridCtrl::Percent, "percent" }
};
static EnumTable gCellModeTable(3, &cellModeEnums[0]);

static EnumTable::Enums orderModeEnums[] =
{
	{ GuiGridCtrl::LRTB, "lrtb" },
	{ GuiGridCtrl::RLTB, "rltb" },
	{ GuiGridCtrl::TBLR, "tblr" },
	{ GuiGridCtrl::TBRL, "tbrl" },
	{ GuiGridCtrl::LRBT, "lrbt" },
	{ GuiGridCtrl::RLBT, "rlbt" },
	{ GuiGridCtrl::BTLR, "btlr" },
	{ GuiGridCtrl::BTRL, "btrl" }
};
static EnumTable gOrderModeTable(8, &orderModeEnums[0]);

//------------------------------------------------------------------------------

IMPLEMENT_CONOBJECT(GuiGridCtrl);

//------------------------------------------------------------------------------

GuiGridCtrl::GuiGridCtrl()
{
	mIsContainer = true;
	mCellModeX = CellMode::Absolute;
	mCellModeY = CellMode::Absolute;
	mCellSizeX = 20;
	mCellSizeY = 20;
	mCellSpacingX = 0;
	mCellSpacingY = 0;
	mMaxColCount = 0;
	mMaxRowCount = 0;
	mOrderMode = OrderMode::LRTB;
	mIsExtentDynamic = true;
   setField("profile", "GuiDefaultProfile");
}

//------------------------------------------------------------------------------

void GuiGridCtrl::initPersistFields()
{
	Parent::initPersistFields();

	addField("CellModeX", TypeEnum, Offset(mCellModeX, GuiGridCtrl), 1, &gCellModeTable);
	addField("CellModeY", TypeEnum, Offset(mCellModeY, GuiGridCtrl), 1, &gCellModeTable);
	addField("CellSizeX", TypeF32, Offset(mCellSizeX, GuiGridCtrl));
	addField("CellSizeY", TypeF32, Offset(mCellSizeY, GuiGridCtrl));
	addField("CellSpacingX", TypeF32, Offset(mCellSpacingX, GuiGridCtrl));
	addField("CellSpacingY", TypeF32, Offset(mCellSpacingY, GuiGridCtrl));
	addField("MaxColCount", TypeS32, Offset(mMaxColCount, GuiGridCtrl));
	addField("MaxRowCount", TypeS32, Offset(mMaxRowCount, GuiGridCtrl));
	addField("OrderMode", TypeEnum, Offset(mOrderMode, GuiGridCtrl), 1, &gOrderModeTable);
	addField("IsExtentDynamic", TypeBool, Offset(mIsExtentDynamic, GuiGridCtrl));
}

//------------------------------------------------------------------------------

bool GuiGridCtrl::onWake()
{
	if (!Parent::onWake())
        return false;

	return true;
}

//------------------------------------------------------------------------------

void GuiGridCtrl::onSleep()
{
	Parent::onSleep();
}

//------------------------------------------------------------------------------

void GuiGridCtrl::inspectPostApply()
{
    resize(getPosition(), getExtent());
	Parent::inspectPostApply();
}

//------------------------------------------------------------------------------

void GuiGridCtrl::resize(const Point2I &newPosition, const Point2I &newExtent)
{
	Point2I actualNewExtent = Point2I(getMax(mMinExtent.x, newExtent.x),
		getMax(mMinExtent.y, newExtent.y));

	//call set update both before and after
	setUpdate();

	Point2I zero = mBounds.point.Zero;
	RectI innerRect = getInnerRect(zero, actualNewExtent, NormalState, mProfile);
	if (!innerRect.isValidRect() && !mIsExtentDynamic)
	{
		return;
	}

	AdjustGrid(innerRect.extent);

	iterator i;
	U16 cellNumber = 0;
	mChainNumber = 0;
	mRunningChainHeight = 0;
	mCurrentChainHeight = 0;
	for (i = begin(); i != end(); i++, cellNumber++)
	{
		GuiControl *ctrl = static_cast<GuiControl *>(*i);
		Point2I cellPos = getCellPosition(cellNumber, innerRect.extent, ctrl);
		Point2I cellExt = getCellExtent(ctrl);
		ctrl->resize(cellPos, cellExt);
	}
	mRunningChainHeight += mCurrentChainHeight;

	Point2I actualNewPosition = Point2I(newPosition);
	if(mIsExtentDynamic)
	{
		if (IsVertical())
		{
			innerRect.extent.y = mRunningChainHeight;
		}
		else
		{
			innerRect.extent.x = mRunningChainHeight;
		}
		actualNewExtent = getOuterExtent(innerRect.extent, NormalState, mProfile);
	}

	mBounds.set(actualNewPosition, actualNewExtent);

	GuiControl *parent = getParent();
	if (parent)
		parent->childResized(this);
	setUpdate();
}

//------------------------------------------------------------------------------

Point2I GuiGridCtrl::getCellPosition(const U16 cellNumber, const Point2I &innerExtent, GuiControl *ctrl)
{
	if(mCalcChainLength == 0)
		return Point2I(0, 0);

	Point2I result(0,0);
	U16 y = (U16)mFloor(cellNumber / mCalcChainLength);
	U16 x = (U16)(cellNumber % mCalcChainLength);
	F32 ChainCount = mCeil((F32)size() / (F32)mCalcChainLength);

	if (y != mChainNumber)
	{
		mRunningChainHeight += (mCurrentChainHeight + (U32)(IsVertical() ? mCalcCellSpace.y : mCalcCellSpace.x));
		mCurrentChainHeight = 0;
		mChainNumber = y;
	}

	if (mOrderMode == LRTB)
	{
		result.set(x * (mCalcCellExt.x + mCalcCellSpace.x), mRunningChainHeight);
	}
	else if (mOrderMode == RLTB)
	{
		x = (mCalcChainLength - 1) - x;
		S32 delta = innerExtent.x - ((mCalcChainLength * mCalcCellExt.x) + ((mCalcChainLength - 1) * mCalcCellSpace.x));
		result.set((x * (mCalcCellExt.x + mCalcCellSpace.x)) + delta, mRunningChainHeight);
	}
	else if (mOrderMode == TBLR)
	{
		result.set(mRunningChainHeight, x * (mCalcCellExt.y + mCalcCellSpace.y));
	}
	else if (mOrderMode == BTLR)
	{
		x = (mCalcChainLength - 1) - x;
		S32 delta = innerExtent.y - ((mCalcChainLength * mCalcCellExt.y) + ((mCalcChainLength - 1) * mCalcCellSpace.y));
		result.set(mRunningChainHeight, (x * (mCalcCellExt.y + mCalcCellSpace.y)) + delta);
	}
	else if (mOrderMode == LRBT)
	{
		result.set(x * (mCalcCellExt.x + mCalcCellSpace.x), (innerExtent.y - (HasVariableChainHeight() ? ctrl->getExtent().y : mCalcCellExt.y)) - (S32)mRunningChainHeight);
	}
	else if (mOrderMode == RLBT)
	{
		x = (mCalcChainLength - 1) - x;
		S32 delta = innerExtent.x - ((mCalcChainLength * mCalcCellExt.x) + ((mCalcChainLength - 1) * mCalcCellSpace.x));
		result.set((x * (mCalcCellExt.x + mCalcCellSpace.x)) + delta, (innerExtent.y - (HasVariableChainHeight() ? ctrl->getExtent().y : mCalcCellExt.y)) - (S32)mRunningChainHeight);
	}
	else if (mOrderMode == TBRL)
	{
		result.set((innerExtent.x - (HasVariableChainHeight() ? ctrl->getExtent().x : mCalcCellExt.x)) - (S32)mRunningChainHeight, x * (mCalcCellExt.y + mCalcCellSpace.y));
	}
	else if (mOrderMode == BTRL)
	{
		x = (mCalcChainLength - 1) - x;
		S32 delta = innerExtent.y - ((mCalcChainLength * mCalcCellExt.y) + ((mCalcChainLength - 1) * mCalcCellSpace.y));
		result.set((innerExtent.x - (HasVariableChainHeight() ? ctrl->getExtent().x : mCalcCellExt.x)) - (S32)mRunningChainHeight, (x * (mCalcCellExt.y + mCalcCellSpace.y)) + delta);
	}

	return result;
}

Point2I GuiGridCtrl::getCellExtent(GuiControl *ctrl)
{
	if (!HasVariableChainHeight())
	{
		mCurrentChainHeight = (U32)(IsVertical() ? mCalcCellExt.y : mCalcCellExt.x);
		return mCalcCellExt;
	}

	S32 CellHeight = getMax(IsVertical() ? ctrl->getExtent().y : ctrl->getExtent().x, IsVertical() ? mCalcCellExt.y : mCalcCellExt.x);
	mCurrentChainHeight = getMax(mCurrentChainHeight, (U32)CellHeight);
	return IsVertical() ? Point2I(mCalcCellExt.x, CellHeight) : Point2I(CellHeight, mCalcCellExt.y);
}

//------------------------------------------------------------------------------

void GuiGridCtrl::AdjustGrid(const Point2I& innerExtent)
{
	Point2F cellExtX, cellExtY;
	if (IsVertical())
	{
		cellExtX = GetGridItemWidth(innerExtent.x, mMaxColCount, mCellSizeX, mCellSpacingX, mCellModeX);
		cellExtY = GetGridItemHeight(innerExtent.y, mMaxRowCount, mCellSizeY, mCellSpacingY, mCellModeY);
	}
	else
	{
		cellExtY = GetGridItemWidth(innerExtent.y, mMaxRowCount, mCellSizeY, mCellSpacingY, mCellModeY);
		cellExtX = GetGridItemHeight(innerExtent.x, mMaxColCount, mCellSizeX, mCellSpacingX, mCellModeX);
	}
	mCalcCellExt.set(cellExtX.x, cellExtY.x);
	mCalcCellSpace.set(cellExtX.y, cellExtY.y);
}

Point2F GuiGridCtrl::GetGridItemWidth(const S32 totalArea, const S32 maxChainLength, const F32 itemSize, const F32 spaceSize, const CellMode cellMode)
{
	//The two values returned are the extent and spacing held in the x and y respectively
	if (cellMode == GuiGridCtrl::Percent)
	{
		mCalcChainLength = (U16)getMax((100 + spaceSize) / (itemSize + spaceSize), 1.f);
	}
	else
	{
		mCalcChainLength = (U16)getMax((totalArea + spaceSize) / (itemSize + spaceSize), 1.f);
	}

	if (maxChainLength > 0)
	{
		mCalcChainLength = (U16)getMin((S32)mCalcChainLength, maxChainLength);
	}

	if (cellMode == GuiGridCtrl::Absolute)
	{
		return Point2F(mFloor(itemSize), mFloor(spaceSize));
	}
	else if (cellMode == GuiGridCtrl::Variable)
	{
		F32 remainder = totalArea - ((mCalcChainLength * itemSize) + ((mCalcChainLength - 1) * spaceSize));
		return Point2F(mFloor(itemSize + (remainder / mCalcChainLength)), mFloor(spaceSize));
	}
	else if (cellMode == GuiGridCtrl::Percent)
	{
		F32 calcCellSize = mFloor(getMin((F32)(totalArea * (itemSize / 100)), (F32)(totalArea)));
		F32 calcSpaceSize = mFloor(getMin((F32)(totalArea * (spaceSize / 100)), (F32)(totalArea)));
		return Point2F(calcCellSize, calcSpaceSize);
	}
	return Point2F(1,1);
}

Point2F GuiGridCtrl::GetGridItemHeight(const S32 totalArea, const S32 maxChainLength, const F32 itemSize, const F32 spaceSize, const CellMode cellMode)
{
	if (mIsExtentDynamic || cellMode == CellMode::Absolute)
	{
		return Point2F(mFloor(itemSize), mFloor(spaceSize));
	}
	else if (cellMode == CellMode::Variable)
	{
		U16 length = (U16)mClamp((totalArea + spaceSize) / (itemSize + spaceSize), 1, maxChainLength);
		F32 remainder = totalArea - ((length * itemSize) + ((length - 1) * spaceSize));
		return Point2F(mFloor(itemSize + (remainder / mCalcChainLength)), mFloor(spaceSize));
	}
	else if (cellMode == CellMode::Percent)
	{
		F32 calcCellSize = mFloor(getMin((F32)(totalArea * (itemSize / 100)), (F32)(totalArea)));
		F32 calcSpaceSize = mFloor(getMin((F32)(totalArea * (spaceSize / 100)), (F32)(totalArea)));
		return Point2F(calcCellSize, calcSpaceSize);
	}
	return Point2F(1, 1);
}

void GuiGridCtrl::onChildAdded(GuiControl *child)
{
	//Ensure the child isn't positioned to the center
	if (child->getHorizSizing() == horizResizeCenter)
	{
		child->setHorizSizing(horizResizeLeft);
	}
	if (child->getVertSizing() == vertResizeCenter)
	{
		child->setVertSizing(vertResizeTop);
	}
	resize(getPosition(), getExtent());
}

void GuiGridCtrl::onChildRemoved(SimObject *child)
{
	resize(getPosition(), getExtent());
}

void GuiGridCtrl::setCellSize(F32 width, F32 height)
{
	mCellSizeX = mAbs(width);
	mCellSizeY = mAbs(height);
	resize(getPosition(), getExtent());
}

void GuiGridCtrl::setCellSpacing(F32 x, F32 y)
{
	mCellSpacingX = mAbs(x);
	mCellSpacingY = mAbs(y);
	resize(getPosition(), getExtent());
}

void GuiGridCtrl::setCellModeX(const CellMode mode)
{
	// Sanity!
	AssertFatal(mode == Percent || mode == Variable || mode == Absolute, "Invalid cell mode.");

	mCellModeX = mode;
	resize(getPosition(), getExtent());
}

void GuiGridCtrl::setCellModeY(const CellMode mode)
{
	// Sanity!
	AssertFatal(mode == Percent || mode == Variable || mode == Absolute, "Invalid cell mode.");

	mCellModeY = mode;
	resize(getPosition(), getExtent());
}

GuiGridCtrl::CellMode GuiGridCtrl::getCellModeEnum(const char* label)
{
	// Search for Mnemonic.
	for (U32 i = 0; i < (sizeof(cellModeEnums) / sizeof(EnumTable::Enums)); i++)
	{
		if (dStricmp(cellModeEnums[i].label, label) == 0)
			return (CellMode)cellModeEnums[i].index;
	}

	// Warn.
	Con::warnf("GuiGridCtrl::getCellModeEnum() - Invalid cell mode of '%s'", label);

	return (CellMode)-1;
}

const char* GuiGridCtrl::getCellModeDescription(const GuiGridCtrl::CellMode mode)
{
	// Search for Mnemonic.
	for (U32 i = 0; i < (sizeof(cellModeEnums) / sizeof(EnumTable::Enums)); i++)
	{
		if (cellModeEnums[i].index == mode)
			return cellModeEnums[i].label;
	}

	// Warn.
	Con::warnf("GuiGridCtrl::getCellModeDescription() - Invalid cell mode.");

	return StringTable->EmptyString;
}

const char* GuiGridCtrl::getOrderModeDescription(const GuiGridCtrl::OrderMode mode)
{
	// Search for Mnemonic.
	for (U32 i = 0; i < (sizeof(orderModeEnums) / sizeof(EnumTable::Enums)); i++)
	{
		if (orderModeEnums[i].index == mode)
			return orderModeEnums[i].label;
	}

	// Warn.
	Con::warnf("GuiGridCtrl::getOrderModeDescription() - Invalid order mode.");

	return StringTable->EmptyString;
}

redpajama_set_name: RedPajamaGithub


text:
You are here: Home > The 13th Gloucestershire Regiment
The 13th Gloucestershire Regiment
The 13th Battalion of the Gloucestershire Regiment was raised at the beginning of the war as a pioneer battalion. The unit trained at Malvern for several months and served in France and Flanders from 1916 to 1918. The following short history has been put together with the help of a local historian, Sam Eedle (who is writing a book on the subject) and has been taken from several of his articles published in local newspapers.
The Raising of the 'Forest of Dean Pioneers'
By autumn of 1914, the trenches had emerged all along the Western Front. The battle casualties were horrendoucs, and in Britain there were calls for volunteers to replace the losses. Up and down the country, local dignataries responded to the call and raised new battalions, and on Christmas Dy 1914, the Dean Forest Mercury carried the news that the local MP, Sir Harry Webb, was to raise a new Pioneer Battalion from the men of the Forest of Dean. The job of a pioneer unit included digging trenches, wiring and building encampments for other troops, as well as ordinary infantry work. They were paid an extra tuppence a day.
The call went out to miners, labourers, transport workers – anyone used to hard manual labour. They would earn two pence a day more than the average infantryman. Local soldiers enlisted in large numbers from Cinderford as, or course, it was the centre for coal and iron ore mining in the Forest. More miners joined from the North East and South Wales, plus labourers from Birmingham and the 'three counties' of Worcestershire, Herefordshire and Gloucestershire.
Officers of the 13th Gloucesters from the Dean Forest Mercury. Lt Col Webb, founder, seated centre. Major A.H. Boulton with dog
The Pioneers at Malvern
The battalion moved to Malvern in the spring of 1915. Major Aubrey Holmes Boulton, adjutant, (and later their Commanding Officer) oversaw the building of an encampment above the railway line on Peachfield Common . "This caused some ill-feeling among local residents who could benefit financially from having the Tommies in their homes," Mr Eedle told the Malvern Gazette in 1998. "However during their three month stay many friends were made and some local men were allowed to enlist."
They drilled, made practice attacks and one old soldier wrote that the training included "marching and charging over a hill called Caeser's Camp (British Camp). It was a strenuous effort, especially on an empty stomach." The food quickly became a bone of contention at the camp, as it was suspected that the cooks were selling the best meat to local tradesmen, leaving he recruits with the rough and fatty remains. A near riot ensued.
Shortly after this, on 13th June 1915, the battalion was reviewed by Lloyd George, who was a friend of their founder and commanding officer, Harry Webb MP. One bystander asked him about the shell shortage at the front that had caused much consternation. The Welsh mininster roared in response: "We'll give 'em shells!" The battalion was then, as one member commented "quietly sent up to North Yorkshire and dumped on the moors in the Wensleydale area, supplied with tents and told to build our own camp. Trying to dig through heather roots was very hard work."
On the 12th July 1915 the battalion was officially taken over by the War Office, and in August was sent to Winchester to join the 39th Division. This formation, a New Army Division was made up, like all First World War divisions, of infantry (three Brigades of four Battalions each), artillery, engineers, medical personnel, cyclists, a cavalry squadron, a vetinerary section and of course, the pioneers.
'B' Company, 13th Gloucesters at Malvern in 1915. Courtesy of Sam Eedle
An Apprenticeship in the Trenches
On 4th March 1916, the battalion disembarked at La Havre. After a cold, rough crossing the band was ordered to play the men off. "Their instruments were cold, and it sounded terrible but the drums beat alright."
The 13th Gloucesters were assigned to a quiet sector to serve their apprenticeship in the trenches. The main role of the Pioneers was to build and repair roads and trenches in the forward areas. Trench repairs were never ending, wear and tear, enemy bombardments and the weather all took their toll and after some bombardments they could be damaged out of all recognition.
They tidied up old battlefieds, made tramways, dugouts, breastworks and shelters; they went on wiring parties, built huts and drained camps. Huts for 15,000 men had to be provided for each Division in preparation for the Somme Offensive in 1916 and many of these were built by Pioneer battalions.
During trench raids and major attacks the Pioneer Battalions, along with their colleagues in the Royal Engineers, were initially kept back in reserve, then at night they moved up and constructed strongpoints and communication trenches between the old British front line and the captured German lines. This support was given in the battalion's first major action, a diversionary attack before the opening of the Battle of the Somme.
The Mauling at the 'Boar's Head'
On the night of June 29th/30th 1916, a Brigade sized attack was launched on enemy trenches that formed a salient known as the 'Boar's Head', near Richebourg L'Avoue. Despite a regular bombardment for the preceeding week, the operation was a disaster. As the second and third waves of the advancing troops went over the top they were caught in the enemy bombardment and, in the word of one member of the 13th Gloucesters "sacrificed."
The Forest of Dean Pioneers sent four parties in support, totalling nine officers and 285 men. Two parties were ordered to dig communication trenches between the front lines, whilst the other two constructed breastworks on each flank of the attack. The assaulting infantry, who were being shelled and machine gunned as they attempted to cross a dyke in No Man's Land were prevented from being reinforced and soon ran out of ammuntion. The Pioneers tried to dig amongst the bedlam whilst fighting off sqauds of Germans armed with grenades.
Although the attack failed, the work of the Pioneers was noted by the Brigade staff and a parade of men who took part in the action were read a congratulatory message from the General. However twenty men of the Battalion had been killed and nearly 60 wounded.
The Somme, Passchendaele and The German Spring Offensive
The attack on the 'Boar's Head' was just the beginning. The Pioneers fought on the Somme, where the mud was so bad that the men's boots were sucked off their feet. The following year, the battalion took part in the Passchendaele Offensive – which proved a miserable affair. Rain fell solidly for the first five days and the 13th Gloucesters were in the 'Salient' that entire autumn as a steady flow of men men were lost through wounds and sickness. An officer sought to comfort a casualty's mother: "… Although, as you know, the conditions out here are often very terrible, and the hardships which the men have to undergo from time to time are altogether indescribable, yet nothing in skill or money or comfort is spared for the welfare of the wounded men. […]" [*1]
Another officer wrote home after a night stint in the 'salient': " … I had a very narrow squeak. I was coming out of the line and was in the rear of the men with several sergeants when a 15-inch shell roared down on us. One could do nothing. I shouted to the men to "scatter" and flung myself down because it seemed to be coming right on to me. We were on what is called "Plumer's Drive" which is made up with railway sleepers. The Boche were evidently after that to as to interfere with Transport at night. The shell fell a few yards in front of me and made quite a crater in road and scattered the sleepers right and left. I was stunned by the concussion and lay there for some time. When I did get up it was quite dark, and there was no sign of the men. When I got to our Mess everyone was surprised to see me because one of the sergeants had come in and reported that I was blown to pieces.[*2]
Worse was to follow for the Forest of Dean men. During one week of the German Offensive of March 1918, when German forces succeeded in driving the Fifth and Third British armies into retreat, the Pioneers suffered over 300 killed, wounded and missing. They had been preparing fortifications behind the lines near Templeux-le-Fosse when the long-expected German attack broke. After a week of digging trenches, fighting rear guard actions and withdrawing, the stragglers and lightly wounded were collected together and 450 of them were sent as part of a 'Composite' battalion to Ypres. On the 26th April, most of them were cut off and taken prisoner by a German attack south of Ypres. Their losses were so bad that they were pulled out of the line. On the 6th May 1918, the unit was reduced to a cadre and attached to the 66th (2nd East Lancashire) Division.
At the Armistice, what was left of the Battalion was to be found near Aumale, France as line of communication troops to 197th Brigade.
Malvern Casualties
Two Malvern men served with the Forest of Dean Pioneers and were killed during the war – both in the German offensives of 1918. Arthur Kyte died of wounds on 28th March 1918 and is buried at Namps-au-Val British Cemetery. Herbert Rodway was taken prisoner in the April fighting near Mount Kemmel and died as a prisoner on 2nd May 1918. He is buried at Dendermonde Communal Cemetery Extension, Belgium.
Lieut-Colonel Aubrey Holmes Boulton
Lt-Colonel Boulton commanded the 13th Gloucesters for the nearly the entire war. He was born in 1882, a son of the Hereford Boulton cider making family. Before the war he moved to Canada working as a solicitor. He returned and secured a commission with the Gloucesters and joined the 13th Battalion when it formed in Cinderford.
He succeeded Harry Webb MP as the commanding officer in Malvern in the summer of 1915. Then he took the battalion to France in March 1916 and with the exception of spells of being sick, wounded and gassed, he remained with them almost for the whole of the war. During his command he was awarded the Distinguished Service Order for his conduct during the battles on the Somme in Autumn 1916.
After the war, he remained as director of his father's cider-making firm and moved to Malvern. A dedicated sailor he won the Royal Dorset Challenge Cup and the Port of Weymouth yachting trophies. He was also a member of the North Herefordshire Hunt. It was whilst preparing to ride to hounds on Boxing Day 1932 that he was suddenly struck down with a heart attack.
A shelter in his memory was erected near the Wyche Cutting sometime in the 1930s. It remains today and provides shelter to the many walkers of the Malvern Hills.
[*1] Lieut Martin Smith. Dean Forest Mercury, Cinderford, Nov 23rd 1917. to the mother of Pte William Evans of Cinderford, one of the Battalion's 'originals', who died earlier that month.
[*2] Letter, 13th Nov 1917 Lt R. Henderson-Bland, 'Actor-Soldier-Poet' Heath Cranton, 1939.
This short history was based on the following articles:
The Forester 7/11/97
Malvern Gazette 31/7/98
Forest & Wye Valley Review 11/5/01
Additional information was taken from James, Brig E A British Regiments 1914-18 London 1978 and original research undertaken by Sam Eedle.
For more information on the 13th Gloucesters see "From the Town Hall to the Boar's Head" by Sam Eedle, published in the Tewkesbury Historical Society Bulletin No. 11, 2002. This is an 11 page article on the Tewkesbury men who served with the battalion.
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redpajama_set_name: RedPajamaCommonCrawl


In the cool spirit of our city, a horizontal chest pocket takes the classic half-zip to the next level. This essential pullover is cut in a soft, knitted-mesh finish that feels just as good on as it looks—trust us.
Machine wash cold, gentle cycle; Use only non-chlorine bleach if needed; Tumble dry low; Cool iron if needed.


This is one of three ways to make manicotti 'shells'. See MAKING CANNELLONI or MANICOTTI for using pasta sheets. You can use any stuffing and sauce.
Large bowl, mixer, crepe pan or skillet, 3 quart baking dish.
HEAT an 8-inch crepe or omelet pan over moderately high heat. Lightly butter the pan and add 2 tablespoons of the batter; working quickly, swirl the pan to coat it evenly. Cook until the top of the crepe is dry and the bottom is lightly golden, about 1 minute. Flip the crepe and cook until the bottom is lightly golden, about 20 seconds longer. Transfer the crepe to a large plate and repeat with the remaining batter to make a total of 16 crepes.
PREHEAT the oven to 375 degrees. Coat the bottom of a 3-quart baking dish with 1 cup of the tomato sauce. Arrange the crepes on a work surface. Spoon 3 tablespoons of the ricotta filling in a line down the center of each crepe. Loosely roll up the crepes and arrange them, seam side up, side by side in the baking dish. Pour the remaining 2 cups of tomato sauce over the manicotti and sprinkle with the Parmesan cheese. Bake for 15 to 20 minutes, or until the tomato sauce is bubbling and the manicotti are heated through. Serve piping hot.
MAKE AHEAD: The unbaked manicotti can be refrigerated overnight. Allow up to 15 minutes longer for baking.


text:
CONTIKI = /home/basti/src/contiki
ifndef TARGET
TARGET=sky
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CFLAGS += -DPROJECT_CONF_H=\"project-conf.h\"

all: sdr

upload:
	make sdr.upload

include $(CONTIKI)/Makefile.include


text:
Sam Peckinpah (1925–1984)Writer | Director | Producer
Date of Birth 21 February 1925, Fresno, California, USA
Date of Death 28 December 1984, Inglewood, California, USA (heart failure)
Birth Name David Edward Samuel Ernest Peckinpah Jr.
Nicknames Bloody Sam
Height 5' 9" (1.75 m)
"If they move", commands stern-eyed William Holden, "kill 'em". So begins The Wild Bunch (1969), Sam Peckinpah's bloody, high-body-count eulogy to the mythologized Old West. "Pouring new wine into the bottle of the Western, Peckinpah explodes the bottle", observed critic Pauline Kael. That exploding bottle also christened the director with the nickname that would forever define his films and reputation: "Bloody Sam".
David Samuel Peckinpah was born and grew up in Fresno, California, when it was still a sleepy town. Young Sam was a loner. The child's greatest influence was grandfather Denver Church, a judge, congressman and one of the best shots in the Sierra Nevadas. Sam served in the US Marine Corps during World War II but - to his disappointment - did not see combat. Upon returning to the US he enrolled in Fresno State College, graduating in 1948 with a B.A. in Drama. He married Marie Selland in Las Vegas in 1947 and they moved to Los Angeles, where he enrolled in the graduate Theater Department of the University of Southern California the next year. He eventually took his Masters in 1952.
After drifting through several jobs -- including a stint as a floor-sweeper on The Liberace Show (1952) -- Sam got a job as Dialogue Director on Riot in Cell Block 11 (1954) for director Don Siegel. He worked for Siegel on several films, including Invasion of the Body Snatchers (1956), in which Sam played Charlie Buckholtz, the town meter reader. Peckinpah eventually became a scriptwriter for such TV programs as Gunsmoke (1955) and The Rifleman (1958) (which he created as an episode of Dick Powell's Zane Grey Theater (1956) titled "The Sharpshooter' in 1958). In 1961, as his marriage to Selland was coming to an end, he directed his first feature film, a western titled The Deadly Companions (1961) starring \Brian Keith and Maureen O'Hara. However, it was with his second feature, Ride the High Country (1962), that Peckinpah really began to establish his reputation. Featuring Joel McCrea and Randolph Scott (in his final screen performance), its story about two aging gunfighters anticipated several of the themes Peckinpah would explore in future films, including the controversial "The Wild Bunch". Following "Ride the High Country" he was hired by producer Jerry Bresler to direct Major Dundee (1965), a cavalry-vs.-Indians western starring Charlton Heston. It turned out to be a film that brought to light Peckinpah's volatile reputation. During hot, on-location work in Mexico, his abrasive manner, exacerbated by booze and marijuana, provoked usually even-keeled Heston to threaten to run him through with a cavalry saber. However, when the studio later considered replacing Peckinpah, it was Heston who came to Sam's defense, going so far as to offer to return his salary to help offset any overages. Ironically, the studio accepted and Heston wound up doing the film for free.
Post-production conflicts led to Sam engaging in a bitter and ultimately losing battle with Bresler and Columbia Pictures over the final cut and, as a result, the disjointed effort fizzled at the box office. It was during this period that Peckinpah met and married his second wife, Mexican actress Begoña Palacios. However, the reputation he earned because of the conflicts on "Major Dundee" contributed to Peckinpah being replaced as director on his next film, the Steve McQueen film The Cincinnati Kid (1965), by Norman Jewison.
His second marriage now failing, Peckinpah did not get another feature project for two years. However, he did direct a powerful adaptation of Katherine Anne Porter's 'Noon Wine" for ABC Stage 67: Noon Wine (1966)). This, in turn, helped relaunch his feature career. He was hired by Warner Bros. to direct the film for which he is, justifiably, best remembered. The success of "The Wild Bunch" rejuvenated his career and propelled him through highs and lows in the 1970s. Between 1970-1978 he directed The Ballad of Cable Hogue (1970), Straw Dogs (1971), Junior Bonner (1972), The Getaway (1972), Pat Garrett & Billy the Kid (1973), Bring Me the Head of Alfredo Garcia (1974), The Killer Elite (1975), Cross of Iron (1977) and Convoy (1978). Throughout this period controversy followed him. He provoked more rancor over his use of violence in "Straw Dogs", introduced Ali MacGraw to Steve McQueen in "The Getaway", fought with MGM's chief James T. Aubrey over his vision for "Pat Garrett & Billy the Kid" that included the casting of Bob Dylan in an unscripted role as a character called "Alias." His last solid effort was the WW II anti-war epic "Cross of Iron", about a German unit fighting on the Russian front, with Maximilian Schell and James Coburn, bringing the picture in successfully despite severe financial problems.
Peckinpah lived life to its fullest. He drank hard and abused drugs, producers and collaborators. At the end of his life he was considering a number of projects including the Stephen King-scripted "The Shotgunners". He was returning from Mexico in December 1984 when he died from heart failure in a hospital in Inglewood, California, at age 59. At a standing-room-only gathering that held at the Directors Guild the following month, Coburn remembered the director as a man "who pushed me over the abyss and then jumped in after me. He took me on some great adventures". To which Robert Culp added that what is surprising is not that Sam only made fourteen pictures, but that given the way he went about it, he managed to make any at all.
Begoña Palacios (1974 - 28 December 1984) (his death)
Joey Gould (1972 - 1973) (divorced)
Begoña Palacios (5 August 1965 - 7 July 1967) (divorced) (1 child)
Begoña Palacios (13 June 1964 - 1965) (divorced)
Marie Selland (1947 - 1960) (divorced) (4 children)
The films he directed were notorious for their extremely violent and bloody action sequences and climaxes.
Balletic, slow-motion action sequences, edited so that the deaths of two or more characters are shown simultaneously.
The lead character (or characters) in most of his films live by a code of conduct or honor that proves to be obsolete in the face of changing times.
Frequently cast Jason Robards, James Coburn, Emilio Fernández, Warren Oates, Kris Kristofferson, Ben Johnson, David Warner, Slim Pickens and L.Q. Jones.
Often collaborated with Jerry Fielding and Lucien Ballard
His characters often die graphic and emotionally agonizing deaths.
At the time of his death, Peckinpah was in pre-production on an original script by Stephen King entitled "The Shotgunners." (Source: Cinefantastique magazine, 2/91)
The last project he directed was a music video for John Lennon's son Julian Lennon.
Ida Lupino hired him to work on her series Mr. Adams and Eve (1957) after she found him living in a shack behind her property. He paid her back by casting her in Junior Bonner (1972) some years later.
He wrote his scripts by hand in his nearly illegible scribble. Only two women were ever employed as his secretaries because they were the only ones who could transcribe his terrible handwriting.
Was voted the 32nd Greatest Director of all time by Entertainment Weekly.
In 1976 he signed a contract to film "Cukoo's Progress", a novel by Swedish author Sture Dahlström. The novel is about Xerxes Sonson Pickelhaupt, whose life's ambition is to impregnate every women on the face of the earth. He died before the movie was made, but Dahlstrom still got paid.
Served in the US Marine Corps during World War II, but did not see combat.
In his January 1972 Playboy interview, Peckinpah was asked to comment about critic Pauline Kael's assertion that in Straw Dogs (1971), he endorsed rape by having the protagonist's wife seemingly enjoy being violated by her ex-boyfriend. Pointing out that the scene in question was actually the first stage of a gangbang and that the wife clearly did not enjoy being taken by the second man, he went on to gently criticize Kael, who was a great admirer and supporter of his. Noting that he had shared a drink with Kael and liked her personally, Peckiinpah said that on the subject of his movie endorsing rape, "she's cracking walnuts with her ass."
Was hired by Marlon Brando to adopt Charles Neider's novella about Billy the Kid, "The Authentic Death of Hendry Jones," that served as the basis for Brando's directorial debut, One-Eyed Jacks (1961) (the only film Brando ever directed). While Stanley Kubrick was still slated to be the project's director, Peckinpah wrote what he believed was a good script; subsequently, he was devastated when he was let go after turning it in. Later, some of the thematic elements and scenes that survived and were showcased in "Jacks" also became part of Peckinpah's own take on the legendary outlaw, Pat Garrett & Billy the Kid (1973).
Producer Martin Ransohoff felt compelled to fire Peckinpah after the beginning of principal shooting on The Cincinnati Kid (1965) due to disagreements over the conception of the film. The incident led to a physical altercation between the two. In the early 1970s, remarking on their fight, Peckinpah claimed Ransofhoff got the worst of it: "I stripped him as naked as one of his badly told lies", claimed the director known as "Bloody Sam" for the violence in his films. Peckinpah was replaced with Norman Jewison, a relative newcomer to feature film directing at the time, whose long and successful career as a journeyman filmmaker and producer brought him three Oscar nominations as best director and the Irving Thalberg Award in 1999 from the Academy of Motion Picture Arts & Sciences. Peckinpah, a master before he was discombobulated by substance abuse, received only one Academy Award nomination in his career, for Best Adapted Screenplay for The Wild Bunch (1969).
In 1954 director Don Siegel and producer Walter Wanger had been desperately trying to persuade the warden of San Quentin Prison to allow the use of the facility to film Riot in Cell Block 11 (1954), but the warden had adamantly refused. After the final meeting in the prison, when the warden had said there was nothing Siegel or Wanger could do to persuade him to allow filming there, Siegel turned to speak to Peckinpah, who at the time was his assistant. When the warden heard Peckinpah's name, he asked, "Are you related to Denver Peckinpah?". Sam replied that Denver was his brother. Denver Peckinpah was a well-known judge in northern California who had a reputation as a "hanging judge" and the warden had long been an admirer of his. He immediately granted the company permission to shoot the movie in San Quentin.
Father of Sharon Peckinpah, Kristen Peckinpah and Matthew Peckinpah with first wife Marie Selland, and father of Lupita Peckinpah with second wife Begoña Palacios.
His nephew was television writer and producer David E. Peckinpah.
Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 631-633. New York: Charles Scribner's Sons, 1998.
Was offered the chance to direct King Kong (1976) but turned it down.
In an interview with Jim Silke, Peckinpah listed the following as his favorite films: Rashomon (1950); The Treasure of the Sierra Madre (1948), which he called "possibly the finest motion picture ever made"; La Strada (1954), a film that he named as one he would have liked to have made; Hiroshima Mon Amour (1959); Billy Wilder's Ace in the Hole (1951); Carol Reed's Odd Man Out (1947); Laurence Olivier's Hamlet (1948); La Dolce Vita (1960); On the Waterfront (1954); Last Year at Marienbad (1961); Pather Panchali (1955), the first film in Satyajit Ray's "Apu" trilogy; John Ford's Tobacco Road (1941); A Place in the Sun (1951); My Darling Clementine (1946); Viva Zapata! (1952); Shane (1953); Jirí Sequens' Forbidden Games (1959); High Noon (1952); The Great Armored Car Swindle (1961), Howard Hawks' adaptation of Ernest Hemingway's To Have and Have Not (1944); and Ingmar Bergman's The Magician (1958).
Was to have worked with Joan Didion on Play It As It Lays (1972), but it never materialized.
According to an interview with L.Q. Jones available on YouTube, one time Slim Pickens proposed to loan $5000 to his friend Sam, who was broke at this time. The offer resulted in Peckinpah never speaking to Pickens again.
Worked for 12 days as second-unit director in Jinxed! (1982) while director Don Siegel was recovering from a heart-attack while shooting the movie. Though Peckinpah wasn't popular--or even liked very much--in Hollywood in the late 1970s due to his many troubled productions, Siegel insisted on hiring him (as he had been a mentor to the future director many years earlier) and he wanted to help his friend. Though working uncredited in Siegel's film, their collaboration was noted in the movie industry, and that resulted in Peckinpah returning to directing with The Osterman Weekend (1983), which would be his final film.
The character Roger the Alien from American Dad! (2005) has a pet parrot called Lady Peckinpah in one episode.
Drank up to four bottles of whisky or vodka a day.
Was originally scheduled to direct 'Triumphs of a man called horse' (1983) at the behest of star Richard Harris (both had previously worked together on 'Major Dundee'). Due to Peckinpah's unofficial blacklist after his erratic behavior whilst directing 'Convoy'; he was later replaced by John Hough.


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YT Industries presents the brand new TUES 29. As the fastest bike of the YT range it's the perfect addition to the downhill category for experienced riders. Two carbon build kits of the TUES 29 are now available in the online shop www.yt-industries.com.
The TUES 29 is the fastest bike in the YT range. It's not an all-rounder, it doesn't compromise, its mission is very specific and made for one particular discipline: downhill racing. We're talking about the gnarliest downhill tracks in the world, nothing less. That's why the TUES 29 is the bike that will carry Angel and Vali during the World Cup season. The bigger wheels help the bike keep its composure at full speed, while the kinematics are even a bit more progressive than on the TUES 27. Additionally, the TUES 29 is longer and therefore even more stable than the 27.5" version. It is one of, if not THE fastest downhill bikes on the market. Therefore, it's recommended by YT for experienced riders above 167 cm in height, whom can chose from three frame sizes: Regular, Long, X-Long.
Next ArticleWatch – Danny Hart Chases the Winter Sun!


Millions of people are shopping online and it looks as though it's still on an upward trend. But if you live in West Virginia, be prepared to pay a little more for that online purchase. West Virginia's state tax department is tracking online purchases this year.
In an effort to boost its collections on such sales, the West Virginia state Tax Department will include a form in tax booklets next year to help taxpayers figure out how much they owe in sales tax from their online purchases. According to an article found at the DailyMail.com "Only 200 retailers nationwide have volunteered to collect states' sales tax from online or mail-order transactions. Customers that buy from a company that doesn't collect the tax are responsible for paying what they owe when tax time comes around in April."
Right now there's no uniform tax for online purchases. State officials estimate that they loose nearly 25 million dollars in lost revenue each year on purchases made online. Is a nationwide online tax coming soon? It's hard to tell but there is one thing that is certain - states are taking a much closer look.
Take the Online Sales Tax Survey: Should individual states adopt an online sales tax?


To make sure that your website is distinct and no other website matches your website design we start with blank canvas. Any number of sliders, photo galleries or videos will be integrated as per your requirement. As the design invloves your suggestions and input, the website reflects what you wanted.
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It's Tuesday, so you know what that means—it's time to talk shoes. Today's topic? Suede ankle boots! To enable (and honor) our love for footwear, we've dedicated a weekly post to highlight and share our must-have picks! Be sure to come back every Tuesday to check out the week's featured style and shop the shoes sure to keep your wardrobe fresh and covetable.
What type of boots are you looking for this fall? We want to know in the comments below!


An intimate, state-of-the-art performance venue located in Altadena, California.
What acts are booked at Coffee Gallery Backstage (CGB)?
We typically book high quality, accomplished and sophisticated Folk, Traditional, Old Time, Roots, Americana and Bluegrass-style acts. We generally will book all styles and genres at our events as long as the music and message is positive and really, really great.
How would you characterize the regular audience at CGB?
We attract an older, intelligent and affluent audience who appreciate great music and fun, ready wit. They regularly purchase CDs of the acts that perform and become devoted to the acts they like. They will often travel from north from San Diego and south from Santa Barbara to see a favorite act.
Is our act right for CGB?
Besides being a first rate musical act, have a sparkling personality. We want the "show" in "show business". We want the "entertainment" in the "entertainment business". If you have no real show of wit, humor and charisma, CGB might not be the place for you.
How will CGB market the show?
We maintain a mailing list of over two thousand local patrons who enjoy the type of music and experience provided by CGB. We promote our booked shows through our newsletter, our website and our social media. We also rely on word-of-mouth referrals from our regular patrons.
Am I expected to help market our show?
Absolutely. We work together to fill the seats. We will furnish you a local Media List. Those acts that exploit the list almost always get local coverage.
If your act does not have an outstanding reputation, a large and loyal local following on social media … if you are not drawing decent crowds on the circuit, please do not request or accept a booking at CGB.
This is show business and we have to pay our bills.
What days are available to book a show?
We specialize in "one-nighters" that encourage acts to request weekday evenings as well as weekend time slots. Many larger acts that perform at CGB have booked dates at large Los Angeles venues on the weekend. That same act will often carve out a weeknight evening to offer a more intimate experience to their friends and fans. This provides them a ready opportunity to pick up a few more fans and bit more folding money.
Can we book a matinee before an evening show?
Yes. We offer 2-hour matinee time slots on Saturday and Sunday between noon and 4:00 PM. Matinee slots free up acts for evening shows and allows them to maximize their impact in Southern California.


This entry was posted on April 21, 2016 by Sharon Roller.
Welcome back to episode twenty one of "A Virtuous Mother Podcast With Sharon Roller"!
In VM #21: Teaching The Younger Women To Love Their Children, I talk about the second part of my topic last week. The principle of taking time to really love our children and change their lives for good!
Be sure to check out virtuousmother.com to subscribe to my emails for podcast notifications, Christian testimonies, encouraging post, and free homeschooling resources.


Northern Policy Institute - How Do We Set Priorities?
How Do We Set Priorities?
Northern Policy Institute staff are tasked with operationalizing the strategic direction supplied by the Northern Policy Institute Board. As outlined above, however, there are many players involved in the ongoing process of setting, assessing and re-setting policy priorities and strategic direction. This "many hands make light work" approach applies to the operational as well as the strategic side of Northern Policy Institute. Just as the Board sets Northern Policy Institute strategic goals in the context of the broader community concerns and the wider social, environmental and economic situation (regionally, nationally and internationally) so too does staff when selecting specific projects to move the strategic goals forward.
The last two questions are the easiest.
If a multitude of groups or organizations are already engaged on a file or if the subject is, or has already been well explored and the evidence thoroughly vetted, Northern Policy Institute can add little value.
Similarly, availability of expertise or the resources to hire it, is readily quantifiable. Where work has to be done and the resources are not immediately available, Northern Policy Institute will pursue them. This is why Northern Policy Institute's internal structures will include both fundraising capacity as well as a focus on attracting and training new young researchers and policy experts. Northern Policy Institute will also, of course, have ongoing efforts to identify external experts in Northern Ontario or experts on issues impacting Northern Ontario.
Deciding whether an issue is an "important policy question" is less clear cut. What is a life-and-death issue for some, may be a marginal issue to others. Take the licensing of taxis or the pricing of their services in Thunder Bay. For drivers and their passengers, these issues are of signal importance. For a large percentage of the population (those who don't take cabs or those who don't live in Thunder Bay) the issue is considerably less pressing.
Are people talking about it?
Are the experts working on it?
Are government initiatives proposed or underway to respond to it?
Are stakeholders and interest groups focusing on it?
These questions are not presented in a random order.
When judging the importance of a policy question, Northern Policy Institute will first and foremost be driven by the input of everyday Northerners. We will seek them out through direct outreach at community and Northern Policy Institute events, through social media and through our online citizen's panel. The priorities of organized interests (governments, political parties, municipal associations, chambers of commerce) are not necessarily the same as the people of Northern Ontario, even the people these groups are designed to represent.
Next to the general public, policy and subject experts are Northern Policy Institute's next most reliable source of guidance on the relative importance of competing issues. Experts in the field are less likely to be driven by specific parochial interests and so are the next highest source of information on the importance of any given policy issue or the urgency of a given project idea. Their input is comparatively more valuable because their professional reputation and community standing can be harshly impacted by being openly and consistently biased in any given direction.
Next to the experts come governments themselves. Not the governing party, but the government. Governing is about compromise and the balancing of competing interests. If scarce public resources are being expended on exploring or addressing an issue this is often, but not always, evidence of high relative importance vis a vis other issues facing our communities.
Finally, the organized interests must be considered. Their issues and priorities, by definition, reflect their narrow biases, interests and wants (and always must be considered in that context). The fact that a collective has arrayed themselves around a specific issue is prima facie evidence of its importance to at least a sub set of Northern Policy Institute's stakeholder constituency.


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text:
Album Review: SPIRITS OF FIRE – Spirits of Fire
By Rustyn Rose	 On Feb 26, 2019
Spirits of Fire – Spirits of Fire
Label: Frontiers Music srl
Whenever the Frontiers brain trust gets together to create new groups built around veteran performers, I'm generally skeptical. Occasionally they manage to strike gold, but more often than not you get an album of watered down AOR with limited appeal. Spirits of Fire is a clear exception. The requisite big names are on hand; Tim "Ripper" Owens (Iced Earth, Charred Walls of the Damned, The Three Tremors, ex-Judas Priest…) on vocals, Steve Di Giorgio (Testament, Death, Gone in April…) on bass, Mark Zonder (Warlord, ex-Fates Warning) on drums, and Chris Caffery (Savatage, Trans-Siberian Orchestra) on guitar. The legendary Roy Z (Bruce Dickinson, Halford, Tribe Of Gypsies) joins in to oversee production, and Frontiers' secret weapon, Alessandro Del Vecchio is in the mix on keyboards and no doubt some creative input. We've seen firepower like this fizzle before, but Spirits of Fire is not only an explosive exception, the band and its counterparts have created one of the best classic-leaning metal albums I've heard in a while.
The band hails its sound as something of a "classic Priest meets Savatage" which is a fairly accurate assessment. With Ripper on vocals and Caffery writing much of the music, this is not a surprise. What is a surprise is how deftly they crafted such an engaging album of top notch traditional heavy rockers that feed the yearning soul of those who miss the classic era of metal. From the biting riffage of the charging opener, "Light Speed Marching" the band is firing on all cylinders. Ripper's voice is metal aggression in all its glory, and the rhythm section of Zonder and Di Giorgio is off to a pummeling start. Caffery's fingers strike like liquid lightning across the fretboard.
This is followed by the mid-temp bruiser, "Temple of the Soul". Owens gives something of a Dio-like performance which suits the feel of the track perfectly. The song is a true grinder with moments of rapid fire assault. Meanwhile, "All Comes Together" is more of an anthemic fist-pumper with an Arabian undercurrent to it.
Next up is the title track from which the band name derives. The song opens in cinematic waves of swirling guitar runs from Caffery before he breaks into some crisp, muscular riffs. Getting back to more straight-forward metal the band serves up the album's second single, "It's Everywhere," which resonates with attitude and swagger.
"A Game" showcases a broodier mood for the band. There's some caliginous groove going on here. This is one of the album's two longest tracks, but not without purpose. In its wake is the juggernaut attack of "Stand and Fight" which may be the weightiest track on the record.
The latter half of the album includes more solid classic metal in the form of "Meet Your End," "Never to Return" and "The Path" The latter opens with an acoustic minstrel intro, before Owens gets his wail on. It's the most epic piece on the record. If I have any complaint at all it's that the album closes with a poignant ballad, "Alone in the Dark". The song is solid but the placement seemed a bit awkward.
Caffery has been working on putting this project together for a while now, and his patience and diligence has paid off. Wrangling around the schedules of such immense talents is no easy feat. One of the true highlights of this record is Caffery's fret wizardry, which is saying something alongside the likes of Ripper, Di Giorgio, and Zonder.
Spirits of Fire is a band and an album built without pretensions, hell bent on delivering classic, in your face heavy metal. They have accomplished that goal on every level. From Owen's trademark gritty and soaring vocals, to Caffery's underrated guitar pyrotechnics, to the undeniably propulsive and crushing rhythms of Di Giorgio and Zonder, the performances are stellar from beginning to end. There is no shortage of memorable, metal hymns to raise a first and bang a head to, and more important, no real filler. Spirits of Fire are not reinventing the proverbial wheel, but damn if they don't leave rubber on the road in their wake.
Alessandro Del VecchioChris CafferyMark ZonderRoy ZSpirits of FireSteve Di GiorgioTim Ripper Owens
Rustyn Rose 147 posts 2 comments
I bought the debut KISS record on my 10th birthday in 1974. That was the beginning of the end, so to speak. I began my journalism career in high school, writing music reviews for the school paper. Years later, I would begin writing for a local music magazine in San Francisco, and eventually become its editor. In 2008, I started writing for and eventually bought Metalholic Magazine, and a decade later I have merged it into Metal Nation. Now you're all screwed =) United We Rock!
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Home//Local Coverage
Film Adaptation 'Capital In The Twenty-First Century' Is An Autopsy Of A Broken System
Sean BurnsTwitter
A still from the documentary "Capital in the Twenty-First Century." (Courtesy Kino Lorber)
I was working at a bookstore in 2014 when Thomas Piketty's "Capital in the Twenty-First Century" became a sensation, and if you'd asked me what was about to replace "Gone Girl" as our most requested title, a French academic's 696-page hardcover doorstop detailing the history of economic inequality wouldn't exactly have been my first guess. At the time I joked it was about to become the most popular book that people bought and didn't finish since "The Satanic Verses," but there's no denying that Piketty's thesis struck a chord with the public. The New York Times bestseller was the biggest blockbuster in the history of the Harvard University Press, and these kind of sales for a book that's extremely difficult to lift, let alone read, are saying something.
Thomas Piketty, author of "Capital in the Twenty-First Century." (Courtesy Kino Lorber)
Arriving six years later, yet feeling weirdly right on time, is director Justin Pemberton's documentary adaptation, which opens this Friday, May 1, at the Coolidge Corner Theatre's Virtual Screening Room. A nifty overview as to why everything is terrible, "Capital in the Twenty-First Century" is a brilliantly assembled, blood-boiling examination of the past 100 years in economics that, viewed during our current disaster, feels like the autopsy of a broken system. Piketty's argument — delivered in Pemberton's slick, propulsive cinematic style — depicts capitalism as a self-perpetuating beast with a natural inclination to bloat the rich and starve the poor to ever-increasing, unsustainable levels. Unless attentively restrained via stiff regulations and progressive taxation to redistribute wealth throughout the economy, it'll all get hoarded at the top.
Speaking as someone who used to fall asleep in math class (there's a reason I went to film school, folks), Piketty's book fell pretty far outside my purview. But Pemberton's film adaptation turns out to be a dazzling entertainment, putting cogent arguments in layman's terms with witty visual correlations. The army of talking heads is offset with smartly chosen film clips, clever animation and some strikingly innovative use of the overhead drone photography that's become a cliché in so many lesser documentaries. The film has a knack for making tricky economic concepts accessible to all, even dummies like me who got a D in algebra.
Beginning just before World War I, "Capital" charts swelling and plummeting fortunes in various countries all the way up to and through the 2008 economic collapse. Patterns emerge in the macro view, with the aristocracy of various ages doing their best to insulate and further their own interests. The increasing inequality eliminates any middle class and removes opportunity for advancement, resulting in a widespread nihilism that eventually takes the form of either fascist nationalism or violent revolution. Fun.
Pemberton's pugnacious approach uses shrewdly selected film clips ranging from "Wall Street" to "The Grapes of Wrath" attempting to puncture oft-reported, received wisdom like the stock market having anything to do with the lives of everyday people. The film angrily attacks the mentality we're all brought up with, a notion one pundit describes as "every American being a millionaire-in-waiting." With 75% of all the money in the world endlessly recycled through a closed system of shell companies and other offshore tax cheats among the 1%, the bootstrap mythology is a sucker's bet.
The film's most eye-opening segment shows us footage from a psychology experiment at the University of California at Irvine. Two strangers are set against one another in a game of Monopoly. According to a coin toss, one player is given twice as much money than the other to start with. That player also gets the use of two dice as opposed to the other player's one, collecting twice as much money whenever they pass Go. It takes almost no time for the players who win the coin toss to dominate the game, and we watch them almost immediately become ruder, mocking their disadvantaged competitors, gloating about their prowess and even eating more pretzels than the losers who never had a chance.
According to psychologist Paul Piff, not a single winner in the entire study credited their victory to the ludicrously unfair advantages provided by the coin toss. To a person, they all think that they won because they were better players. Since seeing the movie I've been unable to stop thinking about this sequence, wondering if it's somehow hard-wired into our national psyche by years of consumerist conditioning, this adamant need to believe that any good fortune is somehow deserved. Acknowledging that it all might be an accident of birth — or a coin toss — undoes America's entire idea of itself.
One could argue that 102 minutes isn't enough time to cover a tome the size of Piketty's, and that "Capital in the Twenty-First Century" gives short shrift to subjects like factory robotics and climate change that will play a huge part in determining the future of our economy. (See also: global pandemics.) But this is urgent, brashly entertaining filmmaking, full of arguments you may have a hard time shaking off.
"Capital in the Twenty-First Century" begins streaming Friday, May 1, at the Coolidge Corner Theatre's Virtual Screening Room.
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Sean Burns Twitter Film Critic
Sean Burns is a film critic for The ARTery.


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Shauna Lancit
Psychotherapy in Toronto
Contact and Rates
I am open to whatever it is that you would like to bring to me, and I am always learning. Every therapist has areas in which they feel especially equipped to work. Mine include:
Trauma, including long-term effects of childhood trauma, and intergenerational transmission of trauma.
Problems with mood including depression, anxiety, and mood instability.
Issues particular to LGBTQ people and other gender and sexual minorities, including coming-out, family rejection, and sexual and gender identity.
Creativity and its impediments; creative block.
Parenting, including the challenging period of transitioning into a new identity as a parent.
Developmental and life cycle challenges, such as the challenges posed by moving out or your childhood home, graduation, divorce, or the loss of a parent.


Doctor in Anthropology and History from the University of Wisconsin-Madison, United States. He is currently a professor at the lnstitute of Latin American Studies at the University of London and is also professor emeritus of the Department of Anthropology, History and Humanities of FLACSO Ecuador.
Thurner's lines of research cover the fields of History and Anthropology of the Andes and the world. He directs the international research networks LAGLOBAL (Latin America and the History of Global Knowledge) and GDW (Global Decolonization Workshop). He currently has two books in preparation on the global history of the museum and of historiography.
Thurner has published several books on Latin American history and has been awarded prestigious scholarships and awards such as the Leverhulme Trust International Research Network Grant, the Fulbright-Hays Faculty Research Abroad Award, the Center for New World Comparative Studies Fellowship at the John Carter Brown Library, among others.


As a young newspaper photojournalist one of my heroes was renowned Swiss photographer Robert Frank. In 1988 I got to photograph him for the San Francisco Chronicle. At my suggestion we took a walk down Mission Street to the old Greyhound bus station. Frank was kind enough to sit for a moment with people waiting for a bus while I photographed him. Photo © San Francisco Chronicle.


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The Iron Age Diet: Lots Of Blue Cheese and Beer, Poop Study Shows
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The Republic of Venice, The Greatest Jewel of the Mediterranean?
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13 October, 2021 - 01:50 Nathan Falde
New Stone Age Rock Art Discovered at Romanelli Cave
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5 October, 2021 - 01:56 dhwty
Derbent: Contested Ancient City Stronghold on the Silk Road
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28 September, 2021 - 14:47 dhwty
The Vale of York Hoard: The Finest Silver Viking Treasure Find In The UK
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25 September, 2021 - 22:57 Robin Ashdown
The Phaistos Disc: Spiral Secrets Suggest It's a Festival Calendar
In 1908, Italian archaeologist Luigi Pernier was working in southern Crete at an ancient Minoan palace located in the town of Phaistos. Digging amid the ruins he found a clay circular tablet that has...
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16 September, 2021 - 14:55 Aleksa Vučković
Lipci's Prehistoric Rock Paintings: Montenegro's Primitive Art Site
Prehistoric rock paintings are a true rarity in the Balkan region of southeast Europe. Of course, the region is a hotspot for all kinds of very ancient history, but oddly enough primitive rock...
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A Tiny Town with an Enormous History: Perast, The Pearl of Boka
Montenegro's illustrious Bay of Kotor is a maritime region filled with unique places that boast a long and far-reaching history. Amongst the numerous historic cities that dot the bay's shores, Perast...
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3 September, 2021 - 18:29 Meagan Dickerson
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31 August, 2021 - 14:59 Mark A. Carpenter
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18 August, 2021 - 22:46 Aleksa Vučković
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The Minoan Civilization of Crete: A Great Aegean Culture
The Minoan civilization was a Bronze Age civilization that was based on the island of Crete, in the Aegean Sea. This civilization flourished from around 3000 BC to around 1100 BC. The Minoan...
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Dover Castle: The Key to England at the Gateway to Europe
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Congress needs to investigate the Pentagon's failure to protect civilians
A New York Times exposé on a previously undisclosed attack on dozens of noncombatants in Syria is indicative of DOD's impunity.
Pentagon leadership cannot – or will not – fix its civilian casualties problem. It's long past time for Congress to step in. On November 17, Defense Secretary Lloyd Austin said, "we are committed to protecting civilians and getting this right...We have…
Russia's Responsibility in the Syrian Reconquest of Idlib
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Friends of Syria must speak up for refugee rights
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UN Security Council: Remember Why Chemical Weapons are Banned
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Protecting Civilians Critical to Syria Talks' Success
'They will kill us all," "Ahmad," a Syrian aid worker, told me last month, referring to the many armed parties to the Syrian conflict. We were talking about Idlib, a province in northwest Syria that is home to around 2…
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Time for Judicial Triage
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Twelve-year old Aqil Hammud's legs and arms were riddled with painful scars. Bits of fragments from the improvised explosive device that exploded underneath him on that hot June day were still lodged in his sun-tanned skin. He and four…
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Q: cloud storage 503 error after setting a coldline rule on a huge bucket We add a rule on a huge  GCS bucket ( 39T) to set to coldline storage objects than was not updated from 90 days. I imagine that a lot of objects were concerned by the rule immedialtely ( maybe 90 %).
Since the rule was set on, we observe a huge instability on the jobs trying to write objects into that bucket. Most of them ( maybe all ) were getting a 503 backend error.
I don't see any concerns of that type in the Object Lifecycle Managemen, which should have alerted us on not doing such an operation.
Does someone already faced an issue of than type with GCS ?
I suspect the bucket "too busy" on doing the storage change and not available for other jobs.
When we deleted the rule, the bucket get available back from writing.
Does someone has a workaround to change storage class with avoiding unavailability ?

redpajama_set_name: RedPajamaStackExchange


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Q: Identifying a word's and sentences I need to produce code within Visual Basic that identify's a words position. For example, my sentence could write 'This is my Visual Basic Project'. If the user entered the word 'my', the output will open another form displaying 'Your word is in the 3rd position'. Its required to use strings then change it into an array.
My design for this project is fairly simple:
A TextBox for thee user to enter text.
A "Confirm" Button.
And an "Exit" Button.
Also, in the Form containing the output (when confirming that the button has been clicked) there is a Label (giving answer) and an "ok" Button to return you back to the main program. Finally, if their word is not within the sentence, an error message should appear. The program should be caps sensitive.
I am fairly new to programming and would love any help. I would appreciate it if you could return some code for the Buttons, TextBox's and a whole program.
Really please. Many thanks!!

A: You haven't specified a platform, so this answer is only for Office Development scenarios.
The Microsoft Word Object Model is useful here.  You can loop through a Sentence object, looping through its Words collection.  Loop through the Words collection until you get a match.  So some code to run in Microsoft Word
Sub SetUpSentence()

    Dim currentSelection As Word.Selection
    Set currentSelection = Application.Selection

    Application.Options.Overtype = False

    currentSelection.TypeText Text:="This is some text"
End Sub

Sub TestFindWord()
    Debug.Print FindWord("some")
End Sub

Function FindWord(ByVal sWord As String) As Long

    Dim oWords As Word.Words
    Set oWords = ActiveDocument.Words

    Dim lIndex As Long
    lIndex = 0
    Dim oRange As Word.Range
    For Each oRange In oWords
        lIndex = lIndex + 1
        If Trim(oRange.Text) = sWord Then
            FindWord = lIndex
            Exit Function
        End If
    Next oRange

End Function


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'use strict'

const db = require('APP/db')
const { Order } = db
const seed = require('./_seed')

const orders = seed(Order, ({ users }) => ({
  order1: {
    paidStatus: true,
    user_id: users.god.id
  },
  order2: {
    paidStatus: false,
    user_id: users.god.id
  },
  order3: {
    paidStatus: true,
    user_id: users.god.id
  },
  order4: {
    paidStatus: true,
    user_id: users.barack.id
  }
}))

module.exports = orders


Mary's practice focuses on a range of family law matters, including dissolutions of marriage, legal separations, parenting plans, child support modifications, paternity actions, and nonparental custody actions. Her practice emphasizes "unbundled" or limited legal services, which include consultation and document preparation for people who represent themselves. Mary has twenty years experience in the area of family law and worked for King County Superior Court as the Unified Family Court Case Manager from 1997 until 2002. She joined Curran Law Firm in 2010.


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CCHIP > CCHIP > CCHIP — Tomorrow's Change, Projected Today
CCHIP — Tomorrow's Change, Projected Today
April 13, 2016 October 24, 2018 76admin
Climate change is real, and while it looks like we're finally heading towards trying to do something about it, how do we adapt to the changes that are already underway?
This was the problem Risk Sciences International decided to tackle as few years ago. While having optimism that we can come together to stop climate change is important, so is having a plan to mitigate the worst effects a warming climate may have on our infrastructure, industry, and natural resources.
Today, we are stepping forward an important part of the solution to this problem— the Climate Change Hazards Information Portal, or CCHIP. CCHIP is the culmination of many years of work, and for the first time pre-analyzes the data to provide climate information in formats tailored to fit seamlessly into the planning and design decisions of a variety of industries and verticals. that are required reference material for making defensible climate change adaptation decisions and makes them accessible to anyone via the web.
While the science and innovation of CCHIP is a marvel in its own right, what makes this tool so powerful is access. The outputs of the climate models and data have never before been so well tailored and, as such, made so understandable to everyday decision-makers. It helps overcome a persistent situation of information deficit that has hurt smaller organizations, rural communities, aboriginal groups, and other individuals without the ability to meaningfully work with these data.
CCHIP is a web-based portal that opens up access to this invaluable data, and the insights that can be drawn from it, to a much greater audience than ever before. CCHIP is the first tool of its kind to incorporate climate change data, and data on historical trends and impacts, then align it with industry specific guidelines and national codes and standards that can help planners and designers adjust for potential future impacts on infrastructure and natural resources.
With CCHIP, a city planner in Northern Alberta can better anticipate the future rainfall impacts on storm drains and inform adjustments to ensure flooding is mitigated. A farmer in Nova Scotia can better prepare for the prime grape growing conditions heading for that region. An engineer in Quebec can better design a bridge over the St. Lawrence River taking into account the future impacts that climate change may have on the concrete and steel.
Our goal is to democratize climate change hazards and impacts information and ensure that everyone has access to this vital tool for preparing our communities for the world of tomorrow.
CCHIP, Newsadaptation, cchip, climate change
Case Study: Credit Valley Conservation – Flood Risk Management
Shortening Ice Road Seasons a Risk to Northern Economy
CCHIP
© 2016 Risk Sciences International. All rights reserved.
For more information please contact the RSI Climate Team.


text:
Cave Kids (also known as Cave Kids Adventures or Cave Kids: Pebbles & Bamm-Bamm) is an American animated preschool television series produced by Hanna-Barbera, and a spin-off of The Flintstones. The show aired in syndication on public television stations from September 29 to November 17, 1996, with reruns available until 1999.

Overview
The series follows the adventures of Pebbles Flintstone and Bamm-Bamm Rubble as prehistoric pre-schoolers with Dino, the Flintstone family's pet dinosaur, as their babysitter. While Pebbles and Bamm-Bamm spoke in baby-talk gibberish to adults, they could communicate normally with each other, a la Rugrats (another show that Bamm-Bamm's voice actresses, Cavanaugh and Daily worked on). Unlike the original 1960s Flintstones series and its spin-off incarnations featuring the kids and their parents in slapstick comedy adventures, this show focused more on educational values and lessons for children, with each episode also concluding with an original song using often-altered footage from the episode. Another thing worth noting is that Pebbles, Bamm-Bamm and Dino were the only established characters to appear in the show and everyone else was completely absent.

An earlier Cave Kids effort was published by Golden Press, both as a Little Golden Books in 1963, and also as a Gold Key Comics series spanning 16 issues from 1963 through 1967.

Voice cast
 Aria Noelle Curzon as Pebbles Flintstone
 Taylor Gunther as Baby Pebbles
 Christine Cavanaugh as Bamm-Bamm Rubble (singing voice provided by E.G. Daily)
 Frank Welker as Dino

Episodes

Merchandising

Album
A sing-along album, Cave Kids Sing-Along, was released on cassette tape and CD by Kid Rhino on February 4, 1997. The album featured seven songs performed by Pebbles and Bamm-Bamm, including five from the series. The package also contained a full-color booklet with lyrics to all the songs.

Track listing
 "Cave Kids Theme"
 "The Cave Kid Crawl"
 "The Woman in the Moon"
 "Little Is Just Right for Me"
 "Sharing"
 "Hand in Hand"
 "Being a Friend"

Home media
On June 10, 1997, Warner Home Video released three separate Cave Kids titles on videocassette: "Watch Us Grow", "At Play" and "Make New Friends", with each 44-minute cassette featuring two episodes and a music video.

See also
List of works produced by Hanna-Barbera Productions

References

External links

1990s American animated television series
1990s American children's comedy television series
1996 American television series debuts
1996 American television series endings
1990s preschool education television series
American children's animated adventure television series
American children's animated comedy television series
American children's animated fantasy television series
American preschool education television series
Animated preschool education television series
American animated television spin-offs
The Flintstones spin-offs
English-language television shows
Cartoon Network original programming
PBS original programming
PBS Kids shows
Animated television series about children
Animated television series about siblings
Animated television series about dinosaurs
Works about friendship
Television series set in prehistory
Television series by Hanna-Barbera

redpajama_set_name: RedPajamaWikipedia


text:
Le Giant Viper était un système de déminage monté sur remorque et tiré par un véhicule, conçu pour être déployé dans des zones contenant des mines terrestres. Il a été développé pour l'armée britannique dans les années 1950. Il a été conçu pour être remorqué derrière un char Centurion, FV4003, AVRE (Armoured Vehicle Royal Engineers); et aussi le véhicule blindé de transport de troupes FV432 .

Le Giant Viper utilisait des roquettes pour lancer un tuyau de 250 mètres de long, rempli de 1500 kilogrammes d'explosif plastique, à travers un champ de mines. Les types d'explosifs testés sont PE-4 Explosive Booster, PE-6A1 Explosive Main Charge, EU Propellant, et S. R. 371C Pyrotechnic Composition Igniter.

Dans les années 1970, les tuyaux Giant Viper ont été remplis à la Royal Ordnance Factories de Chorley. Une fois qu'il atterrit, la charge explose, neutralisant un espace de six mètres de large de ses mines antipersonnel et antichar par détonation sympathique. Cet espace dégagé a une longueur d'environ 200 mètres. Pour des raisons de sécurité, un véhicule équipé d'un chasse- mines est passé sur la voie dégagée avant tout autre personnel, afin d'éliminer en toute sécurité les mines non explosées.

Ce système a été remplacé par le Python, utilisant la même méthodologie de dédouanement, mais utilisant des composants plus modernes. Il améliore la précision de la livraison, la vitesse de déploiement et la taille du chemin dégagé, qui fait maintenant 230 mètres de long et 7 mètres de large. Python a été conçu pour être remorqué derrière un Armoured Vehicle Royal Engineers.

Le corps du génie de l'armée hellénique utilise toujours ce système.

Remarques

Références

Véhicule de déminage