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Adventures in Fantasy Literature
Fantasia 2021, Part XI: Tombs of the Blind Dead
Tuesday, September 7, 2021 Matthew David Surridge Comments 2 comments
Written and directed by David Mataró, "Tongue With Capers" ("Llengua amb tàperes") is a 15-minute Catalan-language short involving the walking dead. Months after a zombie apocalypse, a man (Toni De los Ángeles) holed up in a bar rescues his neighbour (Aina Cortès), who has a strange plan to communicate with the zombies. The film plays as a huis clos, two actors in a single location, with quick dialogue and a twist at the end. Like most zombie movies, it's about human beings and how they behave to each other; in this case there's something to say about how well we knw each other and maybe what it's like to be in community with each other. It's a nice piece, with a fair bit of nastiness but little gore.
Bundled with the short was the classic 1972 Spanish-Portuguese feature Tombs of the Blind Dead (La noche del terror ciego, also known in English as The Blind Dead, Tombs of the Evil Dead, Legend of the Blind Dead, Mark of the Devil Part 4: Tombs of the Blind Dead, Mark of the Devil Part V: Night of the Blind Terror, and, in a recut form with a tacked-on prologue, Revenge From Planet Ape). Written and directed by Amando de Ossorio, Synapse Films spent over a year creating a painstaking high-definition restoration of the movie. Tombs was quite successful on its initial release, spawning three sequels (while inspiring many other films and at least one comic) and helping to start a boom in Spanish horror cinema. I was pleased to see how well it holds up, especially in the lovely Synapse restoration.
It's a story about a young woman, Virginia (María Elena Arpón), who runs into an old friend, Betty (Lone Fleming), only to see her for reasons of her own jump off a train near some medieval ruins. This leads Virginia to investigate the ruins despite the superstitious dread the locals feel for them. There's an unexpected revivification, an archive of old books, a crew of smugglers. And, at the core of it all, the blind dead.
Once, you see, there was an order of medieval knights who went on a Crusade and picked up forbidden knowledge in foreign lands. Condemned and destroyed by the Church, they sold their souls to the devil and lived on past their deaths at the Church's hands. (The knights are never called 'Templars' in dialogue, so we must assume this is some entirely different order of medieval knights who acquired forbidden knowledge during the Crusades and were destroyed by the Church.) Their eyes plucked out by carrion birds, Satan restored them to some semblance of life, and now they track the living by the sound of their heartbeats and pursue them on equally-undead steeds.
It's a strong central idea for a horror movie. While it seems to anticipate the boom in zombie films that really kicked into gear after Dawn of the Dead a few years later (1978, to be precise), de Ossorio was apparently quite specific that he viewed the film as a mummy movie, not a zombie movie — the knights picked up their forbidden knowledge in Egypt, after all. This raises some interesting taxonomic questions about the undead, but I see de Ossorio's point. There's an unearthly quality to the undead knights that zombies rarely possess.
In fact the atmosphere in the film is often quite strong. There's a long sequence early on, about 20 minutes or so, of one character exploring medieval ruins on her own; there's no dialogue, but the film holds your interest as she pokes through one dusty disused room after another. You know that something's out there, and something's going to get her sooner or later. It's a question of when — but the movie plays with suspense well enough to make a foregone conclusion feel uncertain.
The atmosphere's largely built by the cinematography and colours, and Synapse's restoration allows the look of the film to shine. The dark shadows of the ruin are evocative, and a fun sequence in a mannequin factory lightly satirising the giallo genre stands out. Above all, the knights look wonderful, especially once they mount their horses and ride out in pursuit of their prey. I am far from the first to observe that these shadow-shapes in grey and black must have been an influence on Peter Jackson's conception of the Ringwraiths.
This isn't ambitious cinema, though. It's a very good B-movie, which is quite enough. It's the kind of movie which passes the Bechdel test when one cheerful bikini-clad young lady tells another, her old college roommate, about her job at the mannequin workshop near the old morgue. You will have noticed the foreshadowing of certain horror-oriented events in that sentence. If you do not also understand that the college-roommate angle will provide a tenuous reason for a flashback to the roommates exploring the joys of lesbianism, then I have not made clear what sort of a movie this is. The point is, the movie knows what sort of movie it is, and goes about being that with zest.
I will note that there is a scene of sexual violence toward the end which is not out of keeping with the nature of an early-70s horror movie, but will probably strike some viewers as unnecessarily unpleasant. For what it's worth, it strikes me that this is a movie that encourages us not to take the characters too seriously. They consistently make bad decisions — which, in a horror movie, means fun decisions from a viewer's perspective. But unlikely ones, if you view the movie realistically. My point is that the film's not too interested in realism; the plot's a bit of a shambles, with unlikely coincidences and an archivist who conveniently stumbles into the story just in time to provide the audience with an explanation of the monsters' backstory.
It's an interesting backstory, to be sure, though as you might expect the mythology's a bit underexplored — the point of the undead knights is that they're undead knights. If you know too much about them they'd be less terrifying, and the movie does a decent job of giving enough information to be evocative without being too definitive about their nature. And there is a cute bit in the plot where some characters go to the knights' ruined home expecting to find local criminals behind the stories of the undead, meaning that this movie gives us the rare reverse Scooby-Doo plot: instead of finding the monster's actually Old Man Jenkins, it turns out there isn't a gang playing tricks on the locals but the actual living dead.
Oddly, the gimmick of the knights' blindness is fitful. We do get to see them tracking by sound, but it doesn't come up much. Tombs of the Blind Dead works nevertheless, because the undead knights have an imaginative richness and a powerful enough visual design that they make for an entertaining and original horror monster. The story's a bit clunky, but there's a good sense of storytelling, strong atmosphere, and a fun horror-movie soundtrack to go along with cinematography restored to a lovely crispness. It's always fun to watch a movie that knows what it is and goes about being that with brio; and that is the case here.
Find the rest of my Fantasia coverage from this and previous years here!
Matthew David Surridge is the author of "The Word of Azrael," from Black Gate 14. You can buy collections of his essays on fantasy novels here and here. His Patreon, hosting a short fiction project based around the lore within a Victorian Book of Days, is here. You can find him on Facebook, or follow his Twitter account, Fell_Gard.
Exciting Storytelling from one of the Best Writers of Heroic Fantasy: When the Goddess Wakes by Howard Andrew Jones
Ellsworth's Cinema of Swords: Lone Wolf and Cub Part 2
Great article! The Blind Dead movies have always been among my favorites precisely for their atmosphere and striking visuals. The next 3 films in the series are interesting in how they keep changing the plot situations to new, different scenarios. The 3rd one, The Ghost Galleon, with an old, abandoned Spanish galleon floating along for passersby to board and find the Knights on board waiting is highly entertaining as an updating of the Flying Dutchman legend.
A new movie in the series just came out, but doesn't look half as inventive or interesting as the originals.
SELindberg(@selindberg)
Great coverage of the undead.
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ALL THE NEWS FROM LAKE GUNSBEGONE: Public Radio Goes Full Metal Propaganda in Colorado
The propaganda overlords, also known as public radio broadcasters, are excited to announce a brand new assimilation tool to get everyone on board with their campaign to demolish the 2nd Amendment.
It's their "groundbreaking" national reporting mission called Guns & America, a two-year collaborative project with 10 "public media newsrooms" including KUNC in Greeley, "to train their attention on a singular issue: the role of guns in American life."
It's like National Gun Radio for liberals who live in 2nd Amendment-hating cities like Washington, D.C., Hartford, Connecticut, Portland, Oregon, and now course Greeley among other Democratic towns. D.C. liberals consider these "a diverse range of communities all over the country."
The mission is to "report on how guns impact us as Americans, from the cultural significance of hunting and sport shooting, to the role guns play in suicide, homicide, mass shootings and beyond."
We suppose self defense falls in the category of "beyond."
According to the announcement from the Mother Ship in Washington, D.C, where most guns are illegal to own:
Operating across broadcast and online platforms, the Guns & America team will approach the topic of guns with nuance, accuracy, imagination, and innovative cross-platform storytelling. Expect to see our reporting online and to hear memorable stories on a public radio station near you.
Imaginative stories that are nuanced? They mean anti-gun spin.
They will hire "mid-career journalists" defined as three years experience — you know, not too experienced in real life but with enough knowledge to operate a tape recorder and capture those cool sound effects for which public radio is known.
The list of job requirements does not include any actual knowledge of guns or ammunition, so U.S. Rep. Diana DeGette qualifies.
They are encouraging applications from "underrepresented groups that can lend us diverse perspectives and experiences," and "can change the conversation."
And by that, we don't think they mean conservatives, Republicans, hunters, or gun owners.


MARIA APICHELLA: The only thing I was good at in school was writing poems, so I just carried on. I believe in life you must play to your strengths and I only had one string to my bow. Besides, I found tinkering with words great fun as a child and I still do.
At home, we were taught to notice and celebrate Beauty in the natural world. I remember being on holiday in Scotland. We were leaving a campsite very early in the morning, dawn in fact, and the sky was pink and purple. We were all drowsing but dad made us wake up and look out the window. He pointed at the morning star above the mountain and said, 'look, kids. That's beauty.' That always stayed with me. I always had a sense of wanting to translate images and impressions into words. Some people take photographs, paint or make music. For me, words were more immediate: cheaper than buying a camera, less messy than tubes of oil and less stressful than trying to learn the violin (which I did try).
I read a lot as a child and my interest in poetry sprang from reading the Psalms when I was given a grown-up Bible aged seven. They are physically in the centre, a natural opening point to a child when handed a big book. Most of the Bible is dense prose, but the Psalms contain white space and shifting lines, and many of the poems are fairly short. I immediately responded to the voice and language which was violent, emotional, ecstatic and immediate. The writer, who I assumed was King David, had an insistent, plaintive voice. His poems spoke directly to God about his own world and private pain. Part of me thought the poet was self-indulgent, and should be more sensible. However, I also had an intuitive response to the themes: feeling scared, loved, and misunderstood as well as the desire to sing and worship amid pain, doubt, anxiety, confusion and peace. I absorbed the metaphoric language of the human body, food, and the landscape. When I started to write poetry as an adult, I consciously allowed myself to be in dialogue with the Psalms.
MA: Going to Aberystwyth in 2004 to study creative writing was a big step for me. The landscape affected me viscerally and I suddenly found myself in a small, isolated community filled with amazing writers: Matthew Francis, Tiffany Atkinson, Jem Poster, Kelly Grovier, Damian Walford Davies and Richard Marggraf Turley. These people were personable and accessible to us undergraduates through classes and regular poetry readings on campus. It is because of their encouragement that many of us have gone onto be published: Katherine Stansfield, David Towsey, Tyler Keevil, Bethany Pope and the up-and-coming Amy McCauley. My supervisor Tiffany Atkinson first told me about a call for submissions for poems about God which Eyewear was running. Through submitting to that I discovered the Melita Hume Competition which is a fantastic opportunity for serious poets at an early stage. I was shortlisted for it in 2013 and then in 2015 I was joint winner with Tony Chan. Tony had never been published at all which goes to show how publishers like Swift are not afraid to take risks and champion new poets. I know Tony and I are very grateful.
In 2004 the creative writing course at Aber was fairly new so there was a sense of freedom as we were breaking new ground. In fact, on the Open Day my dad signed up to do as PhD in Creative Writing. He was their first student to start and finish. My grandfather left me some money so I was able to do a Masters and after that I decided to do a PhD. I was not funded so I studied part-time and worked several jobs but every aspect of life feeds into writing: from teaching to cleaning toilets, to working in a call centre by night to sitting in the Welsh National Library reading Dylan Thomas in rainy afternoons.
Wales itself was/is a fertile place to be as there are lots of opportunities for new writers to develop. Jan Fortune of Cinnamon Press published my pamphlet Paga and was generous in her feedback to poems I would send. The international literary journal The New Welsh Review was based on campus. Its physical presence always spurred me on to get a poem published with them. After lots of attempts, I had one accepted. It's always important to have goals and to patiently work towards them.
MA: I am thrilled and amazed and excited.
I composed Psalmody during my PhD at Aberystwyth. Early on in my studies, it was my intention was to write my own Psalms; that is, poems as authentic prayer, using the Psalms as a springboard. Mirroring the structure of the Psalms, I wrote 150 devotional poems addressed to God. As I examined the Psalms, I saw they were speech acts which called out to God, the self and the world. I wanted to explore the idea of writing speech acts; poems which address a presence, including God, without being kitsch, or ironic. In this, my poems are like liturgies addressed both to God and David. The female speaker is in dialogue with herself, her lover and God. The tension between the female voice, David and God is like overhearing one end of an intense phone call. While you may not hear David or God clearly, you catch a rhythmic buzz and tone of voice, sensing that there is a crying out, a dialogue. I realised I also wanted to tell a narrative through lyric poems – and the gaps between them – a contemporary story about the love between an atheist and a Christian, the anxieties and beauty of daily life between a man and a woman with conflicting views. The themes and emotions of Psalmody are the result of my own relational, spiritual and intellectual journey as a female, a poet, and a Christian living in Wales, framed in fiction.
MA: I love the poetry of Michael Symmons Roberts. Until the publication of Symmons Roberts's Drysalter, the serious poetry published in Britain today seemed to have little relation to the Psalms. Contemporary poems sympathetic to themes of Jewish or Christian orthodoxy are rare, despite there being an abundance of poems which explore spirituality. For Symmons Roberts, writing involves exploring the total experience of life. The books we read, our geography, national identity, religious experiences will naturally filter into our poetry. I found this view liberating and felt free to write about my own varied interests, including the Psalms.
Tiffany Atkinson's collection Catulla et al also played an important part in the creation of Psalmody, as did Anne Carson's The Beauty of the Husband and Deryn Rees-Jones's collection Quiver.
I also love the work of Jane Kenyon, Alicia Suskin Ostriker, Gillian Clarke and Mimi Khalvati – I am inspired by her modern ghazals as well those of the Sufi poet Hafiz.
MA: I have left Aber now so I am seeking another writer's community. I hope to do more readings and workshops and generally be involved with sharing poetry and enabling people to find their own voice.
I am working on several clusters of poems. One is about the Welsh artist Kyffin William, and the others are about times spent in Texas and Italy. I hope to form into these into a second collection.
I am writing a memoir which was longlisted for The New Welsh Review Memoir Competition this year.
I also am tinkering with a children's story.
If you want to write, be sure to read a lot. Go to second-hand bookshops and find obscure old poetry books and pamphlets. Read widely: old and contemporary, classic and off-beat, celebrated and ignored poets. Buy literary magazines. Make notes about what you see, smell, taste and feel each day. Be playful with words and sounds. Writing poetry is messy. Once you have a big body of mess, start cutting abstract words or generalisations. Never throw away or delete your work. Just shift it into another file. Write the kind of poem you want to read.
You don't write in a vacuum so seek community. I studied creative writing at Aberystwyth University and had brilliant teachers: Matthew Francis, Tiffany Atkinson, Jem Poster and Kelly Grovier. Don't be knocked back by constructive criticism. Seek it out from writers you trust and admire. For me, this was Elin Ap Hywel, Elizabeth Cook, and Jan Fortune who gave me the best bit of advice: cut all your last two lines! Find writing friends and show them your work. Look at theirs. My poetry friends are Amy McCauley, Katherine Stansfield and Lowri Emlyn and their comments over coffee in the Arts Centre in Aber were spot on.
When you are happy with a cluster of poems, send them out to magazines and don't despair when they are rejected. Be bloody-minded. Keep editing. Keep sending them. Keep writing.


At this year's VinItaly, I had a chance to spend some time with Francesco Leanza, after 20 minutes of talking about some his past vintages that I've enjoyed, I also had some time to taste his newly released wines. My experience with the Podere Salicutti wines prior to meeting him prepared me, if just a little, for our meeting, but there are certain things that can only be learned as a result of sitting and talking, face to face. That said, I'm glad to have had the opportunity to learn more about the vision and dedication here, and, of course, taste the wines.
As a wine journalist/critic, a part of me glass is half full, goooo underdog!) wants to like everything I taste, and a part of me wants to find some faults with everything (cynic, pragmatist, economist, New York native, etc.). In many respects, I continue as the posterchild for those born under the Gemini sign.
This four days at VinItaly was going to different; I promised myself as much. You see, I was trying to leave everything I knew about a wine/label/points/scores/vintages/the winegrowers, modern vs. traditional (read: noise, all of it) and park it outside in the car lot somewhere; my goal was to focus solely on what's in the glass – easier said than done when years of memorization/learning/tasting/press/noise lurks ubiquitously in the dark corners of the brain.
On this second day of VinItaly, in the center of Pad. 8, amoung the hundreds of independent natural winegrowers, there was Francesco Leanza, former chemical engineer, and citizen of Rome, arms crossed, as if to say "I've been waiting, take a seat". And so I did.
The farm (Podere) is just over 5Ha, with just ~ 2Ha planted to vines; the farm was purchased in 1990, and planting of the vineyards began in 1994. Since the orginal planting, there's been some replanting already – early choices based on an unfamiliarity with the land – with the most recent vines established about ten years ago. Podere Salicutti was the first winery to be certified organic in Montalcino zone. A link to the company website.
Francesco's choices, and changes/adaptations, don't stop in the vineyard, he's also become quite the listener in the cellar. For example, after resting on the skins in open top stainless tanks (for ~ 3 weeks), the wine is moved and raised in a series of wood vessels, beginning with barrique of various age, and also some tonneau, before eventually being moved to large casks (40hl botti). Over the past 20 years, Francesco's developed this regimen to be more in tune with the needs of the winegrapes.
After tasting the 2014 Rosso di Montalicino, and discussing the weather/challenges of the vintage, we move to the newly released Brunello. Before we do, and as the photo might suggest, Francesco is a close-to-the-vest kind of guy, not much of a talker (like a lot of engineers I know), more of a thinker. Until, that is, he knows you're there to talk about dirt (I was, and I am), or the land that gives the wine its foundation and personal identity. And so it was, that by the end of our time together, which I valued/treasured quite greatly, we we both very relaxed, knowing that we shared a common purpose at VinItaly – to talk about the land first, to peer through its window, and the wine (and us for that matter), well, it's important, but it's merely an outcome, a reflection, if you will.
This (i.e. Salicutti) may be a recognized name, but it's not because it's a large concern, in fact, as I said up-post, it's not even 5 acres – production is tiny, and, as those that buy each year already know, quality is very, very high.
Which leads me to the next wine, the Riserva, from the hot/dry 2011 vintage. Tasting this wine is really like being given a looking glass that peers directly into Francesco's mind, as if I too can see what it takes to listen carefully enough to create the wine that those winegrapes were meant to become. Listening is not such an easy thing; acheiving balance and a wine with a purpose and identity, well, that's not so easy either.
Our tasting concludes with Podere Salicutti's IGT Cabernet Sauvignon (90%, Cannaiolo, 10%) from the 2014 vintage.
One of my favourite wineries in Montalcino. I just picked up four bottles of Rosso di Montalcino 2014 if you can find the 2011 Rosso or Brunello you will find probably one of the best BRUNELLO'S EVER !!


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Hypoatherina macrophthalma is een straalvinnige vissensoort uit de familie van de koornaarvissen (Atherinidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 2012 door Sasaki & Kimura.

Atherinidae

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Galway Resources Provides An Update On The Indian Springs Open-Pittable Tungsten Project - Galway Gold Inc.
Elko, Nevada: August 6, 2007 – Galway Resources Ltd. (GWY: TSX-V) is pleased to announce it has commenced the second round of infill drilling at its Indian Springs open-pittable tungsten property located in Elko County, Nevada. In June 2007, Galway engaged Haz-Tech Drilling, Inc. to perform a 15-hole (7,000 foot) core program to collect additional sample material for metallurgical testing and to also upgrade the resource. SGS Lakefield Research has been retained to provide metallurgical and mineralogical services at Indian Springs. Lastly, on August 1, 2007 the Environmental Assessment was signed off on by the Bureau of Land Management (BLM).
"We are pleased to have commenced our second drilling campaign at Indian Springs. Hopefully working with SGS Lakefield will enable us to make some progress on the metallurgical front which will enable us to begin a Scoping Study in the fall of 2007. The resource estimate, current strong tungsten pricing of $13.00 per pound, and the implied metal value for this deposit demonstrates its vast potential," states Robert Hinchcliffe, President of Galway Resources.
Galway announced on May 1, 2007 the first NI 43-101 resource estimate (the technical report was filed on sedar.com on June 18, 2007) for the Indian Springs project prepared by SRK Consulting (U.S.) Inc. The resource estimate was based on 62,000 feet of drill data (299) holes and approximately 2,500 trench samples. The majority of the work carried out on this property was performed by Utah International which was later acquired by BHP Billiton. The new resource estimate also included the results from Galway's 2006 drilling program which consisted of 20 holes (8,000 feet) of reverse circulation drilling and 3 core holes (1,000 feet).
In order to expedite the advancement of the Indian Springs project, Galway engaged SGS Lakefield Research in March 2007 to provide mineralogical and metallurgical services to evaluate metallurgical performance to better understand how to optimize the metallurgical recovery for this deposit. Future work will be performed on core samples from the 2006 and 2007 core drilling programs, which will represent ore internal to the deposit. A considerable amount of historical metallurgical data exists based upon an extensive amount of metallurgical test work performed by companies previously associated with the property. That data was thoroughly analyzed by AKA PROS, Inc. prior to initiating work at SGS and served as a basis for the current program.
To provide for future drilling at Indian Springs, Galway submitted a Plan of Operations to the BLM in December 2006. Over the course of the past six months Enviroscientists, Inc. performed an Environmental Assessment (EA) for the project based upon the proposed future exploration activities. The Elko Field Office of the Bureau of Land Management issued a Finding of No Significant Impact and Decision Record on August 1, 2007, which will allow Galway to continue infill drilling for resource definition and exploring potential extensions of the deposit.
The Company has allocated 1,685,000 stock options at a price of $1.12 to certain employees, directors, and officers for a period of 5 years.
The company is well capitalized with $14 million in the treasury and is focused on developing three U.S. based exploration projects that are favorably located and have over 300,000 feet of historical drilling. We have established a solid technical team that has compiled all the historical data and we are now advancing these projects in an aggressive but cost effective manner. Management believes that its strategic portfolio of properties offers investors an interesting exposure to a unique blend of commodities (molybdenum, tungsten, copper, zinc, and silver).


text:
Sway In The Morning: Lupe Fiasco Interview + Freestyle
31 January, 2015 2:31 pm
With his "last album" Tetsuo & Youth out now, Lupe Fiasco says that this is his "last interview." He also kicks some bars, for the last time.
Sway In The Morning: Jarren Benton Interview + Freestyle
With his Slow Motion EP dropping on iTunes this week, Funk Volume's Jarren Benton stopped by the Sway In The Morning studios to address rumors that Hopsin quit rap, break down the lyrics to his "Diamonds & Fur" track and spit a crazy freestyle.
Sway In The Morning: Joey Bada$$ Interview
Dropping his debut album B4.DA.$$ on his 20th birthday, the young Brooklyn legend Joey Bada$$ joins the Sway In The Morning studios to share knowledge on the situation with Malia Obama and how he responds to the media.
Sway In The Morning: Your Old Droog Interview + Freestyle
Rising new emcee Your Old Droog sits in with Sway for an interview and freestyle. His self-titled new album is out now.
5 June, 2014 10:14 pm
Chicago rapper, Lupe Fiasco stopped by Sway in the Morning to discuss the many ventures in his career from new music to community leadership. The controversial rapper first discussed his entrance into the Henry Crown Fellowship Program and working with community leaders and big businesspersons. Additionally, he spoke about his involvement with Stand Up to [cont.]
Sway In The Morning: Talib Kweli Interview + Freestyle
4 March, 2014 4:14 pm
Legendary rapper Talib Kweli stopped by Sway in the Morning to talk about re-introducing his album, Gravitas. Kweli went on to break down how money is lost from artists in the music business and why music streaming could hurt an artist. He also took calls from listeners. He discussed how has evolved as a lyricist [cont.]
Sway In The Morning: The Lox Interview + Performance
16 January, 2014 8:23 am
"Feels f**cking great… for hip hop," said Styles P, on Sway in the Morning, when asked about how it feels to drop an EP with The Lox. Jadakiss, Sheek Louch & Styles P, stepped foot in Sway's Live In-Studio Concert Series and performed "Faded" & "Talk About It", off their recent EP, The Trinity. While [cont.]
Sway In The Morning: Danny Brown Interview
28 August, 2013 5:28 pm
Danny Brown discusses relationship between drugs, his penis and his chipped tooth on Sway in the Morning.
Sway In The Morning: Earl Sweatshirt Interview
Odd Future's Earl Sweatshirt stops by Sway In The Morning, to speak on his new album, Doris, meeting Eminem, being in a relationship, and his creative process.
Sway In The Morning: Just Blaze Interview
Just Blaze sits in with Sway In The Morning. They speak on electronic DJ culture, Kendrick Lamar's "Control" verse, "Higher" with Baauer, and more.
Sway In The Morning: Stalley Interview + Freestyle
8 August, 2013 5:20 am
Stalley explains the title to his upcoming mixtape, Honest Cowboy, and spits a freestyle for Sway In The Morning.
Sway In The Morning: Souls Of Mischief
The mighty Souls Of Mischief sit in with Sway In The Morning. They speak on their new album with Adrian Younge, today's generation, going back to school, and more.
Sway In The Morning: Action Bronson Interview
Action Bronson visits Sway in the Morning show and discusses his new project Saaab Stories and his well conditioned beard, while eating pretzels.
Sway In The Morning: Questlove Interview
12 June, 2013 11:14 pm
Questlove visits Sway In The Morning. In this four part interview, they speak upon his Late Night gig, Jimmy Fallon being a hip-hop head, overlooked artists, trending 20 years later, growing up around music, and more.
5 Fingers Of Death: B.o.B.
29 May, 2013 5:47 am
B.o.B. keeps up with five randomly selected beats on Sway In The Morning on Shade45.
Schoolboy Q Freestyles On Sway & Funk Flex
28 March, 2013 11:35 am
Schoolboy Q appears on Sway In The Morning with Mystikal, as both seem to be spitting "off the top", then Q spits for Flex in the second clip. Get More: ScHoolboy Q, RapFix Live, Full Episodes
50 Cent Introduces "Get Rich Or Die Tryin'" in 2003
7 February, 2013 6:12 am
Today marks the 10th anniversary of Get Rich Or Die Tryin'". This throwback clip from MTV finds Sway asking 50 Cent about what to expect from the now classic LP.
Vanilla Ice Explains What Really Happened w/ Suge Knight & Death Row Records Involvement
30 January, 2013 11:15 pm
Here is Vanilla Ice's full interview with Sway in the Morning. In their conversation, Ice speaks openly on all things Ice — including selling 160 million records, the key to success according to his experiences, and what really happened with Suge Knight. Did he really get hung over a balcony? "The truth is he was [cont.]
Talib Kweli Speaks On Mos Def and Freestyles On Sway In The Morning
23 December, 2012 2:56 pm
Kweli spits on Shade45′s Sway In The Morning, and speaks on his relationship with Mos Def.
Quentin Tarantino Responds to the Criticism of Using the N-Word in "Django Unchained"
The legendary, Quentin Tarantino stopped by Sway in the Morning recently to speak on all things Django Unchained — an honest movie reflecting the times of slavery starring Jamie Foxx, Samuel L. Jackson, Leonardo Dicaprio and Kerry Washington. Although Sway called the movie his "personal favorite movie in 5 years," critics had something else to [cont.]


text:
Pasupatheesvarar Temple is a Hindu temple dedicated to the deity Shiva, located at Nallavur in Nagapattinam district, Tamil Nadu, India.

Vaippu Sthalam
It is one of the shrines of the Vaippu Sthalams sung by Tamil Saivite Nayanar Appar. The place was known as Nallarrur.

Presiding deity
The presiding deity in the garbhagriha, represented by the lingam, is known as Pasupatheesvarar. The Goddess is known as Soundara Nayaki.

Specialities
Lord Shiva can be worshipped in this place and other places such as Arur, Perumpatrapuliyur, Peravur, Naraiyur, Nallur, Nallatrur, Setrur, Naraiyur, Uraiyur, Othur, Utrathur, Alappur, Omampuliyur, Otriyur, Thuraiyur, Thozhur and Thudaiyur. The devotees who worship the Shiva in these places will never get hardship in their life. Sankada Saturti, Pradhosham, Navaratri, Tiruvathirai, Karthikai Somavara and other festivals are held in this temple.

Structure
The temple has a gopura. After going through the entrance in the right side shrine of Sanisvaran is found. After worshipping Dwara Vinayaka, Shiva can be worshipped. In the prakara Vinayaka is found. The goddess is found in standing posture in the shrine.  The Kumbhabhishekham of the temple was held in 1990. The shrine of Nataraja, Bhairava, Surya, Sambandar, Appar, Sundarar, Srinivasa Perumal and Mahalakshmi are found in this temple. At the rear side of the temple, temple tirtta Esanya Tirtta is found. Shrine of Srinivasa Perumal is found at the rear side of the shrine of the presiding deity.

Location
The temple is located at Nallavur in Kumbakonam-Kollumangudi road at the right side of the bus stop at Nallavur. After crossing the bridge the temple can be reached. This temple also can be reached a distance of 1.6 km. from Thirukkolambam in Kumbakonam-Thiruneelakkudi-S.Pudur road. The temple is situated at a distance of 9.5 km. from Thiruneelakkudi. Daily one time puja is held in this temple.

References

Hindu temples in Nagapattinam district
Shiva temples in Nagapattinam district


text:
1875-1885 - Mascotte - J. W. Payne
1875 - Early Settlers
The settlement, that eventually became known as Mascotte, was known to have residents as early as 1875, though perhaps even earlier as there were known settlers already in the surrounding areas of Slone Ridge, Tuscanooga, and Brown's Ford.
These early settlers went by horseback and wagon to Leesburg in order to obtain supplies and food that they were unable to grow or make themselves. The trip to Leesburg being a two or three day trip, they were known to camp overnight at Bugg Spring, near today's Okahumpka. (Read more about Bugg Spring and Okahumpka at the bottom of this page.)
1885 - How Mascotte Got Its Name
In 1885, the steamship SS Mascotte was built by Henry Plant. It was named for the operetta La Mascotte by French composer Achille Edmond Audran. The name comes from the French spelling of the word 'mascot' and means, an animal or thing supposed to bring good luck.
It is thought that J. W. Payne had a financial interest in the ship which made winter runs, among other trips, bringing tobacco from Cuba to Tampa.
The ship also had a role in bringing refugees to the U. S. during the Spanish-American War in 1898.
Many Cuban immigrants arrived in Tampa from Havanna aboard the SS Mascotte.
The S.S. Mascotte also made regular trips from Boston to St. Petersburg.
In 1885, J. W. Payne, who was originally from Baltimore and then St. Petersburg, moved to the area and named the already forming settlement Mascotte.
A picture of the SS Mascotte also became part of the official seals of the cities of Tampa and Mascotte.
Unfortunately, the ship was not as lucky as its name would imply. It was mined and sunk off the coast of Southwold, England, in 1916, during WW I.
1885 - More Settlers
Also arriving in 1885 were:
Dr. John Rosenburg;
Theodore Ruff;
Charles, Frank, and William Tidd;
R. H. Whitnall.
All were unmarried men arriving from Ohio.
R. H. Whitnall became the first railroad station agent and Theodore Ruff became the first postmaster on March 30, 1886, and also had the first store in Mascotte.
Prior to 1887 and the completion of the Orang Belt Railway, mail had been carried by horseback to and from Leesburg by Mr. William Woods. On one such trip, Mr. Woods mailed a letter to Washington D.C. petitioning that a Post Office be established in Mascotte.
Around 1889, the Taylor Brothers and their workers arrived in Mascotte, with hopes of establishing a turpentine business. However, they did not receive a warm welcome from Mr. Ruff. Thus, they moved further down the tracks, toward the East, and started what would become known as Taylorville.
Other early settlers to Mascotte were:
A man known as Judge Albert
Mr. and Mrs. Tom Bradenbaker
Henry Cram, a blacksmith, who became postmaster in 1897
Martin Grimes and his brother (first name unknown)
Frank Horton and his brother
The Langley family (first name unknown)
Ebenezer McDonald who took over the postmaster position March 1898
Mr. and Mrs. Rabb - arrived around 1898
Several other names were discovered, however, it could not be determined if they arrived in the 1800s or early 1900s and if they lived in Mascotte or one of the nearby areas.
The oldest church in Mascotte was built in 1904 and is the same building now occupied by the Mascotte Methodist Church (corner of West Myers Boulevard and North Bay Lake Ave). King David Jones was the original pastor of the church.
A one room schoolhouse was built, opposite the cemetery. A Professor Osterhout taught in the school until the late 1890s when a new two-story schoolhouse was built.
One of the first teachers in this schoolhouse was William Tidd (listed earlier).
Gabriel Watkins had a store, which housed the post office.
Mascotte's first physician was Dr. John Rosenberg (listed earlier).
Dr. Herman Watson was born on a farm in Georgia and graduated from the University of Georgia School of Medicine in 1912. He continued with various postgraduate studies throughout the United States, including Johns Hopkins University, and, after serving in World War I, stayed on in France for a year to further his studies. In 1919, Dr. Herman Watson came to Mascotte to begin his first medical practice.
He was in practice with Dr. DeVane until he moved to Lakeland in 1920.
He would later become the founder of the Watson Clinic in Lakeland, Florida, which developed into one of the largest and most respected clinics in the Southeast.
1925 - City of Mascotte Officially Chartered
The City of Mascotte was officially chartered by the State Legislature on November 23, 1925.
In 1925, there were three prosperous fruit and vegetable packing houses in Mascotte.
The first Mayor of Mascotte was George M. Myers.
The first Council consisted of:
Council President O. F. May,
Councilmen: H. H. Mallard,
A. J. Drawdy,
C. S. Bragg,
and K. Hankins.
The first Town Clerk was E. C. John
and the first Town Marshall was C. C. Drawdy.
List of Mascotte's Mayors:
1925-1926 - George M. Myers
1927-1928 - Unknown
1929 - G.L. O'Brian
1935 - Dirk Hankins
1936-1940 - Dee Udell
1941-1945 - Elmer L. Puryear (He later purchased the Groveland Auditorium and had it demolished in order to build the current Puryear Building, so that he would have a building with his name on it.)
1946-1949 - C.W. Porterfield
1950-1951 - Robert L. Whilhite
1952 - Sam Tulk and Edwin Mattson Jr.
1953-1957 - Edwin Mattson Jr.
1958-1963 - Fred Thomas
1964 - Fred Thomas and R.E.Beekman
1965 - Fred Thomas and Kenneth Waters
1971 - Wayland Divine
1980-1987 - William Harb
1988-1995 - Josh Thomas
1996-2005 - Stanley Sloan
2005-2007 - Jeff Krull
2007-2009 - Feliciano Felix Ramirez
2011-2014 - Tony Rosado
A History of Nearby Okahumpka and Bugg Spring
Okahumpka was an important place to the local Native American tribes. The name is believed to be a combination of the Hitchiti "oki," meaning water, and the Creek "hamken," meaning one, or, freely translated, "single lake." It was also the name of a tribal town of some importance in the Sumter County area, which was home to Chief Mico-an-opa (Micanopy).
Today a lake in Sumter County and the town north of Mascotte bear the name of Okahumpka. Alternate spellings were: Okahumky and Okahumkee.
A magnificent spring on the edge of Okahumpka holds a unique place in Florida history. The spring is quite remarkable and the grounds surrounding it hold great historical significance. According to the St. Johns River Water Management District, Bugg Spring is a second magnitude spring that is 170-175 feet deep. Clear and cold, the water has been a focal point of life in the area for many years. The waters from the spring flow north into both Lake Denham and Lake Harris.
The archaeologist Clarence B. Moore "investigated" (a.k.a. destroyed) the Native American mounds at Bugg Spring, which showed evidence that Native Americans had used the spring for thousands of years.
Although the exact site is debated, the spring is one of the sites in the vicinity believed to be a possible location of the Seminole Indian town of Okahumpka. This important town was the scene of much planning during the days leading up to the Second Seminole War and warriors from here, along with thos living in Tuscanooga, took part in Dade's Battle in nearby Bushnell, Florida.
After The War Between the States, Bugg Spring became the home of the noted Confederate officer, John Jackson Dickison.
He was called the "Swamp Fox of the Confederacy" because of the similarity of his tactics to the famed Southern officer of the American Revolution, Francis Marion. Dickison was a captain for most of the war, although he often commanded battalion size units. He was a terror to Union forces in East and Central Florida.
The "Swamp Fox" struck when and where attacks were least expected and achieved solid results for the Confederate war effort. One of his most dramatic hauls was the Union steamboat Columbine that Dickison ambushed with artillery on the St. Johns River. Among his prisoners was Maj. Gen. J.G. Foster.
Although he was promoted to colonel at the end of the war, Dickison did not receive the news until after he gave his parole. He later served as a general in the state service.
During their years living at Bugg Spring, his wife, Mary Dickison wrote a sentimental biography of her husband that she titled Dickison and His Men. It is one of the best known books on the role of Florida in the war and includes many first hand observations of Dickison and the men who served with him.
Bugg Spring is currently privately owned and is not open to the public, because it is leased by the U.S. Navy which conducts acoustic research on the site.
[Contributors: Ila Mae Jones, Mary Helen Myers, Jason Brown]
Next Article: 1884 - The King of Villa City


Romance that's 'Out of This World' : Snippet Sunday - 'Dancing With Fate' "Do you remember a land of mortals..."
You've intrigued me with this snippet!
Thanks Teresa, and I hope you had a very happy Easter too!
This development has grabbed me. Your national origins are on full display, Hywela!
Diolch yn fawr Ed (Thanks very much) I loved getting back to my roots in this story!
Intriguing snippet! Can't wait to read more!
What's Apollo want her and the Celts??? Tweeted.
More than he's letting on at the moment, actually Daryl. Thanks for stoppng by and for tweeting.
Clearly she enjoyed her previous stay in Wales.
She did,Aurora, although she thought she'd completed her mission there.
I mean right, really how could anyone forget the Celts!? I like the way Apollo is leading into this, giving his explanation weight and importance with his deliberate word choices...really enjoying the excerpts.
Thanks Veronica, so glad you're enjoying it!
Intriguing snippet. Love mythology themed tales. I look forward to reading more.
Thanks Karen, yes mythology can be really interesting, I had such fun doing the research!
Very intriguing. I look forward to reading more.
I smell a mission coming on. I wonder what he's getting to.


text:
Vol. 23 No. 1 · 4 January 2001
The Wartime Broadcasts of Francis Stuart edited by Brendan Barrington. Lilliput, 192 pp., £25, September 2000, 1 901866 54 8
Naomi Shepherd, J. Spencer, Charles Glass, Elizabeth Young, R.W. Johnson, Gavin Lewis, Barbara Taylor, John A. Davis, Parina Douzina Stiakaki, Brian Pringle, John Widdop, C.K. Stead, Lawrence Stokes, Keith Flett, Martha Nell Smith, Ron Haggart
Poem: 'The Gifts of Aphrodite'
Joseph Roth, translated by Michael Hofmann
Story: 'The Excavation'
Dancing Lessons for the Advanced in Age by Bohumil Hrabal, translated by Michael Henry Heim. Harvill, 103 pp., £6.99, May 1998, 1 86046 215 4
Too Loud a Solitude by Bohumil Hrabal, translated by Michael Henry Heim. Abacus, 112 pp., £6.99, May 1997, 0 349 10262 7
I Served the King of England by Bohumil Hrabal, translated by Paul Wilson. Picador, 256 pp., £6.99, May 1990, 0 330 30876 9
Closely Observed Trains by Bohumil Hrabal, translated by Edith Partiger. Abacus, 128 pp., £5.99, May 1990, 0 349 10125 6
Total Fears: Letters to Dubenka by Bohumil Hrabal, translated by James Naughton. Twisted Spoon Press, 203 pp., $13.50, June 1998, 80 902171 9 2
Dan Jacobson
Night of Stone: Death and Memory in Russia by Catherine Merridale. Granta, 506 pp., £25, October 2000, 1 86207 374 0
Peter Mair
The Heart Beats on the Left by Oskar Lafontaine, translated by Ronald Taylor. Polity, 219 pp., £12.99, September 2000, 0 7456 2582 7
Linda Nochlin
Dora Maar with and without Picasso: A Biography by Mary Ann Caws. Thames and Hudson, 224 pp., £24.95, October 2000, 0 500 51009 1
Short Cuts: Bo yakasha.
Jeremy Harding
Lennon Remembers by Jann Wenner. Verso, 151 pp., £20, October 2000, 1 85984 600 9
At Home in the World by Joyce Maynard. Anchor, 345 pp., £7.99, August 1999, 1 86230 067 4
Dream Catcher by Margaret Salinger. Scribner, 436 pp., £20, November 2000, 0 671 04281 5
Les Murray
Poem: 'Robert Fergusson Night'
Barbara Everett
Unwritten Masterpiece
At the Royal Academy: Turner's watercolours
Patrick Collinson
Common Worship: Services and Prayers for the Church of England Churchhouse, 864 pp., £15, December 2000, 9780715120002
James Francken
Only Human: A Divine Comedy by Jenny Diski. Virago, 215 pp., £15.99, October 2000, 1 86049 839 6
Stephen Knight
Poem: 'The Golden State'
Elaine Showalter
A Dedicated Follower of Fashion by Holly Brubach. Phaidon, 232 pp., £19.95, October 1999, 9780714838878
Fashion Today by Colin McDowell. Phaidon, 511 pp., £39.95, September 2000, 0 7148 3897 7
Fashion and Its Social Agendas: Class, Gender and Society in Clothing by Diana Crane. Chicago, 294 pp., £19, August 2000, 0 226 11798 7
Historical Fashion in Detail: The 17th and 18th Centuries by Avril Hart and Susan North. Victoria & Albert Museum, 223 pp., £19.95, October 2000, 1 85177 258 8
Don We Now Our Gay Appalrel: Gay Men's Dress in the 20th Century by Shuan Cole. Berg, 224 pp., £42.99, September 2000, 1 85973 415 4
The Gallery of Fashion by Aileen Ribeiro. Princeton, 256 pp., £60, November 2000, 0 691 05092 9
Giorgio Armani by Germano Celant and Harold Koda. Abrams, 392 pp., £40, October 2000, 0 8109 6927 0
John Upton
Diary: Damilola Taylor


It's important to remember something about jobs: every industry is trying as hard as it can to automate human workers out of existence in order to maximize profit. And they're finding some success. We should only expect that success to continue, and to accelerate.
Remember what the priority is: profit. Not jobs. Not America. If technology makes it so that 75% of Walmart's workers can be replaced by computers, then that's precisely what will happen.
We stop developing technology to replace humans in the workforce.
Like I said, expect it.


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text:
Hans Moser (n. 24 ianuarie 1937, Timișoara, Regatul României) este un fost jucător și antrenor german de handbal, născut în România.

În timpul careierei sale, Moser, care are o înălțime de 1,92 m, a jucat pe postul de centru.

În anul 2000, organul oficial al Federației Internaționale de Handbal, World Handball Magazine, l-a ales pe Moser ca membru al echipei secolului, împreună cu printre alții Cornel Penu și Gheorghe Gruia.

Biografie
Înainte de a se dedica handbalului a jucat polo pe apă și volei (unde a ajuns să fie invitat în cantonament cu echipa națională).

Moser a urmat cursurile unei școli profesionale la Timișoara între 1949-1952 și între 1952-1956 un liceu de construcții. La Timișoara a jucat la Constructorul și la Știința Timișoara. După ce a studiat timp de trei ani agronomia în orașul natal, a studiat educație fizică la Institutul de Cultură Fizică București (1960-1965). În București a jucat la Dinamo.

A participat la 4 Campionate mondiale de handbal: 1958, 1961, 1964, 1967.
Devine campion mondial cu echipa României în 1961 (RFG).

La Campionatul mondial de handbal din 1964 (Cehoslovacia) este unul din cei trei golgheteri ai turneului. În același an este numit "Handbalistul lumii".

În 1970, în legătură cu Campionatul mondial de handbal din Franța, Poșta Franceză scoate un timbru cu portretul lui Moser.

A jucat 224 de meciuri cu echipa națională a României.

În 1968 i se dă voie să meargă cu un contract de 6 luni ca jucător-antrenor la clubul vest-german TV Milbertshofen. După expirarea contractului nu se mai întoarce în România. Soția și fiul, Richard, erau în vizită la el, așa că au rămas și ei în RFG.

După terminarea carierei de jucător, antrenează diferite echipe de handbal din Germania, Elveția și Austria.

Din 1996 a început o serie de afaceri în România.

În 2004 a fost anchetat pentru săvârșirea infracțiunilor de fals, uz de fals, înșelăciune și în 2008 a fost condamnat de către Judecătoria Sighetu Marmației la 1 an și 6 luni închisoare, cu suspendarea condiționată a executării pedepsei, pe un termen de încercare de 3 ani și jumătate.

Distincții
 2009 Ordinul Meritul Sportiv Cl. a II-a cu baretă

Note

Bibliografie
 Siebenbürgische Zeitung vom 13. August 2002, Geschichten rund um den Handball in Siebenbürgen (XIV)

Handbaliști români
Handbaliști germani
Antrenori de handbal germani
Timișoreni
Oameni în viață
Decorați cu Ordinul Meritul Sportiv
Sportivi șvabi bănățeni
Români expatriați în Germania


text:
Italijansko nogometno prvenstvo 1904.

Zmagovalec prvenstva je bila Genoa C.F.C.... Iin je kaod

Kvalifikacije

Skupina 1
6. marec

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Skupina 2
13. marec

|}

Povratna tekma
20. marec

|}

Finale
27. marec

|}

Viri
 Almanacco Illustrato del Calcio - La Storia 1898-2004, Panini Edizioni, Modena, September 2005

1904
1904 v nogometu


text:
Alicia had opened the rear compartment and was hurriedly passing out packs and rifles. "Just take what we'll need for tonight," she ordered. "Whatever we can carry. Bring as much water as you can."
"What about the Humvees?" Sara asked.
"They're not going anywhere on their own." Alicia, after drawing a belt of grenades over her head, checked the load on her rifle. "Hightop, do you have a way in yet? We're losing the light here."
Caleb and Michael were furiously working to pry loose the covering from one of the windows. With a crack of splitting plywood it yanked loose from the frame, revealing the glass behind it, caked with grime. A single stroke from Caleb's pry bar and the glass shattered.
"Flyers," he exclaimed, wrinkling his nose, "what's that stink?"
"I guess we'll find out," Alicia said. "Okay, everybody, let's move."
Peter and Alicia climbed through the window first. Hollis would bring up the rear with Amy and the others in between. Dropping inside, Peter found himself in a dark hallway, running parallel with the front of the building. To his right stood a pair of metal doors, chained shut through the handles. He stepped back to the open window.
"Caleb, pass me a hammer. The pry bar, too."
He used the sharp end of the pry bar to shatter the chain. The door swung free, revealing a wide, open space, more region than room, remarkably undisturbed. Apart from the smell-a tart chemical scent, vaguely biological-and a heavy layer of dust that coated every surface, the impression it gave was less of ruin than abandonment, as if its inhabitants had departed days ago, not decades. At the center of the space stood a large stone structure, evidently some kind of fountain, and on a raised platform in the corner, a piano, tented with cobwebs. A long counter was positioned to the left.
Peter tilted his gaze upward to the ceiling, which was bisected by elaborately carved molding into discrete, convex panels. Each was ornately painted: winged figures with sad, dewy eyes and plump-cheeked faces, set against a sky of billowing clouds.
Caleb whispered, "Is it ... some kind of church?"
Peter didn't answer; he didn't know. Something about the winged figures on the ceiling was disquieting, even a little ominous. He turned to see Amy standing by the cobwebbed piano, gazing upward like the rest of them.
Then Hollis was beside him. "We better get to higher ground." He felt it, too, Peter could tell, this ghostlike presence hovering over them. "Let's try to find the stairs."
They advanced into the building's interior down a second, wider hallway, lined with stores-Prada, Tutto, La Scarpa, Tesorini-the names meaningless but strangely musical. There was more damage here, windows shattered, shards of glinting glass scattered over the stone floor and crunching under the soles of their boots. Many of the stores appeared to have been ransacked-counters smashed, everything overturned-while others seemed untouched, their peculiar, useless wares-shoes no one could actually walk in, bags that were too small to carry anything-still displayed in the windows. They passed signs that said SPA LEVEL and POOL PROMENADE, with arrows pointing down other, adjacent hallways, and banks of elevators, their gleaming doors sealed, but nothing that said STAIRS.
The hallway ended in a second open area, as large as the first, receding into darkness. There was something subterranean about it, as if they had stumbled upon the entrance to an immense cave. The smell was stronger here. They broke their light sticks and moved forward, sweeping the area with their rifles. The room appeared to be filled with long banks of machines, like nothing Peter had ever seen before, with video screens and various buttons and levers and switches. Before each was a stool, presumably where the machines' operators had sat, performing their unknown function.
Then they saw the slims.
First one and then another and then more and more, their frozen figures resolving out of the gloom. Most were seated around a series of tall tables, their postures grimly comical, as if they'd been overcome in the midst of some desperate, private act.
"What the hell is this place?"
Peter approached the nearest table. Three seated figures occupied it; a fourth lay on the floor beside his overturned stool. Holding up his light stick, Peter bent to the closest body, a woman. She had toppled face-first; her head was turned to the side, her cheekbone resting on the table's surface. Her hair, bleached of all color, formed a snarl of parched fibers around the knob of her skull. Where her teeth should have been were a pair of dentures, their plastic gums still retaining an incongruously lifelike pinkness. Ropes of golden metal wreathed her neck; the bones of her fingers, where they rested on the tabletop-she seemed to have reached out to stop her fall-were bedecked with rings, fat shining stones of every color. On the table before her was a pair of playing cards, face-up. A six and a jack. It was the same with the others, he saw: each player had two cards showing. There were more cards strewn over the table. Some kind of game, like go-to. In the center lay a heaping mound of more jewelry, rings and watches and bracelets, as well as a pistol and a handful of shells.
"We better keep moving," Alicia said, coming up beside him.
Something was here, he thought, something he was meant to find.
"It'll be dark soon, Peter. We have to find those stairs."
He pulled his gaze away, nodding.
They emerged into an atrium, domed in glass. The sky above was cooling, night falling. Escalators led down to another dark recess; to the right they saw a bank of elevators, and yet another hallway, and more shops.
"Are we going in circles?" This was Michael. "I swear we came right though here."
Alicia's face was grave. "Peter-"
"I know, I know." The moment of decision was upon them: keep looking for the stairs or seek shelter on the ground floor. He turned to face the group, which seemed, suddenly, too small.
"Damnit, not now."
Mausami pointed toward the windows of the closest shop. "There she is."
DESERT GIFT EMPORIUM, the sign read. Peter opened the door and moved inside. Amy was facing a wall of shelves by the counter, bearing a display of spherical glass objects. Amy had taken one in her hand. She gave it a hard shake, filling its interior with a flurry of movement.
"Amy, what is that?"
The girl turned, her face bright-I have found something, her eyes seemed to say, something wonderful-and held it out for him to take. An unexpected weight filled his hand: the sphere was full of liquid. Suspended in this fluid, bits of glittering white matter, like flakes of snow, were settling down upon a landscape of tiny buildings. Rising at the center of this miniaturized city was a white tower-the same tower, Peter realized, in which they now stood.
The others had crowded around. "What is it?" Michael asked.
Peter passed it to Sara, who showed it to the others.
"Some kind of model, I think." Amy's face was still wearing a look of glowing happiness. "Why did you want us to see this?"
But it was Alicia who provided the answer.
"Peter," she said, "I think you better look at this."
She had turned the globe upside down, revealing the words that were printed on its base.
Milagro Hotel and Casino
The smell had nothing to do with the slims, Michael explained. It was sewer gas. Mostly methane, which was why the place smelled like an outhouse. Somewhere beneath the hotel was a sea of one-hundred-year-old effluent, the pooled waste of an entire city, trapped like a giant fermentation tank.
"We don't want to be here when that lets go," he warned. "It'll be the biggest fart in history. The place will go up like a torch."
They were on the fifteenth floor of the hotel, watching the night come on. For a few, panicked minutes it had begun to look as if they'd have to take refuge on the hotel's lower levels. The only stairwell they'd found, on the far side of the casino, was clogged with debris-chairs, tables, mattresses, suitcases, all of it bent and smashed, as if hurled from a great height. It was Hollis who had suggested jimmying open one of the elevators. Assuming the cable was intact, he explained, they could climb a couple of floors, enough to get around the barricade, and take the stairs the rest of the way.
It worked. Then, at the sixteenth floor, they encountered a second barricade. The floor of the stairwell was littered with shell casings. They exited to find themselves in a darkened hallway. Alicia cracked another light stick. The hall was lined with doors; a sign on the wall said AMBASSADOR SUITE LEVEL.
Peter gestured with his rifle to the first door. "Caleb, do your thing."
The room had two bodies in it, a man and a woman, lying on the bed. They were both wearing bathrobes and slippers; on the table by the bed was an open whiskey bottle, its contents long evaporated to a brown stain, and a plastic syringe. Caleb, voicing the words everyone was thinking, said he wasn't going to spend the night with a couple of slims, especially slims that had killed themselves. It wasn't until they had tried five doors that they found one without bodies behind it. Three rooms, two with a pair of beds in each and a third, larger room facing a wall of windows that gazed over the city. Peter stepped to the glass. The last daylight was going, bathing the scene in an orange glow. He wished they were higher, even on the roof, but this would have to do.
"What's that down there?" Mausami asked. She was pointing across the street, where a massive structure of ribbed steel, four legs that tapered to a narrow tip, rose between the buildings.
"I think it's the Eiffel Tower," said Caleb. "I saw a picture of it in a book once."
Mausami frowned. "Isn't that in Europe?"
"It's in Paris." Michael was kneeling on the floor, unpacking their gear. "Paris, France."
"So what's it doing here?"
"How should I know?" Michael shrugged. "Maybe they moved it."
They watched together as night fell-first the street, then the buildings, then the mountains beyond, all sinking into darkness as if into the waters of a filling tub. The stars were coming out. No one was in the mood to talk; the precariousness of their situation was obvious. Sitting on the sofa, Sara rebandaged Hollis's wounded arm. Peter could discern, not from anything she said but from what she didn't, going about her work with tight-lipped efficiency, that she was worried about him.
They divvied up the MREs and lay down to rest. Alicia and Sara volunteered to take first watch. Peter was too exhausted to object. Wake me up when you're ready, he said. Probably I won't even sleep.
He didn't. In the bedroom he lay on the floor, his head propped on his pack, staring at the ceiling. Milagro, he thought. This was Milagro. Amy was sitting in a corner with her back to the wall, holding the glass globe. Every few minutes she would lift it from her lap and give it a shake, holding it close to her face as she watched the snow whirl and settle inside it. At such moments, Peter wondered what he was to her, what all of them were. He had explained to her where they were going and why. But if she knew what was in Colorado, and who had sent the signal, she had made no indication.
At last he gave up trying to sleep and returned to the main room. A wedge of moon had risen over the buildings. Alicia was standing at the window, scanning the street below; Sara was sitting at the small table, playing a hand of solo, her rifle resting across her lap.
"Any sign out there?"
Sara frowned. "Would I be playing cards?"
He took a chair. For a while he said nothing, watching her play.
"Where'd you get the cards?" On the backs was that name, Milagro.
"Lish found them in a drawer."
"You should rest, Sara," Peter offered. "I can take over."
"I'm fine." Frowning again, she swept the cards into a pile and redealt. "Go back to bed."
Peter said nothing more. He had the feeling he'd done something wrong, but he didn't know what.
Alicia turned from the window. "You know, if you don't mind, I think I'll take you up on your offer. Put my head down for a few minutes. If it's okay with you, Sara."
She shrugged. "Suit yourself."
Alicia left them alone. Peter rose and stepped to the window, using the nightscope on his rifle to scan the street: abandoned cars, heaps of rubble and trash, the empty buildings. A world frozen in time, caught at the moment of its abandonment in the last, violent hours of the Time Before.
"You don't have to pretend, you know."
He turned. Sara was looking at him coolly, her face bathed in moonlight. "Pretend what?"
"Peter, please. Not now." Peter could feel her resolve; she had decided something. "You did your best. I know that." She gave a quiet laugh, looking away. "I'd say I was grateful but I'd sound like an idiot, so I won't. If we're all going to die out here, I just wanted you to know it's all right."
"No one's going to die." It was all he could think to say.
"Well. I hope that's true." She paused. "Still, that one night-"
"Look, I'm sorry, Sara." He took a deep breath. "I should have told you that before. It was my fault."
"You don't have to apologize, Peter. Like I said, you tried. It was a good try, too. But the two of you are meant for each other. I think I've always known that. It was stupid of me not to accept it."
He was completely confounded. "Sara, who are you talking about?"
Sara didn't answer. Her eyes grew suddenly wide. She was looking past him, out the window.
He turned sharply. Sara rose and came to stand beside him.
"What did you see?"
She pointed. "Across the street, up on the tower."


I am a research engineer at Yahoo Japan Corporation from April 2010. I have worked in the area of applied machine learning, including click-through rate prediction for display advertising. From October 2015, I also have been in a doctoral course at Kyoto University.


Optionis is excited to pledge our support to the Samaritans through our new, exclusive partnership with the charity, designed to benefit our clients and 650 staff across the UK.
At Optionis, we're always trying to give something back to the community and, each year, we support a chosen charity. This year, we've chosen the Samaritans, a charity which provides crucial support and assistance to those in need across the UK and, as part of this, we're pledging to raise an incredible £10,000.
The Samaritans offer a dedicated, free helpline, which is run by volunteers and is open 24 hours a day, 365 days a year. Every six seconds, somebody contacts the Samaritans. By offering a safe place to talk, at any time and about anything, ten times a minute they can help someone turn their life around.
A recent report by the Samaritans found that 60 per cent of people have experienced a mental health issue where work was a contributing factor. Partnering with the Samaritans gives Optionis access to industry-leading advice and information and will help us to ensure there is effective, accessible and relevant support is available when our people need it.
It also means that, for the first time, we will also be able to offer tailored mental health support and information to our clients. As contractors and freelancers, these types of workers have less professional support around them, which can leave many vulnerable to workplace stress.
With Optionis employees rallying to the fundraising cause, we have no doubt that we'll smash our £10,000 target. There'll be a few main Charity Challenges, to really put our colleagues to the test, and we'll also be holding a host of fun (well, it is one of our values) fundraising activities throughout the year.
Previous Charity Challenges have included a 50-mile Office to Office bike ride and Tough Mudder events. We've also dusted off our aprons with the annual Great Optionis Bake Off, introduced our canine friends to the office with Bring Your Dog to Work Day and also enjoyed a number of Fancy Dress Days.
With 11 offices across the UK, there'll be something for everyone – watch this space!


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Often asked: What Airport Is Aus?
1 What airport code is Aus?
2 Is Austin-Bergstrom airport open?
3 Is Austin a big airport?
4 Which airlines fly into Austin TX?
5 What is the nickname of the Australian?
6 What is a Class C airport?
7 Can you sleep in Austin Airport?
8 What airlines fly out of Austin South Terminal?
9 Does Southwest fly to Austin TX?
10 Is Austin airport busy?
11 Is Austin expensive to live?
12 How long does security take at Austin airport?
13 Which airline has the most nonstop flights?
14 Where can I fly direct from Austin?
15 How far is Austin from Houston?
What airport code is Aus?
Austin, Texas, U.S. Total cargo (lbs.) Austin–Bergstrom International Airport or ABIA (IATA: AUS, ICAO: KAUS, FAA LID: AUS, formerly BSM) is a Class C international airport in Austin, Texas, that serves the Greater Austin metropolitan area.
Is Austin-Bergstrom airport open?
The airport remains open and is operating. As far as we know, Austin–Bergstrom International Airport has never been called one of the most beautiful in the world, but it's no slouch, either.
Is Austin a big airport?
The Austin-Bergstrom International Airport services more than 20 airlines, with Delta, Southwest, American, United, and Frontier being among the biggest. It has 34 gates and services all the big airlines save Frontier.
Which airlines fly into Austin TX?
Direct from United States
Southwest Airlines flights
United flights
Frontier Airlines flights
American Airlines flights Alaska Airlines flights Sun Country Airlines flights
Delta flights jetBlue flights ViaAir flights
What is the nickname of the Australian?
Australia is colloquially known as "the Land Down Under" (or just "Down Under"), which derives from the country's position in the Southern Hemisphere, at the antipodes of the United Kingdom.
You might be interested: Readers ask: How Close To An Airport Can You Fly A Drone?
What is a Class C airport?
Class C is a class of airspace in the United States which follows International Civil Aviation Organization (ICAO) air space designation. Class C airspace protects the approach and departure paths from aircraft not under air traffic control. All aircraft inside Class C airspace are subject to air traffic control.
Can you sleep in Austin Airport?
Sleeping in Austin Airport
Austin Airport isn't the most sleep-friendly place. In the Barbara Jordan Terminal, only travellers with a late flight connecting to an early morning departure may be permitted to sleep airside. Everyone else will be moved landside when the security checkpoints close.
What airlines fly out of Austin South Terminal?
Welcome to the South Terminal
IMPORTANT INFORMATION FOR TRAVELERS! ALL Frontier and Allegiant Air flights now ARRIVE and DEPART from the South Terminal at Austin-Bergstrom International Airport! Onsite parking is available and only $10 per day in our Economy lot!
Does Southwest fly to Austin TX?
The Southwest travel experience
Flying with Southwest is simple and fun, no matter which of our dozens of exciting destinations you choose. When you search for your next flight to Austin, know that you won't be surprised at checkout. Low fares and no hidden fees. That's Transfarency®.
Is Austin airport busy?
Here are six facts about Austin's bustling airport: 1. Busiest travel year ever: Almost 16 million passengers — 15,872,676 to be exact — traveled through the airport in the first 11 months of 2019. That number for January to November is a 9.04% increase over the same period last year.
You might be interested: What Do Airport Scanners See?
Is Austin expensive to live?
How Expensive Is Living in Austin? Austin is a moderately expensive place to live, but it also has comparably high wages to offset the cost of living. The median home in Austin costs $347,000, which is far higher than the median in Texas ($185,000) or the U.S. overall ($238,000).
How long does security take at Austin airport?
If you're looking to park, you will have to pay $25 per day at the airport or head to a private lot nearby, many of which are filling up fast. The latest airport information shows that all flights are on time, and security lines are expected to take between 5 and 13 minutes, depending on the checkpoint.
Which airline has the most nonstop flights?
List of airlines with more than 100 destinations
Number of destinations
1 United Airlines 369
2 American Airlines 350
3 China Eastern Airlines 348
4 Delta Air Lines 325
Where can I fly direct from Austin?
Non stop flights from Austin – AUS direct flights
Albuquerque, New Mexico – ABQ – Allegiant Air, Southwest.
Amarillo, Texas – AMA – Via Airlines / Charter Air Transport.
Atlanta, Georgia – ATL – Mesa Airlines, Southwest, Delta.
Baltimore, Maryland – BWI – Southwest.
Baton Rouge, Louisiana – BTR – Via Airlines / Charter Air Transport.
How far is Austin from Houston?
Distance from Austin to Houston
The shortest distance (air line) between Austin and Houston is 146.57 mi (235.88 km). The shortest route between Austin and Houston is 165.03 mi (265.59 km) according to the route planner. The driving time is approx. 3h 6min.
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Home »Emerging Iconographies of Medieval Rome: A Laboratory of Images in the Eighth and Ninth Centuries (Byzantium: A European Empire and Its Legacy) (Paperback)
Emerging Iconographies of Medieval Rome: A Laboratory of Images in the Eighth and Ninth Centuries (Byzantium: A European Empire and Its Legacy) (Paperback)
By Annie Montgomery Labatt
Emerging Iconographies of Medieval Rome examines the development of Christian iconographies that had not yet established themselves as canonical images, but which were being tried out in various ways in early Christian Rome. This book focuses on four different iconographical forms that appeared in Rome during the eighth and ninth centuries: the Anastasis, the Transfiguration, the Maria Regina, and the Sickness of Hezekiah-all of which were labeled "Byzantine" by major mid-twentieth century scholars. The trend has been to readily accede to the pronouncements of those prominent authors, subjugating these rich images to a grand narrative that privileges the East and turns Rome into an artistic backwater. In this study, Annie Montgomery Labatt reacts against traditional scholarship which presents Rome as merely an adjunct of the East. It studies medieval images with formal and stylistic analyses in combination with use of the writings of the patristics and early medieval thinkers. The experimentation and innovation in the Christian iconographies of Rome in the eighth and ninth centuries provides an affirmation of the artistic vibrancy of Rome in the period before a divided East and West. Labatt revisits and revives a lost and forgotten Rome-not as a peripheral adjunct of the East, but as a center of creativity and artistic innovation.
Annie Montgomery Labatt is associate professor of visual arts and director of the galleries at Sweet Briar College.
Publisher: Lexington Books
Series: Byzantium: A European Empire and Its Legacy
Europe - Medieval
History - Medieval
Kobo eBook (October 23rd, 2019): $40.50
Hardcover (October 23rd, 2019): $120.00


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Hardcover, 9.75 x 11.75 in. / 328 pgs / 300 color.
Pub Date 11/20/2018
Catalog: FALL 2018 p. 48
Royal Academy of Arts, 09/29/18–12/10/18
Musée du quai Branly, 02/01/19–05/01/19
Text by Peter Brunt, Nicholas Thomas, Noelle M. K. Y. Kahanu, Emmanuel Kasarhérou, Sean Mallon, Michael Mel, Anne Salmond.
250 years after Cook's voyage to the South Pacific, the dazzling and diverse art of Oceania, from the historic to the contemporary
From the remote shores of Rapa Nui to the dense rainforest of Papua New Guinea, the islands of the Pacific are home to some of the most culturally diverse populations on the planet. The region embraces an extraordinary range of art forms, from delicate shell ornaments to spectacularly decorated canoes and meeting houses. These have fascinated outsiders since the exploratory voyages of Captain Cook, the first of which commenced 250 years ago in 1768, and they went on to entrance Gauguin and a host of other European artists.
This volume accompanies a major survey in London and Paris of art from Oceania. It brings together the most up-to-date scholarship by the leading experts in the field, encompassing a dazzling array of objects from the region, including many that have never been published before. Also included are many works that have historically been overlooked, such as painted and woven textiles, elaborate wicker assemblages and expressively sculpted vessels, alongside works by artists working in Oceania today. Objects of great aesthetic beauty, these artworks are the product of a complex web of social, mythological and historical influences.
"Paddle inscribed 'ATOPA 1846', 1846. Wood Bora Bora, Society Islands 38.39" x 13.78". © National Museum of Denmark. Photo John Lee.
By Ida Gianelli.
ART OF THE TWENTIETH CENTURY
By Loredana Parmesani.
FOOD IN THE LOUVRE
By Yves Pinard. Foreword by Paul Bocuse.
A WINDOW ON THE WORLD: FROM DURER TO MONDRIAN AND BEYOND
Edited by Marco Franciolli, Giovanni Iovane, Sylvie Wuhrmann.
ART OF THE TWENTIETH CENTURY, VOLUME II
By Valerio Terraroli. Contributions by Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli.
ART OF THE TWENTIETH CENTURY, VOLUME I
By Valerio Terraroli.
I CARAVAGGESCHI
By Claudio Strinati.
USD $500.00 | CAN $650
By Gabriella Uluhogian, Boghos Levon Zekiyan.
ARABIC HURUFIYYA
Edited by Charbel Dagher.
USD $45.00 | CAN $57.5
Edited by Paola Giovetti, Daniela Picchi.
THE ART OF THE MUSLIM KNIGHTS: THE FURUSYYA ART FOUNDATION COLLECTION
By Bashir Mohamed.
HOGARTH, REYNOLDS, TURNER
Edited by Valter Curzi, Carolina Brooks.
FORMAT: Hbk, 9.75 x 11.75 in. / 328 pgs / 300 color.
PUBLISHER: Royal Academy of Arts
AVAILABLE: 11/20/2018
D.A.P. CATALOG: FALL 2018 Page 48
Published by Royal Academy of Arts.


There are many reasons horses founder; possibly the most common relates to insulin resistance and glucose intolerance. It should be noted that blood Magnesium levels normally rise following glucose ingestion or following a meal high in simple carbs, indicating that Magnesium is involved with the action of insulin to clear the glucose from the blood and important in overcoming and controlling insulin resistance. Chromium is an essential trace mineral which supports glucose metabolism and regulation of insulin levels. Analysis per Ounce: Magnesium 6000mg, Chromium 14mg, Biotin 20mg, Methionine 3000mg, l-Lysine 2150mg, Vitamin C 1200mg, Zinc 250mg, Niacin 40mg.
Recommended for Horses Prone to the Risk of Founder.
REMISSION is a unique blend of supportive nutritionals for horses foundered or prone to the risk of founder.
REMISSION not only contains magnesium and chromium, it also provides seventy antioxidants, Omega-3 and Omega-6 fatty acids and all of the essential amino acids.
Horses; one ounce per day per 1000lb body weight until symptoms subside. Then, 1/2 ounce per 1000 lb body weight per day. The large end of the enclosed scoop measures approximately 1/2 ounce.
Best results occur when REMISSION is used in conjunction with a feeding program based on a diet high in fiber and low in simple carbohydrates. Should it be necessary to maintain body weight, dietary fat can be added. AniMed Flax Seed Oil or AniMed Rice Bran Oil are excellent sources of dietary fat.
Keep sealed and store in a cool, dry place.
Do not supply REMISSION to horses with restricted water intake or impaired kidney function.
Absorbine ProCMC Gastric Relief 64oz.


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NHL Expansion
Calkins
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Pelicans hire Trajan Langdon as general manager
May 19, 2019 at 10:52 am Updated May 19, 2019 at 2:48 pm
BRETT MARTEL
NEW ORLEANS (AP) — The Pelicans have hired Brooklyn Nets assistant general manager Trajan Langdon to serve as New Orleans' GM under new executive vice president of basketball operations David Griffin.
Langdon, whose hiring was announced by the Pelicans on Sunday, is a former Duke and NBA player who also played professionally in Russia, Turkey and Italy. The 43-year-old from Alaska has served as Nets assistant GM since 2016 and helped rebuild Brooklyn into a squad that qualified for the Eastern Conference playoffs as a sixth seed this season after finishing last in the East two seasons earlier. He also was GM of the Nets' G League affiliate on Long Island.
Langdon interviewed for the top basketball operations job that went to Griffin in mid-April.
When Griffin was formally introduced by the Pelicans last month, he said he had received a commitment from owner Gayle Benson to build up the management structure of the club. He has begun doing so by bringing in Langdon, and before that, hiring former Suns executive Aaron Nelson to oversee injury prevention, rehabilitation, performance and recovery programs.
"From the moment I met with Mrs. Benson and her team, it became clear that her commitment to the success of our franchise is absolute," Griffin said in a statement released when the club announced Langdon's hiring. "This is one more very clear sign of that commitment. Trajan is a tremendous talent and shares in our vision."
Langdon joins Griffin and the Pelicans during a period of transition that has seen an infusion of optimism since last week, when New Orleans won the NBA's draft lottery, giving the club the option to select the consensus top player in the draft, Duke's Zion Williamson.
The draft lottery result also provided the Pelicans more leverage in choosing how to handle the future of Anthony Davis, who is under contract one more season but requested a trade in late January.
Griffin has said he is open to keeping Davis should the six-time All-Star have a change of heart and recommit to New Orleans. Otherwise, it could be in the Pelicans' interest to trade Davis sometime before next season's NBA trade deadline in February.
A Davis trade could bring New Orleans a wealth of new talent. And if completed in the next month, such a deal also could provide additional high first-round picks in the NBA's June 20 draft.
More AP NBA: https://apnews.com/NBA and https://twitter.com/AP_Sports
The Seattle Times does not append comment threads to stories from wire services such as the Associated Press, The New York Times, The Washington Post or Bloomberg News. Rather, we focus on discussions related to local stories by our own staff. You can read more about our community policies here.


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BREAKING NEWS: Emmy Award-winning actress Edie Falco teams up with NYCLASS to call for a BAN on New York's cruel and deadly carriage horses in our powerful new TV ad campaign that launches today and airs for three weeks on NY1, CNN, Animal Planet, National Geographic, MSNBC, and more stations! Watch the ad HERE.
The New York Post published this article announcing Edie Falco and NYCLASS's call to action for NYC Council and Mayor Bill de Blasio to BAN carriage horses before the end of the year.
The ads, which display harrowing footage of recent gut-wrenching horse incidents on NYC streets show exactly why it is absolute madness that horses are still pulling carriages through the streets of midtown Manhattan. It's 2021, not 1821. It's long overdue for city leaders to ban carriage horses and end this abuse once and for all, as most other large cities have already done.
TAKE ACTION by calling or emailing NYC Council and asking them to fast-track legislation to BAN cruel and deadly horse carriages! Find NYC Council Members here.
RETWEET the ad on Twitter here!
TV ad script narrated by Edie Falco:
"New York is back – and so is the abuse of carriage horses.
Please don't look away.
Why are horses still pulling carriages in traffic?
Sick and injured, worked to death, violent crashes…
These animals feel pain, they feel terror, they bleed just like we do.
This is Edie Falco asking you to please take action.
Call your NYC Council Member: tell them to ban carriage horses in 2021."
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学生時代的我是代表学校参加藍球和台拳道比賽的選手、運動会時参加的項目有跳高或跳遠、但是賽跑或馬拉松向来不是我的専長。我向来毎週都会進行游泳、Pilates或Hot Yoga等運動、只是一直做同樣的運動難免有時会感到厭倦。近年在我住宿的区域、開発了不少連接隣里公園的Park Connector、加上又隣近原生林的Nature Park、渐渐地従開始的散歩、慢慢地演変成練跑。想起来都有点好笑、40歳才開始学跑步!但是我有位男同学、学生時代和"運動"一点都拉不上関係、突然在几年前開始跑起步来、己参加了不少馬拉松大会、越跑越遠、还跑到海外的馬拉松大会去!这转変相当驚人、他的舉动鼓励了我開始跑步的動力、目前尚在努力練跑中、希望明年可以参加在新加坡舉办的各大馬拉松大会〜 正努力中!Fighting!!
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1) 绕Marina Bay Sands跑1圏約2.5km、2)従Marina Bay Sands的Helix Bridge跑到Marina Barrage約1.4km、3)従Marina Barrage跑到Kallang Stadium約3km 4)従Singapore Flyer跑到Nicoll Highway MRT約2km。星期天跑長的可以考虑East Coast Park約21km.
我是想從Marina Barrage開始跑到Marina Bay Golf Course 再往上到Singapore Indoor Stadium 然後經過Kallang Riverside Park接Nicoll Highway MRT往下到 Singapore Fyler 繞 Esplanade – Collyer Quay – The Promontory – Marina BLVD – Marina Bay Front – ArtScience Museum 再回到Marina Barrage.
其中從Stadium到Kallang Riverside Park再到Nicoll High Highway MRT這一段路線可以連得起來嗎?
我並没有跑这样遠、不過Singapore Indoor Stadium MRT是在另个岸、Nicoll High Highway MRT也是在另个岸、中間為Kallang River, 跑步路線没有連接。不過MRT – Stadium to Nicoll Highway同線有連接。You can check from Google map for further details via Street View.


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Q: Confusion in Notation for Array and Dimension I have a vector $\mathbf{x} = (x_1,x_2)$, how do I represent the array of such vector?
Is it $\mathbf{x} \in \mathbf{X}$ where $\mathbf{X}$ = $\bigcup _{{1}}^{k}\mathbf{x}^s$ for $s \in (1,..k)$ length of $k$ vectors? Something seems off here!
Also I want to index a vector in array then is this correct way to represent the index ${\mathbf{x}^1}$? and the corresponding dimensional representation of this index shall be $(x_1^1,x_2^1)$?
Is the usage of "hat" appropriate here ? such as "$\hat{x}$"?

A: I'm not sure if by "array of vectors" you intend a single row with the vectors listed, or if you mean a rectangular array with the components as entries or what.  But I think the most common thing one would do in a situation like this is to put them in a rectangular matrix and use double indices.
That is, you would have $m$ vectors with $n$ components that look like $(x_{i,1}, \ldots, x_{i, n})$ for $i\in \{1\ldots m\}$, so that the rows of your matrix are the original $n$-tuples.
I have no idea why one would use a hat decorator in this case.

redpajama_set_name: RedPajamaStackExchange


The mission of this project was to create a transformative experience for everyone who interacted in the environment of the practice through the installation of artwork. We had created successful campaigns many times before in the corporate environment, where only employees were present, but never had we been involved in a project where end-users also frequented the space. The goal was to develop visual tools strategically designed and placed to enhance HCAHPS derived metrics on both the patient and employee side.
Data collected through interviews and focus groups with patients, nurses, staff and physicians were analyzed. The resulting insights were fed to our artists who created a collection of images meant to address tensions and aspirations within, and between, the different groups. The final selection of pieces was then strategically placed in different areas of the practice based on which groups interacted in the spaces.
Several metrics were collected before the installation and one month into the project.
We learned that by creating an immersive installation of artwork in an outpatient clinic, we can have a big impact in the way that everyone interacts in the space. The result has been a complete transformation in the practice.


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Battle of the Coral Sea, Events of 8 May 1942
Japanese Air Attacks and Damage to USS Lexington, 8 May 1942
NH 95579 Lexington
Description: USS Lexington (CV-2) under air attack on 8 May 1942, as photographed from a Japanese plane. Heavy black smoke from her stack and white smoke from her bow indicate that the view was taken just after those areas were hit by bombs. Destroyer in the lower left appears to be USS Phelps (DD-360). The original print was from the illustration files for Rear Admiral Samuel Eliot Morison's History of U.S. Naval Operations in World War II. U.S. Naval History and Heritage Command Photograph.
Catalog #: NH 95579