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The Threat on Jewish Culture in the Soviet Union
Date(s): October 27, 1966 Location: Moscow, New York Tag(s): Russia, Jewish culture, Anti-Semitism, america, Jewish, Soviet Union
In late October of 1966, Mrs. Mortimer Jacobson returned home from the Soviet Union.[1] The head of Hassadah, or Women's Zionist Organization of America led a group of 24 leaders who had approached the Soviet Union with an offer to send 500 Jewish students on scholarship to Israel. As Mrs. Jacobson put it, she wanted the children to "get a feel for the land of the Bible" something the group believed...
Italian and Jewish Immigrants in East Baltimore
Date(s): January 1, 1905 to January 1, 1930 Location: Baltimore City, Maryland Tag(s): ethnic tension, Jews, Italian, Little Italy, East Baltimore, Immigration, Italians, Judaism, Jewish, Baltimore
From 1890 to the early 1920s, Lombard street served as the center of Baltimore's Jewish community. Considered a ghetto by outsiders, it was a bustling neighborhood of kosher butcher shops, delis, bakeries, bookstores, and Judaica shops. The boundaries of the community were defined by "Pratt Street to the north, Eastern Avenue to the south, Central Avenue to the east, and President Street to the...
The Baltimore Jewish Garment Workers' Strike of 1892
Date(s): June 1892 to October 1892 Location: BALTIMORE CITY, Maryland Tag(s): Labor Strike, Labor Unions, Jewish
In 1890s Baltimore, coats were made in a multi-stage process. First, Lithuanian "cutters" employed by wholesalers of fabric worked in warehouses to form the parts of coats—the sleeves, the collars, and so on. Next, these parts were moved to the sweatshops that teemed in the neighborhood bounded by Fayette Street and Eastern Avenue on the north and south, and Central Avenue and Broadway on the...
The Baltimore Jewish Educational Alliance and the Emerging American Jewish Identity
Date(s): 1909 to 1916 Location: Baltimore City, Maryland Tag(s): Race-Relations, Jewish, Immigration, German, Religion, Russian, Yiddish, Citizenship, Americanization, New Immigrants
In 1916, just before the fourth of July, the Baltimore Sun ran an article praising the Baltimore Jewish community for their Americanism. The article stated, "[a] Great Many of us are discussing at present the meaning of Americanism and what constitutes a real American, but our Jewish fellow-citizens have no doubts on the subject. They have grasped the idea in all its fullness, and they have made...
One Jew's Rebuttal to the Civil Rights Movement
Date(s): 1957 to 1960 Location: Leflore, Mississippi Tag(s): integration/segregation, Civil Rights Movement, Education, Jewish
In 1957, an anonymous Jewish citizen in Greenwood, MS created a pamphlet called "A Jewish View on Segregation". In his pamphlet, he gives an account of why the Jewish population should prefer segregation. His premise is the same as White Southerners "that the innate inferiority of African Americans would leave them incapable of competing on equal terms in an integrated society". He claims that...


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#MMIBTY
FKJ (French Kiwi Juice) – Time For A Change EP
Skrillex – Recess Album Review + FREE DOWNLOAD
Ciara ft Missy Elliott – 1,2 Step (Genisis Remix) [FREE DOWNLOAD]
Wavefront Music Festival July 2012 – Chicago, IL
JD July 21, 2012
Deep HouseDiscoFestivalsHouseShow ReviewTech-House0 Comments 0
The Spectacle of Spring Awakening
Summer in Chicago has started with a bang. Two brand new EDM-centric festivals graced the shores of Lake Michigan for the month of June, and both were quite impressive for their first go-around. Those at MMIBTY who made the pilgrimage to Chicago for Spring Awakening Music festival (SAMF) can attest to a fabulous time in an equally awesome setting. Chicago is no stranger to the festival game, and promoters have set a solid precedent for bringing in top-level talent to these various outdoor events. SAMF featured a lineup with a decidedly stronger focus on the more contemporary and popular sounds in electronic music and it did not disappoint. Standing at the 50 yard line of Soldier Field watching Carl Cox, Moby, and Flux Pavillion is a glorious thing to cross off the bucket list. It was unreal to be a part of a dance event of that magnitude in Chicago.
As a Chicagoan, I was thrilled that our city, the native home of House Music, would finally play host to some outdoor EDM-only events that are common in many parts of the world. You could only imagine my excitement when they announced Wavefront Music Festival just a few short months ago. When the first "wave" lineup was released it was became immediately apparent that this festival would be more similar to DEMF (Movement) in Detroit than it would be to fellow rookie Spring Awakening, as far as midwestern dance festivals are concerned. This was because Wavefront would feature as many underground EDM acts as is it did well-known ones. It's important to note that the lineup of Waverfront was full of solid picks all-around, no matter what their popularity level was. It was all about the quality of the music. To get the pteromerhanophobic (look it up, I swear it's a word) Eric Prydz and the legendary Erick Morillo to come through was a steal. Lets not forget Sasha. He's certainly no slouch on the international popularity front, but talk about a legend in the game that has stayed true to the underground. I would have bought tickets for him, and him alone.
FRIDAY EVENING HIGHLIGHTS
It was announced a few weeks before the festival that they were adding a Friday night preview party to Wavefront. It was meant to be a casual primer for the weekend, and a time for people to pick up their wristbands to beat the crowds of the following day. Good thinking. Sure enough I left work on Friday and began a much-needed decompression session on Montrose Beach to the edgy deep house sounds of Lee Curtiss (Visionquest) and the always impressive live act, Benoit & Sergio. All in all, a great segue into a weekend of quality beats in a great setting. More to come on the artists…
SATURDAY HIGHLIGHTS:
Saturday yielded a fantastic afternoon and evening of 1.5 hour sets from open till close.
Visionquest, North Stage 2:30 PM-4:00 PM: The Detroit super group composed of Seth Troxler, Lee Curtiss, Shaun Reeves, and Ryan Crosson was without their most popular member (Troxler) on this outing. Their sound was no less impressive though. They featured a diverse blend of sexy disco-infused deep house that made for the perfect low-ley beach music. Check out this mammoth set below from Visionquest.
VisionQuest @ Mixmag Live, Village – 17-05-2012 I ♥ MedellinStyle.co by MedellinStyle.com Music
Support the Artists:
http://www.residentadvisor.net/dj/visionquest
http://www.beatport.com/artist/visionquest/51743
Good Times on Montrose Beach
Art Department, North Stage 4:00PM-5:30PM: The Toronto DJ/Production duo composed of Kenny Glasgow (vocals) and Jonny White has been one of the more groundbreaking acts in the midst of the current Deep House renaissance. If you have the chance to see Art Department go for it because they kill it and Wavefront was no exception. It was a great set that represented a tour de force of Art Department's taste in music and original tracks. Check out their label No. 19 Music, as well as their full-length release The Drawing Board, released last year on Crosstown Rebels.
In the meantime, here is a personal favorite track and recent mix that captures their sound perfectly:
http://www.residentadvisor.net/dj/artdepartment
http://www.beatport.com/artist/art-department/150625
Nic Fanciulli, North Stage 7:00PM-8:30PM: One of the UK's most consistent exporters of quality Tech House, Nic Fanciulli returned to one of his favorite cities for a memorable beach side romp. Fresh off the release of his two disc Balance 021 compilation (worth checking out), the Saved Records boss graced the Wavefront decks for a 1.5 hour sunset mix that featured his usual brand of deeper and more organic-sounding tech house. His track selection is a offers a sometimes welcome reprieve from the typical relentlessness of a tech house set. Check out some of his remixes below:
http://www.residentadvisor.net/dj/nicfanciulli
http://www.beatport.com/artist/nic-fanciulli/9120
Boys Noize, North Stage 8:30PM-10:00PM: What is there to say about Boys Noize that you don't know already? 1.5 hours of heady techno, electro, acid, with respect paid to the Chicago house sound that started it all….love it. As a passionate fan of the receptor-burning sounds of the Roland TB-303, there was plenty of squelch in this set to whet my appetite. Not to mention, a finale punctuated by a roughly 15 minute fireworks display on the beach. Saturday was awesome, but it would only get better.
http://www.residentadvisor.net/dj/boysnoize
http://www.beatport.com/artist/boys-noize/5139
Much to the dismay of LCD Soundsystem fans (myself included), Sunday's dense onslaught of incredible music got off to a late start due to a severe rain and windstorm. This resulted in the cancellation of James Murphy and Pat Mahoney's highly-anticipated DJ sets. However, the day was far from lost as the festivities began around 2PM with Danny Daze (North Stage). Sunday's lineup featured predominantly 1 hour sets with headliners receiving the 1.5 hour treatment.
Danny Daze (live), North Stage 2:00PM-3:00PM: To say that 2011 was kind to Miami's Daniel Gomez would be an understatement. His bass-heavy Deep House anthems permeated dance floors around the world, most notably his track Your Everything (Feat. Louisahhh) (Hot Creations) was among the top 20 most charted tracks on Resident Advisor. 2012 looks to be more of the same for the Deep House luminary as many eagerly await the release of his track Zone (end of July on Future Classic Records debut compilation). This is sure to be a summer anthem with its riveting, memorable bass line… stay tuned. Danny's set on the beach consisted of the usual Deep House tracks, along with some Techno, Tech-House, and Electro. Overall, he's very solid. Be sure to check him out if he's spinning in your city. Below you'll find two Danny Daze tracks, Your Everything Ft Louisahhh) and an epic remix of Flight Facilities' track, With You that features the vocal talents of Grovesnor– the drummer from Hot Chip.
http://www.residentadvisor.net/dj/dannydaze
http://www.beatport.com/artist/danny-daze/129061
Benoit and Sergio (live), North Stage 5:00 PM- 6:00 PM
Washington DC/ Berlin-based duo, Benoit and Sergio have also seen a highly successful 2011 campaign. Their ranking near the top of Resident Advisor's Best Live Acts of 2011 further validated the quality of their show. I have had the privilege of seeing them a couple of times prior to Wavefront and they do not disappoint. Their sound is a hybrid of Electro-Pop and Deep House that is airy, and highly danceable. Their set featured favorite tracks Everybody, Principles, and Walk and Talk (a song about horse tranquilizers),and the crowd was singing along.
http://www.residentadvisor.net/dj/benoitsergio
http://www.beatport.com/artist/benoit-and-sergio/172059
Guy Gerber, North Stage 6:00 PM- 7:00 PM
Fresh off the release of his compilation for the acclaimed Fabric mix series (featuring all original tracks), Israeli DJ/Producer Guy Gerber came to Chicago and delivered what was probably my favorite set of the weekend. He effortlessly weaved between driving, deep progressive sounds and the more laid-back tracks featured on his Fabric mix. Highlights included Guy Gerber- My Medicine (off the Fabric release) and 11:11- Tourist Trap. (11:11 =collaborative project between Guy Gerber and Diddy).
From Resident Advisor: "Rumor has it Guy Gerber once played live at P Diddy's villa in Ibiza while strippers splashed around in enormous glasses of champagne. This kind of makes sense if you think about it. Gerber's tech house sound has recently morphed into something trippy, lurid and weirdly soulful, helped along by the occasional R&B sample."
http://www.residentadvisor.net/dj/guygerber
http://www.beatport.com/artist/guy-gerber/2705
Sasha, North Stage 8:30PM- 10:00PM
Sasha was the act we were most excited for, hands down. After listening to his two-part Panorama Bar mix on repeat for the better part of 6 months, and after seeing him absolutely murder it in January on a cold, snowy Chicago night, we were ready to to see him do the same on a Chicago beach in the summer heat. Chicago was due to be his one if his final stops before he began his Ibiza residency at Ushuaia, and we had the privilege of taking in a fantastic set in similar surroundings to what awaited him on the venerable island. Sasha started his set with Rudimental- Feel the Love Ft. John Newman (Scuba Remix) (Black Butter Records), a track I had playing a lot prior to Wavefront and I was pleasantly surprised that he opened his set with this familiar number. After Feel the Love, he effortlessly transitioned into Martin Roth- Beautiful Life (Original Mix)(Anjuna Deep), which did well to set a more laid-back mood for his set that persisted until the fireworks finale. You couldn't have scripted a better ending to this festival; fireworks set to great music on a perfect night.
If you get a chance to see Sasha, do it. If the stars happen to align and you get a chance to see him with John Digweed, do it as if your life depended on it. Here's Sasha's two-part Panorama Bar set from late last year:
http://www.residentadvisor.net/dj/sasha
http://www.beatport.com/artist/sasha/2675
Come to this festival next year. It's awesome, and is very reasonably priced. I paid $89 dollars for a 2 day pass, and they added a free 3rd night. Can't get much better than that. My only criticism of the event was the rather flawed drink ticket system, that's about it. Wavefront's organizers know what they're doing, and I am eager to go back next year .They are sure to put together another diverse lineup that will provide attendees an exposure to both alternative and well-known sounds in EDM.
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text:
Esta é a lista de vereadores de Ribeirão Preto, município brasileiro do estado de São Paulo.

São relacionados os nomes dos parlamentares da 14ª legislatura de Ribeirão Preto, que assumiram o cargo em 1º de janeiro de 2005 até 31 de dezembro de 2008.

Vereadores de Ribeirão Preto
Ribeirao Preto

redpajama_set_name: RedPajamaWikipedia


The 6 must-have products for all your skin problems.
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Skin Laundry clinics' signature 10-minute noninvasive laser treatment ($75) delivers deep pore cleaning and a softer, tighter, brighter complexion. Monthly membership packages start at $50.
Breakout-prone? Clinique Acne Solutions BB Cream's lightweight tinted formula ($37) conceals pimples, controls oil, and has SPF 40 to prevent sun damage.


text:
Questa voce raccoglie le informazioni riguardanti lAssociazione Sportiva Cittadella  nelle competizioni ufficiali della stagione 1999-2000.

Stagione
Nella stagione 1999-2000 il Cittadella disputa il girone A del campionato di Serie C1, raccoglie 55 punti con il terzo posto in classifica. Partecipa ai playoff, in semifinale nel doppio confronto supera il Varese, nella finale giocata a Verona l'11 giugno 2000 pareggia (1-1) con il Brescello, ma sale per la prima volta nella sua storia in Serie B, grazie al miglior piazzamento in campionato, rispetto agli emiliani. La squadra granata allenata da Ezio Glerean disputa un campionato di alta classifica, anche se spesso lontana dal Siena che si è involato solitario. Il girone di andata si chiude con 27 punti in quarta posizione, nel girone di ritorno mette insieme 28 punti, nel computo finale è terza, dietro al Siena con 58 punti ed al Pisa con 57 punti. Nella semifinale supera il Varese, mentre il Brescello si sbarazza del Pisa, nella finale con il Brescello gli basta un pareggio per accarezzare un sogno, che si materializza. Nella Coppa Italia di Serie C disputa il gruppo D, che è stato vinto dal Padova.

Rosa

Risultati

Serie C1

Girone di andata

Girone di ritorno

Playoff

Coppa Italia

Gruppo D

Bibliografia

Note

1999-2000


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Educators praise Murphy's decision to keep N.J. schools closed. Now, they must find a safe path to reopen.
Updated: May. 05, 2020, 10:21 a.m. |
Published: May. 04, 2020, 1:54 p.m.
Bartle School in Highland Park will remain empty. Gov. Phil Murphy on Monday ordered schools to stay closed for the remainder of the academic year. Patti Sapone | NJ Advance Media
Amanda Hoover | NJ Advance Media For NJ.com
Gov. Phil Murphy on Monday ordered schools to remain closed for the rest of the academic year, as the coronavirus outbreak continues to upend life in New Jersey.
The decision, while coming behind those in neighboring states, was met with support from education groups. But the prolonged closure will challenge districts, which must find ways to safely reopen next fall and address gaps in students' education.
"We reached this conclusion based on the guidance of public health experts, and with a single goal in mind: the safety and well being of our students, educators, administrators and staff," Murphy said during his daily briefing on the crisis.
"We could not guarantee an environment that would not be only safe, but fully capable of meeting the educational needs of students in a setting built for social distancing," he said.
The New Jersey Education Association applauded the governor's decision.
"While we are saddened to know that we won't have the opportunity to see our students in our school buildings again this year, nothing is more important than the health and safety of everyone in our public schools," Marie Blistan, NJEA president, said in a statement.
School with longer schedules, like some private institutions, must remain closed through at least June 30, at which point they can re-evaluate the situation. Murphy said summer programs have not yet been canceled.
The governor initially ordered all schools in the Garden State to close for two weeks by March 18. He extended that closure to April 17 and then again to at least May 15.
Dozens of other states have already closed schools for in-person instruction through June — and all but New York have been less impacted by the coronavirus than New Jersey. While the coronavirus has infected children at lower rates, health experts still worry that crowded schools, playgrounds and buses will prove difficult to police with social distancing.
Despite approving of the decision, educators say they are eager for the state's 1.6 million students and educational staff to return to the classroom, where in-person instruction will benefit them more than remote learning. Some students had unfettered access to laptops or tablets and the internet, while other schools initially struggled to get students and families the tools to participate in online learning.
"The very best remote education is no substitute for the in-person instruction and peer interaction that helps our students learn and thrive," Blistan said. "That loss is even greater for students who lack the resources to take full advantage of the online tools that are so important now. The decision to extend this closure through the remainder of the school year makes it even more imperative that districts address those inequities and do everything possible to overcome them."
Frank Belluscio, a spokesman for the New Jersey School Boards Association, said the group supports Murphy's decision "100%." It addressed the concerns education leaders raised in a letter last week calling for the continued closure of schools, he said.
"At this stage, we cannot provide assurance to parents, students and school staff that health will not be compromised if schools reopen this spring," he said. "Moreover, the issues involved in school reopening will be complex and difficult and will require extensive planning."
Lamont Repollet, the state's education commissioner, applauded the governor for including feedback from teachers, administrators and other stakeholders in making the decision.
He also spoke of a steering committee the state has established to guide the reopening of schools for the 2020-2021 academic year. It will consider the individual needs of different districts, Repollet said.
A few schools in Europe have resumed classes and others are eyeing staggered schedules to reduce the potential for an outbreak. Murphy has said social distancing and masks will likely be required when New Jersey schools reopen.
Experts say social distancing will pose more challenges for some schools than others. In the state's urban districts, class sizes sometimes top 30 students, and the buildings do not have extra classrooms available should the schools try to split students into smaller groups.
"Our guiding policy principle through this work is that each community knows their students best, and our job is to provide every flexibility we can to allow district innovation and to provide for our students during these extraordinary times, while also putting guardrails in place to uphold our high quality and equitable education system," Repollet said.
The high school spring sports season has been canceled as well, the New Jersey State Interscholastic Athletic Association announced.
"This decision was not made lightly and we are disappointed for the thousands of New Jersey student-athletes who will be unable to compete this spring," a spokesman said in a statement.
The organization will continue to monitor the situation before making a decision about fall sports.
Murphy also announced the state has applied for $310 million in federal funds to address the impact of the coronavirus on schools. The aid comes from the CARES Act.
If granted, districts will have significant control over how they use the funding, and can direct it toward buying educational technology, cleaning products, summer and after-school programs, mental health support and meals, according to the governor's office.
Health experts have said the state must see a prolonged decline in infections, hospitalizations and fatalities before schools and other crowded buildings can reopen safely. Murphy has said he wouldn't "rush to reopen anything and risk undoing all the extraordinary work" the state's residents and essential workers have done to control the spread of the virus.
Our journalism needs your support. Please subscribe today to NJ.com.
Amanda Hoover may be reached at ahoover@njadvancemedia.com. Follow her on Twitter @amandahoovernj.


The Notta Cookie is a reusable plastic practice cookie!
Great for when you want to practice your airbrushing or stencilling techniques this Notta Cookie can be washed and reused over and over!
Here at Stencibelle we particularly LOVE the Notta cookie when you are wanting to practise your airbrushing because its not like paper or card stock that absorbs and soaks up the airbrush colour. It really teaches you to have a light hand and not to over saturate your cookie. So when comes to using a real cookie, you don't get that colour pooling and blotchy spots happening!


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November 17th, 2014 Posted by david brothers
4thletter! turns ten next year; this post is the last post on the site for the foreseeable future. It's been limping along for a couple of years, and it's always better to call it than stick around after you fall off.
Over the course of 4l!'s run, I got to write alongside Thomas Wilde, DB "Hoatzin" Cooper, and Esther Inglis-Arkell. I got to have fun with the Funnybook Babylon gang, Chris Eckert and Pedro Tejeda and Joe Mastantuano and Jamaal Thomas. I got to terrorize comic conventions with Cheryl Lynn Eaton. Tucker Stone and Sean Witzke are fellow members of the Class of '05, and they're two of the best folks around. Graeme McMillan & Jeff Lester, Joe McCulloch, Los Mindless Ones, the Blog@/Robot6/Great Curve crew, Brigid Alverson & Deb Aoki bka the dynamic duo of manga blogging, Tom Spurgeon…
4thletter! got me blogger beef, creator beef, editor beef, publisher beef, marketer beef, and, of all things, rapper beef.
I did what I wanted to do, how I wanted to do it, and folk seemed to feel it. I did it alongside friends.
This dumb site gave me a chance to write alongside Gavin Jasper, the funniest guy on the internet, continuing a friendship that started because of video games and fanfic. I love that guy. I can see site stats on our dashboard—he's got the top 19 posts on the site for all-time. He owns the top 50. He runs 4thletter!. Gavin's one of the best writers and guys around. You're a fool if you're sleeping on him.
Gavin: thank you.
davidb.
Well. I guess the writing was on the wall.
I still remember when David asked me to join his site. We had known each other for a few years online and one of the forums we frequented was Higher Voltage, a now-defunct site dedicated to fighting games. There was a comics thread and around that time, I was getting back into comics for the first time in six or seven years. I had a soft spot for the 90's Venom anti-hero comics and I decided to read through the entire run. I remember there being a website called "Life of Reilly" that was dedicated to the history of the Scarlet Spider and going through the whole Clone Saga in great detail. To go with that, I started writing posts called "Life of Brock," which was about talking up the various Venom issues as I went through them. I got about halfway through before losing steam, but people seemed to dig it.
David was moving his "guerilla_grodd" Livejournal into a blog and recruited me to help out, saying I could use it as a home for Life of Brock and write about whatever. I took him up on the offer because I grew to absolutely love writing. I had no plans to be a writer or anything. I was just a dude in college with a lot of time on his hands who really, really loved giving himself massive writing assignments. I wrote a 200-page Word document about the plot of the Mortal Kombat for GameFAQs at one point. Just because!
I mainly just fucked around on the old site. I seem to remember one of my earliest posts was about writing a weird fan-fiction-y thing about trying to make narrative sense of all the Marvel vs. Capcom games. Like explaining Akuma showing up in X-Men: Children of the Atom and why Anita from DarkStalkers was in the Saturn version of Marvel Super Heroes. Really, most of my stuff was garbage.
It was my love for self-imposed writing projects that led to me doing the Top 100 What If Countdown back in 2007. Seemed like a fun diversion. Then it changed when I saw the traffic. I always figured we got maybe a couple dozen people visiting 4thletter a day. Instead, it was in the hundreds. People actually gave a damn about what I was writing. That gave me a real shot in the arm and I started putting more effort in my writings. We started going from hundreds to thousands and it was a major thrill, causing me to compete against myself to see what kind of harebrained article idea I could do next.
But of course, it's all about David. While my articles are high-concept clickbait, David's always been the heart of the site, even if it wasn't already his and wasn't named after him. David was quality and I could never compete with that no matter how funny my jokes supposedly are (note: I have to add "supposedly" so I don't sound like a dick). One of the things that always irked me is when he would do some thoughtful post on race and people in the comments or on another site would misread his tone and label him as some kind of angry black man, constantly looking to find stuff to be angry black about. Nothing can be further from the truth. I know David. I love David. David is — and will ALWAYS be — my friend. He may be passionate, but he is far from being just some angry dude. I've known him for well over a decade and the maddest he ever got at me was, I shit you not, me telling him that the actor who played Mad Dog in Raid: Redemption shows up in the sequel in a different role. He got annoyed because he didn't want any spoilers and that counted.
David's given me a stage to showcase my creativity and for that I will always be thankful to him. I've offered to help chip in for the site and he's never taken me up on it. Instead, he's just let me do my thing, never censoring me or telling me what I couldn't write. Over the past ten years, I've written a lot of stuff that I'm incredibly proud of. The What If Countdown, Ultimate Edit (and thanks to Nick Zachariasen for making that happen), This Week in Panels, the Top 200 Fighting Game Endings, We Care a Lot, Darkseid Minus New Gods and so many other things. Maybe I'm a poor man's [insert popular internet comedy writer here], but I made people laugh and put people in a good mood now and then. That's all I could ask for.
It could only last so long, I suppose. The articles I've written here have led to my hiring at Den of Geek US and that's where my focus is. As much as I hated to discover, when it comes down to writing something that will get me paid and writing something similar that will just be for fun, I need to go with the dollars. My 4thletter writing has dwindled to nothing and when David suggested pulling the plug, I didn't even blink. Still, thanks to Michael Stangeland for helping keep This Week in Panels afloat in these final months.
While I'm thanking the revolving door of "third guys" at 4thletter, I'd like to thank the original third guy, Thomas Wilde. I've known him longer than even David and he was really the first dude to ever see any potential in my writing. He gave me a lot of good advice over the years and I don't think I'd be here if it weren't for him. Thanks to Hoatzin, who was always the raddest, most awesome dude and Esther, who… okay, I honestly didn't know Esther all that well. But she did get me a Christmas present one time and David vouches for her, so she's good people.
Follow me on Twitter if you don't already and if you can stand it. You'll see me constantly posting links to my new home at Den of Geek. Other than that, it's been a blast and I thank every single one of you who read anything we've written and enjoyed it. I did something right.
Been real, Brothers. Been real.
Posted in brief bits by david brothers | | 30 Comments »
Me, on the internet.
November 7th, 2014 Posted by david brothers
I'm on the internet!
-You can see me on Independent Sources: Diversity in Comics, about 21:40 in.
-You can listen to me moderate I Is For Infinite at New York Comic Con 2014, featuring Kieron Gillen, Amy Reeder, Scott Snyder, Megan Levens, Josh Williamson, Antony Johnston, and Chip Zdarsky.
-You can listen to Grave-vid Smothers celebrate HELLOWEEN SPOOKTACULAR 3: SPECIAL TREEHOUSE OF ENGINEER DENNIS MEMORIAL 666 SPECIAL with Truckasaurus Stone, Season of the Witzke, Wet Donut In Aliens Jeske, Satanic Horror-ocks, The (understandably) Unretrieved Cremains of John K.O., and Jared the Atomic Space Ape Lewis. It's a good time.
Posted in brief bits by david brothers | | Comments Off on Me, on the internet.
Tite Kubo's Bleach 601: violence comix
October 23rd, 2014 Posted by david brothers
Look at that chapter page. Bleach, chapter 601. Tite Kubo on the wheels of steel.
This is Oh-etsu Nimaiya, originator of the magic soul swords Soul Reapers use in Bleach:
I like animation-like action storytelling the best, where you can chart every move as the character progresses from one to the next. Fluid continuity, maybe. Akira Toriyama does it well. But this stuff is great too, this sorta Jim Lee and Jack Kirby approach to storytelling moments, where it's the pose and pause that matter more than the flow. Action scenes that still make sense, but function differently than giving you every slice of information.
Here, Kubo's playing with chanbara blood spray, held poses, and the illusion of speed. Nimaiya's blade appears in another character's head before his partner even notices. By the time the partner notices, the blade is out and sliding across his throat. The speed lines help the sense of motion some, particularly the payoff of the zoom on the hooded figure's face on the next page, but these images generally feel "static." They're discrete moments in time.
It's all in the staging here. That long shot of Nimaiya walking away after taking a man's arm from him, already so far away after having swung his sword. Nimaiya with his foot on the hooded figure's chest, ready to pull the sword out (it's hilt-deep!) and swing simultaneously brings to mind iaido, though it's a little different. But every panel here builds Nimaiya up as a threat, as a murder machine.
Posted in brief bits, comic books by david brothers | | 2 Comments »
Stuff I Like, 10.21.14
October 21st, 2014 Posted by david brothers
I like Zainab Akhtar's look at the Lakes International Comics Art Festival. Con reportage in comics tends to be of the "I went here and got this" or "a publisher or creator said this on a panel" varieties, which are good, but not holistic the way Zainab's report is. The vibe of the area, the prejudices, the interests, all of that makes sense to include in a trip report. New York Comic Con has more aggressive crowds than San Diego Comic-con, the nightlife at Emerald City Comicon is more focused than New York Comic Con, and so on. The area and culture around the con matters, and if, as Zainab saw, that culture is hostile to certain groups of people…it's well worth discussing. I saw on Twitter that Zainab received pushback for including comments about how the town treated her…embarrassing. Better to listen and learn to recognize truth. We can do better. It's never "just" comics.
Kate Dacey joins Brigid Alverson at MangaBlog, securing that blog's status as one of the best comics blogs in the land. Kate & Brigid are absolute powerhouses at sifting for good information, and I'm glad to see Kate back on the manga internet. Brigid's interview with Takeshi Obata (Death Note, All You Need Is Kill, etc) is good, too.
My friend Katie Longua released a new comic recently, Munchies. She's running a contest (which ends on Monday) to celebrate the release of her book, which was an APE debut. Entering is easy and highly recommended.
Munchies is the story of a young lady with a killer case of the munchies. It's short and sweet, with an ending I didn't see coming. A cool thing about being around comics but not making comics myself is that I get to sit on the sidelines and watch as my friends make comics and just get better and better. Katie's got a cool cartoony style that lends itself well to eruptions of heavy detail, like the popcorn in a bowl, stacked junk food shelves, and wolf monsters erupting from bellies. Here's some promo art from her tumblr:
Katie's style feels "cartoon-ready" to me, like if someone picked it up and animated it it'd look just as good. She does simple designs very well, like the Munchie Lady's halter top and shorts, but she'll also throw in real-life fabric folds or weathering into the mix for added detail. Each character is distinct, with unique designs even when they share similar aspects…Katie makes good comics.
You can buy Munchies and her other works in print at her Storenvy, or you can buy any of her comics digitally for just a dollar or more. She did a whole risograph thing for Munchies—it looks good. I can't wait to see what she does next.
Posted in brief bits, comic books by david brothers | | Comments Off on Stuff I Like, 10.21.14
Spawn #1: Todd McFarlane on Respect
October 15th, 2014 Posted by david brothers
Before I worked at Image, I grew up a fan of stuff like Spawn and Wildcats. I found this essay while re-reading old Spawns and liked it enough to transcribe, since apparently that's where I'm at in my life right now. It's from the end of Spawn #1, by Todd McFarlane. Any typos are mine. I added the date to his sign-off, but otherwise, I believe I transcribed this correctly.
Why Image?
This is a question that will be asked a hundred times over the next few months. The answer will be as varied as the creative people involved in this somewhat historical undertaking. Though I wouldn't profess to speak for any other creator, I can give you some insight as to why I stand with Image.
The entire reason that I am here doing what I am, can be summed up in one word: RESPECT. Or, more appropriately, the lack of it.
Traditionally, comics companies have been the moving force in this industry. They had the name, financial backing, creative pool and characters. Because of this combination, it was almost suicidal to try to ply your trade outside of the company boundaries. (This fear started in the '30s.) As time went by and options became fewer, the creative pool became more convinced that we couldn't survive without the big corporation backing us. Luckily there were a few shining lights along the way. The biggest of them, for me, was Jack Kirby.
I was born in 1961 and was too young to be there when Mr. Kirby seemed to be electrifying the industry with his literally thousands of creations. By the time I started collecting at age seventeen his legend had grown to almost mythical proportions. Here was a man who had created, co-created, or at least had a hand in the conception of nearly every character I had ever heard of. In almost any other occupation, a person of his esteem would command respect from both the people he worked for and from those who follow his work. Unfortunately, as far as I could tell, this wasn't true.
By the mid '70s, I had heard and read about some of the struggles Mr. Kirby had endured. It was this rude awakening that was always in the back of my mind during my entire career working for Marvel and DC Comics. I mean, if Jack Kirby could be shuffled to the sideline and generally ignored, what chance did I have? The answer was none. Armed with this reality, I kept a close eye on the further advancements of the comic industry as a whole.
New companies seemed to spring up at the end of the seventies, such as Eclipse, Pacific and First. All of them had their time in the sun and all of them ran into a few obstacles too. One of the things they accomplished for the creators was to offer a choice, offer ownership and more importantly, offer the acknowledgement that we mattered. People like Kirby, Mike Grell, Frank Brunner, Jan and Dean Mullaney and a host of other talented people helped to pave the way for a much needed change in the industry. It is these people, along with others such as Steve Ditko, Don Heck and Curt Swan who put in years of service, with Marvel and DC, to whom I owe a debt of gratitude. Their work affords me the luxury of having creative control and a royalty payment on my work and it is my hope to acknowledge that what they did mattered to me.
Sadly, I do not think Marvel and DC feel the same way. They insist that their characters are always more important in the creative process than the creators. Almost all of us would probably agree that the characters are very important, but not at the expense of forgetting those whose visions led to the popularity of those characters. Somewhere along the process the companies seem to have lost sight that actual human flesh created every one of the characters that they now own. I think you will find that rarely do the companies make mention of the people who initially created the characters. I am not looking for them to go out of their way to give the life history of the creator. However, I have read ten page articles with information on characters given by the companies, without ever a mention of the creator.
As the years went by, my heroes turned into the likes of Alan Moore, Frank Miller, John Byrne and George Perez. I got more enjoyment from these four people than I thought I would at an age when comic books are usually the furthest thing from a young man's mind. But again, I stood by and watched as one by one they built up enormous popularity and readership for the companies that changed the rules half way through the ball game. Suddenly the company had all the answers as to why the books were selling, with no credit to the creative team that brought the books to the attention of the public. None of these four men are currently working full-time for the "big two." Frank Miller, in the beginnings of his career—his passions, his visions, his opinions and his convictions—turned out to be the things that the companies couldn't deal with, or were actually negative factors as the process continued. If he wanted to change the look and feel of a bad selling comic book ten years ago, why didn't those same things count eight years later? What it amounts to is, when a book isn't selling it doesn't matter what you do on it and when the book is a success new ideas are squelched and suddenly a status quo with a bag full of rules is attached to it. Mentally, I wasn't willing to accept these conditions any longer. Whether that is a lack of character on my part or seeing that there were other options available is irrelevant. I made my decision.
I thank Marvel and DC Comics for giving me the opportunity to provide my family with a living and a large forum to expose my talent. But the fun had gone out of it for me. It didn't matter that they were paying good money. My mind was wondering: In most other occupations the foreman will ask the workers how to improve the working conditions. That has never happened in comics. And why should it when the creators didn't count as much as the characters? I can honestly say that in the six or so years I've been in this business, other than Jim Salicrup, no one at the office ever solicited my opinion on anything. Not that I had any great vision, but given that I experienced some success, it seems reasonable that they might have wanted to tap into some of my ideas.
What I am trying to say is why wouldn't comic companies ask Ditko in 1963 why he thought his books sold? And Kirby in '64? Buscema in '65? Starlin in '72? Byrne in '75? Claremont in '78? Miller in '82? Moore in '85, etc. etc.? Every year, heck, every few months, there is a new hot guy. Why not tap into those people? Because, as far as the companies are concerned, it really doesn't seem to matter what we think.
Am I being a bit harsh on the big companies? Probably. Were there not any good times? A thousand of them. Then why couldn't I turn my cheek a few more times? To tell you the truth, it would have been far easier to stick with Spider-Man, collect a big check, fly to conventions and act like a big shot. Instead i am turning my back on a sure thing for some, perhaps, unattainable goal. My wife and I have a new daughter and I know that because I am following my heart I will be a better husband and father. No amount of money could buy me that. Also, I'd like to present a nice atmosphere that I work in to my daughter so that she isn't turned off by the whole comic process. Some day I hope she will be proud of me instead of thinking that I'm getting the shaft.
Now is the time for me to sink or swim. No one to blame but myself. The future has never excited me more. I can draw cool characters, monsters, silent issues, wordy issues, as a matter of fact no issues if I don't want to, and better than all that I don't have to answer to anyone. Sound egotistical? Call it what you will. Doing what I want, when I want, where I want. I call it exciting as hell.
In the future I hope to do a Spawn/Spider-Man crossover. An Image Comics team-up with Dark Horse, DC, Marvel, Tundra, Valiant or whomever. Different characters. Different companies. Different creators. The list is almost endless. I'm excited at the possibilities and I hope that you are, too. It's time for us in this business to all play together and not divide the ranks. We at Image are not out to burn anyone, quite the opposite. Given that we feel so excited about our work, it should show through on the printed page.
With people working at different companies, such as Liefeld, Lee, Silvestri, Larsen, Portacio, Valentino, Claremont, Miller, Moore, Simonson, Keown, Byrne, Baron, Gaiman, Romita, Breyfogle, Gerber, Layton, Perez, Grell and on and on and on, topped off by the "King" himself, Jack Kirby, we now have the potential to have all of us play in the same playground with the same rules…1) Don't screw your neighbor and 2) Turno ut the best damn comics that have ever been on the stands.
You out there now have the most important job. Let us, the creators and the companies know what you want and hopefully we'll be able to pull off a few of them.
In closing, let me leave you with a thought:
If someone gave you something that helped you grow in your life, would you think them for their concern or figure that you would have done it eventually.
I'd let them know they helped. That's good. That's honest. That's respect.
—Todd McFarlane, May, 1992
Posted in comic books by david brothers | | 3 Comments »
Color Cosplay
some of the stuff y'all put on tumblr like "only non-whites should cosplay non-white characters" makes it sound like progressive segregation
— ooohohohohohojousama (@hermanos) October 13, 2014
I've been trawling tumblr here and there for the past few days, looking for people talking about me the panels I ran at NYCC this year (I need the feedback), and also cosplayers who were at the con (cosplay is dope). A side effect is I've seen a fair number of essays or statements kinda policing cosplay, drawing lines in the sand in the name of diversity and respect.
A sentiment I've seen that rubbed me the wrong way was the idea that white people shouldn't cosplay characters of color because it's disrespectful to take those characters from the culture they belong to. Which has something of a point, but technically most of those characters were invented by white men, at least as far as comics go, so the culture point is on shaky ground to begin with.
if you mess with it, you mess with it, so have fun. just don't like…paint your face or nothing and it's all good. love is love.
But I understand where the sentiment comes from. It's fundamentally coming from a place of good intentions. Our culture is a white supremacist one, and a side effect of that is that fans and characters of color tend to get short shrift. It's a protective position—"This is yours, it is for you, and I do not want to do anything to take that from you." I respect that a great deal, but I think a hard-line position here with regard to who does what is ultimately harmful.
Part of the reason that characters of color don't often get shine is they don't get market support, and they don't get market support because they're viewed as being aimed directly and only at one particular audience, or even worse, the (adjective) version of something else, like the Black Avengers, the Lady Thors, and so on. They're treated as a niche instead of fitting into the greater spectrum of things like everything else does.
not to mention it's dope when white folks like non-white characters so much they wanna dress up. the norm's vice versa thanks to our culture
There are no Cosplay Cops to enforce the rules, I'm no dummy, but by suggesting that white people should avoid cosplaying characters of color, you're reinforcing the idea that these characters are not for everyone, that you must pass some test before you're allowed to do anything with them.
I appreciate the concern but yo, let's not section people off any more than we already have just because you read half a James Baldwin essay
And that's silly, because pure, honest enthusiasm knows no boundaries. I met a black female Space Dandy at NYCC who was PSYCHED somebody recognized her. She loved the show but not a lot of people caught her cosplay. I took a selfie with a white female Space Dandy at SDCC. There were two black ladies cosplaying the best versions of Rogue and Gambit at NYCC. Though none of these people were the canonical versions of these characters, they wore the costumes because they loved the stories and characters. It didn't matter they weren't the right demographic. They threw their own spin on it and came out looking fresh to death. And I want everyone to have that experience, no matter how much melanin they may or may not have.
Obviously, white cosplayers should be respectful when cosplaying non-white characters. Don't paint your face, don't lean into a stereotype…don't be a weirdo. Don't be a jerk. But if you love Blade, if you love whoever, you should be allowed to do your thing, because then others will look and realize that hey, maybe this thing isn't just for the colored folks after all.
basically: integration over everything. let's be friends. let's play together. let's have make ou–*sandman sims runs in with a steel chair*
I get where people who believe this are coming from, and I empathize. But I honestly think this belief is down to inexperience and a lack of examination. They're trying very hard to be good people, to be people who love others despite or because of their differences, but they're going absolute with it when real life requires fluidity. Not to mention that it's an incredibly reductive position since it pits whites against everyone else, which prioritizes whiteness over non-whiteness in and of itself.
It's a complex situation to be sure, and no one is technically at fault, if you dig me. It's all good intentions and cultural quagmires. But if it's love that's making you do something, and you're doing it in a way that you aren't inadvertently spreading hateful messages, why shouldn't you do it? It's the respect that makes the difference. Culture vultures swoop in and steal what was created by others, claiming it for their own and icing the originators out of the equation. True fans pay homage to the originals and represent out of love. I was a casual Lupin the 3rd at SDCC this year, despite being neither French nor Japanese. But I love that dumb guy and wanted to do my part to spread the word.
We're in this together. Fundamentally, objectively, realistically: we're in this together. It's easy to go way overboard and land on Condescension Square instead of Supportive Place when trying to better yourself and provide an example for others. If something ends with you putting up a wall between you and someone else, and it's not for self-protection? Rethink it. Walls aren't the answer. Walls are how we got here in the first place.
Posted in real life by david brothers | | 11 Comments »
Comic Cons: Work vs Play
I went to my first convention as a fan, though I was ostensibly there to cover it on behalf of Hardcore Gamer Magazine, in 2007. It was a nice time—I finally met Gavin after years of knowing and writing with him online, I put a couple other faces to names, and I had a good time. I went to one panel where a company announced its next crossover and its dozens of tie-ins mere days after they finished their last crossover and the audience audibly groaned. Not just one loudmouth in the back, either, a large enough portion of the audience was so dissatisfied with the news that they straight groaned in disappointment. Even people who are on the hook don't like being blatantly sold to. I laughed, and then I never went to one of those panels for fun again.
I learned a lot that first year, and I've been to a couple of cons a year since. SF-era Wondercon, San Diego, New York, and Emerald City—those are my shows. I worked NYCC and SDCC to make up for the travel costs, but I generally went to ECCC and WC for fun. But even "working" the cons as press means, at most, four-to-eight hours of actively doing things that aren't for you, with a lot of free time in those hours. You're essentially free to do whatever you like as long as you hit those meager marks and turn in copy. I took advantage—swims in the hotel pool, posting up at a bar's patio for hours because the sun's out, and sometimes even going into the show to see people.
I'm doing cons for Image now, which means I'm working-working, not press-working. Between sales and signings at the booth, panels at shows, and needing to keep up with my day job duties, I don't know how to do cons any more, at least the hanging with friends and having independent fun part. It's a whole different animal, going to a con to work versus play, and I've been having a hard time with it since I got started at Image last year.
It's not that it's difficult or annoying, though I suppose it is both of those—it's just different. It's new, it's unfamiliar, and I'm still feeling my way through it. I'm distracted and unfocused when trying to have fun with friends, and I could tell. They could, too. It sucks, but it's my row to hoe.
I'm finding a balance. I usually have a bad time at comics parties/events, so I focus on what I know works for me instead of the event-oriented nightlife. Finding a dark corner somewhere, leaving the con, walking and talking, whatever whatever. Talking about comics with strangers. I've taken to doing quiet, small-scale dinners with close friends instead of the sprawling comics dinners. Starting the show off on a good foot with a no-pressure thing. It works. It's working.
I don't really get stressed out at shows, but I do get anxious. Instead of being able to do nothing, I'm representing a company and have responsibilities. I want to make sure that I meet that need, so my down home work ethic says "All work, no play, son." Which doesn't work. It'll burn you out. You gotta find things that work for you. I dress up, too. Nothing too wild, I'm not Dapper Dan over here, but I like to put a little extra effort out there to look nice.
I like doing panels, too. I'm doing four for Image at NYCC:
Thursday, 5 – 5:45PM
Location: 1A21
IMAGE COMICS: I IS FOR IMMERSIVE
Comics can contain entire universes between their covers, and panelists Kelly Sue DeConnick (PRETTY DEADLY), Jason Latour (SOUTHERN BASTARDS), Jamie McKelvie (THE WICKED + THE DIVINE), Brandon Montclare (ROCKET GIRL), Kyle Higgins (C.O.W.L.), Tim Seeley (REVIVAL), and Ben Blacker and Ben Acker (THRILLING ADVENTURE HOUR PRESENTS… SPARKS NEVADA: MARSHAL ON MARS, THE THRILLING ADVENTURE HOUR PRESENTS… BEYOND BELIEF) excel at creating worlds that you can simply fall into from page one. Anything goes in comics, and now's your chance to pick the brains of some of the most creative minds around.
Friday, 12:15 – 1PM
IMAGE COMICS: I IS FOR INFINITE
Comics are much bigger than superheroes. Kieron Gillen (THE WICKED + THE DIVINE), Antony Johnston (THE FUSE), Megan Levens (MADAME FRANKENSTEIN), Amy Reeder (ROCKET GIRL), Scott Snyder (WYTCHES), and Joshua Williamson (NAILBITER) create comics that range from sci-fi/crime to historical romance to horror and far, far beyond. Whether you're here to broaden your horizons or check out a new work by your favorite author, these creators demonstrate the potential of comics.
Saturday, 2:15 – 3PM
IMAGE COMICS: I IS FOR IMPACT
No matter how weird of an idea you may have, if you can hook someone, they'll be a reader for life. Wes Craig (DEADLY CLASS), Matt Fraction (SEX CRIMINALS), Steve Orlando (UNDERTOW), James Robinson (THE SAVIORS), Roc Upchurch (RAT QUEENS), Frank Quitely (JUPITER'S LEGACY), and Brian K. Vaughan (SAGA) take strange ideas and turn them into intensely relatable and entertaining comics. Now, they're going to share their secrets and talk about how fun it is to make the unreal real.
Sunday, 2 – 2:45PM
IMAGE COMICS: I IS FOR INVENTIVE
All-ages comics are crucial to the longevity of the comics industry, and can be an incredible tool in entertaining and education children. Bring your family and come listen to panelists Nick Dragotta (HOWTOONS), Otis Frampton (ODDLY NORMAL), Chris Giarrusso (G-MAN), Sina Grace (PENNY DORA), and Fred Van Lente (HOWTOONS) speak on creating kids' comics and the importance of libraries in spreading awareness.
A cool thing about my job is that I get an alarming degree of freedom when it comes to coming up with these panels. They all get approved by the mothership, but the rosters, the ideas, the descriptions, all of that is easily 90% my fault. Image does big announcements around Image Expo, which means I'm free to make the panels exactly what I want out of comics panels: an interesting discussion between people who know their stuff. I'm only there to help keep it moving and to involve the audience.
Here's my approach: "What do I want to know?" That's it! I'll prep notes before the panel, and if I'm doing a Powerpoint presentation I'll have a cheat sheet in there too. I only come in with a few specific things to ask, because I've found that if you start the conversation off right and then let it flow from that foundation instead of reading from a list, you'll end up with a good time that ends up tying back into the theme of the panel. It's like magic. So I'm up there to fire the starting gun, ask follow-up questions when people say interesting things in passing, and involve the audience. It's a chance to satisfy my curiosity, and to create and satisfy curiosity in the audience.
The truth of comics panels is that the audience in the room is already on the hook and engaged. They may be the most engaged of all your fans, at least by a certain metric. So selling to them, letting them know it's going to be X issues and come out on Y day and its ISBN is Z, is a bad tactic. They already know, and if they don't know, they will know soon enough. So my choice is to engage them. Give them what they want and give them something they'll remember. I've been blessed to have panelists that are gregarious and hilarious. I lose it laughing on-stage at least once a show, oftentimes more. The audience seems into it, too. People dig my approach. We may not have much for breaking news, but I'd put my panels up against anybody else's for sheer quality.
I'm still finding my balance, though. New York Comic Con is my last show of the year, just a few weeks after a rough one, so I'm hoping I can have a good time and do my job well, too. I could be nervous or afraid, but honestly? I either will or I won't. None of this is new to me, and I know what I'm doing, so I'm not going to sweat it. I'm just going to do it, and things will work out in the end.
Posted in Conventions, New York Comic-con, real life by david brothers | | 1 Comment »
Tumblr Mailbag: All the Anime Fit To Watch
People on Tumblr ask me questions, I give them answers. It's a good system.
letao said: got any solid anime recs that're on streaming services? i'm falling back into it. so far (in the past 2.5 weeks) i've watched Ouran (4 times), Psycho Pass, the first two episodes of GitS: Arise, and Kill la Kill, for some context
I saw the first two eps of Arise, too, and I'm…super skeptical about the third! I haven't tried Ouran but I have friends who swear by it. Psycho Pass and KLK are dope. I keep meaning to rewatch Psycho Pass now that there's a new (extended?) series or whatever new in the franchise.
But yeah, let's do this. These are probably pretty flippant but I enjoyed the time I spent with all of these:
Ga-Rei Zero: I just saw that this is not only dubbed, but streaming on Hulu now. I watched it on Netflix a couple years ago and liked it a lot. The first ep is pret-ty dang good, and the story that follows is pretty good, too. It's about two girls who grow up like sisters in a family of exorcists. The sword-wielding, "spirit beast"-summoning kind of exorcists, not the Power of Christ Compels You kind. This one's melancholy overall, I think. I might rewatch it now that it's dubbed. (update: I watched the first two eps while writing this, I still like it)
Knights of Sidonia: The manga is better, but the anime is cool. A young guy returns to civilization after being raised by his grandfather on their own, like Goku. Only civilization is a floating space ark a long ways into the future and monsters called the Gauna are trying to eradicate human life. Luckily, the space ark has a fleet of Real Robot mecha…and this guy computer-trained on an older version so he's super dope! And so on, but a weird mix of creepy, funny, half-hearted fan service-y, and violent. The manga's up to volume 11, the show ends considerably earlier.
The Devil Is A Part-Timer: This show is seriously stupid but also pretty funny, like the cartoon equivalent of comfort food? It's not challenging in the least. The title kind of explains the entire show. There's the devil, in the video game sense, and he works a part-time job.
Blood Lad: This is about a prince of hell who is an otaku on the low. A living girl comes to hell, accidentally gets killed, and he brings her back to life as a ghost while working to bring her back to life-life. It's funny and the fan-service is so weirdly inert that it doesn't register as real service. But the character designs are cool, like if Jamie Hewlett designed characters who wear polos.
Tokyo Ghoul: Ghouls are vampire-zombies, but they're not so monstrous they can't like…run a swank coffee shop slash hideout for ghouls and wear butler outfits in-between eviscerating their foes. This one's pretty grim and ugly, like if Madoka Magica got to the turn earlier and leaned way into it. A lot of scenes are censored due to gore, including my new favorite way to censor things, which is to turn the image negative while still showing multiple impalements. This makes me sound horrible, this makes the show sound evil, but it's honestly entertaining like Gantz, but with more to say than "Like…boobs…y'know…?"
Future Diary: I think hate-watching or watching so-bad-it's-good is a crap move. Life is short and I got things to do. But I gotta say, I hated this show and loved every minute I spent watching it. It is vicious and gruesome and it goes a lot of places that I feel like were incredibly bad storytelling choices. But there are also bonkers plot twists, clever violence, and cool ideas. It's a survival game show—the hero gets a cell phone that tells him what's going on around him, his stalker gets a phone that tells her exactly what he's doing, someone else gets a phone that helps him do murders, others get phones that reflect their true love, etc. If you kill everybody else with these special x-men phones, you get to be Deus next but whoops ha ha somebody is sabotaging the game and things aren't going as expected, I wonder why??? Also there's a Home Alone episode only the toddler is the villain and the main character is the least palatable since the worst stereotype of Shinji Ikari you can think of. I cussed out my TV at great length probably a dozen times over the course of the series. This show is infuriatingly entertaining, like an exploitation movie written by a bunch of unforgivable marks and busters and filmed by someone pretty good. Honestly, though, by the end of it I was more exasperated than entertained and just wanted to see how poorly everything went. They didn't even go a third as far as a bunch of people surrounding Shinji Ikari and clapping like a TRUE HERO would have. All killer, some filler here. Personally, it caught me with the cross counter.
Golgo 13: Don't stand behind him.
Nobunagun: I like that Nobunaga, only (weird adjective) is a genre now. In this one, Nobunaga's legendary soul or whatever has been reincarnated into this young girl, who then goes off and basically joins The League of Extraordinary Super Sentai Gentlemen, including Bishonen Jack the Ripper (who has a RIDICULOUS origin story, the most PREPOSTEROUS thing anyone has ever said about Jack the Ripper, I love it), Playboy Gandhi (he has a barrier ability), Professor Charles Xavier Robert Capa, Errand Boy Gaudi, :3 Galileo :3 Galilei :3, and New God Barbara Gordon Francois Vidocq. I was pretty into this show when it was new. It's goofy and stupid but willing to be exactly what it says on the box, but not in a way that's like "turn off your brain ha ha that will make it better." It's just a straight-up "Yo, here are historical figures with science powers versus aliens." The first ep does a cool thing where all the black shadows (I believe) were replaced with this kind of glowing, moving floral print. It was immediately visually striking, and the rest of the show has a tone I dig a whole lot. It's gleeful.
Beyond the Boundary: For some reason "half-monster dudes and the violent ladies who love them" is a genre, too, and I think this is the best I saw in that lane. The girl kinda sucks at first, but her power is controlling blood as a weapon, so that's already interesting to me. it goes a lot of interesting places and is pretty nice to look at, too. All the episode titles are colors—I liked that.
Samurai Flamenco: It's like Kick-Ass, only about a model who decides to become Kamen Rider and not mean or anything. Then they added a little of Sailor Moon with some Go Nagai attitude to back him up down the line, and then it turned into full-on Power Rangers, and then…look, it's Kick-Ass, only it keeps doubling down on its earnestness and dedication to and respect for all the different types of tights & fights entertainment until it lands on a rousing ending. It's superhero as heck, is what I'm saying here, but it is also a love letter to and critique of the genre. Dudes get kicked in the dick by the lead singer of a trio of superheroes who make cash as a girl group, the hero rides around on a bike with a helmet that matches his uniform, many speeches about the necessity of heroism are made.
Gargantia on the Verduous Planet: A guy who pilots a mech crash lands on a ship (think Waterworld)…and the army he belongs to is nowhere to be found in the solar system. So he just like…chills? This show is incredibly well-animated for what it is. If Hajime no Ippo looked like this I would die. This show had the nerve to have either two or three beach episodes in a row—either way, there was a lot of cavorting and bbqing toward the middle bits, way more than most other series dare. It's charming, has nice designs, and is pretty fun. I like A Boy and His Robot stories. This one's pretty fan-servicey though.
Straight Title Robot Anime: Three robot girls post-Skynet, post-Judgment Day, post-extinction try to figure out humor! The entire show is explaining jokes using crude computer graphics, but the writing is so unbelievably good. "Here's how a pun works" sounds dumb as heck but the way they choose to do it is A+, and then there are Super Robot jokes alongside. The running gags are second-to-one.
gdgd Fairies: I don't know how to recommend this show without hyperbole, but it's the one STRA is second to. If Eric Andre did an anime, and that anime was so ugly it was aesthetically pleasing because it looks like 1998 and that was a good year, and it starred three voice actresses who mostly stayed in character, and those three actresses had a whole segment where they have to make up dialogue for brief video clips…they might as well have stopped making anime after this, and probably outlawed jokes, too. Nothing will be as gdgd. Here are some clips I reblogged a while back.
DD Fist of the North Star: The Devil Is A Part-Timer for FotNS fans, only Ken is the part-timer, Jagi lives in a box, Ryuken owns the convenience store, and Yuria is a cardboard cut-out. It is almost exactly as funny as gdgd Fairies, but probably not funny at all if you're square and don't like Fist of the North Star. (You're already dead inside.)
The Eccentric Family: This one is a heart-warming tale of a family of cute Japanese monsters who exist in a community of cute Japanese monsters and the sort of trials and travails they go through. It is very warm and melancholy on occasion. Totally worth the time.
Champion Joe 2: It's a boxing anime with a hero who accidentally killed his main squeeze's brother in the ring in the prior series and talks a lot of long walks in dramatic rain in between knocking fools out accordingly. This was made for me.
Aldnoah Zero: I kept expecting this to be Encyclopedia Brown Pilots A Robot, but it continually defied my expectations. Mars has tense relations with Earth (Martians are just regular humans only they have the feudal system??) and then things erupt into war. Luckily, there's a whip-smart kid on the ground who gets swept up into things through sheer chance. There's a whole lot more going on and this ended up being a very interesting and tight show. It ended recently; I loved it.
Monthly Girls' Nozaki-kun: A high school girl confesses her love to her crush. He takes her back to his apartment, they settle in, and she begins helping him ink his manga. He writes a very popular girls' comic, you see, and she confessed her love by saying she's "a fan." These things happen, and more things like this keep happening, thanks to a freakish and wonderful cast of characters. This show is basically that manga subplot from Nichijou (the only thing that's as gdgd as gdgd) only with less violence. It's real funny.
From the New World: Tomorrow, a bunch of kids go full Akira and telekinesis is outlawed. In the far future, there's a village in a pseudo-feudal future Japan where children learn to control their powers. It's basically full-on fantasy, but surprisingly down and kinda…1984 about some things. The world-building is good, the revelations are horrifying, and this is a good "serious" anime. It's not very flashy, but it's good. I like the opening theme.
Kyousougiga: Probably the best-looking thing I've seen in a long while. It reminds me of The Eccentric Family, I think because they both share the same family thing at the center of it, but this is like…if Cowboy Bebop became a genre unto itself, then this is what happens when FLCL is a genre, and someone does a story about belonging and feelings on a Michael Bay budget, definitely fool cool, but not fully fooly cooly. So much fun, too. I'd recommend this to anybody but it can get saccharine. Swear all I like are cusswords and violence cartoons and heart-warming friendship smiley face stuff.
It's not on streaming any more but I would pay tens of dollars for a boxed set of Nichijou/My Ordinary Life. I remember when anime was new and mind-blowingly realistic compared to American stuff, and Nichijou somehow manages to evoke that feeling and tell some unbelievably good jokes. I think it went off streaming this month or last.
Posted in movies, reviews by david brothers | | Comments Off on Tumblr Mailbag: All the Anime Fit To Watch
Do These Things At Rose City Comic Con
September 17th, 2014 Posted by david brothers
The best panels in comics are going on the road to sunny (?), vibrant (??) Portland, Oregon for Rose City Comic Con this weekend. I'm moderating four panels at the show, two for the check writer and two for the con itself.
SATURDAY, I'm talking to a few of the people making comics in the mainstream that connect with people in a way that mainstream books often don't. We're talking stories that are human and humane, that reach past the glitter and spectacle and put the big squeeze on your heart, that something something your something something, clever ending that ties it all together.
Image Comics Presents I is for Immediate
Room: Panel Room 2
Separately, Kelly Sue DeConnick (Pretty Deadly), Matt Fraction (Sex Criminals), and Greg Rucka (Lazarus) have written some of the most compelling and intensely relatable comics on the stands. Together, these three writers are part of a wave of creators creating stories that reflect life as live it and the world as we know it. Join them as they discuss writing comics and striving for more.
SUNDAY, I have a packed schedule. First, I'm talking to Sloane Leong, Leila Del Duca, and Ben Dewey about creativity and storytelling and their approach to comics and so on. Second, I'm talking to Dynamic Dustin Nguyen, an artist whose work I've dug since I first discovered Wildcats 3.0. He's got a unique style, and I'm looking forward to seeing where it came from. Third… Parker/Brothers, son. And immediately after that? I'm on a plane, but baby don't forget me, I'm a travellin' man.
Image Comics Presents I is for Irresistible
Time: 11:00AM – 11:50AM
Comics art is better than ever and reaching new heights on a daily basis. Sloane Leong (From Under Mountains), Leila Del Duca (Shutter), and Ben Dewey (Tooth & Claw) share the secret to making great comics, sustaining creativity, and just how important artists are when it comes to storytelling in comics.
Spotlight: Dustin Nguyen
Dustin is one of the most prolific and hard working artists in the comics industry. He has worked on numerous Batman titles including, The Authority, American Vampire, and now the critically acclaimed digital first title Batman: Li'l Gotham, Dustin has truly shown he's a force to be reckoned with.
Spotlight: Jeff Parker
From the humble beginnings as a comic artist to being one of the most sought after writer's in the industry, Jeff Parker has shown that his unique take and sense of humor adds a level of depth to his characters rarely seen in the industry. Come step into the mind of the man currently behind Aquaman, Batman '66, X-Men: First Class, and so much more.
If you've never been to a panel I've run, here's how it goes: I introduce everybody, I pick their brains a bit to set the foundation for the chat to come, and then audience Q&A is integrated into the discussion. If you ask a question, you get a free comic. If you ask a really good question, I'll give you a handful of comics. It's a good deal for everyone.
On top of that, my friend Marissa Louise is putting on a Ladies Mixer at Rose City. It happens before the con opens to the general public, so you need to be either on a panel or tabling. She tells me some wonderful women have already chosen to attend, so if you fit the bill, you should check it out and have a bite to eat. Marissa is cool people, very smart and fiercely protective of her folks. You can tweet her if you need more info.
Saturday September 20th, Rose City Comic Con (Portland Convention Center)
9:00 am to 9:45 am Panel Room 5
On top of all that, Caleb Goellner, one of the top two stand-up guys in comics, teamed up with Dark Horse editor Jim Gibbons to drop Birch Squatch: The Last Bigfoot this week. I like Caleb, I like Caleb's comics, you should read Caleb's comics. He also does Mermaid Evolution solo and Task Force Rad Squad with Buster Moody. All his comics are pay-what-you-want, so throw him a few bucks and have a good time.
Finally, If you see me at the show, and you can do it without being weird, I'll show you cool comics (American and Japanese) stuff you've possibly never seen before on my iPad.
Posted in brief bits, Conventions by david brothers | | 1 Comment »
Kobe Doin' Work, five years on
August 28th, 2014 Posted by david brothers
I re-watched Spike Lee's 2009 documentary Kobe Doin' Work: A Spike Lee Joint recently. It's the story/study of one game during the 2007-08 season, when Phil Jackson's Lakers went up against Gregg Popovich's Spurs, featuring voiceover commentary by Kobe Bryant after he went off for 61 against Spike's Knicks. It was a significant game, thanks to a Lakers/Spurs rivalry (Wikipedia tells me the "two teams combined to win seven of the last nine NBA Championships") and Kobe gunning for League MVP. He ended up playing 32 minutes, putting up 20 points on six made shots.
It's a weird documentary, maybe closer to an homage than a true study of the man and his work. It's uncritical, in that no one ever questions him or his actions, but having Kobe be the dominant voice throughout the feature also reveals a lot more of Kobe than I expected to see.
It's funny—2009 feels like forever ago, both for me and in basketball terms. That season was the first Kobe/Pau season. Trevor Ariza, Andrew Bynum, Jordan Farmar, Derek Fisher, Lamar Odom, Luke Walton, and Ronnie Turiaf spent time in the purple and gold that year. Kobe hit 20,000 career points. Now even Pau is gone.
Kobe's a good subject for a documentary like this, because he's so focused, driven, and talented. He's either the greatest Laker or second behind Magic Johnson. But as a result of the focus on Kobe, the doc is almost entirely unconcerned with the other players on the court, the score, or the team's performance. There are a lot of shots of Kobe watching someone take a shot or make a play, instead of seeing how that play turns out.
Kobe Doin' Work is weird, there's a lot of slo-mo and some visual flourishes that don't quite work, but it's still fascinating. I think my favorite part of the doc was how Kobe subtly dominates every single person around him, from his teammates to his coach. Even Spike gets it—Kobe makes it a point to talk about how he wanted to shut Spike up in New York before recording.
It varies. Kobe talks a lot about how he and Jackson will call the same plays without knowing, and marks it up to them working together for so long. He talks about wanting to teach—not show—his teammates things about the game or the other team. He'll tell people about double team tactics on the bench or urge them to do basic things.
Once you realize what he's doing, it's hard to ignore. Kobe positions himself as an authority in every interaction he has with other people, and reaffirms that position through his commentary on himself. There's a few minutes where he talks about tolerating misses from himself, because he knows a hit is coming. On-screen, he takes suspect shot after suspect shot.
It grates, but I get it, too. Kobe is an all-time player. He's the post-Jordan star, the pre-Lebron king, and he's stuck with one team his whole career. In 2009, he was Kobe Bryant. It'd be one thing if he was Dwight Howard or Dwyane Wade or Ray Allen—they're good, but he's Kobe Bryant. He's a competitor, and while he definitely considers himself the star and focus of the team, an assumption which is true honestly, he understands that teams win games. So he's doing everything he can to ensure that his team comes out on top, because without the Lakers propping him up, there's no Kobe.
It's self-centered and selfish, but smart. Kobe is incredibly good at what he does, and sharing his knowledge undoubtedly makes his team better. He praises his teammates at length, but he's honest about their shortcomings, too. He mentions that one player needs to get into a rhythm, so he tries to hook him up with good shots. He praises the team's basketball IQ.
As a picture of a competitor, Kobe Doin' Work is great. You don't get to dig too deep into Kobe-the-Person since the spotlight is squarely on Kobe-the-Superstar, but you can see the passion and drive that made him who he is. It's not much of a highlight reel or even a straight basketball doc. But it's the kind of project that reveals things that would only be revealed through this specific approach. It's edited, but still has an off-the-cuff feel, with Kobe audibly smiling and laughing his way through part of it and frowning when he messes up. Spike only pops up once or twice to guide the conversation, so all you really hear is Kobe, the PA system, and the commentary, when they're incorporated into the narrative.
It's wild cheap on Amazon at the moment, just five bucks. Watching it now, now that Kobe's signed what may be his final contract with the Lakers before retirement and he's giving sunset interviews to Sports Illustrated, complete with outtakes, I feel like I get it now more than I did in 2009. Kobe's a great basketball player, true, but he didn't get that way by accident. Kobe Doin' Work paints a better picture of who Kobe is than his performance on the court or random post-game interviews could possibly reveal.
Posted in movies, sports by david brothers | | Comments Off on Kobe Doin' Work, five years on


We will look for the best shoes for women on every category and from any angle available.
In order to make it easy for you to choose the right shoe.
topshoeswomen.com website is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com.
I, however, never link to specific products just in order to advertize them. I link only to the products that I genuinely find helpful, and the webpages linking to such products express my honest opinion on the products.
In other words: I never recommend a product just in order to persuade you to buy it; I recommend it because I myself find it useful.


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Q: Ionic 3 | Facebook Native not working after building --release android I recently followed these instructions to build an app which I published on Google Play. After finishing, the Facebook Login no longer works. I get the Key hash xxxxxxxxxxx= does not match any stored key hashes. I added this hash to Facebook, but still getting the same message. I even generated a new hash following this answer https://stackoverflow.com/a/18101444/385623 and nothing. What can be the problem?

A: In my case after publishing the app to Google Play I was able to to to find the SHA-1 fingerprint (which I also copied to Firebase > Project settings > Android app as well)
In the Google Play Console: Release management > App signing find the SHA-1 certificate fingerprint then use this http://tomeko.net/online_tools/hex_to_base64.php to convert it. Save the Output (base64) to your Facebook app and it should work. It did for me.

redpajama_set_name: RedPajamaStackExchange


This article was written By John Berra on 02 Dec 2010, and is filed under Reviews.
Although the New Korean Cinema dream team of director Kim Ji-woon and leading man Lee Byung-hun has already explored the theme of revenge with their 2005 collaboration A Bittersweet Life, they undoubtedly up the ante with the brutally realised retribution of I Saw the Devil. While the earlier film encouraged the audience to become swept up in the sheer excitement of a mob enforcer's efforts to take out the employer who has ordered his execution, I Saw the Devil is a murkier affair in terms of moral engagement, with events taking place in a recognisable social reality rather than the occasionally exaggerated criminal underworld of A Bittersweet Life. Kim is a frequent genre-hopper whose past credits comprise the black comedy The Quiet Family (1998), the unsettling horror A Tale of Two Sisters (2003) and the action-packed western The Good, The Bad, The Weird (2008), but his latest film takes tentative steps into Park Chan-wook territory with I Saw the Devil evoking a similarly unpredictable entanglement of physical and thematic excess as Park's much-admired Vengeance trilogy (2002, 2003, 2005). However, Kim ultimately adheres to formula in order to achieve a cathartic conclusion with this palpable tension between the need to deliver a star-driven commercial thriller and a desire to engage in a deeper mode of inquiry making I Saw the Devil a strangely unsatisfying experience, despite the director's typically stylish treatment of the material.
The strengths and weaknesses of I Saw the Devil are made equally apparent by its clearly defined three-act structure: in the first third, a young woman is murdered in the middle of nowhere by sadistic serial killer Hyung-chul (Choi Min-sik), who proceeds to dismember her body with the individual parts disposed of in the nearby river. The fiancé of the victim is Joon-yeon (Lee), a special agent who vows to track down the man responsible for his grief; Joon-yeon works his way through several suspects before realising that Hyung-chul is the guilty party, but after locating the murderer, Joon-yeon does not kill him or place him under arrest; instead, Joon-yeon knocks Hyung-Chul unconscious and force-feeds him a GPS tracking device, then allows him to recuperate and go about his business. The extended mid-section finds Hyung-chul trying to resume his murderous rampage, leading to uncomfortable encounters with potential victims in a doctor's surgery and a remote house, only for Joon-yeon to intervene at the last possible moment; Joon-yeon keeps beating Hyung-chul within an inch of his life, then letting the killer recover in order to repeat the process, thereby inflicting a level of pain which will eventually equal his own sorrow. In the final third, Hyung-chul realises that he has a tracking device in his stomach and gets rid of it with the aid of some fast-acting laxatives, leading to a fairly conventional climax as the renegade special agent races to Seoul to save the lives of his extended family.
In its first and third acts, I Saw the Devil largely conforms to the thriller template, with Kim's trademark attention to detail further establishing his credentials as a seriously skilled genre practitioner. The murder of Joon-yeon's fiancé is straight out of the serial killer movie handbook, with its quiet location and a spot of unwelcome 'assistance', but Hyung-chul's attack is shocking in its suddenness, while Kim's assembly of clichéd elements (a trail of blood in the snow, blood spilling out of a sewer pipe, the discovery of the body) is both arresting and menacing. Joon-yeon's emotional unravelling upon realising the identity of the victim is conveyed in an effectively understated manner by Lee, providing a glimpse of a personality that is otherwise only seen when his character takes a 'bathroom break' in order to sing to his ill-fated fiancé over the phone. The final third, in which Joon-yeon must deal with the both the personal and professional fall-outs that have resulted from his actions is less well handled, with the agent's strained relationship with his superior resulting in some unremarkably scripted shouting matches. Credibility is then stretched to breaking point as Joon-yeon pulls off a super-slick vehicular manoeuvre so that he can abduct Hyung-chul again for the climactic confrontation. Still, the somewhat forced final showdown does enable Kim to tie-up both narrative and thematic threads that would be left hanging without this large injection of commercial convention.
The moral 'meat' of I Saw the Devil is found in the fascinating mid-section with Joon-yeon's treatment of the partially captive Hyung-chul playing out as a combination of personal revenge and dangerous social experiment; no matter how many beatings the special agent dishes out to the sociopath, the latter refuses to reform and his resolve to kill strengthens due to the former's interventions denying him the 'satisfaction' that he regularly receives from killing. The lengths that Joon-yeon goes to in his quest for vengeance become increasingly questionable from a moral standpoint as he allows innocent individuals to come close to death before stepping in, saving their lives but not sparing them from the terrifying experience, or any post-traumatic disorder that may result from it. Of course, the notion of the hero becoming as monstrous as the villain that he is pursuing is not exclusive to I Saw the Devil, but Kim certainly succeeds at demonstrating the potential for evil within even a supposedly morally upstanding state servant such as Joon-yoo; Hyung-chul's victims see the 'devil' before their untimely demise, but Hyung-chul in turn sees the 'devil' when receiving another beating from Joon-yoo, while the special agent eventually sees the 'devil' in himself when dealing with the collateral damage of his self-assigned revenge mission. However, once making this point about human nature, Kim seems unsure of how to develop it in narrative terms and lets Hyung-chul off the leash for the finale.
Some of this uncertainty is unfortunately evident in Lee's performance; I Saw the Devil follows in the footsteps of such star-orientated South Korean thrillers as Kwak Kyung-taek's Typhoon (2005) and Na Hong-jin's The Chaser (2008) in offering a high stakes cat-and-mouse scenario, with an equal amount of screen time being allocated to each leading actor, but Lee struggles to show his character's slippery moral slope. Back on South Korean soil following ill-fated bids for transnational stardom with Tran Anh Hung's I Come with the Rain (2009) and Stephen Sommers' G.I. Joe: The Rise of Cobra (2009), Lee initially over-comes an underwritten role to establish Joon-yoo as a career-minded agent, but struggles in the later stages when his character's actions appear to be less of an extreme reaction to loss than an extension of his professional persona; Joon-yoo's early aggressive interrogation of the two other suspects (shattering the testicles of one, knocking the other off his motorbike) also makes it difficult to determine at which point this special agent really goes off the rails. The tour de force, then, is delivered by Choi, channelling his Park Chan-wook collaborations as the rage of Oldboy (2003) merges with the hide-in-plain-sight monstrosity of Sympathy for Lady Vengeance (2005). Hyung-chul is a scary self-contradiction; reckless yet resourceful, slow on the uptake, but media-savvy enough to use his notoriety to his advantage by reminding a young woman who is reluctant to accept his offer of a lift that there is a serial killer on the loose. Even Choi's efforts are ultimately undermined by the fact that Kim is better at executing action than exploring obsession, but I Saw the Devil remains a grimly compelling thriller regardless of its shortcomings.


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Q: In iOS how to run code at scheduled time? My Objective is running code at certain time, no matter the app is in background or terminated.
I tried using RunLoop but this option doesn't work when the app is not in foreground state.
Would be there anyway to achieve this?
Thanks ;)
edit: certain time refers to time like 12:00 AM, or 3:00 PM


I have now added support for duplicate attribute tags: This new version fixes a bug causing the previous version of the program to error when processing non-uniformly scaled dynamic blocks, and also offers the user the ability to process a selection of blocks rather than processing all blocks and output the results to a Text or CSV file.
This information is provided as a guide only. When the coprocess is executed, the shell creates an array variable see Arrays named NAME in the context of the executing shell.
Because this column discusses the Bourne shell, any commands discussed here will only work right if you are using the Bourne shell. I know from personal experience. Welcome to Lee Mac Programming Custom Programming Services Want to harness the power of custom programming to save your company countless hours of repetitive work?
Reboot your modem and router. Though the interactions of the parts in a "disorganized complexity" situation can be seen as largely random, the properties of the system as a whole can be understood by using probability and statistical methods.
The most natural way to store mappings in Python uses the so-called dictionary data type also known as an associative array or hash array in other programming languages.
Use longer names for larger scopes External APIs should have longer and explanatory names that confer meaning. GNU ParallelPrevious: Just because a UNIX program is a shell script does not mean it isn't a "real" program. Enclosing the percent sign in quotation marks or preceding it with caret does not work.
If the modem is provided by your ISP, often they can reset or "reboot" it from their service center. Special names[ edit ] Some variable names are not visible using SET command. We can think of this process as mapping from words to tags.
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This may be used to override the normal precedence of operators. The updated code also removes the restriction present in the previous version which prevented layers whose layer name started or ended with the same character as the prefix or suffix from being selected for processing.
Parallel can speed this up. This is a general advantage of the axiomatic approach in mathematics. In algorithmic information theorythe Kolmogorov complexity also called descriptive complexity, algorithmic complexity or algorithmic entropy of a string is the length of the shortest binary program that outputs that string.
This also points to a poor Internet connection, and can affect printing. Each dictionary and grammar classifies these words differently. This new version fixes a bug in which any text content following the last field expression held by the target annotation object would be lost following the application of the source field formatting.
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In a remote software you would notice delay or a lag in what was being done versus what you are seeing.
This allows classification of computational problems by complexity class such as PNP, etc. For example, if your keyboard has a number pad, the temperature symbol i. What does low download speed look like? Exceptions exist and are beginning to grow as wireless technology improves but generally speaking a wired connection will always be fast because less chance exists for packet loss.
You can find out which version of cmd. The new version enables full compatibility with multileaders containing attributed block content, and the user may configure the program to renumber attributed blocks, attributed mleaders, or both. Finally, I have shared yet another dynamic program which also utilises my recently published GrSnap utility: The Apostrophe and the Quote Function.
GNU Parallel, as its name suggests, can be used to build and run commands in parallel.
This program allows the user to automatically generate a polyline in modelspace representing the outline of a selected paperspace viewport.C Program to Sort set of strings in alphabetical order.
By Chaitanya Singh | Filed Under: C Programs. C Program to find sum of array elements using pointers, recursion & functions; C Program to reverse a given number using Recursive function.
Systems theory has long been concerned with the study of complex systems (in recent times, complexity theory and complex systems have also been used as names of the field). These systems are present in the research of a variety disciplines, including biology, economics, social studies and agronumericus.comly, complexity has become a natural.
As you can see, the dot is not a special character. Filenames may or may not have a dot. UNIX Programers use the dot to standardize on the type of source code of. Scala is one of the main application programming languages used at Twitter.
Much of our infrastructure is written in Scala and we have several large libraries supporting our use. While highly effective, Scala is also a large language, and our experiences have taught us to practice great care in its.
Windows 8, and above access to your ClientTracker Cloud, To access your file, open your Internet Explorer browser. Contact Ginkgo Software to be assigned a user name, password and the correct link. Accept a set of names and sort them in alphabetical order using structure /* Write a C program to accept a set of names and sort them in * * an alphabetical order, Use structures to store the names */.