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Massaga
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Author:Laxman Burdak, IFS (R)
Massaga (मसागा) was the Ancient Greek name for the site of a city captured by Alexander the Great. It was the capital of the Assacenians. [1]
1 Variants of name
3 Origin of name
4 Mention by Panini
6 मसागा, पाकिस्तान
7 Ch.26: Siege of Massaga by Alexander
8 Ch.27: Sieges of Massaga and Ora by Alexander
9 Jat History
Variants of name
Masaga मसागा, पाकिस्तान, (AS, p.719)
Massaca
Massanagar
Massagetai
Masaga
Massaka
Mashkavati
Maśkāvatī
Mashakavati/Maśakāvatī/Mashakāvati
Masakavati
Mazaga
Origin of name
Mention by Panini
Masaka (मसाक) is mentioned by Panini in Ashtadhyayi. [2]
Mashakavati (मशकावती) is mentioned by Panini in Ashtadhyayi. [3]
Masika (मासिक) is mentioned by Panini in Ashtadhyayi. [4]
V. S. Agrawala[5] writes that according to Greek writers Punjab was full of towns, centres of Industry and economic prosperity. Many of these figured as forts of centres of defence such as the famous town of Massage (Mashkavati/Maśkāvatī) or Aornos (Varaṇā) in the country of Ashvakas.
V. S. Agrawala[6] writes about Art of war – The Āyudhajīvīns were warrior tribes organized on a military basis into Sanghas, occupying mostly the Vahika or Punjab. Their member were known as Āyudhīya, 'making a living by the profession of arms' (Āyudhena jīvati, IV.4.14). We know that these soldiers put up the stoutest resistance against the Greeks in the 4th century BC.
The Ashvakayanas of Masakavati and the Malavas, all ayudhajivins, constituted the finest soldiery, which extorted the admiration of foreigners. The Kshudrakas and Malavas (Ganapatha of IV.2.45) , we are informed by Katyayana, (p.422) pooled their military strength in a confederate army called the Kshudraka-Malavi senā. The foot soldiers (padāti) of the Salva country have been specially noted (IV.2.135). (p.423)
V S Agarwal [7] writes names of some important tribes in the Ganapatha, which deserve to be mentioned as being of considerable importance. We are indebted to the Greek historians of Alexander for the information that most of these were republics. These tribes include - Hāstināyana, Āśvāyana, Āśvakāyana. The first is mentioned in Sutra VI.4.174, the second in IV.1.110, and the third in Naḍadi gana (IV.1.99)
[p.454]: While describing Alexander's campaign from Kapisa towards the Indus through Gandhara, the Greek historians mention three warlike peoples, viz., Astakenoi, with capital at Peukelaotis, the Aspasioi in the valley of Kunar or Chitral River and the Assakenoi settled between the Swat and the Panjkora rivers, with the capital at Massaga, and more especially in the mountainous regions of the Swat. The Paninian evidence throws light on these three names for the first time:
(a) Aspasioi = Ashvayana; in Alisang or Kunar Valley
(b) Assakenoi = Ashvakayana; in the Swat valley and highlands, with capital at Mashakavati
(c) Astakenoi = Hastinayana; near the confluence of Swat with the the Kabul, with capital at Pushkalavati.
The Asvayanas and the Asvakayanas were the bravest fighters of all, being strongly entrenched in their mountainous fortresses. Alexander himself directed the operations against them. The Ashvakayana capital at Massaga or Masakavati is given in Bhashya as the name of a river (IV.2.71), that should be looked for in that portion of the Suvastu in its lower reaches where Mazaga or Massanagar is situated on it at a distance of 24 miles from Bajaur in the Yusufzai country. In times of danger the Asvakayanas withdrew into the impregnable defences of their hilly fortress which the Greeks have named Aornos. It appears to be same as Varaṇā of the Ashtadhyayi (see ante, p.69, for its identification with modern Uṇrā on the Indus). The Greeks also mention another of their towns, viz., Arigaeon, which commanded the road between the Kunar and Panjkira valleys, and is comparable with Ārjunāva of the Kashika (ṛijunāvām nivāso deshaḥ, IV.2.69).
V S Agarwal [8] writes that We are told by the Greek historians of Alexander how the impregnable nature of the defences of Massaga and Aornos forts (Mashakāvati and Varaṇā) helped the heroic Ashvakayanas of Gandhara in offering resistance to the invaders.
V.K.Mathur[9] writes that Masaga was a very safe place situated between Sindhu and Panjaura Rivers to capture which Alexander had to do extensive efforts. Masaga was inhabited by Assaka (Ashvaka) people and was their capital. The city was surrounded by mountains, river and artificial trenches and boundary. It is said that Alexander was wounded by arrow of Massagas while he was inspecting fort. Alexander assured them their safety but conspired and attacked them and occupied the fort. The fort remained in Alexander's occupation for sometime but it became free when Alexander left India. The location of Massaga is not known but it is believed that it was some where in the valley of Bazor.
As heard by all men there, in that region of Saka, are four sacred provinces. They are the Mrigas, the Masakas, the Manasas, and the Mandagas.
The Mrigas for the most part are Brahmanas devoted to the occupations of their order.
Amongst the Masakas are virtuous Kshatriyas.
The Manasas live by following the duties of the Vaisya order. Having every wish of theirs gratified, they are also brave and firmly devoted to virtue and profit.
The Mandagas are all brave Sudras of virtuous behaviour.
In these provinces there is no king, no punishment, no person that deserves to be punished. Conversant with the dictates of duty they are all engaged in the practice of their respective duties and protect one another. This much is capable of being said of the region called Saka.
मसागा, पाकिस्तान
विजयेन्द्र कुमार माथुर[10] ने लेख किया है ...मसागा, पाकिस्तान, (AS, p.719): सिंध और पंजौरा नदियों के बीच के प्रदेश में बसा हुआ एक सुरक्षित नगर जिसे विजित करने में यवन आक्रांता अलेक्षेंद्र (सिकंदर) को अत्यधिक परिश्रम करना पड़ा था (327 ई. पूर्व). यहां उस समय अस्सक (अश्वक) गणराज्य की राजधानी थी. अश्वकों ने यवनराज का सामना करने के लिए बीस सहस्र अश्वारोही सेना (जिसके कारण वे अश्वक कहलाते थे, देखें कैंब्रिज हिस्ट्री ऑफ इंडिया, जिल्द-1), तीस सहस्त्र पैदल सिपाही और तीस हाथी मोर्चे पर खड़े किए. नगर चारों ओर से पर्वत, नदी तथा कृत्रिम खाइयों और परकोटे से घिरा होने के कारण पूर्ण रूप से सुरक्षित था. अलेक्षेंद्र, नगर की किलाबंदी का निरीक्षण करते समय आंखों के तीर से घायल हो गया. इससे घबराकर उसने नगर के अंदर के सात सशस्त्र सैनिकों को सुरक्षा का वचन देकर उन पर धोखे से आक्रमण कर दिया और इस प्रकार नगर पर अधिकार कर लिया. फिर भी यह अधिकार कुछ ही समय तक रहा और अलेक्षेंद्र के भारत से विदा होते ही अन्य प्रदेशों की भांति मसागा भी स्वतंत्र हो गया. मसागा की स्थिति का ठीक-ठीक अभिज्ञान नहीं हो सका है किंतु यह निश्चित है कि यह नगर बजौर की घाटी में कहीं था.
Ch.26: Siege of Massaga by Alexander
Arrian[11] writes .... IN the first place Alexander led his forces against Massaga,1 the largest of the cities in that district ; and when he was approaching the walls, the barbarians being emboldened by the mercenaries whom they had obtained from the more distant Indians to the number of 7,000, when they saw the Macedonians pitching their camp, advanced against them with a run. Alexander, seeing that the battle was about to be fought near the city, was anxious to draw them further away from their walls, so that if they were put to rout, as he knew they would be, they might not be able easily to preserve themselves by fleeing for refuge into the city close at hand. When therefore he saw the barbarians running out, he ordered the Macedonians to turn round and retreat to a certain hill distant something about seven stades from the place where he had resolved to encamp. The enemy being emboldened, as if the Macedonians had already given way, rushed upon them with a run and with no kind of order. But when the arrows began to reach them, Alexander at once wheeled round at the appointed signal, and led his phalanx against them with a run. His horse-javelin-men, Agrianians, and archers first ran forward and engaged with the barbarians, while he himself led the phalanx in regular order. The Indians were alarmed at this unexpected manoeuvre, and as soon as the battle became a hand-to-hand conflict, they gave way and fled into the city. About 200 of them were killed, and the rest were shut up within the walls. Alexander then led his phalanx up to the wall, from which he was soon after slightly wounded in the ankle with an arrow. On the next day he brought up his military engines and easily battered down a piece of the wall; but the Indians so gallantly kept back the Macedonians who were trying to force an entrance where the breach had been made, that he recalled the army for this day. But on the morrow the Maceclonians themselves made a more vigorous assault, and a wooden tower was drawn up to the walls, from which the archers shot at the Indians, and missiles were hurled from the military engines which repulsed them to a great distance. But not even thus were they able to force their way within the wall. On the third day he led the phalanx near again, and throwing a bridge from a military engine over to the part of the wall where the breach had been made, by this he led up the shield-bearing guards, who had captured Tyre for him in a similar way.2 But as many were urged on by their ardour, the bridge received too great a weight, and was snapped asunder, so that the Macedonians fell with it. The barbarians, seeing what was taking place, raised a great shout, and shot at them from the wall with stones, arrows, and whatever else any one happened to have at hand, or whatever any one could lay hold of at the time. Others issued forth by the small gates which they had between the towers in the wall, and at close quarters struck the men who had been thrown into confusion by the fall.
1. This was the capital of the Assacenians. Curtius (viii. 37) calls it Mazagae, and describes its strong position.
2. See Bk. ii. 23 supra
Ch.27: Sieges of Massaga and Ora by Alexander
Arrian[12] writes ....ALEXANDER now sent Alcetas with his own brigade to recover the men who had been severely wounded, and to recall to the camp those who were assailing the enemy. On the fourth day he brought up another bridge against the wall in like manner upon another military engine. The Indians, as long as the ruler of the place survived, defended themselves gallantly; but when he was struck and killed with a missile hurled from an engine, and as some of their number had fallen in the siege, which had gone on without any cessation, while most of them were wounded and unfit for service, they sent a herald to Alexander. He was glad to preserve the lives of brave men ; so he came to terms with the Indian mercenaries on this condition, that they should be admitted into the ranks with the rest of his army and serve as his soldiers. They therefore came out of the city with their arms, and encamped by themselves upon a hill which was facing the camp of the Macedonians; but they resolved to arise by night and run away to their own abodes, because they were unwilling to take up arms against the other Indians. When Alexander received intelligence of this, he placed the whole of his army round the hill in the night, and intercepting them in the midst of their flight, cut them to pieces. He then took the city by storm, denuded as it was of defenders; and captured the mother and daughter of Assacenus1. In the whole siege five-and-twenty of Alexander's men were killed. Thence he des-patched Coenus to Bazira2, entertaining an opinion that the inhabitants would surrender, when they heard of the capture of Massaga. He also despatched Attalus, Alcetas, and Demetrius the cavalry officer to another city, named Ora, with instructions to blockade it until he himself arrived. The men of this city made a sortie against the forces of Alcetas; but the Macedonians easily routed them, and drove them into the city within the wall. But affairs at Bazira were not favourable to Coenus, for the inhabitants showed no sign of capitulating, trusting to the strength of the place, because not only was it situated on a lofty eminence, but it was also thoroughly fortified all round. When Alexander learnt this, he started off to Bazira; but ascertaining that some of the neighbouring barbarians were about to get into the city of Ora by stealth, being despatched thither by Abisares3 for that very purpose, he first marched to Ora. He ordered Coenus to fortify a certain strong position to serve as a basis of operations against the city of Bazira, and then to come to him with the rest of his army, after leaving in that place a sufficient garrison to restrain the men in the city from enjoying the free use of their land. But when the men of Bazira saw Coenus departing with the larger part of his army, they despised the Macedonians, as not being able to contend with them, and sallied forth into the plain. A sharply contested battle ensued, in which 500 of the barbarians fell, and over seventy were taken prisoners. But the rest, fleeing for refuge into the city4, were now more securely shut off from the country by the men in the fort. The siege of Ora proved an easy matter to Alexander, for he no sooner attacked the walls than at the first assault he got possession of the city, and captured the elephants which had been left there.
1. Curtius (viii. 37, 38) says that the name of the queen was Cleophis, and that after the surrender she gained Alexander's favour. He also informs us that the king died just before Alexander's arrival.
2. Probably Bajour, north-west of Peshawur. The position of Ora cannot be fixed.
3. This was the king of the Indian mountaineers. See Arrian, v. 8 infra.
4. On the ground of εν τη πόλει ξυμφυγόντες not being classical Greek, Krüger has substituted εν τη πόλη ξυμπεθευγόντες, and Sintenis εις την πόλιν ξυμφυγόντες. No one however ought to expect Arrian to be free from error, writing, as he did, in the middle of the second century of the Christian era.
p.255-257
Hukum Singh Panwar (Pauria)[13] writes that Aggarwal, V.S.; [14] equates Masaka or Massaka with Massagetai of Strabo, Chakshu = Oxus, Kumud = Komedai of Herodotus. Himavat = Heemoda or Hamadan, Sita = Yarkand river, Kumar = Komari of Herodotus, Rishika = Asioi, Tukhara = Tokarai, Gankovsky (op.cit., p.8o, fn.157) informs us that Massagetae: Mahasaka in archaic Iranian, He thus describes its etymology and origin: Mas in old Persian mean great (as Maha in Hindi and Skt.) and T is added as a plural suffix (Derajat, Gujrat etc.). Hence Mas + Saka + T = Massakat, K and g being mutually interchangeable Massakat = Massagat or Massagetai in plural in Greek. Greek language does not have the J. letter, Z or G is used in its place; hence, Zat or Zutt and Jat or Jit or Jatas or Jut, Gat, Gant, Got, Getae.
Bhim Singh Dahiya[15] writes that ...The Kang Jats are also a clan of remote antiquity. They are mentioned as early as seventh century B.C. The Chinese mention them as, Kiang-nu. R. Sankrityayana says that the Kangs were branch of Massagetae. [16] He traces the word Massagetae from Massaga which in turn is taken from Mahasaka.
Kishori Lal Faujdar[17] writes in An article about Raja Kharavela of Orissa which mentions about the rule of Kaswan in 2nd century of Vikram samvat. It has been mentioned in 'Hathi Gumpha and three other inscriptions' (page 24) in Sanskrit as under:
Sanskrit - कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
IAST - "Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ".
This translates that the city of 'Masika' was obtained with the help of 'Kuswan' Kshatriyas 'Masika' has been identified with Asikanagara.[18]
↑ Arrian:Arrian Anabasis Book/4b, Ch. 26
↑ V. S. Agrawala: India as Known to Panini, 1953, p.68
↑ V. S. Agrawala: India as Known to Panini, 1953, p.42, 73, 454,
↑ V. S. Agrawala: India as Known to Panini, 1953, p.82, 236
↑ V. S. Agrawala: India as Known to Panini, 1953, p.422-423
↑ V S Agarwal, India as Known to Panini,p.453-454
↑ V S Agarwal, India as Known to Panini,p.487
↑ V.K.Mathur:Aitihasik Sthanavali,p.719
↑ Aitihasik Sthanavali by Vijayendra Kumar Mathur, p.719
↑ Arrian Anabasis Book/4b, Ch.26
↑ The Jats:Their Origin, Antiquity and Migrations/The identification of the Jats, p.332, f.n.51
↑ op.cit., p.71
↑ Jats the Ancient Rulers (A clan study)/The Jats, p.75
↑ MAKI, p. 75; also see Bergermann, Les Scythes.
↑ Kishori Lal Faujdar:Jat Samaj Monthly Magazine, Agra, January/February (2001) page-6
↑ Sadananda Agrawal: Śrī Khāravela, Published by Sri Digambar Jain Samaj, Cuttack, 2000.
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On your mark, get set, GO! The messiest game show on TV is now the messiest game show on the road. Double Dare Live is coming to your town and will bring all the action and excitement of Nickelodeon's hugely popular TV show to the stage. All the Slime soaking, pie plastering, and booger busting will be hosted by the Double Dare legend himself Marc Summers! Bring your whole family to the show you loved as a child. You might even get chosen to compete to win by answering brain-bending trivia questions, complete messy physical stunts and even run the legendary obstacle course! VIP tickets available featuring premium show seating, a pre-show meet & greet photo opportunity with Marc Summers and Robin Russo, and an official Double Dare Live tour laminate souvenir.


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Q: What is the difference between Java Deployment Toolkit Plug-in and deployJava.js? I was reading this article:
http://www.java.com/en/download/faq/deployment_toolkit.xml
and I get confused about the purpose and use of the DT Plug-in and the deployJava.js.
I always believe that the Deployment Toolkit is the set of functions of the deployJava.js file (like this link says: http://blogs.oracle.com/thejavatutorials/entry/deployment_toolkit_101) but according to the article there are two parts of the Deployment Toolkit: the Plug-in and the interface for the developer.
I'm asking about all of this because the deployJava.js fails to detect the appropriate version of Java in some of the machines of our users and I was wondering if the DT Plug-in could help us improve the detection, but I don't know how exactly it detects the Java version and when it does it or how can I use it to solve detection problems?
Most of this doubts are driven by the question in the article:
"Does deployJava.js work if the Java DT Toolkit plug-in is disabled?
Yes, deployJava.js contains some pure JavaScript functions, which will continue to work even if the Java DT Toolkit plug-in is disabled."
So... why do I need the deployJava.js if the DT Plug-in exists or vice versa?
Any help on this matter would be very appreciated.
Thank you very much.

A: If anyone has doubts about it, I've posted this question in the oracle forum and this was the reply:

Deployment toolkit is combination of native library and javascript
  helpers. javascript is the only official public API to native library.
JRE is installed with DT native library that is left on the system if
  JRE is uninstalled.  As of now DT native library is only available on
  Windows.
Javascript helper functions use native library if it is available but
  many actions can be performed (with degraded accuracy, etc.) even if
  native library is not present.
Note that there is new Javascript APIs for DT as alternative to
  deployJava.js. it is called
  [dtjava.js|http://download.oracle.com/javafx/2.0/deployment/deployment_toolkit.htm#BABJHEJA]
  and is primary API for JavaFX applications. However, it also supports
  pure Java apps and likely will be main JS API for DT going forward
  (some more testing and bug fixing may be needed).
Hope this helps to clarify the relationship.

Thxs to igor
Link to oracle post: https://forums.oracle.com/forums/message.jspa?messageID=9932788#9932788

redpajama_set_name: RedPajamaStackExchange


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All posts by Mark
The Battle of the Ghosts
February 4, 2014 Mark	1 Comment
Saturday night, in a black box in NoHo, the Ghost of Theatre Past attacked the spirits of theatre present and future. Some of us didn't survive.
As 40 eager people filled the seats, a band of actors and their crew mounted a comedy by a living master. Or they they tried to.
But when the lights rose, the air grew thick. It got hard to breathe.
Floor-to-ceiling flats had crept onstage and loomed ominously. Heavy pieces of furniture were eating up the floor space, swelling like malevolent balloons. Dozens of props and tchotchkes burgeoned into what little air was left.
Two actors bravely fought for room to deliver their lines. A man fended off pesky playing cards, cigarettes and matches while discovering his wife's infidelity. She was so busy struggling free of costume items — and then trapping wayward bags, bottles and glasses — that her husband's questions slipped by her.
The scene ended. The lights dimmed, and work lights came on. Then the monsters began to move.
Two flats wheeled slowly about, and one came downstage. Tottering toward us, groaning, it revealed yet another massive blob of furniture stuck to its back. A bloated couch nudged forward.
A pair of courageous stagehands tried to contain the attack. For two minutes, they wrestled flats and hassocks, suitcases and pillows, but in vain. Finally, the director leaped up, threw open the lobby door and rushed to the light booth. A blackout ensued — or would have, but the flood of lobby light held the soulless creatures at bay.
Spared for the moment, we took a deep breath and focused. Another scene began.
For nearly three hours, this battle continued. Some of us, alas, were casualties, carried out quietly during intermission. The survivors applauded at the end, deeply touched by the actors' heroic attempt.
They had stood up for the human right to explore art and love, in the face of an overwhelming onslaught. But when they left, the boards belonged to the aliens, who slumped and squatted, grinning inhumanly. They had won.
The play was well written, witty and wrenching by turns. The actors' work ranged from solid to scintillating. But they were all defeated — by mountains of material goods, the 45 minutes it took to shift them about, and the 25-minute interval.
The Ghost of Theatre Past.
Twice in the last month, I've seen it choke plays to death.
Once it was alive — before radio and film, TV and the Internet, before Las Vegas and Disneyland and the Super Bowl. Back then, it provided everything — story and spectacle, news and context, drama and all the details. But, as the bird says, nevermore.
Today the Ghost stalks the night, looking for undefended stages. Trying to do what film and other media do better, it crushes and dismembers plays. Theatre lovers must watch, helpless, as each torn scene is lifted up and almost brought to life — then flung aside and forgotten.
We don't need flats and furniture. We have imaginations.
Theatre is about our imaginations — and using them. We gather, actors and crew and audience, to imagine a story. We don't need realistic details in every corner. We don't want them.
And we don't want the interruption of shuffling them around. We want the story. Give us a couple of risers or boxes, tell us they're an apartment or a throne room, and we'll do the rest. That's what we came for.
It's time to lay this murderous old Ghost to rest. At least in the intimacy of our small theatres, where spectacle is out of place and steals our time.
February 3, 2014 Mark	2 Comments
Welcome to Theatre Ghost!
I'm a lifelong theatre artist, and I've been haunting LA's small theatres for decades.
Besides acting in plays, and writing and directing them, I attend them … 50 or more each year.
That exhausts my pocketbook. But it hardly touches the more than 400 productions staged each year in our city's black boxes and storefronts.
(Equity calls us the "Under 50s," looking gently down its nose at the maximum number of seats we're allowed, and the most we've ever paid an actor.)
We're small and poor, but I think we're where theatre really lives.
Big budgets beget big headaches — and draw big egos hungry for money or power or fame. Such worries we don't need. They clog the arteries and stifle the art.
Small spaces and budgets challenge creativity. And our inability to mount a spectacular illusion keeps us focused on story, on people.
The magic of theatre — the thing film, TV and the Internet can't do — is human contact. The way bodies in a room affect each other. You feel, viscerally, what an actor is feeling a few feet from you. The actor feels your reaction. And that makes a shared story.
You can't get that from a screen, not even 60 feet wide with 3D and DoubleDeafDolby.
You can't avoid it in an Under 50 theatre. So that's where I'll be writing from.
(Well, "writing about." I'm actually writing from a tiny room above a wooded canyon, the morning after.)

redpajama_set_name: RedPajamaCommonCrawl


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[Album Review] We Are Superhuman (4th Mini Album) – NCT 127
June 14, 2019 Posted in Album Reviews, KPOPTagged NCT, NCT127
It is time to restart the album review bandwagon for this site. Apologies for completely ditching this segment for the past few weeks. I really missed this segment but it just ate up so much of time, preparing and writing it up. But now with endless time on my hands, let's get right back into it. One of the albums released at the end of May that I didn't get around to reviewing is NCT 127's We Are Superhuman. The album features the group's latest comeback single, Superhuman, along with 4 other tracks.
We Are Superhuman Album Cover
1..Highway To Heaven – To me, opening up with a song such as Highway To Heaven, makes me turn my head towards the screen or speakers. It isn't necessarily a punchy track with extremely addictive hooks in my opinion, which might be expected of NCT and KPOP traditionally. Instead, it relies on the loudness of the chorus, simple synth-pop instrumentation and the fact that it brings all the members together for the chorus. And I think these are all effective tools if used smartly, which is the case here. While many groups have used these techniques before, NCT 127 doesn't mess around by leaving things to the end or take too long to integrate these said techniques, making it a very prominent and memorable track on the album. (10/10)
2. Superhuman (Title Track) – Click here to read the full review for Superhuman. (9/10)
3. Fool (아 깜짝이야) – Taking a massive turn from Superhuman is the more light-hearted tone in Fool. And personally, this is somewhat different from the NCT 127 that I usually know of. But I am not hating, because it gives us an opportunity to recover from the intensity of Superhuman. I like the direction of the track. The vocals and rapping were quite nice. Harmonies are something to really keep your ears open for. However, there is one thing that sticks out at me that I don't really enjoy. The verses had only a layer of instrumentation, but the chorus felt like it had too many layers within the instrumentation. Including the vocals and backing, I feel like it was overloaded. (8/10)
4. Jet Lag (시차) – Jet Lag is the 'ballad' on the album. There is a rather slow start to the track but it slowly does build up the tempo through the use of percussion. And I think the vocals were very beautiful, especially demonstrated by the smoothness of the vocals during the chorus. I just felt like the rappers did not really have much of an opportunity to feature in the track. While the producers did try to incorporate the rappers in the song by giving them a hip-hop-like and 'fast' section, I felt it was a mismatch considering the rest of the song. And I think this inclusion made the song a little confusing. Is it a ballad or not? (6/10)
5. Paper Plane (종이비행기) – Paper Plane seems to be the most ideal track on the album for the Summer season. It is vibrant and colourful, which are terms that I have used to describe most of the Summertime songs thus far this year. The pop tune in the instrumental is addictive and fun sounding, as well. It is also an uplifting track, which makes it even more enjoyable to listen to. I really like the chorus of the track, which is a straight instrumental piece. The build-up to it was also quite nice. Vocally, I could tell all the members apart and I liked that aspect of being able to differentiate each member, which can sometimes be difficult. (9/10)
6. We Are 127 (Outro Track) – An outro like this makes me excited for what's to come. There is a mixture of genres going on, all something that I expect from NCT 127. Apart from the 'We Are 127' repetition, there isn't much else besides robustness and mysterious vibes in the outro. Hence, I have decided to leave it off the calculation for the album rating but wanted to mention my initial comments anyway.
We Are Superhuman Teaser Image
[Review] Birthday – Jeon Somi
[Album Review] B Complete (1st Mini Album) – AB6IX


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Tears of Rage: more pain than anyone should have to take
Posted on July 19, 2019 by TonyAttwood
by Jochen Markhorst
Melanie Coe is seventeen years old when she leaves a note on the table and runs away from home. Her parents, briefing the media, seem concerned, but indignant too. "I cannot imagine why she should run away," her father John complains, "she has everything here … even her fur coat."
It's true, Melanie does not lack anything. She is doing well at school, has a wardrobe full of clothes and even her own car (an Austin 1100). A-level girl dumps car and vanishes, headlines the London Daily Mail of February 27, 1967, next to an almost full-page photo of the debutante.
Striking enough to attract Paul McCartney's attention. "We'd seen a story in the newspaper about a young girl who'd left home and not been found," McCartney recalls 30 years later, in the biography Many Years From Now. "That was enough to give us a story line. So I started to get the lyrics – she slips out and leaves a note and then the parents wake up – It was rather poignant."
Poignant enough to inspire the heartbreaking "She's Leaving Home", one of the highlights of the album that is the best record of all time, according to Rolling Stone and to Roger Waters and to The Oxford Encyclopedia, Sgt. Pepper's Lonely Hearts Club Band (1967).
Dylan is not a big fan. In September 1978, in the interview with Matt Damsker, he judges fairly clinically, looking back at John Wesley Harding:
"The Beatles had just released Sergeant Pepper, which I didn't like at all, because I didn't like… I could see that… Talk about indulgence. I thought that was a very indulgent album, though the songs on it were real good. I just didn't think all that production was necessary."
… and in Biograph's booklet (1985) he even blames the entire trend for overproduction on that one Beatles album.
"Since the late sixties, maybe since Sgt Pepper on, everybody started to spend more of their time in the studio, actually making songs up and building them in the studio."
That sounds pretty cool and pure, but Dylan's own recording history is not entirely unstained either, of course. On The Cutting Edge, for example, we can follow how Dylan can spend hours and hours refining a song in the studio. "She's Your Lover Now" is a good example, "Like A Rolling Stone" is a marathon, and on "Sad-Eyed Lady" Dylan himself reveals that it was only written in the studio, while the musicians were waiting for hours.
Still, he does have a point and his wonder can be felt. For Sgt. Pepper The Beatles have spent more than seven hundred hours in the studio; more than Dylan needs for his first twenty (!) studio albums. And true, all that tinkering and all those overdubs, additions and technical tricks take something away from the magic, from the pure artistry.
But: underneath, under that overproduction, the songs on Sgt, Pepper are "real good".
One of those real good songs is "She's Leaving Home" and apparently inspires Dylan to the theme of "Tears Of Rage", to the jeremiade of a father who feels abandoned by his daughter.
Immediate cause seems to be, very unusual, an autobiographical fact, as mentioned in the first two lines:
We carried you in our arms
On Independence Day
Shortly before this, Dylan became the father of a daughter (Anna), who admittedly was not born on Independence Day, July 4, but still only a week later, on July 11 – close enough to allow some poetic freedom.
Such a major personal event usually leads to more sugary songs. Stevie Wonder writes the lovely "Isn't She Lovely" at the birth of Aisha, Billy Joel the safe "Lullabye (Goodnight My Little Angel)" for his Alexa Ray, Kanye West (with Paul McCartney) the sentimental "Only One" as tribute to his little daughter North, The Beatles sing the antique baby song "Ain't She Sweet", Jay Z's "Glory" … it's a long list.
Sinatra's "Nancy (With The Laughing Face)" is also included in that category, but that is not entirely justified. Composer Jimmy Van Heusen and lyricist Johnny Burke's had originally, in 1942, only compiled a birthday song for Burke's wife Bessie: "Bessie With The Laughing Face". A year later, during a birthday party at Sinatra's for three-year-old Nancy, both men improvise in jest "Nancy With The Laughing Face". Ol' Blue Eyes breaks and is sobbing with emotion; he thinks the men wrote it especially for him. Embarrased, they leave it that way and when Sinatra even records the song in the studio, a few months later, they register the royalties in Nancy's name.
Related are the songs of fathers who say goodbye to a phase of life and sing nostalgically the transition from child to adult woman. Neil Young's "Here For You", for example, and "I Loved Her First" from Heartland ("Girl You'll Be A Woman Soon" should definitely not be included).
But a father / daughter song with the bitter, reproachful approach of "She's Leaving Home" is actually quite unique, and that must have appealed to Dylan's aversion to sentimental clichés.
Unlike The Beatles, Dylan does not opt for a narrative ballad, but for the dramatic monologue. The influence of Robert Browning, presumably. Browning's substantive influence popping up in Dylan's oeuvre is a constant. For the last verse of "Subterranean Homesick Blues", he borrows from Browning's last verse of "Up at a Villa – Down in the City" (the avoiding of scandals, the wearing of sandals and the rhyme with handles). The much quoted there's no success like failure from "Love Minus Zero" paraphrases Brownings often recurring preoccupation with success and failure ("Shall life succeeding in that it seems to fail, and a minute's success pays the failure of years"). And the world could come to an end tonight from "I and I" can be found in "The Last Ride Together" (1855).
Not coincidentally, they are all dramatic monologues, from which Dylan draws. The poetic form, the form in which an ego addresses a fictional audience or a silent opponent, is of course not Browning's invention, but is perfected by the Englishman. T.S. Eliot is a follower, and Dylan, who by the way will also feel a kinship with Browning's brilliant rhyming, too.
An additional advantage for the bard who is so fond of keeping things vague (according to Dylan scholar Joan Baez), is the ambiguity that is almost ingrained in this form; the conversation partner being invisible and unknown, allows by definition the circumstances to be open to multiple explanations. The You can also be an abstraction, for example, or a population group, or a social movement, or the mirror image of the narrotor – open hunting season for enthusiastic Dylan exegetes with cryptoanalytic ambitions, at any rate.
"Tears Of Rage" is a popular object of study. "An allegory of the Vietnam experience," Tim Riley sees, with soldiers on the beach and incapable, deceitful commanders. A song from the perspective of the Founding Fathers, about the current state of affairs in the United States, thinks Paul Williams. King Lear comes by regularly and Sid Griffin sees Jesus references in we scratched your name in the sand. In John 8, the scene with the adulterous woman, Jesus writes "something" in the sand, presumably "he who is without sin cast the first stone" – all in all a rather far-fetched and even by Dylan standards very thin reference.
The "find" in Lamentations 3: 48-51, proudly pointed out by some commentators, turns out to be just as thin:
Streams of tears flow from my eyes because my people are destroyed.
My eyes will flow unceasingly, without relief,
until the Lord looks down from heaven and sees.
What I see brings grief to my soul because of all the women of my city.
… triggered by tears and grief, obviously. But alas: this is a Bible translation from 1978. In 1967 Dylan browses the King James Version, which does not mention tears or grief:
Mine eye runneth down with rivers of water for the destruction of the daughter of my people.
Mine eye trickleth down, and ceaseth not, without any intermission.
Till the Lord look down, and behold from heaven.
Mine eye affecteth mine heart because of all the daughters of my city.
And Greil Marcus, the man who also claims that Dylan "hysterically" shouted "You're a liar!" at that Judas incident in Manchester (Dylan calmly sneers the words, barely raises his voice), nearly crashes at his canonization of this song and calls it, among other things, an "eerie invocation of Independence Day" – turning the holiday "into an image of betrayal and loneliness."
My my.
The men from the first hour view it less historically or hysterically. Richard Manuel, who delivers the beautiful music to the lyrics, admits that he does not completely understand the text. Levon Helm calls it a number about a parent's heartbreak and Robbie Robertson also knows: It's from a parent's point of view.
There is something to be said for that. Dylan has just had a daughter, shortly after Independence Day, has been touched by "She's Leaving Home" and now sits down at the typewriter. Fanning out to empty fragments like the heart is filled with gold or to wait upon him hand and foot and especially the aggrieved why must I always be the thief fits Dylan's changing understanding of art, as he will explain to John Cohen a year later:
"What I do know is that I put myself out of the songs. I'm not in the songs anymore, I'm just there singing them, and I'm not personally connected with them."
Dylan explains this in response to "Dear Landlord", which he writes in these same weeks, and is a credo that extends to most Basement songs.
The song acquires classical status almost immediately after The Band chooses it as the opening song for their monumental debut album Music From Big Pink (1968). The perfection of that recording scares others off; there are not that many covers – it even takes Dylan more than twenty years to play the song for the first time (June '89 in Greece).
The members of The Band always have it on the set list. Moving added value has the rendition by composer Richard Manuel in 1985, a year before his death, recorded with Rick Danko (on his first official solo album, the posthumously released Whispering Pines: Live At The Getaway from 2002).
Joan Baez is an early bird, as early as 1968, but her a-capella arrangement has at most curiosity value. Beautiful is the live version by the Jerry Garcia Band from 1990, nice is the old-fashioned cover by Karate in the twenty-first century (on the EP In The Fishtank, 2005) and satisfying the recording by Ian & Sylvia, who have a kind of poetic right to the song (after all, three songs from Ian & Sylvia were recorded in the Basement too).
In his admirable Basement project Live At Joe's Pub (2007), Howard Fishman opts for a minimalist, intimate approach and that one is also heartbreaking.
All covers share the melancholic, tear-jerking atmosphere of the original, but the only one that comes close to perfection is ex-Byrd Gene Clark, on his masterful album White Light from 1971 – thanks in particular to the plaintive colour of his voice, comparable to Manuel, and the Band-like interpretation of the arrangement.
Nevertheless, the "second original", The Band's, remains untouchable – apparently that one really cannot be improved. From the album that Roger Waters says is after Sgt. Pepper the most influential album in the history of rock 'n roll, Music From The Big Pink – "it affected Pink Floyd deeply, deeply, deeply."
2 Responses to Tears of Rage: more pain than anyone should have to take
Ed McEowen says:
I equated the spirit of my generation (baby boomers in the USA, at least as we were back in the late 60's-early 70's) to that of the early American revolutionaries. WE didn't want to fight revolutionaries in Vietnam, worship materialism, or do what it would take to succeed in a very straight, uptight world. I get that Dylan felt that way too. Tears of Rage turns the generations around – child is father to the man.
Daniel Haggerty says:
I've always thought tears of rage was Must Simplier than that? It Is Simply a Song Written by a parent about their a child. As they watch them grow and learn the painful lessons of life and sometimes get blamed for them, undeserving of it, as another child grown old, who already learned the same painful lessons and is currently themselves learning a new painful lesson. That of helplessly watching the world do to your child what it already did to you with no power to stop it. also the independence day spoken of is the Deepest cut of all, when your child no longer needs you.


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Deaf T20 Tri-nation to kick off tomorrow
Deaf T20 Tri-nation Cricket Series-2018 is all set to get underway with the participation of Pakistan and India along with the hosts Bangladesh from September 14 (Friday).
Participating foreign teams- Pakistan and India-are scheduled to arrive here in Dhaka today, one day before the meet.
Fatullah's Khan Osman Ali Stadium will host all the matches of the tournament, sponsored by Walton Group, which will be evolved through the double league system.
Bangladesh Deaf Sports Foundation (BDSF) vice president Zakir Hossain Khan disclosed all at a press conference at a local city hotel yesterday. Uday Hakim, deputy executive director of Walton Group, Milton Ahmed, senior additional director of the same group and Anisul Islam Nipu, manager and coordinator of the BDSF, among others, were also present. Bangladesh squad: Shahriar Ahmed Chowdhury (capt), Russell Ahmed, Wahidul Alam Mamun, Afsar Uddin Riyad, Aksar Ahmed, Ahmed Abdullah Al Hasib (wc), Rubel Hossain, Sohel Ahmed, Imran Khan, Ahmed Nafees Imtiaz Deep, GM Mahbubur Rahman, Emmi Chowhdury, Akib Mahmud, Saidur Rahman and Raihan Monir.
Deaf T20 Tri-nation Cricket Series-2018 is all set to get underway with the participation of Pakistan and India along with the hosts Bangladesh from September 14 (Friday). Participating foreign teams- Pakistan and India-are scheduled to arrive here in Dhaka today, one day before the meet. Fatullahs Khan Osman Ali Stadium will host all the matches of the tournament, sponsored by Walton Group, which will be evolved through the double league system. Bangladesh Deaf Sports Foundation (BDSF) vice president Zakir Hossain Khan disclosed all at a press conference at a local city hotel yesterday. Uday Hakim, deputy executive director of Walton Group, Milton Ahmed, senior additional director of the same group and Anisul Islam Nipu, manager and coordinator of the BDSF, among others, were also present. Bangladesh squad: Shahriar Ahmed Chowdhury (capt), Russell Ahmed, Wahidul Alam Mamun, Afsar Uddin Riyad, Aksar Ahmed, Ahmed Abdullah Al Hasib (wc), Rubel Hossain, Sohel Ahmed, Imran Khan, Ahmed Nafees Imtiaz Deep, GM Mahbubur Rahman, Emmi Chowhdury, Akib Mahmud, Saidur Rahman and Raihan Monir.


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• CPAE Speaker Hall of Fame inductee
Sam Silverstein's mission is to empower people to live accountable lives, transform the way they do business, and to thrive at extraordinary levels. By challenging leaders to shift priorities, cultivate an organizational culture, and inspire both individuals and teams to take ownership in fresh and results-producing ways – he is helping companies dramatically increase productivity, profitability, and growth. Sam has been inducted into the CPAE Speakers Hall of Fame, is a Past-President of the National Speakers Association, and Global Gurus has named Sam Silverstein as one of the World's Top Organizational Culture Professionals.
Sam is the founder of The Accountability Institute™ an organization that certifies advisors to work with leaders and organizations to build greater accountability and develop stronger leaders. He is the author of 12 books including The Accountability Advantage, I Am Accountable, Non-Negotiable, No More Excuses, Making Accountable Decisions, No Matter What, and The Success Model.
As a former executive and owner, Sam successfully sold one of his businesses to a Fortune 500 company. Today, Sam writes, speaks, and consults with organizations around the globe to think differently, work with renewed purpose, and achieve record-breaking results. He works with entrepreneurs, multi-national companies, corporations, and government agencies to drive increased accountability, engagement, and productivity.
The Accountability Advantage™ … Building a Sustainable, High-Performance, Workplace Culture
What does it look like when EVERY member of your organization keeps their commitments? When truth and values are held in the highest esteem? It looks like next-level success. It feels like positive momentum. It lays the foundation for creativity, collaboration and high performance.
Sam knows first-hand how to create a corporate culture that engages employees, maximizes productivity, and inspires accountability. You'll walk away from his program with highly effective tools to build trust, enhance engagement, cultivate more meaningful relationships, and truly come together as a cohesive team. There's never been a more important time to create a shift in culture and commitment.
During this program, participants will learn how to:
• Discover the five critical steps to build a culture-by-design
• Design a culture based on commitments and values
• Leverage the power of cultural values – internally, externally, and communally
• Effectively counteract "The Great Resignation" and "Quiet Quitting"
• Remove obstacles and excuses to inspire collaboration and accountability
• Create an organizational culture obsession that will drive your culture to stronger performance and customer experience
The Theory of AccountabilityTM
This engaging program forces a reconsideration of how we view accountability. As Silverstein explains, "Accountability is not a way of doing. Accountability is a way of thinking about people. Particularly how we think about people." When individuals and leaders actively create the future they want to live, frame their mindset around abundance rather than fear, and take persistent, relentless action in support of the experience they are generating, their beliefs, and their relationships, they will experience personal and organizational transformation unlike any other.
• Identify the three mindsets of accountability and how to apply them personally and organizationally
• Create a specific outcome/goal and achieve it every time
• Empower a team to identify priorities, eliminate obstacles, and enhance communication
• Discover and leverage the enormous power of commitments both individually and at all levels of the organization
The Power of Keeping Commitments…No Matter What™
What does it look like when EVERY member of your organization keeps their commitments? When truth and values are held in the highest esteem? When authenticity permeates all relationships? It looks like next-level success. It feels like positive momentum. It lays the foundation for creativity, collaboration, and high performance.
• Design and model a culture based on organizational commitments and values
• Leverage the power of your cultural values – internally, externally, and communally
• Develop both current and future leaders throughout the organization
• Remove obstacles and excuses in order to inspire collaboration and accountability
The Highest Form of Leadership™
To win in today's market, organizations need leaders who can innovate. Explore diversity. Cultivate creativity. Nurture cohesiveness. And foster a culture that embraces change. When they do? Employee engagement soars. Collaboration gets exciting. Productivity is elevated and exponential growth is possible.
Sam shares game-changing strategies with audiences that help clearly define core values, connect them to every member of an organization and make them the driving force behind every decision. Sam's ability to help companies build rock-solid foundations and cut through the clutter and noise of distractions throughout every facet of their company culture, business processes, customer connectivity, and communication.
• Take ownership of your company's mission, vision, and values
• Use company values to drive decisions at all levels
• Build massive trust through The Ten Commitments of Accountability
• Become and develop impactful leaders
I Am Accountable
It's time to show excuses the door. Whether at work or at home, people often make excuses out of over-commitment, lack of understanding, or poor time management. In a world where there are more resources available than ever before – it's time to get to the bottom line. Ultimately, they make excuses by focusing on what they cannot control instead of focusing on what they can control.
As the founder of the Accountability Movement™, Sam brilliantly lays out the relationship between what we value and what we can control and illuminates the strategies, mindsets, and tools necessary to eliminate excuses from our personal and professional lives. Accountability is a way of thinking. It is how we think about ourselves and others.
• Discover your foundational, relational, professional, and community values
• Connect your values to the art of living an accountable life
• Improve your relationships through keeping commitments
• Eliminate excuses that hold you back from their potential
The Accountable Leader's Guide to Change
Change is an integral part of our world. The ability to get ahead of it, manage it, or initiate it for any organization falls squarely on the shoulders of leadership. Focusing on what people do won't cut it anymore. Truly accountable leaders instead turn their focus on changing the way people THINK.
Sam brings audiences together to best understand what a powerful catalyst change can be for positively growing business, redefining relationships, and letting go of the status quo. Leaders who meet change head on and make it their partner, drive momentum and deliver results.
• Identify the "Change Categories" all people fall into and how to motivate each person successfully
• Communicate more purposefully utilizing The Terms of Change™
• Empower your team to drive change versus resist change
• Master the one thing organizations must believe if they are going to effectively create an organization that thrives through change
Building a High-Performance Workplace Culture
Great teamwork does not just happen by itself. Teamwork is built into the corporate culture. Teamwork becomes the standard for which you are known when a strong set of values are created and established throughout the organization. Another foundational element of great teamwork is the ability to identify the commitments that all members of the organization make and keep.
Sam Silverstein has helped organizations around the world build more effective teams that have led to a measurable increase in communication, collaboration, innovation, and bottom-line results.
In this talk, Sam Silverstein uniquely illustrates the difference between tactical and relational commitments and knows just how to get your people focused on what really matters. Sam will lead a conversation on what leaders need to do to create effective teams, why and how all of your people will benefit from contributing to the team, and how each individual can be accountable to each other through the course of business.
C-Suite Culture Conversation™
In this powerful facilitated conversation, Sam leads a discussion with leaders from your organization to discuss all aspects of workplace culture. Sam will uncover what is working and what is not. He will lead the panel to share insights that everyone in the room will be able to apply immediately.
Sam will also engage the audience and bring them into this powerful workplace culture conversation. In a great culture, everyone has a voice at the table and Sam delivers on that promise in this impactful experience.
During the facilitated conversation, attendees will come away with:
• Best practices for designing a culture
• Common challenges that can derail even the best culture
• Ways of engaging people to contribute to their part of the culture
• Proven and implementable ideas on how to create a sustainable positive workplace culture longterm
[This program is a great fit for associations and groups of leaders working to create a stronger culture.]
Impact of Accountability in Healthcare
It's no longer enough for hospitals and health systems to have a mission statement hung on a wall. To meet society's demands in our consumer-driven healthcare marketplace, organizations must change the way they think about people and relationships.
Sam teaches healthcare professionals from every level to take ownership and commit to their organizational mission and values and how to weave them throughout every facet of their culture, clinical processes, patient care, and communication. You'll walk away with highly effective tools to build trust, enhance engagement, cultivate more meaningful relationships, and truly come together as a cohesive team.
• Promote engagement by creating a culture based on commitments and values
• Remove obstacles and inspire collaboration to improve patient care
*Alternate Title: The Power of Keeping Commitments…Developing Healthcare Leaders
Contact Sam Silverstein for an appearance by reaching out to Key Speakers at (949) 675-7856, or by leaving an inquiry.
Ty Bennett
Founder, Leadership, Inc., CEO, Tomorrow, Bestselling Author
Andrew Fastow
Corporate Culture Speaker, Former CFO of Enron
Chris Dyer
#1 Inc Magazine Ranked Leadership Speaker & Best-Selling Author
Tom Gimbel
Founder & CEO, LaSalle Network; Expert in Hiring and Retaining Top Talent
Lauren Sisler
Emmy Winning ESPN Sportscaster and Addiction Prevention Advocate
Travels From: Alabama


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Q: Cycling through URLs for Selenium in Python Hey this is my first post on here. Was trying to find similar answers to my question but I couldn't seem to find any.
Essentially what im trying to do is build a website item stock checker in python utilizing selenium. Ive got it all working but now im trying to scale it so that way I can check multiple links without having to open another instance of the application.
Ive been trying to make some sort of toggle where the script will default to 0 then as it finishes the first run through itll set it to 1 then reloop. Obviously I would have 0 = item url 1 and 1 = item url 2. Ive tried itertools cycle but that just doesn't seem to work.
If anyone has some advice id really appreciate it!


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Chiara Loschi has a PhD in Political Science and International Relations (University of Turin, Italy). Her research interests focus on democratisation and decentralization promotion in the Arab World. She has conducted fieldwork in Libya in 2010 (Tripoli) and in Tunisia from 2013. Her doctoral research focuses on the unintended consequences of external intervention in local policy making by the analysis of waste management and developmental policies in Tunisia. She holds a MA in Cultural Anthropology and she has strong qualitative research skills. She has been grant holder at the IRMC (Tunisia) in 2014 and at Yale University in the frame of Governance and Local Development program in 2015.
with Turki Yassine, 2017, "Chantiers de Reconstruction Politique en Comparaison: la 'Décentralisation' en Période Post-Révolutionnaire en Tunisie et Libye." Année du Maghreb Special Issue 'Décentralisation', ed. Aude Signoles, Jean-Philippe Bras. 17(1): 23–40.
2012, "Women's Political participation to the Libyan revolution. A first analysis." Mediterranean Observatory, 4, 2012, Paralleli Euromediterranean Institute of the North West, 4–7. Available here.


..ahh.. what a beautiful colors :))) - greetings..
Querido amigo Robert...sencillamente hermoso. Te superas en cada fotografía.
Casi percibo desde aquí el aroma de tan bella flor. Fantástico trabajo, enhorabuena!!!
Mil y un besitos amigo mío!!!
Ohoi, what a macro picture!!!
Feel the smell all the way to Norway.
awesome! this photo is so beautiful!
They crystals (water?) almost look like sugar. The photograph makes me want to smell the flower. Well done.


Brookfield continues to grow the opportunistic side of its business. In April, it raised $9 billion for its second global opportunistic fund, of which $2.3 billion, or 26%, came from BPY itself. Areas of high-growth real estate investment include self-storage, student housing, and manufactured housing.
THE MOTLEY FOOL | Will Ashworth | November 1, 2017 | Read complete article via the Motley Fool site or download article as a printable PDF.
NationWide Self Storage & Auto Wash Trust, Kamloops Update No. 2/2019 – Build Permit Received.
Copyright © 2019 NationWide Self Storage.


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What is the 'great replacement theory' linked to the Buffalo shooter? – Austin American-Statesman
Bill McCarthy, PolitiFact.com| Austin American-Statesman
Biden speaks in Buffalo after mass shooting kills 10
President Biden traveled to Buffalo to meet and grieve with family members of the 10 victims killed during a mass shooting at a grocery store.
Anonline screedlinked to the 18-year-old man arrested for killing 10 people in a Buffalo, New York, supermarket repeatedly referenced the racist and antisemitic "great replacement theory."
The theory is white supremacist rhetoric amplified in recent years by some of the loudest voices in conservative media. Several recent shootings have been motivated by belief in a "great replacement," experts say.
The conspiracy theory warns that Democrats and other Western elites are using immigration and other means to "replace" white people of European descent in the U.S. with non-white populations. Some subscribers believe its part of an elaborate Jewish plot.
The 180-page document linked to the Buffalo shooter said that he came to believe the white race was in jeopardy after he started browsing 4chan out of boredom at the start of the pandemic. According to the document, which is filled with memes, Payton Gendron chose to attack the people of Buffalo because the city had the highest concentration of Black people among the areas near his home in Conklin, New York.
The writings mirror postings from earlier attackers who were also inspired by the "great replacement theory," including the shooter who livestreamed his assault on a pair of mosques in Christchurch, New Zealand, in 2019, killing 51 people.
'White supremacy is a poison': Emotional Biden in Buffalo condemns those who push 'perverse' replacement theory
About 63% of the language in the Buffalo writings was copied from the Christchurch writings, according to theAnti-Defamation League.
The document also invokes the accused shooter who killed 11 people at the Tree of Life synagogue in Pittsburgh in October 2018; the man who pleaded guilty to killing one person at a synagogue in Poway, California, in April 2019; and the man who was charged with killing 23 people at a Walmart in El Paso, Texas, in August 2019. All three signaled support for the great replacement conspiracy theory in online posts,according to the ADL.
The concept of a "great replacement" traces back to 20th century French nationalism. But the term was introduced to many contemporary audiences by a French writer who warned in 2011 about the supposed extinction of the white race due to immigrating Muslim populations, according to the ADL. It was quickly taken up by white supremacists, including many who blame Jews for non-white immigration.
The most extreme, violent versions of the theory are found in the darker corners of the internet, such as 4chan and other fringe forums, said Michael Jensen, a senior researcher at the University of Marylands National Consortium for the Study of Terrorism and Responses to Terrorism.
But social media, supportive politicians and major media figures have helped the theorys ideas spread.
"Replacement doctrine has been circulating for years, but most recently it got a makeover and amplification in mainstream politics," said Brian Levin, director of the Center for the Study of Hate and Extremism at California State University, San Bernardino.
The central tenets of the theory have becomea mainstayon the primetime Fox News show hosted by Tucker Carlson. A recent investigation from the New York Timesfoundthat inmore than 400 episodesof his show, Carlson "amplified the idea that Democratic politicians and others want to force demographic change through immigration."
Fact-check: Is the Biden administration prioritizing sending baby formula to the border?
Carlson has mocked those who point out his racist rhetoric.
"I know that the left and all the little gatekeepers on Twitter become literally hysterical if you use the term replacement, if you suggest that the Democratic Party is trying to replace the current electorate, the voters now casting ballots, with new people, more obedient voters from the Third World," Carlsonsaid in an April 2021show. "But they become hysterical because thats whats happening, actually."
"Theyre trying to change the population of the United States, and they hate it when you say that because its true, but thats exactly what theyre doing," Carlsonsaid in May 2021.
A Fox News spokesperson pointed to other on-air comments Carlson has made denouncing violence but did not offer further comment for this story.
Other right-wing influencers have promotedsimilar themes, including the late radio host Rush Limbaugh,Daily Wire contributor Matt Walshand Turning Point USA founder Charlie Kirk.
Buffalo shooting: Biden says 'hate will not prevail' after Buffalo shooting
Kirk defended Carlsons April 2021 remarks as "factual" and months later claimed,without evidence, that President Joe Biden intentionally let Afghanistan fall to the Taliban as a pretext for admitting more migrants and "chang(ing) the body politic permanently."
Another Fox News personality, host Jeanine Pirro, made a similar comment in 2019 when shesaid, "Their plot to remake America is to bring in the illegals … to replace American citizens with illegals who will vote for the Democrats."
Rep. Matt Gaetz, R-Fla., also stood up for Carlson,tweetingafter Carlsoninvoked the theoryby its name in September 2021 that Carlson was "correct about replacement theory as he explains what is happening to America." That same month, Rep. Elise Stefanik, R-N.Y.,said in an adthat Democrats were lodging a "permanent election insurrection" with their immigration policies.
A recent poll from the Associated Press and NORC at the University of Chicago suggested that with a wide swath of Americans, the narrative may be sticking.
Thepoll foundthat one in three American adults now believes "that a group of people is trying to replace native-born Americans with immigrants for electoral gains." The belief wassignificantly more commonamong respondents who watch mostly Newsmax, One America News Network or Fox News than among those who watch CNN or MSNBC.
"While Tucker Carlson and other conservative voices do not advocate for violence in response to the great replacement theory, their promotion of its central ideas pushes millions of people to the outskirts of the online environments where the most extreme forms of the theory are used to recruit and radicalize people to commit mass casualty crimes," Jensen said.
"It takes only a couple mouse clicks for a curious viewer to get from Tucker Carlson to 4chan."
What is the 'great replacement theory' linked to the Buffalo shooter? - Austin American-Statesman
I joined the ADL to fight racism. It's actually doing the opposite - +972 Magazine - February 11th, 2022
« Most Extremist Violence in the U.S. Comes From the Political Right – The New York Times Shabbat Behar: Valuing the Land J-Wire – J-Wire Jewish Australian News Service »


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— японский фантастический фильм режиссёра Исиро Хонды, продолжение «Кинг-Конга против Годзиллы» и «Мотры». Это четвёртый фильм, повествующий о приключениях динозавра Годзиллы, и второй о гигантской бабочке Мотре. Также это её первая встреча с Годзиллой. После этого Мотра стала постоянным персонажем фильмов жанра «кайдзю». Японский кинопрокат начался 29 апреля 1964 года.

Релиз на DVD состоялся в 2006 году.

В США фильм вышел под названием Годзилла против Нечто в 1964 году.

Сюжет
На пляже, пострадавшем от тайфуна, обнаруживается гигантское яйцо огромной бабочки Мотры, божества острова Инфант. Несмотря на протесты ученого Миуры и предостережения двух фей-лилипуток, бизнесмен Кумаяма и его начальник Торахата собираются сделать из яйца приманку для туристов.

Феи находят поддержку в лице профессора Миуры и его друзей — репортёров Итиро Сакаи и Дзюнко Наканиси. Они всеми силами пытаются вернуть яйцо обратно на остров Инфант, но им это не удаётся. Между тем яйцо представляет собой большую угрозу, так как гусеницы Мотры могут принести непоправимые катастрофы.

Между тем в окрестностях появляется Годзилла и начинает атаку на город Нагоя. Итиро, Дзюнко и Миура отправляются на Инфант, чтобы местные жители отправили Мотру в Японию уничтожить Годзиллу. Между тем Годзилла разрушает город. В здании гостиницы Торахата убивает Кумаяму и крадет его деньги, но появляется Годзилла и разрушает здание. Неожиданно появляется Мотра и начинает с динозавром сражение, из которого именно Годзилла выходит победителем.
Феи начинают петь свою священную песню.

Годзилла легко побеждает выставленную против него армию и расплавляет все оружие, когда из яйца вылупливаются две гусеницы Мотры. Они скрываются от Годзиллы в прибрежных утёсах. Когда к ним направляется Годзилла, они заматывают его в кокон. Годзилла падает в океан, а гусеницы вместе с феями возвращаются на Инфант.

В ролях

Создание
Первоначально основным персонажем фильма должна была стать Мотра. По наброскам сценария 1963 года, в проекте должна была появиться выдуманная страна Ролисика (из фильма с Мотрой), правительство которой снова захотело бы приобрести для себя маленьких фей. Однако из-за слишком большого количества перекликающихся сцен сюжетная линия с Ролисикой была удалена.

Во время съёмок фильма у Исиро Хонды возникли некоторые разногласия с композитором Акирой Ифукубэ, который поначалу не хотел участвовать в проекте. После уговоров режиссёра Ифукубэ всё-таки согласился. Это был единственный случай противоречия между Хондой и Ифукубэ.

В американском прокате
В США фильм был показан под руководством American International Pictures  в ноябре 1964 года. Это один из немногих фильмов про Годзиллу, в который было внесено минимальное количество изменений, очень мало эпизодов из полной версии были вырезаны, в то время как предыдущие три фильма с Годзиллой довольно сильно отличались от оригинала.

На американском постере фильма Годзилла мало похож на самого себя, его морда больше напоминает крокодилью.

Названия
Мотра против Годзиллы — официальное название от Toho.

Годзилла против Нечто — название театрального релиза в Великобритании и США.

Годзилла против Мотры — название на американском телевидении и домашнем видео.

Критика
На момент выхода «Годзилла против Мотры» был признан критиками как самый лучший фильм из всех снятых о Годзилле. Но в том же году был снят следующий фильм — «Гидора, трёхголовый монстр», который имел ещё больший успех.

В настоящее время «Годзилла против Мотры» по-прежнему оценивается критиками достаточно позитивно.

Факты

 Единственный случай, когда в один год вышло сразу два фильма о Годзилле и Мотре. 20 декабря 1964 года начался прокат фильма «Гидора, трёхголовый монстр».
 Во время съёмок сцены появления Годзиллы изображающий его актёр Харуо Накадзима случайно споткнулся и упал всем телом на модель Замка Нагои. Это непредусмотренное падение произвело впечатление на создателя спец-эффектов Эйдзи Цубураю, и он решил оставить этот эпизод в фильме.
 В США фильм вышел под названием «Годзилла против Нечто», хотя Нечто и Мотра — это два разных чудовища. Также фильм известен под названием «Мотра против Годзиллы».
 В Японии было продано 3 510 000 билетов к этому фильму.
 Это был уже восьмой фильм, в котором Харуо Накадзиме досталась роль кайдзю.

См. также
 1992 — Годзилла против Мотры: Битва за Землю

Примечания

Ссылки
 «Годзилла против Мотры» на сайте Internet Movie Database
 «Годзилла против Мотры» на сайте Rotten Tomatoes
 «Годзилла против Мотры» на сайте allrovi
 «Годзилла против Мотры» на сайте студии Toho

Фильмы о Мотре
Фильмы о Годзилле
Фильмы Японии 1964 года
Фильмы кинокомпании «Тохо»
Фантастические фильмы 1964 года
Пересекающийся токусацу
Фильмы о Нагое
Фильмы American International Pictures

redpajama_set_name: RedPajamaWikipedia


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Basalys cymocles är en stekelart som beskrevs av Nixon 1980. Basalys cymocles ingår i släktet Basalys, och familjen hyllhornsteklar. Arten är reproducerande i Sverige.

Källor

Hyllhornsteklar
cymocles


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Q: Disable automatic rearrange ios Is it possible to disable automatic rearrange of background apps in iOS 8?
For example if I open ibooks notepad and skype, when i answer to skype message app stands in first place, after switching to ibooks skype will be on second place, but it's not comfortable because I want go with swype to notepad and write note. it is become more complicated if open more apps.
So is it possible to lock background app positions (or pin like in browsers)?

A: This is not possible on an un-jailbroken iOS device.
The apps in the app-switcher are sorted by how recently they were last open (most recent on the left). You can not modify this behaviour.
The app-switcher is designed to let the user open apps that they used recently. It isn't designed to open a user's favourite apps - that's the home screen's job.
Try to organise your most-used/favourite apps together on one page on the home screen for quick access.


This program is called "Pencil2D" (Former name : "Pencil Animation"). It is an animation/drawing software for Mac OS X, Windows, and Linux. It lets you create traditional hand-drawn animation (cartoon) using both bitmap and vector graphics. Pencil is free and open source.


This the current list of breweries whose beer will be poured at the Harry Potter Inspired Beer Festival.
Please Note – this list is subject to change.
Over 20 different beers inspired by Harry Potter will be poured at this event which is happening on three dates – Feb 1, Feb 15, and Feb 16.
Please note – this is a 21+ event and minors will not be admitted.
6:30 – 10 PM. Same hours all three dates.
But I really want a ticket – Each of the three dates has its own Facebook event page and occasionally someone posts on one of those event pages that they have a ticket for sale.
Join us for our Harry Potter inspired Beer Festival as we transform the Historic Castaway in Downtown Portland to the Wizarding World of Harry Potter complete with Hogwarts Great Hall, Diagon Alley, and the Leaky Cauldron.
The event will hosts a beer tasting of over twenty winter, pumpkin, and holiday ales including Snape's Lair of Secret Cider Potions and Adult Butter Beer.
Below is what we currently have for Feb 2019 Portland area beer festivals. If additional festivals are announced for Feb 2019 we will add them to this article.