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Question types
- Managing questions
- Question behaviours
- Question types
- Calculated
- Simple Calculated
- Drag and drop into text
- Drag and drop markers
- Drag and drop onto image
- Calculated Multichoice
- Description
- Essay
- Matching
- Embedded Answers (Cloze)
- Multiple Choice
- Random Short Answer Matching
- Select missing words
- Short-Answer
- Numerical
- True/False
- Third-party question types
- Questions FAQ
You may add a variety of different types of questions in the Quiz and Lesson modules. This page is about Quiz module question types; some will be similar to Lesson questions types, which are fewer in number and function differently. The standard quiz question types are listed below with brief descriptions. Please use the links on the right side of this page to find more detailed information about standard questions types.
Standard question types
Calculated questions offer a way to create individual numerical questions by the use of wildcards that are substituted with individual values when the quiz is taken. More on the Calculated question type
This is not a real question. It simply prints some text (and possibly graphics) without requiring an answer. This can be used to provide some information to be used by a subsequent group of questions, for example. More on the Description question type
This allows students to write at length on a particular subject and must be manually graded.
New feature
in Moodle 3.4!
It is possible for a teacher to create a template to scaffold the student's answer in order to give them extra support. The template is then reproduced in the text editor when the student starts to answer the question. See Youtube video Essay scaffold with the Moodle quiz
A list of sub-questions is provided, along with a list of answers. The respondent must "match" the correct answers with each question. More on the Matching question type
Embedded Answers (Cloze Test / Gap Fill)
These very flexible questions consist of a passage of text (in Moodle format) that has various answers embedded within it, including multiple choice, short answers and numerical answers. More on the Embedded Answers question type
Writing project multiple choice.
Short Answer
In response to a question (that may include an image), the respondent types a word or phrase. There may several possible correct answers, with different grades. Answers may or may not be sensitive to case. More on the Short Answer question type
From the student perspective, a numerical question looks just like a short-answer question. The difference is that numerical answers are allowed to have an accepted error. This allows a continuous range of answers to be set. More on the Numerical question type
In response to a question (that may include an image), the respondent selects from two options: True or False. More on the True/False question type
Third-party question types
Besides the standard question types that are part of the core Moodle distribution, there are a number of question type add-ons in the add-ons database.
Some of those add-ons have additional documentation here:
- Algebra question type
- Calculated Objects question type
- Combined question type
- Drag and drop image or text question type
- Drag and drop into text
- Drag and drop marker question type
- Drag and drop matching question type
- Drag and drop onto image question type
- Java Molecular Editor question type
- Opaque question type
- Pattern-match question type
- Preg question type
- Regular Expression Short-Answer question type
- Select_missing_words_question_type
- Spreadsheet question type


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For years, the marketplace has been crying out for a destination channel serving fight hungry fans and, with Fight Network, the call has been answered," said Leonard Asper, CEO of Anthem Media Group Inc.
Bethpage, NY (PRWEB) June 27, 2014
Fight Network is a 24/7 television channel dedicated to complete coverage of combat sports. It airs programs focused on the entire scope of the combat sports genre, including mixed martial arts, boxing, kickboxing, professional wrestling, traditional martial arts, fight news and analysis, as well as fight-themed drama, reality series, documentaries and feature films. Fight Network's dynamic programming lineup includes live events from around the world, extensive news coverage and expert analysis.
FNTSY Sports Network is the world's first-ever television network specifically targeted towards the estimated 40 million people who play fantasy sports annually and on a daily basis. It includes live studio programming, call-in shows, panels, celebrity and expert drafts, reality programming and on-site commentary from sports venues, as well as short-form programming from the experts around the country.
Fight Network can be found on channel 464 and FNTSY Sports Network is on channel 147. Both networks are available as part of the Optimum Gold and Optimum Sports & Entertainment Pak. Fight Network and FNTSY Sports Network are owned by Anthem Media Group Inc., a global leader in operating targeted specialty television channels on linear, digital and mobile platforms.
"We are pleased to now offer Fight Network and FNTSY Sports Network, two high-quality channels that add even more variety and choice to the Optimum TV sports programming lineup," said Kevin Packingham, Cablevision's executive vice president of product management. "Customers who are interested in combat sports are sure to enjoy the extensive coverage available on Fight Network, and FNTSY Sports Network's around-the-clock commentary and analysis makes it the ultimate place for fantasy sports participants to plan their next moves."
"For years, the marketplace has been crying out for a destination channel serving fight hungry fans and, with Fight Network, the call has been answered," said Leonard Asper, CEO of Anthem Media Group Inc. "Fans want to watch the fights but they also want to connect with the culture of combat sports, and we are pleased that Optimum TV customers can now experience this with Fight Network. We are equally excited to launch FNTSY Sports Network on Optimum TV; with the explosive growth of fantasy sports, there is an insatiable need for information and advice from the experts and for a place that the social community of fantasy sports players can call home. FNTSY adds an element of entertainment that provides the fantasy sports player with an exciting way to engage with their passion."
In addition to live weigh-ins, press conferences and other breaking news, Fight Network airs mixed martial arts events from Cage Warriors, KSW, Ultimate Challenge MMA, Championship Fighting Alliance and M-1, kickboxing from K-1 Global, Enfusion and Final Fight Championship, world-class boxing productions from Frank Warren, Matchroom Sport, DiBella Entertainment, Hennessy Sports and more, plus professional wrestling events and traditional martial arts disciplines such as amateur wrestling, judo, karate, taekwondo, sambo and Brazilian jiu-jitsu. Fight Network also produces weekly and daily news programs, including "5 Rounds" on Mondays at 7 p.m., featuring extensive event recaps and technical breakdowns, and "Fight News Now" on Wednesdays at 7 p.m., a look at the biggest newsmakers with analysis and profiles of upcoming events. Fridays at 8 p.m., "Toe 2 Toe" provides in-depth interviews with the most relevant and interesting people in the world of combat sports, from mixed martial arts fighters to trainers to boxing legends and more.
FNTSY Sports Network covers every possible fantasy sport, from football to golf, baseball, World Cup soccer, basketball, racing and more. It airs insightful daily live news and feature programs, including the simulcast of SiriusXM Fantasy Sports Radio's "RotoExperts" with Scott Engel and Adam Ronis weekdays from 6 to 9 a.m., followed by live studio productions of "Game Time Decisions" with Gabriel Morency at 3 p.m. and "FNTSY Sports Today" with Laura Diakun at 4 p.m.. Additionally, the channel recently launched "Bloomberg Sports Stats Insights" weekdays at 6:30 p.m., focusing on predictive analytical content to reveal fantasy projections and forecasts, as well as in-depth analysis and coverage of the day's top sports stories that affect the fantasy sports world. FNTSY Sports Network also features short-form content from some of the top experts in fantasy sports, providing timely up-to-the-minute information and breaking news, as well as a permanent multi-zone fantasy sports "ticker," all combining to provide an exciting schedule that a fantasy sports player can't do without, and regular sports fans will not want to miss. The network's major suppliers of statistics and data include industry leaders Stats LLC. and The Sports Network.
Optimum TV residential customers who receive Fight Network and FNTSY Sports Network as part of their package can also watch programming from both networks anywhere in the home using the Optimum App and a WiFi connection. The Optimum App is available from the App Store for iPad, iPhone or iPod touch, Google Play for Android phones and tablets and Amazon Marketplace for Kindle devices.
Cablevision's award-winning digital cable service, Optimum TV, offers customers access to hundreds of channels, including more than 80 premium movie channels, 50 channels of commercial-free digital music, tens of thousands of titles available on demand at all times, an interactive programming guide, more than 150 high-definition channels and uniquely valuable and relevant local content through News 12, MSG Varsity and their companion interactive television applications.
Cablevision Systems Corporation is a leading media and telecommunications company, serving millions of households and businesses throughout the greater New York area. Providing quality products that keep customers connected, Cablevision offers Optimum-branded digital cable television, high-speed Internet and phone services as well as Optimum WiFi, the nation's most robust wireless Internet network. Cablevision's Lightpath subsidiary is a premier provider of integrated business communications solutions for larger companies. Through its local media and programming properties – News 12 Networks, Newsday Media Group and MSG Varsity – Cablevision also delivers news and information created specifically for the communities it serves. Additional information about Cablevision is available at http://www.cablevision.com.
Anthem Media Group Inc. is a media company with offices and studios in New York, Toronto and Los Angeles, operating targeted television channels on linear, digital and mobile platforms globally. In addition to Fantasy Sports Network, Anthem's portfolio includes RotoExperts.com, a leader in fantasy sports content, Fight Network, the world's premier combat sports channel now broadcasting in the U.S., Canada and over 30 other countries, as well as significant ownership interest in Pursuit Channel, one of the top outdoor channels in the U.S. available in over 40 million homes. Anthem also owns SportsGrid.com, a leader in general sports entertainment commentary.
Media Contacts:
Janet Meahan
Joe Favorito
Sports Publicist for Anthem Media Group Inc.

subset: commoncrawl


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I just stumbled upon an interesting benchmark. Put mappings i -> i for i in 1..10M in a hash table, print the entry for 100. Don Stewart's optimized Haskell:
import Control.Monad
import qualified Data.HashTable as H
main = do
m <- H.new (==) H.hashInt
forM_ [1..10000000] $ \n -> H.insert m n n
v <- H.lookup m 100
print v
My OCaml translation:
let n = 10000000
let () =
let m = Hashtbl.create n in
for n=1 to n do
Hashtbl.add m n n
Printf.printf "%d\n%!" (Hashtbl.find m 100)
My F# translation:
let m = System.Collections.Generic.Dictionary()
for i = 1 to 10000000 do
m.[i] <- i
printf "%d\n" m.[100]
Haskell: 22.8s
OCaml: 2.82s
F#: 0.706s
I found it remarkable that the performance difference is so large: F# is 32× faster than the optimized Haskell here!
Thanks to everyone who has replied. Apparently this is a fundamental design flaw in GHC's garbage collector which is incapable of handling the mutation of arrays of boxed values (e.g. hash table buckets) efficiently. Unfortunately, this means that Haskell's defacto-standard compiler is incapable of handling any data structure that maps values onto values efficiently. The nearest alternative is a purely functional tree-based map but that is not only still 11× slower than F# but it culminates in a data structure that is then asymptotically slower to search as well:
import Data.IntMap
import Data.List
main = print $ m ! 100
where m = fromDistinctAscList [(i,i) | i <- [1..10000000]]
This program still takes 7.519s.
Perhaps the most remarkable find is not that OCaml and F# thrash Haskell on this benchmark (which is to be expected: OCaml and F# are not toys) but that even a Python one-liner thrashes the most heavily optimized Haskell code:
$ time python -c 'import psyco;psyco.full();print dict((i,i) for i in xrange(10000000))[100]'
real 0m5.738s
user 0m5.428s
sys 0m0.308s
If only Haskell programmers could take some time away from writing Fibonacci functions perhaps they could also build some kind of adequate compiler.


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[I'm moving up this previously posted call for the Law & Society meeting because the deadline is next week and we hear from our friends on the Program Committee that it is particularly keen to have papers from legal historians.]
The Law and Society Association announces its Call for Participation in its 2013 Annual Conference, which will be held in Boston on May 30 - June 2, 2013. The theme of the meeting is "Power, Privilege, and the Pursuit of Justice: Legal Challenges in Precarious Times." LSA explains:
The meeting's theme aims to incite debate on the challenges that will define law and society over the next decade. The financial crisis that struck in 2008 still rends the economy, politics, law, and society. How will polarized politics, rapid technological change, and global shifts in economic power affect law and society over the next years, domestically and transnationally?
To envision the future, we invite participants to extend and rethink law and society's past insights to engage a new and changing context. The Program Committee has listed a series of sub-themes in featured sessions and other panels with the aim of spurring cross-cutting discussions.Proposals for Individual Papers, Fully-Formed Sessions, and Poster Papers are welcome. All proposals are due by December 4, 2012. Further information is available here.


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It's the year 2033, 20 years since nuclear holocaust ravaged the earth, rendering the surface uninhabitable. When the city of Moscow raised the alarm, its citizens had 7 minutes to make it to safety and head to the only place strong enough to face both the blast and the fallout. Today 40,000 survivors exist in the subterranean world of the Moscow underground system; built by the communist regime to double as a giant nuclear bunker for the people and the military to survive in.
Now every station on each line exists as its own mini-state under local rule be that democratic, fascist, anarchic or unspeakably devoid of any kind of remnant of humanity whatsoever. They survive in this dark world in a makeshift fashion by engineering whatever they need from the supplies already down there and scraps gathered from the toxic surface during the short, gas mask-clad visits they dare to make. This is the world of Metro 2033 and where this excellent looking cinematic survivor first person shooter is set.
The story of this game, the setting and all the characters are the creation of Russian author Dmitry Glukhovsky, who wrote the book of the same name, and this Xbox and PC title set for release on 19 March is all the richer for it. All too often, games inspired by fiction are usually from films and usually to cash in on Hollywood success. Coming direct from a novel and the wealth of detail therein, Metro 2033 becomes so much more than a FPS glued together with a loose plot and a series of uninspiring cutscenes.
The story of this game, the setting and all the characters are the creation of Russian author Dmitry Glukhovsky, who wrote the book of the same name, and this Xbox and PC title set for release on 19 March is all the richer for it. All too often, games inspired by fiction are usually from films and usually to cash in on Hollywood success. Coming direct from a novel and the wealth of detail therein, Metro 2033 becomes so much more than a FPS glued together with a loose plot and a series of uninspiring cutscenes.
The protagonists have personality and charm, the context of each level makes perfect sense and the story is the gaming equivalent of a page turner. It's perhaps the only shooter we've ever seen that's almost as enjoyable for the spectator as it is for the player.
From the levels we played of the preview code, Metro 2033 offers an excellent mixed approach to this genre of gaming. The first real stage of action takes place with three survivors plus you, the hero, Artyom, beginning a journey to the centre of the underground to warn all the stations of a scourge of mutant creatures capable of psychic attack on the survivors.
For one reason or another, you end up taking the spooky service tunnel where the Dark Ones, as they're known, attack (surprise surprise) and the game turns quite literally into a rail shooter where you get to open up both barrels off your sawn-off shotgun. There's still plenty of crouching down in rooms full of crates shooting at men in uniform for the more traditional FPS action, but what the game seems to do well is mix it up quite nicely with the story scenes which are both playable, to a degree, and thoroughly entertaining too.
The real joy of the game, though, is the total immersion in which you can play it. The post apocalypse world of Metro 2033 is utterly believable and you get a true sense of the life in the new underground that the book conveys. The atmosphere is created by more than just the odd monster jumping out to surprise you. The soft shadow detail, the drifting semi-transparent dust and real-time reflections in glass and water are an excellent addition courtesy of the 4A Engine on which the game runs. There's the odd jerky piece of action and miss-rendering of objects relative to one another in some of the cutscenes, but not during the action levels.
The sounds in the game were probably the highlight for us though. The moaning and creaking of the pipes of this weathered underground world twist beautifully with half-heard conversations of horror bending down the train tunnels and into the darkness. It's a perfect accompaniment to the hanging mists in the half light and the calls of terror when the monsters attack.
Throw in some excellent almost Steampunk style weaponry - including the side loading Bastard Gun famous for its terrible aim, constant jams and over-heating - a wrist watch for timing how long you can spend up on the surface, and some enjoyable, if ever so slightly dodgy, Russian accents, and you've got what looks to be a really good game. It will work with Nvidia's 3D system, if you fancy, but from what we saw it doesn't really add anything to the experience - except a bit of a headache from going cross-eyed at the gun situated front and centre of the field of view.
There's still a little way to go before the final version arrives, but what we've seen rather knocked our socks off and should do the same for even the more jaded first person shooter players. The story is nothing short of compelling, the game play challenging, enjoyable and varied enough to keep you interested, and the look and feel is as good as you'll find anywhere. Even the Dark Ones have an originality of movement about them that seems to separate this game from more run of the mill offerings.
Once you add on the extra GPU power of running Metro 2033 on the PC, then it'll probably be as smooth throughout as it deserves to be. As one games journalist at the preview said "It's got 'sleeper hit' written all over it". We'd have to agree.


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The Kevin Costner Renaissance Has Only Just Begun
It's been some time since the heyday of Kevin Costner's prime. I'm talking about those sweet years between 1987 (The Untouchables) and 1994 (Wyatt Earp), when he was a regular box office draw, an award-winning director, and the president of sports movies. It's not that he disappeared exactly. In fact, Costner's been remarkably consistent in appearing in almost a movie a year. It's more that the quality and profile of those films has diminished, and him a bit too in the process. There have been exceptions of course – Thirteen Days, Open Range, The Upside of Anger, TV's Hatfields & McCoys. But a look at his projects between 2006 and 2013 – The Guardian, Mr. Brooks, Swing Vote, The New Daughter, The Company Men – doesn't exactly reflect an enviable (or successful) portfolio.
Stars fade of course, and even the best actors can struggle to remain relevant and prosperous for decades. It was just a shame it happened to Costner. Make all the Waterworld and The Postman jokes you want, there's always been something great and classic Hollywood about him. If George Clooney is our modern Cary Grant, than Kevin Costner is something like our modern Gregory Peck. You could never say Costner particularly reached, but that's exactly what made him so charmingly old Hollywood: he had a comfortable range from which he didn't stay far. Not just in terms of his preferred projects – sport movies, Westerns, lower-scale action vehicles, father-son subjects – but his acting too. Like Peck, there was always a remarkably simple sincerity to his performances. It's no-nonsense, no-frills acting that gets the job done but still manages to make it easy to connect with him.
Man of Steel proved that yet again. When word came Kevin Costner would be cast as Superman's dad, it was not just exciting because it meant a massively high profile project for him, it was also perfect casting. Who better to play Jonathan Kent than an actor who is so remarkably capable of portraying the simple sincerity of a father full of common-sense acceptance, love and wisdom? You watch Costner there and he makes you wish he were your dad. He was undoubtedly one of the best parts of Man of Steel and a welcome reminder of what we've been missing.
Thankfully, the Zack Snyder film wasn't just a one-off. Kevin Costner is about to have a big 2014, and could very well find himself amidst a genuine comeback, renaissance, reinvention. He has five movies scheduled for release this year, all of them with some significant talent and profile behind them. There's the Tom Clancy reboot Jack Ryan: Shadow Recruit (directed by Kenneth Branagh) where he plays a veteran CIA agent mentor. There's his role as an NFL general manager overseeing drafts in Ivan Reitman's Draft Day. He's getting the Liam Neeson action-star treatment courtesy of Luc Besson's writing and McG's directing in 3 Days to Kill. Black and White reunites him with The Upside of Anger director Mike Binder as a widower trying to keep custody of his granddaughter. Finally, McFarland teams him with Whale Rider director Niki Caro playing a track coach trying to build a championship team. These could not be more quintessential Kevin Costner movies: two are sports films, two are spy films, and one is a family melodrama.
In other words, the Costner is getting a chance at a comeback and do what he does best. Of course, how these movies turn out remains to be seen. But in the meantime it's just nice to have the actor back and on the cusp of having a huge year. Here's hoping – to paraphrase Field of Dreams – now that this career opportunity has been built for him, people come.
Movies.com, the ultimate source for everything movies, is your destination for new movie trailers, reviews, photos, times, tickets + more! Stay in the know with the latest movie news and cast interviews at Movies.com.
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News Archives - 2010
Celebrating a first for Auggie women's hockey
At last weekend's women's hockey game, Augsburg celebrated the achievements of the 1999-2000 Augsburg women's hockey team. Ten years ago, the Auggies finished second in the American Women's College Hockey Alliance Division III championship.
The 1999-2000 team was recognized on the ice between the second and third period of Saturday's game against Concordia-Moorhead.
Coach Jill Pohtilla, who has led the Auggies since the program was launched, said she wanted to be able to "bring back old memories and bask in the old days" with the event. After the game, the players shared memories of their Augsburg hockey experience at a reception. Kristi Hoffman, a player on the 1999-2000 team said, "It was a very important part of my life during which I discovered the importance of teamwork and friends."
Most of the 1999-2000 team still stays in touch by playing together in an adult hockey alumni league. Five of the players are currently playing in the WHAM hockey league, and many others are still involved with the sport.
Augsburg established the first collegiate varsity women's hockey program in the Midwest in 1995. The 1999-2000 team, which finished 21-7-1, played Middlebury (Vt.) for the AWCHA title. In 2001-02, the NCAA began its own Division III national women's hockey tournament.
The 1999-2000 team is one of only two Augsburg women's hockey teams that won 20 or more games in a season. Prior to the series against Middlebury, Augsburg had gone 17-1-1 in its previous 19 games.
Watch the video of the reunion.


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Putting a modern engine in an older car can either time-warp its performance, or point out the glaring faults of its remaining antiquated architecture. Today's Nice Price or Crack Pipe Datsun 510 has received Honda's peaky F20C as its motivator, but should its price be even higher than its rev limit?
Speaking of high, apparently you'd have to be to spend seventy-large on yesterday's pimped-out Jeep, which at an overwhelming 95% Crack Pipe loss, seemed to only appeal to the studded dog collar and pierced genitalia crowd. Sadly for the seller, those freaks never have anywhere near that kind of cash.
Muy cheaper, and a lot less small-dick implying, is this four-door 510 rocking an F20C out of a Honda S2000. Now, that may seem like the unholy mating of Aerosmith and Run DMC, but it's not as crazy as it might seem. On the other hand, the S2000 digital IP implanted in the 510's dash like it's a ghetto teletubby is pretty weird.
Also on the strange side of things is the fact that the builder of this fast five and dime has shaved off the rear door handles in an attempt to make it appear a two-door. That's a common practice among manufacturers seeking to make their four-door only models look a little less like family haulers (see Nissan Pathfinder) but in this case it makes you wonder why they just didn't start with one of the thousands of 2-door 510s out there?
The F20C is gay for the revs, and keeping one in its power band is like fapping in front of nuns, you really have to work at it. Still, while you're waiting for that VTEC to kick in - yo, you you can reflect on this 2.0 litre's 240-bhp and mean piston speed of 25 m/s - both record-setting. You might also contemplate the builder's choice of 280ZX disc brakes, rack and pinion steering conversion, and 4.11 limited slip rearend to help - respectively - the stopping, turning, and not sharting the pumpkin all over the street. You'll have to think fast however as backing the F20C is Honda's close-ratio 6-speed which means your right hand won't be getting much down time.
Inside, there's the aforementioned digital dash along with bucket seats out of yet another manufacturer's product - a Toyota MR2. And then, like a hairy-assed cherry on top of this Japanese maker melange of a car, there's a Grant GT steering wheel daring you to deride it for its Pep Boys provenance.
Outside, the car has two-tone paint and at least as many different styles of alloy wheel, according to the pictures. The grille is missing, and the front bumper at least has a patina of rust that probably should be addressed. In its favor, the seller says it currently sports collector car plates making annual tagging unnecessary. Of course should you not live in Washington State, YMMV. The seller doesn't say what the mileage is, but with so many cars living under its one roof, I wouldn't know whether to take an aggregate or just add them all up.
The S2000 was a epochal car for Honda, being both their first rear-driver in decades and one of the past decade's most uncompromising sports cars. It also had an exhaust note that was like an angry hive of coke-addled bees. Datsun's 510, on the other hand was offered by the company at the outset of their establishment as a maker of sporting cars. Add to that Pete Brock immortalizing the 510 as a BRE team stalwart and it's no surprise that the ignominious three box sedans are still coveted today. By bringing past perfect and present tense together in one mean machine, the builder of this Honda-powered Datsun has created a compelling chimera. The question of course, is whether it is $11,500 worth of compulsion.
So, what do you think, is this F20C flavored 510 worthy of an $11,500 bank account extraction? Or, would it only be a keeper if it was lots cheaper?
You decide!
Seattle Craigslist or go here if the ad disappears.
H/T to Pat for the hookup!
Help me out with NPOCP. Click here to send a me a fixed-price tip, and remember to include your commenter handle.


text:
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- Ireland's highlight reel TD's didn't let up with the move to Portugal - they added another 14 points to move ahead 35-12.
- Netherlands' special teams work - they're 2-for-2 on extra point kicks so far - accounts for their slim 14-12 lead over Puget Sound.
- With back-to-back 100+ yard quarters, Great lakes pulled ahead of England 32-20. Great Lakes racked up an impressive 250 yards on 12 carries/completions in the first half. That's nearly 21 YPC!
- New York holds a 4 point lead over San Francisco, while Germany leads Charleston by 8.
Look out for Quarter 3 games soon - courtesy of Netherlands captain Tin Trumpet. His assistance will ensure this tournament doesn't last an eternity. :)
Week 3 Scores: https://docs.google.com/spreadsheet/ccc ... _US#gid=26


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6 Irish Whiskey Cocktail Recipes for St. Patrick's Day
All the recipes you need for cocktails, juice blends, milkshakes and more.
We're guessing your St. Patrick's Day memories are like ours...a little hazy. There was that time we tried to visit every single Irish bar in NYC for a pint of Guinness (some of us might have skipped work the next day), and that year when many, many shots of Jameson before dinner seemed like a good idea. (Protip: not really a good idea.)
This year, we're thinking of celebrating a little differently—by mixing up some of our favorite Irish whiskey cocktails. Here are six tried-and-true recipes that really help Irish whiskey shine.
Buena Vista Fizz
We're pretty obsessed with this cocktail from Tradition in San Francisco. It's essentially a chilled-down spin on an Irish coffee, made with a rich demerara-sugar sweetened coffee syrup, rye that's been infused with ground chicory, and good ol' Jameson. A touch of citrus brightens the mix—coffee, lemon, orange juice may sound like a weird combination, but the flavors blend together wonderfully.
Get the Buena Vista Fizz Recipe »
The Emerald
This one is simple, I promise: just Irish whiskey (use your favorite budget brand), sweet vermouth (make sure your bottle's fresh!), and orange bitters. An orange twist is optional but works nicely to emphasize the citrusy scent. This cocktail is smooth and rich, perfect for folks whose go-to drink is a Manhattan.
Blarney Stone
Another easy one. Irish whiskey (again, whatever you've got on hand) gets along nicely with the sweet spice of ginger beer. Add lime juice (or a mix of lime and lemon) and you're good to go.
Get the Blarney Stone recipe »
Irish Cocktail
This classic olive-garnished drink has Irish whiskey, a touch of absinthe for herbal, anisey flavors, and curaçao for a hint of orange. A little maraschino lends its complex, almost peppery sweetness, and Angostura bitters add spice. The flavor comes in waves: at first it's tinged with citrus and malt, followed by a wave of anise from the absinthe. The cocktail ends sweet and herbal with a touch of smoke and salt.
Get the Irish Cocktail Recipe »
The Copywriter
Essentially a honey-sweetened Irish whiskey lemonade, this drink from bartender Steven Weiss is super refreshing since it's topped up with cold seltzer. If you're celebrating St. Patrick's Day at the same time as you're celebrating warm spring weather, whip this one up.
The Irish Derby
The Derby is our kind of drink, rich and sour from a generous bit of tart lime juice. In this variation on the classic, bourbon is swapped out for Irish whiskey. This is the kind of drink that will convince Irish whiskey naysayers that it's worth giving the spirit a second chance.
Got a favorite Irish whiskey cocktail? Tell us about it in the comments below.
About the Author: Maggie Hoffman is a Senior Editor at Serious Eats, based in San Francisco. She founded Serious Eats: Drinks in 2011. You can follow her on Twitter @maggiejane.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


text:
kidzsearch.com > wiki Explore:images videos games
Guerrilla warfare
KidzSearch Safe Wikipedia for Kids.
A guerrilla is a civilian who attacks a regular army. When civilians attack civilians, it is usually called terrorism. When two or more armies (representing countries) attack each other, this is a war.
Guerrilla warfare is a war tactic in which people (Spanish: guerrilleros) use the land and geography as an advantage against an organized army. Guerrilla warfare is sometimes practiced from dense areas such as forests, or jungles. Usually, this army is invading a territory.
Guerrilla is a word of Spanish origin. It means "little war". This war tactic was used on the British by the Native Americans. The natives had an advantage because they used Guerrilla warfare. This war tactic was also used on the Americans during the Vietnamese War.


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Scoop DeVille explains how the beat to Kendrick Lamar's "Poetic Justice" almost went to 50 Cent.
Over the past year, California-based producer Scoop DeVille has managed to score two hit records with Kendrick Lamar - first with "The Recipe," and then later with "Poetic Justice." Now, in a recent interview Q104.7 FM, Scoop explains how K. Dot's Drake-assisted cut almost went to a very different artist.
Scoop recalled that it was "The Recipe" that opened the door for him to lace Kendrick with "Poetic Justice," which samples Janet Jackson's "Any Time, Any Place." Prior to Kendrick, however, it was actually 50 Cent who was first interested in the record.
"[Janet Jackson's 'Any Time, Any Place'] hit me in a certain way, and I started vibing with it, created the record, and I knew it was going to be for somebody special," he said. "Then once I got with Kendrick and everybody, they were just really vibing with the record a lot, and after 'The Recipe' came out, it was just mandatory we just started doing more stuff. That was one of the records that stuck out with the label and Dre and everybody...I'm happy where it went and it got Drake on it, it got cleared by Janet, Jimmy Jam and Terry Lewis, so that's just amazing on its own."
He added, "A couple artists wanted the record, I was playing it for a couple selective people at the time I was vibing with, like for 50 [Cent] and a couple other people. I'm just happy it went where it went 'cus it was a special project as it is...[it went to Kendrick because] it was more so just playing him all the special records that I had and I think he would appreciate. That was one of them...the reaction of people when he played it that was the one that stuck out. That was the priority at the time, was Kendrick's album and it was definitely something they were going to do together."
Check out the full video below.
http://www.hiphopdx.com/index/news/id.2 ... c-justice/


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Crucial Apple Equivalent 16GB (2 x 8GB Kit) PC3-12800 DDR3 SODIMM
Engineered to be compatible with your Apple® system, Crucial® Memory for Mac takes the guesswork out of a memory upgrade. Since Apple systems often have very specific memory requirements, including particular component densities, speeds, and SPD programming specifications, it's important to buy your memory from people who know Apple computers inside and out. With over a decade of experience manufacturing and developing memory for Apple systems, Crucial make it easy to find memory that's been designed specifically for your system.
Reliability for Mac systems
If you're an Apple computer user, you probably expect intuitive, reliable performance from your system. Crucial think memory should work the same way, too. For each module Crucial manufacture, they send it through a rigorous testing process to ensure that you're getting a reliable, high-performance memory solution. Every module that leaves Crucial doors has been extensively tested at the component level for voltage and temperature resistances, signal integrity, and software compatibility. Even better, Crucial modules are lead and halogen-free*. The result? Reliable memory that meets or exceeds Apple's own memory requirements.
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Unsure how to install memory or have an important question about your Apple system? Let Crucial's team of experts help! With a tech-savvy team that's well-versed in Apple systems, Crucial will provide the technical support you need - no matter how old your Mac computer gets. From phone support, videos, FAQ articles, and do-it-yourself guides, Crucial have got the resources you need to keep your system up to speed.
Crucial - quality you can depend on
Crucial is a trusted name when it comes to DRAM, and that's no coincidence. As a brand of Micron, one of the largest manufacturers of DRAM in the world, Crucial work with their engineers to design, refine, test, manufacture, and support their extensive line of memory modules. With a product portfolio that includes more than 250,000 different DRAM upgrades for more than 50,000 systems, Crucial have got one specifically designed for your Mac system. For more than a decade Crucial have kept Mac computer owners happy with high-performance memory and outstanding customer service. No matter what type of Mac system you have, Crucial have got a compatible solution.
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Windham Junior/Senior High School was locked down for a brief time Wednesday afternoon after a student found a live bullet in the street outside the building and brought it onto the campus.
Windham Police Chief Gene Fixler said police received a call from school administrators at 12:16 p.m. Wednesday reporting that a bullet had been found in the school at 9530 Bauer Ave. The school immediately went into lockdown, per the district's emergency plan.
Police officers arrived, and an investigation revealed students found the bullet on the street across from the school building. One student picked it up, took it into the school and threw it in the trash, according to Fixler. Another student reported the incident to school personnel, who locked down the building and alerted police.
Officers conducted interviews and searches in and around the school. After about 45 minutes, "it was determined jointly by the school administrators and Windham police officials on the scene that it was safe to resume classes at the entire school building," according to Fixler and school officials.
A notice regarding the lockdown also was posted on the Windham schools website. Regular school activities resumed after police finished searching the school and the lockdown ended, according to the school website.
The investigation is continuing and the bullet is being held as evidence pending forensic examination and fingerprint analysis.
Anyone with any information on the incident may call the Windham Police Department at 330-326-2206 or 330-326-2211.
Follow Dave O'Brien on Twitter at @RCCrimeWatch
Contact this reporter at 330-298-1128 or firstname.lastname@example.com


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SAN DIEGO – The U.S. Equal Employment Opportunity Commission (EEOC) announced it has filed a disability discrimination lawsuit against Tarsadia Hotels, doing business as Comfort Suites, which operates several hotels throughout California.
The EEOC filed its suit in U.S. District Court for the Southern District of California (EEOC v. Tarsadia Hotels dba Comfort Suites, Case No. 10-CV-1921-DMS-BGS), charging that the Comfort Suites Mission Valley hotel in San Diego failed to reasonably accommodate a front desk employee and effectively disciplined and discharged him due to his disability, in violation of the Americans With Disabilities Act of 1990 (ADA).
Comfort Suites initially hired the front desk clerk in 2008. The employee, who is autistic, had prior hotel experience in a similar position which earned him a positive recommendation. The EEOC contends that upon hire, the employee was belittled by his supervisor, denied access to a state-funded job coach, disciplined and ultimately discharged within four months of hire. The EEOC charges that the employee was not only denied access to his job coach, but that the job coach was made to leave the premises despite the fact that she requested only to observe the employee working. The job coach would have provided services free of any charge to the hotel.
The EEOC filed suit after first attempting to reach a pre-litigation settlement through its conciliation process. The suit seeks compensatory and punitive damages for the employee and injunctive relief intended to prevent further disability discrimination from occurring at Comfort Suites.
"Although it has been 20 years since the passage of the ADA, employers still need to understand that employees with disabilities are entitled to reasonable accommodations which pose no undue hardship," said Anna Y. Park, regional attorney for the EEOC's Los Angeles District Office. "Employers must heed such requests for reasonable accommodation, particularly when the requests entail little or no burden on business operations as in this case."
Marla Stern, local director of the EEOC's San Diego Local Office, said, "Individuals with disabilities have the right to enjoy the privileges and benefits of employment. Disability-related accommodations make it possible for employees with disabilities to succeed in the workplace, often at a minimal cost."
The EEOC is responsible for enforcing federal laws against employment discrimination. Further information is available at www.eeoc.gov.


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Susan Finkelstein, the woman accused of soliciting sex for World Series tickets, is getting what she wants – two tickets to see the Yanks and the Phils.
DJ Chio in the Morning is "hooking her up" because "like we're telling all our listeners, you don't have to go crazy or allegedly break the law to go to the World Series," he said.
"Our position here on the show is that this is America and in this great country of ours, you are innocent until proven guilty," Chio said.
Car dealer Gary Barbera is the benefactor behind the giveaway. And not only is Finkelstein getting her two tickets, Chio's giving away tickets to listeners on Thursday, Friday and Monday mornings at 8 a.m. on Wired 96.5.
"This lady, who allegedly wanted to commit sex acts? That's a fan," Chio said. But he later defended the woman during an interview with NBCPhiladelphia Wednesday.
"Everyone's saying she's guilty...how do you know she's guilty?" Chio said. "Whether it's true, I don't know."
Finkelstein put a posting on Craigslist titled, "Desperate Blond Needs WS Tix." It read:
Diehard Phillies fan -- gorgeous tall buxom blonde -- in desperate need of two World Series tickets. Price negotiable -- I'm the creative type! Maybe we can help each other!
An undercover Bensalem cop met Finkelstein at a local bar and says she offered to perform various sex acts in exchange for tickets. She was charged with soliciting prostitution.
Finkelstein, 43, is happily married and "a woman overcome with Phillies fever," said her attorney, William Brenner, who called the case bizarre.
"I think this may have been a little bit of overzealous police monitoring of the internet," Brenner said.
Chio says he is giving away three additional sets of tickets -- two sets to show listeners and a third which will be auctioned off for his Christmas Wish charity.


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Slouching puts stress on your lower back and contributes to low back
problems. When you sit, keep your shoulders back and down, chin back, belly
in, and your lower back supported. Your spine should be in
the neutral position, with three general
front-to-back curves. Use proper sitting posture.
It this sitting position causes pain, talk to your doctor or physical therapist. You may have a condition such as a problem with a disc or with bones in your back.
To rise from a chair, keep your back in
the neutral position and scoot forward to the edge of the chair. Use your leg
muscles to stand up without leaning forward at the waist.
If you spend a lot of time sitting, get up, move around, and stretch
frequently. Consider varying your seating arrangement:
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Palmers & Ka-Spel's Haunting Stop Motion Music Video
Amanda Palmer & Edward Ka-Spel's I Can Spin a Rainbow album is the opposite of taking LSD in outerspace. It's dreamy but it isn't dream pop. It's magical but there's no unicorns. It's a ghost addressing hard reality. It's eerie and full of loss looking at love. It's indescribable by me but that's ok 'cause the haunting stop motion video for the song 'The Clock at the Back of the Cage' will do it for me. It'll speak to you in profound ways if you play it fullscreen and listen … Continue reading →


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The Next Generation of Innovative Scientists and Visionaries Pushing Boundaries of Discovery, Adventure and Global Problem-Solving
Known for classic high adventure and discovery, National Geographic is redefining what it means to be an explorer in a new age of exploration. Around this time each year, NG selects a small group of movers and shakers called "Emerging Explorers" that are defining the way we explore new frontiers. Each Emerging Explorer receives a $10,000 award to assist with research and to aid further exploration as well as an invitation to the annual NG Explorers Symposium in Washington, D.C.
Past Emerging Explorers include personalities such as Monster Fish TV host Zeb Hogan, world-class climber and photographer Jimmy Chin, and modern day Jacques Cousteau Enric Sala (now an Explorer-in-Residence).
This year marks an unprecedented class of diverse and uniquely talented explorers. A roboticist, an astrobiologist, a glaciologist, a planetary geologist, an entrepreneur and an artist are among the 17 visionary, young trailblazers from around the world.
Meet the 2013 Class of Emerging Explorers:
Conservation Biologist Steve Boyes champions protection of Botswana's uniquely pristine Okavango Delta as well as parrot species on the brink of extinction throughout Africa.
Conservation Biologist Erika Cuéllar empowers local people with scientific conservation skills to help protect the wild environment and rich biodiversity of South America's Gran Chaco region.
Anthropologist Jason De León documents clandestine migration between Mexico and the United States to provide new insight into the complex, multilayered border-crossing phenomenon.
Planetary Geologist Bethany Ehlmann searches our solar system for once habitable environments, now using the Curiosity rover to analyze Martian rocks for clues of conditions that may have supported ancient life.
Archaeologist Sayed Gul Kalash strives to preserve one of the world's oldest, most unique cultures and languages, her own critically endangered Kalash, still surviving in a remote region of Pakistan.
Computer Scientist and Roboticist Chad Jenkins works to make robotic technology more accessible, easy to use, and helpful to the public at large by teaching robots to learn from human demonstration.
Wildlife Filmmaker and Photographer Sandesh Kadur creates documentary films and books to raise awareness about the world's threatened species and habitats and inspire his audience to protect them.
Artist Raghava KK blends creativity and technology to develop interactive art that considers issues from multiple perspectives, challenges perceptions, inspires tolerance, and engenders empathy.
Humanitarian Lale Labuko fights to end the ritualistic killing of infants and children in Ethiopia's Omo River Valley and provides safe shelter, care, and education for the children he rescues.
Innovator and Entrepreneur Tan Le develops EEG innovations and a data-sharing platform that could dramatically accelerate research and understanding of the human brain.
Conservation Biologist Andrea Marshall leads groundbreaking research and conservation programs to save globally threatened manta rays and other vulnerable marine megafauna, and their critical habitats.
Science Educator and Astrobiologist Brendan Mullan inspires a new generation of scientists by making astronomy education and communication more accessible, engaging, and entertaining.
Geophysicist and Glaciologist Erin Pettit pioneers innovative techniques to aid in glacier exploration, analyzing findings from the ice to help understand and predict changing climate and rising seas.
Computational Geneticist Pardis Sabeti unravels complex genetic codes to detect evolutionary mutations that allow disease to spread and humanity to survive.
Engineer and Conservation Technologist Shah Selbe identifies innovative technologies that can be used to protect the world's seas from illegal fishing through better monitoring, tracking, collaboration, and surveillance.
Data Artist Jer Thorp translates complex data sets into novel representations that make information more digestible, understandable, meaningful, and ultimately more human.
Adventurer and Conservationist Gregg Treinish connects research scientists with outdoor adventurers to collect data in hard-to-reach areas, using their findings and his own expeditions to advance conservation worldwide.


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Choreography by: Angelin Preljocaj
Music by: Antonio Vivaldi, Evelyn Ficarra, Robert Normandeau, Serge Morand, Ake Parmerud
A multilayered work, the avant garde La Stravaganza juxtaposes 17th-century sensibility with modern culture while contrasting classical and electronic accompaniment.
Contemporary culture meets 17th-century society in this 1997 Diamond Project ballet created for an ensemble of twelve dancers — Angelin Preljocaj's first work for NYCB. With excerpts from Vivaldi as well as electronic music for the score, La Stravaganza merges fantasy and reality, a hallmark of the French choreographer's style. The director of Ballet Preljocaj, based in Aix-en-Provence, Preljocaj has since made a second work for the Company, Spectral Evidence, which premiered at the 2013 Fall Gala.


text: Hi everyone! I would like to take a second to thank you for checking out my art work:) I paint from an open pallette in my mind and soul. Whatever I 'feel' is what I paint with lack of foresight into how it will form into the finished product. I have had no formal training in the arts. My path into presenting my art work here began many years ago as an intrepid young woman who played around with graphite and charcoal drawings eventually progressing into acrylic once I had gained more confidence. What influences me? What inspires me? The answer to both is eveything and anything at the same time. I have a virtually untethered taste for all that is unique and creates an emotion within. I grew up traveling and living throughout the US from coast to coast, state to state. All my travels and moves have given me such a vast myriad of outlooks and interests that I dare not try to conform myself into one school of thought or design. I simply enjoy. With that I wish you much enjoyment too as you view my works.


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Lord Alfred Hayes will be sent off Tuesday with a funeral service in Plano, Texas. A few of his friends and colleagues shared their memories of His Lordship with SLAM! Wrestling.
Bobby Heenan first managed Hayes in St. Louis in the 1970s. In the AWA, circa 1979, Hayes was turned into a manager with Heenan away in Georgia. Upon Heenan's return to the Verne Gagne-run territory, he and Hayes battled over the Super Destroyer team of Bob Remus (aka Sgt. Slaughter) and Don Jardine (aka The Spoiler). Slaughter, who was Super Destroyer Mark II, turned on Hayes and sided with Heenan. Hayes would fall to Heenan in a Loser Leaves Town match and head off to Montreal as the manager for fellow Brit Billy Robinson.
"Lord Alfred Hayes was a very, very good friend of mine," Heenan told SLAM! Wrestling's Bob Kapur last week. "I never heard the man say a mean word, I never heard him swear. If he hit a golf ball and it went wrong, he would say, 'that beastly little thing.' He was just a true gentleman."
A few months back, the wrestling fraternity put out word that Hayes was going downhill. "I called him at Christmas, but couldn't get a hold of him," Heenan said. "I sent him some pictures of the two of us in a magazine, but I never got to talk to him, and I'm sorry about that. He was one of the most interesting people to talk to on a trip, he just knew about everything. He would tell stories about wrestling in England and in Europe that were just fabulous."
On the WWE website, Sgt. Slaughter remembered Lord Alfred Hayes, and brought up Hayes' manners. "He was the perfect Englishman. He spoke Queen's English and never spoke a bad word in his life. Sometimes we would be golfing and he would miss a short putt. Rather than swearing, which he never did, he would pick up the ball and say 'you're a beast. You're supposed to go into the hole.' He was a very proud man that never asked for anything. I know that Alfred fought courageously to the end, denying any help, so that when he left this world, he'd have his head held high when he entered his new world. He was just that kind of a guy, very gracious and noble."
Gene Okerlund knew Hayes from both the AWA and later in the WWF. "I was very close personally with Al Hayes. In the later years, his body kind of broke down, but he always had a quick mind. He had a heart of gold," "Mean" Gene told Bob Kapur. "He was one of the most entertaining men in the history of the business. I'd put him in the same league as Bobby Heenan or Roddy Piper."
At the height of the WWF's expansion, the company used Video One, a TV production company in Owings Mills, Md., outside Baltimore. Bruce DePuyt was one of the people who crossed paths with Hayes there. "Hayes must have lived in the area, because -- unlike the others -- he was at Video One every day," said DePuyt, who is now the host of NewsTalk on NewsChannel 8 in Washington, D.C. "A geek from DC with only a passing interest in wrestling, I hated that job. But Hayes made it bearable with his wit, smarts, and gentle manner." Even then, DePuyt said, Hayes dealt with arthritis. "He battled it long before. In fact, movement of any kind was extremely difficult and painful for him in the mid-1980s, when I knew him. I hope the younger wrestlers who were in and out of Video One all the time got the obvious message: quit before it's too late."
Photographer Mike Lano shot Hayes at various times in his career, and as the official lensman for the Cauliflower Alley Club, saw Hayes at functions in 2001 and 2003. "It was so rough seeing Al in the wheelchair at the various Cauliflower Alleys he came to. He told me it was very difficult to get there from his home near Ft Worth, but he never complained," Lano said. "He was nearly completely gnarled with devastating arthritis. The Tuesday Night Titan comedic foil who was so brilliant and funny opposite Vince [McMahon] Jr in the early days of the nationalization was reduced to this. His mind and brain were still 100% and he remembered me as a snot-nosed mark photographer for Stanley Weston's magazines, taking pictures of him in England in the early '70s before he emigrated to the U.S. for Dory Funk Sr.'s great promotion."
Killer Karl Kox was one of those people who first met Hayes when he arrived in the U.S. for the Funks' Amarillo promotion.
"He wasn't that good when he first came over here. It was a different style than over here," Kox recalled. But later, the London, England-born Hayes really became a great hand in the ring, he said. "What makes those guys so good, Lord Layton, Billy Robinson, Al Hayes, is their British accent. It's so pure when they speak, and especially everybody here in America, or Canada, take notice."
The nursing home where Hayes spent his last months is four blocks from Kox's house, but no one told him when Hayes first moved in there. But for the last month and a half, he'd been to see his old friend regularly. Kox visited Lord Alfred Hayes about five days before he died on Thursday, July 21, 2005 at age 76. "He wasn't in good shape at all, at all. I said, 'How you feeling?' He said, 'Terrible.' He said, 'I want to tell you something. I've known you for a long time, I've got about five days to go and it's been beautiful knowing you.' Boy, I almost lost it there. He couldn't move any part of his body but his eyeballs. Sitting in a chair, just moving his eyeballs back and forth. I had to sit right in front of him."
Kox will be among the mourners at Hayes' funeral Tuesday at 11 a.m. at the Christ United Methodist Church 3101 Coit Road, Plano, Texas 75075, 972-596-4303. A reception on site will follow.
Hayes is survived by his son, Kersten Alexander Hayes, and his daughter, Kandace Nadine Hayes, and three grandchildren.
-- with files from Bob Kapur, SLAM! Wrestling
Greg Oliver is the Producer of SLAM! Wrestling and can be emailed at email@example.com.


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A Tahiti-born conman jailed for defrauding fellow Seventh Day Adventists of $853,000 in a Nigerian oil scam was highly likely to commit similar offences in the future, a Dunedin District Court judge said yesterday.
Damas Tutehau Flohr, 69, was sentenced to four years' jail but, "alarmingly", still carried the "delusional view these schemes, which can only be described as scams, will deliver up riches", Judge Michael Crosbie said.
Flohr, who had a commerce degree from the University of Canterbury, had charmed and pressured fellow church members in Dunedin out of $853,215 in 2008 and 2009. He used his friendship with his pastor and others to obtain large amounts of money he said was needed to free up multiple millions of dollars being held for him in a New York bank.
But the millions never eventuated and seven of his fellow church members were poorer by a total of $853,215.
The possibility of the victims being repaid was negligible, given Flohr's age, lack of assets and inability to earn a living, Judge Crosbie said. But he set a reparation figure of $563,121 - two-thirds of the loss to the seven victims - and ordered payment on a pro-rata basis.
Money might legitimately come into Flohr's possession through possible future land deals in Tahiti and, if that did happen, the victims should have the money, the judge said.
Flohr pleaded guilty part way through his trial last November on seven charges of obtaining by deception.
But despite his guilty pleas, he clearly still believed there were mythical millions waiting for him in the Bank of New York Mellon and that, after the correct procedure had been completed, he would be able to claim them.
Because of this, there was "a very high likelihood" he would reoffend in a similar way, Judge Crosbie said.
He described the harm to the victims as significant. Flohr had used his charm and guile to manipulate their Christian ethos, taking advantage of longstanding relationships and the trust they had in him and his wife.
But that charm later turned to unrelenting pressure when he took some of his victims to their banks to obtain cash which would then be transferred to China or Nigeria through Western Union.
There came a time when Flohr's approaches to his fellow church member became reckless and fraudulent. He was pressing several people at the same time without disclosing that to any of them and he did nothing to secure the safety of their money. He exaggerated the authenticity of the funds and the likely returns.
Flohr was clearly using the same methods at the same time with several victims and must have been aware of the falsity of what he was doing, Judge Crosbie said.
A psychiatric report concluded there was no past medical or psychiatric history. From various pre-sentence reports and submissions from Crown and defence counsel Robin Bates and Max Winders, it was apparent Flohr still felt the events leading to the charges were genuine and that the money was still in overseas bank accounts.
While he had expressed some sadness about the losses to the victims, Flohr did not see himself as an offender. He believed the money existed, that it was his and that, after the correct procedures had been completed, he could claim it.
Flohr himself lost money to the scam before his offending, so the likelihood of him re-offending was high - "because of your belief".
His victims had lost very large amounts in some cases - one elderly couple handing over $198,000 during five months in 2009 because they felt sorry for him. Flohr had obtained almost $250,000 from his church pastor and his wife, more than $300,000 from the pastor's sister, and lesser sums ranging from $2500 to $59,000 from other church members.
The seriousness of the offending was exacerbated by the age of some of the victims and the fact they had been left with a lack of security in their senior years. Their age and their naivete had made them vulnerable.
An aggravating factor was the time over which the offending occurred and the fact there had been 162 separate instances of deception, Judge Crosbie said.
He told Flohr the old saying "If it seems too good to be true, it probably is" certainly applied in his case. And he hoped the sentencing would be a warning to people who came into contact with Flohr in the future.


text: TOPEKA - (AP) - Plenty of young people across Kansas are interested in pursuing agricultural careers but face steep hurdles in getting started, something one young farmer can attest to, as he had to get creative to pursue his goal of starting a cattle operation. Randall Debler grew up on a farm and knew he wanted to get into agriculture, but his family operation wasn't large enough for him to return to after graduating from college, The Topeka Capital-Journal (http://bit.ly/H9FCqT ) reported. Buying enough land and animals to get started would have cost more than $700,000, he said, so instead he started working with Paul and Nancy Miller, a couple who had the type of operation he wanted - and nobody in line to take over for them. The Millers converted their farm, Rock Hill Ranch, into a corporation, which allowed Debler and his wife, Erin, to gradually buy parts of it instead of all at once. The farm is near Alma, about 40 miles west of Topeka. "My wife and I are buying shares a little at a time," Debler said. "The amount of capital to get started at that size is almost impossible to come by out of college." A 2011 survey from the National Young Farmer's coalition found 68 percent of the 1,000 farmers who responded said access to land was a big challenge. Even more, 78 percent, said they struggled with a lack of capital, and 40 percent said they had trouble accessing credit. Debler, who speaks to animal science classes in schools, said he has seen a great deal of interest from young people in farming. He suggests working for an older farmer, or setting up a small side operation while working another job to show they can do good work and are serious about pursuing the profession. Jeff Sutton, marketing director for the Kansas Farm Bureau, said agriculture is a promising field for young people because of the need to feed a growing population. However, if they don't have a family farm, they may need to work for an older farmer or make arrangements to gradually take over as the owner moves into retirement. The average farmer's age is 57, according to the young farmer's group, and for every farmer younger than 35 there are now six older than 65.


text:
I am trying to find out some details of the sight post No4 for the above mortar. I need the length of the tube and some detail of the fixing arrangement for the periscope. Once I have this I should be able to finish my project.
Sorry it's upside down but can't seem to correct it?
Thanks Steve
Just picked up a few things at a gun show in Tucson.
Larger calibers, Bf-109 tail wheel and some of my helmets.
TBM-3E currently based in Colorado Springs. Nicely restored functioning turret.
Photos on a B-25J currently at the Cavanaugh Flight Museum in Texas.


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We MUST Have Music!
"Earlier, when I was watching musical films on TV, and then recording them, I would try to re-enact the scenes by myself. And that's why I know some of those songs by heart." (Vaginal Davis)
One of the participants of the Arsenal project "Archive Work as a Contemporary Artistic and Curatorial Practice" was queer performance artist Vaginal Davis, who moved to Berlin from Los Angeles in 2006. As a film lover, she quickly immersed herself in the Arsenal archive and began presenting the treasures she found there to audiences from 2007 onwards. During this period, the series was called "Rising Stars, Falling Stars – We Must Have Music!". We're unearthed the trailer to this series and added it to the arsenal 3 program, together with another short film that she shot in 2001, the founding year of the CHEAP Collective (with Daniel Hendrickson, Susanne Sachsse, Marc Siegel, and later Tim Blue, whose film SURFACE NOISE is also part of the program). Arsenal in-house pianist Eunice Martins, another Living Archive participant, entered into a musical dialogue with the archive in PIECES FOR THE ARCHIVE. The resultant video footage allows us to see a space we are all missing greatly right now: the Arsenal 1 cinema auditorium.
As part of our jitsi Q&A (28. and 29.5.), we will be speaking to her about her film accom-panying music. To round off the Q&As, we'll also be playing a playlist exclusively put to-gether for this event by Vaginal Davis.
Until then, we'll be spending our time with music by Margarita Fernández, Blixa Bargeld, Ricky Shayne, The Schlippenbach Trio, Kreidler, The Invisible Hands, Genesis P. Orridge, Leila Albayaty, Bengali Bauls, Puccini, Lena Horne, with the musical traditions of Palestine and the Emirates, Brazilian soundscapes, a melancholy folk song from Kuwait, jam sessions at a home studio, and the sound of analogue film material.
Many people have lost their jobs in recent weeks or had their hours cut, others face the same fate and almost everyone's work and therefore life has been fundamentally changed by the measures put in place to prevent the further spread of COVID-19. So, we have decided to devote our program for weeks 7 & 8, which fittingly kicks off on 1st May, to the subject of work.
Work and industrial action have cropped up in Forum, Forum Expanded and Arsenal programs for decades and we have a number of appropriate titles in our collection. However, many of them are available only in analogue form and thus cannot be shown in our online cinema, arsenal 3.
Nevertheless, we have been able to include two classics: LA REPRISE DU TRAVAIL AUX USINES WONDER (Resumption of Work at the Wonder Factory, États généraux du cinéma, 1968) and FÜR FRAUEN - 1. KAPITEL (For Women – Chapter 1, 1972) by Cristina Perincioli. We will also be showing recently digitized films from the 1980s by the first feminist film collective in India (Yugantar) and AMY! by Laura Mulvey (1980) about a pioneering pilot. Our total of 21 programs span the 1960s, 1970s and 1980s before skipping the 1990s (which feature less in our collection in digital format; one important work for Arsenal during this period was a French co-production about Niger, Éliane de Latour's Contes et comptes de la cour but it only exists in a 35mm copy) and continuing into the 2000s and 10s. The works take us into very recent history (EIN PROLETARISCHES WINTERMÄRCHEN by Julian Radlmaier, EINE FLEXIBLE FRAU by Tatjana Turanskyj or OUT ON THE STREET by Jasmina Metwaly and Philip Rizk) and imagine a future, which in light of the COVID-19 experience has gained new relevance (THE MACHINISTS' LAMENT by Jen Liu and LABOUR POWER PLANT by Robert Schlicht and Romana Schmalisch).
We can only show these films and those listed below at arsenal 3 because filmmakers, artists and producers have put them at our disposal. We are experiencing a considerable loss of income as a result of the temporary closure of arsenal 1 & 2 and the fact that we are currently not distributing films to other cinemas. But we still want to pay royalties to filmmakers and artists, who are particularly hard hit by the COVID-19, while at the same time maintaining our free arsenal 3 screenings. That's why we appreciate your donations and continue to ask all those who can to support us. You can also help maintain our institution's work by becoming members. After all, cinema is one thing in particular – a collaborative project.
arsenal 3 came about because we had to temporarily close arsenal 1 and 2 to prevent the further spread of the Coronavirus. On April 13th, we unfortunately received the sad news that Sarah Maldoror, an outstandingly important filmmaker for so many of us, had passed away at the age of 91 after contracting the virus.
Monangambeee is a rallying cry with which the activists of the anti-colonial liberation struggle in Angola convened village meetings. Sarah Maldoror's first short film of the same name was part of the first edition of the Berlinale Forum in 1971. The print stayed in our archives and was widely distributed. Much later, when it turned out that it had become the only accessible print, we began to really understand archive work as a collaborative process.
From 2011-2013 Filipa César participated in our project "Living Archive – archive work as a contemporary artistic and curatorial practice with "Luta ca caba inda", a project concerned with the remains of a short phase of militant cinema in Guinea-Bissau in the archive of the National Film Institute (INCA – Instituto Nacional de Cinema e Audiovisual). Together with her and in close collaboration with filmmaker Sana na N'Hada, who had been assistant director of Sarah Maldoror's films, we started our first large digitisation project. Our conversations had a huge impact on the conceptualisation of our own archive as a site for political activism.
The film was digitised for the DVD project Specters of Freedom – Cinema and Decolonization, edited by Tobias Hering and Catarina Simão. It was re-screened as part of Berlinale Shorts in 2017 and once again this February in the framework of the 50 anniversary program of Berlinale Forum.
We asked Filipa César to write an obituary for Sarah Maldoror which you can read below. Our thoughts are with Sarah's daughter, Annouchka de Andrade, who generously agreed to include MONANGAMBEEE in our arsenal 3 program. (stss)
Absent Present: Our first phase of closure comes to an end on 19.4. It's still not clear when arsenal 1 and arsenal 2 can be reopened. arsenal 3 has already four weeks of programming behind it. At this point, we'd like to say a big thank you to our audiences, who are scattered across the entire world right now, to all the filmmakers who have been giving their support to arsenal 3, and to everyone who has already made a donation! We would like to welcome all the new Arsenal and Arsenal Freundeskreis members!
The majority of films we're showing at arsenal 3 are from our own distribution range. Curating a program from a pool of films right in front of you is an exciting new challenge, as instead of collating films for a particular series or exhibition, we are placing those already there into relationship with one another. This enables us to take a fresh look at our collection, also with regards to the question of what's available digitally and what isn't, and the restrictions faced by digital programming without recourse to analogue films.
Still incredibly extensive nonetheless: maybe it's not even us who does the curating. Maybe it's the films themselves that group themselves first in one way and then another (in this case, without the analogue ones) and create something new in the process. And then it's once again us who form narratives. As always, from the present, which currently has a particularly profound effect on how we view cinema.
It's all the more important that we don't just try draw attention to our own immediate realm of experience but rather try to implement what we've learnt from the cinema of resistance: making visible what we otherwise don't see.
As always, when we leave the cinema space, we also do so to grasp the same space in a new way. This equally applies to exhibitions and the Internet. Seen from the outside, there are always good reasons to return to the cinema auditorium, as well as expanded views of cinema and society that will endure.
arsenal 3 is an experiment. It explores, for example, the question of whether a temporal restriction can create a cinema space. With a beginning and an end, at which discussions with the filmmakers take place. We still have to adjust the rhythm to this end: for this reason, we are now turning our weekly programs into fortnightly ones. For it's not just cinema, but also our concept of time that we're learning afresh.
Meetings are currently only possible with many restrictions. In weeks 5 & 6, we would like to make you acquainted a few personalities who we came across during our research, famous and less well-known alike.
The focus is on portraits and the difficulties connected with making them, particularly when the lives of those being portrayed are or have been marked by questions of representation and depiction. Those filming are thus just as important here as those being filmed. We meet photographer Abisag Tüllmann (DIE FRAU MIT DER KAMERA by Claudia von Alemann), filmmaker Harun Farocki (HARUN FAROCKI – ZWEIMAL by Ingo Kratisch and Lothar Schuster), artist and musician Tony Conrad (TONY CONRAD DREAMINIMALIST by Marie Losier), performance artist Oskar Dawicki (THE PERFORMER by Łukasz Ronduda and Maciej Sobieszczański), and architect Louis Sullivan (SULLIVANS BANKEN by Heinz Emigholz). We meet actors Soad Hosni in THE 3 DISAPPEARANCES OF SOAD HOSNI (by Rania Stephan), Frances Framer in COMMITTED (by Sheila McLaughlin und Lynne Tillman), and João Carlos Castanha in CASTANHA (by Davi Pretto), as well as telenovela actress and political activist Bete Mendes and funk-carioca musician Deise Tigrona (BETE & DEISE by Wendelien van Oldenborgh). Marwa Arsanios even goes a stage further in HAVE YOU EVER KILLED A BEAR? OR BECOMING JAMILA, which focuses on the difficulties faced by an actress in playing Algerian liberation fighter Jamila Bouhired.
ABSENT PRESENT: But it's not just about well-known names. Benji was brought to East Germany from Namibia as a small child in 1979 and sent back there in 1990 after reunification, where filmmaker Angelika Levi got to know him. When she later wanted to make a portrait of him, he had disappeared. SUSPENDED FREEDOM by May El Hossamy follows a housekeeper who goes door to door in Cairo, does housework, and speaks about her private life in the process. And in JOKINEN, Laura Horelli tells the story of Finnish man August Jokinen, a caretaker and subsequent civil-rights campaigner and Communist Party member, as a piece of historical research and a detective story in one.
Thomas Heise says the following about his film MEIN BRUDER. WE'LL MEET AGAIN: "It's about my brother and I. Everything unspoken between us. Otherwise I wouldn't have made this film."
Last but not least, revolving around ourselves again, we are showing three special attempts at self-depiction: XÉNOGÉNÈSE by Akihiko Morishita, WITH SOUL, WITH BLOOD by Rabih Mroué, and TOSS IT, BABY! by Justin Time.
Dr. Mabuse, boss of a press company, doesn't create just a portrait, she creates an entire person: with DORIAN GRAY IM SPIEGEL DER BOULEVARDPRESSE, we are bringing Ulrike Ottinger's Berlin trilogy to a close.
arsenal 3 came about because we had to temporarily close arsenal 1 and 2 to prevent the further spread of the Coronavirus. Just before we were closing the program, we unfortunately received the sad news that Sarah Maldoror, an outstandingly important filmmaker not just to us, had passed away at the age of 91 after contracting the virus. MONANGAMBEEE is a rallying cry with which the activists of the anti-colonial liberation struggle in Angola convened village meetings. Her short film of the same name is one of the most important works in our collection. We are making all efforts we can to include it in the program.
This corona period is one of waiting, waiting for an end without even knowing how to recognize it. Has waiting become an end in itself? Maybe the point is not to change the world, or even our expectations of it, but to change the anticipated.
In Bette Gordon's VARIETY, a ticket seller at a porn cinema stops waiting for the next customer and decides to appropriate her surroundings, while a saleswoman at one of the first web shops in Germany appropriates the interactive videotex in Riki Kalbe's DIE OPTISCHE INDUSTRIEGESELLSCHAFT ODER DARF'S EIN VIERTEL PFUND MEHR SEIN? The same director also made HEXENSCHUSS, about three women in a shared Berlin apartment who get fed up with waiting and create a radio disturbance channel to expose sexism in the media.
Three decades later, a woman and her children wait in front of the TV for time to pass (ANOTHER COLOR TV by The Youngrrr), while in LILY'S LAPTOP (Judith Hopf) a daughter waits at home alone. Maybe her parents are at work, sitting in meetings and conferences. Stefan Landorf's BESPRECHUNG (Meeting) brings us into the realm of rhetoric and rituals.
Chronophobia sounds like a product of this world: It's characterized by an irrational yet persistent fear of time and of the passing of time, and can only be "healed" if time is slowed down or stopped. DIE ZEIT VERGEHT WIE EIN BRÜLLENDER LÖWE (Time Goes by Like a Roaring Lion) by Philipp Hartmann tries to do the impossible.
While the coronavirus is not only slowing down our present, but at the same time accelerating it, putting us at risk while also opening up a space for reflection, the waiting is also putting people in urgent mortal danger, and not only since the virus appeared. In LE CUIRASSÉ ABDELKARIM (Battleship Abdelkarim by Walid Mattar) young people wait to receive a visa for Europe. In NOW: END OF SEASON (Ayman Nahle), the audience sees Syrian refugees waiting in Turkey while listening as a phone conversation fails to happen – President Hafiz al-Assad waits for his US counterpart Ronald Reagan who is out riding. LES SAUTEURS (Moritz Siebert, Estephan Wagner, Abou Bakar Sidibé) is about waiting for the next "jump" from Africa to the EU, from Mount Gurugu, which overlooks the Spanish enclave of Melilla on the Mediterranean coast of north Africa.
Meanwhile: THE MERMAIDS, OR AIDEN IN WONDERLAND (Karrabing Film Collective) tells of a future in which Europeans will no longer be able to survive for long periods outdoors in a land and seascape poisoned by capitalism, but Indigenous people seem able to. In PHANTASIESÄTZE (Dane Komljen) the trees are consulted long after the cities on the river have been afflicted by a plague.
Back by popular demand: Tamer El Said's IN DEN LETZTEN TAGEN DER STADT, another film about waiting, for a new apartment, a new film, a future.
And finally, we will also be showing the long-awaited second part of Ulrike Ottinger's Berlin trilogy: FREAK ORLANDO.
Joint Action
"…we explored the possibilities of gesture, stance and facial movement in hundreds of photo sessions, using everything in the apartment as draperies and props" (Ulrike Ottinger on working with Tabea Blumenschein)
Cinema is collaborative work. The possibilities of changing the system via joint action are investigated by Minze Tummescheit and Arne Hector in their interview film IN ARBEIT (2012) and by Sandra Schäfer and Elfe Brandenburger in PASSING THE RAINBOW, which was shot in Kabul in 2007. Annika Larsson's BLIND (2011) and Agnieszka Brzezanska's BLUE MOVIE (2007) are about shared body language and sensorial perception. The films THE RIGHT (2015) by Assaf Gruber and DIE AUSSTELLUNG (2005) by Juliane Zelwies examine relationship structures in the art world. A CRIME AGAINST ART (2007) by Hila Peleg and KILLER.BERLIN.DOC (1999) by Jörg Heitmann und Bettina Ellerkamp attempt to do the same by having real figures from the world of art and culture play themselves, in the former in a courtroom show, in the latter by playing a crime game.
Two films are from this year's Forum Expanded program: In LETTER TO A FRIEND (2019), Emily Jacir asks research agency Forensic Architecture to open an investigation before anything has actually happened. Caitlin Berrigan's IMAGINARY EXPLOSIONS (2019) follows a group of trans-feminist scholars who want to fulfil the Earth's desire to have all volcanoes erupt at the same time. We're contrasting the-se new works with two historical films digitally restored by Arsenal: In RAMDENIME INTERVIU PIRAD SAKITKHEBZE (Some Interviews on Personal Matters, USSR/Georgia 1978), Lana Gogoberidze gives an account of the intertwining of the private and the political, while in the short films by Ibrahim Shaddad, member of the Sudanese Film Group, the question of joint action becomes a question of life and death.
Last, but not least, we are particularly happy to be able to present Ulrike Ottinger's Berlin trilogy over the next three weeks. We're starting with BILDNIS EINER TRINKERIN (Ticket of No Return, 1979) and are thus commemorating actress and artist Tabea Blumenschein, who died recently.
The first week was a great success! Not only did many people make use of our digital program, but we also hosted very interesting discussions between filmmakers and audience members. We are aware that our online presence is not yet perfect, but we are working on it and learning as we go along.
But it goes without saying that we can't wait to have you back in person at Arsenal 1 and 2 and we're constantly thinking about the future about which we have major concerns. In order to continue to show online films for free and also pay filmmakers for the licenses if would be great if you could donate to Arsenal
Another possibility to support us is to become members of Arsenal!
On Friday, March 13th, we suspended all events at Arsenal 1 + 2 until April 19th, cutting short both our anniversary program for the 50th Berlinale Forum and the Forum Expanded exhibition, to combat the further spread of the Coronavirus.
Suddenly, "Part of the Problem", the motto of this year's Forum Expanded, had become self-explanatory to a far greater degree than we'd hoped: as event organizers, we are always part of what we are engaged with, not least because of our unique approach. It's not just about having a stance on films, but also one on the world. The places where we negotiate this, the cinema auditorium and the exhibition space, may no longer be accessible for the moment, but the filmmakers, artists, films, audiences and Arsenal itself are all still there, at least the institution and its staff. And we're still working, also to remodel the cinema into a social space.
Yet without the protection of three walls and a screen, there's a problem: anyone can see the film, which not everyone necessarily agrees with. That's why we got in touch with the filmmakers and artists whose films form part of our distribution range. We were totally overwhelmed by their reaction: without any hesitation, they immediately made enough films available for online viewing to enable us to put together a program for the next few weeks. And not just that: everyone who agreed to take part also made an unconditional expression of solidarity. We need the filmmakers but they also need us. arsenal 3 is therefore even more what cinema always actually is: a collaborative project.
Humboldt-Ehrungen in der DDR
Siegfried Schönfelder GDR 1969 35 mm 18 min
Kosmos – Erinnerungen an Alexander von Humboldt
Karl Gass GDR 1960 35 mm 41 min
Una vita difficile A Difficult Life Dino Risi Italy 1961
With Alberto Sordi, Lea Massari, Franco Fabrizi, Vittorio Gassman, Silvana Mangano
35 mm OV/EnS 118 min
Print of the CSC Cineteca Nazionale


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Tweetea brings together a diverse group of people with interests to discuss social media. Media relations was discussed and how to better serve everyone involved. How do we communicate with the Media and to get our messages across to them with out spam, awkward email or just being annoying and unproductive from a Public Relations perspective. Tweetea happens every Tuesday, from 7:30 – 10 p.m. at Goldfish Tea in Royal Oak off on Fourth Street.
Twitter is a great tool to state what you are looking for but when your profile is limited to 140 characters you can only say so much.
What is the best solution to help reporters get the information they need and public relations professionals to pass on their information to someone who will promote it?
There was some talk of innovation and things we could do. Help a Reporter Out (HARO)is a great service but what if you are looking for a local flare?
What if you decided to Facebook friend a reporter? Simple. You can find out what you have in common, what stories they need, and they can use it as a distribution channel of ideas?
Just a thought. When you do so, if the reporters collectively decide to change their status and you are looking at them then it is more up to the minute than Linked In. You could solve their problem, learn more about them and well just be nice to each other?
I realize this isn't out of the box thinking. But, if public relations and journalists realized we are all in this together and there is an easier way to find out what about each other and create relationships instead of fighting them.
Wouldn't the communications industry get along better? You could solve some of the problems just by talking and people would know what you were writing, when your deadline was, and everything.
Terry Foster from the Detroit News often uses his Facebook to get feedback on some of his columns. He is a sports columnist but I am sure this could be used for different purposes.
In time I am sure there will be some totally awesome platform some start up will invent to make this a better process. In the meantime, build relationships with Facebook and Twitter. If used properly, I think the spam emails will be cut in half.
Then take this offline by having Tweetups so we can find out what each other wants and needs? I realize everything is deadline driven but in business relationships run smoothly if you do business with people who you know, like and trust.


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On the same occasion we publish also herewith the index of names included in the book Czestochowa. All the names and lists concerning these books were established by MOTEL BERKOVITZ.
Bibliographic information:
Title: Tshenstokhov (Tshenstokhover Yidn or Czenstochover Yidn
Author(s): Mahler, Raphael, 1899-
Publication: New York: Aroysgegebn fun Yunaited Tshenstokhover relif komitet un Leydis okzileri in Nyu York, 1947
JewishGen, Inc. makes no representations regarding the accuracy of
the translation. The reader may wish to refer to the original material
for verification.
JewishGen is not responsible for inaccuracies or omissions in the original work and cannot rewrite or edit the text to correct inaccuracies and/or omissions.
Our mission is to produce a translation of the original work and we cannot verify the accuracy of statements or alter facts cited.
Czestochowa, Poland Yizkor Book Project JewishGen Home Page
Copyright © 1999-2019 by JewishGen, Inc.
Updated 9 Oct 2007 by LA


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Edwin Jackson tries to get his first win as a member of the Cubs tonight against the light hitting Marlins. I guess the same could be said for the Cubs, not exactly two offensive juggernauts here. The Cubs will face Kevin Slowey who has been sharp in the early going, here is how each team will line up.
Thanks for reading,
– George


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by Kevin Kimmes
Welcome to the 2nd installment of The Cards That Made Milwaukee Famous in which we try and shine the light of discovery on the players who were once household names in the Cream City. This series is dedicated to looking at Milwaukee's baseball history through it's cardboard representations: baseball cards.
Today we will continue on with the second of four players who played for the American Association Milwaukee Brewers in 1909 and appear in the T-206 card set. For more information on the American Association Brewers or the T-206 card set, click here.
Shad Barry:
John C. "Shad" Barry (October 27, 1878 – November 27, 1936) was a regular in Milwaukee's lineups from 1909 through 1910. Barry, who began his 10 year major league career at the age of 20 with the Washington Senators in 1899 would find himself playing at many different positions with many different teams during his major league tenure. Major league clubs that Barry played on include The Boston Beaneaters (1900-1901), The Philadelphia Phillies (1901-1904), The Chicago Cubs (1904-1905), The Cincinnati Reds (1905-1906), The St. Louis Cardinals (1906-1908) and the New York Giants (1908). (1)
In 1909, Barry would join the American Association Brewers for his first of two seasons in Milwaukee, hitting .235 as an outfielder. Barry would improve his hitting in his final year with the Brewers, recording a .252 average (3rd best on the team). (2)
Barry would leave the American Association for the Pacific Coast League in 1910, where he would see his batting average dive to a career low .193 with the Portland Beavers. He would remain in the minors for 2 more seasons, in 1912 as a player/coach for the Northwestern League's Seattle Giants and in 1913 as a member of the New York State League's Troy Trojans. (3)
Barry passed away at the age of 58 on November 27, 1936 in Los Angeles, CA.
Kevin Kimmes is a regular contributor to creamcitycables.com and an MLB Fan Cave Top 52 Finalist. You can follow him on Twitter at @kevinkimmes.
(1) http://en.wikipedia.org/wiki/Shad_Barry
(2) Hamann, Rex & Koehler, Bob (2004) The American Association Milwaukee Brewers Charleston SC, Chicago IL, Portsmouth NH, San Francisco CA: Arcadia Publishing
(3) http://www.baseball-reference.com/minors/player.cgi?id=barry-002joh


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