text: Spring Cleaning Spring Cleaning Contest Rules Spring Cleaning Rules presented by BISSELL Canada Official Rules NO PURCHASE NECESSARY. A PURCHASE OR PAYMENT OF ANY KIND WILL NOT INCREASE YOUR CHANCES OF WINNING. ELIGIBILITY: Spring Cleaning (the "Contest") is open only to legal residents of Canada, excluding Quebec, who are the age of majority in their province or territory of residence, at the time of entry. Employees of BISSELL Canada, and any of their respective related companies, parents, subsidiaries, affiliates and agents and any agencies or other companies involved in the development or execution of the Contest or production or distribution of Contest materials, as well as the immediate family (spouse, parents, siblings and children) and household members of each such employee are not eligible to enter or win any prize. Void where prohibited. By entering the Contest participants are bound by and agree to these Official Rules, and the decisions of Administrator, which are final and binding in its sole discretion. SPONSOR: BISSELL Canada, 2100 Derry Road West, Mississauga, ON L5N OB3. ADMINISTRATOR: BISSELL Canada, 2100 Derry Road West, Mississauga, ON L5N OB3. AGREEMENT ON OFFICIAL RULES: By entering and participating in this Contest, entrants fully and unconditionally agree to and accept these Official Rules and the decisions of the Sponsor and Administrator, which are final and binding in all matters related to the Contest in their sole discretion. Whether an entrant receives a prize is contingent upon fulfilling all requirements set forth in these Official Rules, and complying with all of Sponsor's and Administrator's requests during the verification process. TIMING: The Contest begins on March 4, 2018 at 10:00 a.m. Eastern Time ("ET") and ends on March 31, 2018 at 11:59 p.m. EDT (the "Contest Period"). Sponsor's computer is the official time keeping device for this Contest. HOW TO ENTER: During the Contest Period, you can enter by posting comments/stories, sharing a picture of your pet, and responding accordingly in the Sponsor's Facebook post requesting entries. Sponsor will publish a post on Facebook requesting entries on or about March 4, March 11, March 18, March 25. For the post on or about March 6 all eligible entries must be received by 11:59PM (EDT) March 12. For the post on or about March 12, all eligible entries must be received by 11:59PM (EDT) March 18. For the post on or about March 20, all eligible entries must be received by 11:59PM (EDT) March 25. For the post on or about March 27, all eligible entries must be received by 11:59PM (EDT) April 2nd. Each a "Prize Period". To be eligible to win each prize, entrants must comply with the Sponsor's social media requests to be posted by the Sponsor on its Facebook page during this Contest. Limit one entry per person. THIS CONTEST IS IN NO WAY SPONSORED, ENDORSED OR ADMINISTERED BY, OR ASSOCIATED WITH, FACEBOOK. YOU UNDERSTAND THAT YOU ARE PROVIDING YOUR INFORMATION TO THE SPONSOR AND ADMINISTRATOR OF THIS CONTEST AND NOT TO FACEBOOK. Any entrant that uses fraudulent methods to enter this Contest or circumvent the rules may be removed from eligibility at the sole discretion of the Administrator. All entries are subject to the Entry Content Restrictions set out below. Decisions of the Administrator are final on all matters relating to this Contest, including interpretation of these Official Rules, determining winners and awarding prizes. In the event of a dispute regarding an entry, the entry will be deemed to have been submitted by the Authorized Account Holder of the Facebook account utilized at the time of entry, provided that the entrant meets all the eligibility requirement set forth in these Official Rules. "Authorized Account Holder" means the natural person who is assigned to a Facebook Account. Proof of submission will not be deemed to be proof of receipt by Administrator. Entry Content Restrictions All submissions, posts, pictures, images, stories, entries or any content whatsoever posted or submitted to the Sponsor's or Adminstrator's Facebook or social media page(s), entrants' social media pages or anywhere else in order to enter this Contest must not contain any material that, in the Sponsor's sole discretion: ·violates or infringes another person's rights, including without limitation intellectual property rights; contains material that promotes bigotry, racism, hatred or harm against any group or individual that promotes discrimination based on race, sex, religion, nationality, sexual orientation or age; contains or displays any commercial/corporate advertising; contains indecent, violent or unsafe behavior or situations, profanities or obscenities, including but not limited to nudity, or pornography, or is otherwise inappropriate, indecent, profane, obscene, hateful, tortuous, slanderous or libelous; references or depicts persons or organizations without their permission; disparages any persons or organizations; includes threats to any person, place, business or group; or is unlawful, in violation of or contrary to any federal, provincial, territorial or local law or regulation. Failure of any entry to comply with any of the above Entry Content Restrictions, as determined by Sponsor in its sole discretion, may result in disqualification of an entrant. Without limitation, Sponsor reserves the right in its sole discretion to disqualify any Submission that, in its sole opinion, refers, depicts or in any way reflects negatively upon the Sponsor, this Contest or any other person or entity, does not comply with these Official Rules, or if Sponsor receives notification about any potential infringements or breaches of law. WINNER SELECTION: Administrator will randomly select one (1) potential winner from all eligible entries received during each Prize Period. Potential winners will be randomly selected by the Sponsor within 7 days of the close of each Prize Period. If there are no eligible entries received during any of the four Prize Periods, Administrator reserves the right not to give away the prize available during that Prize Period. Potential winners will be notified by Facebook messenger at the account used to enter this Contest. Potential winners must respond to the Administrator's winner notification e-mail within 48 hours of receipt and provide their contact information (first and last name, mailing address, phone number and e-mail address). If a potential winner does not respond to the Administrator's message within 48 hours of receipt, then the potential winner will forfeit their prize and another potential winner will be chosen at random from remaining eligible entries received during that Prize Period. PRIZES AND ODDS OF WINNING: Four (4) potential winners will be selected as set out above (one for each Prize Period). There are a total of four (4) prizes available to be won consisting of: Power Clean TurboBrush Carpet Cleaner(2085C), Multi Cordless Hand Vacuum | 1985C, ProHeat 2X® Revolution™ Carpet & Upholstery Deep Cleaner | 1548C, and Little Green® ProHeat® Portable Carpet & Upholstery Cleaner | 5207L. No cash or other prize substitution shall be permitted. All prizes are non-transferable. Sponsor reserves the right to substitute any prize or any portion of any prize with a prize of equal or greater value. Any and all prize-related expenses be the sole responsibility of winners. The odds of winning a prize depend on the total number of eligible entries received during a Prize Period. Prizes will decrease as awarded. SKILL TESTING QUESTION: Potential winners will be required, as a condition to winning a prize, to correctly answer, without assistance of any kind, the Sponsor's time-limited, mathematical skill-testing question to be administered by e-mail, via social media or by telephone, in the Sponsor's discretion. WINNER REQUIREMENTS: Receiving a prize in this Contest is contingent upon compliance with all of these Official Rules. All potential winners are subject to verification before any prize will be awarded. No substitution, cash redemption or transfer of a prize by winners is permitted. All federal, provincial, territorial and local laws and regulations apply. All potential winners must sign and return the Sponsor's Declaration of Eligibility and Liability/Publicity release form ("Winner Release") within fourteen (14) days of first attempted notification by Sponsor. If a potential winner cannot be contacted, fails to execute and return the Sponsor's Winner Release form within the required time period or prize is returned as undeliverable, the potential winner will forfeit the prize and an alternate potential winner will be selected from all eligible entries received during the relevant Prize Period. RELEASE AND INDEMNIFICATION: Winners must sign the Sponsor's Winner Release to: (i) confirm compliance with the Contest Rules; (ii) agree to accept prizes as awarded; (iii) release, discharge and hold harmless the Sponsor, its departments and agencies, parent, related and affiliated companies, subsidiaries, franchisees, advertising and promotional agencies, counsel, marketing partners, Facebook and each of their respective directors, officers, employees, shareholders, successors, sponsors, partners, licensees, subsidiaries, agents, artists, advisors, assignees, and all others associated with the administration, development and execution of the Contest (the "Released Parties") from and against any and all manner of action, cause of action, claim or demand, loss or injury, use or misuse of a prize or any travel related thereto, and the use of the Entry by the Sponsor, suit, debt, covenant, contract, including legal fees and expenses, whatsoever, including but not limited to, claims based on negligence, breach of contract and fundamental breach, failure of any third party contractor or supplier used in connection with any aspect of the Contest to perform or deliver any goods or services, any act of God or any other event beyond the Released Parties' control, any dissatisfaction of any kind by a winner with any aspect of the Contest or any prize, liability for physical injury, death, or property damage which the entrants, guests, their heirs, successors or assigns have, might have or could have suffered, by reason of or arising out of the entrant's participation in the Contest and/or in connection with the acceptance and/or exercise by the entrant of the Prize as awarded; and (iv) indemnify the Released Parties against any loss, damage or expense, including legal fees, that any of the Released Parties may suffer or incur as a result of any non-compliance by an entrant with any of the Contest Rules or participation in the Contest and/or in connection with the acceptance and/or exercise by an entrant of a prize and the use of the Entry by Sponsor. The Sponsor is not responsible for: (i) incorrect or inaccurate entry information which may affect a person's ability to participate in the Contest or be awarded a prize, including but not limited to human error, technical malfunctions, lost or delayed entries for any reason, mail failures, omission, or any combination thereof, and entries which fail to fully comply with these Contest Rules; (ii) technical failures of any kind, including, but not limited to malfunctions, interruptions, or disconnections in phone lines or network hardware or software; (iii) lost, incomplete, delayed, mutilated or misdirected entries or Declaration and Release forms; (iv) injury or damage to the entrant's computer or to any other individual's computer related to or resulting from participating in, or downloading any material regarding the Contest or accepting a prize; (v) any injury or damage to persons or property which may be caused, directly or indirectly, in whole or in part, from entrant's participation in the Contest or receipt or use or misuse of any prize, including any travel related thereto and the use of the Entry by Sponsor; (vi) the security or privacy of information transmitted via computer networks or for breaches of privacy due to interference by third party computer "hackers" or otherwise; or (vii) late, lost, misdirected or unsuccessful efforts to notify a potential winner. Any violation of these rules by an entrant may result in disqualification. Sponsor is not responsible for any typographical or other error in the printing, the offering or the announcement of any prize or in the administration of the Contest. All questions, comments or complaints must be directed to Administrator. GENERAL CONDITIONS: Administrator reserves the right to cancel, suspend and/or modify the Contest, or any part of it at any time and in any way, without prior notice. Without limiting the foregoing, if, for any reason, the Contest is not capable of running as originally planned for any reason, the Sponsor reserves the right to cancel the Contest and conduct a random draw from all previously received eligible entries. Administrator reserves the right in its sole discretion to disqualify any individual they find to be tampering with the entry process or the operation of the Contest or to be acting in violation of these Official Rules or any other promotion or in an unsportsmanlike or disruptive manner. Any attempt by any person to deliberately undermine the legitimate operation of the Contest may be a violation of criminal and civil law, and, should such an attempt be made, Sponsor reserves the right to seek damages from any such person to the fullest extent permitted by law. Sponsor's failure to enforce any term of these Official Rules shall not constitute a waiver of that provision. PUBLICITY AND ENTRANT INFORMATION: By participating in this Contest, entrants consent to the use of their name, address, postal code, telephone number, social media handle(s), comments and image, whether on videotape, photograph or any other means, for the administration of this Contest or any publicity carried out by the Sponsor, without further notice or compensation. By entering this Contest, entrants grant Sponsor the unrestricted, absolute, perpetual, world-wide, non-exclusive right and license (except where prohibited by law) to publish, reproduce, distribute, display and transmit the Entry details throughout the world in any manner, form or format now or hereinafter created and for any purpose without further payment to or consent from You. All Entries become the property of Sponsor. DISPUTES: Except where prohibited, entrants agree that: (1) any and all disputes, claims and causes of action arising out of or connected with this Contest or any prize awarded shall be resolved individually, without resort to any form of class action, and exclusively by the United States District Court for the Western District of Michigan or the appropriate Michigan State Court in Kent County, Michigan, U.S.A.; (2) any and all claims, judgments and awards shall be limited to actual out-of-pocket costs incurred, including costs associated with entering this Contest, but in no event lawyers' fees; and (3) under no circumstances will entrants be permitted to obtain awards for, and entrants hereby waive, all rights to claim, indirect, punitive, incidental and consequential damages and any other damages, other than for actual out-of-pocket expenses, and any and all rights to have damages multiplied or otherwise increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of the entrant and Sponsor in connection with the Contest, shall be governed by, and construed in accordance with, the laws of the State of Michigan, U.S.A. without giving effect to any choice of law or conflict of law rules (whether of the State of Michigan, U.S.A. or any other jurisdiction), which would cause the application of the laws of any jurisdiction other than the State of Michigan, U.S.A. RULE AMENDMENTS: The Sponsor reserves the right, in its sole discretion, to amend or modify these Official Rules, or modify, cancel or suspend this Contest, without prior notice for any reason whatsoever, including without limitation in the event that any cause beyond the reasonable control of the Sponsor corrupts, or threatens to corrupt, the security or proper administration of the Contest. INTELLECTUAL PROPERTY: All intellectual property, including but not limited to trademarks, logos, designs, promotional materials, web pages, source codes, images, drawings, illustrations, slogans and representations are owned by the Sponsor or Administrator. All rights are reserved. Unauthorized copying or use of any copyrighted material or other intellectual property without the express written consent of the Sponsor is strictly prohibited. WINNER LIST: For the name of the Winner(s), available after March 31st, 2018, send a separate, self-addressed, stamped (#10) envelope to: BISSELL Canada, 2100 Derry Road West, Mississauga, ON L5N 0B3 to be received by April 5, 2018. ENTRANT'S PERSONAL INFORMATION: The personal information collected through the Contest by the Sponsor is subject to the Sponsor's Privacy Policy set forth at https://canada.bissell.com/privacy-policy/


text:
Jump to navigation
Explore Further
Browse solutions by topic to the left.
Not sure where to start? Tell us your goals and challenges. Learn what's on the horizon. Understand core strategies for building innovation.
Find Innovative Solutions Now »
Government Innovators Network
A forum for innovation in the public sector
West Africa now has its own digital currency
Biodiversity and Technological Development: Opportunities for Developing Countries?
"Concertar es Construir"
Sustainable Community Oriented Development Programme (SCODP)
Malindi Green Town Movement
Siongiroi Community Development Organization (SICODO)
Tourism as an Alternative for Development in the Semi-Arid Cabaceiras
Rural School Program
Socio-Political Organization of the Xukuru People
Sustainable Forestry Development Program in the Brazilian Amazon

subset: commoncrawl


text:
Toggle navigation
Current Issue
Past Issues
Digital Magazine
Daily News
In Focus
Web Exclusives
From our Partners
Artist Corner
Qualified Subscriptions
Email / Address Change
Digital Magazine Subscription
Newsletter Sign-Up
Advertise With Us
Contact Us
Volume 34 Issue 7: (Aug/Sept 2011)
Chimp Change
Barbara Robertson
Issue: Volume 34 Issue 7: (Aug/Sept 2011)
Chimp Change
When the leading role in a critically acclaimed film is a CG character performed by a human actor, who receives the accolades? The actor who created a riveting performance without speaking a word? The visual effects artists who translated that performance onto a dissimilar face and body?
Numerous critics call Caesar, the chimpanzee star of
Rise of the Planet of the Apes
, the most expressive character in the film. But, it's more likely that Weta Digital animators and artists will win Oscars for Best Visual Effects than Andy Serkis, the actor who aped Caesar, will win an Oscar for Best Actor. That there is buzz about Serkis receiving a nomination is a tribute to the animators and the visual effects artists, not just the actor.
To turn the CG apes into film stars, the artists at Weta drew on their experiences in applying motion and performance capture to several characters in previous films: Gollum in
The Lord of the Rings
King Kong
in his film, and the Na'vi in
. So, it made sense for the producers and director Rupert Wyatt to look for help from Weta.
"The schedule was so compressed that Fox brought us in and asked if we could do it," says Joe Letteri, senior visual effects supervisor. "Fox knew that they wanted the apes to be all-digital, and that was a big part of getting the film done. Because the schedule was tight and everything was so intertwined, we had to say we could take it all on. From start to finish, it took about a year."
Given the tight schedule, the chimpanzee star, and the number of apes to animate, the crew at Weta Digital knew they wanted to use performance capture, a decision that worked out especially well once Serkis, who had played Gollum and Kong, agreed to perform Caesar.
But, they also knew that although they could draw on some systems used in the past, the facility would need to develop new technology, as well. "We wanted to take performance capture into the real world," says Dan Lemmon, visual effects supervisor. "There was so much interaction between the apes and the human actors, the idea of doing extensive onset motion capture was a natural direction to try to go. To do that, we needed to deal with sunlight, hot set lighting, and have a system that was portable and flexible enough to adapt quickly and move with the production."
Although Weta had experimented with on-location motion capture for
The Lord of the Rings
and had pushed the state of the art to capture the actors' performances on set for Avatar, the studio hadn't done on-location performance capture at the level required for this film. No one had.
"We based a lot of what we did for this film on what we had done for
" Letteri says. "On Avatar, our facial-capture technology moved from glued-on markers to the head rig." (The "head rig" is a helmet with a camera that records an actor's facial movements. A compact flash drive stores the recorded video.)
Capturing facial movement for this film was important, too, but the apes communicate primarily through pantomime, so body capture was also critical. Thus, because chimps and humans are close in size—much closer than King Kong or
's 10-foot-tall Na'vi, on-location performance capture made sense. "We knew we had to [create the apes] this way," Letteri says. "Rupert Wyatt knew about it. And, of course, we had done this before with Andrew Lesnie [cinematographer] for
The Lord of the Rings
. It was a good working team; everyone knew what needed to be done."
On set, that meant the production crew worked with the Weta team to be sure they got all the data they needed. For its part, Weta tried to be quick. "We tried hard not to hold things up," Lemmon says. "And, everyone on set was pretty accommodating. The question was always, Do we hold things up for 10 minutes or move on?"
At top, animators used keyframe animation for Caesar's fingers, which weren't motion-captured. At bottom, Weta captured the performances of as many as six actors at a time wearing head rigs and suits with LED markers, on location.
Bright Lights
Prior to filming, Weta prepped all the actors who would be on set, fitting them with the head rigs and new capture suits containing active LEDs. "We didn't use optically reflective markers," Letteri says. "We built LED suits. This was new technology for the on-set capture."
Although the team had considered having actors wear specially marked suits, capture their performances on set with witness cameras, and convert the motion into data later by using optical tracking techniques, they felt that a direct motion-capture system would provide higher-fidelity data. But, the traditional motion-capture systems they had used for previous films were too bulky and cumbersome to have on set for an entire production.
"The challenge was to boil motion capture down into a portable, flexible, lightweight system that we could reconfigure quickly," Lemmon says. LED suits provided that solution. Moreover, "the LEDs weren't affected by the set lighting, and they worked in all kinds of situations—outside in sunlight, with light reflecting off cars," Letteri says. "We could phase the LEDs so the motion-picture camera couldn't see them and so we didn't have stray light bouncing into the camera."
The system, built to Weta's specifications,included a control pack worn by the actor that communicated to a computer via an industrial-strength, long-reach Bluetooth transmitter.From the control pack, six strands of wires with attached LEDs stretched around the actor's body. Circling each LED was a colored marker. Four of the strands were Velcro'd onto the limbs, with one strand extending down each arm and leg. The other two ran down the front and back, with the head sharing the back strand.
"It's an extension of a traditional optical motion-tracking system," Lemmon explains. "We used the cameras and pieces of software that we would use for a permanent capture volume, but the biggest thing was dealing with sunlight. A traditional motion-capture system couldn't handle that intensity of light. So we switched from reflective markers to the active LED system and flashed infrared light back to the cameras. We synched the LED markers to motion-capture cameras that we synched to the motion-picture camera's time code."
On location, the team ran two units simultaneously, with as many as eight actors in the LED suits: two in one area and six in the other. Approximately 80 cameras captured the action, with half in each area. In addition, four witness cameras shot the actors' hands and faces, and provided a wide-angle view of the bodies.
"It was a huge amount of data," Lemmon says. "We would fill several hard drives daily. At the end of each day, we would duplicate the data, send a version from Vancouver to New Zealand, and clear the hard drives for the next day's work."
Setting Up
When possible, the crew would mount the motion-capture cameras permanently on the sets or stages. When the action took place on city streets and it was impossible to affix the cameras permanently, they used aluminum truss towers on rollers that are similar to those used for concert lighting. At the end of each "T-bar" across the top, the crew attached pairs of calibrated cameras.
"We developed new techniques for pre-calibrating cameras in pairs, some new math, some new software technology that we bolted onto our existing system," Lemmon says. "Also, we had new techniques for running the calibration processes more quickly once the cameras were in situ. It was a big paradigm shift for our motion-capture technician."
The paradigm shift reduced the time needed on set from the typical week-long effort for setting up, aiming, and calibrating the cameras to 20 minutes.
"The setup time was really good, and the calibration was fast," Letteri says. "Some of it was due to practice. A lot was having pieces pre-rigged so we could get everything into position as quickly as possible. We tried to prerig the day before. If you have the space covered, and you just have to move a few cameras to shoot 'over there,' the calibration is easier to deal with; you don't have to recalibrate all the cameras."
On occasion, the crew ran into situations in which they needed to re-rig the entire set, but when that happened, the production needed to change gear at the same time, too, so reconfiguring the mocap setup didn't cause delays.
Most of the capture volumes were inside 20- by 20-foot-square greenscreen sets that the Weta crew would later extend digitally. One of the biggest volumes, though, was the 300- by 60-foot set built on a back lot in Vancouver for the climactic sequences on the Golden Gate Bridge. On that set, the crew could capture about half the space at one time. "We had a few dozen cameras in bird houses all the way down the length," Letteri says.
In addition to replacing the actors whose performances they captured on the bridge, the effects crew replaced the set with a digital bridge, put it over the water, and added the digital background of San Francisco Bay.
"Capturing the performances on set was a lot of fun," Lemmon says. "It was a unique and different problem than those we normally deal with on set when we're doing visual effects. We felt more integrated with the production process. A lot of the time we're there to grab data as quickly and surreptitiously as possible. In this case, there was no avoiding being part of the production. We provided the main characters for many of the shots in the end, so we had to make sure everything for principal photography was correct."
Give Me Hair
To coat the apes with dynamic hair, Weta Digital created a new, interactive fur grooming tool. "For Kong, we had a procedural system," says Joe Letteri, senior visual effects supervisor. "The new system lets us comb and groom the hair. We wanted to groom the hair directly. And, we wanted our artists to do dozens of apes. So we developed some clever software that uses curve geometry with some hardware acceleration. It's closer to being fun to use."
The new system still uses guide hairs and some form of interpolation. The innovation is in the way the artists groom the hair. "It's more of a sculpting process," says Dan Lemmon, visual effects supervisor. "We use digital brushes and combs to push the guide hairs around. The artists don't manually pull curves or use sliders. They use styling tools. They apply control with a brush rather than with parameters. It's a bit like using a paint program's brush, but the radius also takes into account direction and orientation. With each stroke, the artist changes the guide-curve position, orientation, and the amount of noise. It's a completely new tool with its own way to store a fur set for a character."
The tool, dubbed "Barbershop," rides on top of Autodesk's Maya and plugs into Pixar's RenderMan. –Barbara Robertson
Moving On
In addition to Serkis, actors of varying sizes played other apes during principal photography—small people playing small apes, a large actor playing the gorilla. Six featured apes and another dozen variants star in the film. "We needed them to carry the scenes in pantomime," Letteri says. "Andy Serkis and Terry Notary led the charge, getting everyone to look at how to perform apes."
To help the actors, Weta Digital set up a capture volume on a separate stage where the actors could rehearse and see themselves puppeteering the CG apes in real time. In addition, the crew gave the actors arm extensions.
"It's always interesting when actors start working with performance capture for the first time," Letteri says. "When they see themselves as other characters and inhabit those characters, you can see them play with subtle motion to make the characters look real, especially for the action scenes. Their first thought is to be quick and safe, and then they remember how a chimp would move. We made sure they had the space to do a lot of rehearsal."
Even so, there were scale challenges on set. When Serkis played Caesar as a toddler, for example, the crew put tape on his chest to give actor James Franco the proper eye line. "It was a challenge for them," Lemmon says. "If the actors touched an ape actor, it might give away the size."
Previsualizing the Action
Previsualization supervisor Duane Floch of Pixel Liberation Front ran herd on previs and postvis efforts for Rise of the Planet of the Apes, joining the effort in summer 2010. "When I came on, there were six companies doing previs," he says. "They had been up and running for six weeks prior. It was getting to the point where Kurt Williams, the co-producer, had so much to look at and go through to strain, he asked me to take charge of the first pass. We've worked together on a number of films and think alike."
The volume was so huge because every shot with an ape had to be previs'd, and each previs went through multiple iterations. "I could get the previs to a certain point, show it to Kurt, disperse notes, and answer questions," Floch says. "Once shooting started, we had to keep ahead of that giant rolling ball that was the shooting schedule."
Previs artists worked from storyboards to block in humans, apes, and cameras for approximately 1500 shots. Previs gave the director a sense of timing, the first look at how the story moved through several cuts with characters performing, as seen through a camera. To do this, the artists needed to animate humans and apes.
"We had a Disney animator on board who created a lot of chimp reference materials," Floch says, "idle monkey cycles, apes sitting around scratching, walking, and running. But, we also had a lot of story points that we had to convey with gestures. The characters don't talk. So the
rigs had a good amount of facial expression control."
For action sequences, though, the crews eliminated the rigs."Some scenes had 150 apes and more," Floch says. "To handle that amount of data, we transferred the animation onto meshes, the geometry itself, and got rid of rigs altogether, which made the characters light. The running apes just ran with pre-animated motion, but if they had rigs, they would have been unworkable."
Previs worked to get the intent of a sequence nailed down and approved, but things always change during filming. "They had Andy Serkis, Terry Notary, and other actors from the motion-capture team dressed in gray suits with cameras on their heads," Floch says. "We referred to them as the
grapes, the gray apes. They shot plates with and without the performance-capture actors, so sometimes the cuts selected were blank plates and sometimes they had grapes. Because it's difficult for an editor to work with footage that doesn't have any action, we'd add apes in postvis to inform the cut and the visual effects teams."
For the postvis, the artists needed to track cameras, a skill not necessary for previs.
"We don't have a tracking department with artists who only track cameras," Floch says. "But, everyone on our team knew how to get a good 3D track, so they could fill the plates with animation. We had saved a lot of cycles in our library, but when nothing matched what they wanted, the artists started keyframing from scratch."
Floch enjoys both sides of the process—previs and postvis. "It's great fun helping create the initial pass in previs because it's everyone's first look," he says. "It's collaborative.And then, once you're working in plates, it's fun to put the characters in and to make footage work when it wasn't shot that way." –Barbara Robertson
Talk to the Animals
The data captured from the actors' performances moved from the stage to a department of motion editors who translated that data into curves for an animation system, using techniques originally developed for King Kong and refined since. The goal was to move data representing the captured motion of an actor's skin onto CG muscles beneath the digital face.Thus, when an animator moved a muscle in the animation system to create an expression, the digital skin behaved appropriately.
Dedicated actors played all the principal characters, and to aid with the data translation
for those actors' performances, the crew at Weta had "pre-calibrated" each actor.
"Our facial system is built on Paul Ekman's FACS system," Lemmon says. "We had them go through a standard battery of FACS expressions and a range of movement for their body. We filmed them with witness cameras and digital SLRs. For the hero actors, we also did a high-resolution motion-capture session using tiny capture markers on their faces."
Ultimately, though, the data would need to drive simian characters, not humans. "The biggest difference was in the design of the faces," Lemmon says. "The Na'vi in Avatar mimicked the actor's features. And, the art directors redesigned Gollum's face to look more like Andy Serkis, which helped give us solid anchors for markers. It is more difficult with apes. There isn't a one-to-one correspondence. We had to look at the expression Andy made and translate it into Caesar's anatomy."
Before creating Caesar and the other apes, the crew did extensive research into ape physiology, muscles, facial structure, and body language."As you can imagine, in addition to the differences in anatomy, there are also differences in the way chimps use facial expressions," Lemmon says. "When a chimp smiles, it can mean it is scared or it is trying to be aggressive."
Even though the film is an origin story, and the animators and artists tried to be as faithful to modern-day chimpanzees, orangutans, and other apes as possible, they knew that movie audiences would not understand that a chimp's smile doesn't mean it's happy.
"We looked at reality as a reference point as much as possible," Lemmon says. "But when it came to Caesar's facial performance, we wanted Andy [Serkis'] performance to come through and be readable. So, we set up a system that translated the movements of Andy's facial markers into muscle firings that we translated into something slightly different, but with the character of Andy's performance, for the ape. But this happens when we translate performances onto humans, as well. We need a lot of human intervention to get the result to look as close as possible to the facial reference we get from the witness cameras."
Actors wore arm extensions on set, and although the LED markers didn't extend the full length, the data translation system took the "crutches" into account.
Big Steps
To help with the facial and performance animation, Weta Digital researchers created a new muscle system. "We have a dynamic solve that goes on top of the animation layer," Letteri says. "It adds ballistics to the face, and smoothes the muscle and skin movements across the face, distributing them properly."
For the bodies, a character-mapping process scaled the data captured from the human actors to the size of the ape they play, and adapted the proportions appropriately for the apes' longer arms and shorter legs. The arm extensions, which were foot-long little crutches, helped. Even though LEDs didn't extend into the crutches, the system knew how far the crutches extended beyond the hand.
"It's procedural, but not automatic," Lemmon explains. "We had to adapt and adjust it depending on what the actor was doing, whether he was standing, sitting, or on all fours pushing with his knuckles and legs." Animators then refined the performance using keyframe animation.
"We still have lots of keyframe animation, even with the performance capture," Letteri says. "You can work out the best translation you can think of through the software, and still someone has to make adjustments to the leg, heel, and knee to get the weight right."
Animators also performed many of the background characters, and for shots that the human actors couldn't perform, animators keyframed those characters as well. "People can't climb a tree like an ape, no matter how hard they try," Letteri says.
As with most new techniques and technology, Weta Digital adapted previous systems to create the apes' performances for this film. However sometimes, evolutions are revolutionary. It wasn't important to capture actors playing
Na'vi outside in the real world because they lived on another planet that was a digital environment, but the apes in
Rise of the Planet of the Apes
needed to be in the real world.
When King Kong was in the real world, Serkis was off to the side in a scissor lift to give the actors a correct eye line. The motion capture happened later, on a separate stage, where Serkis performed to the live-action footage. "We could have done that for this film because Andy is so great," Letteri says. "But, we didn't want the actors in this film to act to tennis balls."
Letteri believes the solution they devised—a flexible, portable adaptation of the performance-capture system, which can capture actors' facial and body movements in daylight, on location—is a big filmmaking breakthrough.
"The whole point is to make the visual effects part of the filmmaking process," Letteri says. "That's what Jim [Cameron] was after with
. Breaking down the barrier between live action and digital filmmaking. It didn't make sense for Avatar, but it did for this film. This is the last step."
Barbara Robertson is an award-winning writer and a contributing editor for Computer Graphics World. She can be reached at email@example.com.
From our Partners
From our Partners
During this time, we want to be sure our readers stay connected to our partners in the industry. Here are a few messages from our partners.
Search for:
Keep up with latest news
By clicking the "Subcribe" button, you agree to sign up for the CGW Magazine e-newsletter, as well as to receive third-party promotions from our partners.


text:
|TEEN BABES VIDEOS This section is where you can find cute and tender teen girls. Post and share all your hardcore and softcore teen porn videos right here. Make sure that babes you post are really teens, the hotter the better!
|Forum Tools
|Search this Forum
|New posts
|Hot thread with new posts
|No new posts
|Hot thread with no new posts
|Thread is closed


text:
Niwaki Dry Bag & Tote
Delivery and returns
Our policy on delivery and returns
We aim for zero waste, using biodegradable and sustainable materials. We run a deposit return scheme at our London boutique. We offer carton refills for salts and bath gels. Our mail orders are sent in recycled packaging, which can in turn be recycled or in some cases composted. Our candles come in reusable glass containers. We are working with our suppliers so they meet our high environmental standards.


text:
Horoscopes: week beginning February 3
ARIES: Between February 4 and March 2 Arians will be able to achieve recognition for work and contribute to a flourishing personal bank account. Personal relationships and business partnerships will provide happy moments as well as taking you places up the ladder of success. Best days are February 17-19, 22-28.
TAURUS: From February 4 until March 2 your mind will respond positively to stimuli, whether it comes via overseas contact, entertainment or work. You thoroughly enjoy these experiences. Many will travel long distances in connection with work whilst others will enjoy a vacation interstate or overseas. However, be careful on February 22-24, March 1, 2: these dates are problematic.
GEMINI: In the four weeks to March 2, you will be luckier than usual in speculation (with the exception of February 22-24, March 1, 2). Your love life stands a good chance of improving, although some problems will crop up, with particularly delightful moments on February 17-19, 22-28. You'll need to wade into emotional depths to achieve the results you desire.
CANCER: The relationship with the love of your life will improve tremendously between February 4 and March 2, with opportunities for shared special moments, whether alone or in the company of others. These dates are also good for partnership interests, except for February 22-24, March 1, 2. Best dates include February 17-19, 22-28.
LEO: Between February 4 and March 2 you will derive greater pleasure from your work, as you enjoy a greater success cycle and achieve your objectives through communication skills and planning. Contacts with the people you meet in the course of your work will bring you benefits and friendship. Positive highlights include February 17-19, 22-28.
VIRGO: The four weeks from February 4 will produce delightful moments with a loved one or your children. Speculation and other financial interests will prove to be profitable; and there will be ample opportunity to enjoy the pleasantries of life. A long-distance holiday is in the offing for some. Make the most of February 17-19, 22-28.
LIBRA: During the four weeks to March 2 many Librans will entertain at home, redecorate, or simply enjoy their haven and the companionship of family. It is likely that an option to flex the credit card or expand borrowing capacity will be exercised, in your quest to improve your residence, property and family life. February 17-19, 22-28 are enjoyable.
SCORPIO: Until March 2 you will be able to sort out any problems that arise with neighbours and relatives, if you take a moment to choose the right words. You should also be doing more things with your partner on a daily basis, heightening your enjoyment of life. Tread warily on February 22-24, March 1, 2 but make the most of February 17-19, 22-28.
SAGITTARIUS: Until March 2 you will make more money from a variety of sources, increasing your enjoyment of work and enabling a better social life, with highlights on February 17-19, 22-28. This is a great time to make applications for a new job, second job, or approach an employer about a pay rise based upon your solid contributions as an employee.
CAPRICORN: During the coming four weeks until March 2 you will be happier with conditions in your public and private lives. Romance and children will provide many moments of pleasure, especially on February 17-19, 22-28. This is a highly profitable and successful period for businesspersons. Despite this, you still need to exercise care on February 22-24, March 1, 2.
AQUARIUS: Until March 2, life will quieten down considerably as you must make a greater effort to contribute to the well-being of others, as well as to looking after your own interests. Best days are February 17-19, 22-28. However, domestic problems and financial complications can arise during this time, most likely on February 22-24, March 1, 2.
PISCES: Between February 4 and March 2 you will be spending more time in the company of friends, with many Pisceans able to establish new friendships. You should also be lucky with money during this period, with a little extra coming your way, perhaps through a small win or second job. Highlights include February 17-19, 22-28.
- email@example.com | www.alisonmoroney.com


text:
Requirements: Android OS 2.2+
Overview: Take 5 to 10 pictures per second with this high-speed camera application
Fast Burst Camera is capable of taking 5 to 10 photos per second. Hold shoot button for continuous burst, or tap for fast single shots
Supports flash, focus and zoom. Shutter sound can be turned of.
Great for
- sports shots
- pictures of kids or pets
- party camera
- taking a burst of pictures in an important situation, and pick the best later
- analyse your golf swing frame-by-frame
Tips for good burst photos
- get as much light as possible - especially when capturing things or people in motion
- keep the camera steady
- hold the shoot button for continuous bursts, and pick the good shots later
What's in this version:
Added "delete multiple" feature to remove unwanted photos faster
Added GIF animation creator (beta)
Download Instructions: http://turbobit.net/id8zd10zf51w.html


text:
There are two overarching messages we want LastPass users, and the web community at large, to take away from the story:
- Proactiveness and preparation are key in mitigating risks of attacks, and
- Protect your email account like your online life depends on it, because it pretty much does these days.
And a password manager like LastPass can help with both. Here's how:
- Change the password for your email account(s), now. We have seen alarming statistics on the number of leaked passwords out there, including leaked email username and password combinations. A password generator like the one built into LastPass allows you to create unique, long, strong passwords for each of your online accounts. The LastPass security challenge can also help you identify any weak and duplicate passwords still lurking in your vault. One account's password compromised = all accounts compromised that use that password, or that give access to the password reset functions for other accounts.
- Protect your email account(s) with multifactor authentication if possible. Google has increased efforts to encourage all Gmail users to set up multifactor authentication. If your email service offers the option, enable it as soon as possible. You'll ensure that just knowing the password for your email account will not be enough to let someone in.
- Replace answers to "security questions" with obscure, non-personal responses. Truthfully answering security questions can put you at risk for social engineering. Use a password generator or create bogus answers that you can then store in a note in LastPass – if you do ever need to reference it, you'll have access to the bogus answer, but you'll ensure that your personal information can't be used against you.
- Set up multifactor authentication for your LastPass account, now. By adding multifactor authentication to your LastPass account, you're requiring another piece of secure data to be entered after you submit your master password, but before you can gain access to your stored data. So even if your master password is somehow captured, by a keylogger or even by someone you thought you could trust, you'll keep them locked out because they won't have that second piece of login data.
- Create a "security email address" for your LastPass account. Although protecting your primary email address(es) should be a high priority, you can set up an obscure email address to be used in the case of account recovery, multifactor authentication resets, and other critical changes to your LastPass account.
- Run the Security Challenge, and get proactive about your security fitness level. Located in the Tools menu of the LastPass addon, the Security Check allows you to keep an eye on weak and duplicate passwords, and reminds you of ways to improve your overall online security (such as #4 above). Take full advantage of LastPass security options, like autologoff on browser idle and restricting IP address to certain countries.
Remember, LastPass is just one tool you should have in your arsenal, but one that can help you be proactive and mitigate potential risks. You should also be following standard practices like avoiding the use of open WiFi, running up-to-date antivirus software, avoid using public computers, and always backup your data – but that's a post for another day.
We highly recommend all LastPass users follow the above steps, and as soon as possible. We also call on your help in spreading the word about secure password management to family, friends, and coworkers who would benefit from the ability to achieve higher security standards while making their online life easier. If you want to recommend LastPass, you can do so here: https://lastpass.com/friendemail.php and receive Premium as a thank you!
The LastPass Team


text:
Product name :Multiple organ tumor tissue array, including TNM, clinical stage and pathology grade, for testing tumor tissue specificity of therapeutic antibodies, 96 cases 96 cores, replacing MC961
Catalog Number :MC964
Quantity :
Price :266.00 €
Pay now with :
Supplier :US Biomax
|Microarray Panel:
|Multiple organ tumor tissue microarray, 33 types of cancer (brain, esophagus, stomach, liver, small intestine, colon, rectum, pancreas, epiploon, lung, cervix, uterus, breast, ovary, spleen, prostate, testis, kidney, bladder, lymph node, mediastinum, mesentery, bone, cheek, tongue, nose, larynx, pharynx, lip, fatty tissue, fibrous tissue, thyroid, skin) single core per case
|12 cols × 8 rows
|Core Diameter:
|1 mm
|5 µm
|Quality Control:
|Anti-Actin confirmed
|Routine histology procedures including ImmunoHistochemistry (IHC) and In Situ Hybridization (ISH), protocols which can be found on our support page.
|Unless specified, all TMA slides are not coated with extra layer of paraffin (tissue cores can be easily seen on the glass), so there is no need to bake, can be directly put into xylene for de-paraffin procedure.
*Tissue Microarray Slide Types:
- Unstained: unstained paraffin tissue microarray slide.
- Trial: tissue microarray trial slide. 10% - 25% of cores missing. Good for titrating antibody dilution and experiment conditions. Limited numbers are available, to 2 per item per order. Test slides (tissue arrays with catalog numbers ending with 241 or 242) are recommended as a substitute.
- H & E: Hematoxylin and Eosin stained tissue microarray slide.


text:
Fabry's disease is an inherited condition in which an enzyme
deficiency prevents the body from breaking down molecules known as
glycosphingolipids. These molecules then accumulate in the kidneys, heart, and
nerves and throughout the body, eventually causing serious symptoms.
The disease affects males more severely than females. In males, Fabry's
disease may cause heart and kidney problems, clouding of the cornea and lens of
the eye, lesions on the skin and in the mouth, decreased ability to sweat,
and pain in the hands and feet. Females may not show any symptoms or may have
impaired heart function.
Fabry's disease is treated with medicines
that replace the missing enzyme. This medicine helps the body break down
glycosphingolipids and helps prevent complications. The medicine slows the
progress of Fabry's disease.
Last Revised:
July 24, 2012
Healthwise Staff
Medical Review:
Rakesh K. Pai, MD, FACC - Cardiology, Electrophysiology & Robert A. Kloner, MD, PhD - Cardiology
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
Ronseal Interior Varnish Matt Dark Oak 250ml / 750ml
This Ronseal interior varnish provides a beautiful, natural finish for doors, skirting, tables, furniture and other wood inside your home. Diamond Hard protection provides superior resistance against scratches, knocks and scuffs. It is touch dry in 20 minutes and ready to re-coat in 1 hour.
Named Day Delivery:
Economy Delivery:
Bulk Delivery:
Local Delivery 3-5 Working Days:
Unwanted items
Electrical Faults
Damaged or incorrect items
Credit/Debit Card
We accept all the major credit/debit cards online. Please note we cannot take credit/debit card orders over the telephone due to security reasons.
Online customers can also pay by Paypal. Just look for the Paypal option during the check out phase. Please note that Paypal will not supply us with your telephone number which we may need to contact you regarding your order. Please remember to leave your telephone number in the notes section during checkout.
We also accept BACS payments or bank transfers, please contact 0191 5871708 for more information.
This product has not been reviewed yet.


text:
Uniting the
People & Technology
That Move the World.
Uniting the
Uniting Logistics-
Intensive Businesses
in Commerce
The Logistics Technology Platform combines a network, applications, content, and a community. It is a comprehensive technology infrastructure that Descartes customers and their trading partners use to extend the command of their logistics operations.
Routing, Mobile & Telematics: the most flexible and comprehensive suite of route planning, route execution and fleet/driver vehicle compliance and performance management solutions.
Transportation Management: Broad and deep solutions for multimodal transportation planning, shipment and inventory management, carrier contract management, supplier/carrier performance management, freight auditing and logistics flow control to optimize and direct the movement of goods from order to receipt.
Customs & Global Trade Content: a comprehensive solution suite that provides advanced declaration capabilities, multimodal security filing for countries around the globe, and access to the world's leading global trade content, denied party screening, cargo security and import/export trade data.
Global Logistics Network Services: Helping logistics-oriented businesses connect, communicate and collaborate more efficiently via an inter-enterprise electronic data and document exchange.
Broker & Forwarder Enterprise Systems: domain rich back office solutions for shipment management, transportation bookings, security filings, customs entries, warehousing and financial businesses processes.
Descartes Logistics Technology Platform accelerates time-to-value and increases the productivity and performance for businesses of all sizes.
Descartes' Logistics Application Suite offers the industry's widest array of modular, cloud-based, interoperable web and wireless logistics applications.
Descartes Global Logistics Network™ is the standard for multimodal, inter-enterprise data exchange.
Descartes' global trade content helps improve trade compliance, reduce risk, minimize duty spend, and gain insight into international trade.
The world's largest multimodal logistics community enabling companies to quickly connect and collaborate.
Read more about Peoplevox joining forces with Descartes.
Read more about BestTransport joining forces with Descartes.
Read more about STEPcom joining forces with Descartes.
Read more about CORE Transport Technologies joining forces with Descartes.
Read more about Visual Compliance joining forces with Descartes.
Learn more about our ecommerce logistics solutions.
Read more about PinPoint joining forces with Descartes.
Read more about Descartes' acquisition of vMail™
Read more about Aljex joining forces with Descartes.
Read more about MacroPoint joining forces with Descartes.
Learn more about PCSTrac joining forces with Descartes.
Read more about ShipRush joining forces with Descartes.
Read more about Datamyne joining forces with Descartes.
Learn how to transform home delivery processes.
Review insight to help you manage logistics challenges.
Descartes' electronic airway bill solutions for carriers, forwarders & more.
Best Practices for Optimizing Last Mile Pickup and Delivery Operation.
Online retailer Wizard Distribution manufactures and sells metal detection tools, security wands and many other specialty tools
Learn how US Foods is Keeping Kitchens Cooking® with Help from Descartes.
A Complete Logistics Service Company with Help from Descartes.


text:
There are no Upcoming Shows listed for this artist.
PK Kim
Stand up
PK is the host of All Star Fridays at The World Famous Laugh Factory in Hollywood. He was the original host of Asian Nights at The Laugh Factory and has hosted the show for eight years. He has brought over 10,000 people to the club, many of them seeing stand up comedy live for the first time. He has performed stand up comedy in over 60 universities across the United States.
Showing Up
He was the Grand Prize Winner of The Uncle Clyde's Comedy Cup at The Pasadena Icehouse sponsored by H2F Productions, which featured 100 comedians and he took first place.
Growing up
PK stands for Paul Kim and Preacher's Kid. (Preacher's Kids = Problem Kids) He was born and raised in the rough streets of south central Burbank, California. Burbank is Johnny Carson's hood, his earliest inspiration in comedy.
Following Up
He is the founder and Exec. Director of a non profit organization and annual Asian talent show called Kollaboration, which now in its tenth year, draws over 20,000 people annually in fourteen cities. www.kollaboration.org
He is also the co-founder of LiNK, Liberty in North Korea, a non profit organization dedicated to bring awareness to the needs of North Korean refugees. www.linkglobal.org
He was invited to The White House as a Champion of Change for his contributions to the community.
Getting Down
To pay bills and help feed his three year old son, Solomon, and one year old daughter, Sophie, he manages a wedding events company called Prokreation Productions (Proactive Kreativity www.prokreation.com). He has emceed, DJ'd, and provided sound for over 300 weddings and counting. In short, he helps make babies!


text:
Hummingbirds usually return to the same general area they were hatched. Female hummingbirds build their nests all alone even before they mate. Male hummingbirds take no part in raising the young. Older females can even return to the location of last year's nest and rebuild it if the nest has survived the winter.
An attractive nesting tree will have some pencil thin flexible branches that slope downward slightly. The tiny golf ball sized nest, constructed below a leaf canopy and above a fairly open area, starts with spider silk to attach the nest and make it flexible. Lichens camouflage the outside, and the inside is lined with cotton from nesting material, dandelion, cattail, or thistle down.
Courtship is very brief and then two white, pea-sized eggs are laid two or three days apart, which the female will incubate from 60 to 80 percent of the day for 10-14 days. After the babies hatch, the nest stretches to contain the growing nestlings. When they leave the nest, 18-22 days later, the chicks are twice as large as their mother which was stressed by raising them.
If a Ruby-throat nests near your feeder she may appreciate quick bites to eat while incubating eggs. When the chicks hatch, they need lots of protein, so their mother spends a lot time foraging for small insects and spiders. Throwing old banana peels in the garden as compost will attract fruit flies for the hummingbirds and fertilize your garden.
After the chicks leave the nest, mommas will bring these newly fledged hummers to feeders and you can watch them check out everything to see if it is food. It usually takes them awhile to figure out what's food so fledglings are fed by their mother for another 10 days.
Young hummingbirds will look similar to a female, but as young males begin to mature in late summer look for a few random red iridescent feathers on the throat. And the young are very healthy looking. Their feathers are full and shiny whereas the parent birds look a little haggard.
If you keep your feeders filled and fresh you should have hummers visiting from April until usually the end of October.
Related Articles:
- Hummingbird Information on Habitat and Habits http://bit.ly/It2WwE
- Where have my Hummingbirds gone? http://bit.ly/IHzxy3
- How Do I Know If It's a Baby Hummingbird? http://bit.ly/IHzCSh
- Gardening for birds http://bit.ly/It58nR
- Where should I hang my hummingbird feeder? http://bit.ly/FQ9kxU


text:
Hey guys, I know I don't come here often, but we are in need of some assistance.
About 12 months ago we (Me and a mate) started a Battrick Wiki to give people a place to learn and help others out as a whole community. Since starting it there have been 3 or 4 main users, posting the majority of the content.
I admit I had gone overboard with the spam protection until recently I implemented a newish (I have used it a on a few sites now) captcha called KeyCaptcha, which is fantastic and has stopped all spam and allowed users to post/register freely again.
Basically, there is nothing to gain from the site for me personally, any advertisement proceeds cover the cost of hosting the site, and excess(there is none at the moment) will be put aside for competitions and giveaways that we have planned for the future.
So, what Iam asking is if there is anyone who would like to come along and help out with content, formatting, creating, editing, anything you like or enjoy doing, would be amazing. It has been a constant 50- 100 visitors per day for a while now, but there hasn't been much editing/creating.
We are also the new home of the famous Kegguts BTHF (Battrick Help File) so that brings in a few visitors too.
Well, thanks for reading and considering helping out, any help at all would be greatly appreciated, and would help everyone in the Battrick community (The site is listed on the useful links page on Battrick.org so we are recognised in that regard.)
- Shaw


text:
This screen shows all the messages posted for this subject, starting
with the earliest.
Click on the button at the bottom of the screen to add a new message.
The email addresses from the messages have been hidden to try and stop them being found by software that scours the web looking for addresses for spam emails. To see them, enter the 4 digit number in the box and click on the button. (Some posters may have chosen not to have their address displayed at all).


text:
The place is unfinished and long since ruined, the smell of fish has faded away and the archaeologists have arrived. It's blustery and I turn my collar up against the wind that blows down where the land slopes gently to the water. On this hazy day the Rif mountains can only just be made out to the south; even the big Bolonia dune – close by – is a little shrouded.
Long since ruined – this old city saw its heyday under Claudius and was already a pile of rubble fifteen centuries ago. I walk along the wooden walkway, reluctant to linger in the cold. The emperor occupies his pedestal amidst the columns of the Basilica. Down onto the slabs of the decumanus maximus and past the Macellum and the baths – then up to the half moon of the amphitheatre and its tiered stalls; half a bull ring on the hillside.
After that the three temples – to Juno, to Jupiter and to Minerva and after those another, to Isis. The gods overlook the forum, the tabernae, the curia and Tabularium and further down – right where the sand starts – is the rather prosaic reason for all this Roman fuss; the factory that churned out the product that produced the wealth that produced the temples. Fish sauce. More


text:
NEW YORK (Reuters) - A suspected subway fare-jumper attacked a New York City police officer who was attempting to arrest him at the Times Square subway station on New Year's Eve, the latest in a series of crimes to disturb users of the underground train system.
In two separate incidents this month, commuters were pushed to their deaths in front of subway cars as stunned travelers looked on in horror.
On Monday morning, a 19-year-old man attacked a police officer who was arresting him for jumping the subway entrance turnstile without paying his fare, police said. They said the suspect pinned the officer down and tried to choke him.
Officers called for backup and pulled the suspect, Daniel Walker, off the officer, who was hospitalized in serious but stable condition, police said.
Walker was charged on suspicion of assault, fare evasion, resisting arrest and criminal trespass, police said.
On Saturday, Erika Menendez, 31, was charged with "murder as a hate crime" after she was accused of shoving a New York City commuter onto the tracks two days earlier as a subway sped into a Queens, New York station. The train crushed the victim.
Police said Menendez told investigators she attacked the man, Sunando Sen, because "I hate Hindus and Muslims."
Queens District Attorney Richard Brown called the incident "every subway commuter's worst nightmare - being suddenly and senselessly pushed into the path of an oncoming train." Police said Menendez had never met Sen before the attack.
On December 3, Ki-Suck Han was killed after being shoved onto subway tracks in Manhattan as a train entered a station near Times Square. A suspect, Naeem Davis, has been charged with second-degree murder.
Police said Davis and Menendez both had a history of mental health issues.
Attacks on transit workers were on the rise in recent months, said Deirdre Parker, a spokeswoman for the Metropolitan Transportation Authority, the agency that operates New York City subways.
Earlier this month, the MTA began offering rewards of up to $2,000 for information leading to the arrest of suspects who attack transit workers.
Reporting By Chris Francescani; Editing by Daniel Trotta and David Gregorio


text:
In the first Web Search posting, Figure 15, #1, showed a View Original Image link. Clicking on that link brought up a screen, where the bottom of the page was the actual information on that image. Hiram and family are listed beginning at line 35.
At this point,
Figure 20
Of interest is the last name, Johnson, Ann is listed as Servant.
We know that Hiram Deats was a Foundryman, Emily O. Deats a Farmer. Ages and other information are on the image.
This is the correct household for the Hiram Deats of this example. Using this Census, the Deats household will be merged into the Family File.


text:
876 members18464 Comments 89 Likes
Patrick Moore has not received any gifts yet
Posted on September 17, 2011 at 8:44pm 2 Comments 0 Likes
With Respect to Natalie Sera, let me begin by stating the obvious, which I have refused, heretofore, to validate with a reply when her points were, matched against mine, right and my own were miserably wrong. To be specific, in case some of you have not been following our posts as of late on Hanging With Friends, we have been engaged in a series of exchanges, in which Natalie has only ever maintained factual points which I assailed…Continue
Posted on August 13, 2011 at 9:28pm 20 Comments 1 Like
In just a few more months the holidays will be nigh upon us again ,beiginning with a holiday which I have always thought should be called "Thank an Aboriginal Inhabitant Day" but instead gets consigned to thanking the one who had (as far as I know)the least t o do with that group of pilgrims surviving the winter. But let me clarify one point-I do believe ingratitude.I simply find it easier to be thankful to someone who I know actually helped me through a tough…Continue
Wow, over two months since you wrote that, and I'm only just responding. I apologize! So, ignorant about what, Patrick? Anything I can help with?
Hello Patrick. Welcome to this rational world of Internet atheism---a haven from the superstitions and fictional god of the masses.
"Thank true common sense and science for atheism."
We invite you to make good friends by joining the busy group "ORIGINS: Universe, Astronomy, Life, Earth, Humans, Religion, Gods, Atheism, Evolution, Darwin..." with its 450 discussion topics and 2550 members.
Terence Meaden
© 2020 Atheist Nexus. All rights reserved. Admin: The Nexus Group. Powered by


text:
School of Drama Tours
School of Drama Tours
The School of Drama at Carnegie Mellon University offers in-depth tours of the Purnell Center for the Arts for students and their families interested in learning more about the university and school.
Tours are Monday-Friday at noon, please. The tours are by appointment only and are conducted by current School of Drama students under the advisement of School of Drama staff members.
Tours typically last 45-60 minutes and they start in the Purnell Center lobby, second level, at the top of the main staircase. Please arrive promptly.
During the tour you will learn about:
- Our state of the art classrooms and performance venues
- The School of Drama Audition & Application process
- Our conservatory training program
- Our esteemed and internationally recognized faculty
- Where School of Drama alums are working in the industry
- What life is like for a student at the School of Drama
Because of the sensitive nature of many of our classes, the School of Drama does not have an open door policy on visiting students attending classes. We will have classes available during
Tours are only offered Monday through Friday. No weekend tours are available.
*Only one ticket registration needed per family.*
Fall Tours Begin Sept. 4
If you should need to cancel your tour reservation please contact us via the link on the right hand side of this website.
To sign-up for a general campus tour and information session please visit:
Carnegie Mellon School of Drama website:
Follow Us! on Twitter:
on Instagram:
Watch our videos on
We look forward to meeting you!


text:
Governor Malloy has told the Appropriations and Finance, Revenue & Bonding committees through his Office of Policy and Management Secretary Ben Barnes that he will not resort to tax increases to backfill what Mr. Malloy calls a $365 million "shortfall" in his budget.
Mr. Malloy has been less assertive concerning "a deficit of as much as $1.2 billion projected for the coming fiscal year -- a shortfall of 6 percent -- saying only that he has 'no intention of raising taxes,'" according to a story in CTMirror.
During his first budget, Mr. Malloy settled a budget deficit through massive broad based tax increases and anticipated "spending cuts" that fell short of the "shared sacrifice" from state workers that had been a hallmark of his gubernatorial campaign, which hoisted into the gubernatorial office the first Democratic governor since William O'Neill turned over the reins of government to Lowell Weicker, who settled his inherited deficit through the imposition of a state income tax, the second largest tax increase in state history. The Malloy tax increase is larger.
And here we are again – in deficit low dive.
The notion that Connecticut does not have a spending problem but rather a revenue problem that may always be solved through the expedient of tax increases seems now somehow quaint. That notion was, during the past four decades, much on the lips of politicians who did not wish unnecessarily to disturb their tax consuming constituencies, as well as lazy and thoughtless political commentators across the state who thought the good times of budget surpluses would never end, at least not here in Connecticut, in pre-income tax days thought to be one of the richest and most fiscally sound states in the union.
No more.
On a best (1) to worst (54) scale issued by Moody's Analytics, Connecticut is near bottom (45) in economic growth. Connecticut's economy has been flat ever since Mr. Weicker sought to solve the state's revenue problem through a new income tax. The consequent revenue increases during the following decades opened a Pandora's Box of spending.
It has now become settled opinion that Connecticut has a spending problem aggravated by an unwillingness on the part of successive governors and the Democratic dominated General Assembly to recognize the primary reason for the state's woes – profligate spending -- even after all the red flags have gone up: Connecticut is number one in taxes and number one in pension obligations; the state has lost population from outmigration part of which has been caused by workers seeking employment opportunities in more business friendly states; young people armed with very expensive college educations paid by state taxpayers are taking their diplomas to greener economic pastures. And all this is simply the tip of a spending spree that has frozen the state's forward movement.
It is against this depressing backdrop that Mr. Malloy has declared he "has no intention" of addressing the state's current $365 million "shortfall" by increasing taxes, and it would be a refreshing sign of a return to fiscal sanity to suppose that one governor out of the last three has finally got the message.
State law permits the governor to address a shortfall in the budget by exercising his constitutionally limited rescission authority. Mr. Malloy already has announced that he will use his authority to cut between $150 and $160 million from the $365 million "shortfall," leaving the remaining approximate $215 million balance to be addressed by the Democratic controlled General Assembly. The governor cannot rescission his way out of the deficit. Assuming Mr. Malloy is able to reduce the deficit as he wishes, the projected deficit the General Assembly must address for the coming fiscal year is approximately $1.2 billion plus $215 million – and growing.
The role that will be played by the General Assembly in liquidating the growing deficit introduces an uncertainty principle into Mr. Malloy's repeated avowal that HE has no intention of increasing taxes. The Democratic dominated General Assembly may be of a different mind. Outgoing Speaker of the House Chris Donovan has in the past supported legislation that would increase state revenues by squeezing Gold Coast financial managers, and his successor, Brendan Sharkey, has not sworn off increasing tax rates progressively on the state's entrepreneurial growth engines.
One supposes neither Mr. Malloy nor Mr. Barnes would be anxious to answer the question: Will the governor, who has pledged not to increase taxes, veto tax increase measures passed by his fellow Democrats in the legislature?
Time will tell. And time for the state's recovery is running out.


text:
It's cool when The Village Voice likes you!
"Ah, Nancy Whiskey Pub, the acclaimed dive bar where during Happy Hour bottles of Bud are $2.50 and are served with an extra hit of sass. Ben Westhoff selected this quintessential watering hole for the Village Voice "New York's Best Dive Bars" feature: "At the best dive bars, misery and dread are balanced by elation and poorly reasoned optimism," he writes. This is borne out by the chatty, tight-knit collective of regulars continually mustering up the stamina for another round of shuffleboard (which dominates a sizable portion of the room), and by the bartender who occasionally whips out a tambourine and smacks it to the White Stripes' "Dead Leaves and the Dirty Ground." This calamity will rouse you from whatever reverie you may be having at the time, and you'll be grateful."
Nancy's Happy Hour: Monday – Thursday: 4:00pm – 7:00pm
Location: Nancy Whiskey Pub, 1 Lispendard St – 212 226-9943 – Google Map


text:
As Dear Dembski would say, "This is not a P-A-R-O-D-Y!!!!"
Michael 'Lilo' Behe, supposedly a 55 year old biochemist, has just thrown an epic temper tantrum on his Amazon blog. That is really Behes blog. He really posted this. I, Abbie Smith, a kid from a farm in the middle of nowhere, am on the receiving end of a Creationist move normally reserved for emergency defense only (ie Dawkins attacks):
YOURE MEAAAAAAAAAANNN!!!! SQUEEEEEEEEEE!!! SQUEEEEEEEEEEEEEEEEEE!!!!!!!!!Behe, we are having a good time making fun of your science, would you like us to start ridiculing your writing as well? Do you know what the word 'disingenuous' means?
What *I* would call disingenuous is saying anything I wrote was 'insulting' while you seem to have no difficulties dismissing the blood, sweat, and tears of thousands of scientists while you contribute nothing beneficial to society (no, I dont consider feces and CO2 'beneficial'). You have no problem stealing the work of those same scientists and misrepresenting it to laymen, pretending it supports your claims. You have no problem writing entire books on topics telling scientists they have no idea what theyre talking about, but you apparently cant even read an HIV-1 review article. You cant even read your own diagrams!
And then shall we delve into your history and your colleagues? Altering 'quotes' unapologetically? Categorically attacking science students who dare to speak out against Creationism? Referring to evilutionists as Nazis and mass murderers? Defaulting to sexism while addressing a critique? All this is no problem. This is all 'civil discourse.'
But calling bullshit on your bullshit claims? Refusing to play your Creationist games?
UNACCEPTABLE! SQUUUUUEEEEEEEEEEEEE!!! YOURE SO MEANNNNNNNNNN!!!!You want to be able to act like an asshole and you expect everyone to put on plastic smiles and pretend youre a respectable scientist and have 'civil discourse'. We're supposed to treat you like youre an actual HIV-1 researcher, even though you arent. We're supposed to treat you like an actual biochemist, even though you arent.
And Ian is 'disingenuous'.
Mr. Behe, if you are such a delicate flower that you break under the breeze blown by some woman graduate student, perhaps it is best you stay locked up safe in the confines of your Ivory Tower. I must warn you its only going to get harder for you from here on out-- Im afraid neither I nor any of my classmates are under orders from our mentors and professors to be 'civil' to Creationists, HIV Deniers, ALF/PETA, green anarchists, or any form of anti-science hack. In fact, my classmates have all found your original claims and subsequent responses hysterical. Youre now an official class joke.
Professor: "How would you figure out which signal transduction pathways your receptor is involved in?"Its also now a class game to figure out what the hell "soak your head" means. We're completely lost. Google doesnt even know what that means. But we have found an awesome arcane insult generator! Thou pribbling boil-brained whey-face!
Female student: "You could cross-link, and see which proteins are associated with your receptor."
Professor: "Good! Thats one way..."
Male student: "Good answer. FOR A WOMAN!"
Class: *laughs*
Professor: *confused*
I also want to emphasize one more thing, for the laymen. Note how Behe is completely unwilling to take responsibility for his own actions. He didnt respond to my essay with anything resembling science... and its *my* fault. *I* was 'mean', and that prevented Michael Behe from responding to my essay like a biochemist. If *I* was 'nice', well, then he could have responded. Really, the lack of science in any of Behes posts is *my* fault. Uh huh.
But remember, folks, Ian is disingenuous.


text:
Yes, I've read the book. And
hell yeah maybe there was some truth to the manner in which I handle change, but at least I don't blame other folks when their late and/or half-arsed last-minute and ill-planned changes affect thousands of people. Or send them to the wrong department simply because I don't feel like being bothered. The past 2 weeks at work have been the closest thing to hell-on-earth that I have ever experienced. With the transition to a semester system, advising and registering hundreds of new students (on a 19-hour work week), and a bunch of other stuff that does not fall anywhere within my job description, most nights I have been in bed and asleep/comatose by 9 P.M. And anyone who really knows me knows that I don't sleep before 1 A.M.
With all the things that have been going on at work and my personal life, I have been forced to step back and reassess myself and who I really am, as well as why I am the way I am. (Hope that all made sense) I have been working with my life coach @StephanieAlva of @MyLifeKeys for several months now. I will admit that I have made some noticeable growth and positive changes, but I also recognize that I have a very long way to go…..but I am human and some SHAT still bothers me.
The people in my family were raised with a very strong work ethic (now that doesn't mean all of us still have it, but it was taught). I always take what I do seriously. I guess you could say I subscribe to the 'Play hard or go home' theory because you are either all in, or all out. I believe that any issue/problem with an organization is a reflection on me, as I am a part of that organization. Sure, I am a lowly part-time employee, but I still walk around with my I.D. badge that clearly identifies me as an employee. And as long as I do, I expect the organization to make a positive impression with our 'customers', i.e., students. BTW: I do not refer to them as customers….that's org speak. I cannot tolerate people passing the buck or simply telling students 'I don't know' simply because they are not in the mood to deal with an issue created by their department. Or worse, sending students to an office to ask about things NOT related to the duties/responsibilities of that office. When the hell did it become acceptable for people to do as little work as possible, while still giving the illusion that they are actually 'earning their keep?' Did they not get the memo about our country being in a recession? Or that there are thousands of more qualified and better-educated unemployed people waiting for an opportunity to actually do some work?
For almost 4 years I wanted nothing more than to find a job. I have one now but I am working and reading anything I can find on becoming a successful (key word) entrepreneur. Yes, I love working with students and helping them as they get started with the high education journey but I'll be damned if most days it seems as though 80% of what I do has absolutely nothing to do with the purpose for which I was hired. I am starting to feel like 'Peggy' from those Capital one commercials. I am literally running out of excuses to give people!!!!! And when I have to say, 'I am sorry, but I do not have the answer to that question. I do not know why they sent you to this office because we do not handle fill-in-the-blank issues,' I just feel like I am yet another person giving them the runaround. But I digress because I have to catch-up on 3 weeks work of data entry, which I could not get done because I refuse to have students wait while I enter crap into the computer.
The more I think about it, the more I wish our 'customers' would start demanding better service. Or at the least, take their 'business' elsewhere. As the tried-and-true saying goes: 'Money walks, and b.s. walks.' A school cannot pay its bills if there are no students.


text:
Where does your electricity come from?
How your cooperative plans for and acquires the electric power you need.
Where does your electricity come from? We have heard replies such as, "from wires on the pole outside my house" or "from the outlet in the wall."
While these are correct answers, you might wonder what makes up the electric power and how it gets to those delivery points.
The job of your electric cooperative, like all electric utilities, is to make electricity available to users on demand, 24 hours a day, every day, and to supply it in the most cost-effective way. Professionals working for your cooperative know how to forecast the demand for and use of electricity in the long term and the short term, and they plan on how to use the co-op's assets and equipment to provide that power on demand when consumers need it. There are three general kinds of demand or "load."
- Base load is the amount of power that a consumer uses 24 hours a day. It is the minimum amount of power that a utility must provide to meet demand. Base load power is generated at plants designed to operate all the time, producing a constant output, like nuclear-fueled generating plants. When planning, utilities consider base load to supply about 30 to 40 percent of a system's requirement.
- Intermediate load is the amount of power that a consumer uses a majority of the time, to turn on lights, charge electronic devices or run air conditioners during periods of the day. This is the power required to meet the system's remaining demand, generally 40 to 60 percent, and is generated at plants that run most of the time, like natural-gas fired generating plants, on a regular schedule, to supply what's needed between the base load and the peak load.
- Peak load is the power delivered at times of highest demand, comprising about 10 percent of a system's requirement. Peak load power is generated at plants that run when they are needed, making it the most expensive electricity to produce.
North Carolina's electric cooperatives in 1949 formed a cooperative, now operating as North Carolina Electric Membership Corporation, that supplies its member co-ops with electric power. NCEMC and the state's electric cooperatives engage in power supply planning and in managing demand. NCEMC and its 25 member co-ops own 61.5 percent of Catawba Nuclear Station Unit 1, and a 30.76 percent interest in the common facilities of the Catawba station in York County, S.C. — one of the most efficient base load generation facilities in the U.S., operated by Duke Energy.
NCEMC also owns and operates for most of the state's co-ops four peak load generating plants: two natural gas peak load plants, one in Anson County and one in Richmond County, capable of generating 600 megawatts combined; and two diesel-fueled plants, a 15-megawatt plant in Buxton and a 3-megawatt plant on Ocracoke, which produce electricity for peak demand times as well as for emergency demand during an outage in those areas.
The remaining electric power comes from contractual arrangements by which NCEMC and some individual co-ops buy power from other generating utilities including Duke Energy, Dominion Power, Southern Company and others in the region, as well as by contract with producers of hydroelectric, wind and solar energy. In total, the co-ops' energy supply "portfolio" includes power made at nuclear, natural gas, coal-fired and renewable energy-fueled plants. [See chart.]
As older fossil-fueled generating plants are phased out, newer ones coming online can produce electricity more efficiently and with fewer emissions into the atmosphere. But keeping up with demand comes at a price. Mike Burnette, NCEMC's senior vice president and chief operating officer, points out that the Southeast's growing population, retirement of older fossil-fueled generating plants and demand for electricity to power buildings, equipment and even vehicles is requiring new infrastructure (generating stations, transmission systems, local poles and wire) and upgrades to the existing grid. "As we phase out the older fossil fleet infrastructure that was built with 1950s dollars, the load is still there," Burnette said. "So we are adding assets with 2013 dollars."
The bottom line is that when it comes to acquiring and distributing electricity, cooperatives as not-for-profit utilities owned by their consumers are guided by their founding mission: to provide safe, reliable electricity at the lowest possible cost.


text:
Compositional process
Standard text on Beethoven's sketches:
The Beethoven Sketchbooks / History, Reconstruction Inventory. Douglas Johnson (early period), Alan Tyson (middle period), and Robert Winter (late period). Edited by Johnson. Berkeley: Univ. of California, 1985. 611 pp.
Sketch catalog: "SV" numbers:
"Verzeichnis der Skizzen Beethovens" ("List of Beethoven's Sketches") in Beethoven-Jahrbuch 6 (Jahrgang 1965/68, 1969): 7-128. Prepared by Hans Schmidt.
Lists sketches by city, gives each a number and limited bibliographic information, and has an index by Opus, WoO, and Hess numbers, and a list of sketches for incomplete works. The list is unfortunately incomplete and inaccurate; some corrections may be made by consulting no. 4a.
For other major studies of Beethoven sketches, search in the Beethoven Gateway in the Category index (search term: sketch studies). Additional books and articles that discuss Beethoven's sketches may be identified by searching "compositional process" in the subject indexes.


text:
The Filibuster
As of this morning, the NL Central had three teams ten games
over 500 while the NL West leader is barely at .500!
If the playoffs started right now, one superior team would be completely
left out while one mediocre team would get to compete for the World
Series title. Should Major League
Baseball reexamine the playoff structure so that it actually sends the 4 best
teams from each league to the playoffs?
If so, how would you propose this be done?
— Jeff
Ever since 1969, when MLB first started using a playoff system to determine who would play for the World Series, purists have decried the vulgarization of the sport. And when the playoff system was expanded even further in 1994 so more teams could be involved, the old-timers cried themselves to sleep, I'm sure. However, as anyone who follows this blog is aware, I am not one to yearn for the good ol' days. Baseball is entertainment and as such, it exists to make money. More teams in the playoffs means more money for the sport which means better facilities and the ongoing vitality of the game. But, there are downsides.
And the system could stand some revamping. As you point out, if the playoffs started today, a mediocre team would be in while an excellent team would be watching from home. On top of that, when you realize that due to the arbitrary makeup of the leagues a good team in a bad division has a much better chance at making the playoffs than an excellent team in a very competitive division, well, you can see how this creates a recipe for disaster. But the situation is not unprecedented.
Each year the BCS picks the two best teams in the nation to go at it in the National Championship game but every year controversy surrounds the pick. A two-loss LSU team gets in over a undefeated Hawaii squad? Yeah, LSU is better but they lost a couple games. And how are they better than a 2-loss Georgia team that went out and destroyed that undefeated Hawaii team?
NCAA football at least has a system that tries to take everything into account when deciding who will play in the championship. MLB randomly assigned teams to leagues and divisions and then wonders why people complain when a sub-par Cubs squad makes it in while a decent Padres team sits back in San Diego wondering how it all went wrong.
Suggestions exist for how the situation could be improved and it's no surprise that Billy Beane would be putting it out there (scroll down to the very last item in the article). I don't agree with both of his points because I don't necessarily think the Division series' need to be expanded but a new seeding format couldn't hurt.
However, the likelihood of things changing soon is pretty small. If anything, maybe they'll try to do like the NFL and expand the playoffs a little but it sure won't be in a way that makes sense. What matters to the owners is that MLB continues to make money and teams like Boston, the Yankees and the Cubs that maximize MLB's return on their investment continue to make it in. That's just how it is.
Now, on a side note, a specter came back to haunt me today that now firmly roots me in the anti Cubs camp. As I was watching the scroll at the bottom of the screen on ESPN, a familiar name popped out at me. The man who got the save for Chicago today? Samardzija. Now, that's not a name you see every day and the only other time I've ever heard it was was in reference to a receiver for the University of Notre Dame. And it's the same guy. I'm sorry but I just can't stand by as the Irish invade everything. Fighting Irish, that is. It's bad enough that I have to accept them in the NFL but now they're showing up in MLB as well? No, that's just too far. And so to the Cubs and GM Jim Hendry I say, "Get thee behind me, Satan." Just had to get that out there. I feel much better now.


text:
University Calendar
University | Student Center | Lyman Center | Residence Life | Athletics
Monthly View
You are browsing criteria that there are currently no events for.
From here you can:
From here you can:
- Select a different day from the mini-cal.
- Use the mini-cal to navigate to a different date.


text:
Many Hands Make Light Work
Nine-hundred fifty-eight issues in 19 years would be heavy lifting, were it not for all the people who've carried part of the load of Bay Weekly since our birth as New Bay Times on Earth Day, April 22, 1993.
Each year at this time, I page back through our 19 leather-bound volume books. Each one of them making heavy lifting — not only for all the newsprint pressed in them, nor for all the words typed on that yellowing paper. The memories are heavier still, revived with each name I read, until I am carrying so many that I cannot hold them alone.
So I put them down here — as many as this page can manage and knowing I will miss so many.
A Steven Anderson, Nate Anderson, Tricia Acton, Stephen B. Armstrong, Stacy Allen, Donna Ayres, Elizabeth Ayres, Sandy Lee Anderson, Rose Anderson
B Bill Burton, Stephanie Barrett, Mark Burns, Ariel Brumbaugh, Sharon, Sarah and Mary Brewer, Mick Blackistone, Mary Catherine Ball, Martha Blume, Kat Bennett, Janice Booth, Kenny Bernard, Martha Lee Benz, Heather Boughey, Chris Benton, Joe Barry
C Evan Christman, Kimbra Cutlip, Helen Chappell, Kim Cammarata, Christina and Angelia Crayle, Stephanie Chizik, Ralph Camardo, Steve Carr, Michelle Cole
D Chris Dollar, Darcey Dodd, Connie Darago, Jennifer Dawicki, April Falcon Doss, Allen Delaney, Alan Doelp, Dotty Holcomb Doherty, Dennis Doyle, Katie Dodd
E Amy Ellsworth, Jane Elkin, Wally Everett, Eric Edstrom
F Ely Flam, ML Faunce, Edgar Allen Faine, the How-to Cowboy; Kathy Flaherty, Jessica Fox, Pam Folderauer
G Michael Gaunt, Jim Gibbons, Carol Glover, Christy Grimes, Guy Guthridge, Bay Gardener Frank Gouin, Rob Goszkowski, Ashley Goodman, Leigh Glenn
H David Hawxhurst, Aloysia Hamalainen, Kristin Haggert, Marnie Hansen, Nancy Hoffmann, Pat Harder, Christopher Heagy, Jim Hunt, Clara Gonzalez de Hall, Tom Hensler, Claire Hinckley
J Kathy Johnson, Jonesy Jones, Valerie James
K Nathaniel Martin Knoll, Don Kehne, Kevin Kohler, Amy Kliegman, Joseph Kelly
L Sonia Linebaugh, Amanda Lofton, Sara (Ebenreck) Leeland, Louis Llovio, C. Blair Lee, Jim Lyles, Lali, Valerie Lester, Bonnie Leftowitz
M Carolyn Martin, Mark and Kim McCaig, Ray Mudd Jr., Justin McCabe, Amy Mulligan, Vicki Marsh, Kathleen Murphy, Carrie Madren, Maureen Miller, Helena and Gene Melnitchenko, Alex Murray, Mike Mullican, Al McKegg, Ben and Cathy Miller, Ellen Moyer, Bob McDaniel, Bebe Murry, Linda and Tom Murphy, Richard Miller, George Moon Jr.
N Annette Najjar
O Kitty O'Dowd
P Russ Pellicot, Pat Piper, Rachel Presa, Jonathan Parker, Matthew Thomas Pugh, Gary Pendleton, Cristi Pasquella, B.C. Phillips, Michelle Petro
Q Allison Quattro Blahut
R Donna Reifsnider, Bethany Rodgers, Ricky Rood, Rachel Rabold, Marilyn Recknor, Amy Russell, Elisavietta Ritchie, Gretta Radford, Dave Ropiski
S Kristin Sohr, Lee Summerall, Audrey Scharmen, Bryan Shipman, Movie Professor Doc Shereikis, Eric Smith, Lauren Silver, Steve Seymour, Lori Sikorski, Alice Snively, Lynn Teo Simarksi, Michelle Steel, Erin (Huebschman) Sakalas, Aubree Stafford, Janice Lynch Schuster, Erica Stratton, Marilyn Snowden
T Doug Truitt, Cindy Thomas, Margaret and Tom Tearman, Ben Tausig
V Louise Vest, Peter and Kate Vonderheide
W Bob Weckback, Jennie Wierschem, Janie and Arthur White, Joachim Wintermute, Sarah Williams, James Walter, Brianne Warner, Dick Wilson, Bill Wohlfield
Y Ralph Young, Abby Ybarra
Z Liz Zywiltis, Valerie Zumstein, Grant Zeigenfuse, Judy Zelsman
Sandra Olivetti Martin
Editor and publisher; [email protected]


text:
SNL is not shy about bringing in guest stars to portray members of President Donald Trump's administration. Melissa McCarthy had a memorable turn last summer as former Press Secretary Sean Spicer, while John Goodman portrayed the recently fired Secretary of State Rex Tillerson. And of course, Alec Baldwin has been playing Donald Trump for what feels like the last ten years.
But on this week's episode of SNL, Lorne Michaels and crew decided to take the audience down memory lane and bring out another pair of heavy hitter guest stars to portray some of the other members in the Trump administration's orbit.
De Niro, portraying Special Counsel Robert Mueller, was there to interrogate President Trump's lawyer, Michael Cohen, as played by Ben Stiller, after FBI agents raided the lawyer's office last week. De Niro's Mueller interviewed Stiller's Cohen with the help of a lie detector, much like that one scene from their 2000 movie, Meet the Parents.
"I'm Donald Trump's lawyer!" Stiller said. "I've got a whole hard drive that's just labeled 'Yikes!'"
And yes, the sketch even managed to include one of the movie's most quoted lines in an episode hosted by SNL alum John Mulaney.