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Rochard Debut Trailer
This is the debut trailer and some new screens for you from Rochard, the gravity-bending puzzle-platformer from Recoil Games, scheduled for release this spring on PlayStation Network.
Rochard - Backstage Part 2: Level Design, Story, Art Engine
This time around the developers focus instead on elements such as Level Design, Story, Art and Engine.
Rochard - Steam Trailer
With the help of his sci-fi mining tools and taking advantage of the laws of physics, the protagonist John Rochard will carry you through a game packed with puzzles, action, humor, great music, excellent level design and a story rich of twists.
Rochard - Unity Making of Trailer
Rochard is the first game created for consoles with the Unity development platform and the video, narrated by producer Kalle Kaivola, provides a detailed look at how the developers used Unity and its tools to bring Rochard to life. The video gives some great insight into how Recoil created and perfected the game's amazing physics engine, and is a rare look behind the scenes at how a game begins, grows during development and ultimately comes together.
Rochard - Launch Trailer
Rochard tells the tale of John Rochard, voiced by Jon St. John, a prominent voice actor best known for his role as Duke Nukem in the Duke Nukem video game franchise. John is an average, everyday astro-miner who becomes a hero when his team of universal prospectors accidentally discovers an ancient alien artifact hidden deep in an asteroid. To protect humanity as he knows it, John must defeat evil space pirates and rescue his missing team members using only his wits and gravity defying 'G-Lifter.' With this power tool Rochard can literally bend the laws of physics to manipulate gravity in fun and inventive ways, to solve complex puzzles, and ultimately save the day.


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The Power of Independent Thinking
Repudiation in Antebellum MississippiAn Interview with Clifford F. Thies
Recorded: Wednesday, July 1, 2015
Clifford F. Thies, author of The Independent Review article Repudiation in Antebellum Mississippi, is interviewed on National Public Radios All Things Considered about the state of Mississippi defaulting on its loans in the 1840s. Other states defaulted on loans during this period, but most reconciled with debtors, but not Mississippi. Mississippi repudiated its debts, refusing to pay them.
Experts: Clifford F. ThiesType: RadioIssues: Economic History and Development (U.S.), Economic Policy, Fiscal Policy/Debt, History (U.S)
William F. Shughart Discusses the Import-Export Bank on The Gary Nolan Show
Recorded: Wednesday, July 9, 2014
Sr. Fellow William F. Shughart II appeared on The Gary Nolan radio show to discuss the Export-Import bank. In a recent syndicated Op-Ed, Shughart wrote that the Export-Import bank distorts prices and it interferes with the free flow of international commerce.
Experts: William F. Shughart IIType: RadioIssues: Banking and Finance, Business, Economic Policy, Labor and Employment, Trade
Clifford Thies on the American Economic Association and Richard T. Ely
Recorded: Monday, November 28, 2011
The American Economic Association (AEA) takes pride in celebrating its founder Richard T. Ely. This pride is strange, given the character of Elys thought, which is revealed in The Independent Review article The Shaping of a Future Presidents Economic Thought: Richard T. Ely and Woodrow Wilson at The Hopkins by Gary M. Pecquet and Clifford F. Thies, as well as the Econ Journal Watch article Richard T. Ely: The Confederate Flag of the AEA? by Clifford F. Thies and Ryan Daza. In this podcast, Thies is interviewed by the economist Lawrence H. White and explores Elys ideas, values, and impact. Thies is the Eldon R. Lindsay Chair of Free Enterprise and Professor of Economics and Finance at Shenandoah University.
Experts: Clifford F. Thies, Lawrence H. WhiteType: RadioIssues: Bureaucracy and Government, Civil Liberties/ Human Rights, Collectivism, Culture/ Society, Economic History and Development (U.S.), Economic Policy, Economists, Government Power, Immigration, Political Ideology and Philosophy, Public Health/ Consumer Protection, Race Issues, Regulation and Deregulation, Religion, Science, Welfare
William F. Shughart Interviewed on Budget & Tax News Podcast
Recorded: Friday, December 24, 2010
Senior Fellow William F. Shughart discusses financial developments at General Motors and Chrysler, the real issues at stake in the TARP debate, and how Obamas bailouts are negatively affecting the limping economy.
Experts: William F. Shughart IIType: RadioIssues: Banking and Finance, Business, Economic Policy


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Here at Cabot, we've been learning about dairy products since 1919. Especially when it comes to cheddar cheese, we can help with almost any questions you may have. We've got a large selection of recipes, photography, and can help you with recipe ideas. Let us be your reference for these or any other questions. We constantly track and analyze industry information and statistics, particularly as they pertain to small cheese companies and naturally aged cheeses.
The Press Room is our way to share some of our knowledge about cheese and dairy products and industry news; we invite you to draw upon our collective expertise.
These files are all in PDF format. To view these (PDF) items, you will need the latest Adobe Acrobat Reader.


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April 17, 2013
PULLMAN, Wash. - Danny Lawhorn (Hartford, Conn./San Jacinto College-Texas) has signed a National Letter of Intent to join the Washington State University men's basketball team beginning with the 2013-14 season, head coach Ken Bone announced Wednesday.
"Danny comes from a very successful program and we look forward to him being an integral part of our program next year," Bone said. "I love his quickness and his ball handling. Maybe his best attributes, though, are his unselfishness and passing ability, which made him one of the top assist leaders nationwide the past two seasons."
Lawhorn (5-foot-10, Guard) played two seasons at San Jacinto College in Pasadena, Texas. As a sophomore in 2012-13, Lawhorn appeared in 30 games for the Coyotes, averaging 9.9 points and 8.43 assists in 33.3 minutes per game, ranking second in the NJCAA. Lawhorn helped lead San Jacinto College to a 24-6 overall mark and 14-5 record in Region XIV play, as the Coyotes advanced to the semifinals of the Region XIV tournament. At the conclusion of the season, Lawhorn was named third team all-Region and second team all-conference, as well as to the Region XIV all-tournament team.
As a freshman at San Jacinto College, Lawhorn averaged 9.2 points and 9.5 assists per game in 30 contests for the 23-7 Coyotes, leading the nation in assists. He earned second team all-Region and second team all-conference honors.
For his career, Lawhorn averaged 9.6 points and 9.0 assists per game while playing in 60 contests. His 538 total career assists rank him second all-time at San Jacinto College. Prior to attending San Jacinto College, Lawhorn attended Hartford Public High School and South Kent School, both in Connecticut, where he graduated in 2010.
Lawhorn joins an incoming class that includes incoming freshmen Josh Hawkinson (6-9, 220, PF, Shoreline, Wash./Shorewood HS) and Ikenna `Ike' Iroegbu (6-2, 190, G, Elk Grove, Calif./Oak Hill Academy).


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Directors and experts from the Water ministry and the Regional Administration and Local Governments wing of the Prime Minister's Office are gathered in a Dar es Salaam hotel for, as usually happens, a meeting with a number of supposedly crucial items on the agenda.
Also attending the annual forum are the governing board chairpersons and chief executive officers of the Energy and Water Utilities Regulatory Authority (Ewura), Dar es Salaam Water and Sewage Authority (Dawasa) and Dar es Salaam Water and Sewerage Corporation (Dawasco).
Other delegates are the governing board directors and managing directors of water and sewerage agencies operating at regional, city, municipal, district and township level as well as various other water sector stakeholders.
According to the organisers of the meeting, among the delegates are those representing 20 regional and 107 district headquarters of agencies overseeing the provision of water and sewerage services in urban areas across mainland Tanzania.
They say the meeting is meant as an opportunity for the delegates to make a comparative analysis of the agencies' performance over the last year, with a view to improving the implementation of national poverty reduction and economic empowerment strategies and achieving the eight Millennium Development Goals.
Anyone with an idea of the state of urban water supply and sanitation in Tanzania or who knows about how things ought to be for conditions in the areas under consideration to be conducive enough will appreciate the weight of the issues the Dar es Salaam meeting ought to tackle.
The state of environmental hygiene in most of our cities, municipalities, towns and other urban centres is pathetic, at best. This makes many observers conclude that it is only by luck that communicable diseases such as cholera, dysentery, malaria and typhoid don't strike us more often and viciously.
Even one on the most casual of tours around these urban centres will gather enough evidence that the relevant authorities and respective local residents have run out of ideas on how to ensure sustainable environmental cleanliness levels or simply do not care any more about the danger posed by the ever-mounting piles of garbage surrounding them.
And this is going on unabated despite annual budgetary allocations and the wide array of taxes and levies local residents are made to pay. It is also despite, rather ironically, frequent calls to the same residents to redouble their efforts to keep their immediate surroundings sparkling clean.
One wonders whether we have in place workable policies relating to the development and provision of water and sewerage services in accordance with the national water policy and implementation strategies and, if so, whether those policies are really being implemented.
We are told that access to sewerage services in our major urban centres stands at a dismal 17 per cent, with the coverage making it possible for only 25 per cent of the wastewater generated daily to be collected and safely disposed of.
Given a scenario as gloomy as this, who will find reason to believe that the Water ministry and other relevant authorities are really serious in having 'Water is life and sanitation is dignity' as their motto?


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May 2, 2016
Deep-fried foods may be causing trouble in the Deep South. A study finds that people who consume a lot of fried foods and drinks like sweet tea and soda were 41 percent more likely to suffer a stroke than people who ate that way about once a month.
Researchers say the study might help explain why blacks in the Southeast suffer more strokes. Blacks were five times more likely than whites to have the Southern dietary pattern.
The diet tied to highest stroke risk was heavy on fried foods, hamburgers, hot dogs, bacon, ham, liver, gizzards and sugary drinks. In contrast, people who ate a lot of vegetables, fruits, fish and whole grains had a lower stroke risk.
Results were reported Thursday at a stroke conference in Honolulu.
Copyright 2016 by The Associated Press. All Rights Reserved.
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Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or firstname.lastname@example.com.


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|Episode Information
|Season №:
|Episode №:
|January 2, 2010
|Sister episode(s):
|"A Pal for Gary"
|Luke Brookshier
Nate Cash
Dani Michaeli
|Supervising Producer:
|Paul Tibbitt
|Luke Brookshier
Nate Cash
|Alan Smart
|Vincent Waller
|See all credits for this episode.
|"Model Sponge"
|"A Pal for Gary"
|List of episodes
Simplified list of episodes
"Keep Bikini Bottom Beautiful" is a SpongeBob SquarePants episode from season seven. In this episode, Squidward gets caught littering and is sentenced to community service.
- Squidward Tentacles
- Officer John
- Squilliam Fancyson
- SpongeBob SquarePants
- Bikini Bottomites
- Mable Jenkins
SynopsisSquidward exits his house, saying "Another beautiful Sunday." He goes down the street, dancing, but steps on some gum and falls. He frantically tries to get it loose. He finally does, and tosses the gum aside. Officer John sees the gum and inspects it. He then walks over to Squidward, thinking he littered, and asks Squidward about the gum, to which Squidward replies, "I just stepped in it." Officer John says "Boy, you sure did," and gives him a ticket sentencing him to community service.
It then cuts to Squidward picking up trash (with some people giving him their trash), then Squilliam comes along and brags about the statue that was made of him just for cleaning up Bikini Bottom in only one week, to which Squidward replies, "I can clean it up in one day!". Squilliam then gets out a tissue and blows his nose on it, and says "Here, this should get you started.", and drops it on the ground. Officer John comes along, sees the tissue, and thinks Squidward dropped it. He then gives Squidward another ticket.
When Squidward looks for place to put his trash, he sees that all the cans and dumpsters are full, so he "borrows" a kid's toy wagon. Mable sees Squidward with the trash and she tells everyone it's Trash Day, soon the trash in the wagon becomes a trash mountain. SpongeBob comes out of one of the garbage bags and offers Squidward to help him when he discovers the life cycle of a Krabby Patty (one that was thrown out). Squidward says "He'd rather be beaten to a pulp," then the boy and his mother appear, with the boy telling his mother to beat Squidward to a pulp. Squidward is beaten and covered in trash. Officer John thinks Squidward made the mess and gives him another ticket. Squidward then accepts SpongeBob offer and SpongeBob gets rid of all the trash.
Squidward goes home and relaxes, until he realizes his house is made of garbage. He runs outside and sees that the garbage was made into a replica of Squidward's house. Officer John gives Squidward two tickets (one for the garbage house and one for the first ticket falling on the ground). Squidward gets so angry, his nerves spell out "I am angry." SpongeBob asks why and Squidward finds out his house is on top of the replica because the dump is closed. SpongeBob took it to his house by sucking the garbage onto his body. When SpongeBob talked, garbage came out of his mouth, leading Officer John to give Squidward another ticket.
Squidward puts the trash-filled SpongeBob in SpongeBob's own bin (giving Squidward another ticket for putting his trash in someone else's property). SpongeBob finds that the reason why Squidward wants to get rid of the trash is to get a statue of himself. SpongeBob makes a statue of Squidward made of the garbage. Squilliam says the statue is just like Squidward, having the stench of faliure. The horrible stench melts Squilliam's statue, ruining it, and Squilliam surprisingly gets a ticket from Officer John. Before the end of the episode, Officer John gives both SpongeBob and Squidward get tickets for the statue made of garbage.
|( ‣ ) Associated production music
|( • ) Original music
|( ◦ ) SpongeBob music
• Hawaiian Trax - Sage Guyton, Jeremy Wakefield [title card]
‣ Cha Cha Del Sol - David Lindup [opening]
‣ Cartoon Sting 10 - Gerhard Narholz ["Chewing gum? That's disgusting."]
‣ The Mob - Nicolas Carr [cop writes Squidward a ticket]
‣ Tympup B - Sammy Burdson, John Charles Fiddy ["Community service?!"]
• Hawaiian Sting - Nicolas Carr ["Community service?!"]
‣ Hawaiian Sting 1 - Sage Guyton, Jeremy Wakefield [picking up trash]
‣ Dramatic Impact 3 - Ivor Slaney [Squilliam appears]
‣ Cartoon Sting 2 - Gerhard Narholz, Nicolas Carr, Barry Anthony ["Stuck doing community service, eh?"]
‣ Film (a) - Dick Stephen Walter [statue of Squilliam]
‣ Cartoon Sting 2 - Gerhard Narholz, Nicolas Carr, Barry Anthony [Squidward says he'll clean up Bikini Bottom in a day]
‣ The Mob - Nicolas Carr [cop writes Squidward another ticket]
‣ Hawaiian Sting 1 - Sage Guyton, Jeremy Wakefield [Squidward picking up more trash]
• Vibe Sting - Nicolas Carr [little kid pulling a wagon]
‣ Steel Sting (a) - Jeremy Wakefield [Squidward takes the wagon]
‣ Cartoon Sting 3 - Gerhard Narholz [everyone thinks it's trash day]
‣ Hawaiian Sting 13 - Sage Guyton, Jeremy Wakefield [SpongeBob comes out of a trash bag]
‣ Dramatic Cue (e) - Ronald Hanmer [Squidward beaten to a pulp]
‣ Steel Licks (b) - Jeremy Wakefield [trash dumped on SpongeBob, Squidward]
‣ The Mob - Nicolas Carr [cop writes Squidward another ticket]
‣ ? ["All right, fine. You can help me."]
‣ Fantasy Princess - Harry Bluestone, Emil Cadkin [SpongeBob tells Squidward to close his eyes]
‣ Fantasy Harp [#69.10] - Jacques D. Belasco [the trash is gone]
‣ ? ["Squidward, that's a beautiful thing to say."]
‣ On the Beach - Kapono Beamer [house made of garbage]
‣ Tympup A - Sammy Burdson, John Charles Fiddy [Squidward's eyes open]
‣ Terror - Alan Braden [Squidward screams]
‣ The Mob - Nicolas Carr [cop writes Squidward another ticket]
• Steel Sting - Jeremy Wakefield [ticket falls to the ground]
‣ The Mob - Nicolas Carr [cop appears again]
• Drama Sting - Sage Guyton, Jeremy Wakefield [Squidward's angry]
• Vibe Sting - Nicolas Carr ["Squidward, why are you angry?"]
‣ Cartoon Sting 2 - Gerhard Narholz, Nicolas Carr, Barry Anthony [Squidward pulls the ticket off his face]
‣ Hawaiian Link (b) - Richard Myhill ["The dump was closed."]
• Hawaiian Trax - Sage Guyton, Jeremy Wakefield [SpongeBob absorbing garbage]
‣ The Mob - Nicolas Carr [cop appears]
‣ Harp Ding - Nicolas Carr ["I have an idea!"]
‣ Steel Licks (a) - Jeremy Wakefield [Squidward gets a garbage can]
‣ The Mob - Nicolas Carr ["Are you SpongeBob SquarePants?"]
‣ Hawaiian Sting 9 - Dick Stephen Walter [Squidward's sad]
• Vibe Sting - Nicolas Carr ["What is that?"]
‣ Proud Fanfare - David Farnon [garbage statue of Squidward]
‣ Hawaiian Sting 1 - Sage Guyton, Jeremy Wakefield ["Garbage. I'm made of garbage."]
‣ ? [Squilliam's statue melts]
‣ Steel Sting (g) - Jeremy Wakefield ["My glorious statue!"]
‣ The Mob - Nicolas Carr [cop writes Squilliam a ticket]
‣ Steel Link (c) - Jeremy Wakefield [Squidward laughs]
‣ The Mob - Nicolas Carr [cop clears throat]
• ? - Nicolas Carr [sting at end]
Some fans and critics have a negative opinion about this episode, because of Officer John acting unfairly and giving SpongeBob and Squidward tickets for no reason without even letting them explaining.
- This episode is available on the Heroes of Bikini Bottom and Complete 7th Season DVDs.
- This episode was formerly called "Trashman Squidward."
- Officer John gave eight tickets to Squidward, one to SpongeBob, and one to Squilliam making it a total of ten tickets.
- Running gag: Officer John giving Squidward and SpongeBob tickets for things that weren't even their fault.
- This is the second episode that SpongeBob got Squidward in community service unfairly; the first episode was Good Neighbors.
- This is the first episode of 2010. Additionally, it is also the first episode of the 2010s decade.
- Squidward wins against Squilliam in Band Geeks and House Fancy. Squilliam wins in Squilliam Returns, Professor Squidward and I Heart Dancing. This is the first episode where they both lose because they both got tickets, along with SpongeBob.
- This is Officer John's largest role to date.
- Eight tickets would have gotten Squidward sent to prison in real life for repeat violations.
- This is the second time that a normally background character is the main/major character. The first was in Plankton's Regular in which was Nat. This time it is Officer John.
Cultural References
- This episode's name is an obvious reference to the "Keep ____(Country or city)___ Beautiful" sayings written on public trash cans or public benches.


text:
In a move to promote honey and beeswax production, Aghondi Village Council in Manyoni District, Singida Region has offered 3000 ha of land to the Ministry of Natural Resources and Tourism's Forestry and Beekeeping Division.
Apart from that the land would help beekeepers to promote the development of beekeeping sector and boost the villagers' economic wellbeing.
This was revealed recently by Chesco Lunyungu, Assistant Beekeeping Officer at Aghondi National Bee Reserve in the district during a visit by journalist.
He said the villagers decided to give the land to the ministry after observing that the village has been receiving visitors from various parts of the world to study beekeeping.
The countries include Zambia, Sudan, Kenya, Uganda and France.
"Currently the area has been surveyed by the regional land surveyors and only waits to be advertised in the government gazette before we start the planned activities," he said.
The allocated land would be used as the main source of bee breeding materials, for honey and beeswax production, source of package colonies for both stinging and stingless honeybees as well as enhancing conservation of biodiversity of honeybees and production of bee products, he said.
Besides, the land will be used as a demonstration farm so that beekeepers and people from different regions can learn from the place.
The government is expected to increase modern beehives from 400 to 4,000 in this area, Lunyungu said.
"Our intension is to help beekeepers move from using traditional, bark and log hives so that the villagers can double their income from honey and beeswax production, raise quality of their products and create more job opportunities," he noted.
The land will be managed by the Forestry and Beekeeping Division in the district "and as beekeeping extension officers we express thanks to the village council for offering to us the land for developing the beekeeping sub sector."
"We intend to hang modern hives in the area because our focus is just to preserve the existing natural vegetation, increase honey and beeswax production and raise source of bee breeding," he said.
He said the woodland forests and thickets existing in the area include Muva tree (julbernadia globiflora) and Mnang'ana which are the main forest species suitable for honey production.
Aghondi National Bee Reserve has 400 hives and is managed by the Forestry and Beekeeping Department in the district.
Among them, 330 are modern and the remaining 70 are log hives, he said, noting that the reserve was established in 2005.


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|PostgreSQL 9.5.2 Documentation
|Appendix E. Release Notes
Release Date: 2008-11-03
This release contains a variety of fixes from 8.1.14. For information about new features in the 8.1 major release, see Section E.182.
A dump/restore is not required for those running 8.1.X. However, if you are upgrading from a version earlier than 8.1.2, see Section E.180. Also, if you were running a previous 8.1.X release, it is recommended to REINDEX all GiST indexes after the upgrade.
Fix GiST index corruption due to marking the wrong index entry "dead" after a deletion (Teodor)
This would result in index searches failing to find rows they should have found. Corrupted indexes can be fixed with REINDEX.
Fix backend crash when the client encoding cannot represent a localized error message (Tom)
We have addressed similar issues before, but it would still fail if the "character has no equivalent" message itself couldn't be converted. The fix is to disable localization and send the plain ASCII error message when we detect such a situation.
Fix possible crash when deeply nested functions are invoked from a trigger (Tom)
Fix mis-expansion of rule queries when a sub-SELECT appears in a function call in FROM, a multi-row VALUES list, or a RETURNING list (Tom)
The usual symptom of this problem is an "unrecognized node type" error.
Ensure an error is reported when a newly-defined PL/pgSQL trigger function is invoked as a normal function (Tom)
Prevent possible collision of relfilenode numbers when moving a table to another tablespace with ALTER SET TABLESPACE (Heikki)
The command tried to re-use the existing filename, instead of picking one that is known unused in the destination directory.
Fix incorrect tsearch2 headline generation when single query item matches first word of text (Sushant Sinha)
Fix improper display of fractional seconds in interval values when using a non-ISO datestyle in an --enable-integer-datetimes build (Ron Mayer)
SPI_getvalue and
SPI_getbinval behave
correctly when the passed tuple and tuple descriptor have
different numbers of columns (Tom)
This situation is normal when a table has had columns added or removed, but these two functions didn't handle it properly. The only likely consequence is an incorrect error indication.
Fix ecpg's parsing of CREATE ROLE (Michael)
Fix recent breakage of pg_ctl restart (Tom)
Update time zone data files to tzdata release 2008i (for DST law changes in Argentina, Brazil, Mauritius, Syria)
Please use this form to add your own comments regarding your experience with particular features of PostgreSQL, clarifications of the documentation, or hints for other users. Please note, this is not a support forum, and your IP address will be logged. If you have a question or need help, please see the faq, try a mailing list, or join us on IRC. Note that submissions containing URLs or other keywords commonly found in 'spam' comments may be silently discarded. Please contact the webmaster if you think this is happening to you in error.
Proceed to the comment form.


text:
'The Advanced Art of Stop-Motion Animation': Digital Cinematography: Part 1
Stop-motion photography is not just one image, but rather a series of images that create motion when strung together. Shooting stop-motion relies on having the following things: a story to tell, puppets to tell that story with, and a camera to be the eyepiece for that story. If you have the first two nailed down, reading this chapter will help you focus (no pun intended) on what you should know about your camera, some details on how to shoot with it, and some practical effects you can try.
When stop-motion was shot on film, each frame would exist as its own separate image, strung together on a strip of 8mm, 16mm, or 35mm film (Figure 4.1). The film would be registered with a series of sprockets that push the strip of film through a gate in front of a square window blocked by a shutter. Exposing one frame of film with the touch of a button would open the shutter and expose light through the lens onto the film. Then, the sprockets inside would advance the filmstrip to the next unexposed space for the next image to be captured. Each image was essentially a separate photograph with its own established focus, exposure, color, and lighting. These elements would essentially be a continuous tone, and the features on a film camera could be set manually, although fluctuations could happen because of uneven shutter speed, changes in temperature, or the film moving around in the gate. There was no way to make sure each frame was consistent with the next one. The result of the whole process was basically a series of still images on the strip of film that would exist only in negative form until it was sent to a lab to create the positive print. Looking at the strip of film itself, all of the separate images are visible, so an editor can see exactly where scenes begin and end, and the images can be re-arranged and spliced together.
As film use declined over the years and was replaced by video, the most popular method for stop-motion became using a MiniDV camcorder with an IEEE-1394 Firewire connection (Figure 4.2) that provided a live feed to a computer with frame-grabbing software. The video camera basically acts as an "eye" and feeds a constant live image into the software, so if one moves a hand into the frame, this should all appear in real time on the computer monitor as well. The software then grabs separate still images from the live feed each time the animator hits the capture button. The flexibility of this method provides instant access to the images for preview purposes and playback. However, even with an HD camera and frame averaging provided to improve the quality of each frame, the image being fed into the computer is essentially a compressed image, and there may be limits to how much resolution can be attained for high-quality broadcast. Watching the animation play back on a computer monitor might look fine, but if it is meant to be blown up on a huge screen at a film festival, the image quality might not be as strong as it should be. Of course, some software does have frame averaging and HD capabilities to help with this.
Despite these challenges to work around, using a live Firewire feed is still a perfectly valid way to shoot stop-motion. However, even though Firewire cards and converters are still on the market for installing into computers, most video cameras no longer come with the Firewire output or cable included. Video camcorders at average consumer prices (or higher) now typically shoot movies onto a hard drive, and a USB connection is used to transfer the video off the camera. Flip Video cameras operate on the same principle, allowing you to shoot video easily in the palm of your hand and upload movies as AVI files directly to your computer. From there, you can burn your videos to DVD or upload them straight to YouTube. More and more standard hard-drive camcorders also shoot in HD, which is quickly becoming standard for all broadcast media. This is all fine if you are shooting home videos of your friends, your kids, or your cat playing the piano for YouTube. However, for stop-motion it presents a problem because a USB connection from these cameras (Figure 4.3) will not provide you with a live feed for your frame grabber. Without a live feed, you cannot use the onion skin or frame-toggling features that frame-grabbing software allows you to take advantage of to help keep your animation registered.
Meanwhile, as Firewire outputs on computers and camcorders have become harder to find, there has been an explosion of popularity of digital SLR still cameras in the past few years. Gone are the days of taking pictures with a film camera, dropping off the tube of film at the drug store, and waiting an hour for your photos and negatives to be ready. Tiny digital cameras that allow you to point, shoot, and get your pictures instantly for uploading to your computer, printing, or posting online have taken the world by storm. (I don't even remember the last time I took a picture using film.) Then came the digital SLR camera (Figure 4.4), which had the appearance and image quality of the more professional film cameras, but allowed for manual controls and creative freedom in a digital universe. Now it seems like everyone has a digital SLR camera because they have quickly become more affordable for the average consumer.
Along with this trend has been the realization that one can shoot stop-motion with a digital SLR camera. Part of the appeal of shooting stop-motion this way is that it essentially takes the process back to its roots of shooting a string of still images on film. After taking a series of high-quality still images, the next step is to download them straight to the timeline of an editing software program and play them in sequence. The manual controls for image quality make the stop-motion frames look as sharp and clear as a film print, or potentially even better.
However, this has presented another problem: by itself, a digital still camera will not provide a live feed for your frame grabber. The solution in this case is to mount a camcorder next to the SLR or attach a tiny spycam or webcam to the viewfinder, and use that image for the live video feed. The animator can then use the live feed image to utilize the frame-grabber's functions of onion-skinning and toggling, while at the same time capturing their actual frames in high-resolution with the SLR camera. As long as you remember to take a picture with each camera, this gives you the best of both worlds. This method is still a common way to shoot stop-motion, but even better is the fact that digital SLR cameras now are available with an HDMI or USB live video feed (Figure 4.5). They are more expensive than the lower consumer brands without live preview, but as they rise in popularity, the price continues to come down and become more affordable. Before too long, digital SLR still cameras with a live video preview function could likely become the standard for personal video use (including filming your cat for YouTube). The more affordable these options become, the better it will be for everybody. The other convenient factor to the digital SLR camera's popularity has been the development of several stop-motion software programs to communicate directly with the functions of certain Canon or Nikon SLR cameras. At this time, the latest versions of Stop Motion Pro and the newly popular software Dragon Stop Motion have this functionality, and many more could easily come onto the market before too long. Software programs now have the capability to work with the manual controls of the camera from within the computer, capture the HD images directly into the timeline, and provide a multitude of other convenient functions for digital workflow.
This book is not intended to focus on any particular software program (although a few specific ones are mentioned throughout) because this information will always change as new versions come out. Whichever software you use is up to your own preference, operating system, budget, and reasons for shooting stop-motion in the first place. Indie stop-motion filmmakers all have different financial situations, living conditions, and responsibilities outside our puppet-pushing; not everyone may be able to afford a fancy digital SLR camera with live video. They also may not necessarily need a super-high-quality image if they are simply doing stop-motion tests or learning basic student-level animation. A webcam can still provide a live feed for a simple image through a USB, but most of them won't allow for manual control or a suitable image for a semi-professional production. A MiniDV camcorder with a live Firewire output had always been a good compromise, but being without this option puts stop-motion filmmakers on a budget in a difficult transitional stage. Hopefully this will pass, and another simple method will come onto the market that allows all filmmakers to make their films look the best they can at any budget. The software you are able to use may also be determined by your camera. If your version of the software does not support the live-feed option for your digital SLR camera, you are limited to using a webcam or an SLR with a spycam, or trying to find a used DV camera with Firewire (perhaps on eBay). Another option may be to use a special video adapter or a video capture converter like a Canopus, which coverts an analog video signal to digital for a live feed. With a bit more simple technology and a little creativity, you can find other solutions that work to achieve your purposes, according to your budget constraints or shooting needs.
Independent animator Ron Cole describes his method for connecting his stop-motion set-up as follows:
I have a Lumix SLR camera, which has manual controls and a good image. My camera is not compatible with the Dragon software I'm using, but for the end product I use the following method: I have a live feed coming from the camera to an analog-to-digital converter into my software. The live feed is a bit grainy, but hi-res images are coming in through my camera's Eye-Fi card, which is a memory card that can upload images wirelessly to my computer. Dragon has a feature called "folder watch," which takes an image from the Eye-Fi card and replaces the live feed image in the timeline. This gives me the ability to back up after taking my picture to check the hi-res image. This is very useful when I'm shooting stop-motion to match up with a live-action shot and need the puppet's foot to be in the right place, for example, after taking the exposure. Since the grainy image coming from the viewfinder is harder to see, it helps to be able to double check the alignment of my puppet after capturing my hi-res images into the timeline.
As a stop-motion filmmaker, you can also decide for yourself whether a live feed is necessary at all, especially if you have a bit more experience with animation. If you are shooting frames with an SLR or any other type of still camera, you can simply load the still images into a timeline on your computer as you shoot. The only computer function that may be available to you is the ability to advance through your frames to check the registration of your animation, but only after you capture each frame. As far as the positioning of your puppet is concerned, you are shooting blind, as you would be if you were shooting on film. Without the ability to toggle between your last stored frame and your live frame in your computer, the exact reliability of your puppet being properly registered is essentially done by observing the puppet on set and seeing the movement in your head. The difference is that after you capture your frame, you can look at your timeline and advance your frames to see whether the animation is doing what you want. If there is a problem with the registration, lighting fluctuation, or otherwise, you simply delete the frame you just took, fix the problem, and re-shoot. This is a different method of frame toggling with an extra step, but it still does the job. The only other convenience not offered without the live feed is the onion skin, but you can work around this by using the old-school method of drawing on the computer monitor with a dry-erase marker. Overall, it's up to you and how spoiled you have become by the luxury of the live feed. If you are experienced enough in stop-motion to know instinctively where your puppet should be without using these tools, you can likely get by without them. With your camera, simply shoot blind, take your pictures, load them up, and watch the magic happen. (While you're at it, you might as well break out those rusty surface gauges, too!)
Whatever method you decide to use, it does look like the digital SLR still camera is continuing its popularity, so this chapter will mainly focus on shooting in this method for creating an advanced, high-quality stop-motion film.
Digital Camera Basics
With a digital SLR camera, the images are not captured onto a strip of film, but rather onto an image sensor. The sensor is made up of millions of pixels, which are like tiny buckets that gather light. The light is essentially converted from analog into electric photons in digital format, and this will typically give increased quality through a full-frame sensor. The resolution of the captured image is measured in megapixels; the resolution increases based on the megapixel number. Most digital cameras range from 8 to 21 megapixels. When a picture is taken, a mirror (which reflects the image seen through the viewfinder) flips up, light enters through the lens and hits the sensor, creating an exposure that is sent through a processing engine to create a digital file on the camera's memory card.
When taking these individual images, you have the option of saving them either as JPEGs or in RAW format. JPEGs are a relatively standard format, even for compact digital cameras, and can be captured in high quality, although they are compressed images. They are only 8-bit, but perfectly suitable for loading into a video timeline for editing and giving you this flexibility. RAW files are unprocessed and essentially serve as a digital negative, going up to 14-bit and giving you an expanded range for editing in post-production. RAW files imported as a sequence into your editing timeline or Adobe Photoshop will give you more flexibility for changing brightness, correcting color, or adding digital effects. The main thing to realize is that it also means each individual frame will have a significantly larger file size and will require more hard-drive space to back them up. Shooting in RAW format is probably best for a professional film that is commissioned or intended for HD screening or a film festival. Depending on your intentions for shooting, you can either shoot in both formats (RAW for high-quality edit, JPEG for back-up and simple playback) or just stick with whatever suits your needs.
The lens you use can vary greatly, but its quality will have a great impact on the quality of your image. Shooting at a small scale for stop-motion does not require a telephoto lens since you are typically much closer to your subject. Most stop-motion filmmakers typically use any lens in the range of 24mm to 85mm (or higher) and follow the recommended practice of interchanging lens brands with camera brands. One of the biggest challenges in shooting stop-motion with still cameras is the flicker caused by fluctuations between exposures. Often this will be caused by outside elements, such as uneven wattage or gradual dimming of the lighting set-up, but can also be caused by fact that most digital SLR camera lenses have an iris that defaults to being open and only moves into the setting you want when you take a picture. Using a truly manual lens from an older camera is one way to help keep all your images at the same exposure.
The settings for the basic exposure elements of your camera should all be set to manual controls when shooting stop-motion to alleviate the fluctuations between separate frames that can result from using automatic settings. The essential elements to keep on manual settings include focus, aperture, shutter speed, white balance, and ISO.
The ISO determines how sensitive your image sensor is to light. On film, the ISO would be pre-determined by the type of film stock being used, but digital ISO can be adjusted for each frame and shooting situation. If you are shooting a dark scene for your stop-motion project, increasing the ISO will increase the sensitivity to light and allow for a slower shutter speed. However, it will also create more digital noise, which is one of the shortfalls of digital photography. Heightened sensitivity on the sensor causes heat build-up and will create chunky blotches in low-light areas and shadows, unlike film grain, which is smoother and moodier. This was one of the challenges faced on Tim Burton's Corpse Bride, which had many scenes with low light, so dark sets were often over-lit and adjusted in post-production. A lower ISO setting combined with a shorter shutter speed will typically create less digital noise, but ultimately the relationship between noise and your manual settings depends on your camera. In most cases it's best to keep the ISO setting lower; most stop-motion filmmakers keep it around 100 to 200.
Aperture and Shutter Speed
Controlling the aperture affects the amount of light coming into the camera through an iris-shaped mechanism inside the lens. Capturing light through exposures in photography is measured by f-stops (Figure 4.6), which are either half or double the amount of light in the previous stop. To increase aperture by one f-stop, for instance, means doubling the amount of light hitting the sensor.
The shutter speed consists of how long the shutter is open and exposes the sensor to light. Therefore:
• Wide aperture (lower f-stop number) = more light = faster shutter speed.
• Small aperture (higher f-stop number) = less light = slower shutter speed.
Placing a digital light meter directly in front of your central focus (like your stop-motion puppet) and pressing its meter button will help you determine which f-stop and shutter speed to use for getting the right exposure for the lighting situation you are using. This is pretty straightforward if you just have one puppet in a long or medium shot on stage for a simple scene. For a composition that requires a bit more depth to the puppet's surroundings, there are a few other things to consider. Whatever is closest to your light source may have a lower stop than anything that is farther away in the background, so you may want to take a reading for both your foreground and background, and stop your camera at a point in between.
Depth of Field
These camera settings will also be affected by the depth of field you want for your shot. Depth of field refers to how much of the distance of your composition is in focus. For stop-motion, as opposed to live action, everything is scaled down to miniature size, including the distance between your camera and your subjects. In most cases you don't want the audience to feel like they are watching a miniature set, but rather a world they will recognize as having a natural sense of distance. This natural feeling of distance will be accomplished mostly by having a wider depth of field where more elements are in focus. A shallow depth of field will mean that if you focus on the central part of your composition, the background and surrounding elements will be blurry. Shallow depth of field is typically caused by a lower f-stop and faster shutter speed, and a wider depth of field by a higher f-stop and slower shutter speed. For a happy medium in a basic animation scene, most stop-motion filmmakers set their camera in the area of f11 with a shutter speed of 1/2 to 1 second. Stopping at f16 or f22 will create a more extreme depth of field, and stopping at f8 or lower will soften the background. It all depends on the mood you are going for when telling your story.
The illustrated examples shown here show how different moods and effects are created through camera settings, and also through composition of the shot itself. For a happy, light, or comedic scene (Figures 4.7 and 4.8), the composition is usually flat, with the camera centered and perpendicular to the set. Figure 4.7 is shot with a shallower depth of field, which blurs the character in the background. Figure 4.8 is shot with a wider depth of field, so the whole scene is in focus and the faces of both characters are much clearer. This clarity is important for a playful scene like this and communicates the relationship between the two characters.
For a creepy, dark, or dramatic scene (Figures 4.9 and 4.10), the composition is usually shot at more of an angle to give a more unsettling effect. Figure 4.9 is shot with a shallower depth of field, blurring the background character and heightening the mysterious mood. Figure 4.10 is shot with a wider depth of field, bringing both characters into focus.
Depending on what your story calls for, there will be times when you may want a shallower depth of field and times when you won't. It helps to know how to use your camera as a story-telling tool to get the effect you want.
White BalanceWhite balance is a function that removes certain kinds of color casts created by different light temperature situations. Color temperature of light is measured by the Kelvin scale, which is based on the color that would be cast by an object as it is heated. Higher temperatures will appear cooler; this seems backward, but it's based on the fact that although we think of objects as being red or orange when they get hot, they actually will go blue to white the hotter they get. Therefore, warm-feeling lighting situations, such as candlelight, have the lowest light temperature (1,000 to 2,000 K) and cool-feeling lighting, such as an overcast day, have the highest light temperature (9,000 to 10,000 K). In any lighting situation, our eyes can always recognize whether an object is white, but digital cameras do not have this interpretation, so improper white balance setting will create unwanted blue or orange casts to an image. Simply put, you need to tell your camera what is white so it has a reference point for it. For any photographic situation, including stop-motion photography, custom white balance is typically set by placing a white card in front of your entire frame and allowing the camera to set the white balance to the color temperature of your lighting situation. Most cameras will also have pre-set white balance settings for certain lighting scenarios, such as tungsten, daylight, overcast, and florescent.
In terms of how this relates to stop-motion, in most situations you would not be shooting outdoors, so higher color temperatures would rarely be taken into account. In most cases you are shooting indoors on a miniature set using artificial light. Most lights used for stop-motion have a quartz or tungsten filament, which has a color temperature of up to 3,500 K. To achieve a particular mood for your scene, you can play with the white balance to make your shots appear warmer or cooler, if you feel this adds some atmosphere to your film. A standard set shot in tungsten can be made to look warmer by setting the white balance to daylight (about 5,000 K) and giving it a more orange cast (Figure 4.11). For a sad or creepy mood, letting in more light and balancing to a lower tungsten setting can add a darker blue mood to your scene (Figure 4.12). In many cases this may seem like extraneous tweaking to your imagery, but mostly it helps to know how to set the balance properly so that you also know how to control the way your film should not look. Adjusting the white balance should ideally be done on set if you are shooting JPEGs only, but if you are shooting in RAW format, you also have the option of changing the white balance in post-production.
All things considered, there are endless combinations of settings and scenarios for making your stop-motion films look a certain way, and they will always change depending on an equally endless range of factors. Within whatever means you have, set things up until they look good enough to serve your story.
(Photos for this section shot by James Emler. Monster puppet by Emi Gonzalez, and hamster puppet by Frida Ramirez.)
Ken A. Priebe has a BFA from University of Michigan and a classical animation certificate from Vancouver Institute of Media Arts (VanArts). He teaches stop-motion animation courses at VanArts and the Academy of Art University Cybercampus and has worked as a 2D animator on several games and short films for Thunderbean Animation, Bigfott Studios, and his own independent projects. Ken has participated as a speaker and volunteer for the Vancouver ACM SIGGRAPH Chapter and is founder of the Breath of Life Animation Festival, an annual outreach event of animation workshops for children and their families. He is also a filmmaker, writer, puppeteer, animation historian, and author of the book The Art of Stop-Motion Animation. Ken lives near Vancouver, BC, with his graphic-artist wife Janet and their two children, Ariel and Xander.


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Timmy Time Wins Cy Young Award
Not hard to believe Tim Lincecum won consecutive Cy Young Awards.
On the other hand, what is hard to believe is that ESPN's Keith Law and Will Carroll from Baseball Prospectus both left Chris Carpenter off their three-pitcher ballots.
Both writers are entitled to their opinions, of course, but I still find it rather ridiculous to write off Carpenter completely.
Law voted in favor of Javier Vazquez, Carroll in favor of Dan Haren and those votes greatly cost Carpenter his shot at winning a second Cy Young Award.
I wouldn't call either writer stupid for their selections, but instead fault them for being too cute with the numbers.
There's no need to over think the Cy Young Award, which unfortunately happened in this case.
Were these two out to prove something, I don't know? Either way, it's a stretch to find a better pitcher in the NL than Carpenter outside Lincecum and Adam Wainwright.


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Due to extremely high fire danger and the demand of fire fighting resources to battle the Waldo Canyon Fire, El Paso County Sheriff Terry Maketa has elevated fire restrictions from Stage I to Stage II. The changes take place immediately.
The elevation primarily impacts campfire and smoking activities over those restrictions that have been in place during the stage 1 restrictions.
The following activities are prohibited during Stage II Fire Restrictions.
Open burning defined as campfires and warming fires, charcoal grills and outdoor wood burning stoves, the use of explosives, outdoor welding or use of acetylene or other torch with open flames other than in an area cleared of all flammable materials. Fires contained within liquid-fueled or gas-fueled stoves are permitted.
The use or sale of fireworks of all kinds.
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Violations of Stage II Fire Restrictions may result in a fine up to $1000.
"We, as a community, all have the responsibility to take those steps necessary to protect our community from the devastating effects of a wild land fire," El Paso County Sheriff Terry Maketa said. "By following these restrictions and exercising caution during this dry weather, together we can make a significant difference in minimizing the risk of a fire and protecting our natural resources and personal properties."
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May 6, 2016
News Release: Associated Press
July 7, 2014
ATLANTA (AP) -- Democrat Jason Carter is expected to report having $1.8 million in cash for his gubernatorial bid after raising about $2 million in contributions over the last three months.
Carter spokesman Bryan Thomas said Monday the campaign added 6,000 new contributors and noted the campaign had spent $1.3 million on TV ads in the last quarter.
Republican Gov. Nathan Deal, who is seeking re-election, has yet to release his fundraising totals. Candidates have until Wednesday to file their reports with the state ethics commission.
Deal had reported $3.9 million in cash at the end of March. He has also been airing TV ads for months.
Carter is a state senator from Atlanta. The two will meet in the general election on Nov. 4. Also on the ballot is Libertarian Andrew Hunt.
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AIKEN COUNTY, S.C. -- A homeowner's backyard resembled a war zone until she called News 12's On Your Side.
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She paid him $1,900 down.
Hodge says Trimble cut seven trees down and then just stopped working.
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Hodge says her backyard was in a dangerous state with stumps, logs and debris piled high.
Hodge had no idea several of her neighbors already complained about T&M Construction and that the company has an "F" rating with the Better Business Bureau. Trimble also has a criminal history.
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Undeveloped Star Trek: Enterprise episodes
this wiki
Numerous undeveloped Star Trek episodes were written for Star Trek: Enterprise. These stories were submitted or developed for production, but for various reasons never aired.
Undeveloped episodes during the run of the series
Boomer stories
Boomers were originally to have featured more in the series' first season than they ultimately were; this was changed following the airing of the season's only Boomer-centric episode, "Fortunate Son". "We had another story or two planned with the Boomers," recalled series co-creator and executive producer Brannon Braga, "but we decided not to delve too much into meeting humans all the time." Reasons for this were that the writers wanted to avoid making it seem as if Enterprise was close to Earth and preferred to focus on other aspects of the Travis Mayweather character than his heritage as a Boomer. (Star Trek: Communicator issue 139, p. 24)
Phlox story
Jack Treviño, Steve Fratt and Dr. Joseph DiLella pitched several Enterprise stories, all serving what Treviño described as "lesser utilized characters" (i.e., Phlox, Hoshi Sato, Travis Mayweather and Malcolm Reed). One of these stories involved Phlox being compelled, by a powerful force, to create Frankenstein-type creatures out of six different species, including Humans. [1]
Pulp Fiction-like story
According to Linda Park in Star Trek: Communicator (issue 147), Connor Trinneer pitched a story similar to Pulp Fiction, told from the perspective of aliens. The Enterprise NX-01 crew would speak gibberish until they found a way to communicate.
Tan Ru story
The stories which Jack Treviño, Steve Fratt and Dr. Joseph DiLella pitched included one involving Tan Ru, the probe that went on to, as established in TOS: "The Changeling", collide and merge with Nomad. According to Treviño, at the time Enterprise was canceled, there was every indication that this story was about to be sold. [2]
William Shatner two-parter
During the fourth season, there were efforts to write an episode that included a role for William Shatner. (Inside the Mirror Episodes, ENT Season 4 DVD special features)
One of these early concepts involved the mirror universe. At the Grand Slam XIII Star Trek convention in March 2005, executive producer Manny Coto recalled, "We had talked about doing a mirror universe episode ever since we got into Season 4. But then we had the possibility of getting William Shatner. Coincidentally, the Reeves-Stevens [Judith and Garfield Reeves-Stevens, who had worked with Shatner on several Star Trek novels] were a pair of writers whom I desperately wanted to bring on the show. And they, it turned out, had an idea for a mirror universe two-parter which would feature the return of William Shatner." [X]wbm
At the same convention, Garfield Reeves-Stevens explained, "The idea was that the Tantalus field was not a disintegrator, it was a humane way of dealing with prisoners, by sending them back in time to a sealed penal colony. Enterprise (NX-01) comes upon the colony – and Tiberius [mirror-Kirk] is there. Tiberius thinks, 'Finally, a ship with a transporter – I can get back to my own universe, my own time.' He basically goes on the NX-01, gets to the transporter, sets it to go back to the mirror universe – the mirror universe doesn't exist." "It hasn't been created yet," Judith Reeves-Stevens added. Garfield continued, "So Tiberius and Archer work together to figure out where the division point is between the universes, what point that one split off into the other. And as it turns out, Tiberius and Archer together are responsible for the creation of the mirror universe." [X]wbm
William Shatner himself pitched this story concept to executive producers Manny Coto, Brannon Braga and Rick Berman, over lunch. The idea was well received by Coto, Berman and Braga. However, Berman then pitched an alternative concept, this one having been devised by Mike Sussman. The idea was totally unrelated to the mirror universe and involved Shatner playing Enterprise's Chef, who Daniels would bring into the future to preserve the timeline by successfully posing as James T. Kirk during an important event in history. As Shatner and Paramount were unable to reach an agreement, the plans to have him included in the series were discarded. [X]wbm However, the desire to visit the mirror universe remained, and resulted in the production of "In a Mirror, Darkly" and "In a Mirror, Darkly, Part II".
Colonel Green story
During the fourth season, Manny Coto wanted to do a story featuring Colonel Green (with Peter Weller as Green). In the words of Judith Reeves-Stevens, "Its lunch was eaten by the Soong," or, in other words, it became hard to do another story featuring genetically-engineered Humans. (The Augment trilogy was actually conceived with Green as their leader, but the character was instead made an ancestor of Noonien Soong to accommodate Brent Spiner's interest in appearing on the show.) Both Green and Weller were later seen in "Demons". ("Terra Prime" audio commentary)
One detail that would have featured in the episode was a flag first seen on Q's World War III uniform from "Encounter at Farpoint", which would have been tied to Green's faction. A flag featuring the emblem was produced for "In a Mirror, Darkly", with the hope that it could be reused, but this never came to pass. [3]
Mars independence story
During the fourth season, Manny Coto wanted to make an episode dealing with the Fundamental Declarations of the Martian colonies. The audio commentary for "Terra Prime" described it as a sort of Cuban Missile Crisis on Mars, with the comets used for terraforming the planet being aimed at Earth. The story never materialized, but the idea of comets being used for terraforming Mars found its way into "Demons".
Porthos stories
In the special features for ENT Season 4 DVD, André Bormanis claimed that many ideas for Porthos episodes were pitched. These included Porthos becoming intelligent, Porthos being the only member of the crew capable of communicating with a canine alien, and even Porthos having to take command of the ship. Bormanis suggested that part of the reasoning why these stories weren't made was that the production staff didn't want Porthos stealing the show. Given the generally humorous tone of the segment, it might be that Bormanis was merely making these pitches up.
In addition, Breezy's handler claimed, in the segment, that he had suggested a story in which Porthos changes sex in a transporter accident, so to explain why the male Porthos was played by a female dog.
Proposed fifth season episodes
As Star Trek: Enterprise was officially canceled on 2 February 2005, its fifth season was never produced. The series' producers, however, had already devised plans for future seasons, which could have begun to air by September 2005. Most information is based on comments by producer Manny Coto.
At the 2009 VegasCon, Coto suggested that two story arcs of the season would have been to show "origins of the Federation" and "whispers of the Romulan war". Consequently, the Romulans would be the major villains of the season, although other species may have appeared in the mini-arcs. [4]
Brannon Braga also noted that he and Rick Berman had considered making "Future Guy" a Romulan. [5]. However, later Braga claimed this was a red herring, and that the season would see future guy revealed as Archer himself, trying to influence his younger self to set right the timeline. [6] [7]
Coto had also hoped that season 5 would see more stories offering social commentary, compared to season 4. [8]
Manny Coto has also said, had the series been given a fifth season, the recurring character of Shran may have joined the Enterprise as an "auxiliary or an advisor" [9] [10].
Stratos story
Enterprise was due to revisit (or actually previsit) the cloud city Stratos on Ardana. In 2004, Manny Coto admitted, "I do want to do one or two episodes that take place on the Cloud City of Stratos. I want to see the early stages of that. I think it's a very fertile place for a storyline." (Star Trek Magazine issue 118, p. 23) Despite some initial ambivalence over whether he wanted the story to be comprised of one or two episodes, Manny Coto was later clearer about his intentions for the narrative's length when, in 2005, he spoke about how he regretted having been unable to fit the Stratos storyline into the fourth season. "I really wanted to do a two-parter on that location, to see Stratos in its earlier stages," he stated. "That was a wonderful location and wonderful setting for a great two-parter." [X]wbm
Kzinti story
A Kzinti episode had been suggested which would have served as a prequel to TAS: "The Slaver Weapon". The concept progressed as far as a "rough rendering" of a Kzinti starship which writer Jimmy Diggs commissioned. The story was provisionally titled "Kilkenny Cats." [11]
First starbase
Plans existed for an episode showing the construction of the first starbase, most likely in the Berengaria system. Foreshadowing as to this had already been given in "Bound". [X]wbm
Mirror Universe story
Revisits to the mirror universe and Hoshi Sato, now Empress of the Terran Empire, had also been discussed. At the 2009 VegasCon, Coto revealed that one idea was to spread four or five episodes through the season, as a kind of "mini-series inside a series". He said that it was his "big regret" that he had not managed to follow through on the idea. [12]
Brannon Braga revealed via his Twitter account that before cancellation there was some talk about setting the entire fifth season in the mirror universe. [13]
Borg Queen origin story
Judith and Garfield Reeves-Stevens pitched a story with Alice Krige as a Starfleet medical technician who makes contact with the Borg from Season 2's ("Regeneration") and becomes the Borg Queen. [14]
T'Pol's father
Writer/producer Mike Sussman hoped to have T'Pol finally meet her father, and reveal to the audience that he was in fact a Romulan agent who had posed as a Vulcan officer prior to faking his own death. The suggestion that T'Pol was half-Romulan would have shed light on her affinity for Humans as well as her interest in experimenting with emotions. ([15], Information provided by Mike Sussman)
Flint story
According to Entertainment Weekly, there was an episode "on the drawing board" to reportedly have featured Flint, under a previous alias, coming into contact with the crew of the Enterprise. The episode never made it to a script write, but initial storyboard ideas suggested a confirmation of Flint's alias of Abramson as a famous Earth scientist with possible connections to Flint knowing either (or both) Henry Archer and Zefram Cochrane. The episode would have ended with some type of discovery of Flint's nature by Phlox, leading to Flint's negative views on discussing his background with anyone, thus avoiding the "disaster of intervention" that he mentioned later in the TOS episode.
Denobula visit
Manny Coto said that he would have liked to visit Denobula. [16]
Other ideas
Manny Coto had hoped to start accepting fan scripts again, and also have arcs by noted science fiction writers David Brin, Gregory Benford, and Greg Bear. [17]
In a 2009 interview, British writer/producer Russell T Davies, showrunner of the British series Doctor Who, said that he had considered proposing a crossover between Doctor Who and Star Trek, but that the latter was canceled before the idea could be pursued. [18]
A design for a fifth season refit of the Enterprise is included in the 2011 Star Trek: Ships of the Line calendar. [19]


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The "Queen of Southern Cuisine" says she is uncertain if her diet played a role in her developing Type 2 diabetes.
"That is part of the puzzle," Deen said when asked about her high-fat, high-calorie recipes on NBC's "Today" show. Deen immediately listed other potential factors: genetics, stress, age and lifestyle.
"I've always eaten in moderation," Deen said, adding that she has always told viewers of her Food Network show the same.
Deen is now teaming up with drug maker Novo Nordisk to launch a program that aims to help people live with Type 2 diabetes.
Type 2 diabetes is the most common type of diabetes. Those inflicted either don't produce enough insulin, or do not use it efficiently, which allows excess sugar to accumulate in the blood.
Deen says she was diagnosed three years ago.
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Imagine a skyline of towering buildings on a peninsula, with beautiful waves surrounding the land, and bridges on both sides connecting travelers to the other parts of the city. This is Pittsburgh; well, Downtown anyway, but the entire city is truly magnificent. With 446 bridges there's no wonder it is called the City of Bridges. Maybe you've heard City of Champions; that's true too because the three professional sports teams in the city have all won multiple championships, not to mention the NCAA Division I championships the city holds. This is only the tiniest tip of the iceberg when it comes to Pittsburgh.
Pittsburgh was founded in 1758 by General John Forbes, incorporated as a township in 1771, as a borough in 1794, and finally as a city in 1816. Prior to all of this, the land which Pittsburgh would soon rest upon was owned by the French Empire and the French and Indian War took place with the future site of Pittsburgh as its center. A decade after the land was surrendered by the French to Forbes, the 1768 Treaty of Fort Stanwix made the Pittsburgh region part of the Colony of Virginia and the Province of Pennsylvania. It was not until 1780, when the Mason-Dixon Line was extended westward, that Pittsburgh was officially placed in Pennsylvania.
Several nation-shaking events – American Revolution, War of 1812, American Civil War – caused the city's economy to rise, fall, and rise again, and by 1911 Pittsburgh was the 8th largest city in the U.S. with the population over 500,000. The steel and electronics industries were the backbone of the economy, but they imploded with huge amounts of layoffs and plant closures in the early 1980s. Closer to the close of the century, the economy shifted towards education, tourism, and services.
Things to Do in Pittsburgh:
Pittsburgh has many times been named one of the best places in the world to visit and once you live here you'll see why. There are so many great things to do in Pittsburgh that it would take several visits to even scratch the surface. This city has everything from family fun attractions to history museums, visual and performing arts to professional and collegiate sports teams. You will have a blast when you move to an apartment in Pittsburgh.
Pittsburgh, or Kidsburgh to some, has tons of family friendly attractions that will intrigue the young in age and heart. Wander through the extensive art collection and enjoy the hands-on art-making activities at Carnegie Museum of Art, then head into the Carnegie Museum of Natural History to discover science and the wonders of the natural world. See the thousands of mammals, reptiles, birds, fish, and amphibians that make up the Pittsburgh Zoo & PPG Aquarium. Get exclusive with more than 500 birds at the National Aviary. Get wet and wild at Sandcastle Waterpark as you travel down its 15 waterslides.
Travel back through time or get glimpses of art as you explore the many museums of Pittsburgh. The Senator John Heinz History Center is the state's largest history museum, as it features six floors of more than 250 years of western Pennsylvania history. Celebrate the preserved culture and history of African-Americans at the August Wilson Center for African American Culture. View the art and archives housed at The Andy Warhol Museum. The Phipps Conservatory and Botanical Gardens feature plants from all around the world and a beautiful 13-floor Victorian glasshouse.
You can enjoy the visual arts in the various museums of the city, but don't forget about the performing arts that Pittsburgh has to offer. See the innovative and classic performances by the Pittsburgh Ballet Theatre – a world-class professional ballet company. Hear the melodious tunes of the country's eighth oldest opera company, the Pittsburgh Opera. See some of the most intriguing and unique theatrical productions you could ever imagine by the Bricolage Production Company. For a taste of Dixieland, polka, and a few other genres see what the Pittsburgh Banjo Club is up to.
Sports fans are well at home in Pittsburgh. Sporting News magazine awarded Pittsburgh the title of "Best Sports City" and the USA TODAY 10 Best Reader's Choice poll named Pittsburgh as a winner of the "Best City for Sports" travel award. With three professional sports teams, you can see the Pittsburgh Penguins, Pirates, and Steelers battle it out at every home game. If you don't love championship-winning pro teams, then maybe you'll love the collegiate sports from the NCAA Division I universities in the city such as the University of Pittsburgh, Duquesne University, and Robert Morris University.
What to Consider When Moving to Pittsburgh:
When moving to Pittsburgh, it's easy to fall in love with the city based on all the great amenities. The professional sports, the museums, the food, and the arts are all truly captivating, but you can't live in the museum. Before looking through these Pittsburgh apartments, make sure you do some research on the neighborhoods in the city to see which one fits you and your commute best. Pittsburgh has 90 unique neighborhoods, scattered across 11 larger districts, each with its own distinct personality.
Downtown Pittsburgh is at the heart of the city. You'll enjoy the lush green hillsides and beautiful rivers of this district. Downtown is currently the city's fastest-growing neighborhood as residential buildings are sprouting up everywhere. You'll find many historic, cultural, and entertainment sites Downtown as well.
Directly east of Downtown is the Strip District. This is a market spot where you'll find a variety of food and eclectic shops. Locals love this district for the low prices and amazing selections. This is strictly a shopping district, and it won't disappoint.
Lawrenceville is the largest and trendiest neighborhood of Pittsburgh as it is home to many artists and designers, and the location of the biggest art events in the city. Lawrenceville has affordable properties, remarkable shops, and delectable eateries. The New York Times has even called it a "go-to" destination.
The Shadyside district is the upscale part of Pittsburgh. Imagine boutiques, shops, and galleries combined with tree-lined streets, historic homes, unique restaurants, and booming events. There is a large residential area in Shadyside that includes Victorian mansions, modern homes, and condos along with three business districts – Ellsworth Avenue, Walnut Street and S. Highland Avenue.
Filled with universities, museums, and world-class hospitals, Oakland is the cultural, intellectual and medical district of the city. This district is considered one of Pittsburgh's liveliest, as you'll find cool coffee shops, international eateries, specialty shops, and impressive architecture.
If you want gritty, entrepreneurial, or metro chic, then the East Liberty district is for you. This culturally diverse area is undergoing immense redevelopment as historic buildings are being converted into boutique hotels and new restaurants are making their debut. The neighborhood's greatest landmark is the East Liberty Presbyterian Church or as many would call it, the Cathedral of Hope.
Bloomfield is known as "Pittsburgh's Little Italy." The Bloomfield Bridge connects this district to the universities and cultural sites in Oakland. Its colorful mix of shops, restaurants, and events will blow you away. A local must-have is the spaghetti ice cream at Grasso Roberto's and you'll love the Columbus and Halloween parades that take place here.
The South Side district is full of electrifying nightlife destinations. South Side has variety galore. The "Great American Main Street" – East Carson Street – was named a National Historic District as it features 15 blocks of Victorian architecture. The South Side is a funky and colorful district packed with boutiques, restaurants, art galleries, theaters, and live music venues.
The North Shore & North Side district is just over the bridges from Downtown and is a community-minded area with fun destinations and tons of sporting events. This district is home to Heinz Field and PNC Park along with many other world-class museums and award-winning attractions such as Rivers Casino, Children's Museum of Pittsburgh, and the Carnegie Science Center.
Sewickley is a sophisticated, contemporary, and charming tree-lined district. This old town has independently-owned boutiques, eateries, and a history that goes as far back as the mid-1700s. Shoppers will love Sewickley for its eclectic mix of stores, art galleries, book stores, innovative jewelry shops, and good old-fashioned candy stores.
Named one of the top 10 most beautiful views in the country by USA Weekend Magazine, the Mt. Washington district is one of the most-visited areas in Pittsburgh. Enjoy fine dining with a view along "Restaurant Row." Shiloh Street offers delightful ice cream, scrumptious baked goods, perfectly chilled beer, and bountiful breakfasts. Mt. Washington will please your eyes and your stomach.
Why Pittsburgh Apartments Are Hot:
Pittsburgh is a city hotter than most others, so it is only fitting that Pittsburgh apartments be just as hot. No matter which one you choose to call your new home, you will still be in an amazing city. Whether you are high-class, funky, hippy, chic, old-school, whatever you may consider yourself, there is a place for you in Pittsburgh and there are tons of city amenities to keep you satisfied. You'll love the historical landmarks, museums, and houses that flow all throughout the city. The fun that can be had with family and friends at the many attractions will be endless. The performing and visual arts will captivate you all year long and the sports will have you cheering and celebrating victory during every season.
Choose one of these Pittsburgh apartments soon; the city is waiting to make you another one of its champions.
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May 9, 2013
Ryan Wallace
Christian Sam isn't so much picky as he is thorough. And as the time to trim his list approaches, too many teams are still in a dead heat. ...More... To continue reading this article you must be a member. Sign Up Now!
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SPARK: Safety Study of Pradaxa in Atrial Fibrillation Patients by Regulatory Requirement of Korea
This study is currently recruiting participants. (see Contacts and Locations)
Verified April 2016 by Boehringer Ingelheim
Boehringer Ingelheim
Information provided by (Responsible Party):
Boehringer Ingelheim
ClinicalTrials.gov Identifier:
First received: January 16, 2013
Last updated: April 15, 2016
Last verified: April 2016
|Tracking Information
|First Received Date ICMJE
|January 16, 2013
|Last Updated Date
|April 15, 2016
|Start Date ICMJE
|January 2013
|Estimated Primary Completion Date
|December 2016 (final data collection date for primary outcome measure)
|Current Primary Outcome Measures ICMJE
|Occurrence of adverse events [ Time Frame: up to 26 weeks ] [ Designated as safety issue: No ]
|Original Primary Outcome Measures ICMJE
|Adverse events reported after intake of Pradaxa [ Time Frame: up to 26 weeks ] [ Designated as safety issue: No ]
|Change History
|Complete list of historical versions of study NCT01774370 on ClinicalTrials.gov Archive Site
|Current Secondary Outcome Measures ICMJE
|Original Secondary Outcome Measures ICMJE
|Incidence rate of stroke and systemic embolism [ Time Frame: up to 26 weeks ] [ Designated as safety issue: No ]
|Current Other Outcome Measures ICMJE
|Not Provided
|Original Other Outcome Measures ICMJE
|Not Provided
|Descriptive Information
|Brief Title ICMJE
|SPARK: Safety Study of Pradaxa in Atrial Fibrillation Patients by Regulatory Requirement of Korea
|Official Title ICMJE
|A Regulatory Requirement Non-interventional Study to Monitor the Safety and Effectiveness of Pradaxa (Dabigatran Etexilate Mesilate, 110 mg or 150 mg b.i.d.) in Korean Patients With Non-valvular Atrial Fibrillation(SPARK: Safety Study of Pradaxa in AF Patients by Regulatory Requirement of Korea)
|Brief Summary
|This is a prospective, non-interventional, open-label, multi-centre study. It will provide additional safety information of Pradaxa in Korean patients with non-valvular AF in clinical settings.
|Detailed Description
Study Design:
regulatory PMS study
|Study Type ICMJE
|Study Design ICMJE
|Time Perspective: Prospective
|Target Follow-Up Duration
|Not Provided
|Not Provided
|Sampling Method
|Probability Sample
|Study Population
|Korean patients with non-valvular AF
|Condition ICMJE
|Atrial Fibrillation
|Intervention ICMJE
|Drug: Pradaxa (Dabigatran etexilate mesilate)
110 mg or 150 mg b.i.d.
|Study Group/Cohort (s)
|Pradaxa group
Intervention: Drug: Pradaxa (Dabigatran etexilate mesilate)
|Publications *
|Not Provided
* Includes publications given by the data provider as well as publications identified by ClinicalTrials.gov Identifier (NCT Number) in Medline.
|Recruitment Information
|Recruitment Status ICMJE
|Estimated Enrollment ICMJE
|Estimated Completion Date
|February 2017
|Estimated Primary Completion Date
|December 2016 (final data collection date for primary outcome measure)
|Eligibility Criteria ICMJE
Inclusion criteria:
Patients who have been started on Pradaxa in accordance with the approved label in Korea
Exclusion criteria:
Patient with previous experience to Pradaxa Current participation in other clinical trials or registries
|19 Years and older
|Accepts Healthy Volunteers
|Contacts ICMJE
|Listed Location Countries ICMJE
|Korea, Republic of
|Removed Location Countries
|Administrative Information
|NCT Number ICMJE
|Other Study ID Numbers ICMJE
|Has Data Monitoring Committee
|Not Provided
|Plan to Share Data
|Not Provided
|IPD Description
|Not Provided
|Responsible Party
|Boehringer Ingelheim
|Study Sponsor ICMJE
|Boehringer Ingelheim
|Collaborators ICMJE
|Not Provided
|Investigators ICMJE
|Information Provided By
|Boehringer Ingelheim
|Verification Date
|April 2016
ICMJE Data element required by the International Committee of Medical Journal Editors and the World Health Organization ICTRP


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WILLOUGHBY -- A man was thrown from his motorcycle during a crash Monday night in Willoughby, police said.
The crash was reported around 10:19 p.m. on Riverside Commons Drive, just east of Lost Nation Road.
The driver, Joseph Winters, 34, of Willoughby, was headed west on Riverside Commons Drive when he struck a high curb along the north side of the road.
Winters was thrown from the bike, landing alongside his motorcycle in the grass off that side of the road.
Two men in a truck passing by spotted Winters in the grass, stopped to help him and called 9-1-1.
He was taken to Lake West Medical Center and later flown to MetroHealth Medical Center. His condition is not available.
Winters was wearing a helmet, and investigators say drugs or alcohol did not appear to be a factor.
The Willoughby Police Traffic Investigation Unit is investigating the crash. Anyone with additional information about the crash is asked to call Willoughby Police as (440) 953-4212.


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Killer Elite
|Release Date: September 23, 2011
|Running Time: 100 mins.
|MPAA Rating: R
|Box Office: $25,093,607.00
|Genre: Action, Adaptation, Thriller
Jason Statham
Clive Owen
Robert De Niro
Dominic Purcell
All Cast & Crew >>
Summary:Danny is one of the world's most skilled special ops agents. Lured out of self-imposed exile, Danny reassembles his crack team of operatives to execute a near-impossible mission of retribution - to rescue his former mentor and partner Hunter. Together, they must penetrate the highly feared and respected military unit, the British Special Air Service (SAS), to take down a rogue cell of soldier assassins and their leader Spike before their actions create a global crisis.


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|"Battleship Island"
|(戦艦の島, Senkan no Shima)
|Episode data
|"The Cursed Ghost Ship"
|Naruto: Shippūden #226 (Watch Online)
|"The Forgotten Island"
|Adventures at Sea Arc
|August 25, 2011
|January 25, 2014
Battleship Island (戦艦の島, Senkan no Shima) is episode 226 of the Naruto: Shippūden anime.
While sailing towards the Land of Lightning, Naruto Uzumaki and the others are attacked by pirates who wanted to sink their ship and loot the wreckage. Thanks to some fast thinking on Yamato's part and the early warning by one of the sensor-type shinobi however, the ship is saved and they dock in an underground cavern. There they find a burial ground and a journal telling of the plight of the native islanders at the hand of the wicked Gataro and his men. Hearing this, Naruto vows revenge for the deceased and comes up with an ingenious strategy on how to escape the giant geyser that they were trapped in. Using Naruto's strategy the Konoha shinobi and crew were able to escape the island and put Gataro and his men out of commission.


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January 17, 2013
Alex Kline
With Martin Luther King Day coming up, the weekend begins with some important visits, critical decisions and a number of unsigned talents making moves sooner or later. Here is the latest installment of the Weekend Windup on The Recruit Scoop. ...More... To continue reading this article you must be a member. Sign Up Now!
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If you were in São Paulo, Brazil on March 8th and didn't go to the opening for MOVE!, we don't know what you were thinking. But the movements aren't over! They continue through Sunday, March 17th, and you won't want to miss another single one.
Described as "a new kind of art and fashion event," MOVE! is at Sesc's new flagship arts center in Belenzinho. Merging various aspects of fashion, dance, visual art, performance art and theater, MOVE!'s collaborative "movements" represent a new model of installation/performance/ participation and takes the idea of the artist/designer collision to a new level. Originally conceived for and produced at The Museum of Modern's Art's MoMA PS1 in New York City, the inaugural MOVE! was organized by Visionaire's Co-Founder Cecilia Dean and noted art/fashion editor and writer David Colman in 2010. Dean and Colman, in conjunction with Brazil-based fashion and arts consultant Antonio Haslauer, have now re-envisioned MOVE! for Sesc with a new crop of eight movements created by world-renowned artists and fashion designers from both Brazil and abroad, listed below.
"Looks" by Rob Pruitt and Marc Jacobs
"Kalos" by Vik Muniz and Francisco Costa for Calvin Klein Collection
"Splash" by Olaf Breuning and Cynthia Rowley
"Pose" by Ryan McNamara with Diane Von Furstenberg and Oskar Metsavaht for Osklen
"Tree Pants" by Peter Coffin and Ellus
"Ligatura" by Maurício Ianês and Alexandre Herchcovitch
"Graficouture" by Banzai Studio and Pedro Lourenço
"The Big Picture" by Ricardo de Castro and Dudu Bertholini for Neon
"The whole point of MOVE! is to get away from the invitation-only worlds of art and fashion," says curator Cecilia Dean. "We want to get everyone to experience the creative process but not feel the pressure to create either art or fashion." Colman adds, "Sesc is a really inspiring concept -- one I wish we had in the US. For us, MOVE! is about creating a new space between art and fashion to play with, and that kind of integration and interplay is what Sesc is all about." The exhibition space was conceived and designed by Estudio Guto Requena. White predominates the exhibit as the ideal canvas for artists and the public to engage and interact. All materials used are sustainable or repurposed in a effort to minimize environmental impact. "The way in which the exhibit MOVE! connects fashion and art and makes them interact is really innovative—and by definition, interactivity between different areas of endeavor is consistent with Sesc's vision. As a cultural institution, we feel that the debate about the importance of fashion in popular culture is a very engaging process that is best shared with a diverse audience," says Danilo Miranda, regional director of Sesc São Paulo.


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The national Sports Council says squash has been played in the country on recreational basis without being supported by a national body.
The NSC official Mohamed Kiganja said the indoor game is practiced by several clubs in the country and tournaments are staged but it lacks an association to streamline development and take part at international events.
Tanzania is the only country in Southern African whose national squash team and clubs do not take part in regional and international tournaments organised by World Squash Federation (WSF).
The development according to Kiganja is a confirmation of irresponsibility the players of the game are going through.
Kiganja said squash has been idle for many years and failed to compete at any international tournament due to lack of leadership.
He said NSC does not have any records of recent participation of the squash national team at any international tournament which is a clear indication that the game is practically dead.
Recently, there have been many international squash games and activities but there was no country representation at the events.
The All Africa Junior Squash Championship was held in Zimbabwe recently.
A tour organised by WSF when top squash players, officials and referees are set to visit Southern African countries in June but Tanzania is no where in the squash map.
The WFS organized tour aims at uplifting the games profile in the continent where the international body said it lacks strong structure, infrastructure and support.
Kiganja said this is very sad considering the fact that many people loves the game and also it paints the bad picture to the international Squash bodies that extend their invitations to the national team, but the team does not honor the invitation.
He attributed this to sports leaders who cling to power and stays longer without holding any elections, he said in most cases leaders who cling to power dump the sports associations after messing up everything to the extent that it becomes difficult to revive the federation and the game.
According to him the last time he remembers to have been invited by the Squash National Federation to watch one of its games was in 2002 at the Dar es Salaam Gymkhana Club (DGC) and also the last time he handed over the national flag to the Squash team going out of the country for the international duty was in late 90s.
"Sports leaders whom cling to their post for long time without holding any elections are the ones killing sports federations in the country, they stay long and when they mess up everything they dump the federations and that marks the end of it" said Kiganja
Kiganja said as a measure to revive the game in the country NSC is inviting squash clubs, individual players from all over the country to visit his office so that they can form an interim committee whose main task will be to revive the game, draft a constitution and approve it.
On his remarks, Dar es Salaam Gymkhana Club (DGC) squash section captain Depak Doshi said there is a need to have a committed National Squash Association so that the game can regain its lost popularity and glory.
He said DGC as the main stakeholder of squash in the country is very concerned that the national team has been inactive for many years.
He said the development is affecting promotion of the game to other parts of the country and also affecting youth development.
Doshi said DGC has a working relationship with squash clubs from Kenya and Zanzibar, but said this is for the club level only and squash fraternity in the country need to participate at high profile competitions organised by WSF and also get technical support from the international body.
"We are really concerned with what is happening to the game of squash in the country. We can play here (DGC) for many years but as the country we need to have some international exposure by competing with top squash countries at international events", he said.
The DGC captain said as one way of reviving the game at the club they have lined up a number of activities which include a Vell tournament in May, Dar es Salaam Open in July, Chairman's trophy in October and Uhuru Cup set for December.
Doshi concluded by saying his club is currently busy looking for sponsors to back the tournaments.


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Lifting them up in prayer may they feel Gods presence, strength and comfort.
Lifting them up in prayer may they feel Gods presence, strength and comfort.
Sending prayers!
Sending prayers as i type. there is nothing more heartbreaking than a new life in crisis...but God holds a special place in for his little ones so full of innocence. i know that he is cradling that sweet little one in his arms right now and wrapping his arms and heart around her family and friends.
Praying.. *hug*
I just saw this and will definitely be adding this to my prayers.
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Praying for Harriet.
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Adding this little one to my prayers list as well. Keep us updated.
Thanks so much for your comments & prayers... very much appreciated & your comments will be later conveyed to the family... (First post updated!)
I now CT 4 Happy Scrap Arts and Scrappiness Designs (On Hold)
I'm a designer ~ Jemima's Digital Boutique and see my NEW blog for details @
Continuing to pray for the baby, the medical team and the entire family. It had to be a very emotional moment for both Mama and baby to hold together.Thank you for the update.