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The Martians Are Coming!
Matt Joseph takes a look at some alien invasion favourites currently on DVD
Beings from a distant galaxy arrive in gigantic mother ships, station themselves over every major city in the world, and ask only for humanity's help in saving their dying world by sharing with them some of our natural resources in exchange for their wealth of knowledge in the fields of medicine and technology. Soon, however, a few suspicious humans find that these 'Visitors' are here to rape our planet of all its resources and harvest humanity for their own purposes. Against overwhelming odds, a small, ragtag group of resistance fighters take up the fight to drive the invaders from the planet and save the human race from certain extinction.
This made for television miniseries from Kenneth Johnson ( The Incredible Hulk, The Six Million Dollar Man) uses the allegory of an alien invasion as backdrop to tell a story of enemy occupation similar to the Nazi infiltration of Europe before and during World War II. The most expensive television production ever made at the time, V interweaves seemingly unconnected characters throughout a suspenseful, action packed, and horrifying story over the course of its three hour running time, and even though many of the special effects date the picture, the film as a whole has held up surprisingly well over twenty years after it first aired on network television. The miniseries was followed the next year by a second, longer effort in V: The Final Battle and a weekly television series, but neither project managed to pull off the intrigue and drama present in the original to quite the same degree.
V is available on DVD from Warner Home Video, and for the first time is presented in both an aspect ratio of 1.85:1, represented by a surprisingly good anamorphic video transfer, and a newly created, stereo surround audio track. The disc also contains a featurette on the making of the miniseries and an excellent commentary track with Kenneth Johnson that any fan should give a listen to. If you can't get enough V and want to continue the fight for freedom from alien authority on DVD, the sequel miniseries and the complete weekly series are available from Warner Home Video as well.
Invasion of the Body Snatchers (1956/1978)
Based on the novel The Body Snatchers by Jack Finney, both films find a small group of people who must fight for survival once they stumble upon an insidious conspiracy that involves unfeeling, emotionless aliens cloning humans and taking over their identities while they sleep through the use of giant, plant-like pods.
Whether talking about director Don Siegel's original, 1956 version starring Kevin McCarthy or Philip Kaufman's 1978 remake starring Donald Sutherland, Invasion of the Body Snatchers is one of the most frightening tales of invaders from another world in movie history and you couldn't go wrong with picking up either picture for a scary evening. The original film, with all of its 'fear of communism' undertones, remains a classic that still holds up to this day, due in no small part to Siegel's direction and the chilling screenplay of Daniel Mainwaring. Kaufman's film, based on a screenplay by W.D. Richter and chock full of paranoia and creepy effects work, is one of my favourite scary movies of all-time, featuring a better cast than you usually find in a genre picture from the late 1970s and a level of suspense that is hard to top.
While the DVDs currently available for each for these films are nothing special and sport non-anamorphic, widescreen transfers, the video on each is still fairly decent and the audio does its job without a hitch. The only special features worth of note are an interview with actor Kevin McCarthy for the original and audio commentary with director Philip Kaufman for the remake, but the price of either of the discs from Republic Studios and MGM make each an attractive bargain. If you shop around, you're more than likely to find either title for $10.00 or less from several retailers, and if after watching these two movies you still find yourself wanting more, a third version of the story, director Abel Ferrara's Body Snatchers, is also currently available on DVD from Warner Home Video.
Killer Klowns from Outer Space (1988)
It's close encounters of the weird kind when a small town is invaded by what some might find as the scariest alien race of them all, circus clowns! Even as the body count rises, few of the locals believe a small group of young people when they warn of a handful of outer space freaks that enjoy making carnivorous balloon animals and dishing out killer popcorn while terrorizing the countryside, leaving it up to them to save the world from death by cotton candy.
This is a movie that, just by its very title, screams cult classic. You have to give credit to the Chiodo Brothers, who are also responsible for the creature design work in another off-beat alien flick, Critters, for pulling off such a crazy idea and actually making a movie that not only serves up some scares, but several dark comedy moments as well. The only real problem with the movie is that when the clowns aren't on screen, the human characters are a dull and inane bunch, but thankfully the film is full of great sight gags and inventive, never-seen-before ways in which the intergalactic Bozos dispatch of them. If you have yet to see the flick, make sure you give it a try—you'll never look at clowns in the same light again.
Killer Klowns from Outer Space is available in region one as part of MGM's Midnite Movies line of DVDs, but unlike most of the entries in that collection, this disc contains a generous offering of extras to go along with the good, anamorphic widescreen video transfer and audio tracks. Included are several behind-the-scenes featurettes, audio commentary with the Chiodo Brothers, deleted scenes, bloopers, and more, making this a disc that's hard to pass up for the relatively low price found at most retailers.
They Live (1988)
In John Carpenter's allegory of corporate mentality in the '80s, the aliens are already among us and controlling virtually ever aspect of our society with subliminal messages and the promise of power and riches. A nameless wanderer, played by professional wrestler Roddy Piper, stumbles upon an underground resistance group who have found a way to reveal the invaders for who they really and search for a way to wake the rest of the world from their induced sleep and indifference.
They Live seems to be, like many of Carpenter's other movies from the 1980s, finally finding a wider audience thanks to home video, and good thing as it's one of his more intelligent and thought provoking outings. What the film lacks in over the top special effects is made up for by the screenplay being cleverer than most in the genre and a dark, satirical sense of humour that is kept up throughout the movie's entire running time. Roddy Piper and Keith David make a good Mutt and Jeff team while attempting to stay one step ahead of the alien conspiracy that has engulfed society and really carry the picture on their performances. Overall, They Live may not be the best of Carpenter's plentiful output from the decade of Reagan and Thatcher, but it's near the top.
Unfortunately, unlike some of Carpenter's other movies on DVD, They Live has yet to receive a really good treatment on the format in region one. First released by Image Entertainment near the beginning of the format's debut and then out-of-print for a few years, Universal Home Video brought the title out of moratorium only to add nothing to the package in the process. The anamorphic, widescreen video transfer and audio are adequate for the release, but with no extras to speak of that's about as good as it gets. On the other hand, the region two version of the film, released by Momentum Home Entertainment, contains the film's trailer, a featurette, and best of all, audio commentary with Carpenter and Piper. Hopefully with the number of Carpenter films that are rumoured to be remade in the near future, Universal will see fit to re-release the movie as a special edition in region one to capitalize on those future pictures, but until then, and if you can take advantage of it, the best way to go is to order the region two version of the film.
Independence Day (1996)
Gigantic spacecrafts once again descend upon our skies in 1996's, popcorn favourite Independence Day, only this time the alien travellers make their intentions upon our planet apparent in short order with a barrage of firepower that destroys our major cities and landmarks. Led by none other than the President of the United States (Bill Pullman), a group of scientists and military types search for answers in combating the seemingly unstoppable aliens and their technology before the planet is laid to waste and crushed like an empty beer can.
Independence Day won't win any points for creativity or intelligent writing while it reaches into an abundance of movies in the genre's pool for ideas and clichés, but it does make up for its screenplay by providing a fun and rollicking spectacle against the backdrop of global annihilation courtesy of some very nasty, alien invaders. Even though every one of the characters represents a cookie cutter stereotype, there's nary an unlikable one in the bunch and the actors, including Will Smith and Jeff Goldblum, infuse their roles with gusto as the film's special effects carry it a long way in the ooh 'n ah department. Trying to pick the film apart for its many inadequacies is nearly an exercise in futility as you'll be hard pressed to find a movie that tries so hard to be a crowd pleaser and succeeds, so power up your home theatre, make a super tub of popcorn with lots of salt and butter, and enjoy the ride.
Fox Home Video has made available a number of different editions of Independence Day on DVD over the past few years, but if you can manage it, the way to go is with one of the two-disc sets that come loaded with extras. Each widescreen edition of the movie features an excellent, anamorphic video transfer and wall blowing Dolby Digital audio tracks, so there aren't any worries in the presentation department with whichever you choose, but the extras available on the multi-disc sets are worth the extra few dollars spent upgrading as you'll definitely want to see how some of the more elaborate special effects shots were pulled off.
The Arrival (1996)
David Twohy's The Arrival finds radio astronomer Charlie Sheen seeking to find an explanation to some strange signals that he believes to have come from intelligent life somewhere in outer space. Travelling to Mexico in search of the signal's origins, he becomes embroiled in a conspiracy of global proportions and a race to save not only his own life, but that of all mankind.
Director David Twohy's first major motion picture, The Arrival, came and went during the summer of 1996 in 'blink and you missed it' fashion, but it was actually the most intelligent and frightening of the alien invasion films released that year and has deservedly gathered somewhat of a cult following since its release. As the converse of Roland Emmerich and Dean Devlin's Independence Day, what it lacks in effects and budget is made up for with a witty and suspenseful screenplay and strong performances from leads Sheen, Lindsay Crouse, and Ron Silver. When it comes to most of the pictures in this genre, you have to savour the good ones since they're few and far between, so make sure you do yourself a favour and check this one out.
The current edition of The Arrival available on DVD from Artisan Home Entertainment is unfortunately the best the film has going for it at this time in region one. The disc sports an unimpressive, but serviceable non-anamorphic widescreen transfer with suitable audio and contains only a couple of trailers as far as the extras go, but does include the movie's inferior sequel as a double feature. Region two has an edition of the film from Entertainment In Video which contains a few extras, but having not seen it I can't comment on the picture or sound quality. Hopefully someone will give the film the treatment it deserves and allow it to catch on with a wider audience.
Mars Attacks! (1996)
Ack, ack! Martians invade the Earth, and apparently really enjoy doing it in Tim Burton's off-centre, kooky salute to the 1962 trading card series. Whether zapping helpless humans, taking up a game of bowling on Easter Island, or crushing everything in sight with giant, mechanical robots, the big-brained invaders seem to just be wreaking havoc solely for the fun of it while the remnants of mankind fight for survival in several overlapping stories.
Burton's film is deeply flawed with little direction to the story, a little too strange for its own good, and features cardboard thin human characters that are a real drag when they're the primary focus, but thankfully picks up and is a lot of fun when the stop-motion inspired Martians take centre stage. Jack Nicholson's dual roles and some great set pieces and effects featuring the psychotic Martians keep the movie from being a total dud, and if you can make it through some of the more dodgy parts—and have a halfway warped sense of humour—you'll find Mars Attacks! an amusing send up of alien invasions past.
The DVD from Warner Home Video is typical of the earlier titles available on the market with little in the way of special features and a very average, anamorphic widescreen video transfer and main audio track, but it does include trailers and an isolated score that showcases Danny Elfman's work on the film. With the movie's tenth anniversary coming up around the bend, here's to hoping that a special edition is in the works for next year that comes with a new video transfer and some interesting, invasion worthy special features.
Invaders From Mars (1953/1986)
After seeing strange lights coming from beyond a hill behind his home, a young boy begins to notice that everyone in town is acting kind of peculiar. While searching for answers to the weird behaviours of those around him, the lad discovers that invaders, from Mars no less, have begun to take over the minds of everyone around him and have to be stopped before they take over the world!
The original film was yet another product of Hollywood taking a stab at the Red Scare phenomenon of the 1950s, yet it remains as one of the decade's creepier alien invasion stories thanks to the set design and direction from legend William Cameron Menzies that takes it down a nightmarish and surreal path that few films attempted at the time. The 1986 remake, from director Tobe Hooper, replaced much of the subtleties that made the original memorable with special effects by Stan Winston that were state-of-the-art for the time, and in the process created nothing more than a totally disposable chiller that is at best a B-grade horror piece suitable for a rainy day, though it does admittedly have its moments.
A couple of years ago, Image Entertainment released a so-so special edition of the original that contains a nice video transfer and audio along with both the American and British cuts of the film, but offers little in the way of special features as the few, scant extras that are included are nothing to rave about. As for the remake, Hooper's picture is currently out-of-print after having a 1998 release by Anchor Bay and a second release by MGM as part of their Midnite Movies line of DVDs in region one a couple of years back, but the MGM disc may still be found at a few retailers who have not sold off their stock as of yet and can probably be found used fairly easily as well. Out of the two, the MGM disc is the one to shop for as it contains a nice, anamorphic widescreen video transfer and decent audio along with a few special features, including a publicity featurette and the film's theatrical trailer.
The Thing from Another World (1951)/The Thing (1982)
While stationed in the arctic, a group a researchers uncovers an alien spacecraft buried deep within the ice and with it the craft's strange, otherworldly pilot. The alien creature is eventually thawed from its frozen tomb and ready to threaten civilization as we know it, unless of course those stranded at the remote outpost can somehow stop the menace in time.
Howard Hawk's production of The Thing from Another World is one of my favourite, classic science fiction films because it still manages to deliver up a good scare or two nearly sixty years after its original release and contains all of Hawks' trademark touches. John Carpenter remade it just over thirty years later by sticking closer to the source material of both films, the Joseph Campbell story Who Goes There?, and in the process created what is now considered to be a modern horror masterpiece, even though it was a flop upon its initial theatrical release. While the original picture went with a rather unoriginal, Frankenstein-type, vegetable monster as its antagonist, Carpenter's Thing was not unlike a spreading virus that imitates its victims almost perfectly, and leaves the remaining survivors to wonder who is human and who is not. With these two, very different monsters, each film veered in different directions; Hawks' became something similar to the Universal Monster pictures of the 1930s and '40s and Carpenter's shape shifted into a thriller that not only horrified with some truly ahead of its time and gruesome effects work, but a picture that worked more on a psychological level with a constant feeling of desolation and paranoia permeating through every frame of the picture. While you can't go wrong with either film, I'd have to say that this is one of the few instances where the update outdoes the original.
Warner Home Video released The Thing from Another World a couple of years ago in region one as part of its annual Halloween promotion, and while the full frame video transfer and audio are quite good considering the picture's age, the only extra to be found on the disc is the film's theatrical trailer. Taking into account its status as a classic in the genre, the lack of supplements is a disappointment to say the least and hopefully one day the title will be revisited. Universal Home Video has released John Carpenter's The Thing on DVD twice in region one, and while both releases contain nearly identical features to one another, such as audio commentary from Carpenter and star Kurt Russell and one of the best documentaries available as an extra on DVD, the latest incarnation on DVD features the picture's first digitally re-mastered, anamorphic widescreen transfer that is leaps and bounds better than the first release, even if it is missing Ennio Morricone's complete score from the initial release.
The War of the Worlds (1953)
In this retelling of the H.G. Wells tale, the Martians invade the Earth by sending a vanguard of war machines disguised as meteors to wipe humanity from the face of the planet. One by one, the cities of man fall prey to the Martian onslaught as a group of scientists search to find a way to stop the otherworldly aggressors and their awesome might.
Taking its cues from both the novel and Orson Welles' infamous 1938 radio broadcast, The War of the Worlds is the crown jewel in the career of producer George Pal, the man also responsible for such classics as When Worlds Collide and The Time Machine. With the Martians' intimidating manta-ray shaped ships and cobra-like probes, the picture is full of now iconic imagery and sound effects and features two excellent performances from leads Gene Barry and Ann Robinson that epitomize hero and heroine roles of the time. Nominated for three Academy Awards, and winning the honour for special effects that still have an unsettling quality about them today, The War of the Worlds is a landmark in science fiction filmmaking. If you had to pick only one science fiction film from the 1950s, or arguably any era for that matter, this would be the one.
Paramount Home Video has recently released an all-new special edition of the film to DVD that really lives up to the too often thrown around word special. Not only has War of the Worlds been given a beautiful video transfer that brings the Technicolor process used in the picture's filming to life, but in addition to the standard, mono soundtrack found on every home video release of the film, Paramount has also included the film's original stereo soundtrack that, up until just recently, had been thought lost to the ages. Also included on the disc are a host of extras, including audio commentary from stars Gene Barry and Ann Robinson on one track and commentary from Joe Dante and film historians Bob Burns and Bill Warren on a second, more informative one, a couple of featurettes on the making of the movie and writer H.G. Wells, trailers, and the 1938 radio broadcast in its entirety. Whether or not you have the first, featureless release of the film on DVD from Paramount, you need to treat yourself to picking up this disc, which is a classic sci-fi lover's dream come true.
While this is far from a complete list of the many alien invasion movies available, I hope that you found reading my little article helpful in unearthing a new, genre favourite or read the list with some fond memories of drive-ins long gone and late nights watching the local, double creature feature while hiding under several blankets. Whether you like your aliens doe-eyed and cuddly as in Steven Spielberg's E.T.: The Extra Terrestrial, or dripping with slime and ferocious like Ridley Scott's Alien, there's nothing like a good invasion of the Earth for a couple hours worth of cheap entertainment, but just remember, it's no use to keep watching the skies because they're already here and you're next!
Editorial by Matt Joseph
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Bloomberg reports that Apple has cut iPad 2 orders from Foxconn in China by up to 25%, which likely indicates Apple shifting production to the new Brazilian plant, according to JPMorgan analyst Mark Moskowitz.
Several supply-chain vendors indicated in the past two weeks that Apple lowered fourth-quarter iPad orders 25 percent, the first such cut that analysts at JPMorgan's electronic manufacturing services team in Hong Kong said they have ever seen. The report didn't list the affected companies, and Gokul Hariharan, one of the report's authors, said he couldn't comment when reached by Bloomberg News today.
We think it's a bit premature to pin this on Apple gearing up for iPad 3 production, as TiPb recently heard Apple had returned iPad 3 to the traditional spring schedule. Instead, the idea of Apple shifting production to the new plant seems more likely. Earlier this month, The Brazilian Minister of Science and Technology, Aolizio Mercadante, has confirmed that the new Foxconn factory in Jundiai Brazil is up and running.
Moskowitz believes Apple will sell between 10.9 and 12 million iPads during the 4th quarter, up from 9.25 million in Q3.
Source: Bloomberg

subset: commoncrawl


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Discard the obvious first and make sure the service is running.
Open the SAP HANA Cockpit and scroll to the SAP HANA Database administration:
Manage Services:
xsuaaserver in the list.
Troubleshooting authentication error message when using XS Advanced client to log in to SAP HANA
When attempting to log in to the XS Advanced engine from the XS Advanced Client, the following error occurs:
Authentication failed. UAA at http://your-host:30030 uaa-security is not up.
The error occurs when trying to log in to XS in HANA using the XS Advanced Client with command
xs login –a http://hostname:30030.
There seem to be plenty of root causes for this issue, involving different components and, of course, different possible solutions. This How-To document covers some of the common root causes and how to identify them.
Discard the obvious first and make sure the service is running.
Open the SAP HANA Cockpit and scroll to the SAP HANA Database administration:
Manage Services:
xsuaaserver in the list.
Not having the latest version of the XSA Client can also be the cause for the
uaa-security is not up error. You can find the latest version of SAP Web IDE and XSA Client from the marketplace.
Lack of proper access will lead to even more notable errors, such as an
XSA not authorized error. As of SPS12, Patch 1, you will need to assign the right role collections to the user you are connecting with
You can find more details here: https://blogs.sap.com/2016/08/16/sap-web-ide-for-sap-hana-sps-12-patch-1-tips-and-tricks/
Alternatively, you can test these steps by copying the preconfigured user into a new one, applying the proper role collections and enabling the access to the space with command
xs set-space-role.
If you look at the message thrown by the client, you will find that although you explicitly call port 30030 in the
API_URL parameter, the error message returns port 30032. Not having the right ports open would mean more errors when trying to connect to other sites, as login requests will go through the UAA.
This means we need to make sure communications into those ports are free of blocks:
If you recently performed an upgrade, make sure the hostname and Fully Qualified Domain Name (FQDN) are still correct. The file /etc/hosts in the operating system of the HANA instance contains this information
Updated 04/04/2018
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20 Min.


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Round about now I go on a mad search in my wardrobe for my collection of Fred Perry's. When that search proves fruitless I normally treat myself to a polo shirt or two, one from here or here and another cheapo from a High Street store. If that's you cunning plan too, here is a round up of some of …
Thrifty looks: Summer lightweight jackets
Click image to enlarge
We looked at some wonderful summer jackets yesterday featuring labels like Rene Gurskov and Moncler but for the more budget conscious among you here is a pick of summer jackets from the high street.
Ditch the generic stripe! Brandish's guide to wearing scarves
Click image to enlarge
When your own boss writes that he wants to burn his stripy scarf it's time to write a definite guide to scarves.
We featured a stripy scarf pick way back in November but we need to go back to basics.
Stripy scarves must die!
Click image to enlarge
Stripe scarves are starting to become so ubiquitous that they're joining Taz socks and Homer Simpson ties in the naffness leagues, not any old stripe scarf though, it's the fine stripe stretchy knit scarf with usually comes in a burgundy melange of colours and has fringing on the ends.
Go for a dress shirt at the Burton sale
Burton's sale is now on and they've got lots of great reductions including houndstooth waistcoats, the limited edition Ben Sherman overcoats and a good selection of knitwear.
Burton stone cotton shorts
In my continuing mission to get the men of Britain into short shorts I've found a great pair which combines the tailoring of a high-fashion pair of short shorts with good wearability and even better price.
Red marl cardigan from Burton
While we're waiting to crack out the summer garms one of the best ways to look a bit less wintry is to add a bit of colour to your outfit.
Burton linen summer jacket
Burton's SB2 jacket is a great summer alternative to pinstripe or plain navy but is dark enough to avoid comparisons with the man from Del Monte.
Burton stockings lady cufflinks
Burton have come a long way, their Black Label range is one of
the few great high street ranges for men but they still have a few duff
items like these 'Stockings Lady' cufflinks (£12).
Burton get a bit cheeky with their Japanese Denim
If you've looked at our Jeans coverage in
the past then you'll know all about raw & selvedge denim. You'll also know
that the best selvedge denim comes from Japan. Not necessarily all denim from
Japan is expertly made on great looms and this is why Burton's attempt
at Japanese denim is a bit cheeky.
Pick of the blogs
Off the Cuff and Iluwfashion encourages men to 'watch' the trends this year with some great watch suggestions.
A Suitable Wardrobe reflects Fred Astaire shiny chic.
Top Five: waterproof jackets
A light waterproof jacket is fast becoming an essential in this changeable weather.
Burton mesh black and blue belt
This mesh belt is a nod to the sporty trend without going the full be-shellsuited hog.
Red Burton flip flops
I'm not such a fan of flip flops, but these Burton ones
are a great buy for the park or to pop in your suitcase.
Extra long shoes, good or bad?
Top Five: bags
Manbags have come a long way from Kel from Kath and Kim's grey pleather pouch. There are many bags on the high street to choose from, starting with the bag that kicked off the whole trend.
Spring shorts outfit
I mentioned yesterday that knee high shorts aren't easy to carry off, but it's a bit of a dilemma because purely from a fashion (rather than comfort) perspective 3/4 length trousers are looking a bit dated.
Burton picks
The word 'Burton' strikes fear into my heart, I immediately see identikit student types, the kind who appear on Shipwrecked and seem to think it's ok to dress like a surfer. Even if you're at university in Leeds, and it's November. I've put my prejudices to one side for a second and tried to fine some nice things from Burton, …


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Case IH has introduced a new addition to the JX Series utility tractor line — the JX95 High Clear tractor — for specialty row crop applications.
"We designed the new 80 PTO horsepower (hp) Case IH JX95 High Clear tractor specifically to meet the unique needs of vegetable growers," says Willie Greaser, marketing manager for Case IH JX Series tractors.
Unique needs
Available in either 2-wheel drive (2WD) or mechanical front-wheel drive (MFD) configurations, the front axle ground clearance on the 2WD JX95 High Clear is 28.8 inches and 24.5 inches on the MFD. "Both the 2WD and MFD have 25.7 inches of clearance under the drawbar, allowing the operator to work without damaging the crop," Greaser adds.
A 20×12 creeper transmission with mechanical shuttle enables a minimum speed of 17 feet-per-minute for precision handling within rows. A mechanical rear differential lock and limited slip differential on the MFD provides improved traction in the toughest conditions.
Tire track widths can be adjusted depending upon the crop's row spacing. The front track width on the 2WD JX95 High Clear tractor has two settings, 61 inches and 76.8 inches. The front axle on MFD tractors can range from 60 inches to 90.1 inches. The rear tire track can be adjusted from 59.9 inches to 79.8 inches. A rear axle extension is available to provide a range of settings between 71.3 inches to 91 inches for maximum versatility and stability.
Tires available from the factory for the JX95 High Clear are 13.6×38 (R1W) and 320/80R42 (R1W).
The Case IH JX95 High Clear tractor also sports an auxiliary fuel tank that adds 7.1 gallons of capacity, for a total capacity of 26.6 gallons.
The tractor uses a Tier II emission-compliant, turbocharged, Case IH engine with four cylinders and an underhood exhaust muffler that reduces noise levels. For simple service, a single-piece engine hood is gas strut assisted for bestinclass accessibility.
Operator comfort
For operator comfort, convenience and productivity, the JX95 High Clear operator platform has a tilt-adjustable steering column; easy-to-read instrumentation; a wide, comfortable seat that is mechanically suspended; two post-foldable ROPS; and an isolation mounted platform.
For more information on Case IH visit us on the World Wide Web at http://www.caseih.com.


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Professor of Religion Emerita
Jorunn J. Buckley, a historian of religions (comparative perspective), works in Gnostic religions, particularly with the Mandaeans, who are the last, still-living Near Eastem Gnostics from ancient times. Involvement with the Mandaeans themselves, including advocacy, especially in political and religious asylum cases on behalf of Mandaeans. In February 2006 she recorded a podcast at Bowdoin College on her work on–and with–the Mandaeans. One of her books is The Great Stem of Souls: Reconstructing Mandaean History. She has edited a manuscript collection of Iraqi folktales, published together with a reissue of a long out-of-print book (from 1931) by by E. S. Drower. Another book is Drower's Folk-Tales of Iraq (see below). Bowdoin College Museums' etching by William D. MacLeod, Arab Story Teller, graces the book's cover. Buckley's book Lady E. S. Drower's Scholarly Correspondence. An Intrepid English Autodidact in Iraq was published by Brill, Leiden, The Netherlands in 2012. Her current book project is on her experiences in human rights for Mandaeans.
Since the late 1970s, Buckley has held official positions in the American Academy of Religion and the Society of Biblical Literature. She has taught more than 40 courses in 12 institutions over a 30 year period. Her background in psychology and philosophy continues to inform her focus on myths, rituals, and theory and method in the study of religion.
Lady E. S. Drower's Scholarly Correspondence: An Intrepid English Autodidact in Iraq, Brill, Leiden, The Netherlands. 2012
Drower's Folk-Tales of Iraq (edited by J. J. Buckley), Gorgias Press. 2007
The Great Stem of Souls: Reconstructing Mandaean History, Gorgias Press, Piscataway, New Jersey. 2005
The Mandaeans: Ancient Texts and Contemporary People, Oxford University Press/ Scholars Press. 2002
The Scroll of Exalted Kingship (Diwan Malkuta 'Laita) (A Mandaean Priest Initiation Text), American Oriental Society Translation Series vol. 3, New Haven, CT: The American Oriental Society. 1993
Female Fault and Fulfillment in Gnosticism, The University of North Carolina Press. 1986
Plus: a co-authored autobiography, in Norwegian, published in Norway, 2002.
Articles And Book Chapters (46 of them), Book Reviews (ca. 37), and Encyclopedia and Dictionary entries (ca. 27)


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NACDS hires rock legend Roger Daltrey to perform at TSE
NEW YORK — "Who are you?" That question probably won't be necessary as the famous frontman of British Invasion band The Who takes the stage at the National Association of Chain Drug Stores' Total Store Expo in August.
The NACDS said it had hired Roger Daltrey to perform at the show, which takes place in Las Vegas from Aug. 10-13 and combines the group's Pharmacy and Technology, Marketplace and Supply Chain and Logistics shows. Daltrey will perform on Aug. 12.
Daltrey teamed up with bandmate Pete Townsend to headline the "12-12-12" concert in New York, a benefit for victims of Hurricane Sandy in New York, New Jersey and Connecticut. As part of the concert, Daltrey and Townsend helped raise more than $50 million for storm victims.
Dart and science
"The only real valuable thing is intuition," said Albert Einstein. Within the consumer healthcare industry, nowhere is that more true than in the realm of brand management.
Ironically, Einstein also said "if we knew what it was we were doing, it would not be called research, would it?"
That is the paradox of brand management. We have to go with our gut instinct, or intuition. At the same time, we have to be sure we're right before we go ahead. In other words, intuition is the most important factor when making major decisions about how to market a brand. And so is research.
But if we're honest with ourselves, we know that not all research is created equal. I've witnessed my share of misguided research through my 20+ years in this industry. Too often, market research methodology is – knowingly or unintentionally – rigged to support original hypotheses. Forfeited is the golden opportunity to challenge assumptions and uncover new insights. Going into research with certain expectations is okay, but rigging the outcome is a waste of time and money.
The way I recommend embarking upon a research project is by compiling a list of questions that must be answered (and by whom) as product launch and brand marketing decisions are being made. Combining quantitative and qualitative measures – and knowing what to ask and how to ask it – are critical elements of the science.
The next step is even trickier. Even if the market research produces a pile of robust data that appears conclusive, all marketers must face the fundamental challenge of analysis – making sure that results are analyzed comprehensively and without bias.
What follows is also tricky – deciding what data is firm enough to build your business case on. Amid the flood of tables, charts, and graphs produced by the research process, there may well be certain results that are more significant and useful than anticipated – but there's a very good chance they won't be seen because they aren't relevant to the original research questions. Sometimes you have to set aside your favorite graph, no matter how pretty it is.
On the other hand, if the results confirm a little too neatly what is already "known," it's time to dig deeper. You simply have to discipline yourself to be objective. If you can't, hire people who can be.
Now comes the fun part. I like to call it dart-throwing.
Like Einstein, I believe that wielding a dart and letting it fly can, in fact, produce sound business outcomes. However, consider this before relying only on the dart for direction. If you were trying to score high points in darts with precision, you would want to know what you're aiming for. That's where the science of well-structured and analyzed market research combines with making good decisions.
Narrowing the range of product development options, marketing channel considerations, and other key brand decisions to a subset of well-vetted possibilities is the best technique. Then, hurl the dart.
This combination of empirical data and intuition is not easy to achieve or keep in balance. So much "analysis paralysis" results from an improper balance of "head" and "heart." But once you develop – or hire – sound research methodology and a finely-tuned intuition based on experience, you can better trust the dart to hit the target.
Hamacher Resource Group, Inc. (HRG) Vice President Dave Wendland, a 20+-year retail industry veteran, is a popular presenter and discussion facilitator available to speak at corporate and association events on a variety of retail-related topics. HRG is a research, marketing, and category management firm specializing in consumer healthcare at retail. Product manufacturers, healthcare distributors, retailers, technology partners, and others rely on HRG for strategic and creative solutions to help build their business. Learn more at www.hamacher.com.
Bartell collects teddy bears for children's campaign
SEATTLE — Bartell Drugs is collecting donations of teddy bears to give to children in stressful and traumatic situations, the Seattle-based regional retail pharmacy chain said Monday.
Bartell said it would work with local radio statement Warm 106.9 FM in the annual "Teddy Bear Patrol" campaign, which will take place through March 30. The chain's 58 stores will collect donations of $7 "Bartell Bears" or new or gently used bears smaller than 12 in.
The bears are distributed to police departments, hospitals and emergency response teams to give to children involved in challenging situations. More than 74,000 have been collected over the years.


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Everynight when I'm trying to put my 6 week old down to sleep. She fusses a lot. I know this is normal but it doesn't feel normal to me.
I'll give her bedtime feed and then all of sudden she comes off, she tries routing and thrashing her legs and arms about. All the while routing for me, my nipple is right there and I push her onto my nipple but she doesn't close her mouth, but she's still routing for me but I'm right there!
At first I thought maybe she was getting any more milk out so I switched sides. That didn't work. So I make sure she has a good burb. I tried lying her on her belly and on my arm thinking maybe she has gas.
Which sometimes she does, she farts all the time. But she still cries and still routes for me. This is getting really frustrating for me and I want to fix it. But don't know where to start! Can anyone please recommend what it could be or what to do?
I'm at my wits end =(


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This is the 24th year Futures has profiled emerging commodity trading advisors (CTAs), and while every year is unique, in 2013 agriculture-focused and niche managers have done well. It is no surprise because it has been another difficult year for long-term trend following. Ag-based managers tend to be more fundamental and discretionary, which has allowed them to avoid the difficulty of the risk-on/risk-off nature of markets in recent years.
It also makes sense for emerging managers to try to distinguish themselves because even in a good trending environment, it is difficult for emerging trend-followers to be recognized. It's good to be unique.
It is always a tough road to launch a new trading business, and this year once again has been difficult because of the fallout of MF Global and Peregrine Financial Group and the resulting additional regulatory burdens.
When reviewing candidates, we look not only at recent performance, but also the manager's general approach to trading, risk management, consistency in style and fee structure.
Previous "Hot New CTAs" have gone on to great success and some have slipped into obscurity. This is not an endorsement, but a review of new talent.
Leapmach Capital: Taking care of risk
Matt Chuang says what separates the Leapmach Capital Management Delta Neutral Short-Term Strategy from the scores of other option writing strategies is its strong emphasis on risk management.
While that claim is hardly unique, Leapmach, which Chuang founded in 2011 after working in the trading industry for seven years, does many things differently. First, it is diversified, trading all the major sectors instead of concentrating on stock indexes. And Chuang approaches each sector differently, utilizing both fundamental and technical analysis in his mostly systematic approach.
"Technical and fundamental analyses are equally important to my trading strategy," Chuang says. "Based on the product traded, I may weigh on one more than the other. For example, I would pay more attention to fundamentals in equity indexes whereas in gold, technical analysis may be more meaningful."
He evaluates each market and sector separately based on volume and volatility. "[Because] risk management is my utmost priority, I like to be as diversified as possible," Chuang says, "I use a variation of one core strategy on each sector because they all have different intrinsic characteristics. Trading multiple markets offers me more [seats] at the table, so if one or a few markets' volume and volatility dry up, I could still be active in other markets."
Although the strategy is based on premium collection, he takes both long and short options positions; and while his long options are usually a hedge, there are times they also may drive returns. "I am long options mostly for hedging purposes," he says. "I understand by entering [spreads], there is a trade-off in returns, but I reduce certain market risks. My long-to-short position ratios vary from time-to-time and product-to-product depending on current and prospective market conditions. Only at the times when the markets become extremely volatile and directional [do] long options generate profits."
Chuang earned a master's degree in electrical engineering from the University of Illinois, but a roommate involved in trading helped him change his career path. After graduating in 2005, his roommate advised him to go into trading, so he turned down a more lucrative position and took a job with, at the time, a start-up proprietary trading firm.
"I tried trading for a while and never went back [to engineering]," Chuang says.
Most positions are initiated with spreads based on where Chuang expects a market to move over a specific period of time. "For every trade I make, I always make sure within a certain time period I expect the market to move within a certain price range, and that is how I initiate a trade," Chuang says. "Before I make any trade, I make sure the time window I am looking at is good for my client and then I decide [where] the price range for the underlying futures contract will move in that time period."
Leapmach maintains offices in Chicago and Hong Kong. Chuang splits his time between Chicago and Asia where he has other business interests. He was raised in Taiwan before moving with his family to Canada and then to Chicago after college.
His strong emphasis on risk management has been tested through some volatile markets. Leapmach has produced a compound annual return of 15.29% since its January 2011 launch with a worst drawdown of 1.02%.
Leapmach's trades can last from a few days to several months, and Chuang is constantly monitoring and adjusting them. "We all know options writers' worst nightmares are extreme directional price movements," Chuang says. "Having the ability to monitor margins and risks real-time has prevented me from suffering huge losses in these adverse events."
In that respect, Chuang has managed to take the worst fears of options writing and profit from them."I believe that there are more money making opportunities when markets are in a berserk mode, so there is nothing wrong [with hitting] the reset button even if that means losing money and start[ing] fresh."


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IRVING, Texas (AP) - The Dallas Cowboys have taken tight end Gavin Escobar of San Diego State in the second round of the NFL draft.
The Cowboys took Escobar with the 47th overall pick Friday night.
Jason Witten is entering his 11th season with the Cowboys and is the only pass-catcher in franchise history with more than 800 receptions. He's third on the career NFL list with 806 catches for 8,948 yards.
The 6-foot-5, 254-pound Escobar had 122 catches for 1,646 yards in three seasons with the Aztecs.
Witten's backup is James Hanna, a sixth-round pick last year.
Dallas has two picks in the third round - the 74th and 80th overall selections.


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What is sentimental about football? On this day after a very difficult loss for my Baltimore Ravens thoughts of my father come to the forefront. We lost Dad to cancer this past summer making this playoff season the first he missed in his 76 years.
Growing up football was always an event in our house. Getting dinner and dishes finished before game time was the normal routine. Then our team was the Baltimore Colts, lead by legendary Johnny Unitas. Names like Berry, Ameche, and Donovan were discussed as if we knew them.
Watching the games with my parents was also an event. Dad would sit calmly in his chair occasionally remarking on a certain play or penalty. Mom on the other hand would be jumping up and down yelling at the television as if the teams could hear her opinion.
As a little girl I knew the Baltimore Colts fight song just as well as the Alphabet Song. Then came learning the difference between the quarterback, fullback, halfback, and tailback. Understanding calls the referee made and what defensive package was on the field.
Good sportsmanship, team work, commitment, and humility are some of the life lessons my siblings and I have learned over the years as football fans. We know there is another side of all professional sports including drugs, criminal activity, and being self centered. As in any aspect of life you will encounter those with the same failings. The key principle we learned was never make athletes, no matter how impressive, into role models. First and foremost football is a form of entertainment.
Many an exciting moment has been spent together at training camps, football games, and our homes bonding over this game. Consequently many of the next generation has inherited our parents passion for the sport. Just last night was spent at my brother's home with three generations of football fans having a blast.
So here I am back to the sentimental moment the sport engendered. In the midst of cheering for our team and disagreeing with calls made on the field, ever present was Dad. What would he say about that call? What would he think about that interception?
Sentimental Football Sunday. Miss you Dad.


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the REAL playlist solution (MSC mode using MediaMonkey)
Ok, not another playlists related thread... i know. But I've searched around and there doesn't seem to be a concise explanation of how to do it so here goes.
The following method allows you to use extended m3u playlists while in MSC mode. Until I can find a program that writes extended m3u files to the S9 based on S9 folder structure, this is the easiest way to do it.
Use of MediaMonkey is highly recommended though any program that can write extended m3u should work just as fine.
The KEY to this method is you must ensure the music folder/file directory in your S9 music folder matches the music folder/file directory on your computer.
If your music is rather unorganized and/or spread out in multiple locations on your computer, you MUST consolidate it, either manually or have a program do it for you (recommended). Like many others, I prefer MediaMonkey.
In MM, after you have built your library, simply ctrl+a all your songs in your library and right click -> "Auto-Organize". You will now be able to tell MM how exactly you want your music to be consolidated: folder structure + file name structure.
eg. C:\Users\<user>\Music\<Artist>\<Album>\<Artist> - <Album> - <Track#> - <Title> (Note you will have a root music folder. The root music folder doesn't have to be named \Music but as long as all your music falls into subfolders of your root music folder, you're fine)
Now you must configure MediaMonkey to send your music to your S9 using that same folder/file structure. At the top of the player select "Tools" -> "Sync Device" -> "Configure Device" with your S9 plugged in. The 4th tab should be called "device configuration". Here you can configure the folder/file structure that MM will put onto your S9 during syncing. As long as the structure you use here is the same as the one you used to auto-organize, everything will work. Now every time you use MM to add new music to your S9, you can be assured it will be added into a folder structure identical to your computer.
Now that MediaMonkey has organized your music collection and retained the identical organization onto your S9, you are ready to build your playlists.
Simply build whatever playlists using MM. In the left-hand tree menu, select any playlist you have created (to include auto-playlists), right click -> "Send To" -> "Export as .m3u playlist".
Save the new playlist to your root music folder on your computer. This ensures that the .m3u will map out the correct paths. Then finally copy the newly created playlist.m3u to your S9 music folder. DO NOT copy the playlist.m3u file to your S9 playlists folder. Don't worry, your S9 will still find it when you go to your playlists menu on your S9.
C:\..\..\..\Music <----create your .m3u files in this location on your computer
F:\Music <-------copy your .m3u files to this location on your S9
Now you have working extended.m3u playlist while in MSC mode, so no worries about playlists disappearing when switching modes. (though I don't see why you would ever need to use MTP again)
Alternative Method:
You can choose to have MediaMonkey scan your music-loaded S9 and use the music stored on the S9 to build your library (make sure that your entire music library is built using music scanned off your S9 and NOT off your computer). Build your playlists as normal and then export them as .m3u files straight to your S9's Playlist folder without issue.
Note that you will not need to change any kind of folder/file structure on your computer. This can be good, especially if your music collection is organized in a system that MM can't emulate (though unlikely). However drawbacks sill apply.
Adding new music to your collection will take quite a bit longer. You must first use drag and drop (or another program other than MM) to place the new music files onto your S9. Then you open up MM and rescan your S9 to update your library with the new music. Only after the library is updated can you start adding the new music to playlists and do other things like edit tags. I know you can use something like mp3tag to do that for you but the whole point of using Mediamonkey is that it can do pretty much everything. Plus when your library is built straight off the S9, because you are reading off USB flash media, all operations will take longer than if the files were off your hard drive. Also if you want to utilize any of MM's great auto file management systems, you will need to keep the S9 plugged in.
Unless you absolutely MUST have your .m3u playlists saved in the Playlist folder on your S9 (instead of Music), using the main method is probably most convenient.
My Notes:
Yes, I realize you still are not actually auto-syncing the playlists to the S9. You still have to manually copy some files over to the S9 but this can be done within a few clicks. Another drawback are that playlists are still not dynamic (no creating or making changes to existing playlists on-the-fly on the S9 itself). To do this requires using a custum playlist utility such as the one that came with Claw's Wallpaper UCI (wiki here). However, using playlist editors that come with UCI's means you can't edit them on your computer. So really, it depends on how you like to use playlists.
If you like the speed and ease of making them on your computer, then going the MediaMonkey auto-organize method is the way to go. The advantage here is that making playlists on your computer is very fast. You can add hundreds* of songs within seconds. You can also have MM create auto-playlists (AKA smart playlists) using a wide variety of criteria.
If you prefer to create your playlists on-the-fly when listening to your S9, then you should go with Claw (official thread here). I personally do not prefer using Claw's Playlist Editor because I find it too slow to add songs and too slow to load up lists. You are waiting on the UCI to process too much.
Of course, you can use both this and Claw but there can be no interaction between the 2 kinds of playlists.
I know a lot of people are lazy and won't want to organize their music collection (especially if it's really large and messy) but in the end, you will benefit, and not just from being able to use m3u playlists. Besides, the moving and renaming of files is all automated when you use Media Monkey.
* 400 song limit on .m3u playlists still exists. Not sure how many total playlists the S9 can handle but I don't think anyone has enough playlists for this to become an issue.
Also, MediaMonkey is excellent at maintaining your library. Going to "Tools" -> "Options" , on the left-hand tree should be 2 menus called "File-Monitor" and "Auto-Organize". Enabling both of these will ensure that your library will stay organized. Just make sure that the rules you create for Auto-Organize match the rules you create in the syncing options for your S9.
Edit 3:
Alternative Method is touched upon more. Personally, I don't like this because I'm almost constantly adding new music and having MM use my computer to build the library is way more convenient then waiting to read data on the S9.
Edit 2:
Realized I messed up the instructions pretty bad earlier. I finally figured out the .m3u generating and mapping. As long as you create the .m3u file in the root music folder, the mapping then becomes the same whether the .m3u file is stored in your computer's root music folder or the S9's root music folder.
Sample .m3u code (what it SHOULD look like):
#EXTINF:152,The Beatles - A Hard Day's Night <----- This line simply means the file is 152 seconds long, and in your playlist the track will appear as "The Beatles - A Hard Day's Night"
The Beatles\A Hard Day's Night\The Beatles - A Hard Day's Night - 01 - A Hard Day's Night.mp3 <------ The actual file path of the music file
#EXTINF:260,The Beatles - Come Together
The Beatles\Abbey Road\The Beatles - Abbey Road - 01 - Come Together.mpg
Note since the .m3u was created in the root music folder on your computer, you don't need to worry about the higher level path (the complete path being C:\..\..\..\Music or wherever your music directory is located). The .m3u only needs to map to files RELATIVE to where the .m3u file is located.
Last edited by wuhan_clan; 03-24-2010 at 10:10 PM. Reason: improved alternative explanations, now working 100%
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The trade deficit in the U.S. widened in October as the biggest slump in exports in almost four years outweighed a drop in imports, evidence of the slowdown in global growth.
The trade gap grew 4.9 percent to $42.2 billion from a revised $40.3 billion in September that was smaller than previously estimated, the Commerce Department reported today in Washington. The median forecast in a Bloomberg News survey of 70 economists called for the deficit to expand to $42.7 billion. Exports declined 3.6 percent, the most since January 2009.
The decrease in exports, which may have been exacerbated by the drought in the Midwest that caused sales of soybeans to plunge, was nonetheless broad-based, indicating cooling economies from Europe to Asia may be sapping demand for American goods, once a mainstay of the economic recovery. The slowdown in imports, which affected everything from electronics to clothing and chemicals, may also be signaling slower U.S. growth.
"The export trend is clearly slowing, and that means the export engine is faltering," said Carl Riccadonna, a senior U.S. economist at Deutsche Bank Securities Inc. in New York, who projected the gap would grow to $42 billion. "The outlook seems more of the same for growth."
Stock-index futures held earlier gains after the report as German investor confidence climbed and traders awaited progress on federal budget talks in Washington. The contract on the Standard & Poor's 500 Index maturing this month rose 0.2 percent to 1,423.5 at 8:49 a.m. in New York.
Survey Results
Bloomberg survey estimates for the trade gap ranged from $40 billion to $44.6 billion. The Commerce Department revised the deficit for September to an almost two-year low from an initially reported $41.5 billion.
The value of exports dropped to $180.5 billion, the lowest since February, from $187.3, today's report showed. Overseas sales of soybeans slumped by $1.13 billion during the month, and aircraft demand, which is also often volatile, decreased by $1.02 billion. Foreign purchases of engines, industrial machinery, petroleum products were among the other categories that also saw decreases.
Superstorm Sandy, which closed ports in New Jersey in late October and early November, may have been one reason the shipment of U.S. goods decreased.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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25 March 2013
Five Great Productivity Tools for Genealogy
As genealogists, we are always looking to see how to
squeeze more information out of a piece of data and more hours out of the day!
As our research world is impacted by technology and web-based services and related, it is important for us to try and keep up with tools (whether designed with genealogists and family historians in mind or not) that help us as we do our research, whether they help us be more thorough, more efficient, etc.
Until I read the post at GenealogyInTime Magazine Five Great Productivity Tools for Genealogy. I wasn't even aware of the service called NameChk (read the article to find out what this service can do for you!).
The great thing is that these are generally available tools whose function is not limited to genealogy research.
On a related note, check out these Upfront with NGS posts on other tech tools that might be of help:
- Tech Tools for Technologically-Challenged Genealogists
- Lists,lists and more lists -- Great apps including some Genealogy
What productivity or tech tools have you found that really help you be a better genealogy and family history researcher?
03/25/2013 3pm EST -- fixed broken links
03/25/2013 4pm EST -- removed image; used without permission of author + attribution stated to be correct though it is the source where the image was acquired
03/25/2013 4pm EST -- removed image; used without permission of author + attribution stated to be correct though it is the source where the image was acquired
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Posted by Diane L Richard at Monday, March 25, 2013
Labels: Genealogy Tools, tech
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|2009-05-05, 09:15
|Link #9003
Join Date: Jan 2009
Location: USA
Age: 32
|2009-05-05, 10:24
|Link #9004
Join Date: Jun 2006
Location: Montreal
i have no doubt that tsukune will be able to surprise her father with his strength with time. imo i dont think he'll be able of a descive defeat but edging him out a tiny bit to defeat him is possible.
|2009-05-05, 11:26
|Link #9005
Senior Guest
Join Date: Jan 2009
Location: Athens (GMT+2)
Age: 29
I'm on chapter 25 right now, and I got the feeling that except the bus driver, Nekome, and the exorcist dude, every adult is worse than the students and want to take full advantage of them. Yokai academy sure is scary
|2009-05-05, 12:08
|Link #9008
Senior Guest
Join Date: Jan 2009
Location: Athens (GMT+2)
Age: 29
On a different note, the higher-ups seemed to know that Tsukune was human when he entered, and it was mentioned that his dad got the invitation from a weird priest-looking guy (the headmaster?) but how could they have been expecting Moka to run into him?
|2009-05-05, 12:20
|Link #9009
Senior Member
Join Date: Jan 2008
Location: Oakland, Ca
|2009-05-05, 12:23
|Link #9010
Tastes Cloudy
Join Date: Jul 2006
Location: Snake Way
Age: 30
i belive it was on purpos.. I think they would be very careful not to drop the paper that contained information on a Monster School, plus the Bus Driver was in on it the whole time.
notice how he was the only one on the bus? and the bus drivers advice?
|2009-05-05, 13:01
|Link #9012
Senior Member
Join Date: Jan 2008
Location: Oakland, Ca
|2009-05-05, 13:11
|Link #9014
The King of the Insane
Join Date: Mar 2009
Location: Right next door to you..
|2009-05-05, 15:17
|Link #9016
Test Drive
That's a major plothole if that's true, though.
Nekonome mentions way back in the first few chapters that any human they find is killed. Granted there are ways of keeping hidden, Tsukune and Hokuto proved that, but I doubt that Youkai Academy is as full of humans as it is of youkai.
A major reason Tsukune and Hokuto even survived is because they had help from fellow youkai who brefriended them and found out about their humanity. I doubt any other humans who made it into the Academy by accident were that lucky. If they were, that's just lazy writing on the mangaka's part, and I don't think he's a lazy writer.
And so far, the only youkai we've seen that's capable of changing a human is a vampire and... whatever the heck Kiria was. He wasn't even a full blooded youkai.
|2009-05-05, 16:46
|Link #9017
Tastes Cloudy
Join Date: Jul 2006
Location: Snake Way
Age: 30
*cough* werewolf *cough* idiot *cough*
|2009-05-05, 17:04
|Link #9018
Best of both worlds
Join Date: Aug 2007
Location: A land far, far away... or very, very close, depends on where you live
I think the mangaka went through enough of an effort to show us that they have an altered interpretation of our standard on monsters. That was clear enough when Inner Moka completely debunked the idea of Tsukune turning into a vampire just from being bitten.
And even with his transformation, what he eventually ended up as was not much more than an unrefined version of the original.
|2009-05-05, 17:44
|Link #9019
Test Drive
I'm not in the mood.
And so far as I know in R + V canon, there's no proof that a werewolf can change a human.
|2009-05-05, 18:54
|Link #9020
#1 Akashiya Moka Fan
... and you guys bring up a peeve of mine yet again... Tsukune was NOT, I repeat, WAS NOT set-up by the higher-ups to go to Youkai Academy. Sure, it's only Tsukune's dad's thought bubble, but we're clearly shown that the flyer was accidentally dropped by a monk who was collecting them. In the anime only did they show the exorcist purposely drop a flier. However, it was the bus driver who brought Tsukune to Youkai Academy in the first place... and as we've seen, the Demon Lords are always in the thick of things. Besides, I'm sure the driver could smell that Tsukune was a human, and informed the Headmaster/Exorcist soon thereafter.
So, think about this: the purpose of Youkai Academy is to get monsters to interact with humans. So, what better way than to bring a human into the school, and see how a human survives amongst monsters? We've seen this before, with Hokuto. However, they lost Hokuto, and therefore their human specimen. Around comes Tsukune, another human... do you really think the higher-ups aren't going to jump on this chance? Then add in Moka to the equation which keeps Tsukune there... I do believe the higher-ups are smiling big time, having another human in the school
Unfortunately, we don't know more about Fairy Tale, other than they're an organization based in the human that's fated to clash with Youkai Academy, otherwise I could answer why the Headmaster is so pleased to see human slowly convert from human to half-vampire... I suspect it might have something to do with the fact that hybrids, while not as strong as the original, lose the weaknesses of the originals, making them a very powerful fighter
|action, comedy, ecchi, harem, monogamy, romance, shounen, supernatural, tsumoka romance, vampire
|Thread Tools


text:
a short story by Simon Van Booy
featuring Olga Kurylenko
It was almost midnight when her flight came in. Someone in Milan had made arrangements and the hotel car was to be sent.
Traveling under a false name, her only thought was to escape.
Outside the terminal, taxi drivers stood drinking coffee. They had to stay awake until morning. Being together helped pass the time.
Alexandra remembered the men who drove the school buses when she was a girl. How they clustered in the playground, near the swings, waiting for the last bell that would summon everyone home.
She watched them through the classroom window, laughing and chattering and moving their feet to keep warm. The children we once were, she thought, live inside us like rings on a tree.
On her way from the airport to the Waldorf Astoria, the driver asked if she was thirsty, or would like the radio turned on. It had been raining all day, he said. Then at dusk the rain stopped and there were people on the street again.
Alexandra sometimes sent postcards to her parents, but never went beyond a description of weather, or some trivial detail of place. There were always more feelings than words to describe them. Silence is never just silence.
They would soon arrive at the hotel.
The car was warm and quiet. There was a beige cashmere blanket on the back seat, which she put behind her neck as a pillow.
The city was illuminated entirely by streetlight, and the glow of shop windows made her feel safe.
She imagined people inside their homes, watching television, or sitting in bed, or eating something. Children had already swum out to sleep. Bedroom doors left ajar kept their lives within reach.
Near the park gates, was a row of sidewalk cafés. Most had closed for the night, and waiters were stacking the chairs and carrying them inside. A muddy path that led through dark trees into the park, had been indented by an afternoon of footprints and bicycle tires. There were no people on the path now, and night hid upon the surface of puddles.
The driver wanted to know if she was hungry—if he should call ahead to the hotel kitchen. When she said she wasn't, he asked if she had come a long way.
Always four times a year, she vanished like this—from her public world as a fashion designer, a true couturier—to a city where she had no fixed identity.
She believed it was a gift to never truly know the self. We are not who we think we are, nor how others see us. Long before death, we die a thousand times at the hands of definition.
After being alone for a few days, she would feel the pull of hope, and discover the joy in simple things. From such a feeling, she would create a new collection of clothes. It could come from anywhere; a bowl of lemons was enough; the blowing trees in the park was enough. The migration of clouds. The color of water. Words from a passing conversation she carried with her like loose stones.
When they arrived at the hotel, someone opened her door.
She dressed well and was admired, but her private life was like a letter in Braille that could not be read with the eyes.
Her luggage was a single trunk with two initials on the outside.
The hotel receptionist wore silver-framed glasses and a light coating of aftershave. His name was Robert. His hair was thin and combed neatly to one side. He was happy to see her. The concierge had been tracking her flight. The mannequins and fabrics had arrived early from Paris, and were in her suite as requested. A log fire had been lit, and there were vases of her favorite white flowers, which reassured her if she woke in the darkness—bright smudges upon a canvas of night.
She signed in as Alexandra, and asked the receptionist if he had long to go. 'When the streetlights go off,' he told her, 'I know it's almost time.'
Robert said he didn't mind being up late, and looked forward to eating breakfast with his wife, before she left for her own job.
Each new collection began like this, in a city with no association. She would wander the streets, stroll through a bustling market, ride an empty bus, sip coffee in a dockside café as birds circled the open mouth of dawn. From a single thread of feeling—she would weave something new for the world, while untying the knots in her own heart.
She had been to so many places from Rome to Shanghai. In Berlin, she found a park bench and watched people pass in opposite directions. She felt the sole rhythm of a multitude. Then she found a shop that repaired watches and clocks. She wanted to see the pieces no one had come to collect.
Her winter collection that year was titled Pendulum.
As Alexandra stepped across the marble floor toward a bank of elevators, she noticed a man standing very still. His eyes were closed, and this gave her a chance to look at him. A manuscript was tucked loosely under one arm, and his hands were in his pockets.
As she passed, Alexandra noticed something shiny on the floor beside his foot.
"Excuse me," she said politely. "I think you've lost a button."
The man opened his eyes and the expression of sleepy concentration changed to confusion. He bent down quickly and picked it up.
"Let me sew it on for you," Alexandra said.
The man looked at the button in his hand, and felt for the errant thread on his jacket.
"It will only take a few minutes," she insisted, reaching into her coat pocket for the silver sewing kit she always carried. It had once belonged to her grandmother, and was her most valuable possession.
They went over to a lounge area, where the man set his manuscript on the seat.
As he was taking his jacket off and saying how kind she was—Alexandra noticed a pair of statues in the lobby. She imagined the artist's fingers upon the cool rock, anticipating the path of a chisel. The pressure to round a cheek, the courage to straighten a nose. The possibility of an expression, but the impossibility of breath.
She was tired, and it took time for her fingers to thread the needle.
"I hope I didn't disturb you," she said. "I saw your eyes were closed."
"I'm here to finish a screenplay," he remarked. "And I've decided the lobby chandelier is somehow part of the ending."
Alexandra glanced up from her sewing. "It reminds me of the heavy snows we had when I was a girl."
"A single lake that will never melt," he said, pointing. "Look at how you see only the shape of light and not the glass it's made from—inspiration has assumed the form."
"You work very late," Alexandra said when she was almost finished.
"I write here in the lounge at night, then sleep in the day."
"Why not work in your room?"
He considered her question. "Maybe in order to make people up—I need to see real ones."
When she was done, Alexandra tugged at the button and gave the man his jacket. "I'm so grateful," he said.
"Blame my grandmother," Alexandra told him.
After he went upstairs, she decided to stay in the lounge and have tea by the fire. It had been a long flight with severe turbulence. A few people screamed. A small boy asked his father if they would go upside down.
The teacup was warm and she held it with both hands. Robert was standing dutifully behind the check-in desk. She watched him pick up the phone and nod and type things on the computer.
She thought of him going home at dawn. The sound of his key churning the lock of the front door. His wife in the bed they have shared for so long. The silence of pillows. She wondered if he sometimes sat and watched her sleep.
That's how you know you're in love, she thought.
Later on, as she was settling into her suite, there was a gentle knock.
It was the concierge. "I'm sorry to bother you so late," he said, handing her a manuscript. "But the waiter found this where you were sitting downstairs when he picked up the tray."
When she was in bed, Alexandra called down to the front desk and explained what had happened. She read the name typed on the front of the manuscript, and Robert said he would find out the gentleman's room and send up a note.
In the morning Alexandra drank black coffee in bed. It was very early. Her suite was on an upper floor, near the top of the hotel. She peered out over the rooftops beyond her window, and imagined each tall building filling up with people. A thousand days would soon begin—each one different from the other and impossible to predict. The sky above was a single mass of white, broken only by the drift of birds and an occasional wisp of chimney smoke.
Alexandra lay back down between the cool sheets, and wondered how many dreams had been staged from the theater of her pillow.
After another cup of coffee, she began to draw.
With a fountain pen and a bottle of engraver's ink, she made sketches of the landscape beyond her window, the distant birds, puffs of smoke, even the animated stillness of the lobby chandelier—which had compelled the man from last night to write it into his screenplay—which now sat on her desk after she had stayed up most of the night reading it.
Untitled by Michael Snow was a love story, but one that lacked some vital element—like each of the characters from The Wizard of Oz. It was not an ending he needed—but a pulse that would beat independently of its creator.
After some breakfast, Alexandra found her sunglasses and tied a silk scarf around her neck. Before leaving her room, she called down to the receptionist, who transferred her to the room of Michael Snow. She wondered if he wrote under a pseudonym, but then realized that every name is a pseudonym. Language merely points—the rest must be imagined.
When there was no answer, she apologized for calling so early, explained what had happened—that she had to go out, but to meet her by the pool around 4 p.m.
By mid-afternoon, she was back in her suite. It was a comfort to return, as though a part of her had been waiting in the room. After removing her scarf and sunglasses, she unwrapped an artist's marionette she had bought from a shop with paper boats in the window.
She set it on the table and stared at the blank expression. It was a face that would never feel disappointment, nor flush with desire. No breath within its cheeks would ever quicken with the anticipation of being touched.
It was in a human shape, but lacked all humanness. Yet she judged it to be a work of art because it made her feel things by virtue of their absence. And that was the problem with Michael Snow's love story, she thought—that it worked so hard to conjure love, when love was most felt in its absence.
Before going down to the spa, Alexandra sketched in her book, with the hope she might drift in the current of a new idea, and then feel strong enough to swim.
The lifeguard watched her silent path through the water. Then he brought a tray with things to eat, and made sure there were towels waiting.
The falling light through the conservatory glass made her body look porcelain. A young couple shared a newspaper and talked. Their voices hovered over the blue water. The woman had tied up her hair in the style of a ballerina.
Outside the hotel it was very windy. Trees swayed in deep conversation.
When it was almost 4 o'clock, Alexandra realized she had left the screenplay in her suite.
By the time she returned to the spa, its author had already arrived and was in the pool. Alexandra watched his arms open and close, his body tilt from side to side. Lulled by the gentle splashing, she flicked through the pages, scanning the notes she had dared to make the night before with a pencil.
The last thing she did was cross out Untitled on the first page and write: The story of love is also the story of loneliness.
After several laps, the man waved to Alexandra and then disappeared into the changing room. Ten minutes later, he reemerged and joined her under the curved glass of the conservatory roof.
He had shaved and brushed his hair.
"I hope you don't mind that I read it," she said, handing him the script.
The sight of her handwriting on the title page filled him with excitement, but he hesitated before responding.
"As I watched you sewing on the button with such care," he said.
"I felt inspired to take a chance."
Alexandra only partly understood.
"Writers generally don't leave their manuscripts lying around," he said in a tone soft enough to mask any embarrassment.
But Alexandra admired his courage and his instinct. "Then I suppose you want to know what I think?" She said.
She picked up the story and flipped through the pages—though knew exactly what she needed to say.
"Have you ever been in love with someone?" She asked.
"Once," he said. "When I was at university."
"Only once?" She questioned gently.
His face darkened. "Later on," he said. "After college, I had a very serious relationship with someone."
Alexandra looked at him searchingly.
"It's a long story," he said.
"But maybe the story that's missing from your screenplay," she suggested. "In order to make it the profound love story of two people whose only wish was to be together."
Alexandra motioned to the waiter, and they ordered drinks.
He put the screenplay away and instead told her about his childhood in middle-America, when growing up felt like forever.
Then slowly, the mementos of childhood were boxed up and forgotten. He remembered driving with his friends in the car and opening all the windows. The excitement of being out late. The glory of a night sky, under which everything in the history of the world had once happened, and was now happening to him. As a child he could not have imagined that one day he would live his life somewhere else—that his happiness would come from things he had no notion of. He told her about his first script and the long drive to Los Angeles in his old mustard-colored Mercedes.
When he got there, they wouldn't even let him through the studio gates to deliver it, he said. The guard told him it happened every day, and that he too was working on a screenplay about being a guard.
He found a two-room apartment in West Hollywood and called his family once a week. He sold his car to a collector in Venice and bought a motorcycle. He wrote at the all-night deli on Sunset Boulevard, and one night made friends with an old man in a tweed cap, who sometimes came in to drink coffee. The old man was a writer too. He had worked with James Dean on the early films, and soon became Michael's mentor.
You don't write stories, he had once said. They write you.
Alexandra told him about the town where she grew up: the snowfall, and the narrow lanes; the coolness of trees in summer.
She said that she was the opposite, and always knew she would one day leave and live her life elsewhere.
When she told him her real name, Michael admitted he had heard of her—read about her in newspapers—but added that he knew only a woman who resembled her, a woman called Alexandra who had kindly sewn on his button the night before.
She confessed how it felt to see people wearing the dresses she designed—how it made her shy—how she hoped each piece somehow enabled a wildness or courage that the wearer had always secretly felt—but never been able to express.
She did not wish to sell glamor or inspire envy through her creations, but simply to elaborate on the tension that makes us human—the simultaneous elegance and violence of all living things.
Designing for runway was exhausting, she said, and the traveling was endless. She had worked tirelessly over the years, and put together a team who helped her realize her changing vision as an artist and a businesswoman. This gave her the freedom to disappear from time to time.
She told him that as a girl she was quiet.
There was a large table where they used to eat their meals—though not always at the same time. Sometimes she sat watching her mother stir boiling pans of soup. Sometimes she wrote her name in steam upon the window—then peered through each letter into the heart of winter.
On cold afternoons, she went with her father to collect wood. It was stacked under a blue tarp. The pieces she carried were wrapped in an old blanket to prevent splinters.
Once a month her mother spread a towel across her shoulders for a haircut.
She wondered if anyone at school would notice, or if they would make fun of her.
Her grandmother watched from the kitchen table and made sure the sides were even.
Then the knock of a broom under the seat.
Her mother shaking the towel over the sink.
Michael listened as other moments rose to the surface of her eyes.
When he asked what inspired her to design clothes, Alexandra told him how one night when she was a little girl, she woke in the early hours and wandered into the kitchen.
Sitting in the half-dark was her grandmother.
She was repairing something and had not seen or felt the figure of a child from behind. She was seated in a deep chair, beside a table of family photographs. Some were of her late husband, and showed the many ages of their life together. Moonlight washed over the room, and made the faces in the pictures glow.
On her grandmother's lap was a wool jacket her husband wore when they were young, and took weekend trips in a silver convertible to Gothenburg and Copenhagen.
She was mending a tear in the lining, and with each considered loop, fused the separated pieces of fabric into one piece. In a wicker basket by her foot, were other items that belonged to the family in need of repair—including one of Alexandra's stuffed animals.
It was the first of many nights. Alexandra would creep out of bed and listen to her grandmother's quiet hands. Every stitch bonded them.
She died one afternoon in the garden—in her favorite chair that Alexandra's father used to carry outside when she wished to feel the sun on her cheeks.
They all thought she was sleeping.
Packing up her things in the days that followed, they discovered a small box under the old woman's bed. It contained her silver needles, thimbles, old spools, and scissors. A note inside the box was addressed to her granddaughter.
Thank you for keeping me company on those long nights.
I want you to have this sewing kit.
By now you will know how to use it.
Alexandra dined late in her suite listening to the faint applause of rain on the window. It was Sunday night in a foreign city.
She cut wide patterns of fabric from the rolls of cloth, and pinned them to her mannequins—folding and layering each piece instinctively along the seam of a shoulder or up the steep, breathless climb to the neck.
Memories do not constitute a life, she said aloud—but are the seeds from which a life is grown.
About midnight she put away the fabric, and went downstairs with her sketchbook.
Michael was writing quietly in the lounge.
He was surprised to see her.
She sat directly across from him, and for hours they worked together in silence, her hand moving of its own accord, making one sketch after another.
When she began to feel tired, her strokes were slower and more deliberate.
When her eyes closed after a few sudden blinks, her head fell slightly to one side, as though tipping the last of her thoughts into the sketchbook on her lap.
After a while, Michael stopped what he was doing and looked at her still hands. He remembered how they had sewn on his button the night before.
He thought too of her grandmother, the silent rhythm of her sewing, the shapelessness of cloth between her fingers, the little girl standing near, and the heavy, rolling flakes of snow that behind the veil of her sleep, were still falling.
Hear Simon Van Booy read the full storyDownload Now


text:
In this video I interview Steve Rubel, Senior Vice President at Edelman Digital. Steve advises some of the biggest names in the world, such as Dannon, Hewlett Packard, Pepsi and Microsoft, on social media.
Watch this video to pick up some of the nuggets of social media advice he gives his clients. One valuable tip Steve gives is about "shared mutual gain" and what it means. Steve also explains why he quit blogging.


text:
For the third time in his NHL career, Boston Bruins winger P.J. Axelsson was awarded a penalty shot in a regular season game Monday night in the win over Tampa Bay. And for the third time this season Axelsson attempted to beat the goaltender with a move that included him skating way out wide to the right with the puck and then going to the net and attempting a backhand shot.
The veteran from Sweden is now 0-for-3 career on penalty shots and 1-for-3 using his patented move (the previous two came during shootouts) after he was just denied by Lightning netminder Mike Smith.
"I just didn't get it up. … It was close but there's no way you can prove that, especially his glove was over it," said Axelsson, who added that scoring an empty-net goal at the end of the game didn't make up for the missed chance on the penalty shot. "It was probably on the line or … it's tough to see."
A brief video review ruled that the puck had not crossed the line.


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