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Please visit our main food businesses page for more detailed information.
If you've got a complaint about a food product you've bought, or a place where you've eaten, we want to hear from you. Please contact us via our 'Do it Online' button to submit your enquiry.
Food poisoning is an illness which usually occurs after eating or drinking food or drink that is contaminated by germs or chemicals.
Doctors have a duty to report food poisonings and certain infectious disease cases to the Consultant in Communicable Disease Control (CCDC). We also have a duty to investigate food poisoning and certain infectious diseases.
Depending on the contaminant, this may cause fever, chills, bloody stool and dehydration. These symptoms may affect one person or a group of people who ate the same food causing an outbreak. Even food which looks and tastes alright can cause food poisoning. Raw food, especially meats and raw poultry contain germs which can cause food poisoning.
For further information please contact your GP or NHS Direct
Each business is given a 'hygiene rating' when it is inspected by one of our food safety officers. The hygiene rating shows how closely the business is meeting the requirements of food hygiene law.
How hygienically the food is handled – how it is prepared, cooked, re-heated, cooled and stored
0 - urgent improvement necessary
If you are rated over 3, you may be eligible to join the "Heart of Derbyshire" scheme. This is a scheme which is operated by Derbyshire County Council together with Bolsover District Council that rewards you for offering your customers 'healthier' food.
For information about the scheme please visit the Heart of Derbyshire section of the Derbyshire County Council website or by telephone 01629 536166.
Food hazard warnings are issued as foods sometimes have to be withdrawn or recalled if there is a risk to consumers because the allergy labelling is missing or incorrect or if there is any other food allergy risk.
Please click here to visit the Food standards Agency website for all the latest recalls and food warnings.


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abigsmurf wrote:Great British Bakeoff Megacoaster
lewis97 wrote:I think the more interesting aspect of the article is where it states that "LRCH executives also revealed that partners and intellectual properties would be disclosed by the end of the year".
If we do indeed get an announcement of several brands and IPs then that will be a reassuring step, however should that not happen, and the submission of the DCO is once again pushed back from Q2 2018, it shall be very hard to sustain any optimism for the project.
ThemeCrafter264 wrote:I mean I know the Warner Bros Studio Tour in Watford, fairly near to me, had plans to become a universal park, but it feels a little too late now for the land to be used for developments. The site is being used a lot for lots of Warner Bros films like the DC ones. Potentially, it would be a great place for a theme park with the M1/25 and Watford Junction nearby, but annoyingly, it most likely won't happen. I guess it will just be Harry Potter Studio Tour.
8byfire wrote:New park projects often seem to get announced then never happen in the UK- there have been a few such cases including movie maker tie ins and big new projects that never got built- what's tripping so many of them up? Is it lack of space and planning permission issues, lack of investors or something else. It does get a bit disheartening looking forward to these exciting new projects then never seeing them happen.

subset: commoncrawl


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PORT ANGELES, Wash. (AP) — The last person to have spoken the Klallam language from birth and the eldest member among the Klallam American Indian tribes of the Pacific Northwest has died in Port Angeles at the age of 103, family and tribal members said.
Hazel M. Sampson was the last person who first learned Klallam, then learned English as a second language, said Lower Elwha Klallam tribal member Jamie Valadez, who teaches the Klallam language and culture at Port Angeles High School.
Her death on Tuesday changes the dynamics of the culture, Valadez told the Peninsula Daily News (https://bit.ly/1gQodE1) in a story Thursday.
"In the U.S., this is happening all over Indian Country," Valadez said. "They carry so much knowledge of our culture and traditions. Then it's gone."
Valadez and Texas linguist Timothy Montler worked with Sampson and her husband, Ed, and other native speakers in the 1990s to compile a Klallam dictionary.
If Ed forgot a word or got it wrong, Hazel would come out of the kitchen and correct him, but she declined to be officially involved in the project, Valadez said.
Klallam is the language of three U.S. tribes: the Lower Elwha, Jamestown S'Klallam and Port Gamble S'Klallam, as well as the Beecher Bay Klallam in British Columbia. The three tribes on Washington's Olympic Peninsula have a total of about 1,700 members, according to Census figures.
Sampson was born in the Jamestown S'Klallam band in 1910. Her grandfather was Lord James Balch, for whom Jamestown community near Sequim was named. She was married to Edward C. Sampson for 75 years until his death in 1995.
A private service will be held for family and close friends. No public memorial has been announced.
The Klallam are among a growing number of tribes trying to revitalize their languages, which in some cases are spoken by only a small handful of people. Linguists estimate about 200 Native American languages are spoken in the U.S. and Canada, with another 100 already extinct.
Montler developed a series of booklet guides and lessons in 1999 to help students learn the basics of the language through storytelling. The lessons are used in Klallam programs at Dry Creek Elementary, Stevens Middle and Port Angeles High schools, where the largest population of Klallam children are educated.
The Klallam dictionary was published by the University of Washington Press in 2012 and distributed to Klallam and S'Klallam families, local libraries and schools. The others who helped compile the dictionary have died.
Sampson's death is a loss of not only her language knowledge, said Ron Allen, chairman of the Jamestown S'Klallam.
"She was a strong spirit representing who we are as a people," he said.
Information from: Peninsula Daily News, https://www.peninsuladailynews.com


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CAMBRIDGE, Mass. - Harvard Director of Golf Fred Schernecker and head men's coach Jim Burke have added one player to the men's golf program for 2009-10.
With nine returning players from a solid Harvard team, the team's needs were limited and a nearby player will look to join the program and turn in a productive 2009-10 season.
Hailing from Brookline, Mass., Max Campion joins the Crimson by way of Beaver Country Day School in Chestnut Hill. Campion's credentials are impressive:
Campion was a five-time letterwinner and Most Valuable Player for the varsity team and captained the team since his sophomore season.
He was the top-ranked golfer in Massachusetts this past season and completed his career as a four-time Boston Globe All-Scholastic selection as well as a four-time All-Independent League Most Valuable Player.
He represented Team Massachusetts at the New England Junior Invitational in 2007 and was a FCWT All-American in 2005. Campion's grandfather, Harry Pars graduated Harvard in 1954.
Harvard begins its fall season Sept. 18-19 at The McLaughlin Tournament at Bethpage Red in Farmingdale, N.Y.


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Most Civilization games have ended with mankind moving to the stars. But that's just the start of Sid Meier's Civilization: Beyond Earth, the next installment in the 23-year-old strategy game franchise. Take-Two Interactive Software's 2K Games recently announced that Firaxis Games is working on the new title.
We caught up with the lead game designers for the project, Will Miller and David McDonough, to talk about how Beyond Earth will differ from predecessor Civilization V as well as the last big space-based Civ game, Sid Meier's Alpha Centauri.
The big difference is that this Civ experience will have more science as its foundation. Earth will become uninhabitable because of global warming. Humanity will have to move to other planets in the galaxy for survival.
You can design your mission to the stars by picking your leader and your resources, but after that, it's up to you to customize a lasting civilization in the face of enemy threats. You'll fend off aliens, other groups from Earth, and your new planet itself.
The title is coming out on Windows this fall. Here's an edited transcript of our interview with Miller and McDonough.
GamesBeat: Can you guys tell me how you got started on the title?
Will Miller: David and I are huge fans of space, just space in general. The history of manned space flight, science fiction, anything space. We're also big fans of Alpha Centauri, of course. Since we've been here, we've always romanticized about doing a Civ in space. It was the right time, and we had the right team. We just started working on it.
GamesBeat: Why would space be a better choice than another earthbound Civ?
Miller: It's a fascinating area to explore with the Civ franchise. Our fans have wanted it for a very long time. Like I say, we've always wanted to revisit this area. We just got the opportunity to do it.
GamesBeat: I remember playing Alpha Centauri pretty obsessively back in the day. I don't recall there being as much science behind that game as there seems to be in your game here.
David McDonough: That might be fair to say. I think Alpha Centauri was actually a pretty fun blend of science and science fiction. It was maybe a little heavier on the fiction side. But we've had a good time making that blend, too. We're different people, and we have a different level of fandom for the various branches of science and sci-fi.
One of my favorite things about this game is that it starts off very rooted in science and builds these threads of plausibility all the way through to its wildest, most ridiculous fiction. We sort of trick you along the way — "Oh, this is totally real, we can totally do this" — and, by the end of the game, you've gone totally sci-fi. But an emphasis on real science is part of our enthusiasm for the game. It's an opportunity to have some fun.
Miller: It's also functionally. The reason why we chose to take that approach is because we really care about the suspension of disbelief. We want to maintain that in the player throughout the whole experience. You do end up in a very sci-fi place at the end of the game. You're changing the physiology of the human species. You're making these fantastical vehicles and units. The face of the planet is changing based on what you've done to it. But to get there, we want you to go through these incremental steps that all make sense. When you finish a game of Beyond Earth, you can say, "Yeah, I understand how that, in some future, might happen."
GamesBeat: It seems like you have a very plausible beginning for reaching to the stars, with all the new research on global warming. It provides a pretty good backstory for you.
Miller: We talk about the Great Mistake as this kind of catalyst that tips the balance a little bit, in a lot of different areas. There wasn't really an apocalypse, a world-ending event. It was an event, but it just pushed many of these things that we're dealing with today over the edge. Like you say, global warming, a very tenuous geopolitical landscape, things of that nature. Even drought can cause wars, over a period of 10 or 15 years. That's what we imply, that lots of different intervening factors ended up sending mankind into this dark age.
The optimistic part of it is that we all came out of it OK. It's at that point where we decide to go to the stars.
GamesBeat: Is this part of the game told in 30 seconds or do you see a larger cinematic beginning?
Miller: Some of it's told up front. We have a bit of exposition. But the story about Earth's past and what happened and all of that, the player is going to do a much better job making that story than we will. What we like to do is tell that story through hints and through suggestion and mystery. We let the player fill in the gaps.
GamesBeat: It's also maybe familiar because it's a natural ending to a lot of Civ games. You overbuild and you have flooded cities at some point.
Miller: Right. Roads everywhere and half the world's irradiated and all that.
GamesBeat: There's also an interesting design approach here in allowing players to do a lot on Earth before they take off. They design their spaceship and figure out who they're going to take, who their leader is going to be. There's a lot of strategy in that part of the game, right?
McDonough: There's a lot of strategy in it, but we don't want to misrepresent ourselves. The choices you make at the very beginning of the game are presented abstractly. You decide who you're going to start out as and what you're going to take with you, but the whole game takes place on the new planet. There's no gameplay on Earth, so to speak. You're just setting the starting conditions for your colony expedition, and then there's a bit of backstory with the intro to the game. When turn zero starts, it starts with you landing on the new world. From start to finish, it's about your next chapter, the chapter on the new planet.
GamesBeat: What kind of variety will you see as a result of some of these decisions you make in the beginning?
McDonough: Plenty. They have a huge, sweeping impact on your play style and your advantages. It affects all kinds of circumstances. Everything from diplomacy to city management will be affected by the particular blend of starting loadout choices you make. One of the most interesting things about the game so far, that we're already having a good time with, is how just one change can make for a very different experience. If you change those circumstances even a little bit, the story you'll tell on the new world and the way that you'll face the problems you encounter … your strengths come from different places, so the story is different.
Miller: We talk a lot about eliminating the critical path in Civ. We never want there to be a definitive build order or technology-research order. We want there to be thought in every decision you make, based on the specifics of this particular playthrough. Where you landed, how the aliens are reacting to you, who your neighbors are, what kind of quests you get, things like that. The loadout options are one more way that we mix the game up.
There are still personalities to the civilizations. You still have the warlike ones and the economically focused ones or whatever. But because of these loadout options, you can never really know the leaders you're up against until you've interacted with them through the game, through diplomacy. You have to build your strategies around discovering who they are and what they want. Your games are infinitely replayable because of these choices you make in the beginning.


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Since when did I look like I wasn't in the business of making epics for you?
109 joints to kiss '09 farewell, across 3 track-packs. (Admittedly I'm 2 weeks late, but music is love, love takes time.)
Comprised of:
-Songs lying around from last year's mixtape potentials folders that I never got to put out (hence the coinage 'MISStape'- witty enough?)
-Tracks collated from mid-November to the very end of December since my last drop.
-The odd uber-random gem from the Noughties here n' there as a nod to this bygone era (I was going through some vintage folders from my teen years, never one to be stingy, i.e. unreleased Jaylib joint 'Follow Me', hard to find rarity fo' ya).
Usually leave these alphabetical, but this time spent 3 and half weeks arranging & re-arranging (so thematically & sonically I've moulded these editions to be about love & time, whilst you should still be able to dance spastically or vibe sweetly or have the sexy sex or thug out a wee bit or just cry to it). So, honour Your Mum, listen to that sh*t in order please.
By the end of Feb or early March, I'll have the next one/s ready. Aight my lovers?
—> Click To Downy Here <—
Your Mum's Outta Time '09 Misstape Part 1:
—> Click To Downy Here <—
Your Mum's Outta Time '09 Misstape Part 2:
—> Click To Downy Here <—
Your Mum's Outta Time '09 Misstape Part 3:


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The rise of high frame rate and 4K technology will be among the points of discussion at France's Dimension 3 (June 18-21). By Melanie Goodfellow.
Dimension 3, the international forum devoted to stereoscopic 3D and other forms of technology revolutionising the moving image, will open its doors on the outskirts of Paris for the seventh year this June.
Conference founder and general manager Stephan Faudeux notes that although the initial hype over 3D filmmaking has died down somewhat, the conference remains as valid as ever.
"3D has matured to find its natural place in cinema thanks to the increasing numbers of film-makers who see in 3D a means of artistic expression," he says.
Some 50 3D pictures are due for worldwide release in 2013 with directors as diverse as Ang Lee (Life Of Pi), Laurent Tirard (Astérix And Obélix: God Save Britannia) and Eugenie Jansen (Above My Head) having embraced the format over the past year.
"In recent months, post-production tools have improved. Editing and colour-grading software is increasingly compatible with 3D film-making," Faudeux continues. "Shooting has also sped up thanks to new automatic camera calibration and rig alignment equipment. We will be presenting a new generation of cameras that will further facilitate 3D shoots during this year's edition of Dimension 3."
Alongside 3D innovations, the forum will also examine the latest developments in 4K technology and high frame rate (HFR) film-making. "4K technology is enjoying the same buzz that existed around 3D technology three years ago. There is a synergy between 3D and 4K technologies as well as HFR film-making," says Faudeux, referring to recent experiments to increase the number of frames per second from the traditional 24 by the likes of Peter Jackson for The Hobbit: An Unexpected Journey.
This year, the forum's packed conference programme will include sessions on whether there are real benefits to HFR; whether 3D will become widespread or remain a niche format; and the new workflows involved with 4K production. "The aim of the conferences is both to give the attendees tips and information and also examine developments over the past five years," says Faudeux. On a more practical note, there will also be a session on how to budget a 3D feature, examining whether the format is becoming more affordable for art-house and low-budget pictures, and another presentation on where to source finance for 3D pictures.
There will also be a number of behind-the-scenes case studies. Respected French stereographer Joséphine Derobe will present the 3D work on Thomas Szabo's Minuscule: Valley Of The Lost Ants — a hybrid work combining live-action nature shots with CGI. Stereographer Chris Parks of Vision3 will present the 3D component of Jack The Giant Slayer.
In touch with technology
Beyond the conference programme, the Dimension 3 exhibition will a launch a new event called the Big Shoot, offering attendees the chance to try out the latest equipment in a simulated shoot environment.
"We are very proud of the Big Shoot, it's a unique and innovative concept for such an exhibition. All the cameras and rigs being showcased at the forum will be available for the Big Shoot. There will be a 150 square metre platform with space for 10 cameras. A group of circus performers will perform throughout the day to give those trying out the camera something to shoot," says Faudeux.
Alongside the Big Shoot set, more than 60 companies are expected to attend Dimension 3's exhibition, including French 3D equipment specialist Binocle. New attendees include Blackmagic, Canon, Panasonic, JVC, GoPro, Sony, Grass Valley, Stereolabs, Marquise, Assimilate, FilmLight and Quantel.
Beyond the professional event, Dimension 3 will also run its annual Dimension 3 Festival, a competition open to 4K content for the first time this year alongside 3D works. The entries can be any format. The awards ceremony will take place on June 20 and will be followed by a pre-premiere screening.
Linked to the competition, Dimension 3 will also run its public-focused 3Discovery festival (June 10-25) showcasing some of the competition entries but also previewing a number of new 3D and 4K features.


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Artisan Cheeses in Missouri: Retail Grocers' Perceptions
Joe Parcell
Department of Agricultural and Applied Economics
The sales potential for artisan cheeses appears promising in Missouri. Artisan cheeses are becoming more popular among consumers, many of whom desire handcrafted cheeses that are more complex in taste and variety. These cheeses are aged and ripened to achieve the perfect flavor. Domestically, specialty cheese consumption is on the rise, with local markets appearing ripe for artisan cheese. About 50 percent of consumers either already eat artisan cheeses or are interested in doing so.
Missouri offers the right environment to take advantage of the growth in the artisan cheese industry. Missouri has 1,530 licensed dairy herds and is the 25th largest milk-producing state in the U.S. At least seven artisan cheese producers have established niche markets in Missouri and are well on their way in sustaining and expanding their businesses.
This report provides market information to help current and emerging dairy producers conceive ideas and concepts to better meet consumers' wants and needs. Based on responses to a 2013 grocer survey conducted by the University of Missouri Department of Agricultural and Applied Economics, it describes consumer purchasing patterns and product preferences in addition to revealing opportunities for local artisan cheese producers.
Commodity vs. specialty cheese
There are two main types of cheese production: commodity and specialty. Commodity cheeses are produced on a large scale and tend to be used more for cooking and baking. Examples of commodity cheese include cheddar, mozzarella and Swiss cheeses that are produced in large quantities. Specialty cheeses are value-added products that have a high-quality flavor and appearance, are produced in much smaller quantities than commodity cheeses, and demand a premium price from consumers.
Artisan dairy products are often handmade, or they're made using relatively small-scale specialty techniques in small batches. "Artisan" captures the uniqueness and special identity of each product and of the artisan who makes it. Artisan cheese may also be farmstead cheese if it is made on a farm from the milk produced on that farm.
Survey results
In 2013, Missouri retailers were surveyed about artisan cheeses. The survey results showed that if supply were more reliable, local producers could gain a stronger presence in grocery chains to reach consumers. Out of about 975 grocery store locations in Missouri, 12 locations were extensively interviewed. Of these, two were classified as natural markets and 10 were considered grocery chains. This survey identified opportunities for local artisan cheese producers to connect with retail channels in their areas.
Stores selling artisan cheeses
Retailers can be reluctant to stock a specialty product that may be inconsistent over time, even if overall product quality stays high.
Table 1
Stores selling artisan cheeses.
|Type of store
|Sells artisan cheeses
|Percentage of total stores operating per category
|Grocery chain
|No, but did in the past
|Not at all
|Natural market
Respondents mainly cited poor supply availability — supply is inconsistent, or no artisan cheese is available to be sourced — as the reason stores have never carried or have stopped carrying artisan cheeses.
Sources of artisan cheeses
Although a majority of grocery chains (100%) procure "locally," the same share (100%) also procures elsewhere in the U.S., and about half procure internationally. Given the retailers' varied definitions of local, cheeses from California or New York could be considered "local."
Table 2
Sources of artisan cheeses.
|Type of store
|Sources of artisan cheeses
|Percentage of total stores operating per category
|Grocery chain
|Locally produced
|Produced elsewhere in U.S.
|Imported from abroad
|Natural market
|Locally produced
|Produced elsewhere in U.S.
|Imported from abroad
Supplier attributes
All respondents mentioned that cheese quality and supply dependability were important factors that would influence a store's purchasing decisions. Supplier reputation was also somewhat important. Customer familiarity with the brand wasn't as important.
Most of the retailers emphasized the importance of educating consumers about artisan cheeses, pricing, and ensuring consistency of supply.
Table 3
Important attributes of artisan cheese suppliers.
|Supplier attributes
|hPercentage of total stores operating per category
|Grocery chain
|Quality of cheese
|Dependability of supply
|Price of the cheese and potential margin
|Customers' familiarity with the brand
|Natural market
|Quality of cheese
|Dependability of supply
|Price of the cheese and potential margin
|Customers' familiarity with the brand
Challenges and opportunities
This study found that Missouri grocery stores are far from being saturated by artisan cheese varieties. Supply availability issues coupled with apparent demand for artisan cheeses imply a significant market potential for artisan cheeses within Missouri.
Table 4
Summary of challenges and opportunities for artisan cheese producers in Missouri.
|Consumer awareness/product familiarity
|Consumer preference for local products
|Product seasonality, supply availability and taste consistency
|Increased accessibility (grocery stores instead of seasonal farmers market)
|Higher price
|Consumers' increasing preference for healthier food types
Stores follow different procedures when establishing relationships with new artisan cheese suppliers. Eight out of 10 larger chain grocery stores mentioned that local cheese makers would have to contact the chain's corporate office in order to supply cheese to a local store. Some stores have a more rigorous process that involves taste testing, product analysis, and consultation with relevant decision makers such as food chefs and category managers. Grocery chains with a more decentralized decision-making process only need suppliers to visit with the deli manager. Natural grocery stores stated that supply decisions are made at the store level.


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It's no secret that most languages have adopted the two-tier type system introduced by their early forebears. That model consists of a series of primitives, such as characters, integers, floating-point values, and an odd fellow the boolean which I'll return to in a moment. A higher tier, referred to in some languages as "compound data types," comprises entities that are containers for multiple instances of primitives. General-purpose languages generally include among these, familiar constructs such as arrays and structures, but rarely much else. It's probably best saved for a separate editorial, but I've often felt that the most interesting languages are the ones that define more-complex compound types and integrate them deeply into the language. Lists in Lisp and Haskell, or tables in Lua, come to mind. As do first-class functions in many languages. There's no doubt that integrated, compound data types allow for all kinds of interesting possibilities.
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Primitive types are not without interest, however. Consider such apparently trivial entities as characters. In C, they were long interchangeable with bytes until the rest of the world thought that a Latin character set was a tad limiting and US-centric. And for reasons I'll never fathom, them foreigners did not cotton to using trigraphs for more complex characters. As a result, characters suddenly became wide and have continued widening with the zeitgeist until you have languages such as the new system language from Mozilla, called Rust, which defaults to 32-bit characters.
While character widths have been evolving with the needs of the larger community, booleans have remained stable, if homunculus-like, creatures the neglected stepchildren of language designers, seemingly constrained to blink true or false forever with no foreseeable evolution. Let me show you how bad they have it. Check a few languages, and you'll see the pattern of disrespect. In Java, the boolean data type can have only two values:
true or
false. You can test for a value being
== true or
== false. However, true and false are not reserved words in Java. It's not like Java had too many reserved words (despite reserving two keywords that are not used). It's just that the literals for the boolean values were not elected to the fraternity. In all other aspects but the terminology, they are reserved words: You cannot create a variable named
true or
false in Java.
Things are hardly better in native languages. C did not have a boolean type until C99, some 25 years after the language was first published. And even, then booleans were syntactically introduced with this monster syntax:
_Bool. Apparently, sensing that the syntax might be a trifle ponderous, the committee provided a header file, stdbool.h, that aliased the syntax to bool. I believe it's the only language primitive that requires its very own header file to assuage a peculiar syntactical choice. Pressing on, I should note booleans in C and C++ are not binary settings as they are in Java. Rather, they are integer values whose boolean status is determined by whether the integer equals 0. I leave it to others to work out the conceptual basis for having numbers be true or false. Only auditors could find that concept intuitive.
While I've clearly been carrying on with tongue firmly in cheek, I do believe that the purely binary implementation of boolean data types should be revised for motives of software engineering. There should be a third state, termed
uninitialized. An uninitialized state should be the default state for any boolean item until it's initialized. Thereafter, it could be true or false only. Any attempt to evaluate the true/false status of a boolean in an uninitialized state should result in an exception. This is similar to my longstanding wish that floating-point numbers default to NaN (not a number) when they are defined. Operations on NaN values throw exceptions or cause other conspicuous problems, meaning that they're much better from a software engineering point of view than the traditional defaults (generally 0.0), which can fail silently.
The idea of a three-way boolean did not originate with me. In fact, there is just such an animal in the Boost libraries, called a tribool. In that implementation, the third state is termed indeterminate and it's a valid state, on the same footing as true and false. To my eye, that's not a terribly useful implementation because it subverts the boolean entirely. Moreover, it provides no special security, as the default implementation is false, not indeterminate. Fortunately, writing an implementation for the boolean I describe is not difficult.
Native languages during the last 12 months have seen a lot of new growth. C and C++ both have new language standards, and bare-metal competitors such as Mozilla's Rust and Google's Go are emerging from their development labs. All these advances share a common concern for making the languages safer for use. Unfortunately, this concern reaches to only one data type the pointer. Specifically, the concern about null pointers. Eventually, we can hope that the language will provide better safety through spectacular blow-ups of uninitialized data items. When it does so, I expect three-way booleans will be part of the solution.
— Andrew Binstock
Editor in Chief
[email protected]
Twitter: platypusguy


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Japan-Honolulu Earthquake Journal
One Worry at a Time: With resiliency, love and a lot of text messages, a Hawaii family separated during the Japanese earthquake and tsunami picks its way through the aftermath.
(page 1 of 4)
When the ground heaved in Japan, it also shook the Schumaker family, rocking the life they had built in Hawaii, yet strengthening the ties between them.
Scott and his wife, Yasue, met in Japan when they were both working at Stars & Stripes. They moved to Hawaii in 1995, and live with their son, Ian, 14, in Kapolei. In mid-January, Yasue returned to her childhood home in Sendai, Japan, to care for her ailing mother. Scott stayed in Hawaii to work (he is president of HONOLULU Magazine's parent company, PacificBasin Communications) and care for Ian.
Being apart was difficult enough. Then the Tohoku earthquake and tsunami hit.
Not long after the quake, Scott began writing about his family's experience at our HONOLULU website. It was, for him, a way to share news with family and friends, and to process what was happening.
Thursday, March 10
I'm OK. – 私は大丈夫
Ian and I were spending this night like most others since Yasue had left for Japan. We were alone, together. On one end of the couch, he had on his headphones, listening to music while connecting with friends through Facebook. On the other end, I had on mine, watching Netflix on my iPad.
Suddenly Ian said, "Dad, there was a big quake in Japan. Alex [a friend of his living in Tokyo] said it really rattled Tokyo."
Only half interested, I responded with, "Hmm. They had a big one just a couple of days ago, too." I returned to Dexter Season 3 to learn more about blood splatter. Some time went by. Ian worked harder to get my attention. "Dad, it was huge. It was 8.9."
He had my attention. I asked if he knew where. He said north Japan. "East or west?" I asked. When he said east, my heart sank. Sendai is in northeast Japan. I turned on the TV and was stunned by what I saw. The NHK helicopters were showing the first tsunami wave slamming ashore.
I reached for my phone. Text from Yasue, 8:27 p.m.: Huge earthquake. I'm OK.
She was OK after the quake. But what about the vicious tsunami we just saw? Where was she? Was she still OK? Was she with her mom in Sendai City or at home? I frantically began texting questions.
Nothing. No response at all. I stared at my phone intently, willing it to give me a reply. Some time shortly before midnight, Ian said, "Oh, no, that's Sendai Airport."
I looked at the TV as the tsunami overran the airport Ian knew well. Every year, he and Yasue visit Sendai for a month or more. He would spend time with his grandparents. They would play in the parks, fish along the shore, net beetles and cicadas in the cool bamboo forests, hike to shrines. He also knew this tsunami was bad. I knew I couldn't let him stare at the TV.
"Ian, get on Facebook and tell all your friends in Japan that your mom is in Sendai. She was OK after the quake, but we haven't heard from her since the tsunami. I will start sending emails and making calls." It was the beginning of a great new partnership with my son.
Friday, March 11
Yes – はい
I called Yasue's phone over and over and got nothing. No busy signal. No ring. Just an unsettling empty sound.
Text from Yasue, 12:37 a.m.: Yes.
Never before did one word communicate so much and so little simultaneously. Yes. She was still able to text. I knew she was all right. What I didn't know was which one of my many questions she was answering.
I replied, Are U with your mom? Are U OK?
For weeks, her mom had been in a hospital in Sendai City, about seven miles from her home. Again, we waited for a reply and there was none. Shortly after 1 a.m., I sent Ian to bed.
Text from Yasue, 3:10 a.m.: Yes. I will walk home tomorrow. It is 10 kilometers. I want to get things, money. Cannot contact neighbors.
Walk home? Who in their right mind would leave a safe building to walk seven miles to a home that might not even be there on a road that might not exist?
I reply, No. Do not walk home. It is not safe. You are in a safe bldg with mom. Stay there. People are fleeing trying to get there. Do NOT leave there.
I left for work knowing that we were far luckier than most. She was safe. She was with her mom. Somehow, we were able to text now and then.
Text 3:25 pm.: Mom is OK. Hospital giving patients emergency food, but no food for me. Stores are closed.
Blessedly, she had shelter. She had water. We needed food. I drove home and told Ian we needed to get his mom some food and we began exploring how we could make that happen.