text:
The blueberry, strictly speaking, is entirely American. Other countries may have berries in a bluish hue, but only North Americans can boast the blueberry as a native fruit.
Today we can buy sweet, fat, cultivated blueberries grown in Michigan, New Jersey, Maine or Oregon; but until the turn of the century, the North American blueberry was wild.
I associate blueberries with the 4th of July because of Leon Leonides, one of the first restaurateurs to elevate American cooking to the ranks of haute cuisine. The late James Beard often could be found in his friend Leon`s Coach House restaurant in Greenwich Village in New York. And Leonides always would bring a beautiful blueberry tart to Beard`s Independence Day
celebrations. It was simply a 10-inch fully baked tart shell filled with a mountain of fresh blueberries. It wasn`t easy to cut and serve because there would be blueberries everywhere, but no one ever minded.
Blueberries start becoming available in April and usually can be found in stores through September. June and July are their prime months. Here are tips for buying and storing them.
- Blueberries should have a silvery sheen. This is a naturally waxy coating that protects them.
- Any red color tinges indicate underripeness.
- Blueberries should feel plump and firm.
- Blueberries will keep, as purchased, for up to three weeks refrigerated.
- To freeze blueberries, first clean them, then place in a single layer on a cookie or baking sheet in the freezer. When they are frozen, transfer them to a plastic bag. Store them at 0 degrees and they will last up to two years.
- Do not clean fresh blueberries until ready to use them; then simply rinse and pick through them, removing any stems, leaves or bruised berries.
ALMOST FAT-FREE BLUEBERRY SOUFFLE
Preparation time: 20 minutes
Cooking time: 20 minutes
Yield: 4 to 6 servings
Most souffles have yolks in their ``base`` to which beaten egg whites are folded in. With delicate fruits it is possible to make a souffle without the yolks; thus we have an almost fat-free yet very tasty dessert.
1 tablespoon unsalted butter
1 pint blueberries
1/2 cup sugar
Juice of 1/2 lemon
5 egg whites
Pinch cream of tartar, optional
1. Prepare a double layer of parchment or wax paper or aluminum foil around a 2-quart souffle dish to form a collar about 2 inches above the rim. Or you may prepare 6 to 8 custard cups or individual ramekins in the same way. Butter the dish(es)and the collar(s), sugar them and refrigerate until ready to use. Heat oven to 375 degrees.
2. Rinse the blueberries and pick through them removing any stems or leaves. Reserve a handful, about 18, for garnish. Puree the rest of the blueberries by forcing them through a sieve into a non-aluminum saucepan.
3. Add 1/4 cup of the sugar and the lemon juice to the puree; heat to a simmer. Cook and stir with a wooden spoon until sugar dissolves.
4. Put the egg whites in an unlined copper bowl or a stainless steel bowl (if using the latter, also add a pinch of cream of tartar). Whisk the whites until they reach the stiff peaks stage: If you draw the whisk or beater straight up from the bowl it will form a peak which, when the bowl is tilted, will not move. Immediately add about 1 tablespoon of the remaining sugar and whisk again to stiff peaks; repeat with each remaining tablespoon of sugar.
5. Return the puree to the simmer then gradually pour it into the egg whites while beating. Pour the mixture into the souffle dish or ramekins. Run your thumb just inside the rim of the collar, forming a circular groove. Put the reserved whole berries into the groove. Bake until the souffle puffs, about 20 minutes for a large souffle, 10 minutes for individual ones. Remove the collar and serve immediately.
JAMES BEARD`S BLUEBERRIES AND MAPLE CREAM
Preparation time: 10 minutes
Yield: 6 servings
James Beard taught me about the magical combination of two of North America`s unique ingredients, blueberries and maple syrup. This very simple dessert is always a winner.
1 pint blueberries
6 tablespoons pure maple syrup
6 tablespoons creme fraiche or sour cream
1. Rinse and pick over the blueberries, removing any stems, leaves or bruised berries. Place in a serving bowl.
2. Add the maple syrup and gently toss to coat. Cover with plastic wrap and refrigerate until ready to serve.
3. To serve divide the blueberries among four to six invididual bowls. Place a tablespoon of creme fraiche or sour cream on each. Shake a bit of cinnamon on the creme fraiche and serve.
Preparation time: 15 minutes
Cooking time: 15 to 17 minutes
Yield: About 18 muffins
2 cups all-purpose flour
2 teaspoons baking powder
1 teaspoon cinnamon
2 whole eggs
1 cup milk
3/4 cup sugar
1/2 cup canola or safflower oil
1 cup blueberries
1. Heat oven to 400 degrees. Butter 18 muffin cups.
2. Sift the flour, baking powder, cinnamon and salt into a mixing bowl. In a separate bowl beat the eggs, then add the milk, sugar and oil. Mix this into the dry ingredients to make a smooth mixture.

domain: food


text:
Indonesia Issues Tsunami Watch after 8.6 Quake
indonesia tsunami watch 8.6 quake earthquake indian ocean triggering widespread panic cbn news news cbnnews newschannel newschannelmorning newschannelclip newschannelmorningclip
Exclusive Video: Vice President Pence Tells Pastors: 'Share The Gospel!'
Detroit Tiger Daniel Norris talks about playing in the big leagues and living his life intentionally. Plus, see the...

domain: news


text:
- India-focused OTT production entity Golden Karavan launched
- Woman alleges gang rape by two men in SUV
- Film producer Karim Morani surrenders in rape case
- Ryan school murder case: CBI team reaches school, starts probe
- Karti closed many foreign accounts, shifted money: CBI
- Pakistan shells border posts, hamlets in J&K; BSF jawans among 7 injured
- Sushma Swaraj raises issue of terrorism, H1-B with US Secretary of State
Fever FM Hyderabad to host Hyderabad’s first B’wood reality singing show
MUMBAI: 94.3 Fever FM Hyderabad has strengthened its offering by launching Hyderabad’s first Bollywood reality singing show ‘Fever Idol in Hyderabad’.
‘Fever Idol’ is a one-month-long campaign culminating in an on-ground grand finale with the top 5 singers from Hyderabad competing to win the title of ‘Fever Idol’ and a prize money of Rs 94,300.
Listeners can WhatsApp their audition by sending in their name and mobile number along with a Bollywood song to 8121 943 943.
HT Media Ltd radio and entertainment CEO Harshad Jain said, “Fever FM is the Bollywood radio station of Hyderabad, which is a huge market for Bollywood music and movies. Since our launch a year ago, we have attempted to win the hearts of Hyderabad audience through innovative, entertaining and differentiated content and initiatives. ‘Fever Idol’ is the first Bollywood singing reality show in Hyderabad.”
This singing reality show is presented by Aparna Silver Oaks and supported by Freedom Refined Sunflower Oil.

domain: artistic


text:
On the 17th day of creation, 11 days after completing the real heavy
lifting and with two days off to watch football, God looked around and felt a pang of emptiness.
Yes, there was earth and land and light and dark and man and woman and they were "good"
and all, but something was missing.
There was, for instance,
cream cheese. And for another thing, there was peanut butter. These were, indisputably, good things.
Yet the nagging sense persisted that a void still existed, and it wasn't
jalepeno mint jelly, because that was there (and it rocked).
Then, all of a suddy, it came to the Omniscient One. And that -- my friends, in this season of joy -- was when God created

domain: literature


text:
The First World War and British Comics.
This work is licensed under the Creative Commons Attribution-NoDerivs-NonCommercial License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nd-nc/1.0. Permission to copy, reproduce, electronically store or print this article either in its entireety or in part is required from the author. All images remain property of the author. With thanks to Pat Mills for his assistance in the writing of this paper
Introduction: ‘If we don’t shoot him, someone else
Fig. 1. Charley’s War2
Comics and the Great War are uneasy bedfellows. The war is a much used but infrequently reinvented topic for popular fiction, presenting a fixed series of representations that conform to the vision of the war poets. In clear opposition to these ideals, the comics genre is apparently obsessed by violence, its ethos one which seems in direct contradiction to the ideas commonly held about wars of the twentieth century.
Is it possible for comics to overcome the difficulties of portraying World War One? Can they provide subversive and unusual readings, or are they doomed to failure by the constraints of genre and the contemporary paradigm of warfare?
Comics are neglected by academics, which explains the dearth of critical sources discussing them. Comics are regarded as a medium which typically requires little originality and poor standards of production, often relying on repetition and low quality artwork. In addition, the short format and soap opera style narrative presents few intellectual challenges to the reader. Thus run popular perceptions of comics. Deviations from this pattern, such as Art Spiegelman’s Pulitzer winning Maus (1986), or the critically acclaimed Ghost World (1999) are excused as aberrant and unique, or are distanced from the traditional comics genre through differing sales patterns, binding and presentation.3 Comics have a long history of political expression
and consciousness, much of which has been used to effectively exploit dominant ideas of the status quo. This paper does not seek to exhaustively discuss the many texts available, rather it investigates the ways in which the British war comic has not only continued to express ideas of patriotism and sword-rattling long after supposedly ‘anti-war’ themes had established themselves in mainstream culture, but has then found ways to subvert these ideas, producing dissident texts which provide original and challenging voices.
British comics are direct descendants from serialised children’s papers of the early Twentieth century such as The Magnet and The Gem.4 Although
comics already existed alongside these magazines, there is a direct correlation between falling sales in serials and their growth in popularity. When the paper shortages of the 1940s were lifted and the improvement of printing techniques allowed larger, clearer pictures to be produced, the comic began to replace the more outmoded format and presentation of the serialised story. The American demand for pulp fiction; sold on newsstands and corner shops, spread to the United Kingdom, where increased literacy amongst the lower classes additionally created a greater demand for inexpensive and accessible reading materials.5
Pulp fiction and serials also presented another new facet; their distinctive short format. In comics this size and shape was translated into a journal comprising a twenty eight page layout. This provided a short space in which to present punchy, dynamic stories which had great success with the growing mainstream of new readers. With the obvious bonus of imagery, the war comic in particular became popular, with strong emphasis on adventure, action, and the technical detail involved in drawing the machines of war. The comics’ format also capitalised on this innovative use of illustration and succinct format by inventing the distinctive ‘splash page’ introduction. This was an illustration which encompassed the entire first page and thus presented a far more vital introduction to the narrative6. Another essential
element in the rise of the war comic, this device highlighted large-scale drawings of combat and machinery in action.
The highly distinctive attitudes of early twentieth century idealism towards warfare and combat were continued in comics long after they had been contained and diluted in other mediums.7 Although this severed them
ideologically from many other elements of popular writing, it helped to reinforce their popularity within the genre, in particular amongst a younger audience. It is still possible to identify reflections of this idealism in many modern narratives. War discourses are frequently relocated in science fiction or fantasy settings whilst continuing to express ideas which bear strong comparison to the idealism of the Great War generation.8 War comics
therefore became a self-perpetuating sub-genre which has largely remained unchallenged by its peers as well as by more general critique from academic and popularist critics. Pre-war ideals of courage, nobility and chivalry remain dominant within their narratives. This ethos is easy to reproduce and well suited to the nature of war stories. For this reason war comics have always held a specific position within the genre, involving rigidly defined narratives and art based around a formulaic, unchallenging structure.
British war comics from the 1940s onwards often directly transferred ideas and stories depicted in the serials. The ethos of early twentieth century writers such as G A Henty, and children’s authors during the war such as the self-titled Lt-Col F S Brereton, were carried over into these comics, which continued to expound the well established ‘public school’ or pre-war honour systems.9 Although the War Books Controversy of the late 1920s put pay to
these sentiments in mainstream and adult writing, the extremism of these concepts in children’s fiction was still tolerated. Authors used these notions as strong grounding elements for their readers, introducing them to a series of ideas that were deliberately posited in an exaggerated capacity. This idealism provided elements of heroism that appealed both to children and their parents, who wished to engender strong understandings of morality in the younger generation. Most importantly however, there also seems to be an underlying implication that as children reached adulthood, they would be encouraged to put aside such childish ethos, undergoing a process of disenchantment that correlated directly to the loss of innocence experienced by the generation of 1914-18.
‘Die Slant Eyes!’ – Traditionalism in War Comics10
High moral concepts were therefore encouraged and tolerated in children’s writing, with the moralities that the post-war nation now largely constructed as simplistic still regarded as commendable in moderation within this context. Children’s writing, however, was not an arena in which complicated ideals held sway – instead action and daring deeds were accompanied by similarly over-inflated discourses of thought and speech; namely the ‘high diction’ identified by Paul Fussell in The Great War and Modern Memory.11
From these optimistic and strongly enforced ideas, a fixed war comics narrative evolved. This contained a series of highly distinctive features which were rarely deviated from. Figure 2 shows a typical example, and its publication in 1986 demonstrates the tenaciousness of the war comics discourse throughout the twentieth century.
The war story had a regimented structure. Firstly, most stories were based around the Second World War.12 This was a recent conflict which had
ended conclusively and could therefore also be constructed as a victory. It provided easily identifiable villains (the Nazis) and could be easily reconfigured within the war comic story. It was a war of movement that, unlike the Great War, had not seen extended periods of entrenchment or attrition. It was global; involving exotic and unfamiliar locations and races. Importantly for the readership, it was a recognisable war; one in which propaganda had encouraged active mobilisation of the Home Front as well as in the fields of war. Crucially, World War Two was a predominantly mechanised conflict, involving interesting types of transport and artillery (tanks, planes). Conversely there was the anticipation of battle casualties, but in the event a far lower death toll for soldiers. This meant that the war for a soldier was largely constructed by popular writing as being a war in which survival was possible and even likely. All of these elements added potentially exciting aspects to youthful conceptions of the conflict.
The figure of the dominant hero was an essential component of the war story. Traditional coming of age narratives established characters who were young, naïve and brave. These figures clearly encapsulated pre-war ideals within a distinctive figure and simultaneously provided an empathetic figure for the reader. This remains a common facet of war stories in popular genres. Bernard Cornwell’s Richard Sharpe novels, the army of light in Stephen King’s The Stand, or Will Smith’s character Steve Hiller in Independence Day all demonstrate how this understanding is still an ongoing trope for narratives of conflict.13 In figure 2, Joe Two-Beans assumes this role and the caption explains that, ‘Today Joe Two-Beans must also run the Gauntlet. He is ready –‘. Literally leaping out of the page across the borders of each panel into the vision of the reader, Joe is proportionally gigantic in comparison to the cowering Japanese; bare-chested and with arms so widened with muscle that they are bigger in ratio than the other men’s heads. British heroes typically followed this standard configuration of lantern jaw and muscled physique – and comics often dramatised this conversion form zero to hero as a character moved from soft wimp to manly-chested paragon through a scant page or so of ‘hard training.’ 14
Fig. 2. ‘Joe Two-Beans’ 15
For the hero to win, and to win well, was seen as crucial to the success of war narratives. Clear divisions between good and evil were established quickly within each tale in order to make this achievement both conclusive and justified. The villain, especially in the form of the Nazi, was easily demonised. Compartmentalising and alienating these villains were the twin stereotypes of stupid grunt soldiers and evil ‘cunning’ officers. Nazis were rarely individualised and referred to in the deliberately limiting capacities of ‘Fritz’, ‘Jerry’, ‘Bosche’ and ‘Hun’. Their speech was monstrous and clumsy, restricted to ‘Himmel!’ (surprise) ‘Rarg’ (attack) ‘Urg’, (death), ‘Aiiee!’ (more death and some pain). Deliberately reducing speech to onomatopoeic
terminology intentionally distanced the reader and invited comparison to animalism. For the chief villain and remaining itinerant evil officers the more vocally challenging but no more individualising ‘For you my Frent, the var iss ofer’, and ‘Now you vill die, Englander scum’ were also standardised
removed ideas of realism, instead providing a eugenically inferior, fictive race who lacked speech, independence and imaginative action.
In The Popularisation of War in Comics Strips 1958-1988, Edwards notes that this trend meant
The vast majority of British men whose middle-school years lay between 1959 and 1988 will recall being able to issue orders, profanities and blaspheme in German. The very frequency of their appearance in the narrative of war-books readily prompted children to add ‘achtung’, ‘schnell’, ‘Gott in Himmel’, ‘Donner und Blitzen’ to their vocabulary.16
Joe Two-Beans demonstrates this technique. His description is intentionally heroic. He is an orphan. His name implies poverty (literally, he doesn’t have Two-Beans to rub together). In his past, Joe was trained by ‘Buffalo Old Man’; connoting hereditary strength, wisdom through a figure of guidance, diligence and learning. In the conflict depicted he imitates his grandfather by wearing the painted ‘Death Mask’. This mask is an even more potent symbol since it enables a magical transformation – from young man to warrior/slayer and back again.17
All of these qualities combine with physical action in the comic strip to depict a traditional hero figure. Two-Beans fights standing straight up whereas his enemies are bent over and crouch below him. His attack is single-handed, individualising him. The unsavoury war-cry ‘Die, slant-eyes!’ reduces the enemy to a caricature, emphasising alienating features rather than personal characteristics. Responding to this, the Japanese soldiers act en masse, dehumanised by their group behaviour and their speech ‘aaagh’ (twice), ‘aah’ and ‘uggh’. Finally, whereas Joe’s companions provide group support, ‘Give him some cover!’, the Japanese respond with a confused attack, ‘Slay the American warrior!’ and ‘Kill him!’
The war comic usually provides the hero with loyal friends. These people enable secondary plot, and as with the device of ‘The Death Mask’, they also help justify the hero’s rightness in entering the field of war. The band of followers concept was particularly useful to war narratives as stories could be located around the exploits of a small battalion or platoon. These characters strongly resembled the standard figures identified by Vladimir Propp in Morphology of the Folktale, and enabled a technique that Frank Richards had already identified through the ‘Greyfriars Boys’ of The Magnet.18
One size does not fit all, but by surrounding the hero with a small group of contemporaries, there would always be one person with whom the reader would strongly empathise. Thus the group within any given war comic usually contained variations of the following: hero, best friend, unreliable friend (usually a coward who redeems himself), father figure (often a home front guide or a crusty sergeant), mentor (another officer, usually a trusted subaltern or captain and frequently an older relative), disposable hero
(angelic or morally pure figure), and comic relief (typically a working class private often related to the central character either geographically or educationally).19
The hero and his band of friends usually spoke in high diction, separating them from the bulk of both army and enemy by their obvious adherence by default to codes of honour and positive moral behaviour.20
Whilst strong emphasis was placed on the role of the individual and the actions of one against many, the elements of teamwork and cooperation posited within this band were also clearly enforced.
The ease with which this formula could be reproduced meant that war stories became a staple ingredient of most regular boy’s comics. To writers they provided a quick and easy option, requiring little original content to keep readers happy. Due to the strictness yet simple formula involved, the war comic was published in a virtually unchanged manner until the 1990s.
‘You Ain’t no Hero Out of a Penny Comic! You’re a Soldier!’
- Problems with the Great War.21
Although the war comic was a successful and relatively unchanged formula, within this rigid structure constructions of the Great War become highly problematised. The central problem is that they involve two clashing ideologies. For a comic about the First World War to succeed, it has to overcoming both the morally encoded problems surrounding the mythologies of the war, and the antithetic comics perception of warfare.
Great War stories have extreme difficulty fitting into the formalised structure of war comics. Previously established ideologies of the war myth make amalgamation particularly thorny. The war is seen as a slaughter ground for innocent youth, in this case the target audience. The War Myth gives the pervasive impression that the war was only fought across the Western Front: therefore constricting it, not only in terms of geographic location, but situating conflict within a claustrophobic domain of many entrenched together. The First World War quickly became a war of attrition, a static ongoing conflict lacking points of definite closure. Again this poses difficulties with the construction of narrative. Crucially, the Great War does not fit into a formula demanding heroism, militarism, and a conclusive battle at the end of day, preferably with a large and satisfying explosion to indicate a moment of definite closure.
Another problem was the changing perception of the war both in adult writing and culture. By the 1940s, in the aftermath of both the Second World War and the War Books Controversy, the ideals perpetrated in children’s fiction about the war were coming to be regarded as highly unsavoury. This was especially true of narratives concerning WW1; although serials such as Hammerton’s The Great War I Was There! were still in circulation until 193922, the second war put pay to such popularist understandings which
encouraged positive visions of the conflict. From this point the coda of the war poets became dominant. Now, the common understanding of the Great
War has become an almost singular vision, the ethos of which is described precisely by Hynes in A War Imagined:
A brief sketch of the collective narrative of significance would go something like this: a generation of innocent young men, their heads full of high abstracts like Honour, Glory and England went off to war to make the world safe for democracy. They were slaughtered in stupid battles planned by stupid generals. Those who survived were shocked, disillusioned and embittered by their war experiences, and saw that their real enemies were not the Germans, but the old men at home who had lied to them. They rejected the values of the society that had sent them to war, and in doing so separated their own generation from the past and from their cultural inheritance.23
Deviations from this sacrosanct myth are now regarded by the majority of readers as offensive and in poor taste, arguably providing an extremely restricted forum for exploration of the war in contemporary writing.
24 The ideas inherent within the war comics discourse therefore directly
contradict this perception, posing grave problems for anyone considering involving the Great War within such standardised tales of action and adventure.
Fig. 3. ‘The Mill’ 25
A typical example of how the First World War struggles to fit into the war comic structure comes from figure.3. ‘The Mill’ (Victor, 1968). The story immediately removes the main character from the front lines and therefore avoids static entrenchment. Bill Borden is left behind in the retreat from
Mons, and is deliberately standing clumsy and motionless in the first panel, whilst the other soldiers move around him. His passive stance is emphasised by the movement away from the battlefield – the action moves from right to left, back towards the reader rather than onwards into the strip and distant explosions (top right). Bill is introduced as a harmless character, a bootless clerk who has a gun physically forced into his hands. His speech and the openness of his expression connote simplicity and naivety. These elements all bring an unusual level of containment to the war story not seen in Second World War stories. Bill is portrayed as representative of the average Tommy, yet his description is intentionally harmless and stupid. This idea continues throughout the story, as Bill meets a wounded Scottish soldier (‘Jock’), and they hide together in the nominal mill to avoid detection by the Germans. When they are discovered it is made clear through both the discovery and subsequent attempts to capture and kill the British soldiers that the Germans are unsporting, cowardly and devious. They repeatedly attack the wounded, bootless twosome without success, eventually resorting to a stealth raid from an ‘innocent haycart’. Despite this they are no match for the British; ‘three shots ring out’ and the Germans fall dead.
A common motif with Great War stories is their use of the Second World War in direct counterpoint to the events unfolding in the narrative. Stories such as ‘To The Death’, ‘False Heroes’ and ‘Bad Blood’, all use a two part formula which relies on comparison of the two wars: ‘What they (two friends) didn’t know was that a very odd chain of coincidences bound them together which went back to the First World War.’26 Second World War
scenarios are often transposed to the Great War using father/son synchronicity. This transposition demonstrates similar attempts to justify human actions as happened in ‘The Mill’. The ideas of repetition; either in upholding family honour or unintentionally replicating actions, is used to displace aspects of killing seen as commonplace in Second World War stories. Whereas ‘The Mill’ made its characters retreat from war, reminiscence and flashbacks are ascribed the hindsight of retrospection. For example, ‘False Heroes’ begins with two men discussing their parts in each war, their actions immediately contained by the following conversation:
Rene: Two plates [plaques on the village war memorial] and two wars, Alec. Let us hope we shall never see another again.
Alec: I heartily agree with that, Rene. Let us hope peace is here to stay this time.27
The authors have clearly tried to enable the more traditional types of war story – the Great War foreshadowing the actions of the younger character rather than taking centre stage in the narrative. The difficult ideas surrounding young men going to war (especially the common perception of the First World War where the myth informs us that ALL the young men died and became The Lost Generation), are justified as both traditional and filial, and if their elders were ideologically mistaken when they enlisted in 1914, this is remedied by acts of closure within the Second World War narrative.
Both displacement and hindsight avoid the most obvious problem of Great War stories - the trenches. The trenches were the most problematic area for comics writers, and in the handful involving the First World War, trench warfare is exceptionally unusual. Figure. 4. shows a rare example of this.
Fig. 4. ‘Flames of War’28
The trenches are a difficult area to draw. They are dark and muddy, requiring large quantities of inking per page. They are small and cramped, making individual action difficult to draw. Most importantly however, they are static. In a normal war comic, killing is immediately removed from the reader’s sight as the action moves away from it. This cannot happen in the trenches. Logistically it is simply not possible, and by illustrating this situation the reader is also exposed to a far higher level of moral questioning, forced to confront the consequences of what was hitherto portrayed as an adventurous and noble situation.
‘Flames of War’, shows extreme discomfort with the proximity to death and killing enforced by the trenches. The first technique is the lengthy discussion of weaponry: ‘A club’s better’n a bayonet/I prefer my revolver’. In this case the visceral bayonet is discarded in favour of a club – a blunt weapon less likely to actually kill. The preferred weapon is the revolver, in
this case a gentleman’s (officer’s) ballistic that connotes a quick and relatively painless death. This discussion is incredibly clumsy, interrupting the narration before conflict happens. When it does, both the fight (top panel, bottom left) and the grenade thrown into the trench (second panel) result in confusion. The fight is ethereally drawn – there is no sense of physical contact or clear outcome. The bottom panel is particularly astonishing, instantly converting the destroyed soldiers into amorphous speedlines and flying paraphernalia. All bodies immediately disappear, suggested only by the helmet thrown clear.29
The extract demonstrates both intense anxiety with depictions of trench warfare and the ways in which comics deliberately shut down avenues of ethical investigation. The concept of murder is artistically removed and verbally sanctified; the author and artist spend little time on the action and employ highly contrived devices, enabling the protagonists to move away from the scene of conflict both actually and aesthetically. This containment is almost automatically deployed, demonstrating how difficult war comics writers find depicting the Great War without considering the subsequent cultural reconstructions. This is a factor they need pay scant regard to within their usual domain of the Second World War. Great War stories in general therefore suffer a series of self-imposed restrictions including displacement (both geographical and historical), the separation of individual heroes, support groups of peers who morally enforce the actions of the hero, a reversion to high diction (Victor identifies itself as ‘The Top Boy’s Paper for War, Sport and Adventure’, suggesting the three aspects are synonymous) and an overall tendency to subsume the war within discourses of later conflict, especially World War Two. Overall, these motifs demonstrate intense difficulty and discomfort in presenting stories about the First World War.30
‘It Should’ve Been Me’ - Later Responses to the War in
Although war comics have traditionally used tightly regimented modes of production, the genre has strong potential for subversion. During the 1980s, the British industry produced several unusual, deviant readings of cultural behaviour.32 However, as with any medium, there is never one single
discourse running through every article at one given point, and although trends in comics have lead towards darker, more politically and culturally aware interpretations, this is by no means true for every issue on sale at the same time. The majority (as with the bulk of popular discourses) follow set patterns. Comics additionally rely on a high turnover of artists, writers and inkers for any one title.33 Therefore a run of exceptionally high quality may be
interrupted, replaced or subsumed by different individuals with weaker talent, or a poor grasp of what has gone before. Writers, artists and inkers do not always work together or with compatible style. Hence a good quality writer can be disappointed by the low standard of the artist illustrating their ideas, or vice versa.
Fig. 5. Enemy Ace34
The problematic nature of writing and illustrating First World War stories led to an understanding that they were taboo, and in an industry that feasted on positive visions of confrontation, the anti-war messages resulting from the Great War were potentially useful objectives. Whereas traditional war comics struggled to contain the Great War, several modern writers saw potential in this idea. George Pratt’s Enemy Ace is a clear example of this. Instead of confining the war to simplistic narratives, Enemy Ace sought to intellectualise the war, fully embracing the ideas of the war writers. Unfortunately it also swallowed wholesale the overwritten symbolism of the war. Because of this, it suffers from terribly earnest over-writing. The elevated tone is problematic because it tries too hard to present the ignorant comics reader the ‘truth’ of the war. As an author, Pratt is informed almost solely in this endeavour by the mythological construction of the war, rather than a more realistic depiction from an individual perspective. Although the narrative focuses on the Great War, Pratt compares a journalist suffering from Post Traumatic Stress Disorder after Vietnam, and a dying pilot from the Great War (resurrecting the need for closure through generations). Each chapter of his graphic novel is preceded by a worthy quotation from the war writers exemplifying his point, complete with a self contained sepia pen and ink sketch depicting images of conflict in the style of Otto Dix.35
One of the problems with Enemy Ace is its inaccuracy. It misquotes Kipling as saying ‘If any question why we died/Tell them, because our fathers lied’ on hearing of his son’s death, and it describes the Christmas truce viewed from the air by a German pilot (strongly implied to be Richthofen).36
This imprecision is further confused by the overall construction of the comic, which is both visually and verbally disorientating. As figure 5. demonstrates, the art is a blurred mass of colour from which it is difficult to determine what is happening. Pratt falls into the same trap as earlier war comics by creating an amorphousness to his art which leaves the reader unsure of what they are looking at and renders the depiction of corpses and violence indistinct. Another method is the retrospective narration of the old man, whose monologue tends to be worthy but indecipherable:
‘The War had changed me. I would never again be the same…On that field of death and introspection…my faith in humanity was restored’37
By reproducing the mainstream ideology of the Great War, Enemy Ace makes a brave but ultimately futile attempt to reinvent the war comic. This is compounded by its rather hectoring attitude: this is the comic to end all war comics, telling the truth about the war in a clever, artistic manner (not like all those other, nasty comics for violent children). It is this pretentiousness which arguably makes it fall into the same rut as its predecessors.
‘The Only Way Back is Over the Top’–
Happily, there is an exception to these failures. By the 1970s, the rising popularity of science fiction prompted a crisis in the war comic, and with the release of Star Wars in 1977, British comics publishers realised that drastic action was needed to retain sales. Battle, the leading fortnightly comic drafted in Pat Mills as their new editor to remedy this problem. Mills was a British writer who had cut his teeth at American rivals DC, a company who specialised in the creation of narrative-driven stories involving darker, more complex heroes (the best example of this being Batman.)39 Mills was a
Marxist, keen to upset the simplistic, sentimental notions of the British comics industry, and it is probably fair to claim that over the next ten years he was largely responsible for revolutionising narrative technique in the UK comics industry, co-founding 2000AD and co-creating its most enduring character, Judge Dredd.40
One of his earliest stories was Charley’s War, which ran in Battle from 1979-86.41 Spanning the First World War, it starred Charley Bourne, a
working class Kitchener volunteer. He was an extraordinary character because unlike his predecessors, he was neither exceptionally heroic nor right all the time. He was merely there. Charley’s story was intentionally problematic; it was multifaceted, ideologically complex, used original and often deviant characters as its central protagonists, and discussed many issues of morality within deceptively simple storylines. Mills wanted his readers to re-evaluate their preconceptions of the war myth and standard war comic discourses, and he did this through the purposely challenging figure of Charley.
Mills’ partner in crime was acclaimed war artist Joe Colquhoun. He too was willing to subvert traditional techniques of comics illustration to produce a far darker vision of war. Both wanted to emphasise two major issues implicit within understandings of the Great War. The first was class. Charley’s personalised war was essentially class driven; his major enemy was the quasi-aristocratic Lieutenant Snell and not the inaccessible, rarely seen German army. This in itself provided a major deviation from standard narratives towards a far more politic reading of war. The other facet was an emphasis on moral issues, both writers realising that key to this was the depiction of killing.
Fig. 6. Cover to Battle42
Colquhoun rigorously avoided the amorphous vagueness favoured by his contemporaries, opting instead for heavy inks, messy backgrounds and stark facial expressions to depict an exceptionally dark atmosphere. The synthesis between Mills’ writing and Colquhoun’s illustration can be seen in the story ‘Gotterdammerung’ (figure. 6.) The plot involves a pacifist who is forced by Snell to detonate the Messines mines. When one fails to explode, he is shot for disobeying orders. The cover presents a similarly disturbing perspective. Not only are bodies clearly visible as a result of the explosion, but the foreground shows a man being burned alive. His speech ‘it is the Gotterdammerung’ is not only extremely powerful, but crucially identifies the soldier as German.
These techniques were intentionally shocking, meant to shake the comics reader into a new appreciation of the medium. By using provocative stories with multiple perspectives, Mills was cleverly angling the reader towards reassessing their reading. He often did this through Charley himself, depicting an unreliable and often morally incorrect hero. Unlike his peers, Charley was not an innocent bystander. He had chosen to enlist and frequently used violence to achieve his objectives (albeit unwillingly). His reactions of frustration, boredom and anger to situations previously depicted by comics as heroic shed new light on the behaviour of soldiers at war. His reaction to Lonely, a shell-shocked companion, is typical of this ‘You want your boy to be proud of you, don’t you? Why don’t you start actin’ like a man
for a change?’, or a conversation to a friend ‘All the dead bodies round ‘ere don’t arf pong…Reckon I should’ve kept me gas mask on!’ demonstrate the ways Mills continually forced the reader to evaluate what they read.
Fig. 7. ‘Escaped Prisoners’ 43
Shifting perspectives of this kind were extremely common within Charley’s War, Mills and Colquhoun formulating techniques that worked against the grain of traditional war comics. Multiple narratives on each page deliberately divorced the art from the writing. This technique of alienation made Charley’s War a groundbreaking comic. In figure 7, three distinct narratives work at tangents. The traditional blurb in the top left ‘Charley Bourne with his friends…are in the hands of a German who is intent on revenging himself on all British troops. Just as the German is about to shoot them, Charley acts with lightning speed…’ is a typical war comics introduction, connoting heroism and bravery on Charley’s behalf. However the art shows him disembowelling the German with a piece of barbed wire, although this is fruitless – the alarm is raised regardless. In the top centre is the most contentious aspect of this strip. This is an extract from Charley’s letter home: ‘Tell Aunty Mabel I’ll have a word with Genral Haig when I sees him. But its funny, you never sees no genrals in the trenches’. This bears no relation to the story, and serves to highlight the unreliability of Charley, exposing him as a liar who is deliberately misleading his parents. It additionally implies that his naivety is comparable to stupidity – reversing the war comic ideal that traditionally saw this as a positive asset. Throughout the stories, Mills continued to portray Charley in this way, often ensuring that he was utterly unable to respond correctly to a situation, lacking both the initiative and the intelligence to behave in the expected heroic manner. Figure 7a. highlights this response within the panel – Charley is posed in a stance of
aggression (animalism is implied in the clawed hands), whilst his friend ‘Weeper Watkins’ appears to be laughing at the situation.
Fig. 7a. Detail from ‘Escaped Prisoners’.44
Mills and Colquhoun used an exceptionally brave and unusual technique in doing this, one which ultimately led to the censorship of Charley’s War when it was reissued in 1986.45 Not only do the two authors
intentionally subvert the genre, but throughout the series this was a continuous process without closure. The comic created impossible situations and irresolvable paradoxes, but unlike its predecessors, it refused to contain them.
The impact of distorting the vision of both the war comics and Canonical perceptions of the First World War were enormous, enabling a fresh generation of comics writers free to experiment within the genre. The late Eighties and early Nineties became a period in which the comic was dramatically reinvented. However, First World War stories still remained almost unique, and the industry itself gradually subsided into business as usual, prompted by the recurring interest in the superhero genre after films such as X-Men.46 Competitors tried similar ideas such as The Victor’s ‘Cadman
The Frontline Coward’, but these all fell once again to containment and cliché. Subsequent comics such as Enemy Ace proved that even after Charley’s War, narratives still fell foul of the overriding influence of the war writers. In the words of Osbert Sitwell, and despite the work of Mills and Colquhoun, it was still ‘Very bad form/To mention the war.’ 47
Conclusion: ‘’Arf A Mo!!’48
World War One is an immensely problematic discourse for war comics, clashing with the established ideas that war and fighting are a matter of course. The moral and political implications of warfare are rarely mentioned, with readers encouraged not to question what they see but instead to enjoy
notions of militarism, masculinity and nationalism. The established body of war writing refutes this, centring instead on the loss of life and innocence and a close proximity to death. Comics can only succeed in portraying WW1 successfully if they subvert both genres, and this is a monumentally difficult task. Charley’s War was a genuinely original and deviant attempt to do so. Mills knew that little mainstream critical attention would focus on his comic and this enabled him to circumvent both ideologies, providing a highly subversive and darkly funny alternative. His black comedy and irreverence for the subject made the reader continually question their own attitudes to war, the reliability of narration and the nature of heroism. In this way Charley’s War stands above its medium as a highly unusual and subversive reading of the Great War, and in a genre which has now come to expect shock tactics, he is still praised for the innovative steps Charley’s War took to enable this.
Esther MacCallum-Stewart is a postgraduate researcher in ‘The Great War and Popular Culture’ at the University of Sussex. She currently maintains two websites on the Great War. Break of Day in the Trenches is an online diary detailing information and research notes about the Great War and can be found at http://www.whatalovelywar.co.uk/war
The First World War and Comedy examines the role of humour through a variety of mediums both during and concerning the 1914-18 conflict and can be accessed from http://www.whatalovelywar.co.uk. An extended version of this paper is also available.
E-mail est_ms at hotmail
1 Mills, P & Colquhoun, J, Charley’s War Book II, (Titan, 1986) p.67.
2 Ibid. p. 43.
3 Art Spiegelman, Maus (Panthean, 1986), Clowes, D Ghost World (Jonathan Cape. 2000) 4 Howarth Play up and Play the Game. The Heroes of Popular Fiction. (Eyre Methuen, 1973). 5 Sabin,R . Comics, Comix And Graphic Novels. (Phaidon, 1996).
6 For a more detailed explanation of the mechanics of comics construction and terminologies, see McCloud, S, Understanding Comics (Harper Collins, 1992), Reinventing Comics (Harper Collins Perennial, 2000) and Lee & Buscema, How To Draw Comics the Marvel Way (Simon and Schuster, 1978).
7 De Groot, G Blighty, British Society in the Era of the Great War (Addison Wesley Longman 1996)
8 See for example the Marvel ongoing series Uncanny X-Men, which encourages the importance of teamwork and self-sacrifice, for example in the story arc ‘The Dark Phoenix Saga’ (Marvel Books, 1990) where a central character sacrifices herself in combat to save her teammates, or the Spiderman series, which coined the motto ‘With great power comes great responsibility’ (Amazing Fantasy #15, August 1962).
9Henty was a pre-war writer who produced historical and educational fiction such as The Young Colonists, A story of the Zulu and Boer Wars (Blackie and Son. 1885) and Held Fast For England, A Tale of the Siege of Gibraltar (Blackie and Son, 1892 ). Lt-Col F S Brereton produced an immensely popular wartime series in the same vein as G.A Henty, starring Captain James ‘Jim’ Fletcher, whose trademark catchphrase was ‘jingo!’ Titles in this series included With French at the Front, (Blackie & Son 1914) and Under Haig In Flanders, (Blackie & Son 1917). Mangan, J A “Noble specimens of manhood: schoolboy literature and the creation of a colonial chivalric code” in Richards, J, Ed. Imperialism and Juvenile Literature (Manchester: Manchester University Press, 1989).
10 ‘Joe Two-Beans’ in Battle, (Fleetway, 18th October, 1986).
11 Fussell, P The Great War and Modern Memory, (Oxford University Press, 1975), p.22. 12 Edwards, B ‘The Popularisation of War in Comic Strips 1958-1988’ in History Workshop Journal #42, 1996. p184.
13Cornwell, B. The Sharpe Books, beginning with the publication of Sharpe’s Rifles (Collins, 1988). The most recent in the series is Sharpe’s Havoc (London: 2003) are a series of historical adventures featuring the Napoleonic wars as experienced through the eponymous hero, Richard Sharpe. King, S The Stand (Doubleday, 1978). Emmerich, R Independence Day (Twentieth Century Fox, 1996)
14 ‘…the superhero is larger, with broader shoulders, more muscular arms and legs, a heavier chest, and even a more impressive stance…a superhero simply has to look more impressive, more dramatic, more imposing than an average guy’ Lee & Buscema (1978) p.46
15 Battle, 18th October, 1986.
16 Edwards, ‘The Popularisation of War in Comic Strips 1958-88’ p183.
17 Vogler, The Heroes Journey – Mythic Structure for Storytellers and Screenwriters (M. Wiese Productions, c1992)
18 Propp, Morphology of the Folktale (University of Texas, 1928), Tucker, N, ed. NCRCL PAPERS 4: School Stories From Bunter To Buckeridge (Roehampton Institute, 1999) 19 This role was most famously reprised by Tony Robinson’s character Baldric in Blackadder Goes Forth, (BBC 1989).
20 Privates however, always had a comedy comic book accent: usually a combination of unreadable phonetics and stereotypical phrases.
21 Charley’s War at http://charleyswar.tripod.com/
22 Hammerton, The Great War, I Was There! (London: Amalgamated Press, 1935-1939) 23 Hynes, A War Imagined (The Bodley Head, 1990) Introduction, x.
24 See for example, letters to The Express about the television docu-drama The Trench (Colthurst, BBC2, March 2002). Although the programme followed the myth rigorously, the format in which it was presented came under great censure, often before the programme had been aired. One complainant wrote ‘The whole exercise makes a mockery of what the
soldiers went through at the time’ (letter to The Express March 19, 2002). Attempts like this to represent the First World War in a fresh perspective are often criticised simply because they apparently stray from conventional depictions, even if their intent is to disabuse some of the more exaggerated or literary constructions of the conflict.
25 ‘The Mill’ in Victor #365, (D. C Thompson, 17th February, 1968).
26 Commando, #2304, (D.C Thompson & Co. 1989), Commando, #2432, (D.C Thompson & Co 1990), Commando #2649, (D.C Thompson & Co 1993), Ibid.
27 Commando #2432, p.4.
28 Commando #2918, (D.C Thompson & Co. 1996) p. 34.
29 Lee & Buscema, How to Draw Comics The Marvel Way. Ch. 9 ‘Composition’. 30 Victor #365.
31 Pratt, Enemy Ace, (DC Comics, 1990). pp. 60.
32 For example, Alan Moore’s groundbreaking Watchmen (Moore & Gibson, Titan 1987), and the more cerebral writing of authors such as Neil Gaiman (Sandman DC Vertigo – Dec 1988 – March 1996 all of which investigated mature subjects and emotions through the traditional comics genre. Publication of these comics was through American distributors, however all were produced in the United Kingdom by British writers.
33 See for example, Wolverine (1988 - present day), which has had 41 authors to date (http://www.angelfire.com/ns2/wolv15/writers/writers.html)
34 Pratt, Enemy Ace. pp 2.
35 A graphic novel is a comic ultimately intended for print in book form, although it may first be released in sections. It was made popular in the 1980s when comics such as The Dark Knight Returns (Miller & Varley, D C Comics, 1986) and Watchmen (Moore & Gibson, 1987) were produced as stand-alone stories. This format enabled authors to hone in on one subject or storyline, rather than concerning themselves with the entire “universe” of characters and situations. See
http://www.art-ww1.com/gb/peintre.html#D for examples of Dix’s work. 36 Pratt, Enemy Ace, pp 75. Ibid, pp 76-79.
37 Ibid, pp 9.
38 Caption from image in ‘Interview with Garth Ennis’, Comics Journal # 207, 1999. 39 Detective Comics.
40 Barker, M. Comics: Ideology, Power and the Critics (Manchester University Press, 1989). 41 Mills, & Colquhoun. Charley’s War in Battle (IPC – 1979-86).
42 Battle, 12th Dec. 1981.
43 Mills, & Colquhoun. Charley’s War, Book II, p. 14. 44 Ibid..
45 Overstreet, R. Official Overstreet Comic Book Price Guide, 33rd Edition (House of Collectibles, 2003)
46 Singer, X-Men (Twentieth Century Fox, 2000)
47 Osbert Sitwell, ‘The War-Horse Chants’, Out of the Flame (Chatto & Windus, 1923), p.57
48 Charley Bourne’s catchphrase, from Charley’s War, Episode 1.
http://charleyswar.tripod.com/battle/id34.html This was possibly borrowed from the famous wartime cartoon by Bert Thomas; ‘arf a mo, Kaiser’. However, the phrase became so popular as a result of this that it is still a common phrase and is used as an ironic device in Charley’s War. In the story of the escaped prisoners, Charley calls “arf a mo!’ as he is bayoneting the German soldier with the barbed wire (Mills, & Colquhoun. Charley’s War, Book II, p.15).


Training is moved to November 9
Automatic Control Valves are used throughout many water distribution systems to regulate flow. This course will examine the applications and uses that control valves have in the operations of a water system so operators will have a better understanding of the application and maintenance of these valves in a water system. Proper operation of these valves can have a big influence on water flow and pressure in a system which affects water quality.
Taught by GC Systems
0.7 Water Only CEUs
Costs: $60 ERWoW Members / $95 Non Members
Location: Red Lion
510 Kelso Drive
Kelso, WA 98626


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Leading Pharma Exporter to Dubai from India
Leading Pharmaceutical Manufacturer and Exporter to Dubai from India
We would not be wrong to claim Weefsel Pharma as one of the most dynamic pharmaceutical manufacturing and exporting companies in India; considering the vast range of core and allied pharmaceutical products that we manufacture and export across more than fifty nations. Generating a highly appreciated name worldwide in this sort of industry calls for years of immense hard work. Speaking of worldwide fame, Dubai has been a great market for our products for quite a long time by now. Pharma importers in Dubai have trusted us for ages, considering the quality of healthcare solutions we offer. Weefsel Pharma has been one of their top choices whenever it comes to picking from the best pharmaceutical manufacturing and exporting companies in India, and hence the long list of clients that we have for this nation.
Certification & Accrediations
We are Certified by the Authorities
Weefsel Pharma is primarily an established ISO, FDCA–INDIA, WHO cGMP, accredited pharmaceutical manufacturing company in India; working on contract based, as well as a third party based manufacturing.
Our manufacturing facilities strictly meet the GMP norms, laid down in the “Revised Schedule M” by the Drug Controller (General) India, Ministry of Health, and Government of India.
25+ Product Types
Compliances, certifications etc
Quality & innovation
1000+ Clients Globally
Why Choose Weefsel as Pharma exporter from India to Dubai
- Delivery to 50+ Countries
- Delivery coupled with Punctuality
- About 5000+ Happy Clients served so far
- Offering most easy-going experience in exports business
- World-class Quality of Products
- Best Measures for Storing and Moving
- Finest Packaging for Zero Damage
Common Diseases or Medical Problems Prevalent in Dubai
- Malaria: Amount of population getting affected by malaria has induced the pharma importers in Dubai to get antimalarial drugs from India quite often.
- Diabetes: Although the total percentage of Dubai population affected by diabetes has reduced considerably from around 19.02 in 2014, to around 16.28 in 2021, it is still considered as one of the most major medical concerns in Dubai.
- Autism: Considering the number of people who get diagnosed with Autism, several Autism centers have already been set up in Dubai.
- Anaemia: A considerable amount of the population in Dubai suffer from being anaemic for which the country has started procuring anti-anemic drugs in bulk.
- Cancer: Talking of cancer in Dubai, the top five cancers prevalent in males are Leukemia, Colorectal, Prostate, Non-Hodgkins and Brain cancer; whereas those in females, are Breast Cancer, Leukemia, Colorectal, Thyroid and Uterus.
- Cardiovascular Diseases: As per a 2014 report on health of Dubai’s population, about 35 percent of all non-injury related deaths were caused by cardiovascular diseases.
Most Common Medicines Types Exported by Weefsel Pharma to Dubai
- Anti Cancer
- Cardiovascular Agent
- Pain Killers or Analgesics
- Skin care
- General Products
Nature and Dosage Forms of Drugs Exported by Weefsel Pharma to Dubai
As a pharmaceutical house that is determined to offer a holistic catalogue to the world, we do deal in both branded as well as generic types of pharmaceutical drugs; while moving towards our absolute aim of presenting the best possible healthcare solutions and that too at affordable price ranges, to every nook and corner of the world.
Our world-class infrastructure makes it possible for us to produce the best quality medicines, and that too at multiple dosage forms as mentioned below:

domain: medical


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Grab&Go is the result of a partnership between Grab and US-based in-car goods and services provider for ride-hailing services Cargo
US-based in-car goods and services provider for ride-hailing companies Cargo today announced its debut in Asia with the launch of Grab&Go in Singapore, the result of its partnership with Southeast Asian ride-hailing giant Grab.
The partnership will enable Grab drivers to earn extra income by providing goods such as snacks, beverages, or even beauty products in their car for their passengers. Drivers can expect to earn additional S$75-250 (US$56-186) through the partnership; it is also expected to help improve their ratings.
It will also serve as an alternative channel for brands to reach out to their customers; Grab&Go has partnered with brands such as Kellogg’s, Biore UV, Novu and Unilever’s Lux Luminique to distribute complimentary products to passengers.
The Grab&Go service is being launched with 1,000 driver-partners with the goal to reach Grab’s two million plus driver-partners in the region.
Following Singapore, Grab&Go will also be launched in other Southeast Asian markets, which are yet to be disclosed.
In an email to e27, Cargo Founder Jeff Cripe explained why the company chose to begin its international expansion in Singapore.
“It was less about choosing Singapore and more about choosing Grab––who is headquartered in Singapore––to be our partner,” he wrote.
“After announcing our US launch last June, most of the top global ride-share companies inquired about working with us. In Grab we found a partner that both shared our vision for the role of in-car commerce in the future of the ride-share economy and embraced working with a startup that had to deploy its resources efficiently, which is how we developed Cargo’s co-branded licensing model, a major (and leaner) departure from how Cargo operates in the US,” he continued.
Grab rival Go-Jek has recently announced that it is preparing its entry to Singapore. However, Cripe declined to comment when asked about the possibility of working with other ride-hailing startups –or whether the deal with Grab is exclusive in nature.
“Our policy is not to comment on specific deal terms, but Cargo’s mission is to be the premier, global provider of in-car goods and services to the ride-share economy, and eventually to autonomous vehicle fleets. To achieve that, it is absolutely necessary to partner with regional ride-share leaders like Grab who share our vision for the future of in-car goods and services,” he said.
To use the service, passengers need to visit Grab&Go’s digital menu on their smartphone. They will have to select the products that they like to purchase, enter a five-digit code to ensure the payment goes to the right driver, and the additional cost will eventually be added to the final Grab fare.
In the US, Cargo already has operations in cities such as New York; Boston; Chicago; Minneapolis; Washington, D.C.; Baltimore; Atlanta and Dallas.
To date, it has raised a total of US$8.5 million to support its expansion in the US and to international markets.
According to a TechCrunch report, the company’s latest funding round came from CRCM Ventures and Kellogg’s venture capital fund eighteen94 capital.
Image Credit: Grab&Go
The post Grab&Go debuts in Singapore, helping Grab drivers make extra money from providing snacks in car appeared first on e27.
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Formax JBoD SuperStore ...
Direct Attached Storage (DAS) provide scalable, flexible, cost-effective storage for server environments with significant IOP performance.
Connectivity with Serial Attached SCSI (SAS) results in real performance improvement and through portioning and zoning multiple header units running different Operating Systems (e.g. Fornax & Windows) can draw upon a highly configurable environment.
Direct Attached Storage servers (DAS), are available from 1U to 4U configurations, and up to 90 hot-swappable hard drives to meet the demanding of storage environments. Multiple DASs can be attached to the same header unit creating Petabyte plus compute and storage.
DAS servers include redundant power and differing RAID configurations: 0, 1, 5, 6, 10, 50.
Support and maintenance is a minimal requirement owing to the ultra-reliability of the Forax environment.


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Adbhuta is a top manufacturer /suppliers of sheesham furniture. These sheesham furniture are available in various designs and patterns. These sheesham furniture are best in quality and are respected for a perfect blend of sheesham furniture with most elaborate designs. We also provide customization service to cater the strain and necessities of our esteemed customers. All these wooden furniture exclusively designed and artistically engraved cabinets are available in the market at very aggressive rates. We have manufacture best quality sheesham wooden dining table of many sizes, shapes and designs. We have customize the design and size of the table as per the requirement. Dining table occupies a special place in our home so these are premeditated with maximum care.
As with all handmade furniture, the finish of each piece is unique and the colour may not be consistent in each piece, this depends on how each piece of wood absorbs the colour, although all items, either in the Thacket, Jali or Cube ranges will match in perfectly together. Only India can produce such fine pieces of handmade Sheesham rosewood furniture.
Sheesham wood comes from sustainable forests and is cut when it is around 100 years old, it is then matured and dried before being made into a thing of beauty. This furniture will last you for life and as it is hardwood it will withstand all the knocks and bumps from the family.


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CEDAR RAPIDS – A piece of history at Harrison Elementary School will have a face lift, so to speak.
“Transportation,” a mural created by William Henning for Harrison, will be restored this spring.
Tony Rajer, an art conservation and restoration professional from Wisconsin, will discuss the upcoming project during a community presentation at 2:30 p.m. today at the school.
“The project will have two components,” Rajer said. “First, there’s the actual restoration. The second is working with the children at the school to help them better understand and appreciate the unique art available to them.”
Henning was commissioned to create the mural for the then-new Harrison Elementary in 1934 as a part of the New Deal/Works Progress Administration. A protégé of artist Grant Wood, Henning consulted with Wood on the piece and also used ideas submitted by Harrison students in the design process.
The oil on canvas work depicts various modes of transportation including trains, boats, horse-drawn buggies, Indian canoes, and primitive helicopters.
“It tells a story,” Principal Linda Reysack said. “Not just the picture itself, but the work that went into the painting. It’s the story of the artists and the kids who gave him ideas.”
The mural, which is 22-feet by 5-feet, was appraised at $150,000 in 2009.
The Cedar Rapids school district’s total art collection, which includes original works by Grant Wood and Marvin Cone, was appraised at $16 million that year.
Nearly $13 million of the district’s art collection is housed at the Cedar Rapids Museum of Art, either on display or in storage. The remaining pieces are displayed in the district’s schools and support buildings.
District administrators keep this art in the schools as a way to honor its art history with the understanding that the district is responsible for maintaining and protecting the collection.
Several pieces were identified in the 2009 appraisal as needing restoration, including “Transportation.” Henning himself performed touch-up work on the mural in 1973 and 1984, but the years since have resulted in the cracking and crazing of the paint.
A grant from the Linn County Historic Preservation Commission will help fund the restoration process. The mural will be covered with Plexiglas once the restoration project in complete.
Rajer calls the project an “exciting challenge,” but it isn’t the biggest he’s faced in Eastern Iowa. Rajer restored the 70-year-old “Communication by Mail” – after removing the 4,000 pound fresco mural from its original home in Marion’s former City Hall.
The mural was installed at the Marion Heritage Center in May 2009 – 18 months after work on the project began.
“I hope to work with the art teacher, all teachers, on ways we can get the students involved in this project,” Rajer said. “Maybe they can do their own interpretation of ‘Transportation’ – crayon or pencil drawings – and we can have a little expedition.”


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MINISO Costume Shar Pei Dinosaur Costume
The MINISO Costume Shar Pei Dinosaur Costume is an adorable and unique outfit that is perfect for dressing up your furry friend for Halloween, costume parties, or just for fun. This costume is designed to look like a cute and friendly dinosaur, with a green body and yellow spikes on the back.
What makes this costume stand out is the addition of a Shar Pei dog hood, complete with floppy ears and adorable facial features. The hood is made from soft and comfortable material, ensuring that your pet feels cozy and comfortable while wearing it.

domain: pet


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Black and White photo of a woman standing alongside what appears to be a rough hewn roadway.
Martin , Bertha Cornett
COPYRIGHT INFORMATION ~ For access to this image, contact the Museum.
Funding for this project was graciously supplied by the Friends of the Grayson County Public Library All information and images supplied by donors.. Copyright remains with donor.
Last modified on: March 25, 2013

domain: library


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01. Workshops with children.
Intervention with minors in participating schools and participating museums / universities during the three courses.
02. Workshops with families.
03. To work with teachers
04. Activities with entities
Non-formal education experts will disseminate the project and the joint methodology developed in their local, regional, national and / or international training meetings.
05. Doors open days.
Each school carries out each school year an open day, a Creating Bridges show, an exhibition or a collective mural to disseminate the contents worked (through theater, dance and visual and visual arts).
Preparation and editing of documentaries in which the experiences lived in museums and schools are collected, and disseminated through social networks.
07. Evaluation Reports
Preparation of a project evaluation report, which measures the impact it has had. We do not want the project to entertain but to transform.
08. Teaching documents
Preparation of a didactic document (didactic units complemented with images of the theoretical and practical workshops) of keys and successful educational actions.
09. Creation and dissemination
The project includes the creation of an open access web page for the dissemination and dissemination of all actions. Upon completion of the project we will have created a networking methodology between schools and museums, which we will export in a first phase to other municipalities in the 5 participating countries and in a second phase to municipalities in other European countries.


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Seeking Inconsistency: Advancing Pluralism in International Criminal Sentencing
62 Pages Posted: 14 Jul 2015 Last revised: 10 Aug 2017
Date Written: July 13, 2015
Although the inherent pluralism of international criminal law has gained increasing scholarly acceptance in recent years, the scholarship pertaining to sentencing remains surprisingly universalist. Scholars reflexively expect international courts to sentence their defendants consistently with other international courts, and they advance sentencing principles that are intended to apply to international crimes, no matter where they are prosecuted. This article challenges that universalist viewpoint, both empirically and normatively. This article demonstrates that scholarly expectations of sentencing consistency across international courts are premised on the misguided and factually unsupported notion that international courts constitute components of a unified criminal justice system. This article goes on to maintain that sentencing disparities across international courts not only can be justified but are normatively desirable because they respond to a host of crucial differences in international criminal prosecutions, including differences in the kinds of atrocities that occurred, the level of perpetrator who can be prosecuted, and the international courts’ own mandates. These differences create the need for differentiated sentencing schemes across different international tribunals and different situations of the International Criminal Court. Finally, this article isolates domestic sentencing norms as a particularly crucial factor that should influence every tribunal’s sentencing scheme.
Keywords: Sentencing, International Criminal Law, International Criminal Tribunals
Suggested Citation: Suggested Citation

domain: law


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- design ideas
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Show off your School spirit with this Community School long sleeve Dry-Excel Elite Twill Interlock shirt. The bi-color design with flat piping is just the thing to highlight your school colors. Featuring breathable micromesh, comfort neck design, rib-trim cuffs and tagless labeling.
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domain: design


Shaznay Lewis steps out from the shadows of self-doubt to reaffirm her place in the world of pop this week, with the unveiling of her first solo single release in 20 years, ‘Miracle’.
Co-written by the BRIT Award winning singer, along with Anthony Whiting (MIA) and Emily Phillips (Florence and the Machine), the captivating track finds a self-reflective Lewis make peace, and take ownership of her past as a way to reconnect with the woman, and the creative she is today.
Filled with poetic musings, and deeply profound realisations, the songs coming of age lyrics glide across the top of its cinematic production, to serve as something of a mantra for the beloved All Saints star, as she transitions into a new, and invigorating phase of her career.
Sharing her own personal take on life-affirming track, Lewis says via a press release: “‘Miracle’ was a journey, a relentless writing process between Emily Phillips and me. We pushed each other, we changed it a lot until, and when I finally listened to it I realised it was a love song to myself, about the person I’ve been for the past 25 years and where I am now. It’s a message of encouragement to return to my love of writing with self-esteem, and confidence in the way that made me happy.”
Listen to ‘Miracle’ below:
Since stepping back into the studio to work on new solo material in the summer of 2022, Shaznay has collaborated with an array of A-List talent, including Ben Cullum (Celeste), Michael Angelo (Sam Smith, Not3s), Johan Hugo (Self Esteem, Diplo), Jez Ashurst (Maisie Peters, Little Mix), Moyses Dos Santos (Freya Ridings), and Charlie Stacey (Ezra Collective).
Inspired by her personal love of music, Lewis has poured twenty years of life experience and her old school, no-autotune approach to classic soul, into a catalogue of new songs.
Two decades on from the release of her first studio album ‘Open’, her latest compositions serve as something of a re-introduction to the gift singer-songwriter, who first found success in the music business as a member of British girl group All Saints.
The band – made up of Melanie Blatt – and sisters Nicole and Natalie Appleton – made their debut back in the late 90s, capturing the imagination of an entire generation with hits such as ‘I Know Where It’s At’, ‘Never Ever’, ‘Pure Shores’, and ‘Black Coffee’.
‘Miracle’ is available to download / stream here


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Speaking Torah Vol 2: Spiritual Teachings from Around the Maggid's Table
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About the Author
Rabbi Ebn Leader is director of the Bet Midrash and an instructor in Talmud, Jewish law and Jewish mysticism at the Rabbinical School of Hebrew College. He is the coeditor of God in All Moments: Mystical and Practical Wisdom from Hasidic Masters, and has contributed to Jewish Mysticism and the Spiritual Life: Classical Texts, Contemporary Reflections (both Jewish Lights). Prior to coming to Hebrew College, he served for several years as an educator at Jewish secondary schools in Jerusalem and Boston.
Ariel Evan Mayse is a doctoral candidate at Harvard University.
Arthur Green, PhD, is recognized as one of the world's preeminent authorities on Jewish thought and spirituality. He is the Irving Brudnick professor of philosophy and religion at Hebrew College and rector of the Rabbinical School, which he founded in 2004. Professor emeritus at Brandeis University, he also taught at the University of Pennsylvania and the Reconstructionist Rabbinical College, where he served as dean and president.
Dr. Green is author of several books including Judaism's Ten Best Ideas: A Brief Guide for Seekers; Ehyeh: A Kabbalah for Tomorrow; Seek My Face: A Jewish Mystical Theology; Your Word Is Fire: The Hasidic Masters on Contemplative Prayer and Tormented Master: The Life and Spiritual Quest of Rabbi Nahman of Bratslav (all Jewish Lights). He is also author of Radical Judaism (Yale University Press) and coauthor of Speaking Torah: Spiritual Teachings from around the Maggid's Table. He is long associated with the Havurah movement and a neo-Hasidic approach to Judaism.
The Jewish Chronicle--In their streimels and spodiks and long white socks, the Chasidim can seem a world apart. But they have left their mark on the wider Jewish community. The shift away from formal cantorial liturgy to sing-along melodies familiar to many synagogue-goers today owes a good deal to the Chasidic experience.
The early Chasidic masters also bequeathed a profound body of teachings, a way of reading the stories of the Torah as spiritual parables to cultivate inner devotion. This two-volume anthology, compiled by one of the great scholars of our times, Arthur Green, now opens the shutters on largely previously untranslated material.
Arranged according to the weekly Torah cycle, it presents a selection of excerpts from different sources for each sidrah, followed by a short discussion among Professor Green and fellow enthusiasts on how they might appeal to a modern mind; the Hebrew original is printed at the back.
The pioneers of Chasidism were ready to resort to creative wordplay to unlock fresh interpretations from the text. For example, the Ba'al Shem Tov, the movement's founder, gave an alternative explanation to the verse in the Yom Kippur haftarah Do not turn away from your own flesh--usually understood as a warning not to shun the poor--to mean that you should not repudiate your own physical needs.
Such bold readings entailed a rejection of asceticism and a belief that God could be worshipped through the body--a radical notion that put the Chasidim at odds with the intellectual elitism of their opponents.--Simon Rocker "The Jewish Chronicle"


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What does this chart actually mean for us and the coronavirus COVID-19 outbreak? Dr. Joe Hanson, from It’s OK to Be Smart gives us a fantastic explanation of the paradox of pandemics and the science of epidemics.
Stay informed. Stay cautious, but not scared. Listen to scientists and public health officials and follow their guidance. By protecting yourself, you’re protecting the most vulnerable among us. Together we can flatten the curve on COVID-19 and SARS-CoV-2.
Remember, to stop the spread of COVID-19 and protect the most vulnerable people among us, the World Health Organization (WHO) recommends the following actions:
- Wash your hands frequently.
- Avoid touching your face.
- Sneeze and cough into a tissue or your elbow.
- Avoid crowds and standing near others.
- Stay home if you think you might be sick.
- When in doubt consult with a healthcare professional.


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Review-Journal reporter David Schoen recaps the Golden Knights game against the Nashville Predators.
Police used pepper spray to break up a fight at the Canyon Springs-Legacy basketball game Friday at Canyon Springs High (Joel Angel Juarez/Las Vegas Review-Journal)
Golden Knights coach Gerard Gallant on the Subban brothers going head-to-head Friday, Dec. 8, 2017 in Nashville. (David Schoen/Las Vegas Review-Journal)
Coach Marvin Menzies and two UNLV players talk about their game against Illinois on Saturday, Dec. 9, 2017. (Mark Anderson/Las Vegas Review-Journal)
Review-Journal reporters Elaine Wilson, Todd Prince and Jason Bracelin discuss the latest news surrounding the Mandalay Bay and a website selling Las Vegas benefit concert tickets.
Review-Journal reporter Michael Gehlken talks about Amari Cooper returning to practice Friday and how Jon Feliciano missing Sunday’s game effects the team.
The newly relocated Las Vegas WNBA franchise will begin play in the 2018 season. New owners MGM Resorts will integrate a professional franchise into Las Vegas’ busy sports landscape that’s shared with the 51s, Lights FC, Golden Knights and Raiders. Here are some of the expectations and challenges the team will have. 1. Ticket prices: The key to any sports franchise is selling season tickets and group outings. For Las Vegas’ team, that starts with locals. “(You don’t) just open the doors and tell everybody you’ve got a game and stand there waiting to sell tickets,” 51s president Don Logan said. “You’ve got to get out, you’ve got to get out into the community and you’ve got to do everything we do. There’s no easy way.” Last year, San Antonio charged $12 to $165 for single-game tickets for 17 home games. 2. Creating an identity: Coach Bill Laimbeer inherits a team from San Antonio that hasn’t made the playoffs or had a winning season since 2012. Las Vegas’ team is also a franchise that lost its first 14 games last season before finishing a league-worst 8-26. 3. Patience will be required: Will they have to fill all 12,000 seats at Mandalay Bay for the season to be deemed successful? “They have to be realistic,” Connecticut Sun CEO Mitchell Etess said. “If they could get 5,000 bodies into every single game, that would be pretty good for the first year.”
Designer and Realtor Dani Bald-Bruni gives tips on holiday decorations
Ten days ago, Buzzfeed reported that Kihuen’s former finance director had accused him of sexually harassing her and touching her thigh twice in early 2016. Identified by her first name, Samantha, who was 25, says then-candidate Kihuen asked her for sex, and she rejected her advances. Disgusted by his behavior, Samantha quit the campaign and told the Democratic Congressional Campaign Committee why she was quitting.
Disbarred Las Vegas estate lawyer Robert Graham was sentenced to 16 to 40 years behind bars Friday for stealing more than $16 million from clients.


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The growth of cities and regions depends largely on access to technology, especially broadband infrastructure. Broadband connectivity plays an increasingly important role in shaping business development in a geographic area. Businesses and economic developers must make important decisions now regarding digital infrastructure for future gain.
Chattanooga, Tennessee, knows this well. EPB, Chattanooga's non-profit electricity provider, recently built a fiberoptic communication system with $111.5 million in stimulus funds that will anchor the city's smart grid. The grid will include one-gigabit Internet service, making it one of the fastest in the world.
The Recovery Act is bringing broadband to other locations that once lacked it. The U.S. Department of Agriculture (USDA) funded Internet access to rural areas through seven programs. Its Rural Utilities Service (RUS) invested $3.5 billion in funding for 297 broadband infrastructure projects, four satellite awards, and 19 technical assistance grants to extend broadband to rural, Native American, and Alaska Native communities across 45 states and one territory. The agency estimates that about 7 million people in remote regions will now have access to high-speed service.
Essential Part of Business
"Every aspect of business today has something to do with networks," says Hunter Newby, CEO of Allied Fiber. From mobile coverage to fiber-based Ethernet transport, businesses of all sizes require speedy digital service to execute many functions. "This is just for the common office building," Newby says. "Just think if there was no wireless coverage in a certain area."
Broadband is an asset to locations and is important not only to technology industries, but to many other sectors that rely on it indirectly.
"While it is obvious for high-bandwidth-demand businesses like data centers and data storage facilities, which require connectivity directly to the core in order to generate revenue, it is true also for various other businesses, for example, companies that send online catalogs, educational institutions that use e-learning, and many others," says Irit Gillath, vice president of product line management for Telco Systems. "Online sales play a major part of the income for many businesses, and reliable broadband becomes an essential part of the business."
Gillath also notes that areas that have improved their broadband infra structure attract new businesses that grow the local economy.
That was the case for Kellogg's, the iconic food company with headquarters in Battle Creek, Michigan. The city and its economic development group, Battle Creek Unlimited, saw the need for improved connectivity and broadband and took action. In 2002, it built a robust underground conduit system to carry fiberoptic strands that connect downtown Battle Creek with the Fort Custer Industrial Park.
CTS Telecom, a local service provider, claimed 30 dedicated fiberoptic strands for its own use. It acquired six dedicated strands and a portion of the bandwidth for public education, nonprofit, and other governmental uses. The private sector uses the remaining bandwidth. As a result, existing businesses have expanded and the city has created an environment that attracts new business prospects.
Gillath has seen investments such as Battle Creek's pay off for communities. "Companies like Microsoft, Yahoo!, and Ask Jeeves selected Grant and Mason Counties in Washington State for their core business. Broadband offerings in these areas have also attracted other companies," he says. Among the relocations and expansions, Louisville Slugger and Sims moved to Mason County, Washington; Colgate Palmolive moved to Morristown, Tennessee; and Cooper Tire expanded in Auburn, Indiana. While none are telecom companies, broadband accessibility was a deciding factor in those location decisions.
"Broadband and telecommunications have become as important for businesses as the air that we breathe," says Johan Terve, vice president of marketing for Aptilo Networks. "A large portion of the municipalities we work with initiate wireless broadband projects specifically to encourage business development in their area. The Fortune 500 companies we work with to enable Guest Internet Access also understand that broadband and telecommunication accessibility is no longer a should-have but a must-have to remain competitive."
For location selection and development, infrastructure used to refer to roads, airports, and utilities. But Terve has seen broadband become a more prominent factor in company relocations. "The accessibility of broadband and telecommunications has become one of the top three priorities together with accessibility of competent people and customers when selecting a site," he says.
Return on Investment
While broadband is important, it is expensive. "The investment is significant to build and maintain a viable network to offer the level of reliable broadband connections consumer demand," says Judith Langholz of Iowa Network Services (INS), a consortium of 150 Iowa independent communications providers. "Traditionally in Iowa, it hasn't been the municipalities that invest in the required infrastructure. It has been the independent telephone companies deploying fiber-to-the-home and offering state of the art services to residential and business consumers."
Many businesses realize a return on investment from broadband. But implementing and managing broadband requires creativity.
"Fiber to the home can get very expensive," Newby says. "Middle-mile fiber can get expensive, but is manageable as long as there is a long-haul fiber network nearby to connect to that is open, neutral, and reasonably priced. Anyone that just wants broadband for the sake of having it and has no real plan or knowledge of what they are doing will undoubtedly run over budget, build nothing of true value, and fail."
One of Terve's customers avoided such expenses through careful planning. In Taipei, Taiwan, the city unveiled more than 5,000 Wi-Fi access points over a mesh network across most of the city. "While the investment in hardware in this case was of course inevitable, the city saved money by selecting a pre-integrated service management system, which reduced costs on the system integration," Terve says.
Another customer, the Canton of Fribourg in Switzerland, approached cost-cutting differently. Rather than build a large Wi-Fi mesh network, it deployed multiple Guest Internet Access zones at strategic locations throughout the Canton, each providing a tailored user experience for residents and municipal workers. A centralized service management platform tied the system together.
Networks may be deployed in different ways according to needs, according to Gillath. Different approaches require varying levels of municipal involvement. "In the first model, the municipality deploys a fiber network offering open access to various providers," Gillath says. This model is common in rural or low-population density areas where the incumbent exchange carrier offers insufficient services.
"While this requires the highest capital investment, municipalities have good chances to be awarded with a grant or loan from RUS or the National Telecommunications and Information Administration (NTIA) to help fund such an effort," Gillath says. "As seen by past successes, the attractiveness of the area for businesses enhances the local economy and increases tax income for the city due to the new businesses and new jobs created."
In another model, a commercial service provider works with the municipality to deploy broadband connectivity. While the risk and the capital expense to the municipality is reduced, competition and its control over the service is somewhat lessened.
Looking forward, broadband accessibility will only become more critical to business.
"With the evolution of how consumers receive interactive content, on demand movies, games, and more, direct access to a fast, secure, high-capacity broadband connection is required," Langholz says.
The growing population of mobile users will fuel demand for better broadband. "Today, the average mobile broadband connection generates 1.3 gigabytes of traffic per month," Gillath says. "By 2014, the average mobile broadband connection will generate seven gigabytes of traffic per month. During the past decade, business wireless infrastructure has been developed mostly to support business applications such as voice, e-mail, ordering, and tracking. It was largely independent from Internet and Intranet access." But with the advent of smart phones that have broadband connectivity and Internet access, almost every business function can be done remotely.
As a result, Gillath says, many industries will move from fixed-location work environments to a dispersed mobile world. Businesses that do not recognize this trend will lose market competitiveness.
"In the past there were only stationary computers demanding broadband, then some of them got mobile in the form of laptops," Terve says. "Still, bandwidth availability was manageable, as there were not too many users and most used low-bandwidth applications, such as ordinary browsing and e-mail. Over the past few years, the demand for broadband has exploded in the new iPhone era, where all types of devices are connected to the Internet and users expect a high-speed experience everywhere, at any time."
This trend follows the proliferation of devices that are now becoming IP-enabled, including televisions, cameras, power meters, and gaming consoles.
"We see that for mobile 3G data operators, controlling available bandwidth has become a headache," Terve says. "This has led to a growing demand for 3G data offloading solutions, where the users are automatically transferred to a less expensive connection when in range."
Since producing broadband cellular networks is costly, mobile providers will turn to Wi-Fi to complement service. They have already begun to build Wi-Fi networks in locations with a high number of mobile broadband users, such as university campuses and shopping malls.
"Broadband accessibility will continue to be important," Langholz says. "Wireless solutions cannot stand up to the speed, quality of service, capacity, or reliability of data offered from a broadband connection."