Name the song that was played in this scene.
Lyrics: "The ugly things I do for beauty -If bạn could see what's real in me Then maybe beauty wouldn't be so cruel."
"It's ____. I'm here to eat ____ and steal your ___."
Bloodstream from Stateless: Who was in the scene?
"You will learn what I allow bạn to learn is that clear?" who đã đưa ý kiến it?
Who was Matt original ngày from homecoming Dance?
"Does Elena enjoy having both of bạn worship at her altar?" who đã đưa ý kiến this?
"Damn, girl's got moves" who đã đưa ý kiến it?
"A bite from a werewolf can kill a vampire so don't be his friend bạn understand me?" to who was it said?
"A bite from a werewolf can kill a vampire so don't be his friend bạn understand me?" who đã đưa ý kiến it?
Who đã đưa ý kiến "So bạn chose Stefan"
Who siad "I don`t trust Mason, I wanna be there today to keep an eye on him."
In what other T.V. shows does Bianca Lawson (Emily Bennett) appear in?
Who did Elena Saw at the Door?
"He's kidding. He's kidding, wright?" To who was it said?
"6 A.M. Seriously? Do bạn really have nothing better to do at 6 A.M.?" who đã đưa ý kiến it?
"I like to call him papa original" who đã đưa ý kiến it?
"They are looking for Mikael, the vampire who hunts ma cà rồng bạn don't want to wake him he will kill all of you" who đã đưa ý kiến it?
Was Caroline scared of the place that Bonnie brought Jeremy back to life?
"I'm not human. And I miss it. I miss it thêm than anything in the world. That is my secret" in episode?
Who siad "What bạn did for Caroline's mom, that's the Damon who was my friend"
Which episode ? Damon : "Believe it hoặc not Stefan, some girls just can’t resist my good looks, my style and my charm and my unflunching ability to listen Taylor Swift"
"He's finally out of our lives for good" who is "he's"?
Who's wife will appear in the tiếp theo episode of season 3 "Witch House"?
"You know bạn should learn to knock what if I was... indecent" to who was it said?
"There is six other bedrooms in this house" to who was it said?
"this is gonna be fun" who đã đưa ý kiến this?
Acording to Damon, how long time do it take for the vervain to leave the body?
"I've already been there once with bạn and bạn đã đưa ý kiến no. bạn shut me down. I'm not going back there again unless bạn make it crystal clear that.." What did Tyler say then?
How many kids does Katherine have?
Did Damon kissed Elena is the episode "the new deal"?
"Then we'll have to let him go." Who?
Stefan: "I really liked bạn better when bạn hated everybody." What was Damon's response?
"I do believe in killing the messenger. Know why?"
"You've compelled your own private đường băng show?" to who was it said?
"You are not so scary for a badass vampire vampire hunter" who đã đưa ý kiến this?
Joe Knezevich played one of the ma cà rồng from the tomb?
Who đã đưa ý kiến "I care about bạn Damon"
"So bạn chose Stefan" was đã đưa ý kiến to?
Who đã đưa ý kiến this to Damon "Young vampire, so arrogant"
Who gets the moonstone out of the tomb?
Elena-"Jenna be nice." Jenna- "I'll be nice when Damon learns to keep his _____ of,of you."
Original airdate for episode "Klaus"
What is the age difference between Lexi and Stefan?
Lyrics: "I'm getting myself in something I don't wanna-I'm getting caught up in him but I don't wanna-I'm getting off track and I can't control a thing"
Who đã đưa ý kiến "Dear Diary, a sóc chuột, con sóc asked me my name today I told him it was Joe. That lie will haunt me forever"
"Hey. Get some bunny in ya?": who đã đưa ý kiến this?
kat Graham(Bonnie Bennett) has played an episode of hannah montana?
Damon: "It's not in me." What?
"She's a thousand-year-old vampire who's joining the cheerleading squad" who đã đưa ý kiến it?
"I hate everything in my closet" who đã đưa ý kiến it?
"I don't want to be that guy. I hated that guy" to who was it said?
"Hey bạn missed the cake" who đã đưa ý kiến it?
Damon dances with Bonnie in episode 2x18?
In the episode 3x07 when all the Ghost start to fading away who was the last in desappear ?
In the episode Ghost World Jeremy saw Pearl?


A top Navy chaplain who wrote a book several years ago attacking Islam, calling the religion “evil,” and urging the United States to launch a “jihad” against the faith, has been fired from a prestigious theological institute after officials at the school recently became aware of the chaplain’s controversial book.
The chaplain’s dismissal comes nine days after an investigative story I wrote exposed his stance on Islam as well as the chaplain’s numerous degrees and training which were obtained through discredited diploma mills, one of which was the subject of a criminal investigation.
Lieutenant Commander Brian K. Waite came under scrutiny last year after a senior researcher for the government watchdog group, The Military Religious Freedom Foundation (MRFF), an organization that seeks to enforce the separation of church and state in the US military, discovered that Waite appeared in uniform on a website for a fundamentalist Christian group. Waite used his position as a Navy chaplain to promote the fundamentalist organization in what appears to be a violation of long-standing military rules.
In an email I obtained, John Morgan, president of the Graduate Theological Foundation (GTF) in South Bend, Indiana, wrote to members of his faculty March 20 that Lieutenant Commander Brian K. Waite was “dismissed” from the school’s faculty and “is NO LONGER affiliated with the Foundation in any capacity” because of offending material in Waite’s book, “Islam Uncovered.” The book, which was first discovered by MRFF last year, was not included in Waite’s lengthy bio that was once posted on the foundation’s website.


A live MET television broadcast!
A newly issued Metropolitan Opera performance from March 1977 was the first ever Met live telecast, with Renata Scotto and a younger Pavarotti, plausible as Rodolfo. Both are in very fine voice here. Scotto is a memorable Mimì, and Pavarotti is at his most involving. The supporting cast is strong: Maralin Niska as a flamboyant Musetta, and Ingvar Wixell, Allan Monk and Paul Plishka as Marcello, Schaunard and Colline. Levine conducts with great style and purpose . . . Fabrizio Melano¿s production . . . has imaginative touches and the singers respond to his direction . . . As a bonus there are interviews with Pavarotti, Levine and Scotto. The latter has some fascinating things to say about her approach to the role of Mimì and how she achieves such dramatic intensity on stage.
Rodolfo was Pavarotti's signature role, and he was in peak form in 1977. He is funny, warm, touching, and believable, and a consummate vocal stylist . . . Scotto . . . is . . . a most appealing and Italianate Mimì. Today's young singers could learn a lot about coloring and shading their voices for expressive purposes from this performance alone. In the same vein as Magda Olivero and Claudia Muzio, her singing is a paragon of class, communication, and emotional authenticity . . . the brightness of her [Niska's] voice makes her an excellent foil for Scotto . . . It made me cry for both joy and grief several times, and really, what would be the point otherwise?
Mit Renata Scotto konnte die Met seinerzeit eine zweite große Sängerpersönlichkeit aufbieten. Sie präsentierte die Mimi -- erwartungsgemäß -- nicht als passive Schönheit voller lyrischer Eleganz, sondern als bodenständige heroische Frau, die nach dem Aufblühen der Liebe körperliches und seelisches Leid bis hin zum Tod erleben muss.
. . . Scotto, timbre tranchant et mise ingrate, est extraordinaire de présence et d¿émotion.
Levine dirige con gran soltura y habilidad a la magnífica orquesta del Metropoiltan. Finalmente, cabe destacar la magnífica escenografía y diseño de vestuario de Pier Luigi Pizzi.
Levine concierta con su habitual conocimiento y cuidado a unos conjuntos que conoce perfectamente.
La pareja protagonista es simplemente excelente . . . Pavarotti . . . borda cada frase, cada matiz y traslada la profunda humanidad del poeta . . . Levine concierta con su elevado nivel habitual, encontrándose muy a gusto en el repertorio verista.


In a move reminiscent of its Android playbook, Alphabet Inc. (GOOG) open sourced TensorFlow, its new machine learning system, this morning. In plain speech, this means that developers, researchers, and university students can use data from the company's cloud to research or develop custom applications for their products.
In a post making the announcement, the Mountain View-based company stated that it used TensorFlow for everything "from speech recognition in the Google app, to (formulating) Smart Reply in Inbox, to search in Google Photos." The company further stated that it hoped to accelerate artificial intelligence so that "everyone from academic researchers, to engineers, to hobbyists can exchange ideas much more quickly, through working code rather than just research papers." The move makes sense for Google business-wise as well as it could turn into a licensing profit center for the company down the road.
But, the company may face two problems related to this initiative.
The first one relates to data ownership.
More precisely, who owns the final results of the manipulated data?
While open sourcing Amazon Machine Learning earlier this year, Amazon.com Inc. (AMZN) said it would have read access to all data models created within its ecosystem. In addition, the service does not allow export or import of model data sets. As Google's service scales and wide and varied data sets and models are created and used, there is a potential for wider misuse (and propagation) of incorrect data patterns. In the absence of clarification from the company, accountability may become a problem.
The second one is related to competition and ecosystem. Android gained traction because it was working within the limited confines of a mobile ecosystem. Machine learning and artificial intelligence are fairly large ecosystems and span multiple industries and device genres. In that respect, Google faces increased competition from multiple ends. For example, Apple Inc. (AAPL) has snapped up AI companies in recent times. Similarly, Microsoft Corp. (MSFT) announced Azure Machine Learning, a similar initiative, earlier this year using capabilities available in Microsoft products, such as XBox and Bing. International Business Machines Corp. (IBM) also has Watson Analytics, which enables developers to use Watson's powerful engine.
These companies work within closed ecosystems. In a hardware environment, an open operating system ecosystem can cause problems down the road, as Google discovered with bug fixes in Android. Given that deep learning spans multiple industries, the scope and extent of Google's competition and problems could multiply with an open source AI system.
Google's TensorFlow is a step in the right direction. Hopefully, the company has learned lessons from its Android experience (which has largely been successful) to better manage large open source ecosystems.


What are the characteristics of 'normal' skin?
Face Wash - dampen the face with luke warm water, lather a small amount in your hand and gently massage the face to remove dirt and makeup, then rinse with luke warm water.
Gentle Peeling - to exfoliate dull surface cells and give skin a healthy glow. Use light circular movements to massage into damp skin and rinse off with luke warm water. Avoid eye area, surface blood vessels and active spots. 1-2 times per week.
Clay Mask - for a deep cleanse to relax, balance and soften the skin. Apply thin layer and let it work for about 15 minutes and then rinse off with lukewarm water. Once per week.


LOS ANGELES (REUTERS) - Barry Manilow is out of surgery and doing well, according to his publicist, after the singer was rushed to Los Angeles following a performance in Memphis because of complications from emergency oral surgery this week.
The 72-year old, known for hits Mandy, Can't Smile Without You, Could It Be Magic and Copacabana, had performed a show in Memphis on Wednesday as part of his "One Last Time - One Last Tour".
His next two concerts were cancelled and are being rescheduled.
"His doctors report that the surgery was successful and they expect no further complications," said an e-mailed statement from Manilow's publicist, adding that he had been instructed not to talk or sing for the next 48 hours.
"Barry thanks everyone for their well wishes and concern," it said.
On Thursday, a statement posted on the singer's website and Facebook page said he had been rushed back to Los Angeles "due to complications from emergency oral surgery that Manilow had on Monday."
It also said it was not clear if Manilow, whose latest album My Dream Duets is nominated for a Grammy Award, would attend Monday's ceremony in Los Angeles.


So, how does wind power work? I will answer this question for you on this page.
For links to other aspects of wind energy, please see the main wind energy page.
Wind is a form of solar energy. Winds are caused by the uneven heating of the atmosphere by the sun. Follow the link for a detailed explanation to the question - What is wind?
This mechanical power can be used for specific tasks (such as grinding grain or pumping water) or a generator can convert this mechanical power into electricity.
Wind power is an environmentally inert, clean, and inexhaustible source of electrical power.
So how do wind turbines make electricity? Simply stated, a wind turbine works the opposite of a fan. Instead of using electricity to make wind, like a fan, wind turbines use wind to make electricity.
The wind turns the blades, which spin a shaft, which connects to a generator and makes electricity. Take a look inside a wind turbine to see the various parts.
Instruments measure the wind speed and direction of wind turbines. When the wind changes direction motors turn the nacelle and blades around to face the wind.
The nacelle (the box at the top of the turbine) is also fitted with brakes, so that the turbine can be switched off in very high winds, such as during storms. This stops the turbine from being damaged.
All information is recorded by computers and transmitted to a control center. This way people only have to visit the turbine occasionally for a mechanical check.
The real situation is of course more complicated, with many types of wind turbines, different types of generators and safety systems - but this is a good guide to the basics.


Do I have to register polymers?
The REACH Regulation defines polymers in Article 3(5) and monomers in Article 3(6) of REACH.
The European Commission may according to Article 138(2) of the REACH Regulation present legislative proposals with requirements for the registration of polymers once a practicable and cost-effective way of selecting polymers for registration on the basis of sound technical and valid scientific criteria can be established.
Detailed guidance and practical examples are provided in the Guidance for monomers and polymers: http://echa.europa.eu/guidance-documents/guidance-on-reach.
Can I register monomers as intermediates in accordance with Article 17(2) or 18(2) of the REACH Regulation?
According to Article 6 (2) of REACH, the reduced registration provisions with regard to on-site isolated and transported intermediates do not apply to monomers. This means that a full registration dossier must be submitted even if a monomer is used as an intermediate under strictly controlled conditions.
What is an impurity in a polymer?
What is an additive in a polymer?
Some substances are commonly added to polymers for the purpose of adjusting or improving their appearance and/or the physicochemical properties of polymeric material.
Additives which are necessary to preserve the stability of a polymer must be regarded as a part of the polymer in accordance with Article 3(1) of REACH. Any other unbound "additive" must be regarded as a component of a mixture and not as an additive in accordance with Article 3(1) of REACH.
Thus, the importer of a polymer containing additives does not need to register these additives provided that the additives are added to preserve the stability of the polymer. Note however that there is the general obligation to register substances imported in a polymer mixture in quantities of at least 1 tonne per year. Detailed guidance and practical examples are provided in the Guidance for monomers and polymers: http://echa.europa.eu/guidance-documents/guidance-on-reach.
Beside registration requirements, do I have other obligations for polymers under REACH?
The provisions under the REACH Regulation with regard to information in the supply chain (Title IV), authorisation (Title VII), restrictions (Title VIII) and classification and labelling C&L (Title XI) may also apply to polymers. Further information on this issue is provided in Section 3.2.2- 'Application for authorisation', Section 3.2.3- 'Compliance with restrictions', 3.2.4- 'Classification and labelling', and Section 3.2.5- 'Information down the supply chain' of the Guidance for monomers and polymers: http://echa.europa.eu/guidance-documents/guidance-on-reach.
Natural polymers are understood as polymers which are the result of a polymerisation process that has taken place in nature, independently of the extraction process with which they have been extracted (i.e. they may or may not fulfil the criteria set out in Article 3(39) of the REACH Regulation).
Following Article 2(9) of the REACH Regulation, any polymer meeting the criteria of Article 3(5) of the REACH Regulation does not have to be registered.
According to Article 6(3) of the REACH Regulation any manufacturer or importer of a polymer shall submit a registration for the monomer substance(s) or any other substance(s) that meet the criteria mentioned in the respective article. However, monomer substance(s) or other substance(s) in the form of monomeric units and chemically bound substance(s) in natural polymers can, for practical reasons, be treated as "non-isolated intermediates" and do not have to be registered.
3This FAQ has been agreed by the Competent Authorities of the Member States (REACH CA) in October 2008.
Are there registration obligations for manufacturers and importers of natural polymers that have been chemically modified?
Natural polymers are understood as polymers, which are the result of a polymerisation process that has taken place in nature, independently of the extraction process with which they have been extracted (i.e. they may or may not meet the criteria set out in Article 3(39) of the REACH Regulation).
Following Article 2(9) of the REACH Regulation, any polymer meeting the criteria of Article 3(5) of the REACH Regulation does not have to be registered. This includes natural polymers, which are chemically modified (e.g. post-treatment of natural polymers).
Monomer substance(s) or other substance(s) in the form of monomeric units and chemically bound substance(s) originating from the natural polymer can for practical reasons be treated as "non-isolated intermediates" and do not have to be registered. The substances used to chemically modify the natural polymer and which are chemically bound within the final polymer need to be registered according to the REACH requirements.
This FAQ has been agreed by the Competent Authorities of the Member States (REACH CA) in October 2008.
Importers of polymers are obligated to register monomers or other substances chemically bound to the polymers. Do they have to submit spectral data and chromatograms of the original substances used to manufacture the polymers?
Yes. The registration of a monomer or other substance chemically bound to a polymer has to include spectral data and a chromatogram of the original monomer or other substance used to manufacture the polymer.
If it is not technically possible, or if it does not appear scientifically necessary to include this information, the reasons need to be clearly stated. Generic spectral data or a generic chromatogram cannot be accepted as this would not reflect the actual composition of the monomer or other substance used to manufacture the polymer.
It may be the case that a company imports a type of polymer from different sources, and therefore a monomer or other substance used in the manufacture of this polymer probably also stems from different sources. Even when a company imports a polymer from just one source, it can happen that a monomer or other substance used in the manufacture of this polymer stems from different sources.
In these cases, the importer of the polymer is responsible for assessing the sameness of the monomer or other substance from the different sources. If they consider that the substances from the different sources are the same, they have to submit just one registration for this substance with one set of spectral data and one representative chromatogram. In this process, they might still have found out that the substance from the different sources has different impurity profiles. They need to then refer to these different compositions of the substance in their registration dossier.
Are natural proteins and hydrolysed natural proteins polymers as defined in the REACH Regulation?
Natural proteins may be considered as polymers under REACH provided that they have at least 50 weight percent of polymer molecules (in this case, molecules including a sequence of at least four amino acid monomer units) and the content of molecules presenting the same molecular weight remains below 50 weight percent.
Similarly, hydrolysed natural proteins may be considered as polymers if they fulfil the abovementioned criteria. If the degree of hydrolysis is to such an extent that less than 50 percent of the weight of the substance consists of polymer molecules (as defined in chapter 2.2 of the Guidance for monomers and polymers) and/or the amount of polymer molecules presenting the same molecular weight is at least 50 weight percent, the hydrolysed natural protein is not a polymer and, hence, is not covered by the registration exemption for polymers under REACH.


How about the Snickers commercial? They're playing football and the one player is apparently Betty White. Well, the one player starts ragging on him for playing like Betty White. Anyway, this girl comes over and shows the player a Snickers bar and Betty turns in the actual enthusiast. The tagline."Snickers.when you're not feeling like yourself." The ad reveals that if you consume a Snickers bar you realize you'll be just much not so old self again. Oh, and the finish when Abe Vigoda gets knocked down and says, "That hurts" was hysterical.
99-Carl Edwards- All of my top four picks missed the NASCAR Nextel Cup Chase for versus. I guess it's time for a major crystal softball. Edwards was the hottest part of NASCAR subsequent the 2005 season ended, but his 2006 season deflated quickly with four finishes outside for this top 25 in this season's first seven backrounds. Edwards has been unable to uphold any momentum through the season, therefore, he finds himself buried back in 13th position in the NASCAR Nextel Cup standings.
And then fast forward to 2008, modern day muscle car has arrived on the scene. The new Dodge Charger SRT-8 may end the two-door muscle car everyone expects but involved with a modern take for the legendary famous. It is now a sedan set with a usable interior and several standard items. The Dodge Charger SRT-8 is now a muscle car that the whole family can consider.
Yes, most have to put that american muscle Car Dream on a back corner burner, hoping someday, somehow, they'll own a item of history. For most, query isn't "if," it's "when" that'll happen.
Dazed and Confused (1993) - I have been Dazed and Confused for so long its is simply not true! Which sadly that song is not in this movie (it was suppose to be and Jimmy Paige was for it but Plant wasn't). This movie is like the 70's version of American Graffiti except it's initial night of summer not the last and essential character is entering High school. Anyway they is getting chase between a 64 Buick and 72 Chevy Truck, there is often a 70 Chevelle SS 454, 70 GTO Judge, ford fusion decals (https://www.fastcardecals.com) Maverick, 37 Oldsmobile in addition 74 Trans Am!
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Abstract: Vignettes are increasingly used within qualitative studies to research difficult topics, requiring ethical mindfulness and sensitivity from researchers. In this article, I examine the methodological issues of incorporating vignettes within qualitative research, specifically my research exploring South Asian maternal experiences of supporting their children with special education needs and disability (SEND). I present participants with seven vignettes concerning the roles of religion, culture, gender and immigrant history. By presenting the participants' responses, I explore the applicability of two ensuing methodological concerns: 1. Are authentic representations useful and straightforward measure of vignette's effectiveness? 2. Do reduced socially desired responses reflect the effectiveness of a vignette? I consider these questions in detail, as well as how addressing the first issue affected my commitment to the second issue. I conclude that vignettes can be a rich point of reference from which participants can exercise agency and actively construct their own understanding of the issues presented in the vignettes.
"Farah lives in Manchester with her husband and her three children. Her youngest son Adil is 14 years old and he has autism. Farah and her family are very religious ... and regularly attend their local mosque. Recently, Farah has become increasingly worried because Adil has no understanding of prayers (namaaz) which becomes obligatory at his age, and Adil is becoming difficult to manage within the mosque during prayer time. A number of members in the mosque have complained about having their prayers disturbed, and now a committee member has asked Farah and her husband to attend a meeting to discuss Adil's attendance at the mosque.
What kind of advice would you give to Farah about Adil's religious responsibilities?
"Meera lives in Luton with her husband and her two children. Her daughter Mona is 18 years old and her son Amjad is 15 years old. Both children have very similar levels of special educational needs and disabilities and attend the same special school. Meera is already thinking and planning for Amjad to go onto Further Education College and obtain some skills that would be useful for his future career. The school has encouraged Meera to also send Mona to a nearby college after she is finished with her school. Mona enjoys cooking and arts and would like to do this all the time. Meera supports her daughter but also feels that Mona is now at an age when the search for a prospective husband for Mona should begin. Meera also feels that since they do not have any extended family in the United Kingdom, that it would also benefit Mona to have someone to look after and care for her after Meera and her husband have died. Meera is unsure about government support beyond the age of 25 for Mona and since their family finances cannot cope without government support, Meera and her husband feel a potential partner for Mona would also address this concern.
What do you think about Meera's concerns about post-19 support for Mona?
What would you advise Meera to do about Mona's future?
Shehnaz2): "I mean, the stories that you told, I think they were quite interesting, it's something I can relate to because obviously I'm Asian and I've seen these stories before. So, it's something we need to think about."
Notably, the discussion did not end abruptly when Kiran challenged the premise of this vignette; rather, she went on to explain what the fictional character could do in that situation.
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Bywaters, Paul; Ali, Zoebia; Fazil, Qulsom; Wallace, Louise M. & Singh, Gurnam (2003). Attitudes towards disability amongst Pakistani and Bangladeshi parents of disabled children in the UK: Considerations for service providers and the disability movement. Health and Social Care in the Community, 11(6), 502-509.
Chamba, Rampaul; Ahmad, Waqar; Hirst, Michael; Lawton, Dot & Beresford, Bryony (1999). On the edge: Minority ethnic families caring for a severely disabled child. Bristol: Policy.
and violence against women of color. Stanford Law Review, 43(6), 1241-1299.
Croot, Elizabeth J.; Grant, Gordon; Cooper, Cindy L. & Mathers, Nigel (2008). Perceptions of the causes of childhood disability among Pakistani families living in the UK. Health and Social Care in the Community, 16(6), 606-613.
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West, Patrick (1982). Reproducing naturally occurring stories: vignettes in survey research. MRC Social & Public Health Sciences Unit, Working Paper. Aberdeen: MRC Medical Sociology Unit.
Wilks, Tom (2004). The use of vignettes in qualitative research into social work values. Qualitative Social Work, 3(1), 78-87.
Wilson, Julie & While, Alison E. (1998). Methodological issues surrounding the use of vignettes in qualitative research. Journal of Interprofessional Care, 12(1), 79-86.
Dr. Sana RIZVI is a lecturer in education studies at De Montfort University. Her interests encompass developing ethical and emancipatory qualitative research methodologies and examining the educational experiences of minority and marginalised communities.
Rizvi, Sana (2019). Using Fiction to Reveal Truth: Challenges of Using Vignettes to Understand Participant Experiences Within Qualitative Research [40 paragraphs]. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 20(1), Art. 10, http://dx.doi.org/10.17169/fqs-20.1.3101.


Iron Man: My Journey Through Heaven and Hell with Black Sabbath By Toni Iommi with T.J. Lammers Da Capo Press, 416 pp., $26.
It was in the center of a dirty, grimy sheet-metal factory in Birmingham, England, when a 17-year-old guitar player let out a bloodcurdling scream. A horrible machine accident had sheared off the tips of two fingers on his right hand - his playing hand! And, of all ironies, on his last day of work before he planned to quit.
But the plucky player persevered, fashioning his own fake fingertips so he could continue hitting chords - albeit also forced to de-tune his axe strings, giving the instrument a much heavier, deeper sound. He took it to his new band with a dark-sounding moniker. And thus, HEAVY METAL WAS BORN!
Well, not quite. While it's impossible to point to any one person as having "invented" any style of music, the accident that happened to Tony Iommi certainly led to forging the blueprint for the sound of Black Sabbath, and thus heavy metal itself.
• The band wore crosses not as an ironic statement, but to protect them from evil. Their first ones were fashioned by a member's father.
• Sabbath's biggest chart hit, "Paranoid," took about four minutes to write.
• Iommi's first bachelor party included only one other guest: Led Zeppelin drummer John Bonham. Hellraising ensues.
• The "Stonehenge" concert set in This is Spinal Tap? It was based on real Sabbath props - except Sabbath's Stonehenge was much larger than anticipated when the builders mistook measurements in centimeters for inches.
• While renting the house of Richard Branson, the band set off some unused concert pyro - killing off most of the rare fish in the entrepreneur's lake.
• Iommi auditioned a then-unknown singer to front a later version of Sabbath and considered hiring him. His name? Michael Bolton.
There are also plenty of stories of hotel trashings, religious protests and controversies, Iommi's coke-and-booze binges, the sometimes dangerous practical jokes played on Bill Ward, including Iommi's penchant for lighting the drummer's beard on fire.
And, of course, his ups and downs with various Sabbath lead singers, including Ozzy Osbourne, Ronnie James Dio, and Glenn Hughes.
Iron Man is a good read, although - like his stage presence - Iommi is fairly stoic in his narrative style. The reader gets factual details, but not many emotional ones. It's what Iommi did, but not always what he felt or thought, that takes precedence.
As to the newly-rampant speculation that the original Fearsome Foursome of Iommi, Osbourne, bassist Geezer Butler, and drummer Bill Ward will get back together for a farewell album and tour, the author sheds no light on the situation.
Then again, what would you expect from music's other Man in Black?


Tuesdays to Sundays (including holidays), from 11 a.m. to 9 p.m.
The exhibition is composed of 117 works of art, most of them sculptures, but also paintings, installations, objects, photographs and videoprojections.
The exhibition The State of Things. The object in art from 1960 to the present day was presented in its first version at the Museum of Fine Art in Nantes from the 28th June to the 12th October 2003. It marked the cultural event called "Public Treasures, 20 years of creation in the Regional Funds of Contemporary Art in France", organized by the French Ministry of Culture and curated by Jean Marc Prévost.
One year later, the museums of MARCO in Vigo and ARTIUM in Vitoria are hosting this exhibition. As for MARCO, this is the first time a temporary exhibition occupies both floors in the museum, due to the high number of works of art exhibited and their large size.
The exhibition is composed by 117 works of art from the collections of 17 FRAC (Fonds Régionaux d'Art Contemporain, i.e. Regional Funds of Contemporary Art in France), created in 1983 by the French Ministry of Culture and the regional governments. The FRAC are a network of 24 centres focused on the dissemination and support of contemporary creation, following a policy of cultural decentralization that has proved high success in the acquisition of works of art.
This exhibition presents a selection of these collections that leads us along the evolution of international contemporary art from the beginning of the sixties -when everyday objects were integrated into art discourse- to the present day. Thus, the status of the "object" in art is introduced and analyzed in all its forms and states throughout different artistic movements.
The original project is enriched in MARCO's and ARTIUM's version by the addition of Juan Muñoz and Joan Brossa, two recently deceased Spanish artists, whose works abound in the FRAC collections. On this occasion, their brilliant career will be commemorated in two halls showing diametrically opposed approaches to the object.
Following this method of analysis -a sort of cross section-, objects gradually turn into reflections of contemporary vision right in front of us. They sometimes tell us about the experience of the immediate environment; claim for their individuality and that of their creators; make us think about their role and effect on consumer society; raise questions such as the uselessness of the work of art or the borders between art and design; or become metaphors, symbols or traces of their immediate past and their origins. In short, they operate as a channel for the better understanding of contemporary art.
The exhibition opens with Duchamp's Boîte en Valise (1966), and it obviously could not be otherwise. This work reproduces 83 miniatures of the creator of the readymade, who turned a urinal into a "work of art" when he entitled it Fountain (1917) and presented it at an exhibition. The artist decided to decontextualize and put on a base this everyday object, which became then an artistic object. The result went beyond provocation and laid the foundations of a new concept of artist and work of art, still valid today, claiming that the idea is more important than the product itself.
It has been forty years of piled up, crammed, invented, recycled, manufactured and decomposed objects, manipulated by artists in all the imaginable ways: everyday objects deflected from their roles by Fluxus or provided with a memory by Christian Boltanski; objects rejected after having been used by consumer society and reinvented by the "New Sculpture" in Britain; objects deflected from their roles by Bertrand Lavier or John Armleder; objects inventoried by Claude Closky; objects displayed by Christian Marclay; objects piled up by Daniel Firman; objects magnified by Patrick Tosani; objects coming from ephemeral encounters orchestrated by Gabriel Orozco; and all the other machine-objects, showcase-objects, cynical objects, bandaged objects, etc. This provides an insight of what has been created in art through exhibitions taking place since the birth of contemporary art. In these exhibitions, things swiftly become objects and objects become products, oscillating relentlessly from one to the other, between irony and cynicism, criticism and demonstration, protest and aesthetic fascination.
Fluxus artists (Robert Filliou, Ben) drew inspiration from the Dadaist and Duchampian heritage, decontextualizing everyday objects to produce "poetic and political" images and puns. Later, Pop artists (Richard Hamilton, Andy Warhol) and New Realists (César, Raymond Hains) took an interest in mass consumer goods and incorporated them as integral part of their work of art. By doing so, they intended to establish a direct relationship between reality and the changes taking place in the contemporary world.
After the sixties, Christian Boltanski followed the trail of Conceptual Art and conceived a series of intimate objects full of memories. During the eighties, the "New Sculpture" in Britain (Tony Cragg, Bill Woodrow) picked up the forms of Minimal Art and Conceptual Art to reveal an interest in the extent of consumer society. Richard Artschwager's decontextualizations, or later Bertrand Lavier's, John Armleder's or Sylvie Fleury's are a way to critically trace the history of contemporary sculpture and painting.
During the nineties, Claude Closky worked with language and object, taking and staging anodyne "things", while Fabrice Hybert's POFs (Prototypes d'objects en fonctionnnement, i.e. prototypes of working objects) question the systems of art production and spreading. Objects can also take part in a more narrative field -as in Xavier Veilhan's works- or become a product, as Jean-Luc Moulène shows in his creations. Gabriel Orozco, for his part, questions the concepts of "crafts" and "industrial product", while L'Atelier Van Lieshout, among others, reflects on the status of a work of art, its role and its representation, so as to raise again the question of the economy of object and its desires.
The addition of objects to the work of art, the artistic object and its role, art and consumer society... These issues and many more are raised by The State of Things, an exhibition of the peculiar voyage of objects and their creators through the history of contemporary art.
"The exhibition THE STATE OF THINGS. The object in art from 1960 to the present day. Collections of the Regional Funds of Contemporary Art in France, presented now at MARCO, Museo de Arte Contemporáneo de Vigo, and ARTIUM, Centro-Museo Vasco de Arte Contemporáneo de Vitoria-Gasteiz, is an exhibition that will mark us, filling us with renewed energy and the best of intentions towards contemporary art. This was at least the spellbinding sensation we all got when we visited in the summer of 2003 its first version presented at the Musée des Beaux-Arts in Nantes. On that occasion, the exhibition was curated by Jean Marc Prévost and was part of the many events organized by the French Ministry of Culture and Communication to commemorate the twenty years of the creation of the FRAC, Fonds Régionaux d'Art Contemporain (Regional Funds of Contemporary Art).
This commemoration was one of the reasons for our satisfaction. It is not everyday that one has the opportunity to assist to the coming-out of so emblematic a cultural event at national level, helping us to become reconciled with our profession and with cultural management. These 24 FRAC were launched in 1983 thanks to the joint effort of the French Ministry of Culture and the regional governments, and in our opinion this was one of the most original and best focused European cultural proposals.
The targets of their foundation were mainly two: the establishment of a network of centres to disseminate and support contemporary creation, by means of the acquisition and protection of works of art, and the strengthening of a real policy of cultural decentralization. The results are clear: not only has it resulted in the creation of many collections with more than 15,000 works of international artists -some of them specialized in art and its relationship with architecture, cinema or design-, but these collections have a high artistic and economic value as well -due to the good criteria of acquisition. And it cannot be forgotten that artists from different generations and countries have been wholeheartedly supported by the FRAC, which have also undertaken the invaluable and hard task to raise public awareness of contemporary art through exhibitions and educational activities. All in all, they set the perfect example of how to successfully approach political projects in the cultural field at national level.
One of the other reasons for our enthusiasm for this event was the high quality of the works of art exhibited -a small selection of works of art from the collections of the FRAC- which, in an excellent installation, narrated the history of the representation of the object in contemporary art from the sixties to the present day. Sculptures, installations, videos, paintings and photographs, from the pioneer Marcel Duchamp, through Fluxus, Pop and Conceptual artists to New Sculpture in Britain or New Realists, showed us how everyday objects have settled forever into contemporary art discourse. And we say "narrate" because we could feel objects talking to us.
We were finally captivated by the freshness of the exhibition and its undeniable sense of humour. The decontextualization of an everyday object from its role and environment raises inevitably misinterpretations and paradoxes that may get a smile out of us. This, together with the addition of the said object to a work of art and its later exhibition in a museum, will most probably turn the misinterpretation into discourse and the paradox into metaphor. That is the power of art."


Coverage from the Leveson Inquiry into media ethics and phone hacking, in which evidence will be heard from representatives of the Daily Express and Daily Star, including the group's owner Richard Desmond.
• Richard Desmond's evidence that newspapers are a "non-growth" industry in which stories don't sell papers.
• The Daily Express and Daily Star forced to defend themselves against accusations of imbalance and anti-Islamic behaviour.
• The disclosure that not all editors read reports on the press from the Information Commissioner.
No evidence will be heard tomorrow. The inquiry will reopen at 10am on Monday.
16:35 Inquiry hears Daily Star has found "plenty" of examples of positive coverage of Muslim stories, including about patriotic Muslim children.
16:34 That's the end of Richard Desmond's evidence.
16:34 Desmond says he "definitely" doesn't want to extend his newspaper holdings because it is a "tough, tough business".
16:30 To summarise, Desmond has just claimed that the McCanns must have been happy about coverage in the Daily Express because they did not complain for weeks, then only decided to sue when they got a new team of lawyers.
16:28 He says the McCanns were happy to have the articles printed about Maddie but says that it was only when "new lawyers" came along that the situation changed, "that's a fact". Jay is angrier than I've seen him appear in saying his claims are outrageous that the McCanns weren't upset by the coverage.
If you think that newspapers are important we've got to be in a situation where people have opinions and ideas.
16:25 We're now on Diana, Princess of Wales, of whose death Desmond reports there were theories that she was killed by a member of the Royal family.
16:22 Desmond gets into a tangle with his sums, wrongly totting up the numbers of weeks in four months, and has to be helped by Jay. The paper owner then says - while accepting they did wrong - that there were about 70 articles which were good.
16:21 Inquiry hears the McCann litigation comprised of 38 defamatory articles over four months and that Express newspapers were guilty of the worst examples.
16:19 Desmond apologises after making a joke which Leveson didn't get and had to ask the meaning of. It was that the proprietor said media oversight should be with an "RCD" board in charge. That's "Richard Clive Desmond".
Unfortunately, we are in a non-growth business... this inquiry is probably the worst thing that's happened to newspapers in my lifetime... the banks are very hard on business, it's very hard to get money... and therefore people are looking at every penny they're spending and if they believe that newspapers are basically hacking low-lifes then they are not going to buy papers and in the last few months sales have never been so bad. I'm not blaming the inquiry I'm blaming the hacking thing.
He goes on to urge prosecution for those companies and individuals guilty of phone hacking who are still "walking the streets".
Editors have to believe that by putting a good story in they sell more papers, they have to. They day they don't is the day they go and play golf, or whatever it is ex-editors do.
16:12 He says Peter Hill, then his editor at the Express, was vilified for "printing the facts" about the McCann case.
16:10 He says the PCC was completely ineffective and run by people who were trying to put Express Newspapers out of business and yet "smiled at us".
16:09 Desmond now calls his competitors "idiots" for supporting the Newspaper Marketing Agency.
I think it's Britain's worst enemy, the Daily Mail.
Leveson interjects to stop him continuing. Jay then makes a mistake and calls him Paul Dacre (the Mail's editor) by accident. Desmond replies that: "Dacre's the fat butcher."
15:58 Desmond says that, "no disrespect to journalists and editors", that the only way to make any meaningful difference to circulation is to "stick a £5 note on the cover... or a £50 note is better".
15:57 Express owner says: "The circulation figures of newspapers are pretty static. They're only going one way."
I felt that I betrayed Tony as a mate, as a bloke, I felt that he was doing a good job. He came to my house, I went to his house but at the end of the day Peter Hill runs the paper and it's a decision that he made.
We were a bit stuck as to what to do... we thought the management was useless and we could do a better job.
Ethics. I don't know what the word means.
He said we do not talk about morals or ethics because there is a very fine line. Presumably, he means between what is and what is not acceptable.
15:47 He says that seven years ago they were selling 400,000 copies a day and now it's more like 700,000 because "the readers have decided... they can't get enough of it".
15:45 Desmond says he was told after he bought the Daily Express that he was not allowed to know who a group of shady-looking members of staff were and learned that they were the investigations team. The editor, in his first week, asked for £5,000 in cash "to pay these geezers, as they called them, to do their work". He said he thought the last thing he was going to do was to pay cash to people so he decided: "Let's cut the whole area." The approach won him lots of friends in the building, he said.
There's more to life than the chess correspondent based in Latin America.
15:40 Desmond adds that the key to his aim to transform the Express papers was to use better photographs and better relationships with advertisers.
15:37 He says he bought the newspapers when the only other people "that were going to buy it were the Daily Malicious, sorry, Daily Mail... and the only other person was the disgraced Conrad Black".
He said we had to get rid of people who "as Jethro Tull would put it, were living in the past".
15:36 He says the point of his publications is to "provide a great product that you want to buy every week".
15:34 Richard Desmond, founder and owner of Northern & Shell - owners of the Daily Express, Daily Star and Daily Star Sunday - is giving evidence.
15:24 And we're on another break. That's Ashford done. Richard Desmond's next.
15:21 The question is whether the PCC was ever a regulator or whether it was just a complaints and mediation procedure, Leveson asks.
15:18 Ashford says if a member is not allowed to leave a press watchdog then you will end up with "draconian fines". Instead, he recommends setting up something which people don't want to leave.
15:12 Ashford says N&S would not sign up to the PCC again as it is currently composed.
15:02 "The behaviour of the PCC was wholly hypocritical and unhelpful," says Ashford, justifying the departure of the papers from the committee. He adds that it was not right that Sir Christopher Meyer, then the PCC's head, criticised them.
14:57 Ashford says that Northern & Shell were looked down on by the Fleet Street newspapers for originally being magazine publishers.
14:54 The executive says he did see the bills for searches but there was no way of saying whether the cost was for one or many, therefore it did not raise any alarms.
14:52 Ashford says he was not aware of the ICO reports until recently.
14:51 Ashford says he has some "influence" on the paper but does not make decisions on editorial content.
14:48 He says the board did not criticise him for the payout of over half a million pounds to the McCanns. And that's it for him. Next witness is Paul Ashford, group editorial director, Northern & Shell.
There was an enormous clamour for information and I felt this story was something which should keep running.
14:43 The former editor, whose last day in charge was in February last year, says he does not remember seeing stories routinely marked "legal please" for the attention of the lawyers.
14:42 First mention of Princess Diana, one of several stories the Daily Express was keen on.
Jay says it is not the same thing to risk inaccuracies about Big Brother as it is about the McCanns.
14:37 Hill, in response to probing questioning from Jay, says: "I do not think I am on trial here."
14:35 Asked if he accused the McCanns of killing Maddie, he said it was not his story but reporting of what the Portugese police were saying. He said he ran them because he believed they might possibly be true.
I did not accuse them of killing their child.
14:34 Asked if he often repeated the same front page story on consecutive days, he said: "Of course."
14:33 Hill says the McCann story was the biggest he had seen in 50 years.
It was not a story that you could ignore and you simply had to cover it as best as possible.
Clearly a politician would rather you were a friend than an enemy.
14:28 Hill tells the inquiry he chose to move the paper's support to its "traditional constituency" of the Conservative party because it had always been right of centre, that lots of its readers shared a right-leaning view and that it had been a "great mistake" to decide to the support the Labour party.
14:26 He says he has "no idea" whether private investigators were ever used.
14:25 Mr Hill says he has not read two reports from the Information Commissioner which dealt with the behaviour of the press. Hill says he brought in changes to the way the paper was run, saying he would've expected the newsdesk to tell him if it was going on.
14:18 He says he believes in self-regulation but was comfortable with the decision to leave the PCC because, among other things, it was "not doing the job it needed to".
He adds that instead of preventing people from taking matters to court, it ended up giving judgements which were used as evidence in court cases.
14:17 Mr Hill says reality television, in particular Big Brother, which he "splashed" 28 days in a row, was of huge interest to readers and it boosted the Daily Star, which he was working for at the time.
14:16 He says all the national newspapers that he has worked for are "very different" in their world view and all form part of the "marvellous variety" of the "great" British press. However, he says, in organisational terms, they have much in common.
14:13 His evidence is over. The next witness is Peter Hill, former editor of the Daily Express, who was in charge during the disappearance of Madeleine McCann.
14:11 Whittow says he doesn't want state or government intervention in whatever body succeeds the PCC.
Everything works well. There have been some rogue incidents that have brought us to this stage.
He says he can tell from some of the questions and answers that the inquiry is not clear about how journalism works. He says the internet "is not part of my life" but says it is his main concern and worry for the future.
14:08 Leveson speaks out to be clear that his thinking is not fixed on what he will recommend. He has "not made any decision at all but I am very concerned that the system works, not only for the industry, the journalists, but for the public".
14:07 Here we go again: the future of regulation on the industry.
13:08 Another session in which the questioning was tougher than on occasion. Mr Jay appears to be keener to drill down on a particular subject than he has been earlier in the process.
13:01 That's lunch. After lunch it'll be on the regulation of the press. They will be back live at 2pm.
I've got a very, very good working relationship with the staff. They are very loyal to me and I am very loyal to them and, as a result of that, I think we've got a very good organisation going forward.
12:56 They're now talking about salt being banned in chip shops. Jay says there wasn't a ban and asks if it's an example of a splash which is designed to catch the eye even if it's misleading. Whittow says it's something that got people talking.
12:53 Cash payments to sources have been ruled out at the Daily Express for a long time, the inquiry hears.
12:51 He says he understands the paper's used search agencies but not private investigators.
12:48 Asked about the use of private investigators, Whittow says he "had no knowledge of it at all until it started appearing in the newspapers and on the television, and that surprised me".
12:40 He says he would be very surprised if any of his journalists did not tell him what they were doing.
12:35 Whittow, who took over as editor in February last year, says that one of the reasons the paper left the PCC was that it did not interject to stop them writing stories which meant they had to pay £550,000 to the McCanns. He is asked if that he was he really means. He confirms it.
Dan Sabbagh - Amazing. So Whittow is basically saying the PCC should have saved Express from itself by banning McCann stories.
12:27 Whittow says a good journalist is "very talented, very bright and very thorough". While a good editor "knows almost everything that is going on in a paper".
When in doubt check it out and if you're still in doubt leave it out.
12:19 He says journalists now work two or three times as hard as when he was a reporter.
12:18 Hugh Whittow, editor of the Daily Express, is next up. He says most newspapers are the same to him.
12:15 Ms Neesom's final comment to the inquiry is, again, kind to the judge.
You're far more intelligent than I am so I know you're going to come up with something very good.
11:53 She says there was a lot of anger against poppies being burned on Armistice Day, whoever was responsible for it.
11:51 She says the paper has "a balanced agenda" which the readers appreciate. She said the readers contact them more about television and "who fancies who" rather than with reaction to stories about Muslims.
11:49 Jay asks Ms Neesom to come back with written evidence of how many pro-Islamic stories they have run in the last year. She says she would be "delighted" to do so.
We are not biased against Muslims.
11:42 Daily Star/Daily Star on Sunday front pages splashes for one month alone included 12 on "X Factor", six on "Katie Price" and three on "Muslims", Tabloid Watch found.
We write stories to be as accurate as possible. They are written in the Daily Star style.
She denies that there is an anti-Islamic tendency at the paper.
11:36 She tells the inquiry she's surprised she did not learn about the use of Whittamore until today and says the system can always be improved and "will discuss it.. immediately".
11:34 Back in the room. Continuing with Ms Neesom and returning to topic of search agencies.
11:26 Another "seven-minute break" for the inquiry.
11:25 Asked if this shows support for a fascist group, she clearly denies it, saying as a "Jewish-owned company we were worried about this development".
11:23 Ms Neesom insists that a front page headline "English defence league to become a political party" was based "on fact".
11:22 Mr Jay accuses the Star of "overstepping the line... sometimes by a millimetre and sometimes by a kilometre".
It maybe overegged the pudding and maybe it did go too far.
11:17 She is shown a front page with the headline saying that "Telly king Cowell is dead". She explains that is is about his him leaving the show, X Factor. She says it was intended to create impact. Mr Jay asks: "Even though if one was going to be pernickety about it, not to say pompous, about it, it's wrong, isn't it?" She replies: "It's eye-catching."
We take a serious note of privacy. It gets expensive if you don't.
11:12 On reader relations, she says: "We love our readers. It's what pays our wages really."
Celebrities do their own kiss and tells on their Twitter site... we can't compete with that.
11:07 Ms Neesom tells the inquiry she was not aware of searches being done until her lawyers told her "because I hadn't been on the road as a journalist for some time and in my day we didn't do that sort of thing... I wish I had known".
I've known Katie since she was 17. She doesn't need any help in embroidering her life. She does that herself.
I have been known to pass comment if I'm not happy with something.
Leveson looks at her and she adds: "My husband looks at me like that as well."
After brief laughter dies down, the judge says: "I'm usually responsible for the jokes."
She smiles and adds: "Your jokes are much funnier."
The fact that we are not in the PCC has not really affected the way we operate because we adhere to the code.
10:56 She says "most" of the stories in the paper come from their staff journalists.
10:53 Asked about the effects of having the smallest staff on Fleet Street and whether that means accuracy is sacrificed, she says they employ people who are accurate, explaining that a small staff means employees are more focussed but do have to work harder.
We are a tabloid and we're not The Guardian, that's for sure.
10:51 She says The Sun was much more "full on" and "quite a scary place to work". Adds she's tried to make the Star more female without being "girly" but not alienate the core readership.
10:49 Dawn Neesom is taking the stand. She used to work at The Sun.
10:49 Miss Patterson says she is "absolutely" bound by the code of practice of the PCC. Asked by Leveson if this is irrespective of their non-membership, she says yes.
10:48 Nothing of substance disclosed. Only that she would have advised on any of the Madeleine McCann stories when she was on duty.
10:46 We're moving onto the McCanns, who took legal action against the newspaper.
It's not the policy of any of the Express titles to print stories on the private lives of celebrities....?
10:33 Express Newspapers spent £9 million on photographs in 2008, inquiry hears, and over £100k on searches in 10 years.
10:38 On privacy she says she asks several questions of the provenance of photographs, including where and how they came to be taken - including ones taken of people on yachts - but acknowledges that is a "very fine balancing act".
10:37 Miss Patterson tells inquiry she doesn't fact check because that is for journalists to do but if she has concerns she asks them if they can be sure, how they got the information and expects answers before she clears the story.
10:21 Inquiry told Express Newspapers used the private investigator Steve Whittamore for 63 searches, according to their records. She adds: "I have no knowledge of how the fees were negotiated."
If I employ a company to do something for me then I expect that they will do it professionally and within the law.
We haven't found any evidence to suggest that anybody was doing any phone hacking or anything of that nature.
09:45 One of the reasons Richard Desmond's evidence is likely to prove interesting is that his papers are the main group which are not part of the Press Complaints Commission. The businessman also has a reputation of being a prickly individual. Previous evidence given to the inquiry suggested that the Express's senior executives were "obsessed" about the disappearance of Madeleine McCann, so the issue might be raised today.
The newspaper industry failed to take up an offer to view evidence that more than 300 journalists had been involved in illegally accessing information, according to the Information Commissioner's Office.
Christopher Graham, the Commissioner, invited editors to visit his offices in September 2009 to see information about possible criminal acts by their staff, contained in confidential files from an investigation known as "Operation Motorman". No newspaper took up the invitation until early last year, when one unnamed publication got in touch with the ICO. Several more newspapers asked to see the files last summer after the Government had announced a public inquiry into malpractice by the press.
09:39 Others expected to be heard today are: the editor of the Daily Express, Hugh Whittow, and Dawn Neesom, the editor of the Daily Star.
He also claimed that the Mail on Sunday might have hacked his phone to obtain a story about his relationship with Jemima Khan. Mr Grant claimed that an article suggesting he had 'late-night phone calls with a plummy-voiced studio executive' could only have come from listening to his voicemails.
But Liz Hartley, head of editorial legal services at Associated Newspapers, which publishes the two titles, rejected the actor's claims.
A former Scotland Yard detective arrested for allegedly making unauthorised leaks to a journalist has asked to appear as a key witness before the judicial inquiry into press standards.
Dave Cook, a former chief superintendent, yesterday requested core participant status, which would enable him to cross–examine witnesses who appear before the Leveson inquiry.
Mr Cook, 52, who now works for the Serious Organised Crime Agency, is understood to claim he encountered "obscene corruption" while working for the Metropolitan Police.
He was questioned earlier this week by the Independent Police Complaints Commission over allegations that he leaked sensitive material to a journalist.
Last year, it emerged that he had complained about being followed by the News of the World in 2003.
09:27 Much of the reporting in today's papers of yesterday's evidence focussed on that of Peter Wright, the editor of the Mail on Sunday, for his disclosure that the paper had continued to pay the private investigator Steve Whittamore after he had been charged with illegally obtaining and distributing information. The evidence also gained wide circulation on Twitter.
09:16 Good morning. We'll be following the Leveson Inquiry again closely today, as it comes to the turn of the Daily Express and Daily Star, which are owned by Richard Desmond as part of his firm Northern & Shell.


What Is an Oil Refinery?
An oil refinery is a facility where crude oil is processed into various chemical products and by-products. These products are used for a multitude of industrial and commercial applications. The most common chemicals produced by refineries are fuels and lubricants such as gasoline, kerosene, and motor oil. An oil refinery produces a multitude of other chemicals, including the ingredients for plastics and other useful materials.


If it was a do or die situation, and I had to choose one fighter.. I would choose Mayweather in a heartbeat.
Manny is a great fighter, but Mayweather is a better boxer.
Every fight, you can barely land a punch on pretty boy.
Yeah, same here. I think Mayweather can win the fight, but Pacquiao won't be an easy KO. I actually like Pacquiao's attitude over Mayweather's, and he's a helluva boxer from what I've seen, so I'll be rooting for him if it goes down, but if I was a betting man, I'd probably take Floyd.
I wonder how much race is deciding who is rooting for who.


Made an offer by " pay for deletion" letter and received a counteroffer by phone.
1) If they will not agree in writing to remove "negative marks" from my credit, but "case" will be dismissed with prejudice, in which case I will be considered as the winner, will I be able to ask credit bureaus to remove all negative information regarding that account?
2) If the answer for 1st question is "No", then how to make them add those terms to "settlement agreement"
I'm also considering to go to the court and even if they will be able to get a judgment against me, it will be really hard to collect from me... I'm self-employment with low income and no assets. I'm sure all my property is exempt from collecting.
Any ideas on how to use it as a leverage in settling?
Any help, thoughts, and ideas will be appreciated!
1) If they will not agree in writing to remove "negative marks" from my credit, but "case" will be dismissed with prejudice, in which case I will be considered as the winner, will I be able to ask credit bureaus to remove all negative information regarding that account?
You won't be the "winner" because the case will not have been decided on the merits. You can try to use the dismissal in requesting deletion, but you should expect Cap1 to respond with what I said about the case not being decided on the merits, and it's unlikely the CRAs will delete.
2) If the answer for 1st question is "No", then how to make them add those terms to "settlement agreement"
You can't, and they won't. Cap1 never agrees to pay for delete because people come to these message boards and run their mouth.
They don't care. It maybe difficult to collect from you today, but the way they see it you may inherit $1 million in a year, and their judgement will be first in line to collect what's owed.


Google Pixel 3 Review: What's the Price for a Super Camera?
The new Google Pixel 3 is, in theory, a well balanced phone that provides just about everything the discerning Android user needs, in a surprisingly small form factor. And it gets extra kudos for this, in today’s phablet-dominated world. However, despite the use of pure Android, Google-style, a great camera system, and blazing performance, it’s not easy to fall in love with. The blame for this? At least one unambitious component choice and a marketing-driven price that’s patently crazy.
But don’t let that put you off – there’s a significant market for Android phones with no manufacturer skin, no bloat, no add-on services to push. Anyone who has used a Sony, Samsung, LG, or Huawei/Honor phone in the last decade will recognise all of this and there’s a massive ‘breath of fresh air’ factor with Google’s first party phones. You build up your software load out almost from scratch, with just the stuff you want included, just the online services you choose.
Now, without bundled software and services to help subsidise the phone, you’d expect to pay more for it, and you’d be right. In the UK, the Pixel 3 is a whopping £739 inc VAT for the 64GB version and £839 for the 128GB variant. Given the ubiquity of a glass sandwich form factor, genuinely off the shelf components, including a Snapdragon 845 chipset and 4GB of RAM, an AMOLED 1080p display without notch, and so on, competing handsets with similar basic specification are dramatically cheaper.
The review Pixel 3 was in the new colour ‘Not pink’. Which is shown off quite well here, though it appears white in other lighting and photos!!
Making the real question, how much do you value having pure Android and how much do you value having high specs – including IP68 waterproofing – in a ‘compact’ form that’s trivial to slip into the smallest pockets? If you’re OK with a £200+ premium – and that’s a big ‘if’ – for these factors then the Pixel 3 is possibly your best option, with some nice surprises included, not least an astonishingly good camera set-up.
The Google Pixel hardware has been improving year on year and the Pixel 3 nails it in most regards. The glass back is mostly frosted, making it much grippier, to the extent that you could consider keeping the phone ‘naked’, i.e. uncased, since it’s unlikely you’d drop it from your grip alone. The top section is the unadorned glass and is oleophobic, letting you appreciate that Google specced most of the back to be the high-grip finish!
The two tone finish is hard to make out in photos, but it’s definitely there and the grippy matt majority feels great!
The front’s also oleophobic, of course, nicely so, for a very slick finger touch experience. The top and bottom bezels are significant by 2018 standards but still a better look than for last year’s Pixel 2. They match too, unlike on the larger Pixel 3 XL, of which more in the next review.
The top bezel contains a pair of chunky front cameras (also explaining the 3 XL’s notch), plus there’s enough bezel surrounding the top and bottom speaker grilles that a visual inspection leads to an impression that Google might indeed have improved on last year’s Pixel 2 speakers – “40% louder” is the claim. However, last year’s true stereo speaker pair (in the 2 and the 2 XL) has been ditched for an imbalanced ‘tweeter’ for the left channel (i.e. the usual earpiece) and a full size speaker at the bottom, for the right channel. Commonly referred to as ‘faux stereo’, this arrangement isn’t terrible, but in terms of stereo purity, it’s arguably a downgrade from what we had in last year’s Pixels, whatever Google might claim. Yes, the EQ and sound processing has been ‘tuned’ by a ‘Grammy award winner’ and there’s a bit more bass and top end, but the main speaker sounds over-driven to achieve this. It’ll sound better for the human voice and for pop music, but classical music in particular sounded better on the previous generation.
Down the bottom is the solitary port, USB Type C with Power Delivery compatibility, up to 3A, i.e. 15W, anyway, plus a single nano-SIM pop-out tray. There’s no audio jack, just as with last year’s Pixels, though Google makes up for this by including both Type C headphones and a high quality DAC/dongle in the box, for anyone wanting to plug in legacy 3.5mm headphones.
The button arrangement on the right side is kept from the older devices, so a (in this case orange!) power button and twin volume buttons below.
But it’s on the Pixel 3’s back that its biggest Unique Selling Point lies. The rear camera has just the one lens (plus a somewhat mysterious ‘spectral and flicker sensor’), but the magic happens in software.
The base camera is nigh on identical to that in the Pixel 2 series, i.e. 12.2 MP, f/1.8, 1/2.55″ sensor and OIS, with dual pixel focussing, so pretty high spec without being best in class. But, as usual, it’s Google’s software that makes sure results are up with the best in the world – up to 15 frames are now shot for every single photo, with the HDR+ software, completely revamped for the Pixel 3 range, combining all the exposures intelligently to minimise noise, and maximise detail and dynamic range.
And results are superb, as you can see below. Right up with the iPhone Xs range and the best of Samsung. Yes, they have a certain HDR, high contrast character rather than an absolute purity, but they also usually have a certain ‘wow’ about them, and that’s what users like.
Example photo, an easy sunny landscape, other than the mass of fine detail in the tree.
1: 1 crop, showing pretty good detail – there’s sharpening but it’s usually under control.
A typical wow photo – I pointed the Pixel 3 into the sun as a HDR test, thinking there was no way the phone camera would get a good shot. How wrong I was….
1:1 crop, even this is dramatic and useful. And remember that I was shooting straight into the sun. Wow.
This was shot in a very gloomy church, yet the HDR+ software has found colour and detail… and drama and character. Very impressive.
At 1:1, the details are astonishingly good – remember this was an unlit and gloomy church interior!
One of my standard night shots. The church is floodlit, but the light levels are still quite low.
At 1:1, there’s some evidence of noise reduction, but there’s still reasonable detail, all under savage lighting challenges.
The single lens, AI-assisted Portrait mode works superbly – even with unusual layouts, here with a horse too!
At 1:1, you can see some digital zoom artefacts, but the detail still isn’t terrible. And I suspect Google will improve all this in further updates.
Zoomed by about 3x, though there’s no readout in the UI, so it’s hard to tell what the exact zoom factor is!
1:1 crop of the zoomed photo, again there are artefacts, but they’re not too ugly and the shot is far better than a traditionally digitally zoomed image. Go back up and look at the unzoomed shot, then look how far we’ve come ‘in’. On a single lens phone camera!
As shown in examples above, the Pixel 3 Camera software goes further, emulating optical zoom not with a high resolution PureView sensor or by using an extra telephoto lens, but by using natural hand wobble during those aforementioned 15 fast-taken photos to do sub-pixel rendering and allowing genuinely lossless zoom. And if you mount the Pixel 3 on a tripod, so there’s no wobble, the OIS mechanism is wobbled artificially for you, when zooming, to make sure that enough pixel detail is gathered to do the zoom calculations.
It’s a clever idea that we’ve seen attempted in the past by the likes of OPPO, but implemented better here. See the results above, though note that zoomed photos aren’t quite as good as those from a dedicated 2x or 3x telephoto lens, such as on the Mate 20 Pro or Galaxy S9. But they’re impressive for a single lensed device.
Plus you get a Top Shot feature that, in theory, intelligently captures and saves multiple frames when shooting people and presents the one in which eyes, smile, etc. are perfect. It didn’t work at all for me (and yes, I had ‘Motion’ set to ‘auto’) but Google are still actively fiddling with the Camera app on the Pixel 3, so updates should get this working reliably.
Ditto ‘Night Vision’, which has yet to arrive as I write this, with Google again (in theory) taking loads of frames and combining and aligning them auto-magically to create night shots that almost look like they were shot in daylight. We’ve seen this from Huawei and OnePlus before, and I’m sure Google’s version will be just as good when it arrives.
Video capture is up to 4K has the usual excellent Google software stabilisation, though it’s marred by loud hiss on the audio soundtrack. It’s not clear what causes this, but it’s a fair bet that something can be done with a software update, if Google cares enough to listen.
Traditional selfie. Ignore the good lighting from the HDR+ software, it was raining, as you can see on my glasses if you look closely, and I was – literally – sheltering under a big tree!
Wide angle selfie using the second FFC, accessed by zooming ‘out’ in the UI – you can see the software switch to this fixed focus wide angle camera.
In terms of OS and software, this is the easiest phone series to review in the world. You know exactly what you’re getting already. Stock Android, with all the latest Google applications and services, tying into each other for authentication and generally playing well, and with ZERO bloat and ZERO need to go through the interface fiddling with things out of the box.
True, as mentioned at the outset, you’re paying for this in terms of the asking price for the Pixel 3 series, partly because there are no commercial deals behind the scene, to reduce the price through subsidisation. The high cost does also include three years of full resolution, full quality backups of all your photos and videos – and that has to be worth something. Plus there are various deals around the world, including bundled ChromeCasts, Pixel stands, and so on.
Battery life is great, Android 9 is a huge step forwards, in my view – I was able to get through a full day with consummate ease. It’s clear that nothing non-essential happens when the phones are on the desk or in your pocket, saving fast amounts of battery power, then all that non-essential catching up takes place when the screen’s on and you’re using the phone again. But the screen-off standby is excellent.
Google’s decision to equip the Pixel 3 with 4GB RAM (as on the Pixel 2) has been a bit controversial but it works on this smaller Pixel. With a 1080p display and perhaps a lighter computing workload, the Pixel 3 has been fine, I loaded up a dozen big applications and all were kept in RAM for 24 hours without anything being closed down. I watched free RAM during all this and it was right down to the wire at times, but that 4GB RAM was always enough.
Of course, the QHD display and potentially higher workload on the Pixel 3 XL are a different story – for another review!
For completeness, capacity is 2915mAh – charging is fast at 3A from the supplied Power Delivery charger, plus there’s Qi top ups through the day if you feel the need, a welcome return for wireless charging to the Google first party phone series.
Overall, there’s a lot to recommend here. Set in an imperfect Android world where security vulnerabilities, malware and other issues are weekly news events, and where even major manufacturers have flawed update records, the pure Google ‘monthly updates’, only days behind the OS code itself being fixed, take some beating. And are worth paying for.
And if you need further convincing then take comfort from the fact that you’re getting (hardware and software combined) one of the best cameras on a smartphone today (certainly the one that gives best results with a minimum of user effort), plus you’re also getting flagship specifications in almost every regard. Water and dust proofing, great display, Qi charging, and so on.
Sceptics will point to the lack of a 3.5mm audio jack or the imbalanced speaker arrangement, but these can be overlooked if you want all Google all the time – and it helping you day after day, month after month, with no carrier or other sponsor messages or spam to impede your experience.


Is it possible to use MS Document Explorer to view ArcObjects Help at v10.0?
I just moved from 9.3.1 / VS 2008 VB.NET to 10.0/VS2010. I noticed during install of the "ArcObject SDK for the MS .NET Framework Setup" a "hint" shows up in the install dialog that says the ArcObjects documentation would use the help format used by Visual Studio 2010. Didn't think much of it until I began working in VS and opened AO help. VS2010 uses Internet Explorer to view help documentation whereas the AO help is still formatted for MS Document Explorer I'm willing to guess - not a good fit. I called ESRI and they mentioned this was a known issue - told me they would log my concern as an enhancement request ( you break something and then to fix it you consider it an enhancement?) Anyway I asked if there was a work around and was told I could uninstall the AO SDK, load VS 2008 Express and then select VS2008 as my documentation version during the re-installation of the ArcObjects SDK. Only one problem - VS 2008 doesn't show up during the re-install.
Please verify that you have SP 1 installed for Visual Studio 2008.
No, I do not... I take it I need to. Will post when I have installed it.
I'd like to know if the "enhancement" has been added, because currently the ArcObjects SDK for .Net (v.10) is corrupting the local Help System of Visual Studio 2010 whenever, or however, we install it.
As an example: The hyperlinks do not work in either product documentation after applying the SDK.
The starting environment is: Visual Studio 2010 with SP1, HelpViewer 1.1, and a local library store. Everything works correctly, i.e., the local Help system functions as expected.
Then we install the AO .Net SDK, open the Help, and see "bare bones" html pages. Click a local link, and we see a page of XML, typically with the embedded message that the page cannot be found.
We do a clean install of Visual Studio 2010 and reset the Help system; perform the same steps with the SP1 for AO .Net SDK, and we get the same result.
We've tried installing the SDK numerous times now, with clean starts everytime. NO LUCK.


The company had struggled financially from the beginning. But, under the leadership of the new president, the small business was thriving. The company was out of the red and into the black. The wages and benefits of all the employees had increased significantly. Everyone was excited about the future potential. As a result of the success, a decision regarding the direction of the company came to the forefront. Did the company expand to a new and uncharted market or continue to grow and build an even stronger financial foundation?
Because of the recent volatility of the local economy, the president believed building a stronger foundation at least for the present was the best option. In contrast, one of the managers thought expanding the company in a new, exciting direction was the best direction.
Instead of talking directly to the president in the group discussions, the manger made the decision to talk despairingly to the other managers about the leadership of the president.
Triangles occur in relationships when person A has a conflict with person B and chooses to talk with person C rather than person B. What often motivates person A to talk to person C is the attempt by person A to manage his or her own emotional comfort. Person A’s conflict is with person B, not with person C. So it is much more emotionally comfortable for person A to speak with person C.
As mentioned, person A’s conflict is with person B. Speaking with person C does not help toward resolving person A’s conflict with person B. The focus of person A going to person C is typically on viewing person B as being the problem. Consequently, person A does not really have to look at their contribution to the conflict. Focusing on the other person as the problem can be a way of distracting oneself from the discomfort of seeing his or her own contribution to the conflict. Since comfort is the primary motivation in triangles, person A involving person C focusing on person B, person A has accomplished the goal of managing his or her comfort level.
It is too easy for person A when speaking to person C about person B to put themselves in a good light and person B in a negative light. This is usually a distortion. Though individuals may respond differently to conflict, each person generally has a part.
When putting person B in a negative light person A is asking person C to accept the notion that person A is the better person than person B. Person A is asking person C to side with him or her against person B. This is destructive to relationships.
Person A’s request to talk with person C about person B puts person C in a very awkward position. When person A comes to person C and complains about person B, this creates an implicit threat that if person C doesn’t agree with person A, person A could go speak with person D about person C.
Typically, when person A goes to person C, person A presents a compelling case to person C about person B. So much so, that it may be difficult to disagree with or go against. Even if person C may know different they may not want to experience the discomfort of their own conflict with person A.
One of the common reasons for person A to talk with person C is to solicit support and validation for their own behavior or perspective. By establishing an alliance with person C against person B, person A has created a gulf between all parties involved and has destroyed trust within the group or organization. Again, person A will likely not learn much about their contribution from the conflict with person B. In addition, by going to person C about their conflict with person B, person A has created additional conflict for himself or herself with person C.
The motivation for person A to speak with person C instead of person B is usually personal comfort instead of personal growth. Personal grow usually is the result of some discomfort.
When person A speaks with person C about person B, it creates a culture of fear and mistrust.
It could be helpful if person A was genuinely asking person C for insight into his or her own behavior or perspective.
Before you initiate a triangle or are being asked to participate in one, stop and think about what you really want for yourself and your relationships. The choices you make in response to conflict in your relationships matter and always have consequences. Triangles create division among community. They create a culture of distrust and fear. They are ways individuals hide from there own fears and fail to take responsibility for what they are responding to inside themselves.
In contrast, if you go directly to the person you have a conflict with there is a chance for both of you to grow in your understanding of yourselves and each other. There is potential that you may have more in common than you realize.
© 2018 Larry S Barber | All rights reserved.


Hibernating Garter Snakes: a must or an option..?
The Mexican Black-bellied Garter Snake is a very unusual garter snake. In visual appearance it is strikingly different from the average garter snake. This species has a narrow pointy head, smooth and shiny scales and is short and stout built. It occurs only in Mexico and 4 subspecies have been described: Thamnophis melanogaster melanogaster, Thamnophis melanogaster canescens, Thamnophis melanogaster chihuahuaensis and Thamnophis melanogaster linearis.
The subspecies are difficult to distinguish from each other, especially if the origin of the specimens is not exactly known.
Just like the subspecies of Thamnophis eques (with which it coexists at many locations in central Mexico) this species is rarely encountered in private collections and Thamnophis melanogaster canescens is probably the only subspecies being kept in captive maintenance in Europe.
The Mexican Black-bellied Garter Snake is a rather short species of garter snake.
Maximum length mentioned in literature (Rossman, Siegel & Ford, 1996) is 86,4 cm.
Most adult specimens are not much longer then 50-60 cm and 70 cm is even for a female a considerable size.
Especially the females are relatively stout bodied.
The dorsal color pattern is highly variable and many specimens are definitely more beautiful then the limited amount of pictures one can find in literature. The dorsal and lateral stripes may be present (al be it often vague) or absent. They also can be unspotted or heavily spotted.
The belly of this snake can also vary from yellowish, greenish, black to striking bright red. In case the belly is not entirely black (only in the melanistic specimens) there is a black line in the centre of each belly scale. In T.m.canescens this black line may be small or absent, in other subspecies it can be relatively wide and solid.
Gregory et al. (1983) reports a population inhabiting lake Cuitzeo which is extremely polymorphic: dorsum may be gray, green, brown, red, orange, pink or yellow, spotted or unspotted and striped or unstriped. En all of these possibilities occurs in varying combinations. Red specimens are definitely not exclusive for lake Cuitzeo. I have witnessed red individuals also in lake Chapala (Bol, 2010) and in lake Cajititlan.
In lake Chapala I also found extremely beautiful melanistic snakes (Bol, 2010) which are almost 100 % black, much more so then the well-known melanistic common Garter Snakes (Thamnophis sirtalis). I have not seen any literature mentioning melanistic specimens.
Mexican Black-bellied Gartersnakes do very well in captivity. Due to its moderate size it is recommended to keep them in a terrarium with a minimum size (for one adult couple) of 70 x 50 x 50 cm. They do well in a dry and well ventilated cage with just a water bowl for swimming and drinking. The water bowl should be big enough for them to submerge in. Local temperatures in the terrarium should rise to 30 – 35 °C. In a terrarium the adult snakes can often be seen basking in the cooler winter and spring months, but if the terrarium gets relatively warm the snakes like to hide underneath rocks etc. They can be very shy. Often one has to sneak into the room in order to observe the snakes.
When they get older they show themselves a lot basking on a branch under the lamp and most specimens loose all of their shyness.
Their eyesight is well developed and they can hunt on sight both above and underneath the water very well. Often they are very fast and their movements very precise during feeding. They feed on dead and live fish without problems. A hibernation will not be absolutely necessary although it is expected that they will have a resting period in nature when they are less active. A cool period in the terrarium of 2 – 3 months will probably be sufficient to keep the snakes in good health and to stimulate breeding.
Up to now I hardly give the snakes a hibernation. But the snakes are clearly less active in the coldest winter months; they bask less and often refuse to eat for several months. So do not worry when this happens.
During the winter months night temperatures in my snake room (and in the terrariums) drop at night to 8 – 12 °C. I keep most of my adult snakes in a completely dry terrarium with a water bowl. This species is also very suitable for a so-called “aqua-terrarium” with a lots of water and only a small (completely dry!) land part which is heated by a powerful lamp to 30 – 35 °C. In such a habitat terrarium the highly aquatic snakes will show more of their natural behavior. And they will be more visible. Currently I keep a group of subadults in such a aqua-terrarium and they do very well in this set up.
The young are usually born in my terrariums in May, June or July.
Thamnophis melanogaster canescens can be found from 1158 – 2545 meter above sea level.
It is not known whether they hibernate in the wild.
I have observed this species all through the month of November actively basking and feeding at several locations within Mexico.
Habitat of Thamnophis melanogaster canescens: lake Cajititlan, Jalisco, Mexico.
I have found them in the large lakes (Chapala, Cuitzeo, Magdalena, Cajititlan, Zacapu) where they occur with Thamnophis eques but also in canals and small creeks. Always very close to or in the water. They seem to remain active as long as day temperature rises above the 19 – 20 ºC (which usually occurs throughout the year in Jalisco and Michoacán).
My recent article about Thamnophis eques scotti (Bol & Bruchmann, 2012) that can be found online in english on this website can serve as a standard recommendation (care sheet) for this species.
Actually I keep this species often combined with Thamnophis eques (see the text about the different subspecies of T.eques). In the wild both species occur sympatric at many locations (personal observation). So the combination of these 2 species are just like they occur in the wild. The two species are so different as far as color, shape and size are concerned which makes it interesting to keep them together.
My breeding groups consists of (offspring of) 9 unrelated wildcaught specimens originating from the lakes of Cuitzeo, Chapala and Cajititlan.
So I have snakes available from unrelated parents, without much chance of inbreeding.
I am breeding this subspecies since 2007. Due to the big variation in dorsal color and pattern this species is highly suitable to breed on color or pattern.
Currently programs are set up for red, melanistic and grey-green spotted morphs.
Bol, S., 2010. Exciting observations on two sympatric garter snakes in “la Laguna de Chapala”, Mexico. ( Part 1 of 2). The garter snake 15 (1): 16-27.
Bol, S., 2010. Exciting observations on two sympatric garter snakes in “la Laguna de Chapala”, Mexico. ( Part 2 of 2). The garter snake 15 (2): 10-19.
Bol, S. & H. Bruchmann, 2012. Scott’s Mexican Garter Snake (Thamnophis eques scotti; Conant, 2003) in the wild and in captivity. ( Part 1 of 2). The garter snake 17 (3): 15-25.
Bol, S. & H. Bruchmann, 2012. Scott’s Mexican Garter Snake (Thamnophis eques scotti; Conant, 2003) in the wild and in captivity. ( Part 2 of 2). The garter snake 17 (24-31): 16-27.
Rossman, D.A., N.B. Ford & R.A. Siegel, 1996. The Garter Snakes. Evolution and ecology. University of Oklahoma Press, Norman.
My name is Steven Bol and on this website I would like to share with you my passion for North American Gartersnakes and Watersnakes.