Close one!Īnother time in NYC, I randomly encountered a Human Rights march that sprung up in the West Village. My friend talked me down and I made it out unscathed. I was about to lay it down as a wager because I was confident I could beat them at their own game and was going to win the pot. One time I almost lost my AE-1 to 3-card monte street hustlers. Our parents trusted us and we were off, cameras in hand, to photograph big city images and people. Growing up as teenagers in the suburbs, we often jumped on the train to New York City as a fun, welcomed adventure. This experience has since become a source of humor between us, and we laugh about it to this day. However, with time, I came to understand his perspective and the joy of capturing moments. I was initially frustrated as I saw it as a disruption and violation of the continuity of my soon-to-be manicured contact sheets. On that same vacation, my dad borrowed my camera and snapped a few photos when I didn’t expect it. I kept a “borrowed” arm of a CPR baby dummy in my camera bag and when we stumbled upon a dead shark on the beach my vision suddenly came to life. Once, I captured a series of impromptu shark-eats-baby photos. In the summer, Block Island, a small island 12 miles off the coast of Rhode Island, was our playground. I collected records as most teenagers did and I kept track of them on index cards, making note of who was in each band, and when friends borrowed them and gave them back. My stereo was always on (loud) and 1980s music was a constant presence in my life. My bedroom was tucked up in the attic where I had space to spread out with my various pet birds, my camera, and my music collection. We lived in an old Tudor house perched on a hill overlooking a hidden pond in Chappaqua, NY, an enclave of grassy and woodsy suburbs just north of New York City. I also scored 3 or 4 of those new-fangled Kodak Disc cameras that were all the rage in 1984 too! My AE-1 accompanied me everywhere I went and I burned through rolls of black and white film (usually Kodak Tri-X 400) and photo paper (usually Ilford 100), mowing neighborhood lawns to fund my passion. I received an upgrade for my Bar Mitzvah a few years later when I was gifted a Canon AE-1. They bought me my first camera, a Kodak Instamatic 100 at Disney World in 1977. My parents would often compete with each other to who took the best vacation photos, as delivered by the mailman a few weeks after we got home. Yet, within its walls lay a world of magic, a world where the right combination of chemicals, temperature, time, and agitation would transform the abstract into the tangible. Swayne was the gatekeeper of the darkroom, a mysterious space hidden behind a closet door in the hallway. My passion for capturing time was fostered by the school’s full-time photography department, which was led by the revered Glenn Swayne. I snapped them all: the teachers, the well-groomed preppies, the athletic jocks, the cerebral geeks, the free-spirited burners, the smokers, the eclectic new wavers, and even the hardworking lunch ladies. My role as the photographer for the school yearbook was demanding, but also very rewarding, as I captured the individuality of our campus and senior class through portraits that defied the conventional. As the photo editor of Horace Greeley High School’s student newspaper, The Greeley Tribune (1986-1988), I captured the essence of student life, from the sports fields to the cafeteria, and everywhere in between.
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This 12th edition (1969) had a first printing of 20,000 copies, which sold out before the publication date even arrived, and went on to achieve total sales of more than 150,000 copies-equaling the sales for the first eleven editions combined. One of the most significant revisions was begun in the 1960s, led by the editorial team of Catharine Seybold (1915–2008) and Bruce Young (1917–2004), who rearranged, expanded, and updated the nearly twenty-year-old 11th edition (1949) and in doing so solidified the Manual’s position as the industry leader on style matters. This hundred-plus-year evolution has taken place under the ongoing stewardship of Chicago’s renowned editorial staff, aided by suggestions and requests from the Manual’s many readers. Now in its 17th edition, The Chicago Manual of Style-with more than a thousand pages in print or more than two thousand hyperlinked paragraphs online-has become the authoritative reference work for authors, editors, proofreaders, indexers, copywriters, designers, and publishers. (See a facsimile of the 1st edition in PDF format.) At 200 pages, the original Manual cost 50 cents, plus 6 cents for postage and handling. That sheet grew into a pamphlet, and by 1906 the pamphlet had become a book: Manual of Style: Being a compilation of the typographical rules in force at the University of Chicago Press, to which are appended specimens of type in use-otherwise known as the 1st edition of the Manual. 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As such, some parents may feel that their children are mature enough to handle the character and the themes that come with her.Īt the same time, there are some aspects of Harley Quinn’s character that may not be appropriate for all ages. In these iterations, she’s typically portrayed as someone who is highly entertaining and endearing, even if her actions are often morally questionable. While Harley Quinn isn’t explicitly marketed to children, many young people are fans of hers due to her appearances in media like the animated series or her recent live-action movie. When it comes to age-appropriateness, one thing to consider is the maturity level of the person consuming the content. She’s also typically presented as a love interest or accomplice to the Joker, a notorious villain in the Batman universe. In general, she’s portrayed as a woman who is smart, quirky, and highly skilled in gymnastics and acrobatics. Firstly, Harley Quinn is a fictional character who has existed in various forms in DC Comics, movies, and TV shows for over 25 years. While there isn’t necessarily a definitive answer to what age is appropriate for Harley Quinn, there are a few important factors to consider. While some viewers may find the content challenging or objectionable, the R rating is appropriate given the mature content of this film. Harley Quinn offers a dark and adult-themed interpretation of the character and her world, and the filmmakers have chosen to present her story in a way that is true to the comics. These scenes are not gratuitous but are integral to the character development and plot. Similarly, the movie features sexual content, with multiple scenes depicting suggestive behavior and partial nudity. The dialogue frequently includes F-bombs, S-bombs, and other coarse language, which is not suitable for young children. In terms of language, the movie is peppered with profanity and vulgarity, with the characters often using obscenities to express themselves. The level of violence and gore is consistently high throughout the movie, and some viewers may find it disturbing. Additionally, there are scenes involving torture, where characters are subjected to extreme physical and psychological abuse. The fight scenes are frequently brutal, with weapons like baseball bats, hammers, and swords used to inflict serious bodily harm on opponents. The movie includes scenes depicting graphic violence and action, including fights, gun battles, and explosions. The filmmakers have taken this character and portrayed her in a way that is true to her comic book origins and personality, which involves a great deal of adult content. The main character, Harley Quinn, is infamous for her association with The Joker, the crazed arch-nemesis of Batman, and her tendency to be involved in acts of violence, chaos, and mayhem. The movie features a character who is deeply flawed, with a complex psychological makeup that makes her extremely unpredictable and volatile. Harley Quinn is rated R primarily due to its strong language, violence, and sexual content. After melding, the cards are put back into the player’s hands in preparation for the next step. Players score points from special combinations of cards that they have in their hands. Designate one team as “A” and the other team as team “B”. Players should be seated across from their partners. Setup Pinochle is a card game played with four people on two teams. The teams score points based on the cards in the tricks that they won.The players play and win tricks (sets of four cards).Teams score points based on the different melds (special combinations of cards) that they have in their hands.The winner of the bid chooses a suit to be the trump suit.Each team bids on how many points they think they can win during this round.Scoring tricks (This is done after all the tricks are played)Įach round has the following general pattern:.Scoring melds (This is done after the bidding phase and before tricks).There are two ways to earn points each round: The cards rank as follows: A (high), K, Q, J, 10 (low). Two decks are combined to play this version of the game, and the nines and jokers are removed. Pen and paper to keep score, or use our provided score sheetĮach pinochle deck contains four aces, kings, queens, jacks, tens, and nines - one of each suit. We recommend reading over the entire instructions before playing your first round of Pinochle. In this article, we're going to explain how to play double pinochle, which is played with four players in two teams. There are many versions and variations of this game. Pinochle is a classic card game that has been played for hundreds of years in Europe and America. This move was innovated and popularised by Mil Mascaras, who used it as a finishing move. Flair's use has made it a tradition for fans to yell his signature "Wooo!" whenever any wrestler uses it.Ī variation of the aforementioned chop, the wrestler runs and lunges forward in a crossbody-esque fashion while crossing their arms in an "X" fashion and then hits a double backhand chop to the opponent. Many wrestlers use this chop, often referring to it as a knife edge chop, but it is best known for being used by Ric Flair. The act of a wrestler to slap the chest of his opponent with the palm of the hand using a backhand swing. The Bronco buster is normally treated as having comic or sexual connotations rather than as a legitimately painful move, the latter particularly true during some matches between female wrestlers. Goldust added pelvic thrusts to his version of the Bronco buster. In the Bronco buster, an opponent is seated in the corner of the ring while the attacking wrestler jumps in the corner, straddling his or her opponent's body, and bounces up and down on the opponent's chest. This move was named after its most notable user, Sting, and is also commonly used by Shelton Benjamin.Ī vertical splash is a jumping attack made against a standing opponent, landing against the opponent's upper body while remaining upright, and bringing them down to the mat into a vertical splash ( seated senton) position. This is an attack in which a wrestler runs at an opponent, who is upright in the corner, then jumps forward so that he splashes his whole body stomach-first, squashing his opponent between him and the turnbuckle. This variation was first made popular by Stone Cold Steve Austin. This move, popularized and subsequently named after Lou Thesz, sees the attacking wrestler jump towards a standing opponent and knock him over, resulting in the opponent lying on his back with the attacking wrestler sitting on the opponent's chest, pinning him in a body scissors.Ī variation involves the attacking wrestler jumping on a running opponent, then repeatedly striking the opponent in the face while in the mounted position. There is also an aerial variation, known as a flying crossbody, where wrestler leaps from an elevated position towards the opponent. This is normally used by bigger, heavier wrestlers.Īlso known as crossbody block, this is a maneuver in which a wrestler jumps onto his opponent and lands horizontally across the opponent's torso, forcing them to the mat and usually resulting in a pinfall attempt. The wrestler charges into an opponent in the corner of the ring without leaving their feet, crushing them into the turnbuckle. On some occasions a wrestler has a short running start before executing the move. This move was a trademark of Haystack Calhoun and has been a mainstay in the movesets of heavier/larger wrestlers. The big splash involves a wrestler jumping forward and landing stomach-first across an opponent lying on the ground below. It is executed from a running or jumping position, using momentum and weight to impact the opponent, and most variations can seamlessly transition into a pin. Big Van Vader frequently uses this move as a counter to charging opponents, as well as combining it with a running avalanche in the corner, where it is referred to as a Vader Splash.īody press For aerial variations, see Wrestling aerial techniques#Splash.Īlso known as a splash or body block, a body press involves an wrestler falling against the opponent with the core of their body. It is often used to escape a bearhug hold. The attacking wrestler slaps both ears of an opponent simultaneously with the palms of his hands, distorting their balance. Also known as a Reverse Elbow, in this attack, the wrestler stands with his back to a running opponent and thrusts out an elbow, into which the opponent runs. Cut a sheet slightly smaller than the mold’s diameter, lay flat into mold half-filled with concrete, then fill mold to top. Wire mesh (such as chicken wire) greatly improves concrete strength. Concrete which has been completely painted with either concrete paint or patio paint need not be sealed. For stones containing iron oxide pigments, UV sealants will help maintain color.Īllow the stone to cure 10 days to 2 weeks before applying sealants. Water-based epoxy bonds well to concrete, is harder than acrylic sealants, but isn’t UV-stable. Solvent-based acrylic sealants generally perform better than water-based products for outdoor use, are UV-stable, and are recommended for applications where a flat finish is desired. Acrylic sealants are UV stable, inexpensive and easy to apply but have the softest, least durable finish. There are many sealants available on the market. They permeate the pores in concrete, helping form a water barrier. Some ways to prevent cracking are:įound in hardware and home improvement centers. Concrete is porous any water which has soaked into the stone will freeze and expand during cold winters, possibly creating fractures. Special consideration needs to be given to the durability of stepping stones in cold climates. During periods of extreme heat orĬold, cure stones in a basement or insulated garage. NOTE: Moderate temperatures in the 50’s and 60’s (degrees F) are ideal for curing concrete. After demolding, cure stone another week before setting in ground. Then fill the mold, tapping a few times to level concrete.Ĭover filled mold with plastic sheeting and allow concrete to harden in a cool (and level!) location for two days before removing from mold. Think of this motion as a gentle vibration. Turn the mold 90 degrees and repeat, until all four sides have been lifted and tapped down. To remove air bubbles from the concrete (which otherwise form pockmarks on the finished surface), lift one side of the mold ¼”-½” and tap lightly up and down on the worktable for a minute or so. Take notes on how much is used so that the color can be duplicated or tweaked in future pours.įill mold with 1/4″ to 1/2″ of concrete, just enough to cover the design surface. The colors will appear muted while the concrete is still wet, so resist adding extra pigment. Generally, 3-4 tablespoons pigment per step stone and 1 1/2 tablespoons per Edging Stone stone will produce a pleasing saturation. If the mixture is so runny that these ridges don’t appear, add a little more dry concrete. The mixture should be the consistency of muffin or brownie batter and “ridges” should form when a stick or paddle is run through. Add water slowly, stirring well between additions. |
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