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Stapled to a 16th Ave. telephone pole.
New Yorkers in general and aspiring professionals in particular are linked umbilically to the telephone. The day the phone circuits went out in lower Manhattan thanks to a fire in one of the switching centers downtown, and there was no telephone service for a week, two actors and a nightclub comic killed themselves out of desperation.
Every would-be actor, dancer, singer, comedian, window or set dresser, flower arranger or street peddler has a service. "Call my service," they'll tell , "This is my service number." An answering service is something they just can't do without. Con Edison may shut off the gas; they may not have enough dimes for the clothes dryer in the laundromat; they may not have tasted real food since the last time they went home to mother, but they have a service.
Tony of course had told Joy to "call my service," and had given her a telephone number. The grungy single-room-occupancy hotel where he was sacking out had something that once functioned as a switchboard, and an ancient and decrepit unshaven relic who had once furnished a doorman-cum-desk ...
President Cyril Ramaphosa answers questions on the economy, border control in the National Council of Provinces (NCOP). (Photo: GCIS)
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
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Shot the top left photo the night before, matches the white motorcycle...SkullCandy helmet says ANSWER.....like the URL, link above. Motorcycles placed perfect for the kiosk too. Orange marker in place. Yellow Sling shot [like blog] too.
Tenuous Link: Mud > slinger > sling shot [bottom right]
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Answer to yesterdays macro mystery. A squeezy-pig stress toy! They seem to accumulate on my desk, probably because with me they are well treated. They never get squashed or drawn on or thrown. Its like a squeezy-pig sanctuary ;) See alternative photo <a href = "http://www.pbase.com/suzy_walker/image/100080133/">here</a>
Secretary of State Antony J. Blinken answers questions at the opening session of the Chiefs of Mission Conference at the Department of State on June 21, 2022, in Washington, DC. [State Department Photo by Ronny Przysucha / Public Domain]
Fonte : Wikipedia
The group was founded in 1981 under the name Paradox by drummer Kelly David-Smith and guitarists Pete Mello and Dave Goulder, who were later joined by bassist Jason Newsted. Jason had answered a newspaper ad that Kelly had placed in the local newspaper looking for a bass player. Jason came to Phoenix with his band Gangster from Michigan on their way to California, but Gangster broke up while in Phoenix. Kelly got a call from a couple of his high school friends, Mark Vasquez and Kevin Horton, looking for some people to jam with playing covers of bands such as Iron Maiden, Judas Priest, MSG, and UFO. The band then morphed into "Dredlox" together with the new recruits, Jason was now the main vocalist.
Kelly saw "A.K." (Eric A. Knutson) singing "The Goodbye Girl" at his high school talent show. In 1982 they were in the same summer school class and Kelly asked Knutson if he wanted to audition. They put him on 2-week probation and he later joined the band. Due to the provisional nature of his membership, the band referred to Knutson as "the 2 weeker." Ed Carlson, from another local rival band called Exodus (not to be confused with the California Bay Area thrash metal band of the same name), also joined in 1983 after Kevin's departure from the band. The name of the band changed into The Dogz, but it didn't last long. Eventually the band renamed itself "Flotsam and Jetsam" after writing a song inspired by a chapter of J. R. R. Tolkien's The Two Towers.
The band made its live debuts in local clubs and in California and had the opportunity to play with bands such as Megadeth, Armored Saint, Alcatrazz, Malice, Exciter, Mercyful Fate, Riot, Autograph and Icon. In 1985 Mark Vasquez stepped out and 17-year-old Michael Gilbert joined the band. Flotsam and Jetsam released two demo tapes Iron Tears and Metal Shock in 1985.
They created their first video "Hammerhead" from the Metal Shock demo: "We taped it in Jason and Ed's apartment living room. We also made a live video at the infamous Bootlegger in Phoenix", (owned by Gloria Cavalera, currently married to Max Cavalera) These videos and the band's demos made a good impression on record labels. After the band contributed to the Speed Metal Hell II and Metal Massacre VII compilations, they then signed a deal with Metal Blade Records.
1986–1987: Doomsday for the Deceiver
Flotsam and Jetsam recorded their debut album Doomsday for the Deceiver in Los Angeles with producer Brian Slagel and engineer Bill Metoyer. The album was released on the 4th of July in 1986, and was the first in Kerrang!'s history to achieve the 6K rating.
Bassist Jason Newsted, who was also the band's main lyric writer, departed soon after to join Metallica, replacing their bassist Cliff Burton, who died in a bus accident. On Halloween night 1986, Jason played his last gig with Flotsam and Jetsam. The band had asked another local bassist Phil Rind of Sacred Reich to fill in Jason's place for a short time. They then hired Michael Spencer from the Sacramento band Sentinel Beast. Flotsam and Jetsam inked a deal with Metallica's then-label Elektra Records before opening for Megadeth in 1987 on the Peace Sells tour in Europe and America. After touring with Megadeth, the band played selected shows in America with Slayer, Dark Angel, Possessed, Celtic Frost, Sacred Reich and Excel.
1987–1994: No Place for Disgrace, When the Storm Comes Down and Cuatro
Michael Spencer left Flotsam and Jetsam shortly after a U.S. tour in the fall of 1987; his replacement was Troy Gregory. Their second studio album, No Place for Disgrace, was released in May 1988, and includes a cover of Elton John's hit "Saturday Night's Alright for Fighting" for which a music video was shot. The band toured heavily behind No Place for Disgrace throughout 1988 and 1989. They opened for King Diamond in America, and supported Megadeth, Testament and Sanctuary in Europe on the So Far, So Good... So What! tour. The band also played shows with The Crumbsuckers, Fates Warning, Destruction, Death Angel, D.R.I., Acid Reign and Kreator, and landed a billing for festivals, such as Milwaukee Metalfest, and played at Aardschokdag twice (in May 1988 and April 1989).
In 1989, Flotsam and Jetsam were signed to MCA Records and began work on their third album When the Storm Comes Down, released in May 1990. The band expected to gain recognition with this album, but it suffered from a variety of mixed reviews. Flotsam and Jetsam toured for about a year and a half in support of When the Storm Comes Down; they co-headlined a U.S. tour with Prong, and subsequently toured or played selected shows with bands such as Testament, Savatage, Exodus, Vio-Lence, Sacred Reich, Wrathchild America and a then-unknown Pantera.
Shortly after returning home, bassist Troy Gregory departed to join Prong. Holding auditions in Phoenix, the band hired Jason Ward to fill the role.
Released in 1992, Cuatro marked an evolution in style and songwriting. The band released four singles this time, two of which ("Swatting at Flies" and "Wading Through the Darkness") were shot as music videos. "Wading Through the Darkness" received regular rotation on MTV during their tours that year.
1995–1999: Drift and High
Their fifth album Drift was released in April 1995, with three singles released off of the record. Jason dedicated it to his older brother Jeff Ward, former drummer of such bands as NIN, Ministry, Revolting Cocks and Lard, who died in 1993. A long break followed the release of the album.
During Flotsam and Jetsam's tour with Megadeth and KORN, MCA and Flotsam parted ways, and Flotsam returned to their former label "Metal Blade Records".
Shortly after auditioning a new drummer, Nick Menza of Megadeth insisted that the band check out a friend of Nick's named Craig Nielsen. Nick was there for the auditioning, and Craig Nielsen was hired.
On their 1997 album High the song titles were designed with the font types/logos of famous bands like Iron Maiden, Metallica, Kiss, Van Halen, AC/DC, Judas Priest, Misfits, etc. to pay homage to those whom came before and inspired the band while it was coming up the ranks. The music was more experimental than before, and the album also featured the Lard cover song Fork Boy. Music video was released, Monster to follow-up.
Michael Gilbert and Kelly Smith left the band after the release and were replaced by guitarist Mark Simpson and drummer Craig Nielsen. With the new line-up Flotsam and Jetsam toured in Europe together with Anvil and Exciter.
1999–2002: Unnatural Selection and My God
Unnatural Selection was released in 1999 and Mark Simpson took a short break. He joined the band again in 2000 to record a new album, My God released in May 2001. At that time Eric A.K. had founded a country band, the A.K. Corral. He left the band for a short time to take a break from Metal and pursue his side project. (AK) "I had given Metal my life for a solid 15 years, I took some time to explore other musical flavors." Though Flotsam and Jetsam did not disband, there was a long break at that time. They found a new singer, James Rivera, who took over vocal duties live. Later the band felt that no one other than Eric A.K. could be their singer and Rivera left the band soon after.
2002–2006: Live In Phoenix and Dreams of Death
During 2002 and 2003 the band were active only sporadically, but Eric A.K. rejoined for live dates in the Phoenix and Los Angeles areas in 2003. Tory Edwards was a guest for this tour. A live recording of these shows was released in 2004 as a live concert DVD under the title Live in Phoenix. Signed to the Crash Music label in May 2004 and with Eric A.K. joining the band again officially, they hit the road with Overkill and Death Angel for a series of sold out concerts in Japan.
Spring 2005 Flotsam and Jetsam returned to the studio to work on their new album. The lyrics were mostly inspired by Eric's nightmares. This resulted into a concept album entitled Dreams of Death - like track 2 of No Place for Disgrace. The album was released July 2005.
2006–2011: Live In Japan, Once in a Deathtime, The Cold
The live DVD Live in Japan was released in February 2006 and shows their concert in front of hundreds of screaming Japanese fans at the Citta Club in Tokyo 2004.
Doomsday for the Deceiver was re-released in November 2006 by Metal Blade Records to celebrate the album's twentieth anniversary. This set (2 CD and DVD) includes the original recording of Doomsday and a re-mixed and re-mastered(Digitized)version and also the two Flotsam and Jetsam demos. The bonus DVD includes rare live material, an interview filmed at Kelly's High School and a photo slide-show.
In Spring 2008 Metal Mind Productions remastered and re-released the albums When the Storm Comes Down, Cuatro (including 5 bonus tracks), Drift (including 3 bonus tracks) and Dreams of Death. Unfortunately for the fans No Place for Disgrace could not be remastered due to existing legal issues between the band and their former label Elektra Records.
In March 2008 Flotsam and Jetsam toured in Europe and played at the Metalmania Festival in Poland. This show was filmed and released as DVD Once in a Deathtime in July. Midyear 2008 the band were signed to Driven Music Group, founded by former KORN guitarist Brian “Head” Welch.
After a tour in Europe with support act Neurasthenia in April 2010 Flotsam and Jetsam finished their album The Cold. It was released on September 14, 2010. It was the last album with Mark Simpson on guitar. He left the band in friendship and was replaced by returning guitarist Ed Carlson, who had quit the band in March 2010, to be replaced by Michael Gilbert.
2011–2013: Ugly Noise
Mid 2011, Craig Neilson departed the band soon after Mark Simpson's exit. Former Drummer and founder of Flotsam Kelly David Smith was asked to rejoin after a 14 years absence. The band then embarked on their newest release Ugly Noise. Flotsam would take a new turn and release and record Ugly Noise using the direct-to-fan platform, PledgeMusic. Ugly Noise was released through PledgeMusic on 12-21-12. Members on the Pledge site were the first to hear and download the recording before the public. Each Pledge purchased either a download of the new disc or a package of "exclusive items" only available through Pledge. All income from items sold went to fund the entire project.
Shortly after Flotsam inked a distribution deal with longtime friends '"Metal Blade Records" for worldwide distribution.
After tracking on Ugly Noise, Jason Ward was no longer able to commit to touring with the band any further due to his current personal commitments.
In Jan 2013, Flotsam and Jetsam jumped on board the acclaimed 70000 Tons of Metal in support of Ugly Noise. They then followed up on Testaments, Dark Roots of Thrash Tour US Package included Overkill and Australian metalers 4ARM.
During the tour, Edward Carlson started to have extreme physical pain in his lower back and numbness in his right arm. After the tour, an MRI revealed that he had bulging disks in his upper and lower back causing the dysfunction to occur. Flotsam and Jetsam then recruited guitarist Steve Conley of F5 to step in while they finished out their live commitments.
Flotsam and Jetsam also recruited Michael Spencer to rejoin the ranks in place of Jason Ward. Spencer was the first official bassist after Jason Newsted's departure to Metallica in 1986. He toured with Flotsam in 1987 to Europe on Megadeth's "Peace Sells" tour. Spencer also was a major player in the writing of classic acclaimed recording, "No Place for Disgrace" released on Elekra Records in 1988.
2013–2014: No Place For Disgrace 2014
In June 2013, the band headlined at the Warriors of Metal Festival in Columbus Ohio, then returning home, Flotsam hired manager Jeff Keller(JKM). His roster includes the likes of: UDO, Destruction, Lordi, Hirax, Primal Fear, Satan, Suicidal Angels.
In 2006, after the successful remix and master of the debut album “Doomsday for the Deceiver”, there was a lot of fan requests to have “No Place for Disgrace” follow the same process. After spending some time at the 25-year mark, the band decided to go forward with this idea. The band had some issues with the original production and definition of some of the parts played, due to the speed it was recorded at. Having had success with Ugly Noise through the PledgeMusic process, the band would be able to again gain the rights to this classic with a re-recording and some minor changes.
In the middle of 2013, Flotsam and Jetsam embarked in this monumental task of reviving some songs that, for the most part, had not been played in 20 years. All tracks (except drums) were done at the Flotsam studio with Michael Gilbert at the helm. In December, the project was finished and the re-recording of the classic album "No Place For Disgrace", was again released using PledgeMusic to finance the project.
The album, No Place For Disgrace 2014, was set to release on Feb 14th, 2014 worldwide through Metal Blade Records distribution. NPFD 2014 would feature some of Flotsam's friends from the past as guest musicians, Mark Simpson, Chris Poland, Tory Edwards.
Flotsam and Jetsam is currently ramping up for their (29 show) European tour with Sepultura, Legion of the Damned and Mortillery. The tour kicks off on Feb 7th in Bochum, Germany.
2014–present: No Place on Tour and Beyond, Flotsam and Jetsam and next album
Flotsam toured Europe 4 times in 2014 with a total of 40 shows in all.
Returning home from Europe on 8/11 the band planned to start writing for a new release in 2015. Michael Spencer and Steve Conley would be involved this time in the process. Spencer had written some material previously in 1987 that he took with him after his departure. Flotsam used at some of the archive material from Spencer.
In December 2014, drummer and founding member, Kelly Smith decided to leave the band due to unexpected family matters that required him to be home with his family. Handpicked by Smith to replace him on drums, was longtime friend and Shadows Fall drummer, Jason Bittner. In 2015, Bittner was working on the next album.
On July 6, 2017, it was announced that Flotsam and Jetsam were replacing Bittner (who had recently joined Overkill) with Ken Mary (Fifth Angel, Alice Cooper, House of Lords, TKO, Chastain, Impellitteri). They have also begun work on their thirteenth studio album, which is expected to be released in the spring of 2018.
It has been a week of goodness. Besides being nice enough to wander around Renegade Handmade with me, Adam and Emily of Moesewco were nice enough to give me the answer to the ultimate question of life, the universe, and everything.
Happy!
These are some cool crafty people. I love Adam's embroidery style, and Emily makes some awesome hats - she just made one for Stephen Fry!
FIELD STAFF：Mr.HIROKAWA
ROD：PLAISIR ANSWER PA90 Jaw Breaker
REEL：Twinpower 4000XG
LINE：PE#1.5 + Shockleader 30lb
LURE：D-CLAW BORDE
Joseph's Church (St. Pölten )
Catholic Parish Church of St. Josef
Object ID : 26022 Kranzbichlerstraße 24a
The wide three-aisled pillar basilica under a gable roof with a transept was built 1924-1929 in Romanesque style according to the plans of the architect Matthäus Schlager.
The Parish Church of St. Joseph is a Roman Catholic church in the city of St. Pölten.
On the north side there are three portals, the middle portal is funnel-shaped, the facades have rounded arch windows and a historicized Traufgesims (eaves cornice). The retracted choir has a round apse. To the west of the church, to Mariazellerstraße is situated a freestanding metal casting statue Christ by sculptor Karl Schwerzek. The high church tower under a pitched roof is to the west at transept and choir juxtaposed. The square in front of the entrance facade was named with Father Paul's Place and on Paul Wörndl as the first pastor of the church a memorial plaque at the church installed.
Inside is the church as well as the organ loft on the north side continuously kreuzgratgewölbt (groined vaulted) and baroquising monumentally designed. The interior of the church, such as altar, Stipes (thick post - substructur of the altar) with stepped retabel wall, tabernacles with reliefs, like a statue of Saint Josef, were created based on designs by the sculptor Heinrich Zita 1933. The wall paintings in the vaults and in the shallow round arched niches in the apse and the side altars are by the painter Sepp Zöchling from 1958.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...(Stadtteil)
de.wikipedia.org/wiki/Josefskirche_(St._P%C3%B6lten)
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
Map Number 2010-270
To view a larger version of the map, right click on the map and choose a different size. For directions on how to download a map, our contact information, and answers to other questions, please click here.
Answer to the Ultimate Question of Life, the Universe, and Everything (42). In the first novel and radio series, a group of hyper-intelligent pan-dimensional beings demand to learn the Answer to the Ultimate Question of Life, The Universe, and Everything from the supercomputer, Deep Thought, specially built for this purpose. It takes Deep Thought 7½ million years to compute and check the answer, which turns out to be 42. The Ultimate Question itself is unknown. When asked to produce The Ultimate Question, Deep Thought says that it cannot; however, it can help to design an even more powerful computer, the Earth, that can. The programmers then embark on a further ten-million-year program to discover The Ultimate Question. This new computer will incorporate living beings in the "computational matrix", with the pan-dimensional creators assuming the form of mice. The process is hindered after eight million years by the unexpected arrival on Earth of the Golgafrinchans and then is ruined completely, five minutes before completion, when the Earth is destroyed by the Vogons to make way for a new Hyperspace Bypass. This is later revealed to have been a ruse: the Vogons had been hired to destroy the Earth by a consortium of psychiatrists, led by Gag Halfrunt, who feared for the loss of their careers when the meaning of life became known. Lacking a real question, the mice decide not to go through the whole thing again and settle for the out-of-thin-air suggestion "How many roads must a man walk down?" from Bob Dylan's song "Blowin' in the Wind". At the end of the radio series (and television series, as well as the novel The Restaurant at the End of the Universe) Arthur Dent, having escaped the Earth's destruction, potentially has some of the computational matrix in his brain. He attempts to discover The Ultimate Question by extracting it from his brainwave patterns, as abusively suggested by Ford Prefect, when a Scrabble-playing caveman spells out forty two. Arthur pulls random letters from a bag, but only gets the sentence "What do you get if you multiply six by nine?" "Six by nine. Forty two." "That's it. That's all there is." "I always thought something was fundamentally wrong with the universe" Six times nine is, of course, fifty-four. The program on the "Earth computer" should have run correctly, but the unexpected arrival of the Golgafrinchans on prehistoric Earth caused input errors into the system—computing (because of the garbage in, garbage out rule) the wrong question—the question in Arthur's subconscious being invalid all along. Quoting Fit the Seventh of the radio series, on Christmas Eve, 1978: Narrator: There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened. Some readers subsequently noticed that 613 × 913 = 4213 (using base 13). Douglas Adams later joked about this observation, saying, "I may be a sorry case, but I don't write jokes in base 13." In Life, the Universe and Everything, Prak, a man who knows all that is true, confirms that 42 is indeed The Answer, and confirms that it is impossible for both The Answer and The Question to be known about in the same universe (compare the uncertainty principle) as they will cancel each other out and take the Universe with them to be replaced by something even more bizarre (as described in the first theory) and that it may have already happened (as described in the second). Though the question is never found, 42 is shown as the table number at which Arthur and his friends sit when they arrive at Milliways at the end of the radio series. Likewise, Mostly Harmless ends when Arthur stops at a street address identified by his cry of, "There, number 42!" and enters the club Beta, owned by Stavro Mueller (Stavromula Beta). Shortly after, the earth is destroyed in all existing incarnations. The number 42 Douglas Adams was asked many times why he chose the number 42. Many theories were proposed, including the fact that 42 is 101010 in binary code, the fact that light refracts off water by 42 degrees to create a rainbow, the fact that light requires 10−42 seconds to cross the diameter of a proton. Adams rejected them all. On November 3, 1993, he gave an answer on alt.fan.douglas-adams: The answer to this is very simple. It was a joke. It had to be a number, an ordinary, smallish number, and I chose that one. Binary representations, base thirteen, Tibetan monks are all complete nonsense. I sat at my desk, stared into the garden and thought '42 will do'. I typed it out. End of story. Adams described his choice as 'a completely ordinary number, a number not just divisible by two but also six and seven. In fact it's the sort of number that you could without any fear introduce to your parents'. While 42 was a number with no hidden meaning, Adams explained in more detail in an interview with Iain Johnstone of BBC Radio 4 (recorded in 1998 though never broadcast) to celebrate the first radio broadcast's 20th anniversary. Having decided it should be a number, he tried to think what an "ordinary number" should be. He ruled out non-integers, then he remembered having worked as a "prop-borrower" for John Cleese on his Video Arts training videos. Cleese needed a funny number for the punchline to a sketch involving a bank teller (himself) and a customer (Tim Brooke-Taylor). Adams believed that the number that Cleese came up with was 42 and he decided to use it. Adams also had written a sketch for The Burkiss Way called "42 Logical Positivism Avenue", broadcast on BBC Radio 4 on 12 January 1977[10] – 14 months before the Hitchhiker's Guide first broadcast "42" in fit the fourth, 29 March 1978. In January 2000, in response to a panelist's "Where does the number 42 come from?" on the radio show "Book Club" Adams explained that he was "on his way to work one morning, whilst still writing the scene, and was thinking about what the actual answer should be. He eventually decided that it should be something that made no sense whatsoever- a number, and a mundane one at that. And that is how he arrived at the number 42, completely at random." Stephen Fry, a friend of Adams, claims that Adams told him "exactly why 42", and that the reason is "fascinating, extraordinary and, when you think hard about it, completely obvious." However, Fry says that he has vowed not to tell anyone the secret, and that it must go with him to the grave. John Lloyd, Adams' collaborator on The Meaning of Liff and two Hitchhiker's fits, said that Douglas has called 42 "the funniest of the two-digit numbers." The number 42 also appears frequently in the work of Lewis Carroll, and some critics have suggested that this was an influence. Other purported Carroll influences include that Adams named the episodes of the original radio series of The Hitchhiker's Guide to the Galaxy "fits", the word Carroll used to name the chapters of The Hunting of the Snark. There is the persistent tale that forty-two is actually Adams' tribute to the indefatigable paperback book, and is really the average number of lines on an average page of an average paperback book. On the Internet The number 42 and the phrase, "Life, the universe, and everything" have attained cult status on the Internet. "Life, the Universe, and Everything" is a common name for the off-topic section of an Internet forum and the phrase is invoked in similar ways to mean "anything at all". Many chatbots, when asked about the meaning of life, will answer "42". Several online calculators are also programmed with the Question. If you type the answer to life the universe and everything into Google (without quotes or capitalising the small words), the Google Calculator will give you 42, as will Wolfram's Computational Knowledge Engine. Similarly, if you type the answer to the ultimate question of life, the universe and everything into DuckDuckGo, the 0-click box will read "42".[19] In the online community Second Life, there is a section on a sim called "42nd Life." It is devoted to this concept in the book series, and several attempts at recreating Milliways, the Restaurant at the End of the Universe, were made. In the OpenOffice.org software, if you type into any cell of a spreadsheet =ANTWORT("Das Leben, das Universum und der ganze Rest"), which means the answer to life, the universe and everything, the result is 42.[20] ISO/IEC 14519-2001/ IEEE Std 1003.5-1999, IEEE Standard for Information Technology - POSIX(R) Ada Language Interfaces - Part 1: Binding for System Application Program Interface (API) , uses the number '42' as the required return value from a process that terminates due to an unhandled exception. The Rationale says "the choice of the value 42 is arbitrary" and cites the Adams book as the source of the value. The random seed chosen to procedurally create the whole universe including all the regions, constellations, stars, planets, moons and mineral distribution of the online massively multi-player computer game EVE Online was chosen as 42 by its lead game designer in 2002. Cultural references The Allen Telescope Array, a radio telescope used by SETI, has 42 dishes in homage to the Answer. In the TV show Lost, 42 is the last of the mysterious numbers, 4, 8, 15, 16, 23, and 42. In an interview with Lostpedia, producer David Fury confirmed this was a reference to Hitchhiker's. The TV show The Kumars at No. 42 is so named because show creator Sanjeev Bhaskar is a Hitchhiker's fan.[24] The band Coldplay's album Viva la Vida includes a song called "42". When asked by Q magazine if the song's title was Hitchhiker's-related, Chris Martin said, "It is and it isn't." The band Level 42 chose its name in reference to the book. The episode "42" of the British science fiction television series Doctor Who was named in reference to the Answer. Writer Chris Chibnall acknowledged that "it's a playful title". Ken Jennings, defeated along with Brad Rutter in a Jeopardy match against IBM's Watson, writes that Watson's avatar which appeared on-screen for those games showed 42 "threads of thought," and that the number was chosen in reference to this meme.
Angler : Mr.FUKUI
ROD : PA90 jawbreaker
REEL : EXCELER 3000H / DAIWA
LINE : PE#1.5 + NYLON 30lb
Target : Japanese Seabass
コメント:台風後の激流の加古川でも抜群の安心感でした！
Part of the Question of the Moment bulletin board set, “If You Could Only Choose One, Which Would You Rather Use: Texting or Facebook?”
Angler : Mr.FUKUI
ROD : PA90 jawbreaker
REEL : EXCELER 3000H / DAIWA
LINE : PE#1.5 + NYLON 30lb
Target : Japanese Seabass
コメント:台風後の激流の加古川でも抜群の安心感でした！
FIELD TESTER:Mr.KINUGAWA
ROD: PLAISIR ANSWER PA75RG -power arm-
REEL: 304/Mitchell
LINE: PE#1.5+leader30lb
LURE: CD/rapala
Thai tagged me to answer Akemi’s deepest secret.
Rules:
- Reveal the deepest secret of your doll, something that nobody or almost nobody knows;
- Post a pic related to this secret;
- Tag at least 5 dolls and their parents to answer the tag too.
Akemi would love to have dinner in Paris, drinking champagne with a beautiful view of the Tour Eiffel. It doesn’t need to be in a fancy restaurant or a romantic date. She just want to feel the parisian fresh night breeze with someone special for her (in this pic, represented by Croissant, my Korilakkuma plush xD).
I tag:
Sophia - Mundo
Hina - Renata
Saiph - Suzana
Shizue - Naka
Sukita - Kubikumi
—
A Thai me marcou nessa tag, para responder qual é o segredo mais profundo da Akemi.
Regras:
- Revele um segredo profundo da sua doll, algo que ninguém ou quase ninguém saiba;
- Poste uma foto relacionada a esse segredo;
- Marque pelo menos 5 dolls e seus respectivos pais para fazerem a tag também.
A Akemi adoraria jantar em Paris, bebendo champanhe com uma bela vista da Torre Eiffel. Não precisaria ser em um restaurante chique ou um encontro romântico. Ela só queria sentir a brisa fresca da noite parisiense com alguém especial (nessa foto, representado pelo Croissant, meu Korilakkuma de pelúcia xD).
Vou marcar:
Sophia - Mundo
Hina - Rê
Saiph - Suzana
Shizue - Naka
Sukita - Nath
Entertainer Tommy Steele (1936) was Britain's first teen idol and rock 'n roll star. His cheeky Cockney image and boy-next-door looks won him success as a musician, singer and actor.
Tommy Steele was discovered by manager Larry Parnes, who believed Steele could be Britain's answer to Elvis Presley. Most of Steele's 1950's recordings were covers of American hits, such as Singing the Blues and Knee Deep in the Blues. Singing the Blues got to Number 1 in the British pop charts on 11 January 1957. And on film he played his Cockney self in such teen comedies as The Duke Wore Jeans (1958, Gerald Thomas) and Tommy the Toreador (1959, John Paddy Carstairs).
During the 1960's Tommy Steele progressed to a career in stage and film musicals, leaving behind his pop idol identity. He appeared in films including Light Up the Sky! (1960, Lewis Gilbert) and in the West End in the title role of Hans Christian Andersen. He recreated another London - and Broadway - stage role in Half A Sixpence (1967, George Sidney) and played character roles in The Happiest Millionaire (1967, Norman Tokar) and Where's Jack? (1969, James Clavell), although many critics found his personality to be somewhat overwhelming on screen. In Finian's Rainbow (1968, Francis Ford Coppola), co-starring with Petula Clark and Fred Astaire, he had his best known appearance in the movies. His one-man show, An Evening with Tommy Steele, ran for fourteen months in 1979-1980 and is in the Guinness Book of Theatre Facts and Feats as "the longest running one-man show in West End history”. In 1983, he directed and starred in the West End stage production of Singin' in the Rain and in 2003-2005 he had a triumphant return on the stage as Ebenezer Scrooge in Scrooge: The Musical.
Sources: IMDb and Wikipedia.
FIELD TESTER:Mr.KINUGAWA
ROD: PLAISIR ANSWER PA75RG -power arm-
REEL: 304/Mitchell
LINE: PE#1.5+leader30lb
LURE: CD/rapala
How do you make someone fall in love with you?
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.....36!
On a day at 15 degrees and blowing northerly 30 knots the answer is 36! Cynthia Samsung and I headed for some lunch!
Annie move over - I am coming south! Well once I have had some lunch! Just a wee bit of fun!
Belgian Chromo for Cinema Novy in Nevele, no. 181. Photo: Roger Carlet, Paris.
With his heroic physique, Jean Marais (1913-1998) was France’s answer to Errol Flynn, the epitome of the swashbuckling romantic hero of French cinema. The blonde and incredibly good-looking actor played over 100 roles in film and on television and was also known as a director, writer, painter and sculptor. His mentor was the legendary poet and director Jean Cocteau, also his lover.
Jean-Alfred Villain-Marais was born in 1913 in Cherbourg, France. He endured a turbulent childhood. When he was born, on the eve of World War I, his mother refused to see him. Her only daughter had died a few days before. When Marais' father returned from the war, the five-year-old Jean didn't remember him, and his father slapped him. His mother promptly packed her three children off to their grandmother's, and Jean grew up fatherless. He attended the Lycee Condorcet, a prestigious private school, where some of his future film partners also studied, such as Louis de Funes and Jean Cocteau, and the faculty had such figures as Jean-Paul Sartre. At 13, Marais had to leave the Lycee Condorcet, after gamingly flirting in drag with a teacher. He was placed in a Catholic boarding school, but at 16, he left school and became involved in amateur acting. As a child, he had dreamed of becoming an actor but he was twice rejected when he applied to drama schools. He took a job as a photographer's assistant and had acting classes with Charles Dullin. In 1933 Marcel L'Herbier gave him a bit part in L’Épervier/The Casting Net (1933) starring Charles Boyer. This was followed by more small parts in films by L’Herbier, in L'Aventurier/The Adventurer (1934), Le Bonheur/Happiness (1935), Les Hommes nouveaux/The New Men (1936), and Nuits de feu/The Living Corpse (1936). Marais also appeared in Abus de confiance/Abused Confidence (Henri Decoin, 1937), and Drôle de drame/Bizarre, Bizarre (Marcel Carné, 1937).
In 1937, Jean Marais, then 24, met Jean Cocteau at a stage rehearsal of Oedipe-Roi/King Oedipus. They fell in love and would remain close friends until Cocteau died in 1963. Cocteau became his surrogate father, and he was Cocteau's surrogate son. Cocteau had a major influence on Marais’ career. In 1938 he cast him as Galahad in the stage play 'Les Chevaliers de La Table Ronde' (The Knights of the Round Table), and wrote the film L'Éternel retour with him in mind. With L’Éternal retour/The Eternal Return (Jean Delannoy, 1943), Marais made his big break in the cinema. This was the turning point in his life and the start of a film career which was to span nearly sixty years. In the following years, he appeared in almost every one of Cocteau's films: La Belle et la bête/Beauty and the Beast (Jean Cocteau, Jean Delannoy, 1946), L'Aigle à deux têtes/The Eagle Has Two Heads (Jean Cocteau, 1947), Les Parents terribles/The Storm Within (Jean Cocteau, 1948), and Orphée/Orpheus (Jean Cocteau, 1950). After the Allies liberated Paris in August 1944, he joined France's Second Armored Division and served as a truck driver carrying fuel and ammunition to the front. Later he was decorated with the Croix de Guerre for his courage. During the war, Marais was engaged to his film partner, actress Mila Parély, and their engagement was blessed by Cocteau, who wanted Marais to be happy. Marais and Mila Parély separated after two years, and shortly after they worked together again in La Belle et la bête/Beauty and the Beast (1946). His double role as the beast and the prince in this classic film made Marais an international teen idol.
During the 1950s, Jean Marais became a dashing sword master, dazzling his audiences with impressive French swashbuckling adventures, in which he performed his own stunts. Le Comte de Monte Cristo/The Count of Monte Cristo (Robert Vernay, 1955), Le Bossu/The Hunchback of Paris (André Hunebelle, 1959), and Le Capitaine Fracasse/Captain Fracasse (Pierre Gaspard-Huit, 1961) all enjoyed great box office popularity in France. Marais would become one of the most admired and celebrated actors of his generation and star in international productions directed by Jean Renoir (Elena et les hommes/Elena and Her Men, 1956), Luchino Visconti (Le Notti bianche/White Nights, 1957), Cocteau (Le testament d'Orphée/The Testament of Orpheus, 1959), and others. During the 1960s and 1970s, he went on to appear in such popular adventure comedies as the Fantômas (1964-1967, André Hunebelle) trilogy, co-starring with Louis de Funes and Mylène Demongeot.
Jean Marais was equally impressive in the theatre, appearing in such plays as 'Britannicus,' 'Pygmalion' and 'Cher Menteur' at the Théâtre de Paris, Théâtre de l'Atelier, and the Comédie Francaise. He spent his later years living in his house in Vallauris, in the South of France where he was involved in painting, sculpture and pottery, and was visited by Pablo Picasso and other cultural figures. His monument Le passe muraille/The Walker Through Walls, honouring French author Marcel Aymé, can be seen in the Montmartre Quarter in Paris. After a long retirement, Jean Marais returned to filmmaking in the mid-1980s with choice character roles in such films as Parking (Jacques Demy, 1985). In 1993 he was awarded an honourable César. Marais made his final film appearance in Bernardo Bertolucci's Io ballo da sola/Stealing Beauty (1996) starring Liv Tyler. That year he received France's highest tribute, the Legion of Honour for his contribution to the French cinema. Jean Marais died of heart failure in 1998, in Cannes. He had an adopted son, Serge Marais.
Sources: Steve Shelokhonov (IMDb), Hal Erickson (AllMovie), Wikipedia, Films de France, Lenin Imports, and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Washington DC, April 14, 2018. Around two hundred activists associated with Answer Coalition, Code Pink, Veterans For Peace, Socialist Alternative and other peace groups gathered in front of the White House to protest the latest wave of intensified bombing in Syria by the U.S.A., Great Britain and France. In a brief address to the nation last night President Donald J. Trump suggested that the bombing of Syria could be an open ended affair of uncertain duration. The neocolonialist coalition bombing last night near Damascus and other cities was supposedly a retaliation for the evil Syrian President Bashar al-Assad's most recent use of chemical weapons. An International inspection team arrived in Damascus just yesterday and have not yet determined the source of the chemical attack. This morning, President Trump foolishly declared "mission accomplished". Heard that one before?
Postscript. Reporters Robert Fisk from The Independent of Great Britain and Pearson Sharp of One America News
were unable to confirm that the alleged chemical attack had indeed occurred when they visited the site and the surrounding neighborhood in Douma, Syria.