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Same as previous, just what happens if there was an error in the loginprocess. Trying to simplify the error and send a new password if needed.
Ocariz: Hubo un error en el comunicado de la MUD del diálogo con “personas detenidas” t.co/eWyt1nBJmn #Politica #ACN (via Twitter twitter.com/AgenciaCN/status/798648047206952960)
TomTom got the street and location right, but for some reason moves us to a different town altogether. This is in the "Where am I screen", intended to give a location for emergency services.
Autobús 1895 de TUSSAM Sevilla, Castrosua City Versus con MAN NL 313 F GNC/3T-A22.
Curiosamente, como vemos, el letrero electrónico sufrió un error de configuración, quedando de esa curiosa forma, pareciéndose a una ruleta de tragaperras.
Lo vemos circulando el 19 de Octubre de 2018, realizando la línea C4.
F. Matriculación: 21/12/2016
VIN: WMAA22ZZ2G7003594
Fehler bitte melden. Ich bin mir nicht sicher, ob alle Angaben richtig sind.
Please displaying errors. I am not shure if all given informations are correct.
This picture is copyrighted. Please do not use it anywhere without my explicit written permission and proper credit. All rights reserved - Copyright © Helene Iracane
Your world has ran into a problem and needs to restart.
We’re just collecting some error info, and then we’ll
restart for you. (100% complete)
Mac G4 Error, 2003?, Mexico DF, until emergency restart
Spontaneous aesthetic manifestation of mathematics.
photographed with camera from screen. Mac ones have tissue similar to the images from my "Hentai - Cascades & Screams" project, but to really enjoy it it must be seen big.
The result of accidentally using exhausted RA4 developer, put online as a reminder to myself to be more careful.
Ilford XP2 shot on a Leica M6
113-10-18-003
Photo Title: Retinoscopy on kid
Submitted by: Ai Chee Yong
Category: ♥ YOUR EYES
Country: Malaysia
Organization: Thomson Hospital
Photo Caption: The little girl was suspected of having an uncorrected refractive error, as reported by the mother. She likes to squeeze her eyes when watching cartoon programmes on TV. The mother is aware that clear eyesight is important for the child's cognitive development. Therefore, despite the pandemic, they came to us for vision screening. "Creating Awareness, Preventing Blindness".
Professional or Amateur Photographer: Amateur
Country where the photo was taken: Malaysia
Photo uploaded for the #LoveYourEyes Photo Competition on iapb.org held for World Sight Day 2021.
Photographer:
error: (n) an act or condiction of ingnorant or imprudent deviation of a code of behavior. synonyms: mistake, blunder, slip, lapse
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 4869, 1969. Photo: Uhlenhut.
East German actor Hannjo Hasse (1921-1983) was the most sinister bad guy of the DEFA films. In the Eastern, the communist version of the Western, he often played greedy pioneers who seek to dispossess Native Americans.
Hannjo Hasse was born in Bonn, Germany, 1921. Hannjo began his adult life working in an office. In 1938, he began to study acting at Lilly Ackermann’s Ausbildungsanstalt für deutschen Bühnennachwuchs (Institute for Stage Artists' Education) in Berlin. In 1941, he was drafted for military service during World War II. After the end of the war and his release from captivity, Hasse returned to Weimar, where he spent another six months to complete his drama training. He made his debut on stage in the Nordhausen Theater, where he was also employed as a dramaturge. In 1951, Hasse made his first screen appearance, playing a minor role in Der Untertan/The Kaiser's Lackey (Wolfgang Staudte, 1951), based on Heinrich Mann's 1918 satirical novel by the same name. It was a huge success. He also played a supporting partb in Ernst Thälmann (Kurt Maetzig, 1954), a film in two parts about the life of Ernst Thälmann, leader of the Communist Party of Germany during much of the Weimar Republic. Hasse worked in theatres in Eisleben, Burg bei Magdeburg and Schwerin, before settling at the Hans Otto Theater in Leipzig, where he was a member of the regular cast between 1954 and 1962. Afterwards, he moved to Berlin's Volksbühne, and then to the Deutsches Theater. Hasse played a wide range of supporting characters, from Malvolio to the Fledermaus. From the late 1950s, Hasse focused mainly on cinema and television work. Although his earlier stage roles were mostly comical in nature, in the cinema he depicted sinister characters almost solely. He played the lead in the war film Der Fall Gleiwitz/The Gleiwitz Case (Gerhard Klein, 1961). The film themes the SS stage-managed Gleiwitz incident at the evening of 31 August 1939. This served national-socialist propaganda as a pretext to start second World War by raiding Poland the next day. The plot was reconstructed exactly according to the statements of SS-Man Alfred Naujocks before British authorities at the Nuremberg trials. Hasse’s other films included the Czech drama Vyšší princip/Higher Principle (Jiří Krejčík, 1960), the espionage thriller Reserviert für den Tod/Reserved for the Death (Heinz Thiel, 1963) with Hans-Peter Minetti, and the propaganda film An französischen Kaminen/At A French Fireside (Kurt Maetzig, 1963) with Arno Wyzniewski. The latter was one of eight major DEFA pictures made between 1959 and 1964 that centered on the theme of the Cold War, with an underlying message that East Germany had to defend itself from the West.
In 1966, Hannjo Hasse appeared in Die Söhne der großen Bärin/The Sons of Great Bear (Josef Mach, 1966), starring the Yugoslav actor Gojko Mitić in the leading role of Tokei-ihto. The picture is a revisionist Western, pioneering the genre of the Ostern (Eastern), and emphases on the positive portrayal of Native Americans, while presenting the Whites as antagonists. It is one of the most successful films produced by the DEFA studio. Renate Seydel, who interviewed Hasse in 1966, commented that he was the most perennial villain in the actors' ensemble of DEFA and Deutscher Fernsehfunk. The favorable reception of The Sons of Great Bear surpassed by far what DEFA directors had anticipated. This paved the way for a dozen Easterns featuring Indians as the heroes, often portrayed by Mitić and this series became the studio's best known and most successful film series. Hasse appeared in five Easterns, including Spur des Falken/Trail of the Falcon (Gottfried Kolditz, 1968) and Tödlicher Irrtum/Fatal Error (Konrad Petzold, 1970) with Armin Müller-Stahl. Hasse is also remembered for depicting SD Colonel von Dietrich in the Yugoslav partisan film Valter brani Sarajevo/Walter Defends Sarajevo (Hajrudin Krvavac, 1971). In addition to those entertainment films, he also portrayed historical antagonists in several bleaker pictures dealing with the recent past, like Adolf Eichmann in the film Lebende Ware/Living Cargo (Wolfgang Luderer, 1966) - based on the blood for goods affair, and as Reynhard Heydrich in the Czech-Russian war thriller Sokolovo (Otakar Vávra, 1975). Hasse told Seydel that he considered those roles as having educational value, in order to "demonstrate the full horror of Fascism" to younger viewers. In 1971, Hasse was awarded the Art Prize of the German Democratic Republic. He also dubbed many films and was the German voice for Philippe Noiret, Pierre Brasseur and Yves Montand. His later films include the Polish historical film Kopernik/Copernicus (Ewa Petelska, Czesław Petelski, 1973), the fairytale film Wer reißt denn gleich vorm Teufel aus/The Devil's Three Golden Hairs (Egon Schlegel, 1977) and the comedy Einfach Blumen aufs Dach/Simply flowers at the roof (Roland Oehme, 1979). His final bigger role was in the TV comedy Es war so nett in unserem Quartett/It was so fine in our quartet (Robert Trösch 1983). Hannjo Hasse died in Falkensee in the GDR in 1983 and is buried in the Südwestkirchhof Stahnsdorf. He was 61.
Sources: Tom B. (Westerns… all’ Italiana), Wikipedia, and IMDb.
Slight software hiccup at Vancouver airport. The dialog box obscures the still updating luggage band information.
AM I PAYING TO BE PROMOTED?
No. You are paying for the seminars, and while I strongly encourage everyone to be present for the seminars, it is not required. You may show up for the second half only. But, again, I strongly encourage everyone to be present for the seminars. It helps us with organization, expresses to the instructors that you are interested in learning, and fosters a team oriented environment.
WHAT ARE THE STANDARDS FOR BEING PROMOTED?
Under the Capital flag you must demonstrate the 3 Ts: time on the mat, toughness and technique. Visualize a triangle, where technique is on top. On the bottom are time and toughness. Those who are very tough might have the time requirement reduced (but not below the minimum). Those with a great deal of time might have the toughness requirement reduced. Also, other variables may be taken into consideration. For example, one of our newest members is beginning his Jiu-Jitsu journey at 70 years young! Modifications will be made to ensure his journey is both challenge and rewarding!
WHAT ARE THE TIME REQUIREMENTS?
A blue belt takes an average of 1.5 years. A purple belt takes an average of 5 years. A brown belt takes an average of 7 years. A black belt takes an average of 10+ years. Most of the practitioners who tested for black belt had between 12 and 17 years of experience, and the pass rate was about 50%.
WHO MAKES THE DECISION FOR ADVANCEMENT?
Three instructors, including at least one black belt, must approve any promotion.
WHY DOES THE FORMAT KEEP CHANGING?
It’s been consistent for the last two years. However, we do expect that slight changes will be made as time goes on. We always seek feedback from students, peers and our instructors to make things better. The current format is: seminars (optional), sparring, promotions, gauntlet (optional), and group picture.
ETIQUETTE
At promotions events every practitioner should wear a laundered Capital branded white training kimono. This is the equivalent of wearing formal attire for a special occasion, like a wedding. Also, it is extremely impolite to ask an instructor about being promoted.
WHAT DOES THE NAVY BLUE BAR MEAN?
Royce Gracie and the Valente Brothers wanted to honor Helio Gracie’s life and legacy by wearing the navy blue belt that Helio wore. Going forward they are asking representatives to wear the navy bar (excluding white belts and new black belts). For more information about Grandmaster Helio Gracie’s decision to wear the navy belt visit: graciekentucky.blogspot.com/2010/06/why-did-grandmaster-h...
DO YOU HAVE ANY SUGGESTIONS FOR PUTTING A NAVY BAR ON MY BELT?
The easiest thing to do is purchase athletic tape: www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Daps&...
I BELIEVE YOU MADE AN ERROR REGARDING MEMBER X, BY PROMOTING/NOT PROMOTING HIM….
Think about a Jiu-Jitsu competition. Is it possible, from time to time, for the referee to make an error? Of course! It is also possible for the decision makers at our semiannual gatherings to make errors. However, as practitioners progress, more scrutiny is applied to their rank, and ultimately 40 - 60 black belts will test them. At that time practitioners must demonstrate the complete stand-up self-defense curriculum, striking, clinching, grappling and philosophy (the 753 Code).
I caution those who dwell on the rank progress of others, especially as it compares to their own. Instead I encourage you to apply your vigilance to your own journey in the gentile art.
DO I NEED TO BE AT THE PROMOTIONS EVENT?
To be promoted to the next color belt, yes. Technically, to be promoted with stripes on the purple and brown belt, also yes. However, we needed to honor time constraints at Saturday's event, and stripes for deserving practitioners will be awarded this week and in January.
IS THE GAUNTLET HAZING?
What is the difference between a healthy ritual and hazing? What in fact is hazing? According to Wikipedia: "Hazing is the practice of rituals and other activities involving harassment, abuse or humiliation used as a way of initiating a person into a group.” Does the gauntlet qualify?
Couldn’t we define the gauntlet as a rite of passage? Google defines a rite of passage as, "a ceremony or event marking an important stage in someone's life, especially birth, puberty, marriage, and death.” While I don’t know of any peer reviewed research articles, the overwhelming consensus is that there are tremendous psychological benefits to being included in a rite of passage.
There’s also acknowledging that our ritual is far less dangerous than the activities which led to it. Whether it’s the rigorous exercise, intense sparring rounds, competitions or the black belt test. In fact, Professor Pedro Valente noted that we are training to be effective in a proven fighting system. To take a hit is not only to be initiated, it's an essential component of our training.
I am not familiar with many of the reasons why people haze, and personally, I have never been involved in a hazing ritual. The gauntlet is our rite of passage; a tradition handed down to us by our elders. I am opposed to taking away or intensifying the gauntlet tradition. Our tradition is about the student, and I don’t believe that practitioners at Capital MMA experience some perverse pleasure in seeing people suffer. Rather, we are celebrating with the newly inducted.
I believe that the gauntlet tradition should only be carried on in the presence of the black belt instructors, exclusively at our semiannual promotions events. Also, it is our charge as black belts to educate junior members of our tradition, and how we conduct ourselves during the rite of passage. Injury, abuse and humiliation are never our objectives.
Finally, this tradition is, and always will be, optional. However, our requirements for being promoted are not. The rigor, intensity, and sacrifice experienced by senior practitioners is significant.