Creating an Entry
Now that you understand the rules and the theme for National History Day, and have chosen your historical topic, it is time to choose how you want to present your work. But what are the categories? And how are they different? Here is a helpful "quick look" at each category and how to begin. For more details, check out the Making History Series books, available at the NHD SHOP.
CategoriesNHD Rule Book!
You may also find the Category Rule Verification Sheets helpful. These check-off sheets will guide you as you review your entry to make sure you have followed NHD rules for your chosen category.
The NHD Evaluation Forms will also help you review your entry.
A process paper is a description of no more than 500 words explaining how you conducted your research and created and developed your entry. You must conclude your description with an explanation of the relationship of your topic to the contest theme.
Sample process papers:Martin Luther and the Reformation
Dr. Spock: Turning the Road in Parenting
Michigan: A State Divided No More


Dr. Seuss Finding Aid
Alba Edesa / Julian Gautier / Kip Holcomb / Simon Zou
This project analyzed and critiqued the existing standard format for archival finding
aids, and to propose a new interface design that will make online finding aids more effective resources
and guides, and more effectively communicate the contents and significance of the collections they
describe, for a wide variety of potential users.
Create a finding aid that is accessible, fun and easy to use for the collection’s likely users.
Create a data visualization that is intuitive to navigate, takes advantage of the hierarchical data,
and communicates visually how different items are related to each other categorically as well as
communicate physical size and proximity.
Finding aids are key tools for people who work with archives or special collections of many types of
cultural materials, across all kinds of institutional and community settings. However, finding aids have
not made a good transition to the online world. Most are still static documents that list items in a
collection, and describe their sources and whatever key features of the items and the collection seem
most relevant, depending on who is describing them, who owns or has custody of the collection, and who
else might be interested in it. Although professional groups like the Society of American Archivists and
others have set guidelines and standards for preparing finding aids, their formats are not always
user-friendly for anyone except specialists. They are seldom designed to take advantage of the visual,
hyperlinking, and tagging capacities, or the social connections and shared knowledge among people with
interests in the materials or collections, supported by online information systems and media platforms.
/ Dr. Seuss Collection
The Dr. Seuss Collection housed at the Mandeville Special Collections Library at UC San Diego is
comprised of approximately 8,500 items documenting a wide range of Seuss’s life and creative works
beginning from his high school activities in 1919 to his death in 1991. The diverse collection ranges
from drafts and artwork from his well-known children’s books to scripts, storyboards, production notes
for screenplays, and many other works related to Dr. Seuss’ life. Due to the nature of this collection
and its subject matter, this finding aid appeals to audiences outside of the traditional archival user
base. While the existing online finding aid for the collection does provide some interesting features,
the finding aid is essentially a lengthy, hierarchically structured text document.
The Seuss Collection’s existing online finding aid does improve upon the standard online finding aid
with a static navigation menu and collapsible sections to reduce cognitive load. It also lets users more
efficiently request items from the finding aid page, and permits access to the finding aid’s underlying
data and structure, usually in XML, thereby granting users some control. However, its design is still
limited by many of the same weaknesses shared by other online finding aids.
The increased standardization of collection description improves interoperability, so that finding aids
can be displayed in ways that make sense in different systems. Some aids take advantage of the
technological advances and web conventions users rely upon and have come to expect. Despite this,
finding aids remain:
Difficult to learn: The standard finding aid does not align itself explicitly with any “real world”
systems with which users are already familiar. It does not attempt to conform to the mental models
of potential users. Instead it is designed with a model of the “intended user,” which all other
users must learn.
Text heavy: As the web morphs into an increasingly visual medium, many types of users are reluctant
to read so much text to orient themselves and navigate to material.
Static and uncontrollable: Finding aids are very hierarchical, and users should be able to
personalize and impose their own order on the material.
Isolated: There is often no social component, no way for users to interact with each other, to
benefit from each other’s opinions and discoveries.
Unhelpful: Many finding aids do not attempt to anticipate when users need help. As intuitive as the
best designs are, it may be necessary, and is often helpful, to offer explanations.
Spatial relationship: It is difficult to get a sense of the size of each part of the collection,
relative to the whole collection.
Any discussion of the redesign of an online finding aid necessitates discussion of its potential users.
In addition to personal narratives and demographic data, the personas include an evaluation of the
users’ goals and motivations, as well as possible frustrations they might experience in their
interactions with the finding aid. Two of our personas, a professor and a researcher, illustrate
profiles of users that are most commonly imagined as visitors to an archive or users of a finding aid.
The remaining two personas, a stay-at-home father and a graphic comic book artist, are representative of
individuals less often imagined as potential users. Reaching a broader audience and encouraging
engagement with non-academics and members of the local community are often important goals for any
Human computer interaction and user experience design have always relied on analogies and metaphors to
bring attention to technology’s features and affordances. Metaphors are often used as a tool or method
in the design process to help identify, frame and solve problems. Metaphors can be useful for breaking
away from the limitations imposed by problem constraints, justifying design decisions, and creating an
intuitive language within a design team to perceive design objectives from alternative angles. Using a
metaphor in the end-product is a means to render the values and meanings to a product in its physical
form. In this use, metaphors help to translate abstract concepts into concrete product properties, which
eventually communicate functional, social, psychological, and cultural meanings to users.
Nested Russian dolls (matryoshka)
Zooming in like Google Maps
Boxes in a garage
In reimagining the design of an online finding aid for the Seuss Collection, we made use of an
experiential, intuitive metaphor for conceptualizing what a finding aid represents and the actions it
enables. What we have called the “Box Metaphor”—that is, the representation of the hierarchy of items
listed on a finding aid as boxes within boxes—is a spatial metaphor that not only emulates the physical
space of an archive, but also gives users a quick, immediate sense of what a finding aid represents and
what it should be used for. Building on this metaphor, we made use of dynamic data visualization as a
solution for the design weaknesses of the traditional online finding aid.
Collection finding aid that is simple, intuitive, and easy to understand. The hierarchy of the
traditional finding aid is represented by clickable boxes—only the highest-level categories are visible
at first, then clicking one of these boxes reveals that categories’ sub-categories and so on, until one
reaches the level of individual items. We have also included other features such as simple and
descriptive instruction on how the finding aid works, a feature that allows one to request items by
clicking the boxes that represent them, the ability to see digitized images of the items when available,
and “breadcrumbs” that remind users of where they are currently located in the hierarchy while they
navigate the digital space of the finding aid.
By utilizing this visualization, we have created a finding aid that is more visually stimulating, easier
to understand, and more readily accessible to the non-traditional, non-academic user. Unlike traditional
finding aids, this design encourages exploration, willing users to click around and explore this digital
representation of the collection. It reduces the cognitive load experienced by many users of traditional
finding aids by presenting only the necessary information a user needs as they need it, a stark contrast
to the lengthy, complex, and text-heavy container lists that are more like to intimidate or bore users
rather than empower them to discover information that is meaningful to them.
A lo-fi prototype can be found here.
(opens in a new tab)


Charlotte Mason, known as the founder of the homeschooling movement, wanted all children to develop a love for lifelong learning. As a child she was homeschooled by her parents in England. She made education her life's work after being orphaned at sixteen years of age. As an adult she wrote a six-volume set titled Home Education. She opened many schools for children throughout England and worked with homeschool families through correspondence.
The Mason method incorporates all core subjects, with a strong focal point on the humanities-classic literature, noble poetry, fine arts, crafts, and classical music. Charlotte Mason used the best books, the best music, and the best art possible. A variety of classical literature books are used--she called them "living books". Living books are books of high quality that often include stories of real-life characters a child can easily connect with. Mason spoke highly of the importance of poetry, the enforcing of good habits, the importance of nature diaries and the value of dictation and spelling. She believed that the development of good character and good habits was essential. As the parent models these integral traits and makes use of all teachable moments, the child will develop completely. This method is supports the child's own learning style and abilities.
The structured academic lessons are short and interesting, and last for about an hour a day. When lessons are complete, the child goes out into nature to draw what he observes in what Mason called a "nature diary". By interacting with nature, the child gains a sense of respect for the environment around him. Since the Mason method involves developing a passionate awareness of literature, the young child is read to daily. After reading short excerpts from living books, the child is asked to narrate or tell the adult what they have learned, giving back the information that was just read to them. Narration is casual and natural. It begins as early as age six and by age ten the child is expected be able to write her narrations in her nature notebooks. Narration puts the emphasis on what the child knows, not on what she might have missed. As soon as the child can rename or recite it, she observably knows it. After lessons are complete, the child is given the free time to pursue any and all interests.
This method was developed by a homeschooled student specifically for homeschool students. There is no curriculum to buy; books are available at the public library. It can be used on its own, or it can be used as a supplement to other educational methods.
- Narration - An explanation to a key component to the Mason method by Catherine Levison.
- Homeschool.Com - A brief description of the Mason method with FAQ's, resources and recommendation
- Charlotte Mason Study Guide- Introduces you to the educational approach developed by Charlotte Mason with books for purchase.
- Introducing Charlotte Mason - FAQ's about Charlotte Mason and her approach.
- Charlotte Mason Research and Supply Company - A website containing information, books and supplies for the Charlotte Mason method by Dave & Karen Andreola.
- Living Books List - A large list with classical Christian books.
- A Charlotte Mason Education - A brief introduction and overview of Charlotte Mason and her method, along with some quotes.
- Charlotte Mason High School Study Guide - Study notes written from a group's discussion of High School the CM Way. Along with schedules and some useful links for High School in general.
- The Charlotte Mason Approach to Poetry - Answers to the question, What is the Charlotte Mason approach to the study of poetry?
- A Charlotte Mason Education - A wealth of information that includes articles, newsletters and periodicals, resources, training and school lists.


Note – This piece is meant to be read alongside Allan Carlson’s article on the decline of the natural family. We are using Carlson’s writing to make some quick conclusions about the unstable nature of social activism throughout American history.
Public opinion is a squirrely guide. With respect to the sentiments of Isaac Newton, “standing on the shoulders of giants” may help us to innovate and achieve, but it also helps us see the fickle and transitory nature of public consensus on ethical and moral issues. Great reversals within a few generations are not uncommon, and the memories of activism in the opposite direction are often either forgotten or glossed over with a brush of condescending words like “old-fashioned” or “stagnant.” Through the language of liberation, safety, and health, America has changed its mind on slavery, same-sex orientation, same-sex marriage, women in the workforce, women voting, and immigration, to name a few.
The question at hand is this: can public opinion be trusted for the long haul? For one case study, let’s look together at a piece by Allan Carlson, a historian and Catholic apologist who teaches at Cornell University. In it, he tracks the changes in the American concept of the family unit and its relation to economic and social shifts.
Finished? Let’s move forward together.
by Ryan Mayo
Abstract: Millennials have been vocal about the reasons for their disappointment and detachment from the local church. Yet their critiques of worship style, gospel presentation, and other public practices are not often accompanied by wise suggestions for reform. The local church should embrace this emerging generation with winsome warnings and offer a long and historic perspective about the deep liturgies of church involvement.
For the last 15 years there has been a mildly successful formula for publishers seeking to capture young evangelical readers. It looks like this: prompt reflective Christians in their late 20s or early 30s to chronicle the ways in which the institutional church failed them and their peers.1 There are some variables between the writings, such as the degree of disappointment or the depth of research, but the general plotline remains the same. The authors, about a decade removed from their involvement with the offending institutions, will predictably generalize their church’s particular offenses to include the near-abandonment of an entire generation. The final chapters, however, nearly always offer a ray of hope for the institutional church, as the authors outline a few steps to reconcile Christ’s church to the generation it has soured.
If churches want to retain Millennial participation, these authors have suggested that they adapt to their changing demands, which mostly fall into three categories: worship styles, gospel presentation, and public involvement in social justice activism.


According to the majority viewpoint the gospels of Matthew, Mark, and Luke, collectively referred to as the Synoptic Gospels, are the primary sources of historical information about Jesus and of the religious movement he founded.The fourth gospel, the Gospel of John, differs greatly from the first three gospels.The MFA, explains Habermas, “considers only those data that are so strongly attested historically that they are granted by nearly every scholar who studies the subject, even the rather skeptical ones” Since we will review the New Testament I want to make the case that we can trust them as historical documents.We won’t assume that the biblical texts are inspired or that they are inerrant.In French It's a most basic set of questions to ask: Who wrote the Gospels? And generally, is there any reason to suspect that they are full of fabrications?The usual Skeptical/critical view asserts in answer: Authorship and date are important; but equally important, if not more so, is whether what is in the Gospels is true.
Finally, scholars turn to external sources, including the testimony of early church leaders, writers outside the church (mainly Jewish and Greco-Roman historians) who would have been more likely to have criticized the early churches, and to archaeological evidence. Cory Sticha, and Dom Bettinelli discuss and analyze the third episode of the 10th Season of Doctor Who entitled “Thin Ice”. Emojibots, Scots in space, and callbacks to old Doctor Who episodes are all part of the discussion. Cory Sticha, Dom Bettinelli, and Jimmy Akin discuss and analyze the second episode of the 10 Season of Doctor Who entitled “Smile”. scholars use textual criticism to determine which gospel variants could theoretically be taken as 'original'.To answer this question, scholars have to ask who wrote the gospels, when they wrote them, what was their objective in writing them, what sources the authors used, how reliable these sources were, and how far removed in time the sources were from the stories they narrate, or if they were altered later.Historians often study the historical reliability of the Acts of the Apostles when studying the reliability of the gospels, as Acts was seemingly written by the same author as the Gospel of Luke.Historians subject the gospels to critical analysis, attempting to differentiate, rather than authenticate, reliable information from possible inventions, exaggerations, and alterations.The historical reliability of the Gospels refers to the reliability and historic character of the four New Testament gospels as historical documents.Some believe that all four canonical gospels meet the five criteria for historical reliability; some say that little in the gospels is considered to be historically reliable.The gospels are our primary sources for learning about Jesus. This important fact conveys to us the author’s motive, namely to provide an account of what really happened.Contemporary critical New Testament historian and professor of Religious Studies Bart Ehrman affirms we can make use of the “New Testament Gospels.” He explains that doing so “is not for religious or theological reasons… Historians note that archaeology supports the gospel accounts which goes a long way in demonstrating that they are grounded within history. Cory Sticha, and Dom Bettinelli discuss and analyze the sixth episode of the 10th Season of Doctor Who entitled “Extremis”. Zombie monks, the Pope, Missy, and a deadly book all bring the blinded Doctor, Nardole, and Bill together to begin their battle against a new foe. Cory Sticha, Dom Bettinelli, and Jimmy Akin discuss and analyze the fourth episode of the 10th Season of Doctor Who entitled “Knock, Knock”. (Hengel [Heng.4G, 6] notes that we have only one biography of Muhammed, written 212 years after his death, which used a source from about 100 years after his death, and yet "the historical scepticism of critical European scholarship is substantially less" where Muhammed is concerned.) Critical arguments about authorship and date of the Gospels revolve around the same data, and have revolved around it, for a long time.


Have you ever sensed that your loved one in Heaven was looking down on you?
Have you ever prayed and received an almost immediate answer?
In Jellybeans from Heaven, Dr. Sylvia Traymore Morrison uses her master story-telling ability to bring us into the wonders of Heaven and God’s magnificent purpose for everything, including jellybeans.
This inspirational book is a faith-enriching tale of love, tragedy, hope, and redemption. Prepare to catch a glimpse of yourself in characters that ask many of the same questions you have asked about God, life, and life after death.
As you explore the marvels of Heaven along with new arrival, Carlie, and discover how God uses a bean of sugar to answer prayers and manifest miracles, you will be reminded that He not only hears our prayers, but has unique ways of responding to them.
Never will you look at jellybeans the same again.
Originally from Washington, D.C., and currently residing in Maryland, Dr. Sylvia Traymore Morrison is the first renowned African American Female Impressionist in the history of this country.
Since impressively hosting Roast of the Champ for Muhammad Ali at the legendary Apollo Theater, Sylvia has worked as an associate-writer for Saturday Night Live, performed with countless entertainers including Whitney Houston, and released her first book, based on her life, entitled Almost There, Almost: The Many Faces of Sylvia Traymore Morrison.
She is presently the subject of a documentary entitled A Legend Among Us and recently received her first honorary doctorate degree. Sylvia was also honored at the Indie Author Legacy Awards where she received the 2017 Maya Angelou Lifetime Achievement Award.
After 50 years of being in the entertainment business, Sylvia continues to perform and grace stages around the country.
To connect, contact Sylvia at firstname.lastname@example.org


NYPL Day at Pratt
Sponsored by Pratt SILSSA
Attention all (especially Alumni and those in their last semester).
NYPL will be on campus Thursday, October 22 to interview for Librarian positions ( Children Librarian, Young Adult and Adult Librarian positions to start immediately).
An Information table will be set up in the Lobby of the 6th (Pratt Manhattan) from 2:30 pm -7:00 pm and interviews will take place on the spot for those who qualify. The interviews will take place every half hour from 2:30-6:30–please let us know the times you are interested in.
Staff from NYPL Human Resources will answer any of your questions and accept resumes for other positions at NYPL, but they will only interview for Librarian positions.
A reservation spot is strongly recommended. Walk-ins are welcome but reservation spots will be seen first. Space will fill up fast- so please reserve your spot ASAP.
Reserve your spot in advance by emailing SILSSA at email@example.com by Wednesday, October 21 8:00 pm.
Email a time you would like and a confirmation will be sent, remember walk-ins are welcome.


Well, let me introduce my first Sitecore Module!
SeitenKern Translator is a all-round translator for your website and an important module for all .NET Sitecore developers.
The Translator Module is available on Sitecore Marketplace, you can also download the source code from GitHub, for free!!
Nearly all websites are multilingual and managing translations is always a hard step in development progress.
This module helps you to manage your translations with ease! It builds on the dictionary domain concept (thanks to almighty John West for the explanation), introduced in version 6.6 of the Sitecore ASP.NET Web Content Management System (CMS).
It’s very easy to use! Within 5 Minutes you are ready to take the full advantages of the module, and managing translations is blown out of your mind 😉
The module requires a small set of templates:
- dictionary folder (for structure only)
- dictionary domain (item-id with this template should take place in your site config)
- dictionary folder (the folder for the dictionary index)
- dictionary entry (at least the entry template)
Keep in mind: The dictionary domain has a fallback domain! If a key is not found in the current dictionary, the translator searches for the key in the fallback domain and returns the translation item if key is found. Else, the translator adds the key to the current dictionary.
If a key was loaded from the fallback domain and you set “AddToAllDictionaries” sometime later, the translator is smart enough to recognize this! It adds the translation to the current dictionary and to all other configured dictionaries where not an item with this key exists!
Give it a try and also a recommendation if you like it!
Best regards Dirk


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Frankenstein's Monster is "The Creature" who was created by Victor Frankenstein in Mary Shelley's Frankenstein or the Modern Prometheus. While he was unnamed in the original novel, one passage refers to him metaphorically as Adam, which is also proposed as his name in a lost scene from Universal Pictures' 1931 film Frankenstein. In the 19th century, readers of the book took to the habit of referring to the monster as Frankenstein, a custom legitimized by a reference in the movie sequel Bride of Frankenstein (1935) and some of its successors, so that it is his most common name in popular culture today. A few adaptations call him Adam Frankenstein, based on these two semi-canonical references.
"The Creature" is intelligent and articulate, relating his first days of life while living alone in the wilderness. He finds that people are afraid of him and hate him due to his appearance, which leads him to live in seclusion. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there, and discreetly collected firewood for them. Secretly living among the family for months, the Creature learned to speak by listening to them and he taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his physical appearance was hideous, and it terrified him as it terrifies normal humans. Nevertheless, he approached the family in hopes of becoming their friend. Initially he was able to befriend the blind father figure of the family, but the rest of them were frightened and they all fled their home, resulting in the Creature leaving, disappointed. He traveled to Victor's family estate using details from Victor's journal, murdered William, and framed Justine Moritz.
The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse his request, The Creature also threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him.
Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress.
Universal Monsters (1931-1948)
In Richard O'Brien's play The Rocky Horror Show and its film adaptation The Rocky Horror Picture Show, Rocky Horror is built by Dr. Frank-N-Furter. Tall, blond, and muscular, Rocky comes to life with a melancholy pessimism about the future.


The legendary story of Hachiko, an Akita dog from Japan, is a testament to the unwavering loyalty dogs possess. Even after his owner’s death, Hachiko faithfully waited at the train station every day for nearly 10 years, hoping to see his best friend return. This story will touch your heart and remind you of the immense love dogs have for their humans.
In the bustling heart of Tokyo, where the thrum of the city beats like a relentless drum, there once trod a creature of quiet dignity and boundless loyalty. This is the story of Hachiko, a dog whose spirit became a testament to devotion, a silent guardian of unwavering faithfulness. This tale, woven from the threads of true events, is a tapestry of love and patience that transcends the boundaries of life and death.
The day Hachiko entered the life of Professor Ueno was a day like any other in the spring of 1924. The cherry blossoms were in full bloom, painting the city in shades of delicate pink and soft white. The professor, a distinguished figure at the University of Tokyo, found the Akita puppy through an acquaintance, and from their first meeting, a bond was forged that would become the stuff of legends.
Hachiko, with his plush coat of honey and cream, grew under the professor’s gentle care. Each morning, Hachiko would accompany his master to the Shibuya Station, his paws padding softly against the cobblestones. There, amid the sea of legs and the cacophony of voices, Hachiko would watch as Professor Ueno disappeared into the belly of the great iron beast that carried him to his work.
And each evening, as the sky painted itself in hues of burning orange and deepening blue, Hachiko would return to the station. His ears perked, his tail wagging in anticipation, he would scan the faces in the crowd until that familiar figure emerged. Then, with a bark of joy and a nuzzle of affection, the pair would make their way home together, side by side under the canopy of stars.
But fate, in its unpredictable dance, had a somber turn in store. On a day that began like any other, with Hachiko’s escort to the station, tragedy struck. Professor Ueno would not return that evening, nor any evening thereafter. He had suffered a cerebral hemorrhage at the university, leaving this world and his loyal friend behind.
Hachiko, with his understanding limited to the bonds of the heart and not the complexities of human frailty, continued his vigil. Days turned to weeks, and weeks to months, but the Akita’s faith never wavered. Each evening, as the shadows lengthened and the station lights blinked to life, Hachiko would take his place among the hurrying feet, his amber eyes searching for the one who would never come.
The people of Shibuya watched this display of steadfastness with a mix of curiosity and admiration. Whispers of the dog’s tale spread like ripples in a pond, until the story of Hachiko reached ears far and wide. Some offered him treats, a kind word, or a gentle pat, while others simply observed, perhaps questioning their own capacity for such unwavering devotion.
Years passed, and Hachiko’s fur began to show the frost of age, his gait slower, his eyes clouding with the mists of time. Yet his routine never faltered. Through the heat of summer and the chill of winter, through rain and snow and the relentless march of days, Hachiko waited.
It was in the ninth year of his lone pilgrimage to Shibuya Station that Hachiko’s journey came to an end. He was found in the very spot where he had spent countless hours, a silent sentinel of hope. The city mourned the passing of the faithful Akita, for in his quiet vigil, he had become a symbol of enduring love, an emblem of the heart’s capacity to hold on in the face of loss.
In the wake of Hachiko’s death, the people of Tokyo sought to honor the memory of this extraordinary companion. A statue was erected at Shibuya Station, a bronze effigy capturing the essence of the dog who never gave up. There he sits, gazing into the distance, a reminder to all who pass by of the power of loyalty and the depth of the bond between two souls.
The story of Hachiko speaks to the heart of what it means to be a friend, to love without condition or expectation. It is a tale that inspires us to consider our own relationships, to cherish the connections we forge and to remain steadfast in our commitments.
In the years since Hachiko’s passing, millions have been touched by his narrative. His spirit continues to resonate, a beacon of hope in a world that often forgets the simple purity of a promise kept. Hachiko’s legacy lives on, a loyal friend who never gave up, whose story echoes with each paw step around the statue that immortalizes his waiting.
And so, as the city moves around him, Hachiko remains a steadfast figure amidst the ebb and flow of life. He teaches us that love does not count the hours, that true companionship knows no bounds, and that loyalty, once given, is a light that never fades. Hachiko’s tale endures, a narrative whispered in the rustling leaves of the cherry blossoms, carried on the wind that sweeps through the busy streets of Tokyo, a story of a loyal friend, forever waiting, forever remembered.


Want to know who is doing the best cutting edge research in your field, to enhance your operation or build background for your research project? LRIC researcher database will help you find the right person, laboratory or university and provide you with the introductions so you can get straight to the information you require.
Find documents and download
LRICs database and data-access provides access to past and current research by topic, field, sector, researcher etc. You simply provide the information on what you’re looking for and let our unique search system do the rest. Using relationships with research institutions, sector research offices, journals and researchers you’ll find full papers, abstracts, journal articles and more, all free and all accessible and available through the LRIC Research-portal.


The CIJ provides a range of training material for journalists.
In this section you will find guidance on statistics for journalists, database research and online research as well as audio and video from the Summer School and other talks so you can catch up on any you missed.
If you wish to order copies of any of the CIJ or Logan handbooks, please complete this short form.
Our most recent handbooks include two in the Logan series: Information Security for Journalists (currently in a free ebook format) that helps journalists to protect themselves and their sources online, and DPA Without the Lawyer, which shows how the Data Protection Act can be used as a tool for journalists, and the CIJ handbook, The Investigative Journalist's Guide to Company Accounts that makes accounts accessible to journalists that don't have a financial background.
Audio and Video
We have published a selection of presentations from our annual summer schools and other talks held throughout the year.
Many of the hardest-hitting investigations, even in recent times, have appeared in books. Here we will announce new bo


Well, like Crystal said in her last post........we got a lot of snow. I know that we got 4 inches of snow where I live and then some freezing rain on top of it.
But on Sunday, the sun poked out and melted enough for us to have school today.
On another note, I was curious how others did whole group reading. Some of our longer stories in our reading book we have done them whole group. Sometimes we do popcorn reading where after a student reads, they popcorn another student to read. They love doing popcorn reading. I would love to hear how you have your students read the stories out of the reading books in a whole group. Please let me know your ideas and thoughts of ways to have them whole group read.
Have a great day!


Poetry is a personal and emotional genre making it difficult to truly explain what constitutes poetry; however, we can summarize it in the following definitions of poetry:
• The expression of the heart, human experience, feelings and thoughts.
• Expressing facts in appropriate words.
• A description of life written with imagination and emotion.
• The most popular genre of literature.
• The fountain to civilization, constitution and different arts and crafts.
• The concoction of all knowledge and craft. q An element of surprise to us.
• An art through which a poet can excite the emotions and feelings of others.
• Expressing an ordinary event in an effective, heart-stealing style of writing that creates a sharp reaction in the heart and mind of the reader.
Poetry is universal as every language spoken by mankind has in it some poetic elements. Interestingly, though languages differ significantly in the manner of expression, the nature of poetic expression remains common indicating that poetry is more of a human phenomenon rather than syntactical expression. From expression of love for a woman to revolt against a regime, poetry carries in it an element of subtlety and spontaneity—something created by the environs of the poet. To understand a great poet, therefore, we must first look into his mind and his awareness of the milieu exterior. Since Ghalib, undoubtedly the greatest poet of Urdu language, expressed himself mainly through his writings of love sonnets, it is imperative that we examine the art of love sonnets, the language they are written in, and the environs that prompted these writings to understand how Ghalib became a master of this genre.
In this chapter we will examine the roots of Urdu language, Urdu poetry and particularly the genre of love sonnets, ghazals, in Urdu. The following chapter will examine the life and works of Ghalib and the third chapter will offer a broad view of Ghalib’s art of expression in love sonnets, the ghazals.
Urdu, literally meaning “camp” in Turkish, is a mixture of many tongues and languages. Muslims brought many different languages to India, and diluted India’s languages freely with words from their own. When Delhi was the seat of the Muslim Empire in the late 12th century, the languages around Delhi, mainly Brij Bhasha and Sauraseni became heavily mixed with Persian, the lingua franca of the Muslim rulers. Other languages that found their way into the languages of India were Turkish, Arabic and later English. Whereas much of the vocabulary of the original languages (Sauraseni, for example) changed, the basic grammar structure remained intact. In the 13th century, the language of India became widely known as Hindvi, Hindi, and Brij Bhasha and was written in the original devanagri script [the Sanskrit script]. The name gUrdug was given to this thriving language of the region in the period of the Mughal Emperor Shah Jehan (1627-1658). The language was introduced to the southern province of India, Hyderabad Deccan, by the armies and followers of the Tughlaq and Khilji kings in the 14th century. Affected by the dialects of the South, the language became known as Deccani (after Hyderabad Deccan), having adopted the Persian script and replaced Persian in offices as the official language. Since the language was written in the devanagri script for quite some time around Delhi, it had been erroneously assumed that the first Urdu poet was Amir Khusro (1253-1325) from the Deccan. The fact is many poets up in the North had already been writing Urdu poetry, namely Kabir Das, Mira Bai, Guru Nanak, Malik Mohammad Jaisi and Abdul Rahim Khan Khanan, who lived much earlier than Amir Khusro.
Urdu poetry of the Indian subcontinent as we know it today did not take its final shape until the 17th century when it was declared the official language of the court. The 18th century saw a phenomenal rise in Urdu poetry when Urdu replaced Persian as the lingua franca of the region. Urdu poetry, as it is derived from Persian, Turkish and Arabic, acquired many conventions in its poetry that came from these languages. Just as Elizabethan English is full of social and regional realities, Urdu holds a remarkable wealth of the conventions of many cultures and languages. This element got a great boost in the 18th century when there weren’t many newspapers or media of information available to the public. Urdu poetry became a more intimate form of communication regarding the social and political tribulations of the time. The commonest form of communication, in tradition with the Arabic culture, was to read poetry in gatherings, called musha’era, where poets would gather to read poems crafted in accordance with a metrical pattern, which was often prescribed beforehand. Not only did the poetry have to meet the choice of word, and the loftiness of thought but also strict metrical patterns. There were competitions like those held in ancient Greek, Roman and pre-Islamic Arabic cultures. However, the intensity and warmth of the musha’eras that developed in Delhi were indeed unique and helped popularize Urdu as the language of poetry in the Mughal Empire. A culture built around taking lessons in writing Urdu poetry became the in-thing for the royalty, and the masters of poetry were given reverence worthy of kings. In all musha’eras, the most honored of the poets would preside and the candle that was passed around to poets in the order of their rankings reached the presiding poet in the end. This impact on the tradition of respect and new cultural traits took root since the poets were held in high-esteem in those times. The royalty sought their company and poetry was sent as gift to their friends. Whereas the 18th century produced remarkable literature in Urdu, it was often lost, since only when the poets reached fame were their writings collected and published. The writings of one of the greatest poet, Nazir, were collected 80 years after his death and even the works of Zauq, the teacher of King Bahadur Shah Zafar, were destroyed during the mutiny of 1857. Some of the poems written by the King, Bahadur Shah Zafar, in exile were also lost.
Urdu poetry is based on a system of measure—it is a quantitative expression and its form is very rigid. The usual measures are nine, or more commonly eighteen, but by various permutation and combinations, they number over 800. The several forms of Urdu poetry include:
• qasida or ode of praise
• masnavi or long reflective poem and tale in verse
• marsia or elegy
• qit’a or fragment, a four line quatrain
• ruba’i or a quatrain with specific rhyme and topic
• ghazal , a lyrical poem of six to 26 lines, often longer; the word gghazalg is derived from, Arabic word, “taghazzul,” or gconversation with ladiesg or expression of love for women. The word ghazal also means the agonized cry of the gazelle. The literal meaning of ghazalg is to talk to women or to talk about them or to express love to them through the description of the condition of heart.
Whereas many poets have specialized in the specific art of writing one of the above types, most have attempted ghazal, the most popular form and those whose fame reached the greatest heights have been poets of ghazal. Since each verse of a ghazal is an independent segment and a complete description of the topic (though there may be a chain of verses with the same theme), it requires a great deal of ability to express in the fewest words the most complex emotions. Also, since the topic of ghazal is not new and just about everyone in his or her lifetime experiences affection towards the opposite sex, the style of expression for the ghazal has to be unique to make any impact. As a result, it is easy to write a common verse but almost a monumental task to create a unique one. ªhazal became the most popular form of Persian and Urdu poetry while qasida was popular in Arabic poetry. ²asida finds its roots in tribal sentiments. The rise of Islam saw a decline in the tribal structure of the communities and more sophisticated, livelier expressions of society, the lover and the beloved became the accepted themes of poetry. That remains true today, though in its transition many thoughts of mysticism have also surfaced. The ghazal also maintains a rather platonic sense as well; juxtaposed to corporeal love, the spiritual love expressed in Urdu ghazal coexists with the mundane. Understanding an Urdu ghazal can be a daunting task for many, particularly those who are removed from the Indo-Persian and Arabic scene. The forces of images, the dreams and the strength of analogies combined with subtleties of the words as used colloquially, create the mood of the ghazal, making it almost impossible to translate the thoughts into another language, particularly the English language, which though extremely rich in vocabulary and thought, remains inadequate in expressing the nuances of a distant culture and language. [Converse will be true if one were to translate Shakespeare in Urdu.] All of this combined with extreme brevity, as a two line verse, makes it that much more difficult to understand and interpret. The poetry of Ghalib, the topic of this book, is a classical example. Understanding Ghalibg can well be an oxymoron. A good ghazal has to be lived through allowing it to sink in and it cannot be read only once; it entails a slow imbibing process before the spirit of the thoughts expressed begin to gun compress and an abstract becomes visual. The ghazal is made up of sh’ers (verses), which consists of two hemistiches each, and may be called couplets with the difference that the two lines rhyme only in the opening verse or where they form a qit’a or a continuous ghazal. (The word sh’er is derived from the Arabic meaning “of wisdom and hence the she’r, shae’ri and mushae’ra all representing intelligence, reasoning, knowledge, and consciousness.) A verse has q¢fi¢ and radif, the rhyming and repeating words, except in the first verse, matla, where the qafia and radif are the same. The last verse is called maqta, wherein the poet normally uses his pseudonym (takhallus), often to create a meaning out of it or to construct a clever thought. The meter is also very specific for ghazals. A difference from Western poetry arises here as the she’rs do not bear any relationship to each other and are often complete in the thought, theme or feeling they portray. Though the ghazals may often carry a theme, there are such drastic changes in expression that it often throws the Western reader totally off-guard? The measure of a ghazal remains the same and the rhyming scheme is aa, ba, ca, and so on. The popularity of Urdu ghazal comes from its varied themes. The high etiquette required in writing ghazal and the limits the themes place on the poet. The most common subjects of the ghazal are the love of the poet for his beloved, her (his, see later) indifference, the broken heart, the cruelty of fate, the difficulties in passing the night of separation; the impermanence of human glory, the instability of life, the meaning of God and so on. Many similes are used to describe the varied images and themes that form the core of Urdu ghazal. The nest is the lover’s heart, wherein the lightning (cruelty of fate) strikes, the nightingale (bulbul) loving the rose, the moth burning itself on the candle, the snare and the hunted bird, the dagger of the beloved’s eyelashes are common. Also intertwined in the varied descriptions of feelings are references to biblical prophets: Jacob’s patience and his suffering for Joseph; the beauty of Joseph; Zuleikha, the wife of Potiphar, Solomon the wise, Jesus the giver of life, Moses’ challenge to God to show Himself. Also, many anecdotal stories and themes are oft repeated: Qaroon, the rich man who was hanged for not paying taxes, the discovery and taste for good wine of the Persian Kings Jamshed, Kaikobad and Kaikhusro of Zoroastrian days, Alexander of Macedonia. Shireen and Farhad, the legendary lovers of Persia, and their Arabic counterparts, Laila and Majnoon; the warrior Sultan Mahmood Ghazni and his beloved slave, Ayaz, are some of the themes that must be well understood by the reader of Urdu poetry. In addition, the poet has many personalities, some figurative, to deal with; there is this pir who serves as a guide or mediator, trying to dissuade the lover from his insanity; the prayer cloth and the black string worn by religious men; the wine, the tavern, the goblet, the decanter appear all over. The more sublime topics include descriptions of monism, dialogue with God and assertion of Sufi doctrines. The Glossary section of the book describes details of these and many more topics of common occurrence in Urdu ghazal. The knowledge of the holy book of Islam, Qur’an, finds many references in Ghalib’s ghazal as do the vedantic beliefs and Hindu philosophy of life. Despite the great diversity in the topics of the ghazal, the most significant mood remains melancholy and love-sick; a heart full of sadness is the prevailing theme, and rules for this were actually laid down by Arab critics Ibn-eRasheeq and Ibn-e Quddama in the 10th and 11th century; Persian poetry, which has the greatest influence on Urdu ghazal reinforced this theme. Held in supreme regard is the beloved and no expression could belittle the beloved. (However, see below how Ghalib got away with this.) The ghazal, carries a sense of nobility, idealism, sensuousness (not necessarily a sensual aura) wherein the lover is inseparable from the loved. It is more like the 16th and 17th century English lyrical poetry, wherein metaphors play a significant role. Take for example T. S. Eliot’s “Love Song of J. Alfred Prufrock.” Love adduced in Urdu ghazal is always one-sided, unrequited love, idolizing and idealizing at the same time. Urdu ghazal poet is not merely creating a ghazal from its many blocks (she’rs), but representing the times he or she is living in. The vision of the poet as affected by the surroundings is very much reflected in the ghazal, a concept that is closer to Shelley’s concept wherein the poet is the “unacknowledged legislator of mankind.” Ghalib’s ghazals have also been compared to the devastating couplets of Alexander Pope A rather touchy situation for the Western reader of Urdu poetry arises in how the male gender is used for the beloved. Translations, including this book, are difficult to do using this scheme. (As a result, I have addressed the beloved as female). The roots of this convention go back to the ancient Persians and Greeks; the Persians with their homosexual preference found the young Turkish boys taken in as slaves very attractive. In the 18th and the 19th century, it was fashionable to have these young companions as confidants, and cupbearers (saqi) to a point where the royalty began to profess their love for them rather openly. As a result, the poetry, which at that time was mainly for the consumption of the royalty, began to express the sentiments of the love of the male for the male. (The Western gay movement finds its beginning in the late 20th century.) Soon it became fashionable to address the beloved as male and the tradition continues. Before Amir Khusro (1253-1325), the language of poetry was primarily the vernacular Brij Bhasha. Amir Khusro interspersed it with Persian as the first school of ghazal poets emerged in the Deccan during the 15th and 16th centuries. Early ghazal was somewhat free of structure and made rather simple and blunt expressions as we see in the works of the Qutub Shahi poets of the Deccan. Vali (1668-1744) contributed much to the structure of ghazal. When the works of Vali reached Delhi in 1720, the town was in an uproar and, within a decade, Urdu became a language of poetry. The works of many minor poets like Hatim, Naji, Mazmoon and Abru actually formed the groundwork that cemented the structure of Urdu poetry in the 18th century in Northern India, particularly Delhi. Urdu ghazal became heavily Persianized and led in the golden age of Urdu ghazal beginning with Mir Taqi Mir. The simplicity of emotions expressed in earlier ghazals went through a metamorphosis, leading to the works of Ghalib, perhaps the most difficult Urdu ghazal poet. This transition from the 15th to 18th century was due not only to the maturity of technique but to changes in the social order as well. For India, the 18th century was an age of transition. The last of the strong Mughal Emperors was Aurangzeb (1707), after whom there was dismemberment of the empire. The capital was invaded and destroyed by Nadir Shah and Ahmad Shah Abdali, followed by others. Finally, the British crept in with their deceptive plans. All of this changed the aura of the empire, which had stifled human thought. The uncertainties of the time caused many to raise questions and a revival of the arts and literature, a sort of renaissance period, ensued for India in the 18th century. Urdu poetry benefited most from this revolution of thoughts. The doubts and the uncertainties of the 18th century continued into the 19th century, and the mutiny of 1857 against the British left many indelible marks on the social and cultural scene of Northern India, all reflected melancholically by many poets, Ghalib included. Many new constructions of language ensued using old similes. The executioner and the rival were now the British. Christ became a symbol of the ruling elite and new meaning was given to the kalisa (church). The dwindling light from the candle of the dying empire was called a candle ready to be extinguished as the weak, symbolic emperor, Bahadur Shah Zafar, who himself was an elite poet, tried desperately to preserve the traditions of the Mughal Empire. Mourning over lost glory became an oft-repeated topic for Urdu poetry. In brief, Urdu ghazal finds its roots in the melancholic romantic era of the Mughal period. It was through the rise of Urdu ghazal as a medium of expression that Urdu language rose to the height of popularity and evolution in a very short time in its lifecycle.


I love reading. I always loved good stories and had grand imagination to accompany them. I haven`t read a lot of books in the past couple years - probably only one every couple of months, whereas I used to read a book a week before! So I decided to read more again.
It wasn`t a decision honestly, I just felt that need to read that I haven`t felt in a very long time. I guess I was in a reading slump.
I think I want to set my goal for 2019 to be hmm, maybe to read 20 books in total? Yeah, 20 sounds good. I don`t want to over-exhaust myself and not be able to achieve it and get into a reading slump again ahah.
Here are some ideas for the books I`d like to read:
1. The Great Gatsby by Scott F. Fitzgerald
2. Hippie by Paulo Coelho
3. The Pilgrimage by Paulo Coelho
4. Life of Pi by Yann Martel
5. The Picture of Dorian Gray by Oscar Wilde
6. Una by Momo Kapor
7. Re-read Heidi by Johanna Spyri
8. Re-read Anne of Green Gables & Avonlea by L.M. Montgomery
9. The History of Art by H. W. Janson
10. A Treatise on Painting by Leonardo da Vinci
11. Siddhartha by Hermann Hesse
12. The Tao of Pooh by Benjamin Hoff
13. The Third Eye by Lobsang Rampa
14. The Art of Happiness by Dalai Lama XIV
15. What the Buddha Taught by Walpola Rahula
16. Mindfulness In Plain English by Henepola Guaratana
17. Does The Noise In My Head Bother You by Steven Tyler
18. Travelling to Infinity by Jane Hawking
19. Slash by Slash
20. It`s So Easy: And Other Lies by Duff McKagan
Is a theme visible here? I love rock n roll legends, books about peace and buddhism, and (what will hopefully going to turn out to be) some good fictional literature!
I have made a Goodreads account and you can check it out HERE. I have also added it to the left side of the blog, where the list of pages is. I plan on
- Lena xx


Imagine stepping into a time machine and traveling back to the early days of card counting, where a small group of daring individuals embarked on a quest to conquer the game of blackjack. Like pioneers exploring uncharted territory, they forged the path for what would become a revolutionary strategy.
But what were the key stages that shaped the historical evolution of card counting? Join us as we uncover the fascinating stories of legendary figures, groundbreaking books, and the ongoing battle between players and casinos.
Get ready to discover the secrets behind the ten stages that forever changed the landscape of card counting.
1. Pioneers of Card Counting
The pioneers of card counting, including Jess Marcum, Harold Smith Sr., and Ed Thorp, revolutionized the game of blackjack with their groundbreaking strategies and techniques.
Jess Marcum, a Nuclear Physicist, developed the first points-counting system in 1949, paving the way for future card counters.
Harold Smith Sr., in his book ‘I Want to Quit Winners’ (1961), provided players with strategic betting advice based on remaining Aces. Smith Sr. also authored ‘Playing Blackjack to Win’ (1957), which was one of the first works on card counting strategies.
Ed Thorp’s ‘Beat the Dealer’ (1962) became a bestseller, offering mathematically correct card-counting systems that boosted players’ confidence.
These pioneers and their books have played a significant role in shaping the strategies and techniques used by blackjack players today.
2. The Rise of Strategy Books
With the groundbreaking strategies and techniques introduced by pioneers like Jess Marcum, Harold Smith Sr., and Ed Thorp, the stage was set for the rise of strategy books, which would play a crucial role in popularizing and spreading the practice of card counting in blackjack.
These books provided players with accurate and mathematically sound card counting strategies and tips, giving them a greater understanding of the game. Ed Thorp’s book, ‘Beat the Dealer,’ in particular, became a bestseller and gained recognition for its mathematically correct card counting systems.
The publication of strategy books like this increased players’ confidence and improved their chances of winning. The rise of these books also had a significant influence on the blackjack community, shaping the techniques and strategies used in the game.
3. Ed Thorp and the Mathematical Breakthrough
Ed Thorp’s mathematical breakthrough in card counting revolutionized the blackjack game in 1962. His book, ‘Beat the Dealer,’ introduced mathematically correct card counting systems that shifted the odds in favor of the player. One of his most influential contributions was developing the ten-count system, which involved counting tens and other cards to determine player advantage. This breakthrough not only increased players’ chances of winning but also popularized card counting itself. ‘Beat the Dealer’ became a bestseller, leading to changes in casino policies and the implementation of countermeasures. Thorp’s dedication to studying blackjack seriously and creating comprehensive strategy charts for card counting laid the foundation for the evolution of card counting systems and blackjack strategy as we know them today.
|Card Counting Systems
|History of Card Counting
|Mathematician Ed Thorp
|Popularization of card counting
|Changes in casino policies
|Implementation of countermeasures
|Evolution of card counting systems
|Revolutionized the game
4. The Influence of ‘Beat the Dealer
‘Beat the Dealer’ by Ed Thorp revolutionized the game of blackjack by introducing mathematically correct card counting systems that shifted the odds in favor of the player. This influential book had a profound impact on the blackjack game and the practice of card counting.
Here are three ways in which ‘Beat the Dealer’ influenced the world of blackjack:
- Popularizing Card Counting: ‘Beat the Dealer’ brought card counting into the mainstream, making players aware of its potential to gain an advantage. This led to a surge in interest and the widespread adoption of card counting strategies.
- Challenging the Casinos: The book’s strategies overwhelmed casinos, forcing them to change to counter the growing influence of card counting. Casinos began using multiple decks and implementing stricter rules to reduce the effectiveness of card counters.
- Recognition and Legacy: Ed Thorp’s groundbreaking work earned him a place in the Blackjack Hall of Fame. His book remains a classic and a reference for those interested in playing blackjack to win.
The influence of ‘Beat the Dealer’ can’t be overstated. It changed how players approached the game and paved the way for further advancements in card counting strategy.
5. The Griffin Agency and Surveillance
After ‘Beat the Dealer’ revolutionized the world of blackjack, the Griffin Agency emerged as a pivotal player in the casino industry’s efforts to combat card counting and maintain the house advantage.
The agency played a significant role in casino surveillance and identifying card counters. They collected information on advantage players and shared it with casinos to prevent card counting. Casinos used the agency’s extensive database to track and identify skilled players.
The Griffin Agency’s presence brought a new level of surveillance to the game, making it increasingly challenging for card counters to go undetected. However, the agency’s influence ended when Griffin Investigations filed for bankruptcy after losing a lawsuit.
This bankruptcy significantly impacted the casino industry, leading to changes in the strategies employed to deter card counting.
6. The Emergence of Team Play
Team play in card counting emerged as a strategic response to the challenges faced by individual card counters in casinos. It revolutionized the way players approached the game, allowing for more effective counting and increasing the chances of success. Here are three key aspects of team play that transformed the playing field:
- Collaborative Efforts: Team play involved players working together, each member taking on specific roles such as spotters, big players, and managers. This division of labor allowed for a more efficient count and minimized the risk of detection by casino staff.
- Communication and Signals: Effective communication within the team was crucial for coordinating actions. Players developed sophisticated signaling systems to discreetly convey information about the count and the dealer’s actions, ensuring everyone was on the same page.
- Increased Challenge for Casinos: The emergence of team play made it more challenging for casinos to detect and counteract card counting strategies. The collective efforts of a team made it harder for casinos to pinpoint individual counters and take action against them.
Through team play, players found a way to overcome the obstacles faced by individual counters, ultimately changing the dynamics of card counting in the casino environment.
7. Wonging’ as a Strategy
Wonging, also known as back-counting, is a card counting strategy in blackjack where the player observes the table until the count becomes favorable before entering the game.
The player using the Wonging strategy enters the game only when the count reaches a point of advantage and adjusts their bets based on the count.
This strategy allows the player to avoid negative counts and bet swings, reducing the chances of being detected as a card counter.
By selectively entering the game and betting, Wonging disrupts the game flow and may impact other players at the table.
However, it also helps minimize the house advantage and increase the player’s chances of winning.
It’s important to note that practicing Wonging may attract unwanted attention from casino personnel, potentially increasing the risk of being identified as a card counter.
8. Card Counting in Atlantic City
With the rise of legalized and house-banked blackjack in the 1970s, card counting in Atlantic City quickly gained popularity and posed new challenges for skilled players.
Here are three key facts about card counting in Atlantic City:
- Atlantic City casinos implemented multiple decks and strict regulations to combat card counting. This made it more difficult for players to keep track of the cards and calculate their advantage.
- The impact of card counting overwhelmed Atlantic City casinos, affecting their profits and leading to the introduction of countermeasures. These countermeasures included increased deck penetration, reshuffling at random points, and the use of continuous shuffle machines.
- Despite the countermeasures, some players successfully employ card counting techniques in Atlantic City casinos. They adapt their strategies to the changing rules and regulations, allowing them to maintain an edge over the house.
9. Card Counting in Indian and State-Approved Casinos
Card counting in Indian and State-Approved Casinos is influenced by the legal and regulatory framework in each region, shaping the strategies and techniques employed by players. The history of card counting in these casinos is intertwined with the evolution of casino gambling and the development of countermeasures against advantage play. The first known instances of card counting in Indian and State-Approved Casinos occurred in the late 1970s and early 1980s when the popularity of blackjack soared. Players realized that double-deck games offered a higher player advantage and began employing counting strategies to gain an edge. However, the impact of card counting led to the adoption of measures to detect and prevent it. Today, individuals interested in card counting in Indian and State-Approved Casinos must know the legal status, casino reactions, and countermeasures to maximize their chances of success.
|Card Counting in Indian and State-Approved Casinos
|First Known Instances
|Late 1970s and early 1980s
|Double deck games
|Higher in double deck games
|Impact on Casinos
|Adoption of measures to detect and prevent card counting
10. The Current State of Card Counting
As the battle between casinos and card counters continues, the current state of card counting is shaped by ongoing advancements in technology and the strategies employed by players. Here are three key aspects influencing the current state of card counting:
- Advancements in Technology: Casinos are using sophisticated surveillance systems and facial recognition software to detect card counters. This makes it increasingly challenging for players to exploit the game undetected.
- MIT Team and Harvey Dubner: The MIT Blackjack Team, led by scientist Harvey Dubner, revolutionized card counting in the 1980s. Their use of advanced mathematical models and teamwork allowed them to win millions of dollars from casinos before their operations were shut down.
- Regional Variations: The current state of card counting differs across different regions. For example, Atlantic City casinos have implemented stricter countermeasures compared to Nevada casinos, making it more difficult for players to employ card-counting strategies.
Join W88 on OpenStreetMap to see their valuable contributions and collaborate in mapping the world together.
In conclusion, the historical evolution of card counting has been a fascinating journey of innovation and strategy.
Pioneers like Jess Marcum, Harold Smith Sr., and Ed Thorp paved the way for mathematically correct card-counting systems that revolutionized the game.
The influence of books like ‘Beat the Dealer’ and the establishment of surveillance agencies like the Griffin Agency further shaped card counting practice.
Today, card counting continues to be a skill utilized by players in various casinos, showcasing the enduring legacy of these legendary figures.


Whether your home is small or large, an apartment in the city or a country cottage, it is a space that should be at once beautiful and livable. The key to that is managing the upkeep without feeling flustered. Until now, there has never been a comprehensive resource that not only tells how to care for your home and everything in it, but that also simplifies the process by explaining just when. With secrets from Martha Stewart for accomplishing the most challenging homekeeping tasks with ease, this detailed and comprehensive book is the only one you will need to help you keep your home looking its best, floor to ceiling, room by room.
In Martha Stewarts Homekeeping Handbook, Martha shares her unparalleled expertise in home maintenance and care. Readable and practicaland graced with charts, sidebars, illustrated techniques, and personal
anecdotes from Marthas decades of experience caring for her homes this is far more than just a compendium of ways to keep your house clean. It covers everything from properly executing a living room floor plan to setting a formal table; from choosing HEPA filters to sealing soapstone countertops; from organizing your home office to polishing your silver and caring for family heirlooms. Martha Stewart’s Homekeeping Handbook is organized for clarity and maximum practicality:
Room by Room covers the upkeep of the appliances, tools, furnishings, and surfaces found in each room, from the entryway to the kitchen, from the attic to the laundry room.
Throughout the House instructs the reader on the proper ways to routinely clean and periodically maintain everything in the home, including dusting, sweeping, vacuuming, polishing, scrubbing, waxing and much more.
Comfort and Safety focuses on techniques to ensure your home is running properly and safely, such as recognizing when to clean vents, fixing a leaky faucet, and eradicating pests.
A-to-Z Materials Guide provides an invaluable resource that explains the unusual materials that many favorite objects are made of from abalone to zinc “and how to care for them so they last.
By Kim Rinehart
What would you do if someone told you that there was a better way to clean and organize your home and still have time for all the things in your life that you actually enjoy? Well, there is and it’s called The Big Clean and now this classic organization and housecleaning manual has been revised and updated.
Due to a complete lack of time, Kim Rinehart, author of Goodbye, Fatty! Hello, Skinny! How I Lost Weight And Still Ate The Foods I Loved-Without Dieting, through trial and error developed a system to clean and organize better and more efficiently. In her book, The Big Clean: How to Clean and Organize Your Home and Free Your Mind, she shows you exactly how it works.
The great thing is that once it has been performed, it will allow you to go for extended periods of time without worrying about housework. In fact, you will generally only have to put in thirty minutes or less a week to keep your home clean and organized. This book not only contains tips that will help you save time but also money. It’s easier than you think to stop wasting time and start enjoying life.
The Big Clean: How to Clean and Organize Your Home and Free Your Mind will show you how.
By Kim Woodburn
You watched the TV programme and you bought the book but is your house still a bit dull round the edges? It is time to get Kim and Aggie round to do the spring cleaning – their ultimate “Cleaning Bible” is the only helping hand you need for all tasks of a domestic nature.
Every tip and trick from their combined cleaning experience of about half a century is included, and they always use natural products where possible so even your conscience will be clean. Make a space next to Delia and Jamie and welcome Kim and Aggie to your domestic bookshelf!
About the Author
Aggie MacKenzie has worked on many national magazines, and was associate editor at the Good Housekeeping Institute, where all the latest appliances, cleaning products and gadgets are tested. She now writes a column for The Times. Kim Woodburn is a professional cleaning lady, and has kept house for Hollywood moguls and even a sheik in Kent.


Bāburnāma (Turki — Chagatai/Persian: بابر نامہ;´, literally: «Book of Babur» or «Letters of Babur»; alternatively known as Tuzk-e Babri) is the name given to the memoirs of Ẓahīr ud-Dīn Muḥammad Bābur (1483–1530), founder of the Mughal Empire and a great-great-great-grandson of Timur.
The «Memoirs of Babur» or Baburnama are the work of the great-great-great-grandson of Timur (Tamerlane), Zahiruddin Muhammad Babur (1483-1530). As their most recent translator declares, «said to ‘rank with the Confessions of St. Augustine and Rousseau, and the memoirs of Gibbon and Newton,’ Babur’s memoirs are the first—and until relatively recent times, the only—true autobiography in Islamic literature.» The Baburnama tells the tale of the prince’s struggle first to assert and defend his claim to the throne of Samarkand and the region of the Fergana Valley. After being driven out of Samarkand in 1501 by the Uzbek Shaibanids, he ultimately sought greener pastures, first in Kabul and then in northern India, where his descendants were the Moghul (Mughal) dynasty ruling in Delhi until 1858.
The memoirs offer a highly educated Central Asian Muslim’s observations of the world in which he moved. There is much on the political and military struggles of his time but also extensive descriptive sections on the physical and human geography, the flora and fauna, nomads in their pastures and urban environments enriched by the architecture, music and Persian and Turkic literature patronized by the Timurids. The selections here—all taken from his material on Fergana—have been chosen to provide a range of such observations from the material he recorded at the end of the 1490s and in the first years of the sixteenth century. It should be of some interest to compare his description of Samarkand with that of the outsider, Clavijo, from a century earlier.
This translation is based on that by Annette Beveridge, The Babur-nama in English, 2 v. (London, 1921), but with substantial stylistic revision to eliminate the worst of her awkward syntax. I have chosen to use Beveridge’s indications of distances in miles rather than confuse the reader with the variable measure of distance provided in the original. An elegantly produced modern translation is that by Wheeler M. Thackston, The Baburnama: Memoirs of Babur, Prince and Emperor (Washington, D. C., etc., The Smithsonian Institution and Oxford University Press, 1996). I have consulted Thackston and occasionally used his readings and renderings of the place names where the Beveridge translation was obscure. I would warn readers that my editing of the text has been done in some haste; further work would be needed to improve the style and standardize usages.
Interspersed in the text are illustrations, some being contemporary views of places Babur describes; the others (which may be enlarged by clicking on the thumbnails) taken from the miniatures of an illustrated copy of the Baburnama prepared for the author’s grandson, the Mughal Emperor Akbar. (The title page is here on the right.) It is worth remembering that the miniatures reflect the culture of the court at Delhi; hence, for example, the architecture of Central Asian cities resembles the architecture of Mughal India. Nonetheless, these illustrations are important as evidence of the tradition of exquisite miniature painting which developed at the court of Timur and his successors. Timurid miniatures are among the greatest artistic achievements of the Islamic world in the fifteenth and sixteenth centuries.
Annette Susannah Beveridge
William Beveridge’s mother, Annette Susannah Akroyd was born in Stourbridge in 1842. In 1872 she started a new life in India, establishing a school for girls there and marrying (in 1875) Henry Beveridge, a judge in the Indian Civil Service. They had four children, two of whom died before reaching adulthood. The two surviving children were William and his sister, Annette Jeanie (later Mrs R H Tawney). While still in India, Annette began a new career as a translator of early oriental texts, including nearly 20 years labouring on the translation of Babur’s autobiography, Babur-nama. Annette left India in 1890 and returned to Britain. She died in 1929 – just months before her husband.
Much of the story of Annette and Henry’s life in India (now northern India and Bangladesh) is told by William in his biography of his parents, “India called them”, published in 1947. The book was based mainly on the extensive correspondence which his parents sent to each other on the numerous occasions they were apart. Such absences were frequent as Henry was often posted to lowland locations which were considered too inhospitable for raising children, particularly during the hot seasons.
The bulk of this correspondence (with other papers of the couple, including Annette’s diaries) is held by the Asia, Pacific and Africa Department of the British Library (MS Eur C 176). From the extensive extracts of the letters in “India calls them”, it is clear that they contain much detail on life for British civil servants and their families in India in the late 19th century. They cover many different topics, including personal news; family matters; social relations; servants; reading habits; gossip; court cases; religious and political views; and descriptions of beautiful countryside, dreadful illnesses, laborious journeys and unfriendly wildlife (such as snakes and leeches).
William Beveridge (aged 5) and his mother, Annette Susannah Beveridge, June 1884
There are also many items relating to his mother among William Beveridge’s papers here at the LSE, mainly in series 1 (personal and family papers) and series 2 (correspondence). Amongst these are:
6 boxes of letters from Annette to William, 1884-1928 (BEVERIDGE/2/A/39-73)
2 boxes of letters from William to Annette, 1885-1928 (BEVERIDGE/2/A/83-94)
Articles and other writings (BEVERIDGE/10/2-4 and BEVERIDGE/13/2)
A few photographs (including some in BEVERIDGE/SUPPLEMENTARY/7)
The letters include much biographical information about William’s life as well as his mother’s. They sometimes contain information about Beveridge’s career and his views. Among the letters are some ”conversations” – scraps of paper written to aid personal communication as Annette became increasingly deaf.
Lists of the articles and other writings are available in each of the volumes in BEVERIDGE/10 (originally known as Beveridge Varia). As part of the cataloguing project, these lists will be typed up, checked and made available on the online Archives catalogue.
So far, there is only a basic list of the photographs in BEVERIDGE/SUPPLEMENTARY/7. At first glance, they do contain some images of Annette, including the photograph featured on this blog – which was taken at the studios of Herbert Rose Barraud (1845-1896). Creating a more detailed list of these photographs is another task for this cataloguing project.


|JOE JAMES KEELINE. Owner and operator of one of the most valuable ranches in Campbell County, Joe James Keeline easily dominates in ranching matters, and his experience and knowledge are generally recognized. He belongs to a family the members of which have given the best of their abilities to an agricultural life, and this part of the state is indebted to the Keelines for some of the most constructive progress which has been made in methods of ranching.|
The Keeline family is of German origin, and was founded in the United States by the grandfather of Joe James Keeline, George [Frederick] Keeline, a native of Germany, one of the solid, honorable immigrants who bore so important a part in the development of this country. But a boy when brought here by his parents, George Keeline spent some years at Wheeling, [West] Virginia, where the family located. There he remained until after his marriage, learning the trade of a butcher, at which he worked, but later he became a lumberman. After he moved to Council Bluffs, Iowa, which he did in the course of time, he acquired large land holdings and was a pioneer of Council Bluffs. In 1874 he came to Wyoming, pioneering on the banks of the Platte River, and there was extensively interested in ranching, although he continued to maintain his residence at Council Bluffs, and died in the latter place. In addition to his other interests he was a banker, and at the time of his death was a capitalist.
One of the sons of George Keeline, Harry W. Keeline, resides on his ranch forty-five miles southeast of Gillette, and he is the father of Joe James Keeline. He was born at Wheeling, [West] Virginia, January 1, 1869, but was taken to Council Bluffs, Iowa, when a lad of eleven years, in 1880, and there he was reared and married. Following his marriage he was engaged in farming in Pottawattomie County for about ten years, and then, selling, came to Niobrara County, Wyoming, where his father had founded a ranch. In 1896 the grandfather, George [Frederick] Keeline, and his sons, Harry W., George A., Oscar and Will [S.] Keeline, bought 160 acres of land which they named the 4 J Ranch. They had become interested in this section while driving through with a band of steers to Montana. In 1910 Oscar and Harry W. Keeline bought the old 21 Ranch, situated forty-five miles southeast of Gillette, increasing the acreage until they owned 60,000 acres. This property is now operated under the name of Harry W. Keeline & Sons, and the firm are extensive cattle raisers, the most important ones in Campbell County. They have some registered Herefords, and their product receives top notch prices on the market. Harry W. Keeline is a director of the Stockmens Bank of Gillette, and is a stockholder in many corporations, he, too, being a capitalist of great wealth. In addition to the home ranch he operates 2,100 acres of valuable farm land between Council Bluffs and Sioux City, Iowa, in the vicinity of Little Sioux and Blenco, Iowa. His political views make him a Republican, and he is staunch in his adherence to party ties. He married Nettie Redman, who was born at Omaha, Nebraska, April 12, 1873, and three children have been born to them, namely: George R., who is a partner of Harry W. Keeline & Sons, and a veteran of the World war, having seen service in the United States for eight months, as a member of the Dental Corps; Joe James Keeline, whose name heads this review; and Coramay, who resides at Gillette, the wife of William Edelman, Junior, the leading druggist of Gillette.
Joe James Keeline was born in Pottawattomie County, Iowa, June 16, 1896, and he was sent to the public schools of Council Bluffs, Iowa, through the first two years of high school. Subsequently he had a year in the Council Bluffs Business College, leaving it in 1914. Coming to Wyoming in that year, he joined other members of his family on the 21 Ranch, then known as the O. & H.W. Keeline Ranch. Here he has since remained, and since 1923 has been one of the partners, his uncle, Oscar Keeline, having given him a share in the buisness. He and his brother George [A.] superintend the operations of the ranch, while the father has charge of the finances. They reside in a beautiful modern home on the ranch, at the head of Black Thunder Creek, where they enjoy life, and at the same time have the satisfaction of knowing that their efforts are productive of so much value not only to them personally but to their calling and the people at large. Joe James Keeline, following family precedent, is a Republican, but, like the other Keelines, prefers to exert his influence as a private citizen, as he has no political aspirations. He affiliates with the Episcopal Church, and is one of its generous supporters. A Mason, he belongs to Gillette Lodge No. 28, A.F.&A.M.; and Gillette Chapter No. 17, R.A.M. He is also a member of the Council Bluffs Lodge No. 531, B.P.O.E.; the Wyoming Stockgrowers Association; and the Northeastern Wyoming Stockgrowers Association.
On January 26, 1921, Mr. Keeline was married, at Deadwood, South Dakota, to Miss Irene Collins, a daughter of James D. and Florence (Hunter) Collins, both of whom are deceased. Mr. Collins operated an extensive ranch, running from 1,000 to 1,200 head of cattle, and this property was located twenty-five miles north of Gillette, and there he died in March, 1929, his wife having previously died, January 16, 1921. Mr. and Mrs. Keeline have two children: Joe James, Junior; and Harry Walter II, both of whom are attending the 21 Ranch School.7


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Early in life Eric showed interest in drawing and in creating stories. At six years of age he discovered the series of Oz books by L. Frank Baum (and others) and decided to continue the Oz series with his own books. He began with amateur efforts, producing several illustrated manuscripts during the next decade. After graduation from Novato (California) High School, he attended the Joe Kubert School of Cartoon and Graphic Art in Dover, New Jersey. On the day after graduation, he received his first professional comics assignment, lettering an issue of the comic book Warp, published by First Comics.
In 1986 the first volume in Shanower's series of graphic novels continuing the Oz books by L. Frank Baum, The Enchanted Apples of Oz, was published by First Comics. Four more volumes in the series followed, the final one published by Dark Horse Comics in 1992. A collection of all five Oz graphic novels, Adventures in Oz, was issued by IDW Publishing in 2006, and subsequently as two volumes titled Little Adventures in Oz. Although Eric sometimes is determined to get out of Oz altogether, this hasn't happened so far. After the Oz graphic novel series, Eric's many other Oz projects have included writing and illustrating a children's novel The Giant Garden of Oz (Books of Wonder, 1993) and a collection of short stories The Salt Sorcerer of Oz and Other Stories (Hungry Tiger Press, 2003). He wrote the scripts for Marvel Comics's adaptations of L. Frank Baum's Oz books, with art by Skottie Young (2008 - 2014). The first of these adaptations, The Wonderful Wizard of Oz, spent twenty-three weeks on the New York Times Graphic Books best seller list and won the 2010 Will Eisner Comic Industry Awards for "Best Publication for Kids" and "Best Limited Series or Story Arc." The second volume, The Marvelous Land of Oz, spent three weeks on the New York Times Graphic Books best seller list and won the 2011 Will Eisner Comics Industry Awards for "Best Adaptation from Another Work" and "Best Penciller/Inker." The third volume, Ozma of Oz, spent a week on the New York Times Graphic Books best seller list.
In 1991 Eric began research for Age of Bronze, his comics retelling of the Trojan War legend. Age of Bronze began publication from Image Comics in 1998. This retelling of the Trojan War draws upon the long literary and artistic traditions of the Greek myth, beginning with Homer's Iliad, while incorporating archaeological findings from the Aegean Late Bronze Age. Age of Bronze won the Will Eisner Comics Industry Award for Best Writer/Artist in both 2001 and 2003, and the Gran Guinigi for Best Serialized Comic at the Lucca (Italy) Comics Festival in 2006. The series has been nominated for several other awards, including an Ignatz (Small Press Expo, 1999) and a National Cartoonists Society Division Award (2004). The American Journal of Archaeology is just one of many publications that has favorably reviewed Age of Bronze. The second collected volume, Age of Bronze: Sacrifice, was selected as one of the Best Books of the Year (2004) by the editors of Publishers Weekly.
Eric has published many other projects, including both An Accidental Death (Fantagraphics, 1993, nominated for two Eisner Awards) and Prez: Smells Like Teen President (Vertigo/DC, 1995) with writer Ed Brubaker; The Elsewhere Prince (Epic/Marvel/Les Humanoides, 1990-91) with Moebius (Jean Giraud) and Randy and Jean-Marc Lofficier; and Harlan Ellison's Dream Corridor (Dark Horse Comics, 1994-2007) in which he illustrated Ellison's introductions to comics adaptations of the writer's stories. He wrote the Eisner Award-winning series Little Nemo: Return to Slumberland (IDW, 2014) with art by Gabriel Rodriguez. In 1994 Eric co-founded Hungry Tiger Press with his partner David Maxine and served as co-publisher through the end of 2002. Shanower's work has also been published by DC Comics, Marvel Comics, Archie Comics, Dark Horse Comics, Random House, IDW, HarperCollins, Nickelodeon Magazine, Slave Labor Graphics, Oxford University Press, Books of Wonder, Star Wars Insider, and others.
After spending much of the 1990s in New Haven, Connecticut, and Bloomfield, New Jersey, Eric and David lived nearly two decades in San Diego, California. They currently live in Portland, Oregon, where Eric continues to write and draw Age of Bronze as well as to illustrate comics, books, and other media.
Eric has been a speaker at UCLA, the University of Cincinnati, the University of Southern California, Henderson State University (Arkansas), the University of Bristol, the American School of Classical Studies at Athens, California State University Fresno, Nottingham University, Bucknell University, Yale University, and was a keynote speaker at both Illinois Wesleyan University and Kansas State University. Conventions he has spoken at include annual meetings of the Society of American Archaeology, the International Reading Association, the National Council of Teachers of English, the National Junior Classical League, as well as many Oz conventions and comic book conventions in the USA and abroad. His artwork appears in the documentaries The Wonderful Wizard of Oz: The True Story (BBC, 2011), Adventures into Digital Comics (Top Two Three Films, 2006), The Truth of Troy (BBC, 2004), and Oz: the American Fairyland (Sirocco Productions, 1997). He is interviewed in the documentary Because of the Wonderful Things It Does: The Legacy of Oz on the 2005 and 2009 video reissues of the MGM motion picture The Wizard of Oz.
Aside from drawing comics and illustrations, Eric's activities include reading, swimming, family genealogy, and ballet. He has performed in many theatrical productions over the years. He produced, co-designed costumes and sets, reconstructed the libretto, and played a small role in the first professional revival of L. Frank Baum's 1913 stage musical The Tik-Tok Man of Oz, directed by Chrissie Burns, in San Diego, CA, in 2014. He played the role of Drosselmeyer in Del Mar Ballet's 2014 and 2015 productions of The Nutcracker, directed by Marie Arts. Eric choreographed, produced, and performed the role of the Shaggy Man in a ballet version of The Road to Oz at the Winkie Con 2009, Pacific Grove, California. He has also appeared in the Ballet Arte of Solana Beach, California, production of Sleeping Beauty as the king (2006), and in 2004 and 2005 as Mr. Stahlbaum (Clara's father) in Ballet Arte's annual production of The Nutcracker as well as dancing the featured male Arabian in the 2004 production, directed by Sara Viale and Erlends Zieminch. Previously he was seen as Will Roper in A Man for All Seasons at Nutley Little Theater in Nutley, New Jersey (1996). His favorite role was the Dauphin in George Bernard Shaw's Saint Joan, also at Nutley (1995). Memorable for one reason or another have been his roles as Gollum and Smaug in The Hobbit (1984) which also included Christopher Innvar as Gandalf and Margaret Noonan in the cast, the role of the Regent in Marc Lewis's staging of L. Frank Baum and Frederic Chapin's The Woggle-Bug at several conventions of The International Wizard of Oz Club (1986 and 1987), the role of Romeo in the balcony scene of William Shakespeare's Romeo and Juliet with Hazel Robinson as Juliet (1985), and the role of Alan in Babes in Toyland for KT Productions (1995 and 1996).
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Topography & Water
This is a complex and fascinating exploration of the interplay between water and topography on a landscape and how they can be harnessed to advantage in creating a healthy and resilient farm system.
Some of the topics covered include:
- Topography: Mapping the topography of a landscape and interpreting the information.
- Water: Investigating catchment sizes, movement of water through a landscape, and factors that influence water purity.
- Catch & Store: How to use slope and earthworks to modify an environment and maximise the opportunity to capture and store water in the landscape.


Thursday November 20th, 3-6PM
The Oncenter, 880 S State Street, Syracuse
Volunteer with Believe in Syracuse, the Syracuse Teachers Association, and First Book to help get books in the hands of Syracuse children in need! Signup and come and you'll be given an assignment to help breakdown boxes of new books, unpack them, and sort them by developmental age group (there will be SCSD library staff there to help with this).
This volunteer opportunity is open to everyone. No special skills needed and no donation is needed. 40,000 books will arrive at the Oncenter for us to break down and sort and then be distributed to children across Syracuse. Volunteers can park in the Oncenter Garage and have their parking validated.
This project shows current and prospective residents that the community cares about their children. This is more than one day of volunteering. Helping with this project is an investment in the future of Syracuse. Join us!


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