text:
Detecting violence

fill - Festival of Italian Literature in London
Sunday 28 October, 14:30, Coronet Theatre – Auditorium. £ 5

Forensic Architecture is an independent agency that includes architects, scholars, artists, filmmakers, software developers, investigative journalists, archaeologists, lawyers, and scientists. It undertakes advanced research activities on behalf of international prosecutors, human rights organisations, and political and environmental justice groups. The agency has been shortlisted for the Turner Prize 2018 for its innovative methods of sourcing and visualising evidence relating to human rights abuses. With its affiliate group, Forensic Oceanography, it has investigated some of the most violent and controversial incidents of the recent years, including incidents with migrants’ boats in the Mediterranean, the Grenfell Tower disaster, chemical weapon attacks in Syria, and other cases.

This event will be in English.

Running time: 80 minutes.

By clicking “buy tickets” you will be redirected to the booking system of the Print Room at the Coronet. When you buy tickets for more than one event in a single transaction, a 10% discount will be automatically applied.

Lorenzo Pezzani is a researcher for Forensic Oceanography, the Forensic Architecture’s affiliate group that was launched in summer 2011 to support a coalition of NGOs demanding accountability for the deaths of migrants in the Mediterranean Sea.

Chair: Marco Magini is a London-based writer.


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by David Welky

From Film Quarterly Spring 2006: Volume 59, No. 3

Motion pictures play a significant role in determining how people around the world perceive their own and other societies. Governments have therefore been sensitive to cinematic portrayals of their countries and are quick to complain when they feel that a movie treats their citizens poorly. An example of this occurred in 2002, when Canadian-Armenian writer-director Atom Egoyan released Ararat, a fictional depiction of efforts to make a movie about the 1914 massacre of Armenians in the Turkish city of Van. Egoyan supplemented this film-within-a-film structure with subplots that considered the tragedy’s effects on future generations and pondered the relationship between history and memory. It was the first major picture to examine the Turkish genocide of one-and-a-half million Armenians during World War I.1

Turkey had long insisted that there was no organized campaign to eradicate Armenians and strongly opposed suggestions to the contrary. Ararat touched offa new round of angry denials and charges of hate mon-gering. Egoyan received a flood of hostile emails and detractors set up Web sites that disputed his movie’s truthfulness. Turks in Canada and elsewhere threatened to boycott all films from the film’s distributor, Miramax, and its parent company, Disney. There were rumors that the Turkish government would take legal action to bar the picture worldwide. State minister Yilmaz Karakoyunlu told the Ankara Daily News that “Turkey will do everything possible against this film. It is a shameful production.”2

Many were understandably surprised when, after attending Ararat’s premiere at the Cannes Film Festival, an organizer of the Istanbul Film Festival announced that he would push to screen the movie in his homeland. Turkey’s Culture and Tourism Minister, Erkan Mumcu, agreed that his country could “easily tolerate such things” and argued that a “strong reaction to this movie would only help keep the subject on the agenda.” He demanded only that a scene of Ottoman soldiers raping Armenian women be cut, as it violated Turkey’s law forbidding depictions of soldiers in uniform committing war crimes.3

Turkey’s new tolerance stemmed from the recent election of a moderate government that was eager to bolster the country’s bid to join the European Union by allowing more freedom of expression. Just days before Ararat was scheduled to open in Ankara and Istanbul, however, the film’s Turkish distributor yanked it in response to pressure from Ulku Ocaklari, a right-wing nationalist party with ties to paramilitary groups. The extremists had warned people planning to attend the movie that “whoever wants to destroy the unity of this nation and the will of our existence should be ready to pay the price.” Aris Balbikian, a spokesman for Canadian-Armenians, saw deep political, social, and cultural meaning in this battle. “Turkey is searching for its soul,” he explained. “There are some elements who don’t like what’s happening in Turkey: the democratizing of human rights, freedom of speech and freedom of the press. They don’t want the healthy discussion and dialogue a film like Ararat would bring.”4

History has a funny way of repeating itself. Although no one seemed to remember it, this was not the first time a celluloid version of the alleged Armenian genocide had aroused nationalistic feelings, international debate, and discussions of art’s role in the world of realpolitik. Almost 70 years earlier, talk of a cinematic rendition of Franz Werfel’s novel The Forty Days of Musa Dagh (Die Vierzig Tage des Musa Dagh, 1933) had touched off a controversy even more intense, passionate, and dangerous than that inspired by Ararat.

Major American movie studios spent 48 years trying to film the novel, only to be derailed by a series of domestic and international obstacles. An examination of this struggle, which was particularly intense during the Depression of the 1930s, illuminates the political, social, and economic issues that Hollywood faced in this time of global crisis. It also demonstrates the perils inherent in American dominance of the world market. The film capital’s unprecedented capability to spread powerful images and messages made it an obvious target for attacks from nationalistic groups concerned by its depictions of their homelands. The majors’ need for overseas revenue, which accounted for around 40 percent of their profits, left them vulnerable to such assaults and, as the example of Musa Dagh shows, fearful of making any film that might offend anyone.5

FRANZ WERFEL WAS BORN in Prague in 1890, the son of wealthy members of the city’s German-speaking Jewish community. He was a dreamy and distracted boy who reveled in literature, theater, and opera. The life of a writer, which allowed for late nights at the opera and long visits to cafés with Franz Kafka and other colleagues, appealed to his dislike of structure and schedule. He published his first collection of poems, The Friend of the World, to great acclaim in 1911. He kept writing during his service with the Austrian Army during World War I. His greatest military talent seemed to be his ability to avoid combat duty. Assignments to military offices in Prague, Vienna, and Switzerland left him with abundant time to write. His fame grew after the war: Juarez and Maximilian, his 1924 drama of the Mexican Revolution, established him as a formidable playwright. Such prose works as Verdi: A Novel of the Opera (1923) and The Pure at Heart (1929) won him even more popular acclaim.6

The inspiration for his best-known work came during a 1930 visit to the Middle East. While touring Damascus, he encountered a group of crippled and emaciated Armenians orphaned by a Turkish massacre. Although Werfel had read reports of the genocide during the War, this was the first time its human impact truly registered with him. He spent the rest of his trip locating survivors and listening to their stories. From them he learned of the heroic resistance on Musa Dagh (Mountain of Moses), where some 5,000 Armenians held off a Turkish force for 53 days before being rescued by French and British ships. Fascinated, Werfel determined to write a novel about the siege of Musa Dagh and the larger Armenian genocide.7

The Forty Days of Musa Dagh centers on Gabriel Bagradian, a wealthy Armenian who spent 22 years in Paris before returning to his ancestral village with his French wife, Juliette, and his son, Stephen. His homecoming coincides with the first stages of a methodical campaign to wipe out the Ottoman Empire’s Armenian population. Gabriel rallies the villagers and leads them to Musa Dagh, where they fight starvation, internal disputes, and the Turkish Army in a desperate struggle for survival. While clearly sympathizing with the Armenians, Werfel’s book included both humanitarian Turks and mean-spirited Armenians. It blamed the atrocities on the actions of Turks, Armenians, and Europeans alike.8

The novel won high praise in Austria and Switzerland. It found less favor in Germany, the author’s adopted country. Many of Musa Daghh’s European readers saw a connection between the persecution of Turkey’s Armenian minority and the Nazis’ rhetoric toward the Jews. Although the Nazis agreed with this analysis and therefore disapproved of the novel, they lacked either the authority or the will to block its publication. The book sold well in Germany until February of 1934, when the Nazis succumbed to pressure from the Turkish Government and agreed to halt its sales, ostensibly as a threat to public order and safety.9

However, neither the Germans nor the Turks could prevent the translation of Musa Dagh into English. It appeared in the United States in the fall of 1934 and rose to the top of the best-seller list. The Book of the Month Club made it a featured selection, helping to push American sales to around 150,000. Armenian Americans viewed Werfel as a hero—“a friend God has sent”—and mobbed him when he visited the United States in late 1935. Reviewers also responded positively. The Boston Transcript called it “a book to read, re-read and read again.” Writing in the Saturday Review of Literature, William Saroyan lamented that while Musa Dagh was long (817 pages), “in swiftness of movement it is all too short. Reading it, one hopes it might never end.” Many American critics saw connections between Werfel’s book and current events even though it was, and still is, unclear whether the author intended to allude to Nazi Germany. The New York Times‘ John Chamberlain interpreted Musa Daghhs plea for protection of minorities as “a burning, bitter and inspired protest against the Young Turk proclivities of the German Nazi movement.” Louis Kronenberger insisted that “it is hard not to read between the lines,” noting “the extremely close parallel between the plight of the Armenians under the Turks and that of the Jews under Hitler.”10

Kronenberger also observed that, “if Hollywood does not mar and mishandle” the novel, “it should make a magnificent movie.” Hollywood was in fact already hard at work on transforming the book into a film. Metro Goldwyn Mayer paid Werfel $15,000 for the screen rights in early 1934—a considerable sum for a novel that had not yet been published in the United States—and sent a 52-page synopsis to Joseph Breen’s Studio Relations Committee (SRC) in March of 1934.11 An MGM reader labeled Musa Dagh “an epic of exceptional strength; a combination of grim reality and colorful romance with a background that permits almost every variation and adaptation.” The reader did not anticipate any international difficulties. Neither did the SRC. Breen informed MGM head Louis B. Mayer that this “gripping and interesting historical epic” would present “no serious difficulty from the foreign angle” so long as the scenes of Turkish persecution were not too graphic.12

MGM and Breen’s benevolent reports suggest startling naïveté and an inability to grasp the importance other countries put on its products. This was surprising because American studios had dealt with overseas animosity before. Mexico, for example, had briefly banned American films in 1922 after tiring of cinematic representations of its people as greasers and ragged outlaws. Several other Latin-American countries followed its lead. Italy had recently forced MGM to cut a scene that showed an organ grinder warbling in nonsensical Italian from every print of Have a Heart (1934) distributed within Europe.13

Nevertheless, with the SRC’s approval in hand, Mayer put his son-in-law, David O. Selznick (who had been brought in to produce for MGM after Irving Thalberg suffered a heart attack in 1933), in charge of the movie. Selznick was the first to sense the danger in the project. He decided to soft-pedal the novel’s message by putting the blame for the atrocities on a single Turk, rather than on Turkey as a whole. He also asked Frederick Herron, the Motion Picture Producers and Distributors of America’s (MPPDA) New York-based foreign manager, to let the Turkish government know that MGM was planning to film Musa Dagh. Herron recognized the movie was a potential lightning rod that could have a terrible impact on the entire industry. Bypassing the California-based Selznick, he plotted strategy with William Orr, who worked in MGM’s New York offices, before contacting the Turks. Herron suggested moving the film’s setting back 20 years to disassociate it from anyone currently in the Turkish government and emphasized the importance of depicting the Turks as “outstanding fine characters.” He implored MGM to treat the “French-Turk situation” with extreme care. The two countries were close allies. The Turks emulated elements of France’s culture, language, educational system, and military structure, and France was a major player in Turkish financial affairs. Should Turkey boycott the film, it could persuade France to join it. “While the Turkish market does not amount to much financially,” Herron reminded Orr, “our French market is a very important one.” Herron worried that, in this age of rising nationalism, “any place in the world today is in a position to fan a flame that can start a big bonfire motion picturewise.”14

Herron’s admonition came in the midst of larger domestic and international challenges that were changing the way Hollywood did business. Religious and civic groups had long accused the film industry of poisoning Americans’ morals with movies that glamorized vice, crime, sex, and violence. The major studios had responded to these complaints with self-censorship programs—including the SRC—designed to prove that they did not require government intervention. Voluntary codes, however, did little to alter the content of motion pictures or placate the moralists, whose outrage only grew as Hollywood churned out lurid sex comedies and violent gangster films in the early 1930s.

Matters came to a head in 1934. In April, a group of Catholic Bishops, egged on by a frustrated Joseph Breen, formed the Legion of Decency and encouraged their congregations to boycott movies that the new group deemed immoral. Other religious and civic organizations joined in, and Hollywood’s receipts plummeted as much as 40 percent in some cities. The empty theaters terrified the movie moguls, who took drastic action to save their skins. On July 1, 1934, they installed Breen at the helm of a new Production Code Administration (PCA). Unlike the SRC, the PCA had teeth. MPPDA members, which included all of the major studios, could not release or distribute a film without the PCA’s seal of approval. Among the more important articles in the newly enforced production code was one requiring that “the history, institutions, prominent people and citizenry of other nations …be represented fairly.” It was an ambiguous clause that the PCA interpreted broadly in the hopes of protecting the industry’s economic interests by ensuring that its products did not offend any national, religious, or ethnic group.15

Hollywood’s initial interest in Musa Dagh also coincided with a rising tide of nationalism in Europe. As Hitler’s forces consolidated their hold on Germany, they tried to purify the country’s culture by abolishing foreign influences; by mid-1934, Hollywood movies were banned with regularity. Italy had recently hiked taxes on foreign films and established a quota system requiring exhibitors to show at least one Italian-made movie for every three new productions they screened. The world market was becoming less accommodating at a time when Hollywood needed it most. With their domestic market struggling in the midst of the Great Depression, the industry’s leaders were increasingly willing to appease any force that threatened the foreign revenues they needed to maintain profitability.16

TURKEY ANNOUNCED its interest in the cinematic version of Musa Dagh in November 1934, just days before the novel hit American bookstores. Turkish Ambassador to the United States Mehmet Münir Ertegün voiced his displeasure with the project to the State Department’s head of Near Eastern Affairs, Wallace Murray, even though he knew that the American government had no official power to halt it. Mehmet Münir worried that the movie would give “a distorted version of the alleged massacres” that would stir up anti-Turkish sentiments and asked Murray to work informally to block it. Murray assured him that the studios were eager to avoid a conflict and was confident that the matter could be resolved.17

Even though Murray was unfamiliar with Musa Dagh—both he and Mehmet Münir thought that Paramount owned the rights—he knew whom to contact. MPPDA President Will Hays was Hollywood’s top troubleshooter. The former Postmaster General had extensive political connections and was accustomed to dealing with domestic and international crises. Murray passed along Mehmet Münir’s concerns and asked whether Paramount was indeed producing Musa Dagh. Hays, in turn, leaned on Frederick Herron to nip the dispute in the bud. The foreign manager assured Murray that MGM planned to focus on the relationship between Gabriel, the leader of the besieged Armenians, and his French family. Not only did the script avoid dwelling on “the Armenian massacre,” he explained, it “did not refer to it at all.” Herron promised to keep an eye on the film and insisted that “there will be nothing included in it that could offend the Turkish Ambassador or his countrymen.” Mehmet Münir seemed satisfied, and the affair appeared to blow over. A relieved Robert Skinner, America’s Ambassador to Turkey, congratulated the State Department for ensuring that the production would not cause him any headaches down the road.18

Turkey had good reasons to scrutinize Hollywood. With its graphic scenes of Armenian sufferings and Turkish atrocities, The Forty Days of Musa Dagh was a potential public-relations disaster at a time when Turkey was deeply concerned about its image. Under Kemal Atatürk’s leadership, post-World War I Turkey had undergone a series of reforms designed to align it with the West. It abandoned theocracy, adopted the Latin alphabet, granted equal rights to women, and developed a progressive system of public education. Atatürk also worked to ensure stability by building a spirit of Turkish, rather than Arabic or Ottoman, identity. The government, the press, and the schools battled centuries of European scorn by boosting national self-esteem with triumphant narratives of Turkish civilization and history. Musa Dagh’s storyline veered wildly from the party line. If exhibited on the world’s theater screens, it could undercut Turkish efforts to cultivate a patriotic citizenry and win Western acceptance. Turkish efforts at modernization, moreover, needed help from abroad. Many of its cities had been devastated by years of war, and the country could not plan and pay for infrastructure improvements and industrialization without aid. A film like Musa Dagh could reinforce long-held stereotypes and convince Westerners to seek out more promising opportunities for their investments and expertise.19

A piece in the Hollywood Reporter reignited the dispute in April of 1935. The article claimed that MGM was proceeding with Musa Dagh and had approached William Wellman to direct. The Turks heard from other sources that the script mentioned Turkish atrocities. Mehmet Münir shot off a letter to the State Department demanding that it prevent MGM from making the movie. Murray took up the matter with Herron, who blamed the Reporter article on an “enthusiastic publicity man” and assured the Division Chief that MGM would not be so foolish as to raise the thorny issue of genocide. Herron’s faith in MGM’s wisdom was less than absolute. He privately asked Joseph Breen to monitor the project from his Hollywood office.20

The problem did not go away, and Herron found himself shuttling between the participants in the drama. Feeling betrayed and angered by the film’s reemergence, Mehmet Münir told Herron that Turkey would ban Musa Dagh no matter what scenes it cut. Although he accepted Herron’s offer to send a script to the embassy, he did not indicate that the script had any chance of winning his approval. Herron, on the other hand, refused to pressure MGM to shut down its production when Mehmet Münir gave his inevitable disapproval. MGM tossed gasoline on the flames by announcing Musa Dagh as a major feature on its upcoming 1935–1936 schedule and promoting it with an essay-writing contest in Modern Screen Magazine.21

Fearing that Musa Dagh could poison U.S.-Turkish relations, Division Chief Murray begged Herron to stop the madness. He explained that the film would be banned in Turkey. He explained that the film would be banned in Germany. He explained that the film would be banned in the Balkans. None of his arguments affected Herron, whose only real fear was that Turkey would persuade France to ban it. Meanwhile, Turkish newspapers began running anti-American articles and calling for boycotts of all MGM films. A frazzled Ambassador Skinner, who had been kept out of the loop, cabled to the State Department: “Revival Armenian Question can serve no useful purpose.”Murray could not have agreed more.22

After failing to make headway with the MPPDA or the State Department, Mehmet Münir turned his attention to MGM itself. The studio dispatched one of its vice presidents, J. Robert Rubin, to meet with the furious Ambassador. Mehmet Münir informed Rubin in no uncertain terms that “Turkish honor” was on the line. His country would ban not only Musa Dagh, but all MGM films, if the studio went forward with the project. Rubin, who had likely read neither the book nor the screenplay and therefore did not fully understand the controversy, left a copy of MGM’s scenario with the Ambassador. He seemed to feel he had accomplished something.23

Momentum continued to run against the studio, which seemed unable to coordinate its words on the East Coast with its actions on the West Coast. Fearing that the movie would inspire a new round of ethnic hatred, many in Turkey’s Armenian community began protesting MGM’s production. In late July, Istanbul’s Board of Censors, which represented Turkey’s largest movie market, voted to shut out all MGM products if the studio made Musa Dagh. Rumors abounded that Turkey was trying to convince France to do the same. Fearing a major international incident and wanting to keep his government clear of the fray, Murray told anyone who would listen that he had made it “perfectly clear” to MGM that “unfortunate repercussions might follow” if it pushed the film forward.24

MGM’s Irving Thalberg had been a fan of Musa Dagh from the start and had urged Louis B. Mayer to purchase the rights to it. By mid-1935 he had recovered to the point where he was ready to take control of Musa Dagh from Selznick. The producer resented both Turkey’s and New York’s interference in his affairs. He had already agreed to Selznick’s plan to place the blame upon one Turk and saw no need for further concessions. “To hell with the Turks,” he complained. “I’m going to make the picture anyway.” He envisioned a lavish spectacle and penciled in Clark Gable and William Powell as the stars. Mayer did not see matters the same way and, facing pressure from both New York and Washington, was starting to sour on the project. Thalberg was livid. “What can the Turks do if we make Musa Dagh?” he asked. “Okay, let them keep us out of their 30 theaters.” Mayer agreed that the Turkish market was unimportant, but he could not bear the prospect of losing France, which accounted for about ten percent of MGM’s foreign revenues. He and the other movie moguls were already reeling from signs that the French might impose quotas or raise taxes on American films and hesitated to alienate either France or the State Department, which would be an essential ally in any fight to preserve MGM’s economic interests.25

The Turkish press added to Mayer’s discomfort by launching a new barrage of attacks in September 1935. Joseph Breen passed these articles on to MGM as a not-so-subtle way of expressing his distaste for the studio’s stubbornness. Pieces in La République, Haber, and Son Posta slammed Werfel’s novel as maliciously bad history and called for boycotts of MGM films. To patronize MGM would be akin to “feeding a serpent in our very bosom.” The press accused Werfel and MGM of circulating outdated stereotypes that could irreparably harm Turkey’s reputation among Europeans and Americans. “We thought that we were their equals and were recognized as such by them,” La République complained. “We were deceived in believing that their opinion of us had changed.” Equally unnerving were the press’s references to Werfel as “a shameless Jew” and to MGM as a Jewish-dominated corporation. Anti-Semitism was on the rise in Turkey, and there was talk of relocating Jews to the hinterlands as a way of diffusing tension. Some in the American government suspected that Vedat Nedim Tor, Turkey’s Director General of the Press, was behind such attacks. Vedat Nadim had studied propaganda under Josef Goebbels, a fact that gave the newspaper campaign’s “under-current of anti-Semitism” an even more sinister tinge.26

Sensing his strong position and the Americans’ unwillingness to offend him, Mehmet Münir pushed the crisis further. In a letter to Secretary of State Cordell Hull, the Ambassador once again denounced the production and demanded that the U.S. government either stop it or face a break in U.S.-Turkish relations. In response, Hull ordered Wallace Murray to broker a solution by going straight to the top. Murray accordingly demanded Will Hays’ assistance in “disposing of a question which appears to be assuming very large proportions in the minds of the officials at Ankara.” Hays, who understood the importance of maintaining strong relations with the State Department better than most in Hollywood, promised the MPPDA’s cooperation and increased its efforts to force the renegade studio to comply.27

The attacks from the Turkish press, the fear of losing the French market, the disapproval of the Hays Office, and the need to stay on the State Department’s good side finally crushed MGM’s resistance. In early October 1935, William Orr admitted to Ambassador Mehmet Münir that filming Musa Daghh, “whatever modifications it might be subjected to, could not but be harmful from every standpoint.” Mehmet Münir extended his “best thanks and hearty appreciation” to Wallace Murray for the State Department’s support and assured him that his actions had created “an excellent impression in my country.” American Ambassador Skinner was equally thankful that the State Department’s actions had such a “happy effect.” The only person to voice his unhappiness was Thalberg. “We’ve lost our guts,” he complained, “and when that happens to a studio, you can kiss it good-bye.”28

Turkey maintained its close watch on MGM. Any mention of the film in the Hollywood trade press brought a new round of inquiries from Mehmet Münir and a new round of denials that MGM was considering the project. And yet it was not completely dead. Thalberg still wanted to make the movie and lobbied Rubin and other MGM executives in New York to get on board. Joseph Breen also had some inexplicable interest in continuing. In late 1935, he asked the American Red Cross for information on Armenian relief efforts during and immediately after World War I. He explained, unfortunately without elaborating, that the material might be of use in the Musa Dagh screenplay. Perhaps he hoped to find a way for MGM to use the well-known title while completely changing the focus of the story. David O. Selznick, by now an independent producer, briefly considered reviving the film in 1936. It was hard to let go of a property with such earning potential, but fears of arousing a new diplomatic crisis ensured that these talks went nowhere.29

AFTER THE MUSA DAGH debacle, Hollywood accommodated the demands of foreign governments over the next few years. MGM cancelled shooting It Can’t Happen Here to avoid antagonizing Germany and defanged the anti-war comedy Idiot’s Delight (1939) to appease overseas opposition. Sam Goldwyn went through similar contortions during the production of The Adventures of Marco Polo (1938). The fear of retribution led Hollywood to nearly ignore the Spanish Civil War. Walter Wanger’s Blockade (1938) came closest to exploring its issues and impact, but the dangers of angering Spain, the Catholic Church, Germany, Italy, Latin America, and anyone in the United States who worried about their country being dragged into another conflict forced Wanger to create a confusing and ambiguous film that refused to name the sides or explain what they were fighting about.30

Changing circumstances, however, returned The Forty Days of Musa Dagh to the forefront in late 1938. The Nazis had by this point barred most American pictures from Germany and its conquered territories, and restrictive legislation in Italy would force the studios to abandon that market at the end of the year. With its European revenues disappearing anyway, MGM toyed with the idea of finally filming the best-selling novel in the hopes of racking up big domestic profits. Mayer was interested, but not enough to inform the company’s New York office that he was considering the controversial subject again. The trade press soon caught wind of the story and the Turkish diplomats again descended on the State Department, which—worried that MGM’s willingness to “disregard all scruples” would imperil other American businesses operating in Turkey—quickly clamped down on the studio.31 Using Herron as its primary contact, the Department made it clear that MGM should “do nothing to aggravate our relationship” with the Turks. Herron, who had read the same press reports as the Turks and had no desire to see Musa Dagh go forward, had already enlisted Breen to snoop around Hollywood. Breen confirmed that work on the script was proceeding but also gained assurances that MGM would stop if the government had “serious objections.”32

Herron was furious that MGM had again put him in an awkward position. The foreign manager relayed Breen’s findings to Washington along with assurances that the MPPDA would do whatever was necessary to kill the production. Faced with a united front of opposition, MGM dropped the project for the second time. It was a decision that contained a deep and troubling irony. Many who read Musa Dagh interpreted it as a parable of Hitler’s treatment of the Jews. By not shooting the film, Selznick, Thalberg, Mayer, Rubin, and other Hollywood Jews were ignoring the lesson of the book. They turned their backs on the alleged Armenian massacre just as the rest of the world turned its back on the fate of German Jews.33

World War II reshaped the world, but Turkish attitudes toward Musa Dagh remained unchanged. Word that Hollywood was planning to shoot the movie spread again in 1950, and again the Turkish Embassy complained that such a film “would do irreparable harm to the relationship between Turkey and the United States.” Even though the rumors proved untrue, Turkey’s strong reaction suggested that the subject was still a sore spot. And yet the project would not die. Pandro S. Berman, Joseph Pasternak, Walter Wanger, and many others considered producing it in the following years. By 1969, when Jerry Gershwin and Elliott Kastner Productions announced Musa Dagh yet again, it had become “the most ‘on again, off again’ major literary property in the history of American motion pictures.” MGM had spent a reported $1 million in scriptwriting fees, producer costs, and various other expenses since purchasing the rights in 1934. Not surprisingly, Gershwin and Kastner’s company never shot a foot of film.34

MGM eventually sold the rights to California real-estate developer and Hollywood novice John Kurkjian. Even though he had never been on a movie set, Kurkjian still believed he could turn Musa Dagh into a profitable film that would make him a hero in the Armenian community. He waited for studios to knock on his door with lucrative production deals. They never did. After holding the title for about a decade, Kurkjian found himself in a jam. His agreement with MGM stated that the rights would revert to the studio if he did not make the movie within a given time. In 1982, just six weeks before the deadline, he decided to make it himself. He hired a young screenwriter named Alex Hakobian, dumped nearly a dozen versions of Musa Dagh scripts on his desk, and demanded that he “take the best from each one and make a great screenplay.”35

Hakobian did what he could to turn out a respectable screenplay, but the film never had a chance of meeting the grand expectations that MGM once had for it. Kurkjian’s promises of a budget of $8 to $10 million evaporated, forcing director Sarky Mouradian to rip out scene after scene in order to save money. He shot Musa Dagh in the foothills of Malibu for about $1 million—roughly the amount MGM budgeted for it back in 1934. The resulting movie was a slapped-together farce that lacked cohesiveness. It never had a theatrical release and was savaged by the few critics who bothered to see it. Variety called it “a dreary little film that does no justice to its weighty subject.”36

German director Ottokar Runze later gained control of the rights and, in 1989, a West German company announced plans to film a $25-million version of the novel. Runze has not yet made his movie. At this time, Ararat is the only movie about the Armenian genocide that has appeared in American theaters. Ironically, MGM again played an obstructionist role, as Miramax agreed to distribute the $11-million picture only after MGM’s chief executive, Alex Yemenidjian, decided that “economically it did not make much sense” for his studio to handle it.37

Yemenidjian’s concern reflects the ethos that has always driven Hollywood. It is also indicative of a side of the industry that the public has long been willing to overlook. Few fans had even the slightest awareness of the international ruckus MGM provoked in 1934 and struggled to manage for the rest of the decade. It barely registered even in the trade press. Most were interested only in what appeared on the screen; the political and economic machinations that lurked backstage were irrelevant. To ignore the Dream Factory’s intrigues and maneuverings, however, is to ignore the forces that determine what could and could not appear in theaters. The actions of both Hollywood and Washington show that artistic integrity and ideological content took a back seat to financial reality even during those most ideological of times. When faced with the choice of exposing the sufferings of the past or preserving financial and political peace in the present, power brokers on both coasts chose the latter. The history of The Forty Days of Musa Dagh reveals a Hollywood straining to understand its place in a complex world of high emotions and competing interests. MGM’s difficulties in navigating these choppy waters indicate that the industry had not yet learned the rules to what was indeed a very tricky game. The state of the world at the end of the 1930s suggested that even more dangerous shoals lay ahead.

1. Turkey still denies that there was an organized plan to eliminate the Armenian people during World War I and, although most historians argue the contrary, some agree. The reality, unreality, or exaggeration of the Armenian genocide, however, is irrelevant here and will not be taken up in this essay.

2. Variety (13–19 May 2002); Interview with Atom Egoyan, “N.P.R. Weekend Edition” (1 September 2002); New York Times (7 June 2002).

3. Ottawa Citizen (31 December 2003); Victoria (B.C.) Times Colonist (7 January 2004).

4. Toronto Star (6 January 2004); Victoria (B.C.) Times Colonist (7 January 2004).

5. Clayton R. Koppes and Gregory D. Black, Hollywood Goes to War: How Politics, Profits and Propaganda Shaped World War II Movies (Berkeley, CA: University of California Press, 1990), 21. Edward Minasian’s “The Forty Years of Musa Dagh: The Film That Was Denied,” Journal of Armenian Studies 2 (Fall/Winter 1985–1986): 63–73, uses documents from the MGM archives to discuss the battles over shooting the film during 1934 and 1935. Minasian does not describe the flare-up that occurred a few years later, and documents from additional locations complete and expand our understanding of the events he outlined.

6. Peter Stephan Jungk, Franz Werfel: A Life in Prague, Vienna, and Hollywood (New York: Fromm, 1991), 3–61, 99–126; Lionel B. Steiman, Franz Werfel—The Faith of an Exile: From Prague to Beverly Hills (Waterloo, Ontario: Wilfrid Laurier University Press, 1985), 9–18.

7. Franz Werfel, The Forty Days of Musa Dagh (1934) (New York: Carroll & Graf, 1983), vii.

8. The truth or untruth of Musa Dagh is not considered here. For more on Werfel’s research, see George Schulz-Behrend, “Sources and Background of Werfel’s Novel Die Vierzig Tage des Musa Dagh,” Germanic Review 26 (1951): 111–23; D. J. Enright, “The Ghosts of Apes: Franz Werfel’s The Forty Days of Musa Dagh.” in Enright, The Apothecary’s Shop: Essays on Literature (London: Secker and Warburg, 1957), 145–67; Maria Berl Lee, “Agony, Pathos and the Turkish Side in Werfel’s Die Vierzig Tage des Musa Dagh,” Philological Papers 31 (1986): 58–65; and Lee, “‘Defictionalizing’ The Forty Days of Musa Dagh,” The Armenian Review 26 (Spring 1973): 3–59.

9. Jungk, 137–45.

10. Ibid., 154; Jennifer Michaels, Franz Werfel and the Critics (Columbia, S.C.: Camden House, 1994), 87–88; Boston Transcript (19 December 1934); Saturday Review of Literature 11 (8 December 1934): 335; New York Times (2 December 1934); New York Times (6 January 1936). For differing interpretations of the Nazi influence on Musa Dagh, see Steiman, 70–83 and Jungk, 137–42.

11. The SRC had existed since 1927 as an element of the major studios’ trade organization, the Motion Picture Producers and Distributors Association. Its primary function was to review scripts and warn producers of any material that was likely to be cut by local censorship boards. Although all of the majors sent their scripts to SRC, the board had no power to enforce its suggestions. New York Times (2 December 1934); Hollywood Reporter (8 March 1934); Minasian, 64; Frank Miller, Censored Hollywood: Sex, Sin & Violence on Screen (Atlanta, GA: Turner Publishing, Inc., 1994), 52–53, 78–79.

12. Marjorie Haddock to Joseph I. Breen, 26 March 1934, Academy of Motion Picture Arts and Sciences Library PCA File (hereafter abbreviated AMPAS PCA File); Joseph Breen to Louis B. Mayer, 30 March 1934, AMPAS PCA File; Minasian, 64.

13. John Trumpbour, Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920–1950 (New York: Cambridge University Press, 2002), 28; New York Times (7 July 1935).

14. Stanford J. Shaw and Ezel Kural Shaw, History of the Ottoman Empire and Modern Turkey, Vol. 2 (New York: Cambridge University Press, 1977), 309; Donald Everett Webster, The Turkey of Atatürk: Social Process in the Turkish Reformation (Philadelphia, PA: American Academy of Political and Social Science, 1939), 24, 165, 234; Minasian, 64; Frederick Herron to Joseph Breen, 18 July 1934, AMPAS PCA File.

15. Miller, Censored Hollywood, 81–83, 297. For more on the Legion of Decency and the creation of the PCA, see Gregory D. Black, The Catholic Crusade Against the Movies, 1940–1975 (New York: Cambridge University Press, 1998).

16. Variety (3 April 1934); Variety (17 July 1934); James Hay, Popular Film Culture in Fascist Italy: The Passing of the Rex (Bloomington, IN: Indiana University Press, 1987), 70; Ruth Vasey, “Foreign Parts: Hollywood’s Global Distribution and the Representation of Ethnicity,” American Quarterly 44 (December 1992): 618–20.

17. State Department Memorandum, 16 November 1934, National Archives and Records Administration, Record Group 59—Department of State, Decimal File, 1930–1939 (hereafter abbreviated NARA).

18. Wallace Murray to Will Hays, 19 November 1934, NARA; Frederick Herron to Wallace Murray, 22 November 1934, NARA; Mehmet Münir to Wallace Murray, 6 December 1934, NARA; Robert P. Skinner to Cordell Hull, 8 January 1935, NARA.

19. Emil Lengyel, Turkey (New York: Random House, 1941), 400–30; Shaw and Shaw, 375–88.

20. Hollywood Reporter (20 April 1935); Mehmet Münir Ertegün to Wallace Murray, 22 April 1935, NARA; Wallace Murray to Frederick Herron, 29 April 1935, NARA; Frederick Herron to Joseph Breen, 29 April 1935, AMPAS PCA File.

21. Frederick Herron to Geoffrey Shurlock, 16 May 1935, AMPAS PCA File; State Department Memorandum, 14 May 1935, NARA; Hollywood Reporter (7 May 1935); Hollywood Reporter (11 May 1935); Hollywood Reporter (26 June 1935).

22. State Department Memorandum, 14 May 1935, NARA; Robert P. Skinner to Cordell Hull, 4 June 1935, NARA.

23. State Department Memorandum, 18 June 1935, NARA; Frederick Herron to Wallace Murray, 24 June 1935, NARA.

24. New York Times (7 July 1935); New York Times (29 December 1935); Frederick Herron to Joseph Breen, 25 July 1935, AMPAS PCA File; Webster, 193; State Department Memorandum, 5 September 1935, NARA.

25. Minasian, 64; Bob Thomas, Thalberg: Life and Legend (Garden City, N.Y.: Doubleday, 1969), 310; Samuel Marx, Mayer and Thalberg: The Make-Believe Saints (New York: Random House, 1975), 245–46; Motion Picture Herald (7 December 1935); Variety (31 January 1933); Variety (29 May 1935); Variety (10 July 1935); Variety (16 October 1935); Variety (16 April 1969).

26. Webster, 281; G. Howland Shaw to Cordell Hull, 10 September 1935, AMPAS PCA File; La République (3 September 1935); La République (9 September 1935); Haber (3 September 1935). Translations of the Turkish newspaper articles appear in the AMPAS PCA File.

27. Minasian, 70; Wallace Murray to Will Hays, 7 September 1935, NARA.

28. Mehmet Münir Ertegün to Wallace Murray, 4 October 1935, NARA; Robert P. Skinner to Cordell Hull, 5 October 1935, NARA; Marx, 247.

29. Motion Picture Herald (7 December 1935); Frederick Herron to Wallace Murray, 17 December 1935, AMPAS PCA File; Frederick Herron to Joseph Breen, 19 December 1935, AMPAS PCA File; Joseph Breen to Frederick Herron, 16 December 1935, AMPAS PCA File; Joseph Breen to Executive Secretary, American Red Cross, 9 November 1935, AMPAS PCA File; Joseph Breen to Douglas Griesemer, 23 November 1935, AMPAS PCA File; Val Lewton to Joseph Breen, 8 June 1936, AMPAS PCA File; State Department Memorandum, 17 December 1935, NARA.

30. AMPAS PCA Files for It Can’t Happen Here, Idiot’s Delight (1939), The Adventures of Marco Polo (1938), Blockade (1938).

31. Frederick Herron to Joseph Breen, 13 January 1939, AMPAS PCA File; State Department Memorandum, 11 January 1939, NARA.

32. State Department Memorandum, 15 December 1938, NARA; State Department Memorandum, 20 December 1938, NARA; Frederick Herron to Joseph Breen, 27 December 1938, AMPAS PCA File; Joseph Breen to Frederick Herron, 3 January 1939, AMPAS PCA File.

33. State Department Memorandum, 11 January 1939, NARA; Frederick Herron to Joseph Breen, 13 January 1939, AMPAS PCA File.

34. Eric Johnson to Joseph Breen, 23 October 1950, AMPAS PCA File; Joseph Breen to Eric Johnson, 26 October 1950, AMPAS PCA File; Hollywood Reporter (10 April 1969); Variety (16 April 1969).

35. Author interview with Alex Hakobian, 5 August 2004.

36. Ibid.; Variety (25 November 1987). The film is available on video.

37. Hollywood Reporter (10 July 1989); Los Angeles Times (18 November 2002).

David Welky is an assistant professor of history at the University of Central Arkansas specializing in twentieth-century mass culture, particularly film, mass media, and sports. He is currently working on books about Depression-era culture and Hollywood on the eve of World War II.

Image detail: March of the Penguins, from the cover of Film Quarterly 59:4

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Hungarian state debt manager significantly increases three-month T-bill issuance

The State Debt Management Agency (AKK) sold HUF 60.0bn of three-month T-bills on the latest primary auction, according to AKK data. The issued amount was 50% higher than the original plan. We find this to match our expectations, based on the relatively low level of the liquid government reserves at the central bank. The oversubscription was allowed by healthy demand, which was still not significantly higher than on the previous auction last week. Total bids amounted to HUF75.4bn, representing a generally average bid-to-cover ratio of 1.9x. The average yield on the auction was zero and remained unchanged from the previous auction. It was up by 2bps from the secondary market benchmark rate.

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Mr Dave Spellman: Psychology

Mr Dave Spellman

  • Fee assured

About me

Mr Dave Spellman qualified as Clinical Psychologist in 1988 and has worked in the NHS ever since. Dave draws on a range of approaches but puts relationships at the centre of his work, so he is comfortable working across the age range with individuals, couples and families as well as staff groups and organisations. He has trained as a systemic therapist and also a systemic supervisor but also has training in Theraplay, Dyadic Developmental Psychotherapy, Narrative and other strengths based approaches. Dave is a UKCP registered Family and Systemic Psychotherapist. Working with local authority staff, social workers, children looked after and adopted has been a particular area of interest in recent years. In addition to a range of psychological therapies Dave is keen to draw on his knowledge and expertise to a wide range of contexts and this includes offering training, supervision and consultation to those seeking help. Dave is also approved by the Association for Family Therapy and Systemic Practice (AFT) as a supervisor of Family and Systemic Psychotherapists and therefore can provide accredited supervison for qualified family therapists.

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The information contained on Finder is submitted by consultants, therapists and facilities, and is declared by these third parties to be correct and compliant with the standards and codes of conduct specified by their relevant regulatory body. Bupa cannot guarantee the accuracy of all of the information provided.

You can find out more about the data and information on Finder and our website terms of use here.


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Vanguard stock index fund turnover in 2016

Vanguard’s suite of U.S. stock index funds are benchmarked to CRSP indexes.

In addition, Vanguard offers sets of U.S. exchange-traded funds benchmarked to Russell and S&P indexes.

In 2016 the CRSP index funds had lower turnover rates  in most style categories when compared to the Russell and S&P funds. This continues a trend seen in both 2014 and 2015 data.

Low turnover rates can lead to lower fund transaction costs and can also help reduce the realization of taxable capital gains.

The fiscal years for the Russell and S&P index funds end in August, while the CRSP index funds’ fiscal year ends in December.

The funds include the CRSP large cap, mid cap, and small cap index funds, along with the corresponding growth and value funds.

The Russell funds comprise the Russell 1000 and Russell 1000 growth and value funds, as well as the Russell 2000 and Russell 2000 growth and value funds. Vanguard does not provided Russell mid-cap funds.

The S&P funds are indexed to the S&P 500, S&P 400, and S&P 600 indexes, as well as to the growth and value indexes for each capitalization band.

As can be seen in the following table, CRSP based index funds consistently ranked among the lowest turnover funds. The low turnover rates are especially notable in the growth and value style indexes.

2016 Turnover rates

Asset class CRSP Russell S&P
Large Cap 5.0% 8.6% 4.1%
Large Growth 11.0% 15.0% 20.4%
Large Value 7.0% 18.1% 21.5%
Mid Cap 15.0% 11.0%
Mid Growth 20.7% 38.4%
Mid Value 20.4% 25.7%
Small Cap 14.0% 19.3% 15.0%
Small Growth 27.0% 33.1% 48.2%
Small Value 18.0% 31.0% 42.2%

The factor most likely behind these lower turnover rates is the technique of “packeting” which is an exclusive methodological feature of the CRSP index suite. Packeting is a procedure which is applied to stock migration across both capitalization and style dimensions. Once a stock migrates out of transition band, a packet of 50% of the security is shifted. If the security stays beyond the outer threshold in the following period, the remaining 50% is moved.

Barry Barnitz, administrator of both the Bogleheads® wiki and of Financial Page, a Bogleheads® blog

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Simba backtesting spreadsheet: miscellaneous topics

This blog article is the fourth of a series intended to document the inner workings of the Simba backtesting spreadsheet. The objective is two-fold:

  • Provide a better understanding of how the spreadsheet works, to facilitate peer reviews and future maintenance.
  • Describe techniques that have been used to compute various investment metrics in a compact manner, which could be useful in other contexts (e.g. your own spreadsheet).

The first article of the series discussed the layered structure of the spreadsheet. The second and third articles discussed risk ratios and more advanced topics. The intent of this fourth article is to address a few miscellaneous topics (e.g. end label on charts, compatibility issues, spreadsheet analytics).

To follow this article in detail, you should open a separate window using version 17a of the Simba spreadsheet, which can be downloaded by clicking on this link. The cell references are of course subject to change in future updates, even if the general structure will probably stay very similar.

Growth/telltale charts and end label

In the Compare_Portfolios worksheet, a growth/telltale chart is provided, with corresponding controls on row 160.

Simba Blog4 Growth Chart

We will not explain the mechanics of a growth chart or a telltale chart here. The former (absolute growth) is well-known and fairly trivial, and the later (relative growth) was described at length by this wiki page. Just note that the Simba spreadsheet unified the two concepts, as a growth chart is identical to a telltale chart relative to cash.

The point we’d like to illustrate is more specific. Note the data label at the end of each line on the chart (e.g. the purple line ends with 1,014,5121)? This data label is the value of fixed, predetermined cell. Now the question is, how to make it work the same while the time period for the chart (starting and ending year) can be changed at will?

The trick is the “IF($C204=$C203, E203, ” part of the formula. Look at cell C204, the formula is “=IF(ROW()-ROW(C$202)>E$87, C203, C203+1)”. Which means that computing the year doesn’t increment itself after the ending year. Which means that the condition “IF($C204=$C203, E203, ” is fulfilled for all rows after the one corresponding at the ending year. Let’s scroll down a good deal now.

Simba Blog4 End Label

You can see that columns C to K all include non-changing values. You can also see the text in cell B357. The cells on this row are the single ones associated with a data label on the chart. The data source for the chart actually spans row 202 to row 357. Spreadsheets don’t have a problem with data points being exactly the same, they just perfectly overlap on the graph. And the last data point comes with the proper label, with its value inherited from the row computing the appropriate value for the ending year of the time period of interest.

Compatibility challenges

The Simba spreadsheet is currently developed using Microsoft Excel for Mac 2011. It is published in XLSX format. Obviously, it works best with a version of Excel that natively supports this format. Still, it is usable on other spreadsheet software, and some efforts are made to enable such compatibility. Unsurprisingly, this lead to a few challenges, which are listed deep down the README tab. Here is a screenshot.

Simba Blog4 Compatibility

Some of the points about LibreOffice were really not obvious (e.g. row heights, avoid constant value with percentage sign), and chart displays remain imperfect.

The last two points are the most troublesome, and the author has some difficulties finding a proper balance between Excel ease of use and LibreOffice compatibility. Some of the charts do have a somewhat dynamic title (matching the most typical use), while others have a static title which is overly generic… Ideas welcome.

Spreadsheet download – link and analytics

The Simba spreadsheet is currently available for download on Google Drive. Sharing a direct link to a file on Google Drive has two shortcomings:

  1. the procedure to download requires multiple manual steps, as the typical sharing link provided by Google ends up trying to open the file with Google Sheet.
  2. there are no readily available statistics, notably the number of downloads.

Inspired by this online article, it turns out that both problems can be addressed. Let’s take the example of the Simba v17a file. Here is the regular sharing link provided by Google Drive:

Replacing the string “open” by “uc”, and adding the string “&export=download” to the end provides a link instructing Google to directly download the file, hence solving the first issue:

Then the trick is to create a shortened version of this download link, using the author’s Google account and the Google URL Shortener tool. Then the shortened link must be used as the sole way to advertise the downloadable spreadsheet. Here is the outcome: The point being that Google tracks analytics for such shortened link (which can be checked by the author here: Every time it is clicked, this is a download (solving issue #1) and analytics count the number of such events (solving issue #2). Magic!

Jun-18 update: the Google Shortener tool is unfortunately being deprecated by Google (see this blog post), this approach will have to change by early 2019.

Posted in Asset allocation, Market history, Market statistics, Portfolios
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nice to see someone that actually likes their job and brings a great
attitude to work.  His knowledge is really helpful and refreshing.

Again just wanted to say thank you and let you guys know your
doing a great job and would be highly recommended to friends,
family and co-workers.

All my grandson wants to do is go fishing with Papa and Captain
Casey again.  At my age, one of the most important things in my life
is to have these treasured moments with my grandchildren, and this
was one of those moments.

Casey is an outstanding guide- this was the first time out fishing
with a guide for me and he did an excellent job of putting us on the
fish and giving us an excellent day on the river..... i will look
forward to fishing with Casey in the future for steelhead
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for 1-3 people 253-389-0359

The Satsop River is located between Montesano and Elma
Washington in Grays Harbor County.

The Satsop River originates on the southern slopes of the
Olympic Mountains within Grays Harbor and Mason Counties.
From this point, the river's four major tributaries (the
Middle, East, and West Forks, and Decker Creek) flow for
some 50 miles through heavily wooded hill country before
joining the mainstem a few miles above the community of

The East Fork of the Satsop River flows southwesterly from
the confluence of Phillips and Stillwater Creeks to Simpson
State Salmon Hatchery at RM 17.5. The Satsop River flows
through a broad flat valley of mixed coniferous and
deciduous trees. One of the Satsop River's major tributaries,
Bingham Creek, and five smaller tributaries enter the East

The West Fork Satsop River begins in the steep foothills of
the Olympic Mountains and flows southerly through a
narrow valley to RM 33. Below here, the stream flows
through a broad valley with low surrounding hills.

The Satsop River ends it's journey as it flows into the
Chehalis River near the town of Sastop, Washington.

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Feel free to give us a call or send us an email to book your
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All Assets

Website for sale

Auction ended unsold
Ended 601 days ago

DrippedDaily - Top, Brandable .com Domain

DrippedDaily is a website that provides viewers with the top, cream-of-the-crop new music. Low reserve for profitable Domain Name + seamless & responsive mobile and desktop website!

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3 years
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The Seller
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Network with the fleet industry at the FN50 Dinner!

Taking place on 6th November 2018, the FN50 Dinner is a perfect opportunity to network with the top 50 in luxurious surroundings and entertain your guests.

The event is being held once again at the Park Plaza Westminster Bridge Hotel situated on the vibrant South Bank in the heart of London, overlooking the Houses of Parliament and Big Ben.

If you are serious about developing business and networking with your peers in the leasing industry, don't miss this year's FN50 event, designed by the industry, for the industry.

The highlight of the evening is the reveal of the FN50 listing, the annual guide to the largest leasing companies in the UK. Also featured will be a detailed analysis of the state of the fleet industry and will look at the key issues facing suppliers and their customers.

Over 800 guests have booked to attend the 2018 FN50 Dinner, so book your table now to avoid disappointment!

Are you one of the 800 guests booked to date?  If not book your tables or tickets now by contacting Emma Bunce on 01733 395133 or email

Supported by:


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Food Forest Card Game (Northern Hemisphere)

Food Forest Card Game (Northern Hemisphere)

Regular price $18.95 Sale

Food Forest is a unique, fun deck of cards that can be used to play games based on real-life food forest design*. The Food Forest games help adults and children understand how plants interact - both in a garden and in the wild. Players learn about companion planting, the layers of a forest, beneficial insects, and principles of permanent agriculture, or Permaculture.

This deck comes with instructions for two games. More games for the Food Forest cards can be found online. You can even design your own games and cards with this deck! In addition, many food forest designers use the deck to brainstorm companion plantings and garden layouts. It is an inspiring tool for designing your own food forest!

Shipping by US Priority Mail
Domestic shipping: $3.95
International shipping: $19.95

Taxes will be added as required

* Note to Australians and other Southern hemisphere folks: in the printed version, north shading is oriented for the Northern hemisphere. There is, however, a printable PDF version made just for you! The Southern hemisphere version is only available as a PDF because of own printing costs. We hope, someday, to also make a printed version available to you. In the meantime, if you choose to buy the actual deck, you will need to imagine that any shading on the N is actually applied to the S. This should not affect game play very much, but might feel a bit upside down at times! If you request it, I will be happy to provide a Southern PDF version for free to anyone from the Southern hemisphere who buys a full deck of cards. Just remember to email your request to


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Forex Traders Tips

Read these 6 Forex Traders Tips tips to make your life smarter, better, faster and wiser. Each tip is approved by our Editors and created by expert writers so great we call them Gurus. LifeTips is the place to go when you need to know about Forex tips and hundreds of other topics.

Forex Traders Tips has been rated 3.9 out of 5 based on 8 ratings and 1 user reviews.
A Lose to Win Forex Contest?

Forex Trading - Getting Started

You've decided to finally take the plunge and become a forex trader. But where do you begin? You've done the online demos and you've read the literature, but what now?

Companies, like Forex Club, allow you to apply to via an online or fax application. When you sign up for a forex account, be sure to check if there is a minimum deposit required to open the account and determine which trading platform you are most comfortable with. If you are a beginner, be sure to use a more simple platform to get started.

If you're in need of help when applying for a forex account, remember you can always contact customer service at your brokerage.

What is Forex Club?

Forex Club for New or Advanced Traders

Forex Club is a great place to learn or expand your trading skills, and you can open an account for as little as $10.

Three trading platforms are offered; an easy to use platform for new traders, an advanced one for more seasoned traders, and a mobile platform for professionals who don't stay glued to their computers all day.

The site,, includes a wealth of information for traders at all levels, and a forum for interaction between club members.

What are Forecasts for Foreign Exchange Traders?

Forecasts for Foreign Exchange Traders

One of the best ways to become an expert Forex trader is to learn to forecast the market trends and moves.

There are many platforms that provide historical charts and graphs that you can use to construct your own forecasts, or you can purchase a forecasting system, such as the one offered by Intelliforex.

Intelliforex's forecasts are based on artificial intelligence, and are subscription-based.

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What is Forex Scalping?

One term that "newbies" to the world of Forex will hear is "scalping." What is "scalping?" Scalping refers to the practice of opening and closing a position in seconds - or minutes at the longest.

If done right, scalping reduces exposure risk, even though it is done at higher rates of leverage.

Most brokerages do not like scalpers for a multitude of reasons - however, there are many of them and they do profit from this technique.

What Are Forex Traders?

What Are Forex Traders?

A Forex trader is an investor who trades in foreign currencies to earn money through the changes in value of one currency in relationship to another.

Just 10 years ago, Forex traders were mostly large banks and institutions, as the barriers to entry for the Forex market were high.

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If you want to trade in the lucrative Forex market, but just don't have the time to study in order to be successful, a managed Forex account may be the ticket for you.

Minimum investments in managed accounts are high, and usually run around $10K. However, you have the security of knowing that a seasoned Forex trader is handling your money.

Not finding the advice and tips you need on this Forex Tip Site? Request a Tip Now!

Guru Spotlight
Lynne Christen


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Endpoint Vulnerability

Security Vulnerability CVE-2015-1209 for Google Chrome

Use-after-free vulnerability in the VisibleSelection::nonBoundaryShadowTreeRootNode function in core/editing/VisibleSelection.cpp in the DOM implementation in Blink, as used in Google Chrome before 40.0.2214.111 on Windows, OS X, and Linux and before 40.0.2214.109 on Android, allows remote attackers to cause a denial of service or possibly have unspecified other impact via crafted JavaScript code that triggers improper handling of a shadow-root anchor.

Affected Products

Google Chrome


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Last active 2 weeks ago

  1. 2 weeks ago
    Thu Aug 30 03:36:20 2018

    Yes, I will install 1 clonedeploy server and 1 windows DHCP / Proxy dhcp server. Thanks a lot.

  2. 3 weeks ago
    Tue Aug 28 03:52:31 2018
    J jack started the conversation clone deploy and proxy installed on VMware ESXi.

    Can I install the clone deploy and clone deploy proxy on VMware ESXi? Also, the image can be upload and deploy on same network?
    Thanks a lot.

    VMware Esxi: 1 guest install Ubuntu with clone deploy and other guest install windows DHCP/ clone deploy proxy?
    PC / NB: Upload and deploy image into server?

  3. 8 months ago
    Tue Jan 9 05:25:18 2018
    J jack posted in Unknown error With token API.

    Yes, I changed the cduser password to mypass, then ok.
    Thanks a lot.

  4. Thu Jan 4 01:54:58 2018
    J jack started the conversation Unknown error With token API.

    I Try to install from 1.3.0 on Ubuntu 16.04.3 LTS
    Then I login to the web portal I receive an Unknown error with token API error.

    I have changed the UID root to cduser and mysql passwords to new password on web.config file.

    I have enclosed the CloneDeployFE.log .

    Any ideas? Thanks a lot.

  5. Thu Jan 4 00:55:13 2018
    J jack joined the forum.


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Re: skyhdr console command turn off

Have you tried setting the skybox material to sky rather than SkyHDR?

Go to Tools->Level Editor->Level Settings.
Under SkyBox, click the lefthand icon on the right of the Material box. This should show the sky material selected in the material editor.
In the Dropdown selection menu under Material Settings->Shader, choose "Sky" instead of "SkyHDR".

Let us know if this helps you.
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This topic contains 0 replies, has 1 voice, and was last updated by Sunita Sunita 2 months ago.

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    Sunita Sunita
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    Hello sir. I am neha studying my BCA in indore. I want to work after my studies but there are no good career options here for working. So i have decided to do my MBA. But i cannot go out of indore as my parents wont accept for that. Can you please help me find out good MBA colleges in Indore.

Reply To: Top MBA colleges in indore
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  1. N

    Flite Test Electrohub build problem - please help!

    Hi, I am very new to R/C plane/multi-rotors. I am building my first quad with the Electrohub kit from the Flitetest store. I also got the electronic package from ReadyToFlyQuad.com as recommended in the build video from Josh and Alex. Here is the link to the eletrohub kit and here is the link to...
  2. N

    Question about Tx to Electrohub Quad - New to quad - please help!

    Hi, I am very new to R/C plane/multi-rotors. However, I am very interested in the hobby. After watching many build and demo videos of the Electrohub quadcopter on Flitetest by Josh, I really like the design and decided to buy one (with the camera mount too) - here is the link. I also got the...
  3. N

    Need help finding build plans and electronics for Knuckle H-Quad 370

    Hello everyone, First off, I am new the R/C flying world. I have always been an enthusiast of planes in general, just now got a chance to start. I have watched many videos on this site - FliteTest - by the way, it is awesome, kudos to both Josh'es, you guys are the reason more and more people...
  4. F

    Summer from the Sky | 2014

    Here is our video for the beginning of Summer. We are flying a Quadcopter with parts from FliteTest's H-Quad Build and the Tricopter is designed by the gorgeous David Windestäl. We hope this gets you in the Summer Mood!! Thanks for watching and Subscribe for more Aerial Videography. Both...


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New Product Skyangel NEW PRODUCT Screamer 50mm EDF Sport

Everyone loves a screamer! Nice looking plane. I was considering scratch building something like this for my homeless 70mm edf unit. I'd like to see a view of the bottom to check out the air intake.


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Topic: New Guy from Ky

Hey all, just joined! Guitar player from Ky. Just started listening to Joe. Awesome player!

Re: New Guy from Ky

Welcome aboard! Joe is truly a guitar players guitar player.

Play some cards & drink black coffee,
How I’d love to see you smile....
JBLP Std Goldtop
2015 R9 LP

Re: New Guy from Ky

Hi and welcome from a sunny UK also. Enjoy the forum. big_smile

On the journey of life, I chose the psycho path.
Like a bird on the wire, Like a drunk in a midnight choir I have tried in my way to be free.
Come on the Blades (sorry Idolbone just had to borrow your line)

Re: New Guy from Ky

Welcome to the place where we preach about Joe!

"Bill Schechner has found one young man to busy for fantasy ... he's living it!"
"Why don't you just make 10 louder and make 10 be the top number and make that a little louder?" Marty DiBergi
Lamarr (bellhop): "We have movie stars in my hotel!" Faye: "They're musicians, actually." Lamarr: "Even better!" (That Thing You Do!)
JBLP#251 (unaged) ... thank you Ron.

Re: New Guy from Ky

Free download from Vienna!
Lots of unique videos of Joe
Buy Joe's merchandise here. … hp?id=1381

Re: New Guy from Ky

Welcome to the land of Joe
Cheers Ron

"Joe B saved my soul, forever grateful Ron"
"Some people dream of worthy accomplishments while others stay awake and do them"
Skinner #1,JBLP 145(aged),252, (unaged),#285HM, Bburst #026, Joes 052 BCC black LP, Strat> RT,EC Gilmour,Beck,Lenny LP> PK 83,CC#2,3,4,9,Amps>Carol Ann RAH JB-100 SN 001,JB100 Red SN02,OD2, OD3,Tucana 2&3 Triptix,Twinkle land, Plexi ,JB Jub, Jubs,Plexi,Satch,Two Rock>others


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Whats wrong with Spirit Daggers?

  • Spirit Daggers is rogue special tier 4 spell. But it seems so weak! Tier 3 Energetic Strike seems more effective!

    Spirit Daggers . 3 slots . 5 heat . 30 power . tier 4
    Energetic Strike . 3 slots . 5 heat . 70 power . trier 3

    Seriously. To realize max potential (not described) I need to cast this spell last. BUT how work multiplier? What max power? And situations are so few when this spell can realize max potential.
    So conclusion: 1 useless spell in rogue specials. Dev pls rework it.

  • It's more than just spirit daggers

    Take a look at steal. It fucking adds heat when you steal their spell. I hope it's not meant to work that way!

    Rogues need a serious rework.

  • Spirit dagger if I remeber well do more damage as more sorcery have the player I think that ones do the damage normal with no buffs cause monster have no sorcery skill maybe u should use another to kill monsters and use that one for pvp maybe works better.

    I hope this helps.

  • Based on desccription Spirit daggers deals more damage for every sorcery spell casted by opponent in that round. Anyway i think that the multiplier is not working right now. (i tried it on duel and i was always doing the same damage even if the opponen casted sorcery spells)

    @maguss can you check?

  • Ty Ron and the same for monsters? it applies or not Im Paladin so didnt know hehe.

  • @rurik-vlein-nogard-b
    i guess it's bugged on monsters too, i have to try

Log in to reply

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1 Reply Latest reply on Sep 5, 2013 8:12 PM by bettysunshine

    Changing computer  authorisation

      brought new computer can't seem to login on the same ID and upload my ebooks.  I will not be using the older computer with digital editions .. How can I do this ?

        • 1. Re: Changing computer  authorisation

          I'm having the same problem. Actually when I loaded Digital Editions onto my new computer I accidentially select No Adobe ID required. Now I need to transfer an eBook to my Nook. I went back to change the authorization but can't. I keep getting the message that an Adobe ID already exists against that email. I can't establish a new ID using a different email because the eBook is sent to me under my original authorization.


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1 Reply Latest reply on Mar 30, 2007 6:26 PM by injpix

    UIScroll question

    jl2000 Level 1
      Hi -
      I have a dynamic TextField where I'm loading in some text from the actionscript (not external file). No matter how I set "setScrollProperties" I'm not getting the last few words....not the last line...just the last few words. Isn't that strange?

      I've attached the code with the hope someone can see what I'm missing.

      TIA your help.


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2 Replies Latest reply on Apr 13, 2015 11:10 PM by Stuck Mojo

    OCSP in DSS seems to be invalid and may crash Acrobat

    Stuck Mojo Level 2

      Hi there!

      I'm currently facing some problems when we try to add a DSS to a timestamped document. Afterwards the timestamp is not marked as LTV in Acrobat and if we try to re-add the verification data via Acrobat it crashes. You can find the document in question here.

      If I add the verification data to the initial version of the file via Acrobat, there's no problem.

      I compared the DSS structure (actually I didn't left the Certs in the VRI entry which is done by Acrobat but this didn't makes a difference to the actual situation) and the OCSP response in detail and noticed that there's only a single strange difference:

      This part represents the nonce extension in two ocsp responses (left by Acrobat - working, right by a webservice - not working). The extnValue isn't a valid ASN.1 structure which makes me thinks that this is the problem? The webservice/nonce in the request is out of our scope so I cannot play with this. I just want to ask if anybody can confirm that this little nonce value will let Acrobat crash and will ignore the response completely?

      Any comment is welcome!


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3 Replies Latest reply on May 29, 2017 7:07 PM by lava.studio

    How to include Reactjs with Phonegap?

      I'm new to Phonegap so I installed the Phonegap desktop app, created a project etc.

      This all works fine with realtime updates on a device.

      Now I want to include Reactjs with es2015 babel using webpack as I would normally do,

      but I have no idea how to merge these into the starter project that I created with Phonegap  desktop app.


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0 Replies Latest reply on Nov 3, 2010 11:55 PM by kelleygardner

    Images pasted from Word clipboard all turn green

      If I copy an image from a Word document, and paste it into Fireworks, it turns fluoro green.  The image is still visible, but appears to be colorized green.  What could cause this?  It used to work fine. (using a Mac)  Thanks


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iTouch, The viable alternative. . .dilemma

Discussion in 'iPod touch' started by lowonthe456, Jan 16, 2008.

  1. lowonthe456 macrumors 6502

    Oct 27, 2007
    so I had made up my mind to buy an iPhone at the next revision. But this is what has been vexing me lately.

    Now that the touch can do email and hopeful IM soon via wifi, I am now reconsidering.

    I am not unhappy with my current cell carrier. But the thought of the iphone came with getting my email and surfing at my favorite coffee bar. I won a new MBP, so it seems a little silly I guess.

    But it had occurred to me that the touch would also work in this capacity and 100$ less.

    Anyone else think about this? If so whats your thoughts in the decision you made?
  2. Slip macrumors 6502a

    Oct 16, 2007
    Wiltshire, England
    Well if you feel that your current phone is good enough and don't mind having a seperate music player, go for it.

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No more iWork; welcome Office

Discussion in 'Mac Apps and Mac App Store' started by cavi, Nov 7, 2016.

  1. cavi macrumors regular

    Sep 19, 2010
    Haifa, Israel
    I didn't wanted to do this step since I really like iWork applications, but I didn't had a choice...

    before the end of 2013 I didn't used either, Office or iWork, since both suits didn't supported RTL writing (I've used Mellel). after the previous version of iWork suite I really worked hard in order to encourage Apple to make this suit better and I believed that they are intending to do so. I wrote a lot of feedbacks and also managed to contact some guy who is connected directly to the developers and giving them reports about bugs in the software and so on... the suit wasn't perfect and there was (and still...) a lot of compatibility problems with Office and a lot of missing capabilities (with compare to Office and also Mellel), but since at the time Office didn't supported RTL, I didn't have a choice so I continued to use iWork.

    Half a year ago MS released their new version of Office which supports RTL writing. I didn't install this suit because (a) I really like iWork and the way iWork apps are integrating in the system, and (b)iWork gave me 85% of the capabilities I need, and I hoped that Apple will bring more 'power features' like cross references, track changes in tables, document comparison and so on with the next updates. Unfortunately, Apple didn't really doing something with iWork (did they added something "useful" since 2013 until today which is not the realtime collaboration?). Moreover, they are advertising again and again MS Office as the "PRO" app for business so I concluded that they are intending to keep iWork as high school level suit.

    Too bad that this situation, I really like iWork and I think that Apple could do better with this suit. until they do, I'll use Office...
  2. Partron22 macrumors 68020

    Apr 13, 2011
    Apple has been messing up perfectly good word processors ever since they let MacWrite languish in the early nineties.
    Even if you stick with them, they'll change formats after 4-8 years and you'll have to either imperfectly update all your documents, or consign them to the dustbin of history.
    I went with Libre Office. As open source, I expect it'll be around longer than any of Apple's Neato-Skeeto content creation assistants.
  3. chscag macrumors 68020

    Feb 17, 2008
    Fort Worth, Texas
    iWork apps are now a free inclusion with a new Mac. I would not expect Apple to do an awful lot of improving to any of the iWork apps. Let's face it: Office is the de facto standard in education, law, and for many other professions. I'm not a big fan of Microsoft anything, but I do use Office because I feel it's the best choice for me.
  4. cavi thread starter macrumors regular

    Sep 19, 2010
    Haifa, Israel
    I tried Libre Office in the past and it reminded me of Office 2003 apps (moreover, it wasn't stable and I experienced some bugs with Hebrew [RTL language]). After I've tried Libre Office and NeoOffice I found Mellel which accompanied me all the way to my university graduation.

    I, and I'm confidant that there are a lot of Mac users who are like me, have no problem whatsoever to pay for a PRO version of iWork apps. I've no problem with MS and if they're making good product I'll be more then happy to purchase it and install it on my devices. the thing is that I don't like MS Office and I find it very unintuitive to use. that is the only reason why I tried to keep up with iWork (I also like Numbers and Keynote a lot more then PP and Excel). But, iWork is missing core features which I can't get along without them (cross references,document comparison and so on...) and also the compatibility with MS apps (which, as you said, are the market standard) are far from be perfect (some of my friends say that Libre Office actually doing better job with communication with Office).
    I don't know why Apple spent time and effort to bring completely new iWork (3 years ago, I don't understand why they're calling this minor upgrade 'collaboration' a whole new version...) and not putting efforts to make this suite actually useful...
  5. maflynn Moderator

    Staff Member

    May 3, 2009
    I've largely given up in iWork, Apple had some good programs, they weren't perfect but they had some good feature, then they "updated" then apps and removed a lot of the features. I haven't looked back since then
  6. spooklog macrumors member

    Aug 10, 2015
    New Hampshire
    Meh. iWork was "upgraded" into uselessness, Libre Office never appealed to me for some reason, and MS Office was far too slow and cranky to work with. Now I often use Nisus Writer for word processing.
  7. BeefCake 15 macrumors 65816

    BeefCake 15

    May 15, 2015
    near Boston, MA
    I always thought iWork is the project you're sent to when they can't fire you at Apple, the code probably gets few weeks of work and then "brainstorming" on top of the roof with a grill for the rest of the year...
  8. CreatorCode macrumors regular

    Apr 15, 2015
    I know that Steve Jobs' impromptu firings are all in the past, but I very much doubt that there's anyone at Apple who can't be fired. (Except for Jony Ive.)
  9. GerritV macrumors 65816

    May 11, 2012
    Full docs (Wu Yanlong) is on sale right now, don't know if it's any good though.
  10. bingeciren macrumors 6502a

    Sep 6, 2011
    Until recently l wasn't using Office 365 even though it was loaded in my iPad. Then, l discovered that Office 365 was free (full read/write) for all iPads except the 12.9" pro.

    l signed and activated the full Office suite on my iPad. So far so good, but l was using Office 2011 on my Macs and l noticed that the documents edited with Apple Pencil were not showing the pencil drawings on the Office 2011 documents. The next obvious step was to download Office 365 to my Mac and see if the pencil edited documents were visible with the Mac version of Office, and sure enough they were. However, in order to do that, l had to pay for the 365 subscription. l chose the family package, which allows Office to be used on 5 Mac/PC and 5 tablets and 5 phones, with 1TB cloud storage for each user.

    l'm happy with the performance, features and cross platform compatibility of the Office 365. l've used Open Office before and it was good in a pinch but ultimately you get what you pay for.
  11. theluggage macrumors 68040

    Jul 29, 2011
    Problem is, Office has the market cornered, and makes interworking with other applications a pain. LiberOffice et. al. do a creditable job of almost loading/saving Office formats (not bad considering how badly specified the Office formats are) but still tend to mess up anything with non-trivial formatting.

    Silly example: I have an .xlsx spreadsheet - if I open it in LibreOffice & save it, then open again in Excel, all the column widths are reset. Sure, if its just me, I can just do a quick auto-format but if I send that out to 10 people I guarantee that at least one will come back and say "I can't read it - its all # signs!"

    Another common issue is bullet lists getting the wrong symbol, or pagination being mussed up. These are not end-of-deal problems if you're migrating your own documents from Office to an alternative, but if you're trading documents back-and-forth daily with Office users - tough, you'll end up needing Office. That's why there isn't much market for full-function wordprocessors/spreadsheets outside "personal use only" and niche user groups.
  12. cavi thread starter macrumors regular

    Sep 19, 2010
    Haifa, Israel
    In case that there are here some Apple employees from iWork team, I'll summaries my "problems" with iWork suite; maybe Apple will decide to make it useful:
    must to have:
    1. cross references
    2. track changes in tables (really, no track changes in tables...? o_O)
    3. document compare
    4. ability to import files into a iWork file (such as PDF document or Word)
    5. ability to flip one or more pages to be vertical while the others are remain horizontal (now you can flip the whole document...).
    6. secondary font (for multilingual users)
    7. RTL support in Numbers
    nice to have
    1. more shortcuts option for styles.
    2. smart fileds (file name, path etc')
    3. Better date options (for example: Gregorian and Chinese...)
    4. better table outline and better table behavior and function...
    feel free to add to this list; although I know that Apple will not add any power features. after all, they're advertising MS Office in their website as the "PRO" tool and iWork as "easy way to create beautiful documents (which are not useful, but we sell computers and there is a "pro" tool available in the market, so everything is ok)...

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OMG macbook didn't go to sleep. did I damage it!?

Discussion in 'MacBook Pro' started by WillMak, Apr 30, 2007.

  1. WillMak macrumors 6502a

    Jul 29, 2005
    I left for class today and put my macbook in it's neopreene sleeve but for some reason it didn't go to sleep! So when I took it out an hour and a half later it was sooooooooo freaking hott. That nenepreene sleeve has 0 ventilation! Could this have damaged my macbook in anyway? Will it destroy the fans? screw up harddrive? damage the light for the LCD? Please help!:eek:
  2. arcane macrumors newbie

    Apr 30, 2007
    I saw pictures somewhere (can't seem to find them now) of a MacBook that had pretty much melted under similar circumstances. I certainly wouldn't recommend making that a regular habit. Turn it off completely before putting it in the sleeve, IMO.
  3. WillMak thread starter macrumors 6502a

    Jul 29, 2005
    Are you serious? Is there anything I can do to make sure my macbook is okay? I think it's a lot dimer than it was before but I don't know if that's all in my head or real (I'm a paranoid person in case you haven't noticed :( )
  4. Fearless Leader macrumors 68020

    Mar 21, 2006
    yes, your macbook is totally screwed over have a nice week before utter destrucion...
    no you're fine, it would shut off before damage would happen. This happens sometimes with me, I notice it almost always happens with Rosetta apps, or quicktime stuff.

    Maybe I changed my habits without realizing or apple's updates did something but it hardly ever happens now.

    My MBP rests in back compartment of backpack next to my back. It gets so hot I can feel through the neopreene sleeve and the backback.
  5. arcane macrumors newbie

    Apr 30, 2007
    Well, in this situation, the entire plastic casing of the machine had melted. Assuming you can still boot up, and everything appears to be running fine, it should be ok. The damage would be almost immediate and very apparent in event of a meltdown like that.
  6. WillMak thread starter macrumors 6502a

    Jul 29, 2005
    Are you sure about that? I thought they turned off that feature in order to fix the random shutdown problems?
  7. Fearless Leader macrumors 68020

    Mar 21, 2006
    Im sure, they didn't turn it off they just made it turn off at a higher temp. They would never turn something like that off.
  8. WillMak thread starter macrumors 6502a

    Jul 29, 2005
    I hope so...I'm actually thinking about going to therapy for this. :(
  9. -::ubermann::- macrumors regular

    Sep 9, 2006
  10. Killyp macrumors 68040

    Jun 14, 2006
    My MacBook Pro used to do the same all the time.

    Go to Energy Saver in System Preferences, and in the OPTIONS tab, un-tick the box says 'Wake for Ethernet Network Administrator access'.
  11. WillMak thread starter macrumors 6502a

    Jul 29, 2005
    waking up from sleep? Or your macbook heating up in the sleeve?
  12. Me1000 macrumors 68000

    Jul 15, 2006
    Mine did the exact same thing today. I woke up and sync'ed up my iPod, closed the lid and took off. My macbook was laying on my bed plugged in!

    got back home today and found it was very warm! opened the lid, and the backlight wouldnt come on. I held the power button down, it shut off. Then powered it back up. It seems to be ok but kind of scary!
  13. WillMak thread starter macrumors 6502a

    Jul 29, 2005
    Oh that's no biggie Me1000. That's happened to me a couple of times where it didn't go to sleep with the power plugged in. Your macbook got ventilation which means it is ok!
  14. RaMaz macrumors regular

    Apr 6, 2007
    u have to reset the PMU, (Power management unit)

    u have to reset the PMU, (Power management unit)

    take out the batt.
    leave un-plugged
    hold down power button for 6 seconds,
    then put batt. back in
    plug in
    Turn On

    and that resets the power, my Macbook would restart every time i closed the lid, i did this and now it goes to sleep in stead of restarting,

    Welcome :D :apple:
  15. Snowflake macrumors newbie

    Mar 13, 2007
    Hi everyone.

    I just read the thread and was wondering if anyone solved this problem?

    I kinda had the same thing today.
    My macbook is on so I close the lid, it goes to sleep and I unplug it.

    Then I take my laptop downstairs for a while, surf the web, close the lid again but this time it won't go to sleep. I open the lid and I'm already in OSX so I try desperatly to put it to sleep hitting ALT+COMMAND+EJECT but this won't do.

    So I try to put it to sleep from the menu, without any result. I then choose to restart, so it quits OSX and is closing with the blue screen and the little icon circling around (hasn't restarted yet) and well, it just keep going on like this without restarting. So I have to press the power button to completely shut it down.

    Anyone got an explanation? Could it be that I unplugged the power cable while it was going to sleep and not before or after?
  16. MalcolmJID macrumors 6502a

    Nov 1, 2005
    The power change shouldn't be too much of an issue as it's dealt with on it's on own circuit board. As a future reference though, I always unplug then sleep. And I always wait a few moments until I see the light pulsing to tell me it's fully asleep. :)

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used 90% of data plan in first half of month?!?

Discussion in 'iPhone' started by redhawk87, Dec 31, 2013.

  1. redhawk87 macrumors regular

    Jul 11, 2009
    Raleigh, NC
    I usually only use roughly 1.1 GB of my 2 GB plan but so far I have used over 1.8 GB and I still have 14 days till the end of my cycle. I have wifi at home that my phone automatically connects to and whenever I think to check, my phone is always connected to it. I got a text Saturday in the middle of the night from Verizon saying I have used 75% of my data plan and then another text last night saying I used 90% of my data. From my understanding, Verizon sends you a text the second you reach that limit. So if I got the texts in the middle of the night, something must of been sending data then. I have not reset my cellular usage since sep 18th, but one thing that did notice is that Skype has supposedly used 1.2 GB of cellular data even though I have only signed into it 2 or 3 times since sep. 18th. Could this be the cause? I am on wifi the majority of the time so why would skype be using data? I also noticed a couple of weeks ago a sharp decrease in my battery life. My battery life has gotten better over the past few days though.

    Could Skype have gone rogue? Is anyone else experiencing an uptick in data usage over the past couple of weeks?

    I will ao add that on December 12th, I had used 75% of my data plan ending December 13th. That was also a little high but its not a huge jump to go from 1.1 to 1.5 so I didnt think much of it. Now I am assuming whatever is eating my data plan must of started right before the end of my last data cycle. Is it possible for something to use a ton of data while on wifi? if so why? Doesnt make much sense.
  2. Tiger8 macrumors 68020

    May 23, 2011
    I've seen things like that, and you are right, LTE /3G takes the most battery power so if your phone is losing battery quickly, it is doing some LTE/3G transactions.

    Your best bet is to TURN OFF Cellular data, even when at home. I noticed the iPhone is always connected to cellular data and sometimes turns off Wifi when in sleep mode.

    Turn on data when you leave home and conserve (i.e. use just for iMessage and email checking)
  3. redhawk87 thread starter macrumors regular

    Jul 11, 2009
    Raleigh, NC
    I can turn off data at home and I will definitely start doing that until I figure out what's wrong. I really do not want to have to do that solely based on principal though. Before this month, I have not had any issues so there must of been something I downloaded or something I activated on my phone to get this behavior. If I could get to the root of the issue that would be better.

    Can an app choose to use data instead of wifi or is that an OS level decision?
  4. Lucille Carter macrumors 65816

    Jul 3, 2013
    ALWAYS turn off cellular when you are not using it. I learned like you but burnt through 5gb out of my 10. If you leave it on and loose WiFi it goes to cellular.
  5. c0LdFire macrumors regular

    Jul 10, 2013
    I noticed my 5S burn through 150mb or so overnight a few days ago when it was supposed to be on WiFi. Not a huge deal to me, but still a little puzzling. Nothing was running and I received maybe one (text-only) email, and my app auto-updates and such are set to never use cellular data. I'm thinking it may be an odd bug with iOS7 - WiFi should resume from sleep mode automatically if anything beyond push notifications needs loaded.

    It hasn't happened often enough or with enough data for me to care, luckily. I'd be a bit pissed if it burned through a couple of gigs somehow.
  6. Col Ronson macrumors 6502a

    Aug 7, 2008
    Just check the cellular tab it will tell you which app is sucking the most cellular data.

    I like push notifications and updates, kind of the reason i have an iPhone so turning off data is not an appropriate solution for many. Also lack of cellular data will render iMessage useless.
  7. C DM macrumors Westmere

    Oct 17, 2011
    The vast majority don't need to do that, while in some isolated cases (like this one perhaps) it might be of some help.
  8. liteshow macrumors regular

    Sep 20, 2012
    As Col Ronson said, check your Settings -> Cellular and the individual app usage listed under "Use Cellular Data for" section. Find the culprit and maybe delete the app and reinstall.
  9. sahnjuro macrumors member

    Jul 15, 2009
    Data leakage

    Your iPhone May have a data leakage problem due to iCloud. Go to cellular and zero the Data usage. If your data usage goes up while connected to cellular even if you are not using any cellular capability, then you have a leakage issue.

    Disabling iCloud should stop the leakage. You can let apple know and they won't do much. Ymmv
  10. charlituna macrumors G3

    Jun 11, 2008
    Los Angeles, CA
    Or just turn off cell access for that app. I've done that for basically everything on my phone.

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XFX R9 280x flashable for boot screen support?

Discussion in 'Mac Pro' started by sanderss, Apr 7, 2014.

  1. sanderss, Apr 7, 2014
    Last edited: Apr 7, 2014

    sanderss macrumors newbie

    Apr 7, 2014
    Hi All,

    I just went through a *lot* of posts on this and netkas' forum but for some reason, I just cant get any definitive answers.

    I have 2 questions:
    Is the XFX R9 280X EFI flashable for bootscreen support (on both MDPs)? And is so, witch is the latest / best method to do so?

    I see 2 versions: the "Double Dissipation" and the "Black Edition". Main diffs are 850MHz vs 1,08GHz clock and 250W vs 300W
    Do both work in a standard MacPro5.1? (I believe 1 do need 1 6-->8 pin cable)

  2. rthomp macrumors newbie

    Sep 2, 2014
    You and I have the same question. I bought a XFX r9 280x for a temporary mac pro configuration and as in an investment for my future x99 custom pc.
  3. chrisrand macrumors member

    Aug 17, 2013
    Hi, do you have any updates on your XFX r9 280x experiment? Did you flash it or mod it to 5.0g/s?
  4. lexR macrumors regular

    Dec 12, 2013
    I have been looking at the R9 280X and loved the look of the XFX card however i found this video Lance from McVie audio who purchased a XFX and had nothing but troubles and he did some research and the XFX for some reason is a bit glitchy...

    So i went with the Gigabyte Windforce dual R9 280X (flashed), just waiting for cards to arrive.

    They have got good reports so will do a write up after its all done.
  5. Mr. Zarniwoop macrumors demi-god

    Mr. Zarniwoop

    Jun 9, 2005
    Flashing R9 280X for boot screens/PCI System Information

    Bunch of useful information with various cards in that thread. I suspect either card version will work, although if one is rated 300W you may want to be sure you buy it from a place with a good return policy in case your work process taxes the card to the point to where it draws too much from the power supply.

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