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2020-08-14 19:20:23
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In the Wake of the ZACA   

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In the Wake of the ZACA TrailerTheSailingChannel.TV is proud to bring you "In the Wake of the Zaca," the remarkable adventures of a California schooner. This award-winning documentary by Luther Greene captures a lost age of adventure, romance, and Hollywood glamour told through the history of a 75 year-old, 118 foot sailing ship.

Launched in San Francisco on the eve of the great depression, Zaca explored stone-age civilizations in the South Pacific, patrolled the California coast as an armed ship of war during World War II, and served as party boat for sailor and swashbuckling actor, Errol Flynn. Left to languish as a striped hulk on a mud flat in the south of France, Zaca rose like the phoenix to sail again. Sail in her wake and gain a unique perspective on history, and experience adventures most of us can only dream about. More about Zaca at www.thesailingchannel.tv/zaca

In the Wake of the Zaca DVDQuickTimeWindows Media Buy Now
High Quality Video Download: $9.99

Main Presentation: 51-minutes
Just pay with Paypal or your Credit Card, download and watch full screen on your PC or MAC.

Interactive DVD
Main presentation plus bonus video of Zaca's 1933 South Seas expedition and the making of the documentary.
DVD U.S. Buyers: $28.00 (includes 1st Class Mail)Buy Now
DVD California/INTL Buyers: $30.00 (includes CA tax & 1st Class Mail) Buy Now


Zaca photos

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Phoenix Mercury, coming off Chicago loss, face struggling Atlanta on Friday   

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… on a six-game losing streak including 100-63 to Seattle (with a WNBA tying record 18 3-pointers) on Wednesday. The Mercury also lost Wednesday, …

          

Harry potter film ita in streaming su megavideo   

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Se state cercando dopo tante ricerche invane un portale dopo si possa finalmente vedere Harry Potter in streaming italiano su megavideo lo avete finalmente trovato. Ma cos'è Harry Potter? Beh è semplice Harry Potter è una serie di film che hanno come tema quello della magia e dei maghi. Gli episodi di Harry Potter sono 7 ovvero il numero di libri di genere fantasia che sono usciti prima in Inghilterra e poi in Italia ed in tutto il mondo:
  1. 1998 Harry Potter e la Pietra Filosofale(Harry Potter and the Philosopher's Stone)
  2. 1999 Harry Potter e la Camera dei Segreti(Harry Potter and the Chamber of Secrets)
  3. 2000 Harry Potter e il Prigioniero di Azkaban (Harry Potter and the Prisoner of Azkaban)
  4. 2001 Harry Potter e il Calice di Fuoco (Harry Potter and the Goblet of Fire)
  5. 2003 Harry Potter e l'Ordine della Fenice (Harry Potter and the Order of the Phoenix)
  6. 2005/2006 Harry Potter e il Principe Mezzosangue (Harry Potter and the Half-Blood Prince)
  7. 2007/2008 Harry Potter e i Doni della Morte[7] (Harry Potter and the Deathly Hallows).
Questo ovviamente è solo l'ordine di uscita in ordine cronologico dei libri della saga di Harry Potter. Infatti i film che non sono ancora usciti tutti in Italia mentre sono usciti tutti in Inghilterra e negli Stati Uniti hanno un ordine diverso e seguono una trama leggermente modificata per le riprese e le esigenze cinematografiche.
La trama fondamentale di Harry Potter ruota intorno alla vicenda di un mago appunto di nome Harry Potter che all'età di 16 anni viene chiamato a partecipare ad una scuola di magia ovviamente per soli maghi chiamata e nella sede di Hogwarts. In questa scuola sono presenti solo maghi che imparano tutte le tecniche e le arti per diventare maghi a tutti gli effetti. Ovviamente Il fulcro della storia gira intorno a Harry Potter tuttavia ci sono altri personaggi di rilievo come Ron Weasley, Hermione Granger. Oltre al loro ci sono i personaggi della fazione opposta ad Harry Potter il cui capo e definito colui che non si può nominare è Lord Voldemort. Nel corso dei vari libri la figura di Lord Voldemort andrà sempre più rafforzandosi e si arriverà all'epilogo finale con lo scontro all'ultimo incantesimo tra Harry Potter e appunto Lord Voldemort. Ecco qualche trailer:




          

Time Trap-Escape to the future (2017) ITA-ENG Ac3 5 1 BDRip 1080p H264 [ArMor]   

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Directed by Mark Dennis, Ben Foster
Production companies Pad Thai Pictures, Filmsmith Production & Management, Rising Phoenix Casting
Distributed by Paladin, Broadmedia Studios, Eagle Films, Giant Interactive
Release date May 19, 2017 (Seattle International Film Festival)
November 2, 2018
Running time 95 minutes
Country United States


Plot: Un professore entra in una grotta e scompare. Alcuni dei suoi studenti vengono a cercarlo e rimangono anch'essi intrappolati nella grotta.

A professor enters a cave and goes missing. Some of his students come looking for him and get trapped in the cave as well.

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General
Unique ID                                : 227180834850428962291968674578425781750 (0xAAE96FF076AE0BDE80B9A70B6DF11DF6)
Complete name                            : Time Trap-Escape to the future (2017) ITA-ENG Ac3 5.1 BDRip 1080p H264 [ArMor].mkv
Format                                   : Matroska
Format version                           : Version 4
File size                                : 3.00 GiB
Duration                                 : 1 h 27 min
Overall bit rate                         : 4 901 kb/s
Encoded date                             : UTC 2020-08-14 18:00:48
Writing application                      : mkvmerge v15.0.0 ('Duel with the Devil') 64-bit
Writing library                          : libebml v1.3.5 + libmatroska v1.4.5 / Lavf58.29.100

Video
ID                                       : 1
Format                                   : AVC
Format/Info                              : Advanced Video Codec
Format profile                           : Main@L4.1
Format settings                          : CABAC / 4 Ref Frames
Format settings, CABAC                   : Yes
Format settings, Reference frames        : 4 frames
Codec ID                                 : V_MPEG4/ISO/AVC
Duration                                 : 1 h 27 min
Bit rate                                 : 4 000 kb/s
Width                                    : 1 830 pixels
Height                                   : 816 pixels
Display aspect ratio                     : 2.25:1
Frame rate mode                          : Constant
Frame rate                               : 23.976 (24000/1001) FPS
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Progressive
Bits/(Pixel*Frame)                       : 0.112
Stream size                              : 2.45 GiB (82%)
Writing library                          : x264 core 157 r2935 545de2f
Encoding settings                        : cabac=1 / ref=2 / deblock=1:0:0 / analyse=0x1:0x111 / me=hex / subme=6 / psy=1 / psy_rd=1.00:0.00 / mixed_ref=1 / me_range=16 / chroma_me=1 / trellis=1 / 8x8dct=0 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-2 / threads=18 / lookahead_threads=3 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=240 / keyint_min=24 / scenecut=40 / intra_refresh=0 / rc_lookahead=30 / rc=abr / mbtree=1 / bitrate=4000 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / vbv_maxrate=50000 / vbv_bufsize=62500 / nal_hrd=none / filler=0 / ip_ratio=1.40 / aq=1:1.00
Default                                  : Yes
Forced                                   : No
Color range                              : Limited
Color primaries                          : BT.709
Transfer characteristics                 : BT.709
Matrix coefficients                      : BT.709

Audio #1
ID                                       : 2
Format                                   : AC-3
Format/Info                              : Audio Coding 3
Commercial name                          : Dolby Digital
Codec ID                                 : A_AC3
Duration                                 : 1 h 27 min
Bit rate mode                            : Constant
Bit rate                                 : 448 kb/s
Channel(s)                               : 6 channels
Channel layout                           : L R C LFE Ls Rs
Sampling rate                            : 48.0 kHz
Frame rate                               : 31.250 FPS (1536 SPF)
Compression mode                         : Lossy
Stream size                              : 281 MiB (9%)
Title                                    : WEBDL EAC3
Language                                 : Italian
Service kind                             : Complete Main
Default                                  : Yes
Forced                                   : No

Audio #2
ID                                       : 3
Format                                   : AC-3
Format/Info                              : Audio Coding 3
Commercial name                          : Dolby Digital
Codec ID                                 : A_AC3
Duration                                 : 1 h 27 min
Bit rate mode                            : Constant
Bit rate                                 : 448 kb/s
Channel(s)                               : 6 channels
Channel layout                           : L R C LFE Ls Rs
Sampling rate                            : 48.0 kHz
Frame rate                               : 31.250 FPS (1536 SPF)
Compression mode                         : Lossy
Stream size                              : 280 MiB (9%)
Title                                    : DTS
Language                                 : English
Service kind                             : Complete Main
Default                                  : No
Forced                                   : No


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It’s about forgiveness   

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Projects come and go, many are soon forgotten and some stay in people’s memories for a long, long time…usually the more painful ones, the ones that ruin careers, ruin friendships, marriages, dreams. Some people have problems moving on and often hold life-long grudges against those they think were the main culprit for those evil projects. Fortunately for me all of my projects have been very successful (just kidding).

I think we all owe ourselves and our current and/or former team mates a once a year complete clear the painful history, put the smile back on our faces, lift a beer in celebration of the attempt forgiveness day and I think its most appropriate around the Holiday Season (Merry Christmas and Happy Hanukah and Happy Kwanza and all the other year end holidays)…learn ye lessons from the past, but let the painful memories that stunt our growth and happiness be forgiven and forgotten.

(image from https://Model.blue/splash/NCZu93aCTtMsYD7Ws1Q2yXG0Lp47zdqQhztw6pyrm6XrrWaFwblyJPy9cb9tuxmFWQcy9_PLUS_W3MRiOuweGyOGXbEWIG60HzmYhi6DWpXVL5VkNecgq5cUl707D1Si6S33_SLASH_Grec3EJCToPkd2WQmYKcNjL0wG1jHuVFXxHrKVc_PLUS_VkTWtJG_SLASH_qWA6EE13WuO2FoaX)

          

西區季後賽第一輪不負責任預測   

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#1 Los Angeles Lakers vs #8 Denver Nuggets姓名:Kobe Bryant 出生日期:西元1978年8月23日 (農曆67年7月20日) 查詢流年:西元2008年 靈數:5 這個數字顯示 這是一個變動性最強的階段,事情有很大的轉折,看個人的發揮而定,財運上可以得到機會,但並不會到達高峰,之前穩定的財務會有變動,不小心也有散財的可能。對於感情是不穩定的階段,原本的感情會有變動性,不小心會有失落感,而由於很容易遇到新的感情,因此對想要建立新感情的人很有幫助。在這個階段,心通能力特別有感應,尤其是在關係密切的人身上特別靈驗,往往心有靈犀一點通喔!Kobe是今年MVP的熱門人選,帶領LAL拿下西區龍頭寶座,受傷的Bynum說可能會在季後賽回到陣容當中,也可能不會,如果Bynum回來必須小心處理,避免打亂原本的勝利方程式而調不回來。Gasol跟Kobe這對在球季中才結合的搭檔,在季後賽可能會有精彩的傳導表現,互相妙傳給對方,畢竟這兩人都是會傳球的球員。但金塊並不時簡單的料,Kobe仍別大意。姓名: Carmelo Anthony  出生日期: 西元1984年5月29日 (農曆73年4月29日) 查詢流年: 西元2008年 靈數: 8 這個數字顯示 這是一個豐收的階段,享受汗水流乾後收成的愉悅,事業有成果,財運也很好,因此生活上比較豐富一點,可以發揮你的財務管理能力,快快計劃好錢要怎麼花出去最適當喔!小心投資,把握機會,先回收再說!在投資的計劃上先擬定各種戰略,最好是做長期性的規劃,並且營造有利的氣氛,改變目前的局勢,會有機會賺錢,但需要小心各種陷阱。小心注意酒駕的餘波,應跟律師在計畫上擬定完整的策略,解決球場外的問題。並且在球隊中撫平酒駕影響的氣氛,趕緊跟各位大哥賠不是,AI和Camby等戒指都等到快瘋掉了,Melo還出這種包。整題來說金塊會有機會,但需要小心各種陷阱,比如說開特力旁邊放一箱約翰走路…….不負責預測:Los Angeles 4:2淘汰Denver#2 New Orleans Hornets vs #7 Dallas Mavericks姓名: Chris Paul 出生日期: 西元1985年5月6日 (農曆74年3月17日) 查詢流年: 西元2008年 靈數: 3 這個數字顯示 這是一個發展性很強的階段,變動性比較大,各種管道也比較暢通,接觸的層面也會更廣泛,因此手邊所進行的事物有產生變化的可能性,如果機緣成熟時,也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通,不要太堅持己見,提醒你順著時機的來臨,對事務的敏銳度要增強,才能掌握機先,對於理想中的事物千萬不要粗枝大葉,草率應付了事。黃蜂是NBA本季的大驚奇,居然想下西區第二的位置,完整的黃蜂戰力相當足夠,但整體季後賽經驗仍嫌不足。Paul是今年MVP另外一名熱門人選,進入季後賽之後他的表現成了球隊勝敗的一大關鍵,盡可能先把機會製造給隊友,讓整體球對打開,讓對手無招架力時,自己在上去補個尾刀。小牛雖今年表現令人失望,但季後賽經驗之豐富,是黃蜂無法比擬的。姓名: Dirk Nowitzki  出生日期: 西元1978年6月19日 (農曆67年5月14日) 查詢流年: 西元2008年 靈數: 8 這個數字顯示 這是一個豐收的階段,享受汗水流乾後收成的愉悅,事業有成果,財運也很好,因此生活上比較豐富一點,可以發揮你的財務管理能力,快快計劃好錢要怎麼花出去最適當喔!小心投資,把握機會,先回收再說!在投資的計劃上先擬定各種戰略,最好是做長期性的規劃,並且營造有利的氣氛,改變目前的局勢,會有機會賺錢,但需要小心各種陷阱。Nowitzki領軍的小牛在球季中弄來Kidd,不過依舊整合不佳,沒把戰力給表現出來,面對氣勢正旺的黃蜂,小將軍要謀好對策,讓Kidd憑著季後賽的經驗,降低Paul造成的傷害,再讓德國司機重砲轟炸蜂群,有機會upse,但必須注意每一個細節,並且有超速度的陣容融合。不負責預測:New Orleans 4:2 淘汰Dallas#3 San Antonio Spurs vs #6 Phoenix Suns姓名: Tim Duncan 出生日期: 西元1976年4月25日 (農曆65年3月26日) 查詢流年: 西元2008年 靈數: 3 這個數字顯示 是一個發展性很強的階段,變動性比較大,各種管道也比較暢通,接觸的層面也會更廣泛,因此手邊所進行的事物有產生變化的可能性,如果機緣成熟時,也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通,不要太堅持己見,提醒你順著時機的來臨,對事務的敏銳度要增強,才能掌握機先,對於理想中的事物千萬不要粗枝大葉,草率應付了事。Duncan又再次帶領馬刺進入季後賽,從新人球季持續至今,不過今年對上的是禁區有O’neal跟Amare的太陽,不過好在派了臥底Kerr在太陽,把K.Thomas給間接弄了過來,挖牆角的功力一流,而且季賽時把他隱藏起來,不讓戰術曝光,為的就是給太陽一個致命一擊,再搭配Bowen的防守,這下Barbosa、Hill、Bell要小心了,就算亞利桑納的醫學在怎麼先進,也沒辦法快速治療。姓名: Steve Nash  出生日期: 西元1974年2月7日 (農曆63年1月16日) 查詢流年: 西元2008年 靈數: 1 這個數字顯示 代表新的循環,新的開始,無論是新的方向,或是新的計劃都可以開始進行,因此適合個人或公司建立新目標與新的規劃執行,只要是新方案的開端,都會有一番新氣象。此時的環境被一股力量推往一個新的方向,也會生出新的契機,因此這一年要開始進行的事情,氣勢會比較強,創造力和個人的潛力都能夠突顯出來,得到發揮。因應大歐加入改變原本小球戰術的太陽,用這樣的組合第一次進入季後賽,會有一番新氣象,也會對馬刺造成不小的衝擊,大歐在季後賽將會開到五檔,把能量全部都釋放出來,這時馬刺就要小心了,胖超人在禁區攪阿攪,甩出一身油,很容易就會滑倒翻船的。再加上Amare的暴力攻擊,這會造成馬刺TD疲於奔命。另外如果有最後一擊的機會,Horry就是是選擇,還是幌子?太陽最好先卜卦一下。不負責預測:Phoenix 4:3 淘汰San Antonio#4 Utah Jazz vs Houston Rockets姓  名: Carlos Boozer 出生日期: 西元1981年11月20日 (農曆70年10月24日) 查詢流年: 西元2008年 靈  數: 5  這個數字顯示   這是一個變動性最強的階段,事情有很大的轉折,看個人的發揮而定,財運上可以得到機會,但並不會到達高峰,之前穩定的財務會有變動,不小心也有散財的可能。  對於感情是不穩定的階段,原本的感情會有變動性,不小心會有失落感,而由於很容易遇到新的感情,因此對想要建立新感情的人很有幫助。在這個階段,心通能力特別有感應,尤其是在關係密切的人身上特別靈驗,往往心有靈犀一點通喔!Boozer終於在最後找回了球感,爵爵能否通過這輪就看他和Deron了,這在馬史之後爵士的新組合,期望能找回被Jordan奪去的榮耀,這兩人最好這兩晚抱緊一點睡,如果要用迴紋針式也沒問題,只是照片別流出來,培養好默契,才能在場上靈犀一點通喔!姓名: Tracy McGrady 出生日期: 西元1979年5月24日 (農曆68年4月29日) 查詢流年: 西元2008年 靈數: 3 這個數字顯示 這是一個發展性很強的階段,變動性比較大,各種管道也比較暢通,接觸的層面也會更廣泛,因此手邊所進行的事物有產生變化的可能性,如果機緣成熟時,也是發揮自己才能的時候了。這個階段凡事都需要多一點溝通,不要太堅持己見,提醒你順著時機的來臨,對事務的敏銳度要增強,才能掌握機先,對於理想中的事物千萬不要粗枝大葉,草率應付了事。T-mac今年在沒有姚明的情況下完成了22連勝不可能的任務,現在季後賽又有什麼會是不可能的呢?帶著Scola和神秘的木乃伊木桶伯繼續在Playoff創造話題,面對爵士的攻勢,守住主場應該是沒有問題,如果能在Utah偷到一勝,那爵士就準備挫著等吧。不負責預測:Utah 4:2淘汰Houston

          

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Issue 1, Vol 4: Indian Popular Fiction   

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Context...

Literature - it’s a touchy subject whenever brought up, or wherever – be it in the Law faculty canteen or at the family dinner table. Throughout the ages that it has existed in the public realm, it has always had its share of critics, forever ready to dismiss it as a paltry area of study for those of a whimsical bent of mind. It has also always had loyalists, those who take pleasure in dissecting the yellowing pages of a text with a variety of theoretical scalpels. Literophile is an effort by the loyalists, returning after a long hiatus.
It was almost half a decade ago, in August of 2005, when two young women decided to chase a daydream, leading to the inception of this beloved journal. Needless to say Amrita Singh and Sumi Saikia, the leading ladies behind this venture, had their fair share of running from pillar to post to make this dream come true. And even with their efforts, the journal wouldn’t have been made possible without the constant support of a dedicated team of students and faculty members from various colleges.


This was the first time in Delhi University that a journal specific to the interests of English Literature enthusiasts came into being. And to add to that, it was one of the few independent initiatives to be run by DU students. It was the first time that innovative literary discourse and debate was given a forum outside the classroom. Literophile gave literature students a medium to express their opinions, or to explore them through well-researched articles. With a new literary theme in each issue, a new line of thought was encouraged to which students always responded positively.


Over the next couple of years, Literophile grew and its presence spread across campuses. Students began to talk about it, teachers recommended it and the team took to promoting it through active distribution, word-of-mouth and print; the journal was also extended beyond DU into the JNU campus. Things were going well for the journal.

Being a student-run publication, funds were usually hard to come by. In spite of this, to keep Literophile affordable, the original team sold the journal at a loss. Unfortunately, due to lack of funds, the journal came to a standstill after the November 2007 issue.


Efforts to revive it had proved futile until a ray of hope appeared in the form of a bright team of students who approached me last year with the intent of reviving this venture. And today, I write to congratulate them for taking the initiative to carry forward this legacy. Having been a part of this journal once, I, amongst others, know how hard it is, to take time out from our schedules and take this forward. I feel great joy and pride for the current team and hope that their hard-work bears fruit.


Now without more ado, I urge you to sit back as this wonderful labour of love takes you on a fantastic flight, replete with literary gems which may well be priceless.


Best Wishes,
Moosa Khan
(Editor; Issue 1; Vol 3)


Pg 2
...again: contexts...


So here we are again. Beginning, struggling, trying to find an entry into the larger discourse which we ourselves hope to strengthen. But it’s not so much a beginning as a rebirth, a renaissance. An old journal in a new avatar. A new Literophile.
It is a pleasure, gentles, to be introducing the first issue of volume four of Literophile. We are a hoping to achieve new horizons, but keeping in mind the best of what was. Reviving Literophile has been quite the uphill task, but we’ve finally managed and here it is, right where it should be: in your hands, attentive, critical reader.


Let’s contextualise a bit. Literophile, as you must have deduced from the previous note, was started long, long ago as a journal for amateur academic research. It had a long and exciting run, passed hands and patrons, came out in the open and then, like so many other exciting and engaging youth ventures, died. What you have before you is quite literally the phoenix from the ashes – and ashes long cold and scattered too, for this comes after the considerable hiatus of three years or so. The team is made up of young, misguided literature-wallahs who have slogged to make this happen, though we don’t have any connection with the old guard.


No connection except one: literature, criticism. One thing to hold them all, one thing to find them, one thing to bring them all and in literary criticism bind them!


If Literophile is here again, it is more or less this desire which guides us. There is in this university no lack of forums for students to express themselves. The past five years have seen a spurt in the number of both affiliated and independent student ventures in the field of literary production, creative writing as it is generally understood. However, if there has been a spurt there, the opportunities for publication of amateur academic writing – which by some strange quirk isn’t regarded creative – have actually diminished.


Opportunities for publication only, for the incentives for research continue to increase. What with independent magazines and newsletters, commercial offshoots of professional media and institutionalised ventures of various departments at various levels, the literary scene at the university level is more vibrant today than, say, a decade ago. Within this overall structure is a niche for amateur research as well, for now that departments have started democraticising and allowing students a voice, there are greater opportunities for discussion and debate on the academic platform. Again, in this university at least, student seminars have become common enough and there is a growing sense of a distinct, if only mimetic, student space for research and criticism.


That space, however, has yet to manifest as the written word. This is where we come in, to hopefully fill in the lacuna for amateur research and criticism in not just the University of Delhi but the wider, exciting literary scene in this country. Indeed, this is precisely what Literophile is being revived as, as a bimonthly, theme based journal for amateur academic research by any student of English Literature, Literature in English, Comparative Literature and Cultural Studies affiliated to any university or institute in India. In reviving Literophile we hope to generate discourse on a range of issues, theories and ideas and so orient the fledging community of English Literature students – a community whose very increase is cause for some worry – to these same.


This we hope to do through subscriptions. What we mean is that like a majority of journals and magazines, Literophile will be made available through subscriptions; however, unlike others, these alone will be our source for expenditure. By thus remaining free of sponsors, institutes or otherwise, we hope to maintain in the overall social context our freedom to be free. Not just this, for being so, having fellow amateurs directly vested in our continuance and consolidation, we hope also to derive some comfort from the presence of like-minded people at hand: as ever, it is still a solace to the wretched to have companions in woe.


In all of this, Literophile will assume a position as neutral and unbiased to the range of opinion submitted to it as can possibly be. As long as actual genocide or hostility is not advocated, we will not discriminate on the basis of the ideological import of the contributions submitted to us by members of the student community at large. Nor, indeed, will we be responsible for the veracity of this research. Debate and dissent have for long been the premise for the much nuanced and complex tradition of criticism and theory and we would not like being committed to only a particular point of view to deny ourselves the opportunity of being part of this.


Pg 3

Editorial


And now it’s time to introduce our theme for this issue: Indian Popular Fiction.


Problematic? Undoubtedly. Much has been said in recent times on the nature of categories, on the ills of categorisation as a whole and on the dangers of being sans categories in these post-everything times. These three words, Indian Popular Fiction, are embedded deep in these scholarly disputes and by themselves reflect some of the major literary concerns of the day. Nationality has effectively been deconstructed and is quite often dismissed; popularity is increasingly the only driver to the cultural dynamics of the day and fiction has come to represent literature in a way that is the appealing to the most. If we are indeed Indian nationals, then what from the host of our literary production is popular and fictitious is a question that merits deep and prolonged consideration.


Much is a matter of perspective. The way many of us in universities and colleges look at it, authors self-confessedly post-colonial are much more worthwhile, followed and, in that sense, popular than those otherwise. Like always, this hierarchising is interesting in itself, for in considering it so we embody it with an otherness that purposely, whether or not sensibly, differentiate between canons of taste and style, canons of popular literary tastes and canons of popular mass tastes. This sort of fetishisation is, of course, good for our own use, but at some level it engenders yet more deeply the divide between popular academic literary studies and popular literary tastes.


Indeed, for why must there still be such a divide?...


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Contents

Of canons and Canons  ...5
Or Some Observations on Canonicity and Post-Colonialism
Anubhav Pradhan examines the meaning of the term “Indian Popular Fiction in English” and draws attention to the lack of critical attention by literary scholars which the genre as a whole suffers from by questioning the elitism of the literary ‘canon.’

Events  ...6

Anything for You, Readers   ...7
An Examination of Indian Campus Novels
Sankalp Khandelwal explores the public demolition of images of happy college life through a critique of the emergent genre of the Indian Campus Novel, noting in the process forces which contribute to the consolidation of the same as one the most publicly visible literary genres in India.


The Secularisation of the Indian Epic    ...9
Anhiti Patnaik examines the production of the Indian epic for mass consumption through the Amar Chitra Katha series of ‘comic books’, showing how it evades strict categorisation because of the way it straddles the traditional binaries of the canonical and the popular.

Popular Culture and its Populist Fiction    ...11
The Myth of Devdas
Ananya Borgohain closely examines two film adaptations of Saratchandra Chatterjee’s Devdas (1917), showing the way the two different takes on the same story reflects change in popular tastes and ideology over the years with regard to the representation and perception of women, sexuality, and love.

Litter       ...12


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Of canons and Canons
Or some Observations on Canonicity and Post-Colonialism



It’s difficult to believe, but these are the facts as they stand and we must embrace them sooner or later: no one reads Indian Popular Fiction in English.


Well, okay, not no one: no, by no one I mean people like us, people in literature and criticism as, well, scholars and critics. When I say no one seems to have read or be inclined towards reading Indian Popular Fiction in English, I mean very, very few people from the many from our literary ilk I have talked to seem to have bothered with this, um, genre.


Yeah well, genre. Indian Popular Fiction in English. Ahmed or not, it has to be a genre, right? I know it’s problematic and nuanced and so on and I know a thousand post-colonial culture-wallahs can spend a thousand years debating what exactly this phrase means so I’m going to spare you that. The genre of Indian Popular Fiction in English merits critical consideration, which has it has not been getting, though hopefully this journal will change that.


Which is why I’m going back on my word and doing a little analysis of the term “Indian Popular Fiction in English” and what kind of literature it implies. Don’tworry, only a little.


First, the term ‘Indian’. This raises numerous questions. What’s ‘Indian’ and what’s not? Is the the modern nation...


Pg 7

Anything for You, Readers
An Examination of Indian Campus Novels



In popular imagination, college campuses are these really rocking hubs of incessant excitement, youthful vigour, perennial action, interesting characters, with a smattering of academics and extra-curricular activities thrown in. While for those who are yet to or who never make it to a college, this imaginative picture persists until personal experience strikes. For those who do get to go to a college, this rosy picture all botched and bungled once the nervous initial weeks come to an abrupt end.


The aforementioned campus picture of endless excitement is produced and directed in popular imagination by various channels of mass media such as television, cinema, newspapers, radio etc. These channels, with rare exceptions, propagate a thrilling image of campus life- an image which is prejudiced, incomplete and incomprehensive. The campus reality for the majority is actually a lot different.


The public demolition of such images should make for great art. In India, since movies, television and newspapers have largely refused to undertake this enterprise, the ever-dependable literature seems to have come to the rescue. This deconstructionist exercise was weakly initiated by Five Point Someone, Chetan Bhagat’s 2004 debut novel that still features on the best-seller popular fiction section of all bookstores.


Since the incredible success of Five Point Someone, a number of writers have trodden in Bhagat's footsteps, such that an entire sub-genre of campus novels has come into existence under the wide gambit of ‘Indian Popular Fiction’. It is pertinent to analyze how this deconstructionist exercise has been ushered in and where it is headed.


The Writers


Almost all Indian campus novels to date have been authored by young 20-something writers, many of whom did not have an “arts background”. Many of these novelists were also first-time novel writers—their campus novel being their debut work.


So, this sub-genre has largely been dominated by amateur reader-turned-writers...

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The Secularisation of the Indian Epic


The Amar Chitra Katha as literature is perhaps a prime example of a complex genre that evades categorization. Is it a graphic novel or comic book, children’s literature, alternative reality or the Indian classical religious epic, biography or historiography? Nevertheless, its contribution to the corpus of Indian Literature is visible and immense, especially at a time in the sixties, when the nation came into being and was in the process of becoming a metropolitan bourgeois identity. The Amar Chitra Katha straddles binary opposites in Indian Literature- the Canonical and the Popular. This is not a new idea in art. Quoting Raja Ravi Verma, “I think we cannot do better than classical subjects to appeal to the popular”. Nandini Chandra’s book The Classic Popular; Amar Chitra Katha 1967-2007 asks two important questions as regards the epic-


1. How are we to read the consolidated image from a mythic structure when it enters a national and secular frame?

2. How is the rational-scientific approach to be reconciled with the religious paradigm as a frame of reference?

To answer these questions, we must explore the beginnings of the Amar Chitra Katha in 1967...

Pg 11

Populist Culture and its Popular Fiction: The myth of Devdas


Popular fiction in India is a recent phenomenon which has been widely disseminated through various agencies of mass communication. Some of the novels belonging to the genre have been vibrant and exuberantly creative and have also marked a crucial shift from the more ‘serious’ types of Indian Literature in English to something more light-hearted. It has been a gradual segregation from the presumably accepted state of being and is moving towards a new, populist ideology.


In India, popular culture began to appear in novels towards the end of the 20th century with the spread of Industrialization and the consequent mobilization of different forms of economy. With the passage of time, the bourgeoisie as well as the working class now have access to differing forms of Literature and Mass media, and these agencies with their ability to reach a mass audience have been making their impact time and again. In this respect, Indian Popular fiction becomes a vital representative figure which addresses the pressing concerns of people in the existing times. As time passes, appropriate changes have been made in the genre of Indian Popular Fiction to fit into the changing tastes of people, as is always the case with popular forms of entertainment.


However, one can still not discard certain literary conventions that continue to preside over the genre. This paper shall take into account the case of the classic novel Devdas by Saratchandra Chatterjee (1917) and explore the divorce between the aesthetic and the populist that its adaptations have constructed to suit the fancies of audiences. In doing so, the objective of the paper would be to examine the emergence of Indian Popular Fiction as a genre in its own right, and to substantiate the same, this paper shall refer to two films in particular, namely, Devdas(1955) by Bimal Roy and DevD (2009) by Anurag Kashyap.


Bimal Roy’s Devdas is undoubtedly included in the most famous tragedies produced in Hindi cinema. Hindi films may not always have happy...

          

Trailers - ‘Rising Phoenix' Trailer: Meet the Badasses Who Compete in the Paralympic Games   

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This year would have seen another round of the Olympic Games unfolding from Tokyo, Japan. But unfortunately, the worldwide sporting event had to be moved to 2021 due to the...

          

The Pat-Down Pen   

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Ever since the advent of the TSA’s 3-D body scanners—aka, the naked scan—I have been tempted to exercise my right to avoid them.  It’s not that I’m especially embarrassed by them; whether because they're just anonymous enough, or because the social context is closer to the swimming pool end of the spectrum than the fine dining end, they don't bother me per se.  And I even get the security rationale, or at least the psychological comfort the appearance of scrutiny can bring.  No, my urge to veto the scan is more like that of an eight-year-old behind a trap set, who can’t resist hitting every snare, cymbal, and tom-tom before returning to the same drum twice.  The option being there, and rights being as useless as muscles unexercised, why not use it? 

Every time I’ve dropped my bag on the conveyor belt and approached the scanner, though, I’ve chickened out.  Chalk it up to herd mentality, my Scandinavian don’t-cause-a-bother gene, or fear masquerading as prudence.  Whatever the reason, some last hitch in my step has held me back—until last weekend.

That Sunday, I had a flight out of Phoenix Sky Harbor back to my home in Washington, DC.  Maybe it was the delightful name of the place (who doesn’t want adventure in a port named Sky Harbor?) that gave me that last oomph of nerve.  All I really know is that when the blond, short-pony-tailed woman in the bright blue uniform called me down the retractable belt line toward the spinning plexi-glass chamber, I stopped short and politely enquired whether I might choose a pat-down instead.

The reaction was amazing.  A new side of the system sprung into action.  Before I even finished the question, the pony-tail had snapped to the left and shunted me down another rope line.  “We’re short staffed,” she warned me as I was sent along my way.  “That’s fine,” I said.  Of course, I had no idea if that was true.

The new path dead-ended into a kind of makeshift holding tank cordoned off from the surrounding bustle by more plexi-glass semi-walls and retractable belts.  I was not alone when I arrived.  A gangly, pock-faced young man in cargo shorts greeted me with a hey-dude grin that revealed a rainbow of rubber bands lashed onto a cargo-load of braces.  I decided I liked him.  In fact, I immediately decided I liked the whole Pat-Down Pen scene.  It reminded me of how I’ve always imagined the smokers’ corners.  Out on the loading docks behind the office buildings in downtown DC, social class and faction dissolve in the shared rebellion of burning tobacco together.  This was similar.  Our reasons for ending up here didn’t even matter.  The point was, we had said “no” together and been cast into the outer darkness.

“Not a fan of the x-ray, huh?” I asked.

“Naw,” he said in an aw-shucks way.  “I’ve been standing here in my bare feet forever it feels like.”

We chatted and I found out he was from Phoenix, but went to med school in Michigan and was on his way to Vegas for a residency interview.  “Where are you going?” he asked me.

“Washington, DC,” I said.

“So…” he let the question draw out.  “Political job or something.”

“Nope, I’m an attorney.”

That extinguished his curiosity in a hurry.  At that moment, our company was joined by a third member, an Indian man in his thirties, wearing a pressed dress shirt and nice socks.  He sidled up to us with a knowing sigh.  “They’re always running behind,” he said.  “You find that if you travel a lot.”  I found myself shaking my head sympathetically, as though I knew.

Fortunately for my new companion, but to the detriment of our fellowship, three men in blue shirts and latex gloves shortly appeared, apparently not running as far behind as promised.  My inspector was a friendly man with a blond goatee.  He asked me to point out my luggage, then hauled it over to yet another separated area where a foot-printed floor mat told me where to stand.  The goateed man explained everything that would happen, running down a list of consent questions, speaking precisely and quickly about “sensitive areas,” and rattling off the head-and-shoulders-knees-and-toes order of proceedings.  I worried I would crack up during this rehearsal, but instead I found myself zoning into the aura of professionalism he exuded, nodding with authority at just the right moments.

Then came the pat-down itself.  I’ll spare you the details.  Except to say that I got ticklish once, and it was very thorough.  Afterwards, the inspector wished me a good flight and I unbit my lip long enough to thank him for his courtesy.  Then I was alone again.

Rethreading my belt, slipping on my shoes and stuffing my quart-sized plastic baggie back into my suitcase, I felt the odd but pleasant sensation that I had achieved something.  What it was, I’m not sure.  Was it the thrill of power, exercising an option unexpectedly, forcing the gears of government to crank in a way promised but rarely used?  If so, the angels must surely have been laughing.  Getting cavity searched by an agent of the state has rarely—in any age of history—been thought of as a victory.  And yet, there it was, the unmistakable scent of winning.  I slipped back into the anonymous school of humanity flowing through concourses, hallways, food court lines, blobs at the gates, jet bridges and aisles into the sky, leaping into a hundred, a thousand different directions from the Harbor to every part of the world.  Somehow, in the midst of all this, I felt a bit more.

          

Episode 27   

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01. Emma Hewitt – Colours (Jerome Isma-Ae remix) [Armind] 02. ToneArts – Diamonds for Hearts (Original mix) [Echelon] 03. Ostrega – First Scream (Mike Foyle remix) [Coldharbour] 04. Armin van Buuren – Blue Fear (Orjan Nilsen remix) [Armada] 05. Erick Strong – Destination (Original mix) [Reset] 06. Ashley Wallbridge – Meta4 (Club mix) [AVA] 07. Norin & Rad – Bloom (Original mix) [Anjunabeats] 08. The Killers – Mr. Brightside (Marco V Treatment) [CDR] 09. Markus Schulz – Digital Madness (Original mix) [Coldharbour] 10. Boom Jinx feat. Justine Suissa – Phoenix from the Flames (Club mix) [Anjunabeats] 11. Dakota – Tears (Protoculture remix) [Armada] 12. Chilledhead – Wind Spell (Original mix) [Toneplay]

          

Arizona has Salt!   

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Author: 
Rauzi, S.L.
Description: 
Arizona has several deposits of subsurface salt (sodium chloride) that are thicker than the Grand Canyon is deep (Peirce, 1981a). These deposits are some of the thickest in the world (Peirce, 1989; Faulds and others, 1995, 1998). Salt in Arizona is solution mined for industrial purposes near Phoenix and used to store liquefied petroleum gas (LPG) near Phoenix and Holbrook. Salt deposits near Phoenix and Kingman are being considered for the storage of natural gas. Several other basins have potential for the discovery and development of significant salt deposits.
Publication Date: 
2002-07-01
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
United States
Phone: 
5207703500
Fax: 
5207703505
Available Files: 
Resource Information
Resource ID: 
C-30
Access Statement: 
Rauzi, S.L., 2002, Arizona has Salt!. Arizona Geological Survey, Circulars (C)-30, 42 p.
Constraints Statement: 
Arizona Geological Survey all rights reserved.
Preview Image
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
USA
Phone: 
5207703500
Fax: 
5207703505
Geographic Extent
North bounding latitude: 
36.9794
South bounding latitude: 
31.3851
West bounding longitude: 
-114.697
East bounding longitude: 
-108.94
Unique Metadata ID
Metadata ID: 
02d28601-7b4c-11e0-905b-d1ee394edb61

          

Pinite in Nevada, and why it might be of interest   

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Author: 
Crouse, D.L.
Author: 
Embree, P.
Description: 
Pinite is a compact, fine-grained, usually amorphous mica as defined by the AGI glossary. It is also a term that has been used to identify metamorphic rock that is the result of the retrograde decomposition of cordierite-altered volcanic rocks, resulting in an impure micaceous rock that may contain pyrophyllite. Various definitions of the term and limited occurrences of this material make it somewhat of an unknown in the field. An occurrence of pinite near Lovelock, Nevada, that was once exploited for refractory brick manufacturing during World War II, was recently evaluated for commercial applications that are typically sourced from chlorite or talc mineral products. The pinite at this location has a brightness in the mid-80s, consistent mineralogy, very low quartz content, a platy morphology and works well in coatings formulations. The development of this resource could provide product that might possibly replace other platy mineral products in coatings product formulations.
Publication Date: 
2014-06-16
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Imerys Performance Minerals
Person Name: 
Crouse, D.L.
Country: 
USA
Resource Information
Resource ID: 
Arizona Geological Survey Special Paper 9 - Proceedings of the 48th Annual Forum on the Geology of Industrial Minerals, Phoenix, Arizona - Chapter 5
Access Statement: 
Crouse, D.L, and Embree, P., 2014, Pinite in Nevada, and why it might be of interest, in, Conway, F.M., ed., Proceedings of the 48th Annual Forum on the Geology of Industrial Minerals, Phoenix, Arizona, April 30 - May 4, 2012. Arizona Geological Survey Special Paper #9, Chapter 5, p. 1-8.
Constraints Statement: 
Arizona Geological Survey all rights reserved.
Preview Image
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress
City: 
Tucson
State/Province: 
Arizona
Postal Code: 
85701
Country: 
U.S.A.
Phone: 
520.770.3500
Fax: 
520.770.3505
Geographic Extent
North bounding latitude: 
40.5783
South bounding latitude: 
40.1409
West bounding longitude: 
-118.507
East bounding longitude: 
-118.004
Unique Metadata ID
Metadata ID: 
4717c8b6-fadb-11e3-a76f-00155d018b59

          

Geologic Map of the Flatiron Mountain 7.5' Quadrangle, Maricopa County, Arizona, v. 1.0   

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Author: 
Ferguson, Charles A.
Author: 
House, Kyle P.
Description: 
Abstract: The Flatiron Mountain 7.5' Quadrangle is located approximately 70 km (40 miles) west of downtown Phoenix, and is just north of Interstate Highway 10. The map area includes the southeastern part of the Belmont Mountains and many isolated bedrock hills south and southeast of the Belmont Mountains. Most of the quadrangle, however, is underlain by Quaternary surficial deposits. Jackrabbit and Coyote washes, heading in the proximal piedmonts of the Big Horn Mountain northwest of the study area, are the major drainages. Jackrabbit Wash is incised up to four meters into older Pleistocene deposits. Coyote Wash flows around the Belmont Mountains and diverges into multiple channels to the south. The channels and floodplains of Coyote Wash are less incised than Jackrabbit Wash. Smaller tributary washes on adjacent older Pleistocene deposits generally are not incised more than two meters. Older Hassayampa River deposits are found along the eastern side of the quadrangle.
Publication Date: 
2006-01-01
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
Arizona
Postal Code: 
85701
Country: 
USA
Phone: 
(520) 770-3500
Fax: 
520.770.3505
Resource Information
Resource ID: 
DGM-46
Access Statement: 
Ferguson, Charles A., and House, Kyle P., 2006, Geologic Map of the Flatiron Mountain 7.5' Quadrangle, Maricopa County, Arizona: Arizona Geological Survey Digital Geologic Map DGM-46, version 1.0, map scale 1:24,000.
Constraints Statement: 
Arizona Geological Survey all rights reserved.
Preview Image
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St.,Suite 100
City: 
Tucson
State/Province: 
Arizona
Postal Code: 
85701
Country: 
USA
Phone: 
(520) 770-3500
Fax: 
520.770.3505
Geographic Extent
North bounding latitude: 
33.625
South bounding latitude: 
33.5
West bounding longitude: 
-112.875
East bounding longitude: 
-112.75
Unique Metadata ID
Metadata ID: 
ab2168bf-9903-11df-ae28-4a34282d677f

          

Preliminary geothermal assessment of the Harquahala-Tonopah Area   

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Author: 
Jones, N.O.
Author: 
Campbell, A.
Description: 
The Harquahala Plain and the Tonopah Desert are two distinct physiographic features which comprise the Harquahala - Tonopah study area in Yuma and Maricopa Counties, Arizona (Figure I-I). Interstate highway 10 crosses the area to connect Phoenix with the major cities in California. Numerous paved and good quality dirt roads provide access to the farming activity in both portions of the study area. A collection of published and unpublished geologic and hydrologic data from the Harquahala-Tonopah area was undertaken as a first step in assessing geothermal potential. Additional field work provided data to augment that which was already obtained. Compilation of all temperature and water chemistry information documents numerous areas where temperatures in excess of 40 degrees C have or should be found. Energy-producing temperatures may be available at depths of 3,000 meters or less if many of the observed thermal gradients persist at depth. (43 pages)
Publication Date: 
1979-09-01
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite #100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701-1381
Country: 
USA
Phone: 
520-770-3500
Resource Information
Resource ID: 
OFR-79-14
Access Statement: 
Jones, N.O., Campbell, A., 1979, Preliminary geothermal assessment of the Harquahala-Tonopah Area. Arizona Geological Survey Open File Report, OFR-79-14, 43 p.
Constraints Statement: 
Arizona Geological Survey all rights reserved.
Quality Statement: 
missing accompanying sheets
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite #100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701-1381
Country: 
USA
Phone: 
520-770-3500
Geographic Extent
North bounding latitude: 
33.7609
South bounding latitude: 
32.9349
West bounding longitude: 
-114.082
East bounding longitude: 
-112.599
Unique Metadata ID
Metadata ID: 
05215518-a570-11df-8f9b-cea7d94ae6a1

          

Geologic Map of Quaternary and Upper Tertiary Alluvium in the Phoenix North 30' x 60' Quadrangle, Arizona. Scale 1:100,000   

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Author: 
Demsey, K.A.
Description: 
The Phoenix North 30' x 60' quadrangle covers an area in south-central Arizona that straddles the boundary between the Sonoran Desert and Mexican Highland sections of the Basin and Range Province. Map scale 1:100,000.
Publication Date: 
1988-01-01
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
USA
Phone: 
520-770-3500
Fax: 
520-770-3505
Resource Information
Resource ID: 
OFR-88-17
Access Statement: 
Demsey, K.A., 1988, Geologic Map of Quaternary and Upper Tertiary Alluvium in the Phoenix North 30' x 60' Quadrangle, Arizona. Scale 1:100,000. Arizona Geological Survey Open File Report, OFR-88-17, 1 map sheet, map scale 1:100,000.
Constraints Statement: 
Arizona Geological Survey all rights reserved.
Preview Image
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
USA
Phone: 
520-770-3500
Fax: 
520-770-3505
Geographic Extent
North bounding latitude: 
34
South bounding latitude: 
33.5
West bounding longitude: 
-113
East bounding longitude: 
-112
Unique Metadata ID
Metadata ID: 
612d885b-11d7-11e0-81a7-a16102e577a5

          

Geologic Map of the Phoenix North 30' x 60' Quadrangle, Central Arizona   

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Author: 
Reynolds, S. J.
Author: 
Grubensky, M.J.
Description: 
Geologic Map of the Phoenix North 30' x 60' Quadrangle, Central Arizona, Scale 1:100,000
Publication Date: 
1993-01-02
Resource Language: 
English
Intellectual Originator Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St.,Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
USA
Phone: 
520-770-3500
Fax: 
520-770-3505
Resource Information
Resource ID: 
OFR-93-17
Access Statement: 
Reynolds, S. J., Grubensky, M.J., 1993, Geologic Map of the Phoenix North 30' x 60' Quadrangle, Central Arizona. Arizona Geological Survey Open File Report, OFR-93-17, Map Scale 1:100,000.
Preview Image
Resource Distribution Contact
Organization Name: 
Arizona Geological Survey
Street Address: 
416 W. Congress St., Suite 100
City: 
Tucson
State/Province: 
AZ
Postal Code: 
85701
Country: 
USA
Phone: 
520-770-3500
Fax: 
520-770-3505
Geographic Extent
North bounding latitude: 
34
South bounding latitude: 
33.5
West bounding longitude: 
-113
East bounding longitude: 
-112
Unique Metadata ID
Metadata ID: 
d7cd9616-1365-11e0-81a7-a16102e577a5

          

Diamondbacks remain positive after thrashing from Dodgers   

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The Diamondbacks have not been winning baseball games. But that did not stop them from trying to speak it into existence during a session with reporters on Saturday night.
       

          

Diamondbacks' offensive woes continue, drop home series to Dodgers   

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Clayton Kershaw threw 5 2/3 sharp innings in his season debut, NL MVP Cody Bellinger hit his first home run of the season and the Los Angeles Dodgers beat the Arizona Diamondbacks 3-0 on Sunday.
       

          

MLB power rankings: Arizona Diamondbacks slammed for 'terrible' start to 2020 MLB season   

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The Arizona Diamondbacks are not off to a good start to the shortened 2020 MLB season. MLB writers have noticed.
       

          

Day off didn't help: 'Grinding' Diamondbacks drop opener to Astros   

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It was an all-too familiar scenario for the Diamondbacks, who fell behind early to the Astros en route to an 8-2 loss.
       

          

Kole Calhoun's inside-the-park HR sparks offensive explosion for Diamondbacks vs. Astros   

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The Diamondbacks are hoping a lucky bounce on Wednesday night can help turn their season around.
       

          

Astros pitcher Lance McCullers upset about Chase Field roof opening mid-game   

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Astros right-hander Lance McCullers Jr. had some choice words about the Diamondbacks' decision to open the roof after the third inning on Wednesday.
       

          

Arizona Diamondbacks' Archie Bradley: Obscene gesture wasn't aimed at Houston Astros   

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Cameras caught Diamondbacks closer Archie Bradley with his middle finger in the air during Wednesday night's win over the Houston Astros.
       

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