The workspace allows a lot of flexibility in choosing replacement pixels. The new Content Aware Fill workspace was designed for a higher level of control. But the Patch tool allows you to select replacement pixels. In more complex images, Photoshop might struggle and create odd effects in your image. Photoshop does a good job replacing pixels when colors and textures are consistent. In my article on smoothing skin in Photoshop, I focused on this tool for removing blemishes in a portrait.Ĭontent Aware Fill in Photoshop is useful when removing objects from a scene. The Spot Healing Brush works well to remove spots or small objects. The difficulty is learning which tool will work on the photo you have. There are a lot of Photoshop tools and techniques to move or remove objects. This is the quickest method by far that can get rid of objects in seconds! When to Use Content Aware Fill It allows the highest degrees of control.Īnd finally, I will show you how to use it with the Object Selection tool. Then we’ll move to the Content Aware Move tool.Īfter that, I will show you the Content Aware Fill workspace. If you haven’t upgraded to the latest Photoshop, now’s the time to do it!įirst, I’ll show you the Content Aware Fill option within the Patch tool. Some of the tools I will show you are only available in the newest versions of Photoshop. And with every version of Photoshop, these tools become more powerful. Photoshop selects pixels around the object that might work in the space.Īn advanced algorithm powers Content Aware Fill in Photoshop. With Content Aware Fill, I tell Photoshop what I want to be moved or removed, and the software does the rest. Photoshop has many tools to move or remove unwanted objects from a photo. Buy from Unavailable What Is Content Aware Fill?
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Notice that the “student” wrote down things she noticed AND explained why she though those things were meaningful.Īnother set of “good” annotations, this one from a poem we worked on together. If you do better with examples, here are two. Point out the red flags with no explanation….Use “English teacher speak” with no meaning.Inserted at random so it “looks finished”.Describe what the red flags are there for.Show me the connections and evidence you’re using.Now that you’ve had a little practice annotating stories, poems, and songs, I want to take a step back and talk about what makes an annotation GOOD. The more creative you get with annotation, the more engaged your students will be.A quick reminder that our day’s schedule is in the previous post. If you don’t have a digital reading platform, you can also teach how to annotate a basic PDF text using simple annotation tools like highlights or comments. These include highlighters, text comments, sticky notes, mark up tools for underlining, circling, or drawing boxes, and many more. Most digital reading platforms include a number of tools that make annotation easy. Teach Your Students How to Annotate a PDF They can also write an opinion on a particular section, so there’s no right or wrong answer. Ask them to circle a word they don’t know, look up that word in the dictionary, and write the definition in a comment. Keep It SimpleĮspecially for younger or struggling readers, help your students develop self-confidence by keeping things simple. You can modify your rubric as goals and students’ needs change over time. This provides guidance for your students and makes grading easier for you. When you know what your annotation goals are for your students, it can be useful to develop a simple rubric that defines what high-quality and thoughtful annotation looks like. You might have them explain how headings and subheads connect with the text, or have them identify facts that add to their understanding. When first teaching students about annotation, you can help shape their critical analysis and active reading strategies by giving them specific things to look for while reading, like a checklist or annotation worksheet for a text. This type of modeling and interaction helps students understand the thought process that critical reading requires.ģ. Show students how you might underline key words or sentences and write comments or questions, and explain what you’re thinking as you go through the reading and annotation process.Īnnotation Activity: Project a short, simple text and let students come up and write their own comments and discuss what they’ve written and why. Display a sample text and think out loud as you make notes. One of the most effective ways to teach annotation is to show students your own thought process when annotating a text.
With the Killer Ultra Mutation, this method will also spawn lots of saplings at once. Using vines on enemies capable of spawning more enemies (Big Green Rats, Giant Maggots, Maggot Nests) will trap them as they spawn, making killing these enemy types incredibly easy. The vines can block narrow corridors, stopping enemies from getting too close to you, which is helpful in the Sewers and Lbs, as most enemies in these areas are fast melee enemies. These special features make Plant a pretty good sniper, and with Throne Butt, it kills enemies and Bosses even faster. Holding down the button that activates its special causes the camera to focus on the vines, giving the player extra vision of what's going on ahead. Gameplay Plant's extra speed makes it good at keeping its distance from enemies. Blood explosions don't destroy walls and do no damage to the player. Each Sapling has 10 HP and can explode upon taking 10 or more damage.Įach blood explosion deals 4-12 damage and destroys any projectiles in the blast radius. Ultra Mutations Įach enemy killed while snared will spawn deadly Saplings, which fly around and will home in towards other enemies, dealing 5 impact damage and afterwards causing 3 closely packed Blood Explosions. For example, if an enemy's health was reduced from 100 to 80 by Scarier Face, the enemy will die on 26HP which is 33% of 80HP. If you also have the Scarier Face mutation, Plant's ability will kill enemies basing on their reduced max health. Throne Butt Plant's Throne Butt makes its vines kill anything under 33% health. Vines also provide light in dark areas and stop fire from Fire Traps. If you hold down the button while using this ability, the camera focuses on the vines, allowing you to see further ahead. Only one vine can be active at a time, for the vines disappear as soon as you shoot another seed. The snare must connect with a wall, a prop, or an enemy before you can use it again. The vines are less effective on bigger enemies. This doesn't prevent enemies from shooting. Special Plant can shoot a seed that rapidly grows vines that significantly slow down enemy movement almost seeming like they are still. Features Plant has higher movement speed. “Perhaps some people are like, ‘Oh, my God, they are combining nakedness and kids,’ ” said Schow, 29. “Ultra Strips Down” host Jannik Schow, who also helped develop it, told the Times its overarching aim is educational. But critics slammed the film for its perceived sexualization of little girls, specifically its portrayal of a group of 11-year-old dancers who wear skimpy outfits. The movie follows a Senegalese immigrant in Paris who adapts to French culture, and by doing so rebels against her family’s traditional values. This debate over appropriateness with minors comes in the wake of the controversy surrounding the French film “Cuties,” which debuted on Netflix in early September. To the latter, the channel responded, “What a comment … It’s educational TV for kids and families who can have healthy talk about what bodies look like.” “F–k this is disgusting!” wrote one woman, according to a translation, while another said, “Would you please remove that s–t? … you’re out in deep water.” While a number of commenters voiced their support, others stood in clear opposition to the series’ central concept: exposing children to naked adult bodies. Viewers have vented their frustrations beneath a clip of the show posted on DR Ultra’s Facebook page. He told a Danish tabloid that kids “already have many thing running around in their heads.” “But the relationship with myself has changed over time,” he added.ĭespite the show’s popularity in Denmark - a nation where nudity isn’t as taboo or sensitive as it can be in other parts of the world - it has still attracted criticism.Ī leading member of the right-wing Danish People’s Party, Peter Skaarup, reportedly claimed the show “is far too early for children” and is even “depraving” them. Another man, also named Martin, said he worried about the size of his privates when he was younger. One of the adults, named Martin, responded he’d never had negative thoughts about them. “At what age did you grow hair on the lower part of your body?” one kid asked, per the Times, while another queried, “Do you consider removing your tattoos?” A third participant went deeper: “Are you pleased with your private parts?” The series’ creators want to challenge the idea that there are perfect body types. One politician even said it is “depraving our children.”Ī recent episode, which focused on skin and hair, placed students from Copenhagen’s Orestad School in the company of five buck-naked adults. The series allows its young participants, ages 11 to 13, to ask the grown-up volunteers whatever questions are on their minds in order to promote body positivity and combat body-shaming, according to the New York Times.ĭespite Denmark’s relatively permissive attitude towards nudity and its well-intentioned mission, the show, now in its second season on a channel called DR Ultra, has sparked backlash. In Denmark, an award-winning television program called “Ultra Strips Down,” puts nude adults in front of school-age children. On one TV show, the truth is actually naked. Nude man with 'naked' license plate pumping gas stuns onlookers We warm our testicles and butts in the sun - our erotic male bonding isn't 'gay' Here are the average penis sizes among countries - and the US faces stiff competitionĬharlie Puth claims he wrote a song during sex: 'I should have focused' “Since people are sitting around and waiting a lot, it adds quite a bit of pleasant ambiance to a space.”Įrickson said it took eight days to complete the mural, not including two days it took to design the winning image. “More and more Laundromats are starting to do murals,” Erickson said. The winning artist, Rik Erickson, used to live near the Laundromat and said he still feels a part of the University Heights community. The family said they wanted an “artsy” feel for the inside, so they decided to interview local muralists. There is a total of 43 new washing machines and 36 newly refurbished dryers.Īnother unique addition is the large mural painted inside the building. The building has also been retrofitted for earthquake protection and the Zuckers bought all green-friendly washing machines and dryers. The floor, walls, roof and parking lot were refurbished and the ceiling was replaced. Laundry often get compliments on cleanliness and the environment the family created, with 12-foot high ceilings, natural lighting, a breezy main room and bi-lingual attendants. The family purchased the business in 2010, remodeled the location and, after six months of construction, the Laundromat is fully operational.Įmployees of Park Blvd. The building, constructed in 1925, originally housed a Laundromat that was temporarily closed, and reopened in August 2011. The Park Boulevard location is the fourth site owned by the Zucker family, and is the second oldest Laundromat in San Diego. One year later the family purchased a second Laundromat, followed by a third two years after that. They were primarily looking for a good location, she said, and after six months of looking, they found it. “We used to work normal nine-to-five type jobs but wanted more time to raise our three children a relative had a Laundromat which offered more work flexibility and similar income,” said Lee Zucker, one of the owners.Īfter working in the relative’s Laundromat, Lee and her husband Eric set out to buy their own. was accustomed to a regular schedule until the prospect of owning their own business and working with family lured them into more offbeat hours. Now, some of you guys may choose block formatting. The important thing to remember if you choose point by point is that you're going to want to make sure you do analysis within each category so once you talk about crust, you're going to have to come to a conclusion about crust, once you talk about sauce, come to that conclusion that all goes back to your thesis. And then you move on to the next category and so on and so forth until you've talked about all your categories and given all your examples. So you might talk about crust here, and in this paragraph or set of paragraphs you're going to talk about the crust at Giodonalds and you're going to talk about the crust at Monical's. So you're going to have multiple sections of your paper one for each of the categories that you have and in each section you're going to use examples from both topics. And essentially what that means is it's going to be guided by those categories that you created. And let's take a look at the two different ways that you can organize a compare/contrast essay. Whatever it is you've got to come to that conclusion so you can insert it in your thesis and then after that you've got to think about how you're going to organize your essay. So maybe Giodonalds is a better place to entertain people or to take people from out of town because you can get thin crust pizza anywhere. So you've got to come to some sort of conclusion, it's not just about saying how things are similar or how they are different but why is that important. And this is really the critical part in compare/contrast because it's really easy to say, "Well, Monical's pizza has thin crust and Giodonalds pizza has thick crust, but you want to make sure that you're answering the 'so what?' question. So it depends on how you like to look at things, I tend to be a little bit more organized so I like the chart the best but after I've got all these ideas down here, now I want to develop a thesis. So crust, sauce and then I divide it down the middle and I seal those in. I'm also a chart person so I don't mind chart especially if I've got a lot of categories and my chart might look something like this and I will have a row for each particular category. My two favorite modes of pre-writing for compare/contrast is a Venn diagram and you may remember that from math class, the two circles that run together, you can put topic one here, topic two here and then how they're different in here and how they're similar in the middle, so that's one. So you can start thinking about what those categories should be. For instance, if we are comparing pizzas, we might say crust is one category that we're going to look at, sauce might be another and the variety of toppings might be another. So obviously if we're talking about how things are similar and different, we are going to start categorizing the ways that they are similar or different. And then the next step is to pre-write and develop categories. So that is selecting which two things I'm going to use in my essay and then understanding am I being asked to compare, contrast or do both of those. Here are the steps that I tend to go through when I'm working compare/contrast the first thing that I do is select my topics and make sure I understand the task. So you've got to really be aware of your prompt there. So just be aware, when you're doing compare/contrast, sometimes you may be asked to compare or contrast, sometimes you may be asked to do both. If you're asked to contrast two things, then you're being asked to tell people how they are different. When you're given an essay, if you're asked just to compare, all they want to know is the similarities, so compare means how they're the same. So a couple of vocabulary things to straighten out first. Now, I find these to be some of the most difficult types of essays to write because it's hard to know where you're going and exactly how you're going to tell the similarities and differences between two things. Let's talk about compare/contrast essays. Clocking in at 2:21, “Everybody I Love You” charges ahead to its climax, but with such rich-sounding harmonies, we don’t need much of a build-up.Įngineer Bill Halverson deserves credit for capturing such vibrant sound on the original recording. And let’s not forget CSNY’s angelic harmonies, which is where, in Déjà Vu’s sonic tapestry, Graham Nash makes his main contribution. Confirming his reputation as a jack of all trades, Stephen Stills plays the supple bass lines on “Carry On.” On the title track, Stills’ bass solo is more than just notes on a song that continues to find new thresholds, it once again takes the music to another level. Drummer Dallas Taylor pounds the skins hard on Déjà Vu, creating a deep, earthy sound that is underscored by bassist Greg Reeves, who on “Almost Cut My Hair,” “Woodstock,” and “Everybody I Love You” adds a slightly funky feel that blends perfectly with Taylor’s soulful drumming. On the electric material, Neil Young clearly brought more of an edge to what was previously an acoustic-oriented band, and credit should also be given to the rhythm section. On “Almost Cut My Hair,” “Woodstock,” and “Everybody I Love You,” it’s almost like Stills and Young are trying to out-nasty the other with their grungy guitar jabs. Listening to the instrumental section that opens “Carry On” when the album begins, I’m still struck by how the acoustic guitars ring out over the other instruments other acoustic highlights include the title track and “4+20.” Meanwhile, the electric guitars of Neil Young and Stephen Stills are the polar opposite of the acoustic work. If you like 6- and 12-string acoustic guitars playing rich, full-sounding chords in alternate tunings, Déjà Vu has those things in spades. Musically Déjà Vu had so many strengths it would have been hard to make a bad album. So there was the hippie dream and the real world, all in one album. Unlike his father in “4+20,” Stephen Stills didn’t have to sell door to door, nor did David Crosby have to cut his hair (code words for “selling out”), but for listeners who weren’t rock stars these were becoming real-life issues. For listeners raised on a steady diet of adolescent angst, this adulting business was a change of pace, and here CSNY may have been a little ahead of the zeitgeist, as most of the 60s generation was just getting around to thinking about things like raising families and joining the working world. Graham Nash’s “Our House” celebrates a newfound domesticity, and his “Teach Your Children” looks at parents, children, and the generation gap. Neil Young’s “Country Girl” describes a young woman who, while watching the summer pass, is “too young to leave”-in other words, she’s as trapped as the family Young describes in “Helpless.” In a song about his father, “4+20,” Stephen Stills sings, “He was tired of being poor/But he wasn’t into selling door to door”-and wonders if, although he’s rich and famous, he faces “a different kind of poverty.” Déjà Vu isn’t all big picture bright-eyed optimism, however in fact, much of it has an introspective and personal quality. The LP was bookended by songs that were as gushy and catchy as early Beatles singles, with lyrics like “Love is coming to us all” and “Everybody I love you” inspiring vocal harmonies that burst out of the speakers, and “Woodstock” shared the same collective euphoria. So why the fuss now, and why did Déjà Vu resonate with so many listeners initially? Partly because it captured the spirit of the times. Heck, even the shipping box looks stylish. The set also includes a 12″x12″ booklet with liner notes by Cameron Crowe and frame-worthy photographs in an envelope. I don’t know that I’ve ever seen packaging that did a better job of complementing an original release than this box set, which, along with an exact replica of the original gatefold cover, contains three variations on that cover. Or, if you want to go all in, purchase the 5-LP deluxe edition, which I’ve spent some quality time with lately. Purchase any version of the release at or and you’ll receive a high-res download version as well. Also, offers high-resolution downloads and streaming. Options include a 4-CD/1-LP box set, digital downloads, and streaming services. Rhino has, on the 50th anniversary of the album’s release, released the biggest and most expansive Déjà Vu retrospective to date, adding 18 demos, 11 outtakes, and 9 alternate takes (most of which are previously unreleased) to the original album. Yet Déjà Vu had not been remastered in decades and quality vinyl pressings were unavailable-until now. It quickly shot up to the top of the charts, and it has now sold over eight million copies. A different situation awaited Crosby, Stills, Nash & Young when Déjà Vu dropped on March 11, 1970. It’s not like Layla or Exile on Main Street were ignored at first, but time passed before they got our full attention. |
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