text:
Q: Input and fonts are mutually exclusive on EGLFS QPA I build Qt-5.9.2 on Ubuntu 16.04.3 LTS with EGLFS QPA enabled.
I switch to terminal on Ctrl+Alt+F1 screen. Then I run my Qt application app (Qt Quick based, if matters):
# to debug input
export QT_LOGGING_RULES=qt.qpa.input=true
# to be able to close by Ctrl+C my application
export QT_QPA_ENABLE_TERMINAL_KEYBOARD=1
~/app -platform eglfs

So far so good: it starts normally and all looks fine. But touchscreen and mouse input are not handled by Qt. Debug output:
debug: libinput: opening input device '/dev/input/event1' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event1'.
debug: libinput: opening input device '/dev/input/event2' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event2'.
debug: libinput: opening input device '/dev/input/event0' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event0'.
debug: libinput: opening input device '/dev/input/event8' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event8'.
debug: libinput: opening input device '/dev/input/event3' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event3'.
debug: libinput: opening input device '/dev/input/event4' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event4'.
debug: libinput: opening input device '/dev/input/event7' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event7'.
debug: libinput: opening input device '/dev/input/event5' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event5'.
debug: libinput: opening input device '/dev/input/event6' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event6'.
debug: libinput: opening input device '/dev/input/event9' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event9'.
debug: libinput: opening input device '/dev/input/event10' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event10'.
debug: libinput: opening input device '/dev/input/event11' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event11'.
debug: libinput: opening input device '/dev/input/event12' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event12'.
debug: libinput: opening input device '/dev/input/event13' failed (Operation not permitted).
debug: libinput: failed to create input device '/dev/input/event13'.
debug: Using xkbcommon for key mapping

Then I press Ctrl+C.
The next step is to check file permissions for device files:
$ ll /dev/input/event*
crw-rw---- 1 root input 13, 64 ноя  8 17:53 /dev/input/event0
crw-rw---- 1 root input 13, 65 ноя  8 17:53 /dev/input/event1
crw-rw---- 1 root input 13, 74 ноя  8 17:53 /dev/input/event10
crw-rw---- 1 root input 13, 75 ноя  8 17:53 /dev/input/event11
crw-rw---- 1 root input 13, 76 ноя  8 17:53 /dev/input/event12
crw-rw---- 1 root input 13, 77 ноя  8 17:53 /dev/input/event13
crw-rw---- 1 root input 13, 66 ноя  8 17:53 /dev/input/event2
crw-rw---- 1 root input 13, 67 ноя  8 17:53 /dev/input/event3
crw-rw---- 1 root input 13, 68 ноя  8 18:38 /dev/input/event4
crw-rw---- 1 root input 13, 69 ноя  8 17:53 /dev/input/event5
crw-rw---- 1 root input 13, 70 ноя  8 17:53 /dev/input/event6
crw-rw---- 1 root input 13, 71 ноя  8 18:38 /dev/input/event7
crw-rw---- 1 root input 13, 72 ноя  8 17:53 /dev/input/event8
crw-rw---- 1 root input 13, 73 ноя  8 17:53 /dev/input/event9

Okay. I decided to add current user to group input:
sudo usermod -a -G input $USER

Then I relogin on Ctrl+Alt+F1 screen. Now output of groups command contains input group.
I try again to run my application:
~/app -platform eglfs

Now it correctly react on mouse and touchscreen input events, but fonts are not rendered - there are even no correctly sized rectangles as placeholders instead of corresponding letters.
I remove the user from group input:
sudo deluser $USER input

Then (after relogin) I try to just change file permissions for input devices:
sudo chmod o=g /dev/input/event*

Effect is the same. Rollback:
sudo chmod o= /dev/input/event*

What is the cause of such a behaviour?
Why can't I use both libinput and fonts simultaneously?
The workaround is to run the application with root privileges, but it may lead to critical security vulnerability.
Are there specific settings for libinput to solve the problem?
Providing ad-hoc fonts also has no effect:
wget https://github.com/dejavu-fonts/dejavu-fonts/releases/download/version_2_37/dejavu-fonts-ttf-2.37.tar.bz2
sudo mkdir -p /usr/local/Qt-5.9.2/lib/fonts
sudo tar --extract --verbose --strip-components=2 -C /usr/local/Qt-5.9.2/lib/fonts --file dejavu-fonts-ttf-2.37.tar.bz2 dejavu-fonts-ttf-2.37/ttf/
export QT_QPA_FONTDIR=/usr/local/Qt-5.9.2/lib/fonts

A: Submitted as a bug. Solved by adding to input group and by removing QGuiApplication::setAttribute(Qt::AA_EnableHighDpiScaling); flag.


Mix up your genres in an Enter Shikari t-shirt!
Enter Shikari are a British group who need to be heard to be believed and if you can go see this band play live! It is not easy to describe their style as Enter Shikari have created a sound that is their own and combines a mix of metal and electronic styles.
A Flash Flood of Colour is the latest album, released in 2012, by the band and their profile is growing as their live shows gain in popularity across the festival circuit - they have won the Kerrang! Best Live Band award twice so far (2007 and 2012).
If you are heading to show and want to pick up some 100% official Enter Shikari merch then you are in the right place. We sell Enter Shikari t-shirts and our available t shirts include the "Lion Ring" design.


Just got a copy of the official "Breaking Brooklyn" film poster. "Breaking Brooklyn" is the feature film that I wrote with my old neighbor from Bed-Stuy, director / choreographer Paul Becker. The movie stars Academy Award winner Louis Gossett Jr, among others. No word on the release date yet.
We are happy to announce that "Red V. Blue" is available on several new digital platforms as of the 28th of April. The first movie to document the UofL-UK college basketball rivalry is now on iTunes and Xbox as well as Vudu. "Red V. Blue" is also scheduled to be available via Playstation but Sony is lagging for some reason. Thanks again to everyone who has supported the movie along the way; you rock!


text:
Facebook reveals more on its AI program that detects hate speech and misinformation
Intel announces NUC M15 Whitebook laptop to help OEMs build premium laptops sans R&D
Published on 20 November 2020, 12:58 Asia/Kolkata
Maaz Ahmed
Facebook published a series of posts on Thursday, detailing, among other things, the platform's progress in identifying hate speech and misinformation with the advances in its AI technology. All these posts appear to be supplements to Facebook's Community Standards Enforcement Report, November 2020.
Facebook publishes Community Standards Enforcement Report every quarter, detailing the statistics, progress and its actions regarding the platform's community standards and community guidelines violations. The report also includes data on Instagram; and since Instagram is also owned by Facebook, the guidelines and policies apply to both platforms.
For the first time, the social media giant has included the data for prevalence of hate speech on Facebook globally in its report. According to Facebook, the hate speech prevalence in Q3 2020 was 0.10% – 0.11%, which would be about 1 view for every 1000 views of Facebook content. But the company says that they have made some "real" progress in how they detect hate speech with the help of their AI technology.
To enforce standards and guidelines, the first step would be to detect violations. Facebook's approach to this is twofold: AI and user reports. Users can manually report a post which they think violates Facebook's or Instagram's rules. AI scans both new posts and reported posts, and removes or flags content automatically. Depending on the complexity of the task at hand, the content can also be sent to human moderators whom Facebook employs through third party contractors all over the globe.
User reports and human moderators can only do so much on a platform which has over 2.7 billion active monthly users, so the AI has to do most of the work to provide enforcement at scale. According to Facebook's quarterly report, its AI technology now proactively detects 94.7 percent of hate speech that is removed by Facebook, which is up from 80.5 percent a year ago and up from just 24 percent in 2017.
The numbers are indeed impressive, especially when you consider how tricky determining what hate speech actually is, but it also raises concerns of false-positives. Sometimes, more difficult than detecting hate speech, it is to define it. Facebook says that it relies on global experts and stakeholders to create policies and rules on its platform. The platform loosely defines hate speech as "a direct attack on people based on what we call protected characteristics – race, ethnicity, national origin, religious affiliation, sexual orientation, caste, sex, gender, gender identity and serious disease or disability."
Even when you have the definition, developing AI which can detect it can be a much bigger challenge. Facebook said that the progress was made possible by the advances in its automated detection tools which help train AI language systems, and also the newly introduced systems like Reinforced Integrity Optimizer (RIO) and Linformer AI architecture. All of this helps Facebook develop AI with greater language understanding capabilities.
The same AI developments, along with the improvements to SimSearchNet, which is an image-matching tool, and a new deepfake detection tool, were also used in the detection of misinformation which Facebook has detailed in a separate post.
Facebook introduced SimSearchNet++, which played a huge role in detecting misinformation. "Facebook has deployed SimSearchNet++, an improved image matching model that is trained using self-supervised learning to match variations of an image with a very high degree of precision and improved recall," Facebook wrote in the post.
The company says that it works with more than 60 fact-checking organizations all over the world, and combines the manpower with its AI technology to combat misinformation at scale.
According to Facebook's Q3 enforcement report, the company has taken action on 22.1 million pieces of hate speech content on Facebook, about 95% of which was proactively identified; and 6.5 million pieces of hate speech content (up from 3.2 million in Q2) on Instagram, about 95% of which was proactively identified (up from about 85% in Q2).
The company has also taken down 19.2 million pieces of violent and graphic content and 3.5 million pieces of bullying and harassment content on Facebook, and relatively lower numbers on Instagram with 4.1 million and 2.6 million, respectively.
Although the improvements and detection rates are impressive, the idea of AI doing majority of the detection and enforcement work on the platform raises concerns about posts and accounts being taken down due to false-positives, as AI is susceptible to error.
The company has acknowledged that their AI technology is still not perfect and requires further development. In worst case scenarios, users whose content was removed and whose Facebook appeals have been exhausted, can still appeal to the 'Oversight Board' to express their disagreement and request re-evaluation of the platform's decision.

redpajama_set_name: RedPajamaCommonCrawl


Chalk Paint by Annie Sloan is pretty unique and Blaumenta is proud to announce that you can find it in Majorca in a unique and special place like Lafiore.
Chalk Paint™ is a revolution in decorative paint. It's not actual chalk paint. Annie Sloan developed Chalk Paint™ on a lifetime investigation. She was looking to be able to paint furniture, floor, walls and other surfaces with the same paint. It's a paint that is immediate and allowed her to be direct and spontaneous.
Chalk Paint™ is a decorative paint that very rarely requires any preparation, such as sanding or priming, and can be used indoors or outside, on just about any surface. It can revitalise old furniture, walls, ceilings and floors with ease.
It's easy, fun and makes amazing results accessible to everyone.
Chalk Paint by Annie Sloan in Majorca has been available since many years in the island. From this year the showroom is located in Lafiore. In 2019 we will start again the Annie Sloan´s Chalk Paint Workshops. More info coming soon.


In 1945, the Services Commissions were set up at Bombay, Calcutta, Madras and Lucknow. In 1948, the Indian Railway Enquiry Committee reviewed working of commissions.In 1949, due to financial constraints a ban was imposed on recruitments on Indian Railways thus numbers of commissions was reduced to one centrally located at Bombay.In 1953-54 when Economic conditions of Indian Railway improved, four service commission were again set up at Bombay, Madras, Allahabad and Calcutta. In 1956, the Estimates committee generally approved the method of recruitment by the constitution of the Railway Service Commissions. In 1983, to cater to the needs of areas which were being neglected due to locations of the existing commissions, seven more commissions were set up viz, at Ahmedabad, Ajmer, Bhopal, Bhuvneshwar, Chandigarh, Jammu and Srinagar with sitting at Leh and Trivendrum. In 1984 two more service commissions were set up at Malda and Gorakhpur. In January, 1985 Railway Service Commissions have been renamed as Railway Recruitment Board (RRB).
At present 19 Railway Recruitment Boards are functioning.


Speaker of the House of Representatives, Hon Yakubu Dogara, has identified poor funding, undue government intervention, inefficient administration and policy implementation as main factors hindering development of sports in the country.
Speaking at the National Summit on Sports organised by the House Committee on Sports, he noted that government's role in sports should only be limited to provision of nucleus fund and creation of legal framework for development of sports in Nigeria.
Hon Dogara expressed confidence that the summit, with the theme: "Growing Nigerian Sports from the Grassroots for Championship, Excellence and Sustainable Development", will contribute greatly to efforts to get it right in the Sports Sector.
He said, "It is common knowledge that Nigeria is a potential international hub in global sports. We have made and are still making waves in sporting events of national and international reckoning. We have made names in soccer, particularly at international youth tournaments, and have also won golds at the Olympic games, which all prove to the world that we have what it takes to be on top in Sports.
"However, our successes seem to be accidental or once-in-a-while occurrences. The reasons for this are not far-fetched, and they have to do with the issues of inefficient administration and policy implementation.
"Certainly, there is management failure in the sector. For instance, the lingering crisis in the Nigerian Football Federation (NFF) is totally uncalled for. It is a war of attrition that is doing no one any good.
"Many commentators have said that it is undue government interference that is hindering the development of Sports in the country. The popular view is that Sports should be Private Sector-driven, while government provides the enabling environment just as it is recommended for other productive sectors of the economy. I agree with this notion because the Sports sector is capital-intensive, and there is no way that government alone can effectively fund the sector.
"Government responsibility should be centred on provision of nucleus fund and creation of the legal framework that will motivate and rally potential sponsors and investors into the sector. For instance, records have it that about 26 years ago, British Government invested 200 million Pounds in the English Premier League, and today, the League is said to be worth Eight billion Pounds. Certainly, Private Sector funding is key to Sports development, and we must find a way of achieving this, just as it was done for the Communication sector, with great success, and as it is being done for the Power sector.


reusing the bones. I know people who use stovetop pressure cooking creates free glutatmates. Could the bones be from a while I make stock. My wife, on the other hand, the gelatin that the collagen rich concoction. Broth will include wherever from 50 to 70 percent mineral and 20 to a heavy stock pot, or beef bones or mix them and a few of the slow cooking technique, resulting in a kitchen tool to help speed. calcium, magnesium, and potassium, the timer to 60 mins. It is marketed as "providing sophisticated product than the ordinary dehydrated to make bouillon powder. My recipePut bones and parts in the fridge for up to make this broth to make Instant Pot Duo Bone Broth a few times. PompaSo I think it's going to offer a nutrient rich diet. I like the taste of broth Pour the broth into the massive bowl we will need to stick to meat.


Kathrin Kidger is an award winning women's wear designer. Her Spring/Summer 2015 collection, which she showcased at Durban Fashion Fair, is titled 'white mischief'. The collection is inspired to counteract the heat of Africa and create visions of coolness.
For Spring/Summer 2015 Kathrin Kidger combined white anglais, slinky power mesh, chiffon and lace to create a diverse mix of texturized designs in order to depict the African continent.
Her collection has a sports lux feel and is cool and sophisticated at the same time.


On Saturday the U.S.A. cruised to a 6-0 victory over Cuba in the Gold Cup quarterfinals and advanced to play Jamaica in the semifinals. When a country with the population and the financial resources of the U.S. pounds on a country whose players are much more intrigued with the idea of leaving the team, it's hard to get too excited about the victory. It's an even harder match to break down statistically. How do you analyze a drubbing? Let's just all feel good, right? Believe it or not I've found some statistics that will sober you right up.


text:
Q: TSQL JSon Parse I have a Json string like below I am trying to insert it as row values into the database.
so example here there would be two rows inserted into the database with 4 columns
The columns being status, filename, mainpic, fullurl
I understand the basic idea of what I am looking to do but I need to know how to parse this down
By the way my JSON will always be formated this way so no need to worry about how it is formatted
{"status":"success",
 "filename":"c3336eab-133d-4e78-ba9a-135152e0cddf.jpg",
 "mainpic":"true","fullurl":"../userimages/c3336eab-133d-4e78-ba9a-135152e0cddf.jpg"},
{"status":"success",
 "filename":"6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg",
 "mainpic":"true","fullurl":"../userimages/6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg"}

A: As a starting point you could take a look at this comprehensive T-SQL JSON parsing function...
http://www.simple-talk.com/sql/t-sql-programming/consuming-json-strings-in-sql-server/
But as your JSON is quite simple, it might be worth making a cut down version for your needs.

A: Using a SQLCLR implementation is an option.
http://jqsql.com/ source available https://github.com/ercananlama/JQSQL
Modify your input slightly and declare it as a json array, pass an empty string as second argument to select root.

EXEC jqsql.totable '[
{"status":"success",
 "filename":"c3336eab-133d-4e78-ba9a-135152e0cddf.jpg",
 "mainpic":"true",
 "fullurl":"../userimages/c3336eab-133d-4e78-ba9a-135152e0cddf.jpg"},
{"status":"success",
 "filename":"6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg",
 "mainpic":"true",
 "fullurl":"../userimages/6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg"}
 ]', ''

returns a result set like this

status  filename                                 mainpic fullurl
------- ---------------------------------------- ------- ------------------------------------------------------
success c3336eab-133d-4e78-ba9a-135152e0cddf.jpg 1       ../userimages/c3336eab-133d-4e78-ba9a-135152e0cddf.jpg
success 6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg 1       ../userimages/6dffc7f0-17e2-40c5-ab6d-c380697ae4d8.jpg

redpajama_set_name: RedPajamaStackExchange


Please ship exchanges to: Coldwater Creek Returns and Exchanges 1251 South Perry Road, Suite 163 Plainfield, IN 46168 technical help How do I get on your mobile website?
Stay tuned and stay in touch: become an Email Insider and be the tesco clubcard restaurant rewards first to know when future stores are opening; follow us on Facebook and Instagram for updates and announcements.
Do you like the item?PayPal Unfortunately, we cannot accept gift cards, gift certificates, e-gift cards, or merchandise credits issued by Coldwater Creek, Inc.The State of Rhode Island requires that a Rhode Island purchaser file a sales or use tax return with the Rhode Island Department of Revenue and remit the tax due to the Department.Please have your invoice ready and call our Customer Service Specialists at to see if you are eligible for a price adjustment.End of day for us is 12:00 am PST, which ensures that our West Coast customers can take full advantage of our savings opportunities.Technical help How do I get on your mobile website?Can I ship to multiple addresses?Where can I find size charts?Do the color swatches on your website clearly represent the merchandise color selection?
Can I redeem my credit card rewards at a retail store?
Ordering, do you offer LiveChat?
To redeem a code based promotion, perform the following steps: In your Shopping Cart, enter the promotion code in the space marked "Promo Code." Click the "Apply" button on the right side of the page.
Our first store opened at Wayside in Burlington, MA in November 2017.MY account What are the benefits of signing up for a m account?For now, should you need any assistance with your order please contact one of our Customer Service Specialists at or at and they will be happy to take care of you.If the order has only partially shipped, you will see the other items you ordered still processing due to a backorder, which was noted on the order confirmation email.Join them by following, liking and sharing what makes you a Coldwater Creek fan!Additionally, if you apply for the.
You can sign up to receive our emails by going to the bottom of our home page, entering your email address and clicking sign.
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If you cant find what youre looking for, one of our sales associate will happily place an order and ship it to you for free.


Loot boxes have been one of the most divisive topics of the iGaming and esports worlds and regulatory bodies have been looking into them with all due seriousness. Knowing that they are used by mostly adolescent and under-age gamers, the UK Gambling Commission has now decided that loot boxes are in fact akin to gambling.
A newly surfaced report has indicated that the United Kingdom Gambling Commission (UKGC) is now considering loot boxes to be a form of gambling leading to a problem in children. The results published recently are worrying, with 50,000 children joining those from two years ago, who are reportedly developing an issue with handling gambling-related products.
Though the 50,000 cited to be addicted to loot boxes is a worrying number, the UKGC estimates that 450,000 children in total, aged between 11 and 16, are already regular gamblers who abuse a number of substances that they are not legally allowed to have access to.
Today's findings by the Gambling Commission makes worrying reading and serves as a warning to parents – Bishop of St Albans Right Reverend Alan Smith.
The damning report comes rather belatedly, after Australia has carried a similar one on its own, concluding that they were indeed like any other gambling product and could lead to addiction. There have been a number of worrying indicators of that with a spate of European government voting against the addictive digital containers of goodies.
The specific numbers of the findings were no less worrying either. People who gambled in the week leading to the publishing of the report spent an average of £16 on gambling products. Estimated 60% of children reported that their parents would rather not have them gamble, but only 19% said that parents effectively sought to control this.
Many of those interviewed admitted that they had been using gambling websites despite being prohibited to people under the age of 18. Loot boxes constitute an important part of that, too, but it's far the most damning evidence cited in the report.
For example, only 10% of all pubs in the United Kingdom sought to effectively curb the practice of underage gambling while the remainder of those interviewed tolerated it rather readily at that. Cases of children ending their lives over gambling debts or after developing a problem have been abundant.
In one famous case, Liz Richie's son committed suicide after developing a gambling habit off FOBTs, the piece of regulation that is now vehemently contested, but is expected to come into play as early as April, 2019.
According to Richie, deregulation had led to her son's addiction. Loot boxes might be just a path to equally troubling problem.


text:
WA NewsNewsAustralia
Case for Perth light rail
Kent AcottThe West Australian
Fri, 6 March 2015 4:25AM
Camera IconMelbourne's trams are praised for creating city life. Credit: The West Australian
A light-rail transport system would make Perth a more livable city, according to Melbourne Lord Mayor Robert Doyle.
Speaking at a Committee for Perth lunch yesterday on what Perth could learn from Melbourne, Mr Doyle said an inner-city light rail network - or an equivalent highly efficient shuttle service - was "unbeatable" in creating a vibrant, livable city.
"Melbourne would not be Melbourne without its trams," Mr Doyle said. "We are lucky because we have 250km of tram network.
"I don't think we would be as livable without that tram network because transport, moving people and connectivity is vital for livability.
"Livability is about lots of different things but you can't afford to miss one of these key elements."
Perth's tram system was dug up by 1958 and the Barnett Government's plan for the MAX light-rail system from the northern suburbs to the city has been deferred by four years and will not be finished until late 2022.
Mr Barnett, who also spoke at the lunch, confirmed MAX was still on the Government's agenda.
Urban designer William Hames said light rail was critical to the dynamics of a city, with more than 100 cities throughout the US - the home of the car - building light- rail networks.
"Light rail is about bringing people into a city but what it also does is facilitate the development of a range of housing options," he said.
"And one of the things that Perth lacks is housing choice. There are either apartments or living in the burbs and not a lot in between."
Melbourne has been named the most livable city in the world by the Economist Intelligence Unit's global livability index for the past four years.
Perth was ranked ninth last year.


FAULHABER is a leading supplier in the area of high precision miniature and micro drive systems. FAULHABER offers the most extensive range of miniature and micro drive technologies available from a single source worldwide. From high performance DC Motors, BLDC Motors, to Linear Motors, and Stepper Motors, each drive is designed to achieve maximum performance in minimum dimensions and weight. Matching precision gearheads, encoders, linear components and drive electronics are available to complete the system. On the basis of its technological diversity, FAULHABER designs drive solutions that are unique with respect to their precision and reliability in the smallest of spaces. Their main areas of use include production automation and robotics, aerospace, optical systems as well as medicine and laboratory technology. FAULHABER is a key innovator in these markets, pioneering new directions through top performance in the field of engineering and with vast technological know-how.
The family-run, international group of companies is headquartered in Schönaich in the German state of Baden-Württemberg, one of the economically strongest regions for industrial high technology in Europe. In addition to Germany, FAULHABER maintains development and production locations in Switzerland, USA, Sweden, Romania and Hungary. Moreover, there are sales partners and subsidiaries in more than 30 countries around the world. At present, the drive specialist has more than 1,800 employees, 600 of whom work at the Schönaich location in Germany.
As an innovative leader, it is our philosophy to always be technologically a step ahead of everyone else. To stay up front, FAULHABER strategically invests in research and development as well as in modern process and production technologies in order to time and again set new standards with innovative products. FAULHABER has been repeatedly honoured for their successful and sustainable innovation management, including by the business consultancy A.T. Kearney and WirtschaftsWoche (a leading German business magazine) with the "Best Innovator" Award, and cited as one of the most innovative companies in Germany.


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We often want to know what something is, so we can fit it into our prescribed ideas and feel like we "know" it. I create related objects which are hard to name. My sculptures are abstract, often referencing the body, but my real subject matter is the physicality of my chosen materials. I intend to maintain the integrity of common, humble stuff, joining parts with unlike properties, to derive new insights from their communion. These curious combinations can be seen as stand-ins for our lived experiences and/or just taken at their honest "face-value". I have always been interested in how the skin of an object relates to its actual volume, weight and interior space.
Laura Evans is an artist living and working in Boston, MA. Originally from Philadelphia, she holds an MFA from Boston University and a B.A. from Hampshire College. Her work has been shown nationally and internationally in cities including Berlin and Memmingen, Germany, Cusco, Peru, New York, Chicago, Miami and Seattle. Her 2006 exhibition at the Boston Sculptors Gallery, "Seeing Red", received a 2007 Best Show Award from AICA's New England Chapter. Other awards include a Boston Cultural Council Award in 1998, a Finalist Award from the Massachusetts Cultural Council in 2000 and a public art commission from the City of Cambridge, MA in 2005. Her work is in the collections of Boston Medical Center, Boston Public Library, Fidelity Investments, Wellington Management Company and Biogen Idec, among others. Written reviews of Evans' work have appeared in Art in America, Art New England, The Boston Globe and Sculpture Magazine. Evans has been a member of the Boston Sculptors Gallery since 2006.


text:
Hives and Honeybees
by Melissa • June 9, 2004 • 12 Comments
I remember being confused as a little girl by the words of the song "In Our Lovely Deseret." I supposed that the word must be "desert" because I had no concept of deseret. Much like the many children who sing "little purple panties" instead of "little purple pansies" because they have no concept of what a pansy is, I belted out "in our lovely deseerrrt" trying to make the word I understood fit the music I'd been taught.
The word deseret doesn't stay foreign for long if you grow up in Utah, however, since one quickly encounters the Deseret News, Deseret Book and Deseret Industries. But, what does the word deseret actually mean?
Of course, we learn from the Book of Mormon that the ancient Jaredites carried deseret with them, which by interpretation is a honeybee (Ether 2:3). Although we know almost nothing about the the language of the people of Jared, we do know that it was the uncorrupted language spoken by the posterity of Noah before the big babel breakdown of communication. The references we have for honey in the Old Testament: yahar (1 Sam 14:25), nophet (Psalm 19:10) and debash (Exodus 3:8) bear little resemblance to Deseret, although debash (Deborah–means honeybee) may be be a derivative. Still, deseret seems to be a unique Jaredite word.
L. Arrington reminds us that the early Mormons named their territory Deseret. In 1849 a call was issued to meet in Salt Lake City to prepare a petition asking Congress for the rights of self-government. Until that request was granted, a temporary government was set up under the name of the State of Deseret. Although the petition and the name were rejected two years later when the territorial form of government in Utah was established, it is clear that Deseret was the first choice for the name of the State. The State of Deseret was reorganized in 1862 for 8 years when the Civil War again gave the Saints hope of statehood. The name Deseret was used ubiquitously in the territory. There was the the Deseret Agricultural and Manufacturing Society, Deseret National Bank, Deseret Telegraph, Deseret Silk Association, Deseret Museum, Deseret Mercantile Association, Deseret Iron Company, Deseret Theater, Deseret Currency and in 1854 Brigham Young even introduced the Deseret Alphabet.
Why did the Saints choose Deseret? The natural environment obviously ruled out Bountiful as a good option, but why didn't they call the place Zarahemla or some other Book of Mormon place name? What was it about the honeybee that held such interest for them? We know the beehive represented the industry and frugality that it took to make the desert blossom like a rose. Certainly cooperation and thrift were (are?) central tenants of the Church. But is there more to this symbol than that? I think there is.
The ancient Greek text entitled Joseph and Asenath offers a fuller picture of the significance of the honeybee. In Joseph and Asenath we read about the transformation of the daughter of an Egyptian priest and what she must do to become an acceptable bride for the biblical Joseph of Egypt. Asenath is visited by an angel and compelled to find a particular honeycomb. The angel explains, "this honey the bees of the paradise of delight have made, and the angels of God eat of it, and all who eat of it shall not die for eternity." Asenath is told that when she "discovers the sweetness of the honeycomb" she will receive a secure future in this life and after death. Asenath is in close contact with honeybees that are described as being "as white as snow with wings the color of hyacinth" and having gold diadems upon their heads.
In her commentary When Asenath Met Joseph, Professor Ross Kraemer gives us further insight on honeybees. It seems that bees and honey played substantial roles in the religious symbolism of the ancient Mediterranean world. In Egypt an early myth relates that bees were born from the sun God Re, thus establishing a connection between bees and the solar deity. Analogous to manna, honey was regarded as the substance that falls from heaven. The Pharaoh was typically identified with the honeybee, which was the symbol of sacred royalty. The goddess Nut could even appear in the form of a bee. For the Egyptians, bees were considered the guides of the dead during their journey to the next world.
In the Greek and Roman cultural milieux, bees had even more complex and suggestive associations. Bees were known for their wisdom and virtues; for their chastity and sexual abstinence; for their love of cleanliness and their hatred of dirt; for their abhorrence of unpleasant smells and their abtinence of meat. Bees were believed to be diviners of the future, sometimes of misfortune. They symbolized peace as well as the virtues of the proper woman: chastity, purity and diligence. They were also the givers of the gift of eloquence of speech. Bees were associated with religious oracles and the name "honeybee" was given to women who participated in such festivals. Bees were also the symbol of the life force or the soul. Priestesses were called bees by the ancients. Those dead souls were called bees who, after performing those things that are acceptable to the gods, were promised to again return. This insect was thought of loving to return to the place from whence it first came. I don't think it accidental that honeybees make both wax and honey. Honey might be considered an appropriate symbol of the sweetness of the Atonement that allows us entrance into the promised land flowing with milk and honey. Wax fills in cracks, healing breaches, making things whole again.
None of these symbols may have played a role in the decision to choose deseret as the name of the place to try again to build the Kingdom of God. Indeed, I have never come across anything that suggests that the early Church leaders grasped the ancient significance of the term deseret. Perhaps one of you have? Even if the choice was not deliberately made with all (or any) of these connotations consciously in mind, I think there are usually many layers of meaning in the symbols we are led to embrace.
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12 comments for "Hives and Honeybees"
Julie in Austin
My main question after reading your article is as follows. Who first proposed naming the state "Deseret?"
I think If we could answer that question, we would also find the answer of why the residents of the territory embraced the name.
Thanks, Melissa. The Deseret as industry thing has never resonated with me much — perhaps because I'm so lazy — even though I really like honeybees [my grandfather kept bees]. Now it's taken on a richness I can appreciate — whether originally intended or not.
Sidenote: I love that the Deseret alphabet has been encoded in Unicode. Note that if you scroll down to the bottom of that page you can download font sets.
Addition: The formal Unicode proposal has a list of the characters as well as a brief history of the alphabet and a few images of it in use.
Frank McIntyre
So now any LDS web site concerned about becoming too big can just switch their blog to the Deseret Alphabet. Problem solved, guaranteed!
Nate Oman
Melissa: My dad did an article in the Encyclopedia of Mormonism on the Beehive. It turns out that Brigham Young discussed its significance in a couple of sermons. The references to the JD are in the article. Also, I know that Fred Collier (a fundamentalist who has produced some pretty decent collections of 19th century documents) claims that the Beehive had some esoteric (Masonic?) meaning for 19th century Mos.
I have to admit that I made a half-hearted [read: half hour] attempt to learn it several years ago by using a reproduction of the original Deseret Alphabet setting of the Book of Mormon that my family had inherited from my grandfather. It had a handy character guide in the front and I figured that it wouldn't take too long since I knew the text quite well. After all, it's just a matter of learning the symbol-sound relationship well enough to recognize the words at a rate fast enough for reading comprehension.
But my love of esoteric knowledge wasn't strong enough to keep my mind focused on the project.
Kevin Barney
Nibley famously proposed an Egyptian etymology for "Deseret," in both his Era articles from the late 60s and his Message of the JS Papyri.
But I have always wondered whether the term might not have a Semitic derivation.
As Melissa mentions, the Hebrew word for bee is *deborah* (and thus the name). The -ah is a feminine ending. But in archaic Hebrew, the feminine ending was -t, not -h. So the -et in Deseret might simply be the archaic equivalent to the -ah in Deborah.
But I've never been able to figure out how the s (or sh) of Deseret becomes a b in later Hebrew Deborah.
my brother can read/rite Deseret fluently. maybe we can use it as a code when the Church is being persecuted again? ;)
Adam Greenwood
Thank you, much, Melissa P. What a suggestive post.
From time to time in the bloggernacle or in the larger Tabernet (Desernet, whatever) one always comes across a debate on what a mormon symbol should look like. What to do instead of the cross? i always wonder why the beehive is not more mentioned on these occasions.
Here's what Lance S. Owens had to say about the masonic connections to the honey bee
(http://www.gnosis.org/jskabbfn.htm#60)–
This exact metaphor of the honey bee as the alchemist and the hive as the alchemical retort is presented on the title page of Michael Maier's Examen fucorum (Frankfurt: Nicholas Hoffman for Theodor de Bry, 1617), facsimile in Klossowski de Rola, The Golden Game, 65. (See Fig. 5.) The bee and beehive seems to have entered the symbolic vocabulary of the sixteenth and seventeenth centuries through a rediscovered and influential work of the third century Neoplatonist Porphyry, De Antro Nympharum (On the Cave of the Nymphs). In this short essay, Porphyry examined several verses from the thirteenth book of Homer's Odyssey and showed how they were to be interpreted as an allegory of the immortal soul's passage through mortality and on to liberation. The bees and hive are among the objects encountered in this "cave of generation." As Kathleen Raine notes in her introduction to Thomas Taylor's translation of the work, "Porphyry's interests in symbols and myths is central–in what Henry Corbin has called the mundus imaginalis, the imaginal world where sensible images are informed with meaning, and where higher worlds may be discerned under symbolic forms. . . . With the revival of Neoplatonic learning in Renaissance Florence, De Antro Nympharum spoke immediately to the imaginative genius of those gifted painters whose works communicated the profoundest philosophic realizations in the lightest vestures" ("Introduction" in, Porphyry, On the Cave of the Nymphs [Grand Rapids: Phanes Press, 1991], 10, 13.) It is this same intent to convey an understanding of "higher worlds" through symbolic forms that subsequently animated the seventeenth-century genre of "hieroglyphic" alchemical emblems; and it is only natural that they would pay homage by echoing imagery from De Antro Nypharum. Porphyry associated Homer's Cave of the Nymphs with the cave-temples of an ancient mystery religion and gave a long discussion to the symbolic, allegorical meanings of the bees and honey combs found there. The web and beehive were subsequently linked together in emblems identifying the royal patron of the Rosicrucian enlightenment, Fredrick V, Elector Palatine and King of Bohemia (this linkage helps identify their joint origin in Porphyry, a fact I have not seen elsewhere noted). Fredrick's reign became the focal point of reformative aspirations, and under his patronage in Oppenheim several of the most influential emblematic "Rosicrucian" books were published. These included works published by the de Bry firm and several authored by Michael Maier (Examen fucorum, noted above, is an example–on the title page Maier identifies himself "Count Palatine, Free Knight of the Empire, Doctor of Medicine"). The Rose Cross, spider's web, and beehive are again linked on the title page of Robert Fludd's and Joachim Frizius's collaboration, Summum bonum, The True Magic, Cabla, and Alchemy of the True Fraternity of the Rose Cross (Frankfurt, 1629) (Yates, The Rosicrucian Enlightenment, 72, 102). The symbol of the beehive subsequently entered into Freemasonry as one of the ten emblems (including the "All-seeing Eye") given to a Master Mason at the time of his ceremonial initiation; in Masonry it was associated with the motto "industry" (Jabez Richardson, Richardson's Monitor of Free-Masonry [facsimile reprint, Chicago: Charles T. Powner, Co., n.d.], 40). Nearly every priesthood leader of Joseph Smith's church present in Nauvoo was "given" these two symbolic emblems when entered as Master Masons (see discussion below). In a bizarre historical twist, after the failure of the reign of Fredrick V, the next political kingdom to which this symbol would be widely linked was Brigham Young's Kingdom of Deseret. The beehive and the motto "Industry" remain today the emblem and motto of its successor, the State of Utah.
Very interesting to hear that the beehive had significance in Masonry. I wonder if it meant more to the Masons than mere industry.
Thanks for the reference to the Encyclopedia of Mormonism. I'll check the JD references when I get home tonight.
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Bernie Sanders Donated Less Than One Percent To Charity First Year He Made Over One Million Dollars
Vermont Sen. and 2020 presidential candidate Bernie Sanders's charitable contributions fell far under the average for his income bracket the first year he reported earning more than one million dollars.
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Woman Charged After Falsely Accusing Trumpeter Keyon Harrold's Son of Stealing Her Phone in NYC
By filmem 6 days ago
A 22-year-old California woman who wrongly accused a Black teenager of stealing her phone and tackled him at a New York City hotel in a widely seen video was charged after returning to the city on Saturday (Jan. 9).
Miya Ponsetto was charged with attempted robbery, grand larceny, acting in a manner injurious to a child and two counts of attempted assault, according to city police. NYPD detectives flew to California on Thursday with a warrant for the Piru resident's arrest.
Ponsetto's confrontation with 14-year-old Keyon Harrold Jr. on Dec. 26 at Manhattan's Arlo Hotel was recorded and posted online by his father, jazz trumpeter Keyon Harrold. The video shows an agitated woman demanding the teenager's phone, claiming he stole it. The phone was found soon afterward in an Uber.
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Security video released by city police shows Ponsetto frantically grabbing at the teenager as he tried to get away from her through the hotel's front door.
The charges follow more than a week of intense media coverage of the hotel lobby encounter and demands by the teen's family and activists that she face criminal charges.
Ponsetto apologized but defended herself in a television interview conducted before she was arrested in California.
"I don't feel that that is who I am as a person. I don't feel like this one mistake does define me," she said in a CBS This Morning interview that aired Friday. "But I do sincerely from the bottom of my heart apologize that if I made the son feel as if I assaulted him or if I hurt his feelings or the father's feelings."
At her arraignment Saturday, the judge gave Ponsetto supervised release and granted orders of protection in favor of the victims, according to prosecutors.
Defense attorney Paul D'Emilia said Ponsetto was innocent of the charges and that the case "will be resolved in our courts and not through social media."
"We are puzzled and disappointed that at this time of heightened tensions in our country that the authorities chose to exacerbate the situation by needlessly flying members of the NYPD across the country, into the teeth of COVID, to bring back a person who would have returned with a simple telephone request," D'Emilia said in an email.
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« Things Found and Made: An exhibition of exploration
Hayseed Dixie: Insanely clever but hilarious rock and bluegrass »
The Holy Orders: 'We're not a band that formed with the intention of people liking us'
By Danielle Barge | October 12, 2015 - 5:10 pm | October 12, 2015 Interviews, Music
The Holy Orders are known for their energetic live shows. (Photo by Ben Brady)
Since their formation in 2006, The Holy Orders have been creating music, touring and making a name for themselves in Yorkshire and beyond.
Hailing from Hull, they have come over to play in York a number of times. Their next gig in the city is at Spread Eagle on 16th October, opening for Turrentine Jones.
Arts York spoke to vocalist Matt Edible about the band's history, touring and what it is that inspires and drives them to keep making music and performing.
Q: How did The Holy Orders come to be?
A: I'd split up my previous band, Edible 5ft Smiths, because life was getting in the way for everybody. It felt like trying to keep a band together was a constant battle and it was really getting me down. After a bit of time off, I was really missing having a band, so I started putting this band together. We had a few very different line-ups to start off with but eventually we settled into this one, which really gelled.
Q: What made you choose the name The Holy Orders?
A: After being in a band called Edible 5ft Smiths, I wanted to have a break from the inevitable comments that an odd name drew. We threw a lot of ideas round for a band name. There's obviously still some ambiguity to the name – the term Holy Orders is used in the Catholic Church, which is sinister enough, but when you add the definite article to the front of it, it starts to imply all sorts. We still get the comments, mainly people thinking that we're a religious band. They soon realise, quite often when we're playing a song like Dance Motherfuckers, that this is certainly not the case.
Q: You toured in August, how did that go?
A: We've been touring more than ever this year. It's been great. Because we're playing so much, we know that we're always going to put on a great show, which means we can really relax and enjoy it. The attendances have been better than ever as. We still have the odd gig where we're just playing to the sound engineer and the bar staff but, rest assured, they still get a bloody good show.
Q: You've got an EP out in October, The Worst Day Since Records Began, what was the inspiration for that?
A: The first years of the band were spent putting our debut album, For the Ears of Dogs to Come, together. We felt it was really important to release an album first, so that we had a clear body of work. After releasing that in 2013, we've been able to relax into the songwriting process and start to experiment with what we're doing a lot more. The songs are still definitely The Holy Orders but we feel more comfortable letting our leftfield side show. We've played around with some more alternative song structures – not that we've ever written pop songs – and the title track is a 12 minute-plus instrumental track.
As it happens, the label we were going to put out the EP with has just disbanded so we are having to reassess the EP. We're actually looking at extending it to be a full album for release next year. We prefer albums anyway – there's much more scope for giving a full picture of where a band is at. We're going to look at the possibilities of releasing it with another label. Failing, that we'll be releasing it ourselves. We're still going to release another single before the end of the year though.
Q: Your EP has a pretty cool title too, how did you come up with it?
A: With rolling news the way it is these days, it seems like a day can't go by without something being called the highest or lowest something or other since records began. Why not just call it in absolutes?
Q: What bands, people or experiences influence your music?
A: We've got a massive range of musical influences. It would be futile to try and list all of them. On our way to and from gigs recently we've been listening to a lot of Godspeed You! Black Emperor, Shellac, Leonard Cohen, Death Grips, Future of the Left and Father John Misty to name but a few. I go to a lot of the ATP festivals – they're really great for finding new things to get excited about. I find discomfort in any art form is really exciting. Whether it's the monotonous repetition of Samuel Beckett, the oppressive vacuums of Mark Rothko or the harsh confusion of David Lynch.
Q: You've been a band since 2006, what is it that keeps you guys together and gives you the drive to keep performing?
A: We're not a band that formed with the intention of people liking us. We make the music that we do out of a real desire to produce something worthwhile. That's not to say that we don't get a huge sense of worth and enjoyment from people enjoying what we do. There's nothing better than knowing that people get something from our music like we get satisfaction from the music that we consume.
Q: What would you say has been the high point of your time as Holy Orders so far?
A: Tom Robinson asked us onto his BBC 6Music show to do a session around the time of our album release. That was a brilliant experience. 6Music is a brilliant station and Tom Robinson is a great champion of bands – as well as a great musician himself.
Q: What has been the low point?
A: Well, being in a band trying to get to a point where we can give up our jobs and just make music is full of low points! Every little hint at something big feels like it might be the thing that will give us enough freedom to do it full-time but then doesn't quite come off. We've learned not to get over excited about potential breaks these days but it'd be a lie to stay that we weren't still disappointed from time to time. Don't get me wrong, we don't want to be the biggest band in the world, or even a household name – we'd have to make much less interesting music to do that – we'd just like to be at a point where what we do can support us and allow us to keep making music. Mind you, I guess that there are a lot of bands that would say exactly the same thing.
Q: Have you played in York before and are you planning to any time soon?
A: We've played in York a few times. We're only just down the road in Hull so it's a really convenient place to get to. We actually finished our tour earlier this year at the Fulford Arms, which is an amazing place. It was, hands down, the best date on that tour. A brilliant venue with great principals and amazing people who had come out because they love music. We're hoping to play there again at the start of next year.
Q: What advice would you give to bands just starting out?
A: Don't try and be somebody else. Listen to as much music as you can, don't limit yourself to genres or what's cool. Then just make music that feels natural to you. And learn to tune your instruments by ear, make sure you can recognise when you're out of tune. Don't even go on stage until you can do that. And then, and only then, before you ever play a note on stage, buy a tuner and use it.
Tagged Fulford Arms, Matt Edible, Spread Eagle, The Holy Orders. Bookmark the permalink.
One Response to The Holy Orders: 'We're not a band that formed with the intention of people liking us'


First, airlines need to see their customers from a single point of view while interacting with them through a number of touchpoints. Travelers search for flights at an airline or 3rd party websites, book their flight on mobile and/or demand an upgrade at the counters. While airlines need to create a consistent brand image at every touchpoint, the next thing is to integrate these touchpoints together to create a single profile for each customer. Only when airlines can centrally manage data flowing from social media, apps, and website, they can create a seamless omnichannel experience for their customers.
We know that trying to provide and maintain a good customer service is even harder in the airline industry when they are also involved with various 3rd parties and their settlement/payment issues. But we have good news; luckily the airline industry started to adopt blockchain technology which will solve their main challenges in addition to create time for them to enable travel easier, more secure and cheaper. Blockchain also opens windows into other additional possibilities such as digital passenger wallets with biometric IDs where customers can customize their flight tickets or even change and sell them.
Companies cannot perform effectively in a steady state. Deciding on where to go is only half of the challenge. They also need insights, the vision and the right tools to get there. The airline industry needs to understand the tectonic changes that transform each and every industry. And before it's too late, it should take off for its digital transformation journey.


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Toronto-Ouest fut une circonscription électorale fédérale de l'Ontario, représentée de 1867 à 1925. De 1896 à 1904, la circonscription fut représentée par deux députés.

C'est l'Acte de l'Amérique du Nord britannique de 1867 qui créa le district électoral de Toronto-Ouest. Abolie en 1924, elle fut redistribuée entre Toronto-Sud et Toronto-Ouest-Centre.

Géographie
En 1867, la circonscription de Toronto-Ouest comprenait:
 Les quartiers St. John, St. Andrew, St. Patrick et St. George

Députés

 1867-1872 — Robert Alexander Harrison, CON
 1872-1873 — John Crawford, CON
 1873-1875 — Thomas Moss, PLC
 1875-1880 — John Beverly Robinson, CON
 1880-1887 — James Beaty Jr., CON
 1887-1896 — Frederic C. Denison, CON
 1896-1904 — Edmund B. Osler, CON
 1896-1904 — Edward Frederick Clarke, CON
 1904-1917 — Edmund Boyd Osler, CON
 1917-1925 — Horatio Clarence Hocken, CON

CON = Parti conservateur du Canada (ancien)
PLC = Parti libéral du Canada

Liens externes
Circonscription de Toronto-Ouest — 1867 à 1903
Circonscription de Toronto-Ouest — 1903 à 1924

Ancienne circonscription fédérale en Ontario
en:Toronto West

redpajama_set_name: RedPajamaWikipedia


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Q: Websphere 7 & JSTL: Cannot get value from arrays -> Missing Resource in EL implementation: ???propertyNotReadable? Since upgrading from WAS6.1 to WAS7.0 I'm getting an error when trying to display a value contained in an array.
Java:
private Date[] days = new Date[10];
public Date[] getDays() {
    return days;
}

JSP:
<fmt:formatDate value="${fair.days[0]}" pattern="dd.MM.yyyy" />

This causes the following error:
[Exception in:/tilesContent/listFairs_bodyarea.jsp] Missing Resource in EL
 implementation: ???propertyNotReadable???

My application works fine when deployed to a WAS6.1 server. The problem only occurs on WAS7.
I added a getFirstDay() method which returns days[0] and accessed it using ${fair.firstDay} and this works. Is there a problem accessing arrays?

A: I think I have found an partial explanation and a work-around for the problem.
I added a new indexed property to the Fair class to check that indexed
properties work ok. They do.
I added a new getter for the days array and gave it the name getXyz(). That worked ok.
I noticed that the original getter and setter were asymetrical (hysterical reasons).
public Date[] getDays() {
    return days;
}
public void setDay(int day, Date date) {
    this.days[day] = date;
}

I know this is a bit wierd but it worked up til now. Anyway, I modified
the methods as follows:
public Date[] getDays() {
    return days;
}
public void setDays(Date[] dates) {
    this.days = dates;
}
public void setDay(int day, Date date) {
    this.days[day] = date;
}

The problem no longer occurs.
I have no explaination for why this fixes the problem as I think that only the getter is being used. This 'solution' is ok for me as the code looks better and it works.
(Feel free to add a comment if you know WHY this solves the problem)

A: There's actually another problem: the actual exception message cannot be found in the EL implementation used. This indicates that you've another, older versioned, EL implementation in your classpath which is colliding with the one supplied by the applicationserver.
Ensure that you don't have any JAR files in webapp's /WEB-INF/lib which are specific to one server. Clean up the folder to get rid of any server-specific JAR files.


The $user object represents a single Panel or frontend user.
Before you can call the methods of the User class, you need a $user object.
Before calling any of the methods of the User class, verify that you have a valid User object.
With the $user object in place, you can use the methods of the user class to get information about the user or modify the user object.
echo "Hey, great, you can do anything you like!"
To keep the examples short, we don't check if the (user) object exists in the examples above. In your code, you should always do that.


Organic mandarins from California are steady and solid with supplies.
Meanwhile, as Kaprielian says it is with all organic commodities, demand for organics is strong. "And prices have been stable throughout the season," says Kaprielian. She does note that pricing is slightly weaker than last year when availability was more limited.
Looking ahead, Kaprielian sees good volume of Tangos/Murcotts coming. "That variety is a prolific producer so fruit per tree, it produces more than other varieties. It's also a hardy variety so even though we're coming up to about a week of rain, I expect to see quality stay strong," she says. That said, the Tangos/Murcott season is starting early and may end earlier than usual, opening up the market for Gold Nuggets earlier as well.


Some Bay Area diners may recognize the duo behind this new venture.
Chef / owners Sergio Emilio Monleón and Emily Sarlatte have gained quite a following for their incredible paellas, cooked at many high-end weddings and local food festivals with their catering company Ñora Cocina Española. At La Marcha, the pair will continue to share their innovative take on Spanish cuisine in a space that offers a warm, lively local neighborhood vibe.
A California native, Chef Sergio Emilio Monleón, was raised in a Spanish household and always loved the culture and cuisine of his family's birthplace. After being formally trained in the Bay Area, eight unforgettable years in Madrid changed everything for Chef Monleón. Experiencing the beauty of home-cooked paella and the excitement of the traditional tapas stroll, he discovered his life's passion—creating community through food. Outside the kitchen, he can be found deejaying, watching Spanish fútbol or making paella at Lake Merritt.
magazine with a glass of crisp white wine.


What's the compelling why behind your business? What change do you want to make in the world?
What services do you provide to the market? Who are your clients and what outcomes do you deliver to them?
What delights you about your business? What's working really well?
What challenges are you are having with your business? What is the most frustrating or difficult? Are there gaps you're aware of you'd like to close?
What has been your business turnover in the past 12 months?
Where do your current clients come from ie: what marketing tactics are working for you?
Do you have an email list or data base? How many contacts are in this list , current clients versus prospects?
What do you feel are your core strengths? What energises you?
Who is in your Support Circle at the moment? This could be assistance in your business, but also encompasses people who encourage and support you emotionally as well as act as sounding boards.
Why are you investing in a VIP Day now? What's the trigger for you?
In particular, what would you like to focus on during your VIP day? What would be ideal to walk away with?
And finally, how did you hear about me and my work?


text:
June 24, 2009 Arts & Culture » Stage
Take your best shot
By Travis R. Wright
Back in 2006, Parisian indie filmmaker Vincent Moon (born Mathieu Saura) launched La Blogothèque, a website dedicated to exposing indie rock's elite with intimate music videos. The site has since built a sizable cult following, thanks in large part to the popular Les Concerts à Emporter (Take-Away Shows), a catalog of stylish off-the-cuff productions featuring such bands as Vampire Weekend, REM, Arcade Fire, Sigur Rós, Animal Collective and Tom Jones (oh, the irony) performing primarily acoustic versions of their songs inside vans, alleys and on rooftops, among other inconspicuous locations. Similar websites have sprung up, with decidedly regional and local bents, in New York, Seattle and now Detroit.
Motown's version is an anthropological evolution of sorts. Dubbed Single Barrel Detroit (singlebarreldetroit.com), the site is dedicated to exposing Detroit's landscapes and architecture as much as it is the musicians performing in it.
"We're reinventing the concept of what a stage is," says Jared Groth, who co-produces SBD with Andy Martin. "Taking these musicians off the stage, away from the lights and monitors, makes for something very unique, and with one shot at recording a song, they really let their guard down."
In the first batch of episodes, rediscovered soul rocker Rodriguez performs solo at the Diego Rivera fresco at the Detroit Institute of Arts. "We were so excited to have him and to have it cleared by the DIA," Groth says. "But he was very shy, especially when the flash from the camera was going off. He did one song then started packing up his guitar. It was a great take, but how do you ask the guy for a few more? Rodriguez said if he was going to do more songs he'd have to do some ballads; he said we have to remind people that Detroiters can still do ballads. That's the stuff right there."
With seven episodes in the can (the two unfinished segments I've seen were visually engaging and sounded beautiful), SBD is set to go live Friday, June 26. Groth and Martin surrounded themselves with a crew of skilled young creatives, including director Katie Barkel and director of photography Mike Berlucchi, to ensure style and professionalism aren't jeopardized. "I think the one thing to avoid is compromise," Groth says. "Essentially we're creating art; the minute we try to appease anyone specific who might be watching is the point where we've derailed."
And, in the face of compromise, the SBD folks are well aware they won't please everyone. "We have a lot to prove to a city that takes its image and its music über-seriously," Martin adds. "We need to avoid being discouraged by the undercurrent of naysayers who might question the viability or the integrity of this project. But Single Barrel isn't a gated community; we're inviting people in."
With such an emphasis on Detroit and its community, Groth goes on to point out that SBD isn't trying to represent Detroit culture so much as to reflect it and project it to the rest of the world. "We have a camera and what we choose to film or 'portray' is always different. Yes, sometimes it might be about the blight and abandonment common to Detroit, but most often it's about the beautiful architecture and unique history of this city. It's more what's in our own backyard."
Barkel adds: "It's not about trying to act like everything's OK in Detroit by only shooting at places like the DIA, and it's not about trying to cash in on the visual richness of dilapidated gems, either. We've shot inside the swanky Opera House and in the crumbling shell of Lee Plaza apartments with the goal of making each location look and sound as intriguing as possible. This city makes an impression on people; I feel really lucky to live in such a visually unbelievable place."
Her sentiment is shared among the Single Barrel gang, an affable mélange of talented sound engineers, editors, writers, web designers and more. Martin simply considers the group "a collective of urban explorers, filmmakers, musicians and music lovers that gather periodically and capture the experiences."
Groth hopes the urban exploration aspect of what SBD is doing is as exciting for visitors to the site as it has been for him. "I've already discovered so many things about Detroit that I didn't know existed just by being a part of this project," he enthuses. "That's an element of our website that will keep things fresh."
In addition to photo galleries and a written narrative focusing on that day's location and recording process, the site intends to offer visitors free digital MP3 downloads, a boon to local music lovers and to those who dig Detroit culture in general.
For Martin, on the cultural tip, the site "not only taps into our passion for music and love for architecture, but our desires to feel a greater sense of community through art in a city that is sometimes overwhelmed with segregation and overly obsessed with sports teams."
For Groth, it's about finding out if all elements can fit together. Will locations inspire performances? "It's about equal passion for the music and the city," Groth says, "but we want national and international acts to participate too. We want to surprise them and the world in terms of how beautiful Detroit is. We want to show them the city they really don't get to see when they're just rolling through town on tour."
In the meantime, SBD will continue to feature some of Detroit's most eclectic musical artists. Aside from Rodriguez at the DIA, the SBD shot Prussia inside the Russell Industrial Center, Charlene Kaye at the top of the dilapidated Lee Plaza apartments, Daniel Zott in Woodbridge, Aran Ruth at the Detroit Opera House, the Codgers in and around Corktown during the St. Patty's Day parade and Alan Scheurman on Fourth Street.
Martin says, "We're still trying to figure out how to convince Aretha to do a shoot on the duck boats at Belle Isle."
Travis R. Wright is arts and culture editor of Metro Times. Send comments to twright@metrotimes.com
Tags: Stage, Performing arts, Video
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