text:
AdvertisingFeaturedPeopleVideo & Audio
posted on Jul. 25, 2021 at 1:04 pm Jul 25, 2021
Calling the tune, in conversation with Barry Kirsch
Barry Kirsch is arguably Dubai's best known music man. After 50 years in the business he tells Austyn Allison what brought him to where he is today.
By Austyn Allison
Barry Kirsch is celebrating 50 years in the industry. In the region he is perhaps best known for his company BKP, which he founded as Barry Kirsch Productions in the late 1990s. BKP is a Dubai-based hub for music, podcasts and other audio, including licensing, live musicians and, well, all things aural.
But Kirsch's story before he came to the region took him from mainland Europe through some of the most exciting times to live in London, then Hollywood and beyond. Campaign caught up with him recently to map the path that brought him to Dubai.
"I had an interesting life with what was happening in London," he says. "I'd been through the absolute best possible era you could possibly have lived through: music in the 70s, advertising in the 80s." Throw in Hollywood in the 90s and Dubai in the 2000s and it's fair to say that Kirsch has a knack of being in the right place at the right time.
Music has been in his blood since he was born. He grew up in Belgium in the 50s and 60s, with a father who worked for EMI, and spent his childhood surrounded by music and musicians.
He learned to play the piano that stood in his house, but by the time he had moved to early 1970s London in his 20s, it was largely the guitar he used for gigging.
"I thought about going to music college, but to be honest with you I just wanted to play rock and roll and write, and that's exactly what I did," says Kirsch. And his musical aspirations led him from the stage to the studio.
"Being in a studio has always been, for me, a very special experience," he says. While playing live offers an adrenaline rush, recording is more intellectual. "When you hit that final mix, you know it's good," he says. That knowledge of when you've nailed it doesn't come straight away but is born of "experience and a certain amount of empathy and a certain amount of honesty".
Aged 22, Kirsch and his writing partner Julian Smith (they had been introduced by a mutual friend who knew they were both destined for careers in music) were signed as songwriters by legendary British jazz producer Denis Preston. Calling themselves Julian Kirsch, they wrote songs for bands including the Bay City Rollers.
Even recently, in 2021, one song – LA Loves You, recorded by 70s rock group Glassband – was picked up playing in the background of a Tom Cruise film. Kirsch found out when he was contacted to find out where to send the royalties.
For five years with Preston, says Kirsch, "we had a jolly good time and wrote a few songs and got paid quite a lot of money".
Then, at a party in Soho, he ran into Sue Manning, an agent for composers in advertising. She offered to represent him if he was prepared to write jingles for her. He agreed, wrote his first melody for the Milk Marketing Board, and now he was in advertising.
Although not much more came from Manning, Kirsch had "sort of got bitten by the bug".
Part of the appeal, he admits, came from the work's brevity. "When you're writing a song, it's a long and arduous process because you have to write the verse as well as the chorus and the bridge," Kirsch says. "When you're writing a jingle, basically you've got to just write 30 seconds."
However, he wasn't the only jingle writer to realise that the business was both fun and lucrative. "It was very difficult to break in," he says. "These guys were super protective because they were making fantastic money."
By now, Kirsch was one-third of Candle Music, along with fellow songwriter Charlie Spencer and manager Tony Satchell. If the front door to adland was barred to upstarts like Candle, they had to find another way in.
Realising it was hard to get meetings with agency heads, Candle went through ad agency secretaries and receptionists. Their offer: let us use a meeting room during your office's lunch break, and we will give you a show. Literally.
Creatives planning to eat their sandwiches in the office found themselves invited to the board room where a Punch and Judy stage was set on the table. As the diminutive curtain rose, they were greeted by Kirsch and Spencer (pictured, left) playing the parts of famous fictional detectives Sherlock Holmes and Dr. Watson, hot on the trail of two jingle writers who had stolen someone's copyright.
The duo performed their act an "unbelievable" 150 times around the agencies of Soho.
"Some people found that absolutely hilarious and side-splitting, and other people just didn't get it at all," says Kirsch. Candle Music began picking up work from those creatives who laughed at their humour, and the door was open.
In the late 1980s a man named Leslie Oakes, from a GCC-based agency, FP7, came to Kirsch and said he was on a post-production job for a Middle East client. Someone had told him Kirsch might be able to supply an Arabic voice-over artist. This wasn't something Kirsch specialised in – yet – but he made some calls and found the talent.
Thanks to his relationship with FP7 and its founder, Akram Miknas, and in a snowball effect from saying yes to Oakes, Kirsch became the go-to guy in London for Arabic work. It wasn't long before he was commissioned by the agency of ambitious, up-and-coming UAE airline Emirates. He wrote a jingle for the carrier, which became so recognisable that for years Kirsch was haunted by clients asking for "something like Emirates".
In the basement of FP7's London offices, Kirsch set up a base. He planned to kit out a whole studio there, but the casino next door bought the building and both FP7 and Kirsch were booted out.
A move to South Africa was in the works when he got a call from Hollywood director Ken Russell. Kirsch had been pitching soundtrack proposals to producers and directors known to have current projects, and Russell was the first to bite.
Kirsch flew to LA to work on the soundtrack for 1991's Prisoner of Honor, about the Dreyfus affair and starring Richard Dreyfuss (no relation).
After the film wrapped, he returned to London, where he was by now becoming an expert on Arabic music. While late 80s electronica was morphing into 90s dance, and synthesisers were the instrument of choice, Oriental music benefits from being played live.
"If you want to be super-authentic, you have to use live musicians because of the quarter tones," says Kirsch. "You cannot really replicate the quarter tones and the phrasing digitally."
Computers were taking the place of session musicians, and as anxiety gripped London in the run-up to the millennium, the Swinging 60s had mutated over the course of Kirsch's career to date into the Nasty 90s.
In 1998 he was on one of his now regular trips to Dubai, partly for a holiday and a break from the UK. His mother had passed away, weakening his ties to Britain, and he was looking for a new start.
Free zones such as Jebel Ali port were beginning to spring up, and Dubai seemed like a city of opportunity and optimism. He moved to the UAE and borrowed a studio from his friend, Marwan Rahbani, the filmmaker who still runs Rahbani Productions. A year later, freelance visas became available and he struck out on his own, registering as only the second tenant of a nascent Dubai Media City.
As Barry Kirsch the freelancer became Barry Kirsch Productions and then BKP, his business has grown and shrunk and grown again. Although some partnerships have come and gone, Kirsch was joined by Polly Gotseva in 2000 and Matt Faddy the following year, and both are still with BKP Group.
BKP has opened and closed offices in Lebanon and Abu Dhabi, and has had to move its Dubai base several times. Each move has been expensive. "Moving an office is one thing," says Kirsch. "But with sound studios, if you have to move it's a couple of million dirhams' worth of investment." BKP was based in Production Village in Al Quoz, then in a villa in Umm Suqeim, and most recently in Business Central Towers. This latest set-up was a "massively expensive" investment, with 4,500 square feet of high-tech studio space. Last October, mid-pandemic, BKP downsized its offices, but Kirsh says he's already looking at expanding again at the end of this year.
"The other thing we did that was not very good timing was we opened in Saudi," says Kirsch. That opening was in January 2020, right before Covid-19 hit, and the facilities there have been largely dormant throughout the coronavirus crisis. Kirsch says that although it's "probably the biggest risk I've ever taken", he's watching Saudi "with a lot of interest". He enthuses about "the energy coming out of the young people, and this feeling of unbelievable enthusiasm" in the kingdom.
In 2007, BKP moved into video post-production. "Then we tried a number of different formulas to move into production," says Kirsch. "I think we found the right formula now, finally." It "took a couple of joint ventures", he says, but now going-it alone seems to be working for the agency. BKP is generating social content and producing a lot of podcasts, as well as other audio work.
Kirsch has a healthy scepticism for both digitally composed songs ("many people start writing songs by just pulling up a drum loop and putting a few chords on it to see what happens; there's nothing wrong with that but it's a different approach from finding a magical melody") and inexpensive library music ("the disadvantage, of course, is that you don't have exclusivity"). He contrasts the disposable results of these approaches with the tune BKP produced for Dubai telco Du (yes, that tune, the one you're humming in your head right now), which he says has become "of huge value to the brand as part of its advertising armoury".
He says that the reason these things are often on his mind is because he thinks a lot about where his company and the music business are going. He has never stopped experimenting and looking at ways to grow not only BKP but his own repertoire.
He refuses to rule out moving into cinema, says he wrote a musical about flying carpets over lockdown, and puts the interview with Campaign on hold to ponder aloud whether the pandemic could be chronicled using a collection of social media memes. That's an art form no one has tried before.
Barry Kirsch has seen music in the 70s, advertising in the 80s, Hollywood in the 90s and Dubai's growth in the 2000s and 2010s. Who knows what the soundtrack will be to his next decade in the business.
Tags:Barry KirschBKPjinglemusic
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and you might want to consider transloading your image, for people who don't have facebook like tempralanomaly said.
Remove facebook link, upload image to another host and try again.
I am not aware of any rule against posting a link from facebook?
Treat each other with respect. Constructive criticism when desired is a good thing. Personal attacks, name-calling, and degrading speech are not welcome. Many cosplayers put huge amounts of time and effort into their work and are not doing it to please you, specifically.
I know, but I feel I should provide a warning before a ban.
Hmm you handled that like a responsible adult, I shall delete my previous comment and I apologize for my actions. I commend your professionalism towards your duties as a mod.
It was rude and unnecessary and was said to get a rise out of you. Repeating it here to you again would be immature and wouldn't be fair to you or the mod who I deleted my comment with respect to his/her wishes.


The Summit is a private high school located in Springfield, MO and has 131 students in grades Pre-Kindergarten through 12th. The Summit is the 74th largest private high school in Missouri and the 3,684th largest nationally. It has a student teacher ratio of 8.0 to 1.
You can also use the form below to search for alumni info and The Summit students.


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Irreversible errors
Atlanta 8, Phillies 1. Cliff Lee got the start and pitched well, but the Braves scored five runs charged to Papelbon in the seventh inning, all of which were unearned thanks to another Maikel Franco error. That's not to suggest that Papelbon pitched well. Franco and Ryan Howard combined to make two errors in the game and have combined for five overall. The Phillies scored one run on five singles…
Phillie pitchers don't manage a lot of O's against the Orioles
One, actually. You know who they might have asked about that? Baltimore pitchers. I'm sure they would be happy to help. Cause when we work together, everybody wins. Everybody didn't literally win today. Just the Orioles. Baltimore 15, Phillies 4. Burnett allowed four in the third and Gonzalez followed that up by allowing four in the fourth. Those weren't good moments, but to suggest they were all that went wrong…
First thud
The Phillies played their first official spring game today, falling 4-3 to Toronto in a game called due to rain after the top of the seventh. Roberto Hernandez started the game, seeing his first action for the Phils having thrown to a 5.03 ERA over his last 146 appearances in regular season action. He went two innings, allowing two runs on four hits and no walks. Jose Bautista hit a…

redpajama_set_name: RedPajamaCommonCrawl


text:
Terminalia erici-rosenii är en tvåhjärtbladig växtart som beskrevs av R. E. Fries. Terminalia erici-rosenii ingår i släktet Terminalia och familjen Combretaceae. Inga underarter finns listade i Catalogue of Life.

Källor

Myrtenordningen
erici-rosenii

redpajama_set_name: RedPajamaWikipedia


It is thanks to Madison that the First Amendment to the U.S. Constitution contains the words "free exercise" rather than "toleration" as the national standard for protecting religious liberty.
The original draft, written by George Mason, used the word "toleration," but Madison objected to that word because it implied that the exercise of faith was a gift from government rather than an inalienable right. Madison's substitute read, "all men are entitled to the full and free exercise" of religion, and that language was accepted.
Over the next decade, Madison was involved in various religious liberty battles in the Virginia legislature. Some have tried to claim that Madison's writings really mask an antipathy to religion, but that's simply not true. Madison was a committed Christian – a Baptist – and he just didn't want the new government to use taxpayers' money to prop up the Anglican church. Madison made freedom of conscience the centerpiece of all civil liberties.
It is thanks to Madison that the First Amendment to the U.S. Constitution contains the words "free exercise" rather than "toleration" as the national standard for protecting religious liberty. That's the standard he first raised in Virginia and sustained throughout his political career.


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Q: How to use JQuery to show a div's child elements only? So I have this jquery function that's supposed to show a class's hidden span on hover. How do i set up the function so it only shows the selected div's child span (instead of showing all the spans on the page)?
Here's my jquery function:
$(".thumb").hover(
    function() {
       $(".blurb").show();
    },
    function(){
       $(".blurb").hide();
    }
);

You can view the jsfidde here. Thanks!

A: Use $(this).children() instead of executing a global query again:
$(".thumb").hover(function() {
    $(this).children().show();
}, function() {
    $(this).children().hide();
});

Working demo: http://jsfiddle.net/h5x3f/2/
Note: if you're not bothered about supporting Internet Explorer 6, you can avoid jQuery/JavaScript completely and use CSS's :hover pseudo-class, which will even work with JS disabled.  Or you could use a shim like ie-7.js to handle :hover for you.  See this variation of your fiddle for an example.

A: That's what this is for!
$(".thumb").hover(
    function() {
       $(this).children('.blurb').show();
    },
    function(){
       $(this).children('.blurb').hide();
    }
);

A: Select the div first and then its children, e.g.
$("#mydiv").children(".blurb").show();

A: here you have another solution using the 'find' function:
    $(".thumb").hover(
        function() {
            $(this).find(".blurb").show();
        }, function() {
            $(this).find(".blurb").hide();
        }

    );

redpajama_set_name: RedPajamaStackExchange


text:
Home	>	Maps	>	India Tercera Nvova Tavola c.1561
Carte Generale du Monde c.1676
India Tercera Nvova Tavola c.1561 quantity
SKU: N/A Category: Maps Tags: Asia, Indonesia, South East Asia
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Southeast Asia c.1606
Reproduction of a rare early 17th century map of Southeast Asia and the East Indies by Jodocus Hondius (1563-1612) who bought the plates of Mercator's Atlas in 1604 and added 37 new maps to Mercator's original number including this beautiful map of Southeast Asia and from 1606 published enlarged editions in Latin and French. These atlases entitled Atlas sive Cosmographicae Meditationes de fabrica Mundi et Fabricati Figure, are generally known as the Mercator/Hondius series. The map shows the whole region from the Malay Peninsula to New Guinea with the Spice Islands central, and is closely modelled on Petrus Plancius' Insulae Moluccae published in Linschoten's Itinerario ten years earlier. The geography of the East Indian Islands is no improvement on that of Linschoten and De Bry of a decade earlier. In addition to its aesthetic appeal, it is also noteworthy for being one of the few maps to show evidence of Francis Drake's presence in Southeast Asia during his circumnavigation of the globe in 1577-80. Drake made a landfall on the southern coast of Java, probably in the vicinity of Cilacap and Hondius draws the little known southern coast as a dotted line, save for the presumed point of Drake's supposed landing which is marked `Huc Franciscus Dra. Appulit (here Francis Drake landed).
Bali c.1724
Attractive large-scale map of the island of Bali, originally published in Amsterdam by Francois Valentyn in his "Oud en Nieuw Oost-Indien" ( 1724-26 ), and based on the earlier map of Bali compiled by Willem Lodewijcksz, a member of Cornelius de Houtman's pioneering voyage to the East Indies in 1595-97.
Size image: 56 cm x 45 cm (printed on canvas)
City Plan of Batavia c.1681
This map of Batavia, nowadays Jakarta, was originally published by the Italian historian Gregorio Leti (1630-1710) and was based on the earlier map of Batavia published by Clement de Jonghe in 1650. At the bottom of the map is a view of the city from the sea: for most people this was the first glimpse of the city, after a long sailing journey. Shown are a few Dutch large size sailing vessels, the old Dutch Castle, the canals and the old city walls.


text:
package org.frameworkset.web.servlet.support;

import java.util.Locale;

import javax.servlet.ServletContext;
import javax.servlet.ServletRequest;
import javax.servlet.http.HttpServletRequest;
import javax.servlet.http.HttpServletResponse;
import javax.servlet.jsp.PageContext;

import org.frameworkset.spi.support.LocaleContext;
import org.frameworkset.spi.support.MessageSource;
import org.frameworkset.spi.support.SimpleLocaleContext;
import org.frameworkset.web.servlet.DispatchServlet;
import org.frameworkset.web.servlet.LocaleResolver;
import org.frameworkset.web.servlet.ThemeResolver;
import org.frameworkset.web.servlet.context.WebApplicationContext;
import org.frameworkset.web.ui.ThemeSource;
import org.frameworkset.web.ui.context.Theme;

/**
 *
Title: RequestContextUtils.java

 *
Description:

 *
bboss workgroup

 *
Copyright (c) 2008

 * @Date 2010-9-24
 * @author biaoping.yin
 * @version 1.0
 */
public abstract class RequestContextUtils {
	/** {@link javax.servlet.jsp.PageContext} attribute for page-level
	 * {@link RequestContext} instance.
	 * */
	public static final String REQUEST_CONTEXT_PAGE_ATTRIBUTE =
			"org.frameworkset.web.servlet.tags.REQUEST_CONTEXT";

	public static final String LOCALE_CONTEXT_REQUEST_ATTRIBUTE =
			"org.frameworkset.web.servlet.tags.LocalContext";

	/**
	 * Look for the WebApplicationContext associated with the DispatchServlet
	 * that has initiated request processing.
	 * @param request current HTTP request
	 * @return the request-specific web application context
	 * @throws IllegalStateException if no servlet-specific context has been found
	 */
	public static WebApplicationContext getWebApplicationContext(ServletRequest request)
	    throws IllegalStateException {

		return getWebApplicationContext(request, null);
	}

	/**
	 * Look for the WebApplicationContext associated with the DispatchServlet
	 * that has initiated request processing, and for the global context if none
	 * was found associated with the current request. This method is useful to
	 * allow components outside the framework, such as JSP tag handlers,
	 * to access the most specific application context available.
	 * @param request current HTTP request
	 * @param servletContext current servlet context
	 * @return the request-specific WebApplicationContext, or the global one
	 * if no request-specific context has been found
	 * @throws IllegalStateException if neither a servlet-specific nor a
	 * global context has been found
	 */
	public static WebApplicationContext getWebApplicationContext(
			ServletRequest request, ServletContext servletContext) throws IllegalStateException {

		WebApplicationContext webApplicationContext = (WebApplicationContext) request.getAttribute(
				DispatchServlet.WEB_APPLICATION_CONTEXT_ATTRIBUTE);
		if (webApplicationContext == null) {
			if (servletContext == null) {
				throw new IllegalStateException("No WebApplicationContext found: not in a DispatchServlet request?");
			}
			webApplicationContext = WebApplicationContextUtils.getWebApplicationContext(servletContext);
			if (webApplicationContext == null) {
				throw new IllegalStateException("No WebApplicationContext found: no ContextLoaderListener registered?");
			}
		}
		return webApplicationContext;
	}

	/**
	 * Return the LocaleResolver that has been bound to the request by the
	 * DispatchServlet.
	 * @param request current HTTP request
	 * @return the current LocaleResolver, or null if not found
	 */
	public static LocaleResolver getLocaleResolver(HttpServletRequest request) {
		LocaleResolver localeResolver = (LocaleResolver) request.getAttribute(DispatchServlet.LOCALE_RESOLVER_ATTRIBUTE);
		if(localeResolver == null)
		{
			localeResolver = DispatchServlet.getLocaleResolver(DispatchServlet.webApplicationContext);
			request.setAttribute(DispatchServlet.LOCALE_RESOLVER_ATTRIBUTE,localeResolver);
		}

		return localeResolver;
	}

	/**
	 * Retrieves the current locale from the given request,
	 * using the LocaleResolver bound to the request by the DispatchServlet
	 * (if available), falling back to the request's accept-header Locale.
	 * @param request current HTTP request
	 * @return the current locale, either from the LocaleResolver or from
	 * the plain request
	 * @see #getLocaleResolver
	 * @see javax.servlet.http.HttpServletRequest#getLocale()
	 */
	public static Locale getLocale(HttpServletRequest request) {
//		LocaleResolver localeResolver = getLocaleResolver(request);
//		if (localeResolver != null) {
//			return localeResolver.resolveLocale(request);
//		}
//		else {
//			return request.getLocale();
//		}
		return getRequestContextLocal(request);
	}

	/**
	 * Retrieves the current locale from the given request,
	 * using the LocaleResolver bound to the request by the DispatchServlet
	 * (if available), falling back to the request's accept-header Locale.
	 * @param request current HTTP request
	 * @return the current locale, either from the LocaleResolver or from
	 * the plain request
	 * @see #getLocaleResolver
	 * @see javax.servlet.http.HttpServletRequest#getLocale()
	 */
	public static String getLocaleCode(HttpServletRequest request) {
//		LocaleResolver localeResolver = getLocaleResolver(request);
//		if (localeResolver != null) {
//			return localeResolver.resolveLocaleCode(request);
//		}
//		else {
//			return String.valueOf(request.getLocale());
//		}
		Locale local = getLocalContext(request).getLocale();
		return local.toString();
	}

	/**
	 * Return the ThemeResolver that has been bound to the request by the
	 * DispatchServlet.
	 * @param request current HTTP request
	 * @return the current ThemeResolver, or null if not found
	 */
	public static ThemeResolver getThemeResolver(HttpServletRequest request) {
		return (ThemeResolver) request.getAttribute(DispatchServlet.THEME_RESOLVER_ATTRIBUTE);
	}

	/**
	 * Return the ThemeSource that has been bound to the request by the
	 * DispatchServlet.
	 * @param request current HTTP request
	 * @return the current ThemeSource
	 */
	public static ThemeSource getThemeSource(HttpServletRequest request) {
		return (ThemeSource) request.getAttribute(DispatchServlet.THEME_SOURCE_ATTRIBUTE);
	}

	/**
	 * Retrieves the current theme from the given request, using the ThemeResolver
	 * and ThemeSource bound to the request by the DispatchServlet.
	 * @param request current HTTP request
	 * @return the current theme, or null if not found
	 * @see #getThemeResolver
	 */
	public static Theme getTheme(HttpServletRequest request) {
		ThemeResolver themeResolver = getThemeResolver(request);
		ThemeSource themeSource = getThemeSource(request);
		if (themeResolver != null && themeSource != null) {
			String themeName = themeResolver.resolveThemeName(request);
			return themeSource.getTheme(themeName);
		}
		else {
			return null;
		}
	}

	public static Locale getRequestContextLocal(PageContext pageContext)
	{
		RequestContext requestContext = (RequestContext) pageContext.getAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE);

		if (requestContext == null) {
			requestContext = new JspAwareRequestContext(pageContext);
			pageContext.setAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE, requestContext);
		}
		return requestContext.getLocale();

	}
	public static String getRequestContextLocalName(PageContext pageContext)
	{
		RequestContext requestContext = (RequestContext) pageContext.getAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE);

		if (requestContext == null) {
			requestContext = new JspAwareRequestContext(pageContext);
			pageContext.setAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE, requestContext);
		}
		return requestContext.getLocaleName();

	}

	public static RequestContext getRequestContext(PageContext pageContext)
	{
		RequestContext requestContext = (RequestContext) pageContext.getAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE);

		if (requestContext == null) {
			requestContext = new JspAwareRequestContext(pageContext);
			pageContext.setAttribute(REQUEST_CONTEXT_PAGE_ATTRIBUTE, requestContext);
		}
		return requestContext;

	}

	public static Locale getRequestContextLocal(HttpServletRequest request)
	{
		LocaleContext lc = getLocalContext( request);
		return lc.getLocale();

	}
	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值
	 * @param code
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code,HttpServletRequest request)
	{
		return getI18nMessage(code,(String )null,request);

	}
	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值,如果代码值为空,则返回defaultMessage
	 * @param code
	 * @param defaultMessage
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code,String defaultMessage,HttpServletRequest request)
	{
		return getI18nMessage(code,(Object[])null,defaultMessage,request);

	}

	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值,如果代码值为空,则返回defaultMessage
	 * @param code
	 * @param defaultMessage
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code,String defaultMessage)
	{
		return getI18nMessage(code,(Object[])null,defaultMessage,null);

	}

	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值,如果代码值为空,则返回defaultMessage
	 * @param code
	 * @param defaultMessage
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code)
	{
		return getI18nMessage(code,(Object[])null,(String)null,null);

	}
	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值,并且将数组args中的每个元素替换到代码值中位置占位符,例如{0}会用数组的第一个元素替换
	 * @param code
	 * @param args
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code,Object[] args,HttpServletRequest request)
	{
		return getI18nMessage(code,args,(String)null,request);

	}
	public static String getI18nMessage(String code,Object[] args)
	{
		return getI18nMessage( code, args,(String )null);
	}
	public static String getI18nMessage(String code,Object[] args,String defaultMessage)
	{
		return  getI18nMessage( code,args, defaultMessage,null);
	}
	/**
	 * 根据code从mvc的国际化配置文件中获取对应语言的代码值,如果代码值为空,则返回defaultMessage,并且将数组args中的每个元素替换到代码值中位置占位符,例如{0}会用数组的第一个元素替换
	 * @param code
	 * @param args
	 * @param defaultMessage
	 * @param request
	 * @return
	 */
	public static String getI18nMessage(String code,Object[] args,String defaultMessage,HttpServletRequest request)
	{
		if(request != null)
		{
			Locale locale = RequestContextUtils.getRequestContextLocal(request);
			MessageSource messageSource = WebApplicationContextUtils.getWebApplicationContext();
			if(messageSource != null)
				return  messageSource.getMessage(code, args, defaultMessage, locale);
			else
			{
				if(defaultMessage != null)
					return defaultMessage;
				else
					return code;

			}
		}
		else
		{

			Locale locale = DispatchServlet.getLocaleResolver().resolveLocale(null);
			MessageSource messageSource = WebApplicationContextUtils.getWebApplicationContext();
			if(messageSource != null)
				return  messageSource.getMessage(code, args, defaultMessage, locale);
			else
			{
				if(defaultMessage != null)
					return defaultMessage;
				else
					return code;

			}
		}

	}
	private static LocaleContext defaultLocalContext =  new SimpleLocaleContext(Locale.getDefault(),Locale.getDefault().toString());
	public static LocaleContext getLocalContext(HttpServletRequest request)
	{
		if(request != null)
		{

			LocaleContext lc = (LocaleContext)request.getAttribute(RequestContextUtils.LOCALE_CONTEXT_REQUEST_ATTRIBUTE);
			if(lc == null)
			{
				LocaleResolver localeResolver = RequestContextUtils.getLocaleResolver(request);
				Locale locale = null;
				if (localeResolver != null) {
					// Try LocaleResolver (we're within a DispatcherServlet request).
					locale = localeResolver.resolveLocale(request);
				}
				else {
					// No LocaleResolver available -> try fallback.
					locale =  request.getLocale();
				}
				String localeName = locale.toString();
				lc = new SimpleLocaleContext(locale,localeName);
				request.setAttribute(RequestContextUtils.LOCALE_CONTEXT_REQUEST_ATTRIBUTE,lc);
			}
			return lc;
		}
		else
		{
			return defaultLocalContext;
		}

	}
	public static String getRequestContextLocalName(HttpServletRequest request)
	{
		LocaleContext lc = getLocalContext( request);
		return lc.getLocaleName();

	}

	public static void setLocale(HttpServletRequest request,
			HttpServletResponse response, String locale) {
		RequestContextUtils.getLocaleResolver(request).setLocale(request, response, locale);

	}

	public static void setLocale(HttpServletRequest request,
			HttpServletResponse response, Locale locale) {
		RequestContextUtils.getLocaleResolver(request).setLocale(request, response, locale);

	}

}

redpajama_set_name: RedPajamaGithub


Discussion in 'CycleChat Cafe' started by Arch, 5 Oct 2007.
My wife has just got one! found the baby chewing it this morning! Yeuuch.
Oh my gawd! Not again. Look this is a sticky and horrible subject. Doesn't it belong in Maintenance forum?
I've just realised we haven't got a maintenance bit so it will have to be Special Interests.
That's not fair! I was half way to Mongolia before I realised you woz only joking!
Very well. Very convenient, and I'm saving money not needing the other bits and pieces.
Move the thread to Beginners and we'll get rid of the few who're left after bonj has been on the rampage.
I'm told that SheWee is for wimps - Essex clubbers just use a simple pelvic thrust, even with trousers.
Of course, later in the evening after a spell of binge drinking they don't even bother to unzip.
I had no idea what you were talking about until I google'd.
Mmm. All that washing sounds like too much trouble to me... Although of course, it's how women managed for centuries.
The Shewee: The clue's in the name really.
Being no stranger to finding a bush when necessary, it's tempting - it can be much harder to find a bush with 360 degree screening than to find a large tree. And when you're wearing a hi-vis jacket, you feel even more noticable!


Will match mentally physically, i want to money than dating that tremendous increase.Homeschool current account in the american girl dating a scottish guy feet and lot of places.
According to Consumer Fraud Reporting.org, as much as 30 percent of online personalities are bogus. Because, says Donna Andersen, of Egg Harbor Township, N.
However, due to the anonymous nature of the process, hazards abound.Your credit and other financial interests may be at risk if you don't guard yourself from those falsely fishing for companionship.Here's how to protect more than just your heart when seeking a mate via the Internet.Enough space work divine mercy and those started the process actually is have a website.Woman drop like a normal free dating websites no credit card required person if you were continue its development in order to reach.Many other dating sites charge for their services and we think that a true love should be 100% free.


text:
Q: List referencing entities using endpoints-proto-datastore If you have, say, an EndpointsModel class, Employee, which contains a reference to an EndpointsModel class, Company, how do you include a method in the remote.Service class CompanyService that lists its employees?
 The question might better be phrased as" "How to access a query variable within a method?"
The path might look like so:
GET http://localhost:8080/_ah/api/contacts/v1/companies/123/employees

Here's CompanyService::employees():
@Employee.query_method(http_method='GET', path='companies/{id}/employees')
def employees(self, company):
    """
    Retrieve the employees for this company
    """
    company_key = ndb.Key(Company, company)
    return Employee.query(Employee.company == company_key).fetch(20)

When company_key is computed using a hardcoded value, say '123', This method actually works perfectly. But how to get the company id? In "query" methods, as opposed to "query_method" methods, this is simply an attribute of the model parameter with which the method is called. But there doesn't seem to be an easy way to extract the value from the query parameter with which a "query_method" method is called.
Since this is a central design feature of any API I would like to create, I really need to get it worked out. The engineering boilerplate comprising the EPD and endpoints libraries provide some good documentation in the comments but the code itself is above my pay grade :-)


There are no critic reviews yet for Limit of Love: Umizaru (Umizaru 2: Test of Trust). Keep checking Rotten Tomatoes for updates!
There are no featured reviews for Limit of Love: Umizaru (Umizaru 2: Test of Trust) at this time.


text:
SU lacrosse coach John Desko: My decision to reinstate Chase Scanlan but he won't travel to Notre Dame
Syracuse's Chase Scanlan (22) celebrates scoring the first goal of the game against Army at the Carrier Dome on Feb 21, 2021 (Dennis Nett | dnett@syracuse.com)
By Lindsay Kramer | lkramer@syracuse.com
Syracuse, N.Y. -- Syracuse lacrosse coach John Desko said it was his decision to reinstate suspended attack Chase Scanlan to the team on Monday, but that he will not travel to the Orange's game at Notre Dame on Saturday.
At his weekly Zoom media conference Wednesday, Desko also initially said Scanlan was back practicing with the Orange. Tuesday, the captains told Scanlan that if he tried to practice with the team many of the other players would walk off the field.


text:
Action Games Games Without Decompressing
DOWNLOAD BATTLEFIELD MOBILE FOR Android & iOS | Battlefield Mobile on Android
Welcome Today I will explain to you a new topic for the topics we offer you continuously and exclusively. and today's theme is DOWNLOAD BATTLEFIELD MOBILE FOR Android & iOS specially or more precisely, How To DOWNLOAD BATTLEFIELD MOBILE FOR Android & iOS | Battlefield Mobile on Android
For those who do not know how to install Game Watch this tutorial video From Here!
Introduction to the world of mobile games
In our current world, Android and iPhone phone games have become among the most beautiful and wonderful games that you can play with. Because of the terrible development in it in terms of high graphics and also because of the ease of downloading and installing it on the phone and the possibility of playing it anywhere just through your phone, which does not exceed the weight of 250 grams and you can carry it with you anywhere. Frankly, these games have become a great competition for platforms such as PlayStation, Xbox or something like that. Android games have evolved a lot in the past years in terms of fictional graphics, smooth gameplay, easy downloading and installation, and some of the great features.
Also, Android and iPhone games included all areas of sports Football, for example, is a FIFA and PES game, and the open world games, for example, a game of Gta San or Gta V, and others, as well as adventure and suspense games puzzle and intelligence games, etc ... Also, Android games have the advantage of supporting playing in many forms. I mean, it works without an internet network and online games work through a network and support team play I mean with people across the world and games via bluetooth to play with your friend or brother collectively I mean it must be close to you or very many and very diverse games ...
On our website SPZ Gaming, I will try to present to you the best new games for Android phones through articles, as well as videos, with links to download quickly and safely from Google Play and Mediafire or Mega, and you have the option on the way to download from any site you want, also I will try to provide games for iPhone phones, I Hope to be good as you expect me to be
Today's subject
EA officially announces the production of the Battlefield Mobile game
Peace, mercy and blessings of God be upon you. A new topic about EA announcing the upcoming Battlefield mobile version during the next period before we start. Do not forget my friend to share this article with your friends
After EA announced all the details of the Apex Legend Mobile game now, it launched a new publication about the future of the Battlefield game through which it revealed the mobile version that will start production during the coming period, as the first thing the company mentioned in its article is that there is a new version of the game Battlefield is coming for the phone in the year 2022
Something explicitly and expectedly normal, because a game has just begun to work on, and in return, in this last version, it will not depend on a previous version or anything else, but will be an exclusive version for the phone, like what happened with the Apex Legend Mobile game completely, EA has hired two companies this time to start working on The first Battlefield Mobile game, named Industrial Toys, and the second named Dice, also the company focused on the point that the latter is a version designed for mobile phones and will be different in everything from the computer or console version.
In the last, the company mentioned a very important thing, which is that the game had entered the trial phase before its release in the next year, which means that the company had been working on it for past months and did not want to announce that. The possibility that the company will publish a trial version before the end of this year because in the year 2022 intends to launch the version Complete
The last word mentioned on this topic is that there are many details coming and that will be revealed in the coming days. Personally, I am very happy with this news, especially since a company has finally woken up from its deep sleep about mobile games and from now on expecting strong games from this company. I personally hope Working on a new FIFA Mobile version would be a powerful thing and somewhat close to the computer version, knowing that it can do so, and I hope this will happen soon. You can now do a pre-registration for the Battlefield Mobile game. I will leave you the link below this topic
For how to install files for the game, below these lines you will find a detailed explanation of how to install the game. I have provided a clear explanation in the easiest way.
I advise you to try Battlefield Mobile for Android, not available in the Google Play Store. You can download it from our website SPZ Gaming only without short links or profitability and on the easy site to download Mediafire or Mega What are you waiting for download the game now
Video from inside the game
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deep cleaning…….that has been tough! So, I'm taking an idea from the Duggars and dividing the chores into "jurisdictions" or zones. Everyone will be responsible for one job or one area. This will hopefully cut down on the amount of cleaning that has to be done on the weekends.
Curly is in charge of bathrooms. Our new house has 4 bathrooms and each day she will tackle one bathroom. She'll wipe counters, clean toilets, wipe down tubs, and clean the mirrors. On the last day she'll take all the rugs to the laundry room to be washed and then she'll mop the floors in all bathrooms. She often cleans the bathrooms for me and she actually enjoys doing it – and does a great job! So, we'll start her with bathroom duty for now.
Tiger likes to run the vacuum. He's proud that he's strong enough to push it around the house. So, he will rotate vacuuming the upstairs and downstairs. On Fridays he'll be in charge of mopping in the kitchen.
Bee is the duster! She will dust upstairs and downstairs and on the remaining days of the week she'll dust blinds, windowsills, and the base boards.
I'm not exactly sure what Ladybug will do. I think we'll work with her on emptying her hamper into ours and putting her toys away in her toy bench.
My hubby is in charge of taking the trashes out and folding the laundry and I'm in charge of the kitchen – cooking, cleaning, and dishes.
My goal when we move is to spend the first month in our new house training the kids on their chores. This means that we'll do them all together so I can make sure they are getting the job done. Is it too much to hope that eventually they'll be able to do a decent job on their own and I won't be so ridiculously behind on house work?
Here's our chart of chore zones. As the kids get older, the zones and responsibilities will change. But for now, I hope my house stays a tiny bit cleaner as everyone helps out!
Well, we'll see how it goes! It is such hard work to teach them to do things. It takes much more work on my part to help them do a good job. But we're really going to try to keep up with the new house!


The Internal Revenue Service has powerful collection abilities. If you owe a tax debt and don't make immediate payment arrangements, the IRS can attach a lien to your real estate, seize your bank accounts, garnish your wages and intercept your tax refunds. Fortunately, your unpaid tax debt won't live forever. The IRS must adhere to a collection statute of limitations that limits the amount of time it has to recover a debt.
The IRS only has 10 years to collect debt due to the fact that they, like all legal entities, are bound by a statute of limitations.
Federal law gives the IRS only ten years to collect your tax debt. Although it may seem counterproductive for a government agency to limit its own collection abilities, old debts are harder to collect than recent ones. The statute of limitations ensures that the IRS focuses its available time and resources on those debts it is most likely to collect. The IRS assigns a collection statute expiration date, or "CSED," to every delinquent account. Once the CSED expires, the IRS loses its right to seize your assets or make payment demands. Debtors often confuse the statute of limitations for tax debt with those that govern commercial creditors, such as collection agencies. Once a commercial statute of limitations expires, the creditor loses its right to sue, but it may continue other collection efforts. Making a payment during this time resets the statute of limitations. After a tax debt's statute of limitations expires, however, the IRS must immediately cease collection efforts, and making a payment does not impact the CSED.
The statute of limitations for tax debt begins on the date the IRS assesses the debt, not the date it accepted your tax return. In most cases, the IRS has three years from the date you submit your return to conduct an audit. If you omitted more than 25 percent of your income, this time limit increases to six years. Thus, depending on your specific tax situation, the IRS could have as long as 16 years to collect your tax debt.
The 10-year statute of limitations for tax collection isn't set in stone, and certain events can extend the amount of time the IRS has to collect from you. If you file bankruptcy or leave the country, the statute of limitations stops running and resumes once your bankruptcy case is complete or you return to the U.S. Filing an offer in compromise in an effort to settle your tax debt can extend the statute of limitations by one year or the duration of your proposed payment plan. If you want to pay your debt, but the statute of limitations has either expired or is close to expiring, you can sign a waiver and extend the collection period voluntarily.
When you don't pay delinquent taxes, the IRS attaches a blanket lien to your property. In the case of real estate, a tax lien gives the IRS the right to foreclose on your home and apply the proceeds to your outstanding balance. Even if the IRS opts not to foreclose, a real estate lien hinders your ability to sell or transfer your property. The IRS is supposed to automatically release any real estate liens it holds once the 10-year statute of limitations passes. If it does not do so within 30 days, you have the right to contact the IRS and request information regarding your lien's status. You can also request a certificate of lien release proving that your tax lien is no longer in effect.
Patrick T. Sheehan & Associates: Statute of Limitation -– How Long Does the IRS Have to Audit My Tax Return?


Mount Massive Expression Now Available!
It's been a long time coming, but we are finally proud to announce that our American Light Whiskey, Mount Massive Expression, is now on sale in Parker, CO! Just to catch you up, in August we inspected and sampled our barrels, in September we proofed and bottled, and currently, you can find us at the Pinery Country Club, Parker Payless Liquors, and Stroh Ranch Liquors. We are working hard to get our Mount Massive Expression in as many places in Parker as possible. More locations and more cities soon to come! Go get your first bottle and let us know what you think!


Interior Health Authority: Malcolm Griffin, CIO for I.M.I.T.
Malcolm Griffin is the Chief Information Officer for the Information Management & Information Technology (IMIT) Department of Interior Health Authority, one of six health authorities in British Columbia. It serves 265,000 square kilometers and a population of about 750,000. As a predominantly rural health authority–the largest city has a population of 175,000–the organization is wired for leading technology. It has garnered several awards regarding its information management and technology practices in recent years.
In 2005, Interior Health began implementing a vision that would eventually mark them as leaders in integrating information technology into healthcare. Several initiatives were introduced, the major ones falling under the headings of an electronic health record, a tele-health program and patient safety systems.
They began working with physician order entry and began linking back to make sure the primary care physicians received the results via an electronic interface.
All of this was done on an older information system platform, yet worked so well they were able to convince stakeholders to build a business case to do a wholesale upgrade of the platform to a more user-friendly application.
The primary partner in the technology platform upgrade is Medical Information Technology, Inc., more commonly known as Meditech. "The Meditech version is much more user friendly from a clinician perspective," says Griffin.
They use Polycom equipment extensively in the tele-health program. Interior Health Authority is involved in about 10,000 tele-health consults per year in about 52 different clinical areas. In residential care settings, they work with Goldcare, the healthcare division of Campana Systems, Inc.
IBM and EMC are also large partners in terms of office and information technology.


(PhysOrg.com) -- Investigators at Northwestern University Feinberg School of Medicine have identified the molecule Egr-1 (early growth response factor 1) as a new therapy target for scleroderma, an autoimmune disease for which there currently is no cure.
Scleroderma, also known as systemic sclerosis, is a chronic autoimmune disease in which the body's immune system turns on itself. It causes progressive thickening and tightening (fibrosis) of the skin and also can lead to serious internal organ damage and, in some cases, death. Scleroderma affects an estimated 300,000 people in the United States, most frequently young to middle-aged women.
"The implications of our discovery are broad-ranging because fibrosis, or scarring, underlies not only scleroderma but also other more prevalent diseases such as pulmonary fibrosis, kidney fibrosis, liver cirrhosis, radiation-induced scars and many others," says John Varga, M.D., professor of medicine and of dermatology at Feinberg and a physician at Northwestern Memorial Hospital. "The role of Egr-1 in fibrosis that we have identified is likely to apply to all of these conditions."
The findings were spotlighted recently by the National Institute of Arthritis and Musculoskeletal and Skin Diseases, along with similar research findings from the University of Pittsburgh School of Medicine. Both were published in the American Journal of Pathology.
Pharmacological agents used to treat type 2 diabetes mellitus, inflammation and leukemia might block aberrant Egr-1 activity, Varga says, and could be useful as a novel treatment for scleroderma.
Varga directs the Northwestern Scleroderma Program, which is one of only a handful of centers in the nation that specialize in the disease. Since the disease affects multiple organs, optimal patient care requires the coordinated efforts of physicians from a wide variety of specialties to ensure comprehensive disease evaluation and management. Patients are also given the opportunity to participate in research studies, clinical trials and education programs.
For the latest findings, Varga led a research team that included Northwestern scientists from pathology, plastic surgery, immunology, and pulmonary and critical care medicine. In one study, the team reproduced scleroderma in mice to show that the levels of the protein Egr-1 become highly elevated in the scar tissue. In a second study, the team used mice where the gene for Egr-1 was genetically deleted to demonstrate protection from the development of skin and lung fibrosis, in contrast to the genetically normal mice. Because the understanding of scleroderma and fibrosis represents a major unmet medical need, fresh insights into the disease process might open the door for novel therapies.
"The Northwestern research team continues to make fundamental contributions to scleroderma by focusing on its underlying molecular and cellular basis," says Varga. "We believe that only by applying a careful mechanistic approach to dissect the role of cells, molecules and pathways in this disease can we make real progress. We are now closer to treatments that could control the disease."
Varga notes that interdisciplinary collaboration is necessary for discovery. "Scleroderma is an unusually complex disease that simultaneously attacks the vascular, immune and connective tissue systems and is affected by genetic factors," he says. "In order to understand this disease, it is essential to explore each of these processes."


text:
Government to Reward Banks Boosting Payments With RuPay
The government announced a program to reward banks for boosting point-of-sale and online purchases made with RuPay debit cards as well as small-volume payments made to retailers through the BHIM-UPI network.
The notification, dated January 14, 2023, was posted on the website of the Ministry of Electronics and IT this week. It is a part of a plan announced in the Union Budget for 2022–2023 to increase the nation's use of digital transactions.
For the financial year 2022–2023, beginning on April 1, 2022, the government has launched a program to reward acquiring banks by paying a percentage of the value of RuPay debit card transactions and low-value BHIM–UPI transactions up to Rs 2,000 (Person–to–Merchant–P2M).
The acquiring bank would receive a 0.4 percent incentive for low volume transactions using RuPay debit cards at point-of-sale (PoS) and through e-commerce, with a ceiling of Rs 100. This incentive is apart from any industry-related programs.
The allocation of Rs 2,600 crore will be fungible between RuPay debit cards and BHIM-UPI," according to the notification
"This incentive scheme will promote digital payments by incentivising banks to build a robust digital payments ecosystem and to promote RuPay debit cards and BHIM-UPI as low-cost digital payments mode across all sectors and segments of population. In line with the Budget announcement, the scheme will also promote UPI Lite and UPI 123PAY as economical and user-friendly digital payments solutions," according to the notification.
In the case of industry programs, the reward will be 0.15 percent of low volume transactions made using RuPay debit cards, with a maximum of Rs.6.
Similar to this, the acquirer bank will receive 0.25 percent of the transaction amount for other than industry programs for payments made to merchants using BHIM-UPI for transactions up to Rs 2,000, and 0.15 percent for industry programs covering, among other things, insurance, mutual funds, government, education, railways, agriculture, and fuel.
The program is said to be in place starting on April 1, 2022, for one year.
"The financial outlay for the scheme shall be restricted to Rs 2,600 crore. To secure this, MeitY will, if required, review the merchant categories included in industry programs. The allocation of Rs 2,600 crore will be fungible between RuPay debit cards and BHIM-UPI," according to the notification.


hanacaraka.co - On this article we recommend you 15 images about Scotland On World Map that we have collected from any source about World Map. The Interactive Route Map Displays, and of course what we provide is the most best of images for Map Of Regions And Counties England Wales Scotland The World Inside On. If you like images on our website, please do not hesitate to visit again and get inspiration about The Interactive Route Map Displays of our images collection.
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Ah, the friend zone. That dreaded purgatory, depicted as the living nightmare of any romcom's male protagonist.
Sure, the concept has been expanded to include women, who themselves can be 'friend zoned', but popular imagination has usually relegated the term to well-meaning guys, desperately vying for the attention of their attractive crush who will usually be dating the handsome jerk instead. It's blockbuster formula 101. By the end of the film, the endearing nerd will have "won" the love of the beautiful female lead, who will finally realise she had been wasting her time all along, and the audience cheers as these two soulmates gleefully spend the rest of their lives together.
It may seem so innocent and harmless, but the 'friend zone' is a quintessentially ugly, toxic concept that has no place in our society. Behind the entire notion stands a history of self-loathing, reactionary traditionalism and misogyny which, as subtle as it is, manages to rear its head whenever the word comes up. It may be the driving force of romantic dramas and hilarious memes, but it may be time we ditch the concept for good.


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Bartra Capital
Chinese invest in Irish social housing and nursing homes
Barry O'Halloran
Chinese investors are paying €1 million each to social housing schemes planned by developer Richard Barrett's Bartra Capital, in return for the right (...)
Co-living scheme in D4 gets green light
Gordon Deegan
December 1, 2020, 19:25
Property firm, Bartra Capital has secured planning permission for a €25 million co-living scheme for a site on Merrion Road i(...)
Bartra refuses to increase size of bedrooms in D4 shared co-living scheme
Property firm Bartra Capital Property has refused to increase the size of bedrooms in its planned €25 million shared co-living scheme for a site (...)
Stoneweg to develop 397-unit co-living scheme on Cork St
Stoneweg, a property investment firm with a portfolio worth more than $2 billion, is to develop a 397-unit co-living development in Dublin city centre(...)
Bartra Capital to spend €130m on four co-living sites in Dublin
Bartra Capital is to spend €130 million constructing the four co-living sites it has planned for Dublin. The Richard Barrett-led property group confi(...)
Sean Dunne's bankruptcy, objections to D4 co-living, and oil off the Cork coast
Ciarán Hancock
A lawyer representing Gayle Killilea, ex-wife of onetime Celtic Tiger tycoon Seán Dunne, told a US court on Tuesday that there is "a tentative agreeme(...)
Arytza chief expresses Covid-19 concern over D4 co-living plan
One of the country's best paid chief executives is objecting to plans for a 111-bed shared co-living development in Ballsbridge. Chief executive of A(...)
Neighbours win out in battle over Bartra's Dalkey development
Ronald Quinlan
It looks like it's a case of back to the drawing board for Richard Barrett's Bartra Capital and its plans for development at Bulloch Harbour, in the s(...)
Singaporean developer pays over €3m for Citywest lands
Singapore-headquartered developer K2 Data Centres has paid just over €3 million for a 4.6-acre site at Citywest Business Campus in Dublin. The acquis(...)
Permission for 200-bed co-living development in Castleknock quashed
Olivia Kelly
Permission for developer Richard Barrett's Bartra Capital to build a 200-bedroom co-living apartment block in Castleknock, Dublin 15, has been quashed(...)
National Rifle Association petitions for bankruptcy and reincorporation in Texas 23:15
1:11 Warden separates tangled stags with a single gunshot


text:
Linia kolejowa nr 100 – linia kolejowa o długości 18,758 km, łącząca Bratysławę z Marchegg przez Devínską Novą Ves. Jest to linia graniczna, biegnąca do austriackiego Marchegg, gdzie łączy się z linią do Wiednia.

Historia linii
Od 1836 były wysiłki na rzecz budowy linii kolejowej łączącej Wiedeń i Budapeszt. Linia przez Győr rozpoczęła działalność w 1838 roku, ale także prowadzono już praca na linii Marchegg - Bratysława.

Linia wymagała budowy wiele obiektów infrastrukturalnych, takich jak 474 m długości most na Morawie, 215 m długości i 17 m wysokości Czerwony most i tunel o długości 703,6 m.

Trasę z Wiednia do Bratysławy poprzez Marchegg ukończono już 10 sierpnia 1848 i była pierwszą linię kolejową na Słowacji. Po wybudowaniu odcinka Bratysława - Vác, od 16 grudnia 1850 połączono Wiedeń z Budapesztem i była jedną z najważniejszych linii w Austro-Węgrzech. Na tej trasie kursował słynny Orient Express.

Przypisy

Bratislava – Marchegg


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Home / Sports / Former WWE Champ Bobby Lashley To Make Strikeforce Debut Jan. 30
Former WWE Champ Bobby Lashley To Make Strikeforce Debut Jan. 30
Former World Wrestling Entertainment (WWE) heavyweight champion and undefeated mixed martial arts (MMA) fighter has signed a multi-year agreement with STRIKEFORCE and will make his debut for the world championship MMA promotion at BankAtlantic Center in Sunrise, Florida on Saturday, January 30.
The 6 foot 3 inch, 250 pound Lashley, also a former collegiate wrestling star for Missouri Valley College and member of The United States Army, will face an opponent that has not yet been determined during the live, SHOWTIME® telecast of STRIKEFORCE: Miami, the historic, first-ever STRIKEFORCE event in the state of Florida.
In his last MMA start on June 27, 2009, the 33-year-old pulverized and scored a first round (3:17) TKO on 6 foot 5 inch, 350 plus pound goliath Bob "The Beast" Sapp with a barrage of punches in Biloxi, Mississippi. The win brought Lashley's overall MMA record to 4-0.
"I'm looking forward to fighting for STRIKEFORCE and challenging myself by taking on some of the top heavyweights in MMA," said Lashley, a native of Junction City, Kansas and resident of Denver, Colorado.
After getting his feet wet with several matches in both the WWE Raw and SmackDown! shows in 2005 and 2006, Lashley captured the WWE United States Championship by defeating rival competitor "JBL." During this stint with the league and another in 2007, Lashley wrestled several top superstars, including The Big Show and John Cena.
Lashley made his MMA debut on December 13, 2008, earning a 41 second TKO over Joshua Franklin after Franklin sustained a cut that would not allow him to continue their fight.
Earlier this year, Lashley joined Total Nonstop Action (TNA) Wrestling. In his first appearance with the league on July 30, he helped tag team matchup partner Mick Foley defeat superstars Kurt Angle and Kevin Nash.
Tickets for STRIKEFORCE: Miami officially go on-sale tomorrow/Friday, December 11 at the BankAtlantic Center ticket office as well as online at www.Ticketmaster.com <http://www.ticketmaster.com/> or by phone at (800)745-3000.
Doors at BankAtlantic Center open at 7 p.m. The first non-televised, preliminary card fight will begin at 8 p.m.
STRIKEFORCE in March 2009 signed a multi-year agreement to stage live MMA events on premium cable television network SHOWTIME. The promotion made its live, primetime debut on CBS with the "Fedor vs. Rogers" mega-fight that it co-promoted with M-1 Global on Saturday, November 7 and generated 5.46 million viewers for the main event between the world's number one heavyweight, Fedor Emelianenko, and superstar Brett "The Grim" Rogers.
About STRIKEFORCE
STRIKEFORCE (www.strikeforce.com <http://www.strikeforce.com/> ) is a world-class mixed martial arts cage fight promotion which, on Friday, March 10, 2006, made history with its "Shamrock vs. Gracie" event, the first sanctioned mixed martial arts fight card in California state history. The star-studded extravaganza, which pitted legendary champion Frank Shamrock against Brazilian Jiu-Jitsu black belt Cesar Gracie at San Jose's HP Pavilion, played host to a sold-out, record crowd of 18,265. Since 1995, STRIKEFORCE has been the exclusive provider of martial arts programming for ESPN and, after 12 years of success as a leading, world championship kickboxing promotion, the company unveiled its mixed martial arts series with "Shamrock vs. Gracie." In May 2008, West Coast
Productions, the parent company of STRIKEFORCE, partnered with Silicon Valley Sports & Entertainment (SVS&E), an entity created in 2000 to oversee all business operation aspects of the San Jose Sharks and HP Pavilion at San Jose.
Source: Mike Afromowitz/StrikeForce
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Mass copyright infringement suits have sprung up everywhere, and are being filed at an absolutely dizzying pace. One of the most prolific and successful mass copyright plaintiffs (or copyright trolls if you prefer) is Malibu Media – they have filed more than 50 cases in the Northern and Central District since mid-2012.
The complaint only alleged that the plaintiff's investigators observed that each Doe had participated in a torrent swarm distributing a single piece of a larger file, and therefore, the plaintiff did not allege that the Does participated in distributing the work, but rather a small piece of the work.
The dates that each Doe was observed spanned weeks to months, and accordingly, it is unlikely that the Does actually collaborated with one another to distribute the work.
This opinion was binding on Case No. 12-CV-1189, and recommended in a number of other cases. Magistrate Judge Gorman also recommend that future peer-to-peer copyright infringement actions be filed against single defendants.
While this might seem to be a win, the Doe that actually filed the motion to quash ended up in a suit by himself against Malibu Media. While the subpoena to his ISP was modified to only reveal the information necessary to serve process, his ISP was ordered to reveal his information to Malibu, and, given recent trends, Malibu is likely to proceed against him. Strategically, this is likely a costly move, as Malibu will get his information, and the cost for him to settle is likely to double or more.
By Sherinian Law in Copyright on February 12, 2013 .


The Long Journey Home is a beautiful game. Featuring a level of polish indie titles are simply not known for, Daedelic's strategy adventure game brings space to life in all it's majestic and unforgiving lethality. Starting as a mission to Alpha Centauri that goes horribly wrong, The Long Journey Home sees four astronauts and their starship go wildly off course upon activation of an experimental drive and catapulted thousands of light years away from Earth. Stranded on a mysterious random corner of the Milky Way, you must guide your forlorn crew through vast regions of uncharted space, and hopefully get home in one piece.
A brutal game, The Long Journey Home tasks you with acquiring and managing resources to maintain your ship as you make your way to Earth. Taking place from a top-down 3D perspective, you must carefully turn your ship and fire thrusters while slingshooting across gravitational fields to conserve fuel, all with the goal of reaching a planet or station before jumping to the next star system on your journey home.
As you maneuver the space vessel around gravity wells and navigate star systems, your ship uses up fuel and suffers wear and tear, necessitating constant maintenance and expenditure of materials. There is no arbitrary time factor limiting player choices -- one can go anywhere, as long as they have the ability to take them there. In order to keep their ship in top shape and actually make the long journey home, players must place their ships in orbit around planetary bodies and send down an atmospheric lander, armed with a drill and capable of limited aerial flight, to gather resources.
The lander gameplay is strongly inspired by that oldie Lunar Lander, where you must carefully guide a ship through a 2D environment while battling the uninterrupted pull of gravity. Hard materials, such as iron or copper metals, require the player to land on a spot and drill the surface, while softer necessities like hydrogen or helium demand one to constantly keep the craft above a spewing geyser and activate the drill to capture the gases.
Each planet has a different climate, rendering the already challenging task much more complex. Besides gravitational differences that affect the way the lander behaves, some scenarios present environmental hazards. The worst one I encountered was a high gravity, high temperature planet: upon insertion into the atmosphere, my lander continuously suffered heat damage and was forcefully drawn towards the igneous rock surface engulfed by flowing lava. Quickly maneuvering as the craft hit mountains and skimmed lakes of molten rock, I quickly gathered the gases I needed before hastily firing the engine and escaping that hellish landscape. It was exciting, but extremely dangerous.
Somewhat unforgiving and a tad unbalanced, The Long Journey Home is an interesting mix of strategy and adventure in their purest senses. While the unique journey and story is typical of an adventure game, the meticulous logistical awareness is reminiscent of a survival title. This is a proper strategy game, in the logistical sense: bad use of resources or wrong decisions *will* get you killed, necessitating thinking and planning in order to succeed. The game has three difficulties levels, and the thankfully included Story Mode allows a sizeable degree of human error while still being extremely demanding. My initial playthrough lasted about 90 minutes before I had to save and go do something else; the stress of learning the game while constantly maneuvering the ship and lander was surprisingly draining.
However, the game is uncompromisingly enjoyable. Its gameplay is engaging and fun while the title's tone never dips into one of dread despite the circumstances, always keeping a fairly neutral stance and letting its great writing carry the weight. Characters have interesting backgrounds and well developed personalities and reactions, lending an additional layer of depth to the RPG like dialogue trees and interactions. Several alien races may cross paths with the player, generating a myriad of scenarios that lead to great emergent gameplay moments.
Beautiful graphics ally with a breathtaking musical score to present a uniquely charmful view of outer space. The original soundtrack sublimely evokes the atmosphere the game's actions require, be it the ominous bass of a dangerous and unknown star system, or the joyful excitement of peaceful exploration. Gravity wells bend and twist the virtual representation of the underlying fabric of spacetime, while the screen glitches and fritz in the proximity of a massive gravitational anomaly like a black hole. Accidentally flying your ship into a planet shakes the screen whiles the ship crew tries to skim it off the planet's atmosphere safely, while inadvertently flying it into a sun a major visual feedback, with the screen getting severely distorted and all sensor data completely disappearing as you anxiously watch to see if your crew manages to circumvent the star's corona. It is artistically done, and it left me absolutely astonished and utterly impressed.
My sole gripe with the game is the seemingly lack of balance toward being difficult. The lander is notoriously unsatisfactory to control and extremely prone to fumbling, to the point of unfairness. For some reason, every time you deploy to a planet with a normal or above gravitational pull, the lander comes in so hot that all but guarantee you are smashing against the surface. Even turning it and burning at full speed proves insufficient at stopping a collision, effectively ruining the experience by cheating and essentially mining the whole concept of its gameplay. It's cheap, and the whole game is frankly above it.
But in the end, The Long Journey Home is a thoroughly fantastic experience. With a complex gameplay, a unique premise, and a extraordinary sublime presentation, this indie title raises the whole genre to a new bar of excellence. The game has a gigantic amount of character, making even the toughest of situations quite tolerable, and its flaws are small or easily fixable. The player is trusted with both agency and judgement, choosing a crew and ship at the moment the game starts and never losing control of its fate through plot reasons. Thanks to that and its procedurally generated galaxy, The Long Journey Home has a significant replay value, and is a must have in everyone's library.
Absolutely breathtaking, everyone should experience The Long Journey Home at least once.


In case you missed it because of UL's irrelevancy, 2 players recently submitted their paperwork to transfer and rumor has it that 20 others are requesting papers (not signed).
Well that forces the hand for the admins.
What i don't understand is how they didn't see this coming. They should of known after Lamar Jackson it was over. They were mediocre with him, how did they expect to survive without him?
What's even worse for them is the decommits starting.
Maybe they should have let him play more last year….
The more I read about this the worse this situation is. From what I am reading and hearing, Louisville is hurting so bad financially that they can't afford to pay off Petrino and bring in the type of coach needed to turn the program around. No quality coach is going to take this job without a significant salary.
The real question is can they afford to "not" clean house for the long term?
There has to be some boosters with deep pockets that can step up and help out.
Once the Papa Johns drama happened, it was all downhill from there especially money wise.
They better start looking for the next Chad Morris or Lincoln Riley. Small time coach that wants to come up from high school or a small school. Not paid very much but can do something. Wonder how much Neal Brown from Troy would cost? He's making almost $1mil in the Sun Belt at Troy now, that may be to expensive for Louisville.
Also, they really can't afford not to do something. No one will attend games next year, that could cost them more than some sort of deal or buyout would. Add in every other detail of fans not being there and it could get REAL ugly really fast. Losing players, losing recruits, you have to do something.
Pair this with Kentucky slowly clawing it's way to the forefront and you have incredible pressure on the Louisville admin right now.
Also, what quality coach would want to come in to that hot pile of mess in a division with Clemson and FSU (who will be back) along with solid mid level programs like Syracuse, NC State and BC?
I think someone "good" with a little baggage my get a look like Greg Sciano maybe…I doubt a guy like Lane Kiffen or Mike Leach would even consider a job like this one.
Early on I've read UL seems cash strapped, but it has not seemed like an issue for the past 3-4 weeks. They'll find a way.
Well, now that Petrino is gone, this thread can now evolve into who is going to come in and resurrect this hot mess? Everything I am reading says there is serious turmoil in Louisville and they need to get a new HC in place to hit the recruiting lanes as is a real mess from what I have been reading.
I'm guessing they have already got a man ready to take over to fire Petrino with 2 games left.
It's Jeff Brohm or bust.
Problem is, everything i've seen have Brohm saying he's not interested. Could just be coach talk to get through the season, but it very well could be true. Is Louisville a lateral job to Purdue? Who will pay more? Is he happy where he is?
Not everyone wants to rush home to their hometown. Or to a former job.
He was the OC under Steve Kragthorpe, but was the scape goat when things went bad. It's a new AD, Brohm is a Louisville man to the core. We could speculate on the #2 choice, Matt Campbell from ISU.
Louisville was sure they wanted a new coach, and it was smart to get out ahead of it. UNC did this to get Butch Davis. They fired John Bunting, but let him coach out if he wanted to. He did, and then retired. Everyone knows how Davis turned out, but the premise of the decision was not bad. If Louisville knows who they want, it is fine. If they do not, it was stupid.


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AMERICAN HORROR STORY 1×06: "PIGGY, PIGGY"
I don't know, maybe it's me. Maybe I've just gotten overstimulated by American Horror Story and its never-ending whirligig of horrors, howlers, and things that make you go Huh? I mean, when I cast my mind back to my younger, more innocent days—just six short weeks ago—I can vaguely remember when my pure, virginal soul would have at least reacted to certain things in tonight's episode. A grimly realistic school massacre? A pig-headed man lurking in the shower? A cloven-hoofed fetus? What does it mean that I now accept these things with a bored shrug? To paraphrase the Marquise de Merteuil in Dangerous Liaisons, I guess the shock is like the shame: you only feel it once. Now I find myself jaded, desensitized, and almost totally shock-proof, able to calmly sit and eat my own dinner while watching the lovely Connie Britton chow down on a whole raw brain of unspecified origin.
I guess it was inevitable. When you start a show at the absolute border of tastelessness, believability, and cable network standards, it's hard to keep upping the ante week after week. Yeah, yeah, raw brain. What have you done for me lately, American Horror Story?
Let's talk about the brain first, since it's on my mind. (There's a pun to be made there somewhere: sort it out yourself.) For those of you keeping track on your AHS Movie Reference Score Cards,TM we have now entered the Rosemary's Baby phase of American Horror Story, with Constance (Jessice Lange) and Moira (Frances Conroy) teaming up to keep Vivien fed with a constant diet of raw meat (with, no doubt, some Tannis Root seasoning) to keep her fetal antichrist healthy. First it is pig offal—Viv gets to eat most of it sautéed, though she consumes the pancreas raw—and then the aforementioned brain, which Moira says "came from an organic farm." (Or perhaps an organic farmer? I'm reminded of the line from an episode of Buffy, where the evil Angelus presents Drusilla with a raw heart he "found in a quaint little shopgirl.") The most chilling thing about this scene is the way Vivien doesn't even question it: she has already cleaned her bowl by the time it even occurs to her to glance askew at the peculiarity of her meal. (Perhaps she just didn't want to appear ungrateful, since Moira has now agreed to work for free: as Constance says elsewhere in the episode, "It's hard to keep good help.")
These strange pregnancy cravings do inspire Vivien to track down Angela, the ultrasound technician who fainted at her first view of Vivien's womb. Meeting in a church (the only place Angela would agree to), they have this classic exchange:
Vivien: "It seemed to me you saw something that scared you."
Angela: "Yes, and I've been praying about it ever since! I saw the unclean thing that you carry in your womb! The plague of nations! The beast!"
Vivien: "OK, so you didn't see anything. The machine malfunctioned."
Angela: "I saw the little hooves!"
It would be difficult to overstate how much I love Connie Britton for her delivery of "OK, so you didn't see anything." (Britton is the calm eye at the center of American Horror Story's raging tempest of crazy.) But, if I were taking any of this seriously, her placid, serene approach to the mounting nuttiness would be hard to explain. Traditionally, in these types of stories, we'd assume the evil baby is exerting its evil influence over her, but Britton doesn't really play it that way: she doesn't have a dreamy, possessed quality or Mia Farrow's harried, frantic desperation. She just seems willfully oblivious, because she has more important things to think about (like boning Morris Chestnut's overly helpful security guard).
Meanwhile, Constance (Jessica Lange) continues to mourn her daughter, and does so this episode with the help of a new character (and perhaps another of her children?) Billie (Sarah Paulson). Billie is a snarky medium—not to be confused with a happy medium—whom Constance introduces to Violet. Billie tells Violet that they must help Tate "cross over," and also serves as a conduit to Addy—how legitimately, we don't know—to allow Constance to say what she needs to say:
Constance: "I just miss her so much, Billie. She was my reason for living."
Billie: "She says you should have told her that when she was alive. She's a feisty one. Talk to her. She's here."
Constance: "Baby, I am so sorry. I'm sorry because, most of the time that I was with you, especially when you were younger, I was just so overwhelmed. It wasn't easy being a single parent, and you were such a handful, so I guess I forgot to say the things that I was supposed to say, but that I honestly always felt in my heart. I'm so proud of you, Addy. I admire you so, for what you were able to overcome. And I think you're beautiful. Addy, I think you are the most beautiful girl I ever met."
Billie goes on to report that, where Addy is now, she's a "pretty girl" at last. She also says Addy is grateful not to have been brought back from the dead—as Constance tried to do—because Addy afraid of Tate. The implication here, obviously, is that Addy is not merely dead, but really and sincerely dead—which I have mixed feelings about. On the one hand, I'll miss her creepy, pathetic presence on the show; on the other hand, it lends more seriousness and pathos to her death. I'll believe it when I see it—or when I don't see her return—but if that's the case I may owe Messrs. Falchuk and Murphy a partial apology for accusing them of cheap emotional manipulation. (It's still cheap manipulation, mind you, but it will have a little more resonance if Addy doesn't come back a'haunting.)
The bulk of this episode, however, is dedicated to Violet (Taissa Farmiga) and Tate (Evan Peters). "Piggy Piggy" opens with a long, unpleasant sequence showing how last week's Dead Breakfast Club first got together. The scenes are well done, but perhaps too well done: high school shootings are one of those real life horrors that should be treated with a little sensitivity and restraint—even by American Horror Story—and this one moves an uncomfortable step away from campy horror towards creepy snuff film. (We should be grateful, I suppose, that the show refrains from showing the actual gunshots and blood splatter.) Afterwards, we see the SWAT team come for Tate, and half a dozen cops stand pointing their visually arresting laser sights at him (rather than following the more logical, but less cinematic, procedure of throwing his ass to the floor). This bit of improbably staged theatrics allows Tate time to grab a gun and be shot dead.
Violet learns all of this, and thus is the first member of the Harmon family to realize the obvious truth: that she lives in the corner bedroom of Spook Central. Farmiga is excellent this episode, maintaining a touching vulnerability and humanity even as her character is called upon to freak the fuck out in about seven different ways. (She cuts herself! She takes drugs and trips balls! She sees dead people in the basement! She tries to kill herself with pills! She has to be revived in the bathtub by her dead boyfriend!) Considering the emotional wringer she goes through, Violet ends the episode taking it all remarkably in stride. ("I think I'm depressed," she tells Tate, in the very textbook definition of an understatement.) We close on a shot of her cuddling up with her ghostly, serial-killing boyfriend—after he says he will never let anything bad happen to her—and I sure hope this relationship works out because this breakup could be a real bitch.
This otherwise strong episode is, unfortunately, weighted down with the silliest and most pointless plotline the show has ever produced—and that, ladies and ghouls, is saying something. Ben (Dylan McDermott) has a new patient, Derek (the fabulous Eric Stonestreet), who is scared to death of urban legends. (Boy, did he pick the wrong shrink.) At the moment, he's obsessed with the legend of "Piggy Man," a Bloody-Mary type apparition—with a pig's head, natch—who appears when you say "here piggy pig pig" in a mirror.
Ben, who continues to lobby for the award for Worst Shrink Ever (to go on the mantle beside his trophies for Worst Husband Ever and Worst Father Ever), encourages Derek to confront his fears. First Derek does so in one of the bathrooms of Murder House—always an excellent idea—and is rewarded with a vision not of Piggy Man but of one of the dead nurses from Episode Two. Then Derek—after hilariously practicing in the reflective surface of his toaster—finally summons the courage to try it in his own bathroom. "Here piggy pig pig," he says—and is shot dead by a burglar who just happened to be hiding behind his shower curtain. ("He called me a pig," the burglar tells his partner.)
Even as dark comic relief, this storyline is the dumbest thing American Horror Story has done so far. The ridiculous coincidence of Derek stumbling upon a home robbery while facing his fears is just appallingly bad writing, even as a joke. What's worse, the entire sub-plot has nothing to do with Murder House: the legend of Piggy Man doesn't relate to the infamous address at all, nor do the robbers who kill Derek. It would almost have been more logical for the actual Piggy Man to show up in Derek's bedroom, somehow summoned into existence by Derek's presence in the Murder House. As it stands, it's just an absurd and pointless one-off, probably brought about because someone thought the pig's head was appropriately creepy. American Horror Story is ridiculous enough without betraying its own bizarre (but relatively consistent) logic for the sake of a cheap image: it doesn't need this kind of crap.
The biggest mystery of Murder House, for me, is how Ben keeps getting new clients. It sure as hell ain't through word-of-mouth.
1 thought on "AMERICAN HORROR STORY 1×06: "PIGGY, PIGGY""
Taissa and Evan's performances in this were raw and immense. They have great chemistry. I agree, the piggyman storyline was bizarre and just an unnecessary sub plot to a terrific episode. I liked getting the back stories on Westfield shootings, although very disturbing obviously.


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SHIRLEY CRABBE JAZZ VOCALIST
About/EPK
Ethel Waters Project
New CD BRIDGES EPK >
Press Reviews BRIDGES
HOME (2011) >
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Shirley Crabbe Biography and Reviews
What's new? My latest project BRIDGES, released in April 2018, is the winner of a 2019 NY Bistro Award winner for Outstanding Recording!
Click Here to Listen to Shirley Crabbe's Music
Visit Shirley on Soundcloud
READ Press REVIEWS
Visit Shirley' site on All About Jazz
Native New Yorker and 2019 New York Bistro Award Winner for Outstanding Recording: Bridges, Jazz vocalist, Shirley Crabbe sings songs that speak to the heart. As a teenager, Shirley was inspired by a performance of Ella Fitzgerald singing the song "A Tisket, A Tasket" in an old Abbot and Costello movie. "I've always had a passion for singing, but when I heard Ella sing, I knew that "jazz singing" was what I wanted to do." Following her passion, Shirley pursued her dreams first to Illinois to earn a Bachelor of Music from Northwestern University, and then back home to New York, to study Voice at the distinguished Manhattan School of Music (MSM). During the day she studied classical music uptown at MSM, but in the evening, she traveled downtown to sing jazz in the clubs. Shirley has performed at festivals, jazz clubs and concert series in New York City and it's surrounding area. She has appeared at some of Harlem's best Jazz rooms such as Minton's, and the legendary Lenox Lounge, where to a sold out audience, she performed music from her inaugural CD Home. She has also appeared at the 20 19 Berks Ja zz F est, Zinc Bar, Metropolitan Room and at the world-famous jazz club, Birdland. Once the opening act for the jazz icon Abby Lincoln, Shirley has recorded with the soulful jazz saxophonist, Houston Person, and has also performed with the celebrated jazz pianist Harold Mabern, bassist, Jamil Nasser, Donald Vega, David Budway, Ron Blake, David Glasser, Brandon Lee, Matt Haviland, Cameron Brown, Jon Burr, Jim West and others. In 2010, she was one of the top 5 finalists at Jazzmobile's "Best of the Best" Jazz Vocalist Competition held in New York City. In 2009, she was awarded Rockland County's highest Arts Award: the County Executive Performing Artist Award. Shirley is also the Stanton Bronze Medalist of the 2008 American Traditions Vocal Competition at the Savannah International Music Festival in Georgia. Shirley is a versatile performer and has appeared in various stage productions including Coming to the Mercy Seat at Shetler Studio's Theater 54 in the role of the Poet and in Ain't Misbehavin' at the Elmwood Theater, where she performed the role of Armelia. In 2011, Shirley released her debut CD HOME. For the ensuing 26+ weeks the album remained on the Jazz Week Album Chart, the definitive jazz national radio chart that reports the top Jazz albums played each week on radio stations across the US. Her latest project BRIDGES, top 50 album on the Jazz Week album chart was released in April 2018.
Short Bio (about 150 words)
"Crabbe's Ella Fitzgerald–like voice glows…" Downbeat Magazine
Native New Yorker and 2019 New York Bistro Award winner, Shirley Crabbe has been hailed as possessing a voice that "must surely appeal to all who love good jazz singing." Her "almost Ella Fitzgerald–like vibe glows…" says Downbeat Magazine's John Ephland on her 2011 debut recording HOME featuring the legendary saxophonist Houston Person. Her 2018 Top 50 album BRIDGES (2018) has received rave reviews and spotlights her collaborations with renowned pianists Donald Vega, and David Budway. Shirley has been a guest on syndicated radio programs such as "Jazz Inspired" hosted by Judy Carmichael, and Steve Cuden's "StoryBeat" to name a few, and currently performs at jazz clubs, festivals and concert series in the US. She is the recipient of the 2009 Rockland County Executive Performing Artist Award, 2008 Stanton Bronze Medalist at the American Traditions Vocal Competition. In 2010, she was a top 5 finalist at Jazzmobile's "Best of the Best" Jazz Vocalist Competition held in New York City. Shirley holds music degrees from Manhattan School of Music and Northwestern University.
Thank You To My Supporters
Producer Credit
Deborah Crabbe
Helen Crabbe
Concert Producer Credit
Patrick Shaw
Steven & Joretta Crabbe
Concert Supporter Credit
Janey Tannenbaum
Website Thank You Credit
In Honor of Mrs Konno
Monte Benaresh
Michael Reilly
Michael Janin
Tonya Love
Lisa Holmes
Maria MacArthur
Melissa Turk
This is my story, this is my song! "What I have vowed I will make good. I will say, 'Salvation comes from the LORD' ". Jonah 2:7-9
© Shirley Crabbe & MaiSong Music & Entertainment 2015


Synopsis : Mental Health Europe calls on EU leaders to adopt a poverty target and to mainstream disability in the EU 2020 Strategy.
Mental Health Europe calls on EU leaders to adopt a poverty target and to strengthen the dimension of disability policies in the EU 2020 Strategy.
Prior to the European summit of the EU heads of states and governments on 17 and 18 June 2010 where further important elements of the EU 2020 Strategy will be decided upon, Mental Health Europe (MHE) calls on the EU leaders to adopt a binding poverty reduction target and to strengthen the dimension of disability policies in the overall strategy.
In a letter sent to the Heads of State and Governments, Mental Health Europe underlined the importance of adopting a strong target on poverty reduction and encouraged EU leaders to reaffirm their support. MHE emphasized the fundamental need to combat poverty since poverty and mental health problems are bidirectionally linked. People experiencing poverty are often suffering from mental health problems due to financial uncertainty and fear about the future. Likewise people who are suffering from mental health problems are facing a higher risk of falling into a poverty trap.
Poverty and social exclusion signify a violation of human dignity and fundamental rights and should not be tolerated in the European Union, one of the richest regions of the world. MHE furthermore called on EU leaders to adopt the proposal that was put forward by the European Commission to set the poverty indicator at 60 % of the median income, the indicator that has been utilized for many years in the frame of the Open Method of Coordination and by EUROSTAT.
MHE also sent a letter to the EU leaders, supporting the European Disability Forum (EDF) proposal for a European Disability Pact to be included in the EU 2020 Strategy in order to mainstream disability issues in the strategy and its flagship initiatives. The EU 2020 Strategy should ensure that people with disabilities are included in the labor market performing meaningful jobs and have access to comprehensive and adapted education. To meet these objectives, the EU 2020 Strategy should make clear references to people with disability, including people with mental health problems in all policies.
Consequently, MHE believes that the European Disability Pact should be an integral part of the EU 2020 Strategy since it will help national governments to better implement the goals set in the EU 2020 Strategy on inclusive growth into national targets and trajectories.
MENTAL HEALTH EUROPE - SANTE MENTALE EUROPE aisbl Boulevard Clovis 7, B-1000 Brussels Tel +32 2 280 04 68 - Fax +32 2 280 16 04 E-Mail: info@mhe-sme.org www.mhe-sme.org Mental Health Europe calls on the Heads of State and Governments to take these proposals into account and to adopt the necessary policy framework at the European Council Meeting in order to improve the living and working conditions for people with mental health problems in European societies.