text:
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                    $("#datebeginshow").html(getMonthBegin());
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                    UnitID: unitid,
                    r: Math.random()
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    */
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////        var el, li, i;
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////        for (i=0; i<3; i++) {
////            li = document.createElement('li');
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////            el.appendChild(li, el.childNodes[0]);
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//        myScroll.refresh();		// 数据加载完成后,调用界面更新方法 Remember to refresh when contents are loaded (ie: on ajax completion)
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function loaded() {
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}

//初始化绑定iScroll控件
document.addEventListener('touchmove', function (e) { e.preventDefault(); }, false);
document.addEventListener('DOMContentLoaded', loaded, false);


Saltburn-by-the-sea Golf Club, Saltburn-by-the-sea, - Golf course information and reviews.
12th is rated hardest par 3 in North East England. Narrow Fairways, 9 blind driving holes, 3 blind approach shot holes. Short, but S.S 70 shows is difficulty.
Add a course review for Saltburn-by-the-sea Golf Club.
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text:
Time to Pray
Editorial: 01.01.21
Share: Share on FacebookShare on TwitterShare on Google Plus
Britain became familiar with a new vocabulary in 2020: Covid, lockdown, self-isolating. All bleak words, and the bleakness has been increased by their use in the sort of formal announcement that has become the background noise of our lives, and thus blurs into nothingness,mergingwithotherslogans:wearaface-mask,staysafe,savetheNHS,please take your luggage with you when you leave the train…
Fratelli Tutti: In Search of a New Vision of Fraternal Love
Article: 01.01.21
Monsignor Patrick Burke considers Fratelli Tutti (Italian for "Brothers All"), the latest publication from the pen of Pope Francis.
Archbishop John Wilson talks to FAITH magazine
Joanna Bogle talks to Archbishop John Wilson about his first year as Archbishop of Southwark.
A Christian View of Relationships and Sex Education
Bishop Michael Nazir-Ali sets out what is happening in the Department of Education's plans for Relationships and Sex Education
Roger Penrose, Black Holes and the Human Mind
Gregory Farrelly looks at the religious implications of the work of Roger Penrose.
A Saint for Shrewsbury?
Bishop Mark Davies has urged that Elizabeth Prout be considered as a candidate for canonisation.
Holloway on... Holiness in the Twenty-First Century
Writing in 1986, Fr. Holloway asked which version of Christianity would be needed in the coming new century.
After Francis
Reading Weigel's small book, one soon realizes that he only focuses on "the Office of Peter" in order to explore the wider and more urgent theme of "a Church in Mission", the People of God as we move forward in this surprising twenty-first century. This book is about us.
Our Lord the Beautiful
God's beauty is an underdeveloped concept. In The Beauty of Jesus Christ O'Collins, building on the work of von Balthasar and Bentley Hart, encourages us to attend to this important way of looking at God, as reflected in Jesus Christ.
A Vade-mecum for Priests
'Meditations on Ordained Pastoral Ministry' more accurately describes what it sets out to do, in which it covers a fair field and follows the format of Fr. Gerard Bogan's other CTS booklet A-Z of Spiritual Living.
Britain became familiar with a new vocabulary in 2020: Covid, lockdown, self-isolating. All bleak words, and the bleakness has been increased by their use in the sort of formal announcement that has become the background noise of our lives, and thus blurs into nothingness, merging with other slogans:wear a face-mask,stay safe, save the NHS, please take your luggage with you when you leave the train…
Does the Church have something to say about all of this? Yes – and, when we are allowed, something to sing about, too. We have a message of hope, a message that can renew society and help us all to work with realism and courage as we face the problems and challenges that 2021 is going to bring.
God is the author of life, the creator of all things, and came into this world that he had created, sharing fully our human nature, living and working among us, and in dying and rising from the dead, he fully explained to us the purpose of it all. We have a message to proclaim that should soar above the noise and offer hope and spiritual sustenance in this and every age.
But it has not been easy to proclaim the message over the past months. The Church in her public sense in Britain was effectively silenced.
No public Masses, no family weddings or baptisms, minimal funerals. No normal parish life with no Rosary groups or confirMation classes or choir practices or baptism preparation. No open events at Walsingham in the summer with large crowds making their way, singing and praying, down the Holy Mile. No great gatherings of families and young people at "Celebrate" and "New Dawn" and the annual Youth 2000 pilgrimage. No summer retreats and conferences, from Bosco youth camps to the Faith Summer Session. No parish First Communions with children in traditional attire, no processions with the Blessed Sacrament through the streets, no open-air Masses. Even the mundane things – the parish fetes, and picnics, and the end-of-term Masses, were missing.
In the strange and lonely lockdown days, when churches and schools and univer-sities and more were all closed, and the internet dominated our lives, conspiracy theories flourished. Some have, Deo gratias, slithered away, others have not.
No public Masses, no family weddings or baptisms, minimal funerals. No normal parish life with no Rosary groups or confir-mation classes or choir practices or baptism preparation. No open events at Walsin-gham in the summer with large crowds making their way, singing and praying, down the Holy Mile. No great gatherings of families and young people at "Celebrate" and "New Dawn" and the annual Youth 2000 pilgrimage. No summer retreats and conferences, from Bosco youth camps to the Faith Summer Session. No parish First Communions with children in traditional attire, no processions with the Blessed Sacrament through the streets, no open-air Masses. Even the mundane things – the parish fetes, and picnics, and the end-of-term Masses, were missing.
So, as 2021 opens, let's pray for a breath of fresh air. Coronavirus doesn't mean that these are the End Times: that time is known to God alone. Nor does it mean that there are any easy solutions to the problems raised by the spread of a virus.
And the fresh air can also mean, literally, making use in the next spring and summer months, of the outdoors. This is not a silly point: if we are told that we must close our churches again, let us use the public spaces, where we have a right to be, and where over recent months we have learned about "social spacing", and about the human need for community and neighbourliness. Let us – because in the future we may need it again, and because it means public and missionary witness – be seen in our prayers and in our Catholic life.
In facing the realities of 2021, some pointers might be:
Our Bishops should fight to keep churches open and do all they can to restore the normality of Sunday worship and regular reception of the Sacraments, including confession.
We should also make use of open spaces – streets, parks, our own church grounds and carparks. While obeying sensible health regulations, we can have processions, open-air Masses, and other events that proclaim Christ to the neighbourhood and the nation.
We need new prayer initiatives: again, these might usefully focus on outdoor activity. These need not involve large groups – in fact smaller gatherings could be more effective. Weekly morning prayer at an outdoor statue of Our Lady. Rosary-walks around local neighbourhoods. Evening candle-lit prayer at a shrine led, perhaps, by young people.
Catholic groups and organisations should be mobilised for all of this. People enjoy and need activity. And involvement in something relatively small that is part of something larger is an immense boost to morale. Groups that have their own status and identity find it satisfying to have this recognised as part of a wider campaign: think of banners held aloft at Papal events, youth groups wearing t-shirts at WYD and elsewhere…
Our Bishops should – with quiet, courteous firmness and urgency – affirm the Church's right to freedom of action in her sacramental life – including the seal of confession - and the right to preach and teach the Chris- tian message in its fullness. Teaching, for example, that Christians understand marriage as the union of one man and one woman is not "hate speech" and should not be defined as such.
And people need to see clergy, and members of religious orders in clerical dress and in their habits, out and about, showing an active presence in the community.
Without healthy Catholic activity, things fill the void. There is a desire in all of us for order and a sense of common purpose. That is a good thing, and is one of God's great gifts to us.
It does not follow that we should follow a particular political agenda, still less that the Church in her public voice should announce that agenda in detail for each nation at set times. So calls for this sort of thing should be avoided.
What our poor bleak society needs now is prayer, and God's healing mercy.
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Christ and His Church: Why Infallible?
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redpajama_set_name: RedPajamaCommonCrawl


At the Wolfson Law Firm, we know that Walmart floors always shine. They were meant to impress customers, make them feel comfortable and spend more money, but they also bring certain risks for Walmart. Shiny floors are often slippery and can bring you down causing a serious slip and fall injury.
It's not unusual to suffer injury from falling objects as well. When retail stores decide on where to place merchandise, they prioritize buying psychology over customer safety. That is why stores like Walmart keep placing heavy merchandise on high shelves. Unfortunately, those heavy objects sometimes fall on customers and cause them variety of injuries.
Walmart keeps doing this even though they are liable for injuries due to their negligence under premises liability laws. Simply put, they are liable for any injury caused by their negligence while customers are on their premises. Enter Walmart shiny floors. Walmart is obliged to keep their shiny floors safe for customers, so if there is any liquid spilled on the floor, it's their responsibility to take it away. Should they fail to do that, they could be liable for any damages caused by that spill.
Call our Florida Walmart accident lawyers today for your free consultation at (305) 285- 1115 if you suffered any kind of injury at a Florida Walmart.
What started as a local store in Arkansas in 1962 is today is a huge chain market that has expanded in all 50 states, including Florida. Walmart is the largest brick and mortar retail store in the United States. Their competitive prices, convenient locations and good marketing made them one of the favorite shopping places for Americans. However, price is not the only thing falling in the Walmart. People and objects fall there sometimes too.
If any of the aforementioned accidents happen to you and you've ended up with injuries, be wise and call our Walmart accident lawyers in Florida. We have helped in jury victims since 1963 and we are ready help you too. Our consultations are free.
Whether you need Florida slip and fall lawyers or an attorney that could handle any other personal injury issue with Walmart, you don't pay a dime until we recover your damages for you. There is no downside for you in the battle against a giant like them, so don't hesitate to contact us at (855) 962-2067 for your free consultation. We can see you at any of our offices in Fort Lauderdale, Miami, West Palm Beach and Fort Myers. You can reach our Fort Myers Walmart accident lawyers directly at 239-777-9954.
Our Florida personal injury lawyers proudly and humbly serve throughout Florida including the localities of Miami, Cape Coral, West Palm Beach, Lehigh Acres, Fort Lauderdale, Lee County, Collier County, Key West, Orlando, Naples, Golden Gate, Sarasota, Estero, Tampa, Clearwater, Fort Myers, Jacksonville, Gainesville, Tallahassee and St. Augustine.


text:
Title: The Pawn and the Rook
Date first posted: March 2011
Date most recently updated: March 2011
This eBook was produced by: Maurie Mulcahy
Author of: "The Shadow of the Dead Hand," "A Bootless Errand," "The
Golden Bat," &c., &c. (Copyright.)
Published in the Townsville Daily Bulletin, Wednesday 8 September, 1926.
Mrs. Shan Vanderdkle passed out of the palatial establishment of Macon.
Freres in the Rue Rovill with some half-million dollars worth of pearls
in her pocket. Nothing romantically historic, but really fine graded
stuff which had taken years to collect. Nor was she particularly
intrigued as to the settings. She 'guessed' that Tiffanys could see to
it when she landed in New York. In the meantime, she was going to London
for a spell.
It was Monsieur Jules Blinn, chief assistant, who saw her into the
limousine waiting at the kerb. Then, without waiting to don his glossy
hat, he walked down the street to the nearest telephone call box and
asked for a certain number. Then----
"Is that you, M'sieur X?" he asked. "Z speaking, but yes. Ze madame she
make ze purchase. Tres magnifique. Ze whole suite, yes. She take them
wiz her to her pension unset. It is enough!"
The voice at the other end or the wire replied that it was. Whereupon,
the immaculate Jules smiled and returned to his lawful vocations. With
any average luck he was going to put something like six thousand pounds
Just how this was to be achieved calls for something in the way of
explanation. Had they chosen, the Customs House authorities in New York
could have given it. They could have told you, for instance, that the
great game of jewel smuggling across the Atlantic was never more popular
than at the present moment. Also, that great ladies with fathomless
purses did not disdain to take a hand at the sport.
Now, some little time ago, the New York Customs awoke to the fact that
in one way and another the State was being defrauded of something like
ten million dollars a year by these gilt-edged smugglers. It was a
pastime that hardly came within the criminal code, but none the less
annoying for that. So it came about that wealthy ladies buying jewels in
Paris and London were carefully shadowed, and it became discreetly known
that shop assistants might add to their incomes without hindrance to
present employment by reporting quietly in certain quarters as to big
deals in gems on the part of America's fair citizens. And when it became
known behind select counters that one fortunate assistant had netted
over five thousand pounds as his share of a raid on a society lady
smuggler in the New York Customs, being twenty-five per cent. of the
spoil, other bright spirits began to sit up and take notice.
It was a ridiculously easy way of making money. Merely to report to a
sheltered address on the purchases of certain ladies who were in Europe
buying gems of price, and then, if a smuggling stunt was attempted, draw
the the alluring percentage without coming out into the open to give
evidence. It was a neat little scheme and New York Customs were reaping
the benefit of it.
And this was why Monsieur Jules Blinn had spent a few moments in calling
up a certain modestly anonymous individual at an address that New York
had thoughtfully provided for such occasions.
Now, it is only fair to Mrs. Shan Vanderdkle to say that when that
spoilt child of fortune came to Europe in search of some fine gems she
had not the slightest intention of defrauding the revenue of her native
land, or anybody else. She, of course, knew all about the heavy duty on
precious stones, and wistfully recognised the necessity. Not that she
wanted to pay it in the least. Neither did Mr. James Starlinger, for the
matter of that.
Starlinger and his wife were two polished, travelled Americans staying
at the Ritzor, and the lady of the pearls found them there when she
returned from Paris. It took very little time for something like a
friendship to spring up, which was only natural, considering that the
Starlingers had taken up their abode at the Ritzor with the sole
intention of establishing friendly relations with Mrs. Shan Vanderdkle.
They knew precisely what she was doing in Europe and still more
precisely, what had been her business in Paris.
To put it candidly, Starlinger and his wife were professional smugglers
of jewels. It was a regular profession they had followed for years, and
the Customs House authorities of New York were perfectly aware of the
fact. But, up to the present moment, the authorities had had the worst
of the game.
"So now you understand all about it," Starlinger said to the pearl lady,
as they sat over an intimate luncheon in the grill room at the Ritzor.
"You see, I have been perfectly frank with you, because I want, if
possible, to save you paying something life a hundred thousand dollars
when you get to New York. That is, of course, for duty. And, even after
paying my fee, you would be more that half that sum in pocket."
"You mean. I should have to hand the stones to you----"
"Yes, that's the idea. And, when we reach New York, I hand them back
again. You give me a cheque and there is an end of the business. Oh, you
need not be afraid--we shall all travel on the same boat, quite openly,
though, mind you, I shall be watched by one of the Customs House
experts."
It sounded very thrilling to the lady of the pearls, all so open and
above board that, after a little hesitation, she agreed to fall in with
the suggestion. There was a certain amount of risk, of course, but this
made the adventure all the more alluring.
"But aren't you afraid of being caught?" she asked.
"I have never been within miles of it yet," Starlinger smiled. "Now, at
the present moment there is a man in this room who is watching us under
the impression that I am trying to persuade you to be a party to this
little scheme. He knows all about me, which may seem something of a
drawback, but, as I know all about him and he flatters himself that I
have not the least idea that he is connected with the Customs, that is
where I have the advantage. He is a new man, engaged solely to track me
across the Atlantic when I sail in a few days on the Auricula. That is
the boat we are all going by. Just cast your eye upon the man in the
blue serge suit over there, under the palm. His name is Hank Crowl,
though he has not the least idea that I am aware of the fact. He thinks
he is going to land me presently with Mrs. Vanderdkle's pearls in my
possession, but he never made a greater mistake in his life. I have got
the sweetest, prettiest little stunt you ever heard of. I am not going
to tell it to you because it would make you nervous. Leave it entirely
to me, and you will have no cause to be dissatisfied."
The man called Hank Crowl, especially appointed by the New York
authorities to keep his eye on Starlinger, was perfectly satisfied with
the way in which matters were progressing. He had a free hand,
practically unlimited expenses, and, knowing that Starlinger was not
leaving England for a few days, decided to slacken the bow, and enjoy
himself. He was rather keen on seeing the night-side of London, and all
he was seeking was a companion to help him with his laudable pursuit.
And in the fine sportsman who called himself Gayford he seemed to have
discovered his ideal.
He had found him at a loose end in the lounge of the hotel. From what he
could gather the young man was in London on business in connexion with
his own firm in Colombo. It was rather a slow, dragging business,
entailing a long stay in London, so that Gayford more than once had
expressed a half-desire to run over to the States to see if he could
pick up a few dollars there. And it was some evenings later, after the
conversation previously recorded, that Crowl walked into the lounge of
the Ritzor to find Gayford there, seated over a cigar.
"Say," Crowl asked. "Got anything on to-night?"
"Rather expecting to meet a man here," Gayford explained. "If he turns
up I'm fixed. It he doesn't then--but what do you want to do? Anything
fresh to see?"
Crowl replied to the effect that he thought of putting in an hour or two
at Maxton's one of the most rapid and yet sinister night clubs in the
West End.
"Well, why not go on there," Gayford suggested. "I can come on about
twelve or a bit after."
With that Crowl went on his way, and, shortly after twelve, Gayford put
in an appearance at Maxton's. He discovered his new-found friend seated
alone in a corner of the big dancing saloon with his head buried on his
breast and apparently steeped in a profound melancholy. In other words,
the American was monumentally drunk. Gayford exchanged a rapid glance
with a waiter close by, and demanded a taxi. He managed to convey his
burden to the lounge at the Ritzor, which was now deserted, and
intimated to the night-porter that he was going to see his friend up to
"Seems to want a bit of attention, sir," the night-porter said
critically. "I have never seen a gentleman much worse."
"Yes, that is why I am going to see him to his room," Gayford said. "I
will just remove his coat and shoes and collar, and leave him to
himself. Perhaps you will have a look into his room later on. I don't
want to be dragged into an unpleasant business. Looks to me as if he was
drugged."
With that, Gayford shoved a pound note into the porter's eager palm,
and, between them, they got the somnolent Crowl safely to his bedroom.
It was considerably more than an hour later when Gayford finally left
the room and sought the seclusion of his own apartment.
"I think he will be all right now," he told the night-porter. "I have
made him as easy as possible. But one never knows. If there is anything
wrong, call me, will you?"
But apparently nothing out of the common happened, and it was a
surprisingly fresh-looking Crowl that came down to breakfast the
following morning. He crossed cheerfully over to the table where Gayford
was seated.
"Oh, here you are!" he said. "What the dickens happened to me last
night? I was in Maxton's with a bunch of girls, and we sure did sling
the bubbly round. And then, all of a sudden like, my memory seemed to
go. When I woke up this morning----"
"I brought you home. Found you sitting in the comer of the dance-room
like patience on a monument. If you get hitting it up like this I shall
have to take you in hand altogether. I shouldn't mind a run across the
water for a week or two. My business is a bit hung up, and I can spare
the time."
"Then why not come along?" Crowl said. "You come along with me, and I
will show you a bit of comedy later on that will be something to talk
about when you get home again. I can't go into details now, but it will
be worth your while."
"Dashed if I haven't a great mind to come," Gayford said. "If you are
going to start in the course of a day or two----"
"Going to start from Liverpool on Saturday night," Crowl interrupted.
"Sail on the Auricula. If you like to go down to the office and book a
cabin. I will come with you."
Gayford being quite agreeable, the two set out on their errand. They
passed the table in the dining room where the two Starlingers were
breakfasting and Crowl smiled to himself as he pictured the discomfiture
of that distinguished-looking individual when he came to confront him in
the Customs House at New York. But there would be plenty of time for
that. Then, on the Saturday morning, Crowl and his companion took train
from Euston and, just before dark, found themselves comfortably on board
the Auricula. It was a quick and pleasant voyage without any particular
incident, so that Crowl had nothing to do but sit down and keep a close
eye on Starlinger and his wife. And in this he was backed up by more
than one authority on board. There were at least a dozen subordinates
moving about the ship, more or less under Crowl's direction, though, as
far as anybody could judge, no word had ever passed between them. All
the same, the Auricula had been thoroughly searched, and if Starlinger
had only known it, so was his baggage, and even the suit-case of himself
and his wife in their cabin. Perhaps he did not know this, but if so, he
gave no sign.
Crowl made no sign either. He knew, as well as he knew that there was a
sky above him, that somewhere on board the Auricula those precious
pearls were concealed, and that Starlinger would make every effort to
get through the Customs with them. But this time, for once, he was going
to be disappointed. He was going to have the surprise of his life. He
would not be lost sight of during the whole of the voyage, and when he
presented himself at the Customs, he and his wife would be shepherded
carefully on one side and searched with a thoroughness that would
prevent so much as a pin getting past the eagle eye of authority.
It was still daylight when the ship at length came to anchor and the
placid calm on deck had given place to bustle and confusion. Down below
in his cabin, Crowl waited. He was just a little eager and anxious,
because this was his first big case of the sort, and he was more than
anxious to make good. All his preparations were completed, he merely had
to step out of the cabin with that neat expanding suit-case in his hand
and stand by the long counter where the passengers' intimate baggage was
examined, and wait until Starlinger and his wife appeared on the scene.
Then, just as he was about to climb on deck, Gayford came through the
doorway.
"Well, old man," he said breezily, "are you ready? No use hanging about
here any longer, what? Where are we going to stay? What's your usual
pub?"
Crowl responded to the effect that he usually put up at the Bilter
Mansions when he was in New York. He expected to be there for a day or
two on business, after which he was going on to his home in New Jersey.
But he made no effort to move, despite all Gayford's signs of
impatience.
"Oh, come on," the latter exclaimed. "No sense in hanging about here
like this. I am dying to have a look at little old New York. Here, get a
move on."
With that, Gayford grabbed his companion's suit case and started for the
companionway, carrying a case in either hand.
"I'll carry it, you needn't bother," he said. "What the dickens are you
waiting for? Get a move on."
"Well, you see, I have a little business to do first," Crowl said rather
hesitatingly. He was beginning to find this breezy companion of his a
little bit of an encumbrance. "Matter of fact. I am waiting to see a
man----"
"Oh, in that case I'll push on," Gayford cried. "Look here, suppose I
pass these two bags through the Customs and then take a taxi as far as
Bilter Mansions and book a couple of rooms?"
"Oh all right," Crowl said a little briefly.
At that moment, an official put his head inside the cabin door and
nodded curtly in Crowl's direction. Without a reply, Crowl bustled out
of the cabin, followed by Gayford, and then proceeded down the gangway
and thence into the covered Customs House. A long line of impatient
passengers stood there waiting to have their baggage examined, and at
the end of the queue, were Starlinger and his wife, bearing their
intimate possessions.
"This is going to take a bit of time," Gayford said. "Something special
is it? Here, let me get a move on."
He elbowed his way through the crowd and slapped his suit case on the
counter in front of one of the officials there. He unlocked the case and
flung it wide open, as if defying the enemy on the other side of the
mahogany to do his worst. It was a long examination too, though there
was nothing in the suitcase except personal belongings. But the official
examiner was taking no risks. He probed the suitcase with needles, he
measured the thickness of the bottom with a little ivory rule, so that
it was a good quarter of an hour before the case was locked again and
the official permit stamped on it. Then Gayford returned to his
companion, who was standing at the end of the counter with a fine
assumption of indifference.
"Evidently took me for one of those smuggling thieves," Gayford
exclaimed indignantly. "By James, at this rate, some of those people
will be here all night. But say, Crowl, what about your suitcase. How am
I going to get that through?"
Crowl smothered an impatient exclamation and flung his suitcase on the
counter. At a sign from him, one of the disengaged officials came
forward and proceeded to affix the seal on the case without the
formality of opening it.
"There, don't stop to talk," Crowl said, as he saw the gaping
astonishment on his companion's face. "I will explain it all when we are
having dinner to-night. Off you go."
Without another word, Gayford vanished past the barriers and flung the
two suit-cases into a waiting taxi. Directly he had vanished, Crowl
approached Starlinger and his wife and curtly motioned them to follow. A
bunch of officials had gathered round, apparently out of nowhere, and
Starlinger smiled as he saw them.
"Why this special attention?" he asked.
"None of that," Crowl snapped. "You just come with me. We want those
pearls, my lad. I am not mentioning any names, but you know what I mean.
The pearls from Paris."
"Oh, very well," Starlinger said with a shrug of his shoulders. "Come
along Naomi, we had better get it over. At any rate, we shall get
through a great deal quicker than I expected."
For the best part of two hours, with the aid of male and female
searches, Starlinger and his wife were examined to the bone. Their
personal belongings were subjected to a scrutiny that was absolutely
microscopic. And then, very reluctantly, the eagles relinquished their
prey. Without the slightest sign of triumph, Starlinger and his wife
passed the barrier and, hailing a taxi waiting there, drove off having
given the driver directions to take them to the Armadale Hotel. But
strange to say, they never reached that fashionable caravanserai.
Without a word said on either side, the taximan piloted down town until
they came to a modest apartment house in Lexton Avenue. And here, for
the moment they vanished from the ken of the authorities.
It was just one hour later, under cover of the darkness that a manly
figure, bearing a suitcase in his hand, let himself into the apartment
house and proceeded to the sitting-room upstairs where Starlinger and
his wife were seated over a cosy meal. They rose smilingly to greet the
newcomer.
"Well, Danster, old man," Starlinger cried.
"Yes, Danster, alias Gayford," the newcomer laughed. "I dare say you
wondered where I had got to, but I had to cover up my tracks. And how
did you enjoy the third degree?"
"Oh, it wasn't a very pleasant experience," Starlinger confessed.
"Still, they weren't quite as bad as they might have been. And they
didn't find anything, of course."
"No, of course they didn't," Jackie Danster grinned. "Because there was
nothing to find. Now, if they had kept their eye on me and not been so
infernally anxious to lay James Starlinger by the heels, they would have
done a great deal better, because----"
As he paused, he laid the suit case on a side table and proceeded to
open it. Then the contents were thrown out, leaving nothing but the
empty receptacle with its leather lining. Then Starlinger took a knife
from his pocket, and, cutting some of the stitches in the soft leather,
drew from underneath a length of hollow cane, which was plugged at
either end with cotton wool. This he removed and shook out the contents.
And there lay Mrs. Vanderdkle's pearls!
For a few minutes the trio stood by the table, more or less lost in
admiration.
"It was a great stunt wasn't it?" Starlinger chuckled.
"About the neatest you ever pulled off," Danster agreed. "A real
priceless stunt getting Crowl to bring that stuff all across the
Atlantic in his own suit case. But you couldn't have done without me,
old man. I had to play up to Crowl, and I had to see that he got
properly soused that night at Maxton's. And I had to shove the pearls in
his own suit case when he was lying insensible in bed, and made a really
good job of it."
"And afterwards?" Naomi Starlinger asked.
"Oh, afterwards was easy. It wanted a bit of bluff to get away with that
suit-case but I managed it, and I managed it all the easier because
Crowl was in such a breakneck hurry to keep an eye upon you and be in at
the death when you came to be searched. He let me walk off with that
suit-case with the idea of taking rooms at the Bilter Mansions for both
of us, and he never dreamt what was in the case, when he got that
Customs House johnny to O.K. it. And I flatter myself that my
expressions of astonishment when he did so was a fine piece of acting.
Lord, if they had only known! The thing right under their nose, and--oh,
well what's the good of making a song an dance about it. Anyway, you get
your money and I get mine, and all I've got to say is I would like to
have a job like this every week of my life. Open that bottle of fizz,
old man, and let's drink to Mrs. Vanderdkle and her pearls. Here's luck
to both of you. And here's luck to old Crowl, waiting for me so
patiently at Bilter Mansions."


Samsung Electronics has sought to reassure users of its new mobile payment system after a hacking attack on the subsidiary that built its technology.
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text:
Ultan Conlon
Sun 10 Nov 2019 8:00 pm - 10:30 pm
The Black Gate, H91 R6P3
After a series of sell out shows at The Black Gate Cultural Centre Ultan Conlon returns for his last show of 2019. Ultan is just back from LA where he recorded his latest studio album so expect to hear songs from this eagerly awaited new release, plus with an extensive back catalogue in tow expect to hear songs from all four of his studio albums.
The new record is produced by Sean Watkins (Nicklecreek, Watkins Family Hour) and features some of LA's best known session players. Gate Witcher, fiddle (The Punch Brothers, Paul Simon, Elton John) Don Huffington, Drums (Bob Dylan, Sheryl Crow) Sebastian Steinberg, Bass (Eddie Vedder, Neil Finn, Neil Diamond) Sara Watkins, Vocals (Nicklecreek, I'm With Her) Rich Hinman, Pedal Steel (KD Lang, St. Vincent) Tyler Chester, Hammond and Piano (Jackson Browne, Andrew Bird)
'Ultan is one of the great new Irish singer songwriters' Marty Whelan (Lyric FM)


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text:
/*
 * Copyright 2008 the Seasar Foundation and the Others.
 *
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND,
 * either express or implied. See the License for the specific language
 * governing permissions and limitations under the License.
 */
package com.ashigeru.lang.java.internal.model.util;

import com.ashigeru.lang.java.model.syntax.ArrayCreationExpression;
import com.ashigeru.lang.java.model.syntax.Expression;
import com.ashigeru.lang.java.model.syntax.InfixExpression;
import com.ashigeru.lang.java.model.syntax.InfixOperator;

/**
 * 式の優先順位。
 */
public enum ExpressionPriority {

    /**
     * 一次式。
     */
    PRIMARY,

    /**
     * 配列初期化子。
     */
    ARRAY_INITIALIZER,

    /**
     * 単項演算子。
     */
    UNARY,

    /**
     * キャスト演算子。
     */
    CAST,

    /**
     * 乗除演算子。
     */
    MULTIPLICATIVE,

    /**
     * 加減演算子。
     */
    ADDITIVE,

    /**
     * シフト演算子。
     */
    SHIFT,

    /**
     * 比較演算子。
     */
    RELATIONAL,

    /**
     * 等価演算子。
     */
    EQUALITY,

    /**
     * 論理演算子。
     */
    LOGICAL,

    /**
     * 条件And演算子。
     */
    CONDITIONAL_AND,

    /**
     * 条件Or演算子。
     */
    CONDITIONAL_OR,

    /**
     * 三項演算子。
     */
    CONDITIONAL,

    /**
     * 代入演算子。
     */
    ASSIGNMENT,

    ;

    /**
     * 二項演算子をこの表現に変換して返す。
     * @param operator 二項演算子
     * @return 対応する表現
     * @throws IllegalArgumentException 引数に{@code null}が指定された場合
     */
    public static ExpressionPriority valueOf(InfixOperator operator) {
        if (operator == null) {
            throw new IllegalArgumentException("operator must not be null"); //$NON-NLS-1$
        }
        switch (operator) {
        case TIMES:
        case DIVIDE:
        case REMAINDER:
            return MULTIPLICATIVE;

        case PLUS:
        case MINUS:
            return ADDITIVE;

        case LEFT_SHIFT:
        case RIGHT_SHIFT_SIGNED:
        case RIGHT_SHIFT_UNSIGNED:
            return SHIFT;

        case GREATER:
        case GREATER_EQUALS:
        case LESS:
        case LESS_EQUALS:
            return RELATIONAL;

        case EQUALS:
        case NOT_EQUALS:
            return EQUALITY;

        case AND:
        case OR:
        case XOR:
            return LOGICAL;

        case CONDITIONAL_AND:
            return CONDITIONAL_AND;

        case CONDITIONAL_OR:
            return CONDITIONAL_OR;

        default:
            throw new IllegalArgumentException(operator.toString());
        }
    }

    /**
     * 式をこの表現に変換して返す。
     * @param expression 対象の式
     * @return 対応する表現
     * @throws IllegalArgumentException 引数に{@code null}が指定された場合
     */
    public static ExpressionPriority valueOf(Expression expression) {
        if (expression == null) {
            throw new IllegalArgumentException("expression must not be null"); //$NON-NLS-1$
        }
        switch (expression.getModelKind()) {
        case ARRAY_CREATION_EXPRESSION:
            if (((ArrayCreationExpression) expression).getArrayInitializer() == null) {
                return PRIMARY;
            }
            else {
                return ARRAY_INITIALIZER;
            }
        case ASSIGNMENT_EXPRESSION:
            return ASSIGNMENT;
        case CAST_EXPRESSION:
            return CAST;
        case CONDITIONAL_EXPRESSION:
            return CONDITIONAL;
        case INFIX_EXPRESSION:
            return valueOf(((InfixExpression) expression).getOperator());
        case INSTANCEOF_EXPRESSION:
            return RELATIONAL;
        case POSTFIX_EXPRESSION:
            return UNARY;
        case UNARY_EXPRESSION:
            return UNARY;
        default:
            return PRIMARY;
        }
    }

    /**
     * 指定の優先度比較で、かっこが必要となる場合のみ{@code true}を返す。
     * @param required 要求された優先度
     * @param requiredInRight 要求された優先度が二項演算子の右に出現する場合のみ{@code true}
     * @param priority 検査する優先度
     * @return かっこが必要となる場合のみ{@code true}
     * @throws IllegalArgumentException 引数に{@code null}が指定された場合
     */
    public static boolean isParenthesesRequired(
            ExpressionPriority required,
            boolean requiredInRight,
            ExpressionPriority priority) {
        if (required == null) {
            throw new IllegalArgumentException("required must not be null"); //$NON-NLS-1$
        }
        if (priority == null) {
            throw new NullPointerException("required must not be null"); //$NON-NLS-1$
        }
        int contextOrder = required.ordinal() * 2;
        int priorityOrder = priority.ordinal() * 2;
        if (requiredInRight) {
            contextOrder--;
        }
        return (contextOrder < priorityOrder);
    }
}

redpajama_set_name: RedPajamaGithub


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food / travel
A New French Manifesto: Let Them Eat Old Cheese!
The U.S. Food and Drug Administration's outright prohibition of the practice of aging cheese on wooden boards has sparked strong reactions, revealing a newfound interest for traditional, fermented food.
Californian Cheese Maker
Kent Porter/Santa Rosa Press Democrat/Zuma
Marie-Claire Frédéric
food / travel eyes on the U.S. Sources Ideas LE MONDE Countries United States
PARIS — Earlier this year, a new trend started in the United States. The first episode was when the Food and Drug Administration (FDA) — citing hygienic reasons — reproached New York State's cheesemakers for their practice of aging cheese on wooden shelving.
The administrative slap almost went unnoticed, until this alarming news in June: The FDA decided to outright prohibit aging cheese on wooden boards. Such a ban is only partially surprising in a sanitary-obsessed country, that pushes the logic as far as pasteurizing honey — despite being antiseptic itself — and forbids raw milk cheeses aged less than 60 days.
And now, the latest development came this month when Nora Weiser, executive director of the American Cheese Society, a Denver-based trade association, requested further explanations from the FDA about the sudden ban of an artisanal practice that's been used for time immemorial.
Monica Metz, the FDA's Egg and Dairy Branch Chief, responded by citing a current regulation. It requires that cheese must be aged on "surfaces that can be adequately cleaned and sanitized," excluding wood as its "porous structure enables it to absorb and retain bacteria."
[rebelmouse-image 27088125 alt="""" original_size="1024x683" expand=1]
Cheddar Cheese — Photo: Brian Boucheron via Flickr
The FDA then confirmed that it does not intend to change its policy.
A threat to cheese imports — and American cheese
Weiser quipped that the "clarification only added to the confusion," since the previous text did not mention wood.
A prohibition of this type of cheese aging is "a threat against traditional methods (…) not only cheese made in the U.S. but also those imported," including Parmesan, Beaufort, Comté, Reblochon and Cheddar, to name a few.
Wisconsin, a big cheese-producing state, churns out 15,000 metric tons per year, all aged on wood. Such a rule would put an end to the rise of American artisanal cheesemaking, whose production is higher in numbers of tonnage of raw milk cheeses.
War is on
So, who benefits from this new assault? Obviously big industrial interests, who have hereby declared war against artisanal cheeses. But these latest plot twists are stirring more than just the usual food critics.
Economists, scientists, scholars and politicians have also protested. A petition was started on the public website of the White House, and gathered 5,800 signatures within the first few days. A campaign launched on social networks sparked thousands of reactions.
On June 10, the American Cheese Society asked the FDA to reconsider its stance. The case went a stage further the following day, when a group of Congressmen called their colleagues (cheese lovers) to support an amendment preventing the FDA to "go against a process used for centuries."
In response to the flow of complaints, the federal agency thought it necessary to publish a clarification. It claimed that there had been a vocabulary misunderstanding. It was only "background information on the use of wooden shelving, (...) the language used in this communication may have appeared more definitive than it should have."
At the same time, there was another step back from the FDA in May, with the lifting of a year-long blockade of 1.5 ton of French Mimolette, which had been banned entry in the U.S. because of the presence of cheese mites on the cantaloupe-like rinds for the aging process.
A new taste for fermented food
There is currently a newfound interest for traditionally fermented food, which are part of human identity. The fermented part of our diet is so deeply rooted in our habits that it would be impossible to eliminate it. In fact, it finds its way back into the small details, like the so-called slices of Beaufort or Reblochon added by McDonald's in its sandwiches in France that are supposedly identical.
Maybe the big industry went a bit too far. Nowadays, parallel economies are developing, based on short circuits. Common sense re-establishes itself as a force to be reckoned with against hygienic excess.
Cheese Market — Photo: via Flickr
Science, meanwhile, has now swapped sides. After supporting the industry's stance throughout the 20th century, it now centers its research on raw milk cheeses' innocuousness, dietary biodiversity, local produce and respect of ancestral traditions. The European Union now acknowledges the importance of traditions, as well as the cultural aspect of food. The EU has taken on a much different interpretation of hygienic rules, including the practice of cheese aging on wooden boards.
The FDA's policy shifts are not insignificant. For once, Europe is the one setting the example for hygienic regulation. This matters when transatlantic trade and investment negotiations are taking place, and is an expression of a rising backlash against the power of the industrial lobbies. Everywhere, consumers are rejecting sanitized processed food, always overpriced for its real value.
The fermented portion of our diet is rooted deep down in our very ways of life. Inevitably, if unexpectedly, it will always reappear, like the blades of grass sprouting up under an industrial concrete site.
Sandra Nasri


I was pretty bored at first, but I continued because I heard great things and the author is super nice, and I'm so glad I did. Girl Out of Water was AMAZING overall. It cheered me up, and it was exactly what I needed. Anise's anxiety felt so real and just like mine. This was the first time I actually could fully relate to a character's anxiety.
I didn't read the description before the book, so I didn't expect Lincoln to be black and have one arm, but it added more to his characterization. I loved how Anise was forced to tackle the topic of her mother, but how it wasn't the major plot of the book.
In the end, this book easily makes my list of favorites and I definitely would recommend it.


text:
Tiny Reparations Books is a highly curated imprint dedicated to publishing both literary fiction and nonfiction as well as essay collections that highlight and amplify unique and diverse voices. The imprint is committed to publishing complex, honest, and humorous work that not only reflects the current conversation but also pushes it forward.
For details about our other imprints, visit: Dutton and Plume.
New & Upcoming Releases
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Phoebe Robinson is a stand-up comedian, writer, producer, and actress. She is the co-creator and co-star of the hit podcast turned HBO series 2 Dope Queens and other critically acclaimed podcasts including Sooo Many White Guys and Black Frasier. She's also the New York Times bestselling author of You Can't Touch My Hair: And Other Things I Still Have to Explain and Everything's Trash, But It's Okay, which was developed into a Freeform series. Additionally, Phoebe starred in the films Ibiza and What Men Want, and was a moderator for Michelle Obama's Becoming book tour where she interviewed the former first lady. In 2019, Phoebe launched Tiny Reparations, a production company under ABC Signature, whose first series Doing the Most with Phoebe Robinson, premiered April 2021 on Comedy Central. In 2021, Phoebe published her third book of essays Please Don't Sit on My Bed in Your Outside Clothes, which quickly became a national bestseller and the inaugural title from her imprint, Tiny Reparations Books, which champions writers of color. Her debut hour comedy special, Sorry, Harriet Tubman, premiered Oct 2021 on HBO Max.
Emi Ikkanda, Executive Editor
Emi Ikkanda is an Executive Editor acquiring nonfiction and select fiction projects at Tiny Reparations Books, Dutton, and Plume at Penguin Random House. She previously worked at Seal Press at Hachette, Spiegel & Grau at Random House, and Henry Holt at Macmillan. She publishes a diverse list of award-winning, bestselling, and culturally relevant books. Over the years she has edited #1 New York Times and international bestselling authors, and edited winners or finalists for the Pulitzer Prize, National Book Award, Carnegie Medal, Financial Times Business Book of the Year Award, and the TIME 100.
Recent highlights on her list include #1 New York Times bestselling author Ijeoma Oluo's Mediocre, Karla Cornejo Villavicencio's NBA finalist The Undocumented Americans, Carla Power's Pulitzer finalist Home, Land, Security, Minda Harts's Right Within, Arianna Davis's What Would Frida Do?, international bestselling novelist Michael David Lukas's The Last Watchman of Old Cairo, Sanaë Lemoine's New York Times Editor's Choice The Margot Affair, NASA Astronaut Nicole Stott's Back to Earth, and former Reddit CEO Ellen Pao's Reset.
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Lashanda Anakwah is an editor at Tiny Reparations acquiring fiction and select non-fiction titles. Before joining Tiny Reparations she worked at the Simon & Schuster flagship imprint. She is building a list that captures a wide array of human experiences, and is drawn to edgy voice driven literary, upmarket and commercial fiction , centered on complicated, unique characters. Smart, immersive prose written with craft, intention and depth of feeling is sure to capture her attention. As well as themes of geographic identity, culture, and coming of age.
Lashanda is also looking for transformative memoirs, in addition to narrative non-fiction that answers the "why" and "how" in regards to the socio-political-economic systems we are all mired in, with a clear vision of the way forward.


text:
The ObserverRace
Gallery aims to reclaim narrative with its racist 'casta' paintings
Curator of new show tackles racial stereotyping using depictions of scenes of colonial life in the Caribbean and South America
One of the 18th-century 'casta' paintings in the Leicester collection. Photograph: Leicester Museum & Art Galleries
Vanessa Thorpe
Exploring Leicester Museum & Art Gallery 12 years ago, trainee curator Tara Munroe came across a stack of discarded oil paintings. The troubling scenes they portrayed would go on to change the direction of her career and may soon alter wider attitudes to art history.
The paintings depicted wealthy colonial life in South America and the Caribbean, and had been marked for destruction by the gallery. But the images, which each subtly grade racial and social distinctions, spoke clearly and powerfully to Munroe.
"To me, they are beautiful paintings but they have a very dark message within them," she told the Observer as she prepared for the first public display of the unrestored paintings, in Leicester in the new year.
Now an expert in black heritage and the director of Opal 22 Arts and Edutainment, Munroe has doggedly continued her research into the origin and meaning of the five rare late-18th-century works she found. First, she persuaded the city's art gallery & museum to save the works that had originally been categorised as distasteful and irrelevant, then she started to try to discover who had painted them and why. In the last few months, she has won funding from the Heritage Lottery Fund to curate a further, bigger exhibition of the paintings in 2023.
The works are examples of a genre known as "casta paintings" and there is only one other collection in Britain. It is also thought there are only about 100 complete or partial paintings known of anywhere, making the Leicester find of international significance.
Tara Munroe, curator of the new exhibition. Photograph: Martin Neeves
"I want to help people understand the history of racial stereotyping in the colonial era and how the colour bar actually worked. I'd also like to link it to the academic discipline of critical race theory," explained Munroe. "I'm from a mixed Caribbean background myself, although I am paler skinned, and so I know it is important to study the way colour has been used. It is why the paintings connected with me so much," she said.
The re-evaluation of the paintings Munroe put in train is an instance of allowing prejudiced art back into the visual arts canon, or even "un-cancelling", and it remains an unorthodox, sometimes controversial approach.
Some of the terms used then are now regarded as offensive. "Mulatto is still understood," said Munroe. "And there are others such as Lobo, or wolf, which was what someone half-Indian and half-black was called. I want to move away from these labels without losing the history, and to be honest I'm scratching my head about the best way to do it."
Munroe, who grew up in Luton, has Chinese and African heritage, and recalls that at school fellow pupils would ask what she was. "My mother would just say 'green with pink spots', but that didn't really help me," she recalls.
Casta paintings date from the 1600s to the beginning of the 19th century and were designed to show race and class divisions in Spanish colonies. Facial expressions and physical attitudes all encode the hierarchy and status of the people painted, and sometimes racial mixtures are identified and inscribed on the canvas. The works Munroe found, which also express contemporary anxieties about racial mixing, were originally donated to the Leicester museum in 1852, by Joseph Noble, a lord mayor of the city.
"For me, perhaps the biggest interest to this story is how it shows that we see things differently when we come from a different perspective," Munroe explains. "A lot of people had looked at these paintings before, and they were just being used to train picture restorers before they were destroyed. It was only because I was working there that I saw something in them. There is a new level of understanding that comes when you have different people working somewhere."
After the restoration work is complete later next year, Munroe plans a series of events and lectures with the aim of understanding the progression of academic attitudes to racial identity.
Art (Art and design)
Art (Education)


The Minnesota Twins are trying to avoid losing their fourth consecutive game they play host to the Milwaukee Brewers at Target Field. The game gets underway 2:10 p.m. ET and Fox Sports North is in line to broadcast this interleague matchup.
Minnesota (-115) is favored over Milwaukee (+105) and oddsmakers have set the Over/Under for this afternoon's game at 9 runs. Odds for wagering on the games total stand at -115 for the over and -105 for the under. You can also bet on the game's runline with the odds coming in at Brewers +1.5 runs (-200) and Twins +-1.5 runs (+170).
The Brewers have gone 28-18 SU this year and are 27-18 against the spread (ATS). They've accumulated 11.4 units for moneyline gamblers over the early part of the year and 7.7 units ATS. Milwaukee has covered the spread six times in its last seven games and the over has hit in four of those seven. The Twins, on the other hand, are 18-23 SU and 23-17 ATS. They've lost 4.2 units for bettors taking the moneyline while gaining 3.1 units ATS. Minnesota has covered the spread four times in its last seven games and the total has gone under in four of those seven.
Twins games have a 21-18-1 over/under record so far in 2018. The Brewers have been a decent under bet with a total record of 17-26-2.
Junior Guerra will get the start for Milwaukee. The right-handed Guerra is 3-3 with a 3.08 ERA and 37 strikeouts. He has yet to face the Twins this year and did not record a start against them in 2017, either.
The Twins will be sending righty Jake Odorizzi (3-2, 3.35 ERA) to the mound. Odorizzi has 45 strikeouts and 21 walks to his credit, as well as a 1.26 WHIP. Odorizzi did not record a start against the Brewers in 2017.
Minnesota's pitching staff has given up 4.8 runs per game overall this year as a unit. The clubs starters have an ERA of 4.34, a WHIP of 1.35 and a strikeouts-per-nine of 9.0. The bullpen has a 4.82 ERA, 1.47 WHIP and 9.1 K/9.
Minnesota's offense has put up 4.2 runs per outing, including 3.8 per game over its last 10 games and 3.2 per game over its last five. The teams hit .226/.293/.340 over its last five games and is 1-4 SU during that stretch.
Left fielder Eddie Rosario and shortstop Eduardo Escobar have led the Twins batters so far. Rosario is slashing .294/.319/.544 with nine home runs, 27 RBIs and 28 runs scored, and Escobar is hitting .284 with seven homers, 21 RBIs and 24 runs scored.
Rosario performed well against righties at home last year, slashing .351/.402/.733 in 209 such plate appearances (compared to his overall season line of .290/.328/.507).
In the other dugout, Milwaukee's pitchers have allowed 3.7 runs per game and its starters own a 4.12 ERA, 1.29 WHIP and 7.18 K/9. The bullpen has an excellent ERA of just 2.58, along with a WHIP of 1.29.
Brewers hitters have slashed .245/.314/.405 on their way to 4.1 runs scored per game in 2018, including 5.4 runs per game over the teams last 10 games and 5.8 per game over the teams last five contests (4-1 SU).
Lorenzo Cain and Jesus Aguilar have led Milwaukee's offense. Cain is slashing .271/.384/.432 with five home runs, 14 RBIs, 27 runs and 10 stolen bases, while Aguilar (.327/.391/.582) is up to six homers, 19 RBIs and 19 runs scored.
Maintaining a slash line of .309/.368/.606 across 106 plate appearances, Aguilar performed well against righties on the road last season (his total season line was .265/.331/.505).
The Brewers have gained 10.2 units and are 22-12 ATS when facing a righty starter this season. The over has hit in 12 of those games, compared to 20 that've gone under in such games. On the other hand, the Twins have lost 3.6 units and are 18-13 ATS when facing a right-handed starting pitcher. The over has hit in 16 of those games, compared to 14 which went under the total.
The Brewers have hit 16 home runs in their last 10 games, including 11 over their last five.
Milwaukee has posted 25.0 Runs + Hits + Errors per game over its last 10 outings and 24.2 over its last five.
The Brewers have won five of their last six games SU while the Twins have lost five of their last six SU.


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The brief was to shoot corporate style business portraits of Sovereign Insurance key staff (to include the CEO) and business operations set in their stunning Auckland office. Images will be used for digital promotions and marketing- including the their services and career sections of website and social media channels.


text:
Home » Sports » Soccer
Juventus draws while Inter stumbles
Source: Agencies | January 20, 2009, Tuesday | Print Edition
JUVENTUS missed a great chance to close the gap on league leaders Inter Milan on Sunday, drawing away to Lazio after Inter had lost 3-1 at Atalanta earlier in the day.
Juventus struggled to find its form and needed an Olof Mellberg goal to earn a point that leaves them three points behind Jose Mourinho's side.
Inter lead the standings with 43 points, Juventus now have 40, AC Milan are third with 37 and Genoa are fourth on 35.
Cristian Ledesma gave Lazio the lead when Juventus goalkeeper Alex Manninger misjudged a freekick from the left and allowed it to go over his head and inside the far post.
Goran Pandev should then have doubled the lead. Tommaso Rocchi's shot was stopped by Manninger, but Pandev could only blast the ball over the unguarded goal.
Five minutes later Olof Mellberg punished Lazio's wastefulness by heading Juventus level from a corner by Alessandro Del Piero.
In the second half both sides struggled to create chances. Even the introduction of Juventus' prodigy Sebastian Giovinco was unable to improve Claudio Ranieri's side.
In the last minute Pasquale Foggia had a great chance to give the home side the win, but was unable to reach Tomasso Rocchi's low cross from the left.
Despite dropping two points Juventus defender Nicola Legrottaglie said there were positives to take from the game and for the future.
"It was a hard game, but we were better in the second half than the first. Obviously we wanted more, but we need to improve. But Inter need to watch out, we are still hungry."
Also on Sunday, it was: AS Roma 1, Torino 0, Cagliari 2, Udinese 0; Catania 1, Bologna 2; Lecce 0, Genoa 2; and Sampdoria 0, Palermo 2.
Atalanta's win over Inter was the big surprise of the day.
Cristiano Doni scored twice for Atalanta, which controlled the game from the start as Inter struggled without the injured Patrick Vieira and Marco Materazzi.
Doni came close to scoring in the eighth minute when he volleyed wide from inside the area. Instead, Sergio Floccari gave Atalanta the lead in the 18th, when he reacted quickest to Cristiano Doni's header and turned defender Maxwell to shoot low beyond goalkeeper Julio Cesar.
"Today there were 30 minutes that don't need any comment, in which we gave away stupid, ridiculous goals," Inter coach Jose Mourinho said. "One of my players put the ball right on Floccari's toes. He had his back to the goal, but one of our defenders allowed him to turn and shoot."
Doni doubled the lead with a free kick in the 28th that deflected off Zlatan Ibrahimovic to leave Cesar flat-footed. Five minutes later, Doni rose above Inter's defense to head in a cross from Jaime Valdes.
"All week we have spoken about Doni and how he arrives in certain positions and how he is good in the air," Mourinho said. "But he arrived between two defenders, which we shouldn't see."
Ibrahimovic scored for Inter in the 90th.
Mourinho said there was no excuse for the poor performance.
"Today was a disaster," he said. "We had to have an emotional reaction, one of a squad that wants to play. Today even those that don't understand football could see that our aggression on the ball and our pressure wasn't there and we didn't have the right attitude."


text:
Play Arctic Valor Slot Free
Arctic Valor is one more slot machine that we're seeing released at Microgaming casinos, and which is actually designed by one of their partners for them, as an exclusive release. The partner in question happens to be Crazy Tooth Studio this time, and this is the first game they've created for this provider. As for the theme, it's an ice/fantasy mix, and a fairly enjoyable one if we go by the slot's design.
For Arctic Valor, the developer chose a setup with 6 reels and 4,096 ways to win, which allows the player to go after fairly large payouts, of more than $400,000. Among its features, you get the free spins, scatters, wilds and a randomly triggered Icicle bonus.
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The game doesn't give away the biggest prizes around, as its best winning combinations only seem to be offering about $100, or 10x the line bet. You do get a lot of ways to win, over 4,000 of them, so in theory the game has potential to pay over $400,000 (unless the developer limited the amount it can pay in one round).
One more point, to make in the game's favor, relates to the RTP that's been announced. At 96.7%, the game should be paying back enough to players, to make it a decent pick. Keep in mind, that's for its entire lifespan, not for your particular gameplay sessions.
Arctic Valor Slot Features
On the feature side, the game will offer several regular features, along with some which are a bit rarer. Stacked symbols will appear as well, which makes it a bit more likely that you will create several winning combinations at a time.
The wild symbol is present in the game, and may also be used in the creation of new winning combinations. You can't use it as a scatter's replacements, but that's not unusual at all for such a feature.
A bit more random, the Icicle feature may pop in at any point, as you're playing through Arctic Valor. The game gives you 1+ icicles, which drop on the slot's reels, covering a maximum of three positions. It's not an exciting bonus game though, as all you have to do is click on those icicles, to find out how much you've won (wilds may also be revealed).
The slot's other bonus feature will give you 7 free spins, in exchange for which you need a minimum of three scatter symbols to land anywhere. During this feature, you get the Icicle bonus to trigger during every single round, so the potential is higher for them.
It's got the fantasy style going on, but it also gets a more arctic-like look, with plenty of ice incorporated next to images of female warriors, swords, bows and shields. Several symbols appear as stylized snowflakes, colored in blue and red. Overall, it's a good looking design, though nothing that would really make you pay attention.
Arctic Valor is one of the many Microgaming slot machines available at their casinos, with plenty of ways to win and decent potential top payouts, though individual rewards prove quite disappointing.


text:
Originality Creativity & Thinking Out of The Box.
By AXE®
February 11, 2009 in The Gibson Lounge
AXE®
Discuss:
Recently I encountered some chaps who were in a comfortable rut.
Playing the same crap they had played over and over for years.
This lack of imagination is boggling to me, isn't music supposed to broaden thought patterns?
Ask them to take off on a jam in F# or C and they fall to pieces before your very eyes.
Homz
That is the thing I like the most about our jams on nearly every Friday evening. It's nice to have a wife who has hundreds of books of sheet music and the ability to play them. On any given evening we may end up playing "Benny and the Jets", "Rainy Day Women", all 9 parts of "Shine on You Crazy Diamond", and the entire 'Breakfast in America' by Supertramp. This in addition to our must play list from Zep, the Who, and B.O.C..
What's really cool is my wife returning early from a break and she starts playing Mozart or Beethoven. There isn't much of a call for overdriven lead guitar in that stuff so I get extra break time and more Canadian Club.
I watched a "band" practice one time, and they had a few songs they could play. When a guitar player who was just sitting in with them asked them to just jam a little, it got very uncomfortable. Other than the few songs they'd learned, they couldn't play anything. Most importantly they couldn't improvise.
My guitar teacher, a great player as well as a great teacher, once said that unless he's learning something everyday while he's playing, he doesn't consider the time well spent. You have to have fun and amuse yourself, for sure, but you should always push yourself to learn and become better.
SRV-Zeppelin
That's the problem with playing only one style of music - like if you only play blues, for example, you'll get awesome at soloing in E and A - but not much else.
This lack of imagination is boggling to me' date=' isn't music supposed to broaden thought patterns?
Ask them to take off on a jam in F# or C and they fall to pieces before your very eyes.[/quote']
Absolutely right on the money. I couldn't agree more.
Making music should be about having fun and trying things out. Even when it doesn't work out perfectly it's still more entertaining for both player and listener than just churning out the same old solo for the nth time.
It's like the guys who insist you should learn to play X, Y and Z tracks note for note (which is, admittedly, good for understanding the structure) and then never let you stray from the sheet. Everyone may just as well stay home and listen to the original.
MikeRom
'Chaps'?
C# is the new A ...
You mean to say that you don't have a subscription to receive your copy of "The Chap"? Should I forward your e-mail address???
http://www.thechap.net/
TTFN!
I know...Im in a rut now too. I find I play the same things over and over. My jamming friends are all moving away.
80LPC
People get bogged down in the genres they choose. It also has a lot to do with ability, because many players struggle to play fairly basic rock / blues, and just plod on for year after year without improvement. For those people, any thought of trying something more adventurous - say jazz is futile, so they 'play safe'.
Tastes in music have changed so much. For me, the late '60s to mid '70s were a golden age for adventurous guitar - based music. There were so many interesting styles being fused together, and there existed a market for this material. I was too young to be involved at that time, but I try to keep those values in mind to this day.
milod
LocationCenter of the USA
As to flexibility, etc....
I really wouldn't personally care to zap people who don't do what I do musically. Especially if it's a different genre. I'm one of those folks who isn't talented but is capable of working hard to develop skill at what I want to do and don't particularly care about spending my guitar time on stuff I don't particularly care to do.
E.g., I can understand wondering why a "Lead Guitar" picker can't make a switch, but... what of the classical guitarist who's put all his effort into a specific repertoire playing off the map? As for me personally, I just don't "think" like a single/double stop "lead" guitarist a la Django. Django was a genius, but I notice he didn't play much ragtime, either. I'm in awe of Doc Watson, but... I've never heard that he tried to play Bach better than Segovia.
I basically do "keyboard guitar" with nobody else behind me, human or "recording." I'm not even close to Joe Pass or Chet Atkins in talent, so I'll freely admit that it's likely impossible to jump into a band to take off from scratch in a key I'm not used to, in a different style and perhaps with material I've never heard or an arrangement far different than I've ever heard ... as a "lead guitarist."
Can I play Seranade in Blue fingerstyle? Yeah, but not in A or F without thinking about it, and certainly not easily with some arrangements. I'll likely do it differently in a couple of months or in a couple of years, but I'll have to rethink the arrangement and fingerings. Yet I never quite play it the same way night to night now.
But can some darned good rock guitarists do what I did 30 years ago to pick up a classical guitar, score and album of the musical "Man of LaMancha" for 24 hours and then do three performances in Aflat Eflat and such oddballs? I'm not bragging, but just chording off the map with Flamenco-style fingernails was a piece of cake regardless of cramping on my poor, innocent left hand once I sorta "knew" the music and rhythms I was expected to play.
Yet can I go and play an unexpected rock or country lead gig with a band I've never heard tomorrow night like some guys I know, regardless of what key or whatever the band might do?
No way, Jose.
Maybe bass if I know the "song list" and keep it simple. Even then... Is the band's style complex or dead simple? How would I fit? Do they expect runs or just "boom boom?"
Except for a few "top enders," a lot of classically trained musicians can't imagine playing without music in front of them or in mind's eye - and they might have such talent that even a simple piece sounds better from them than 99 percent of other artists who might attempt the piece.
Again, I think we're comparing apples to oranges. There are different expressions of creativity. There are talented musicians who aren't skilled, skilled musicians who aren't talented and some folks who ain't neither one but just love playing with friends regardless. I don't like to put any of them down.
As for doing the same every night for money, even with jazz and rock there's an expectation, except with jam bands or a jam sorta gig, that you'll be consistent. They wanna hear roughly the same guitar solo, the same vocal...
I dunno... I just dunno.
ChanMan
LocationNashvegas area
/chuckle
It's just jamming. How can you not be able to jam? I mean, some rhythms and timings are more difficult than others to pick up, but...
You're kidding us right? Can't jam???
I have obviously been living a very sheltered life. Thanks for opening my eyes -
dc3c46
LocationTrue North
Try to learn Slide. That's what I started to do. And try to play it with just
fingers like Arlen Roth shows it. Trust me, it is cool and gets you
out of the usual rut.
LocationSomewhere in Space
All one style and no play makes Jack a dull boy. I love to rock out on a guitar but I've learned that playing jazz (for me on piano) greatly broadens my rock guitar playing. Our jazz teacher used to stop us in mid-piece, point at a person and say something like "play Yankee Doodle in the key of F#." We had to think about the tune for just a second and get it right without prior knowledge. He'd pick one tune after another in various keys until it became second nature to us. I know it sounds silly but it does help to broaden your musical thoughts. There is a pitfall to learning too much though. Some people just zoom up and down various tonal scales without much regard to a melody. The great ones do it all naturally (Joe Pass is an example).
Bluemoon
LocationChicago
You can forward me a copy...AXE@comcast.net
chaps? I prefer black leather to brown. And you?
LocationThe Dena
We used to have a guy like that in our band. He could play OK, but would only learn to play a song note-for-note, or as close as he could get to it. Then he would play it the same way every time. It made it difficult for our band to ever jam or do songs differently. You can't teach creativity or imagination. Some people just don't have it.
One good thing, was I never got lost while soloing. I would listen to him and know exactly where we were in the song.
FirstMeasure
LocationSouther California Mountains
We used to have a guy like that in our band. He could play OK' date=' but would only learn to play a song note-for-note, or as close as he could get to it. Then he would play it the same way every time. It made it difficult for our band to ever jam or do songs differently. You can't teach creativity or imagination. Some people just don't have it.
One good thing, was I never got lost while soloing. I would listen to him and know exactly where we were in the song. [/quote']
Our first Bass Player was like that, but he was a little unrealistic. He told us, "We won't be jamming 'cause we're going to be a serious band". I called him on it right away, I said, "Yes we will. That's the way I do it, 15 or 20 minutes of Jamming then we get down to the set list". After a few minutes of this I got him to admit he couldn't jam. I offered to show him how and he quit. which was alright with me
Now we do songs in front of bar crowds that we haven't even talked about, let alone practiced. And when we do a Blues number we just start in some ol' key and I start singing the first song that comes to my head, then we know what we're doin'. However, there are some songs that deserve to be played as close to the original as possible, but these are different for every player. Like the only 2 SRV songs I try to "duplicate" are "Couldn't Stand The Weather" and "Change It".
These Blokes are Chaps
I'm not sure Andy Capp and Chalky quite measure up to the very high standard one expects from a Chap.
Perchance they are merely 'Blokes', as mentioned in your caption?
Way cool! This site is a hoot.
Perchance they are merely 'Blokes'' date=' as mentioned in your caption? [/quote']
Sorry, I'm an American, I didn't realize a Chap was more sophisticated than a Bloke. So...
I Guess the Chaps are Blokes


1. The length of the net is 15 inches to 18 inches in length. 1-10-1.
5. A-1 will shoot the bonus with no players lined up. The game will continue with the AP Arrow to start the 3rd Quarter. Case Book- 2.10.1 Situation C.


UTV Media appeared in 2009 when two major media market players had merged — "Media 1" and "AF Media Holding".
After this merger UTV became an owner of two large-scale assets: a federal youth TV channel "MUZ TV" and federal TV channel "7TV", a little later a web-portal of the legal video music "Clip You" has joined them. Today UTV's telecasting network covers 880 cities in different regions of Russia and the audience counts 88 million viewers.
In 2009 a new team set a course for a new concept and a new strategy of company's development. After rebranding "MUZ TV" channel became just "MUZ" and started up with new concept, new principle of the program plan, new faces and new content. In 2010 it was "7TV" channel's turn to be renovated — thus it became "Disney". The updated concept and a new positioning on the market had instantly affected the economic performance of "UTV Media" and provided an unprecedented growth in profits. Gars Telecom is well aware that а ship will sail the way you name it. In 2009 we also experienced that terrible word "rebranding", so "UTV Media"s values are particularly clear and close for us.
We are pleased that now we are providing the telecommunication stability for the national media giant, which is in step with the time, considers the importance of correct and precise positioning of the product on the market and is not afraid to change. Maybe that is why it has been changing only for the better.


text:
Q: When does it make sense to use Actors in a web application I have been browsing Typesafe Activator templates. Often in the Typesafe templates (Reactive Stocks / Maps / *) I see an actors folder within the app folder. Obviously, this is supposed to hold actors, but how would one add actors to a Play application. I know that Play is an MVC framework, and that means:

*

*Models act as templates for structured data, and are used for interaction with the database and passed to views

*Views are web pages, and typically can have data injected into them.

*Controllers contain business logic, and may bridge models and views

If this is so, what are Actors for? What do they add that Models, Views, and Controllers do not provide? What would be some practical uses of Actors while developing reactive web applications?
EDIT
While reviewing Play documentation, I have found that Actors may be useful for scheduling. Are there any other uses for Actors?

A: The Play Framework uses controllers to handle the requests. The controller fetches the data from the models and transforms/filters/modifies it, so that the views can handle the data. The controller also contains the whole business logic.
The way the Play Framework is designed, those controllers should handle those requests either really quick, or return an asynchronous Promise. This is where the actors come in handy. If you have requests which take a long time to compute, you can use an actor to handle the request asynchronous. Have a look at the documentation.

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