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REVIEW: Brian Jackson at the Jazz Café
By ljazzn on 12 September 2018 • ( Leave a comment )
Brian Jackson wth Yolanda Charles
Photo: Peter Jones
(Jazz Café, 11 September 2018. Review by Peter Jones)
In 2015, when Charenee Wade released Offering, her brilliant album-length tribute to the music of Gil Scott-Heron and Brian Jackson, it sent me back to the originals. Notable among these were Pieces of a Man (1971) and Winter in America (1974) – the latter often described, like so much of the duo's output, as 'prophetic'. But as Brian Jackson remarked at the Jazz Café, "We didn't want it to be prophetic" – by which he meant they had no idea that so many of their dark warnings would come true in the way they now have.
Scott-Heron and Jackson were, of course, an essential element of the soundtrack of the 1970s – the black, radical, pissed-off, socially and racially aware element, along with the likes of Curtis Mayfield and – at times – Marvin Gaye and Stevie Wonder. But Scott-Heron was first and foremost a poet, who in retrospect we can regard as visionary, highlighting issues that most people hadn't begun to think about at the time. Brian Jackson was the musician who turned the poetry into memorable songs that have never sounded so fresh and relevant as they do today.
Here in London, the bespectacled Jackson, looking slim and fit in a natty pearl-grey jacket, was greeted with fervour by a knowledgeable, enthusiastic audience, who lapped up his reflections and observations between songs like true devotees. Alternating between Fender Rhodes (his signature sound) and grand piano, he was supported by a pair of Londoners – Yolanda Charles on electric bass and Chris Morris on drums.
They opened with the slow, sweet, meditative Offering, from the First Minute Of A New Day album, but it wasn't long before Brian Jackson was introducing The Liberation Song from the same collection, and talking about the independence struggles in Mozambique and Angola which had inspired it. His linking narrative illuminated the material throughout the gig. There was a lot of talk about politics, but also plenty about the music. Their two greatest influences were Lady Day and John Coltrane, he said, before playing that urgent, uptempo classic.
Jackson's voice is not as distinctive as Scott-Heron's and at times, as on A Toast to the People, his vocal range was challenged. But it seemed to grow stronger as the night went on, energized no doubt by the crowd's obvious love of the music and willingness to sing along at the slightest invitation. Charles and Morris were spot-on all night, Charles wearing a huge smile, as if she couldn't quite believe she was sharing a stage with this legend, despite her stints with the likes of BB King and Eric Clapton. (She had the additional task of holding up the charts to show Jackson what was coming next, since he'd left his set-list in the dressing room.)
We waited almost until the end for him finally to pick up the flute that had been lying on top of the piano, playing a brief solo on In the Bottle, a song with barely more than two chords in it, reminding us that a great strength of this music is its harmonic simplicity, combined with terrific grooves and of course those thought-provoking lyrics.
"People say we were angry," commented Jackson as they returned for the encore, "Angry people, angry words. But really these songs are all about love, just not the kind of love that songs are usually about – they're about love of family, people and nature." In illustration, they played the ballad Song For Bobby Smith, a four-year-old boy they had turned to in search of a title. "Make it about me," said Bobby. So they did.
PHOTOS: Simcock/Locke Duo and Johannes Berauer's Hourglass at Kings Place
CD REVIEW: Phronesis – We Are All


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Saturday, February 11, 2023 will be our Parish Mardi Gras with presentations by our own Kolo Club "Marian" and our guest group, America Zagreb Junior Tamburitzans of Cleveland and Steelton's own "Zadnja Stanica". The cost of admission is $10.00 and the performance will begin at 7:30 pm in our Parish Center. Please come and bring your friends and support our young parishioners and guests, and have a great time before Lent.
Author Georgiann BenkovicPosted on January 30, 2023 January 31, 2023 Categories Adult, Diversity / Multicultural, Parish Happenings
This week the Church in the United States will celebrate Catholic Schools Week. This year's theme is "Catholic School: Faith. Excellence. Service." While our parish no longer runs its own parochial school, #38 students from our parish are enrolled in neighboring parochial schools and our two local Catholic High schools. Our parish automatically subsidizes each parishioner child in Catholic elementary school per capita, and we are assessed approximately twelve percent of our ordinary income to Bishop McDevitt High school each year. So while we do not have our own parochial school, our parish continues to support in word and in deed the excellent work of Catholic Education for our parish child which benefits our families and our wider community. Furthermore, we have several parishioners work in our Catholic School System in our diocese – I would like to thank them for their hard work and dedication. Thank you for your stewardship and support of our Catholic schools! Please consider a Catholic school education for your children.
Thank you for your support of our "Touchdown Raffle" which will be drawn in two weeks time on Super Bowl Sunday (February 12th) following the 10:30 am Mass. We will livestream the drawing for the sake of transparency and getting the word out as quickly as possible. While these raffles are not necessary for the financial security of the parish, we offer them for the sake of a good time for a good cause. Please do not feel obligated to participate in these raffles if you are unable.
Please let me offer my tremendous thanks for all of you for your strong stewardship of our parish family. Our Christmas collection was tremendous – thank you! to date the Christmas collection has brought $32,227.00 to support the ministries of our parish family.
Over the past several months many people have contributed to the renovation fund which enabled the recent renewal of the interior of our parish church. To date we have collected $38,932.00 which has been placed in the Bobitz Bequest Fund; these funds are restricted by our parish lay leadership for improvements of our parish church. There will be a plaque which is going to be placed in the rear of the church near the baptistry. We are in the process of laying out this plaque and triple-checking all the names and memorials. Thank you for your patience as this is a work in progress since memorials continue to come in.
Have a Good Week!
Fr. Jonathan Sawicki, Pastor
Author Georgiann BenkovicPosted on January 28, 2023 January 27, 2023 Categories Parish Happenings, Pastor's Corner
Fr. Maurus Dolcic will be at Prince of Peace Parish-Assumption of the Blessed Virgin Mary Church on Sunday, February 5, 2023, to celebrate Mass in the Croatian language at 5:00 pm. He will be available to hear confessions at 4:00 pm.
A thank you to our parishioners for your support of our ministry to our Croatian community both on the East Shore and the West Shore.
We thank Fr. Maurus for his monthly visits to our Parish.
Author Georgiann BenkovicPosted on January 27, 2023 January 31, 2023 Categories Diversity / Multicultural, Parish Happenings
It was a little painted statue and stood a foot and a half high, was dressed in exquisite court dress, and cherished as an heirloom wedding gift. It came from Spain during an early spread of devotion to the Christ Child.
In the 17th century, a Spanish noblewoman named Isabel Manrique gave this little statue to her daughter Marie when Marie married a Czech noble. Marie gave it, in turn, to her own daughter Polyxena when the later married.
Polyxena treasured it for many years, but at last gifted it to the Carmelite monastery of Our Lady of Victory.
Shortly afterward the Czech kingdom was invaded by the Saxons, forcing the Carmelites to flee their monastery. The statue of the Christ Child, damaged and tattered was left behind in the ruins of the church.
Ten years later in 1638, a Carmelite priest found it. He took it to his church in Prague and displayed it by the altar.
Suddenly, as he knelt in prayer before it, the statue spoke, saying: "Have mercy on me and I will have mercy on you. Give Me My hands and I will give you peace. The more you honor Me the more I will bless you."
After this, many miracles were reported to have been wrought through the statue and devotion to the Christ Child increased all the more.
Many saints, such as Therese of Lisieux and Francis of Assisi, were greatly devoted to the Infant Jesus. Nurture love for the Child Jesus in your own home.
The Catholic Company: Bite-Sized Faith
Author Georgiann BenkovicPosted on January 25, 2023 January 25, 2023 Categories Diversity / Multicultural
Knight's Sub Sale
Our Knights of Columbus have scheduled a "Super Bowl Sub Sale" on Sunday, February 12. You have a choice of Italian, Ham and Cheese or Turkey and Cheese for $7.00 each.
The subs are made fresh the morning of pick-up, February 11, 2023. They use Terranetti rolls, quality meats and cheeses, crisp lettuce, tomato and onions. The tomato, lettuce and onion are wrapped separately for your convenience.
Order forms will be in the Parish bulletin the weekend of January 21/22 and January 28/29. All orders are due by February 6th. You may pick-up your sub order on Saturday, February 11th from 10 am to 12 noon.
Author Georgiann BenkovicPosted on January 24, 2023 January 25, 2023 Categories Adult, Parish Happenings
What Does It Mean to Be Catholic?
The Catholic Church was founded by Christ and his Apostles. There are four marks or characteristics of the Church, and we are reminded of them each time we pray the Nicene Creed at Mass.
One: Means all members are united as the Body of Christ, given life by the one Spirit. We acknowledge one Lord, one faith, one Baptism.
Holy: Means the Church is centered on God. It is Christ who, by his sacrifice, makes the Church holy.
Catholic: Means universal. The Church is for all times and all people. The Church is "the fullness" of the means of salvation". (CCC830)
Apostolic: Means the Church is built on the foundation of the Apostles. We teach the doctrine of Jesus as it has been handed down through the apostles and their successors, the pope and bishops.
Each Catholic is called to full and active participation in the life of the Church and has the right and responsibility to:
1.) Attend Mass on Sundays and on Holy Days of Obligation.
2. Confess your sins, through the Sacrament of Reconciliation, a least once a year.
3. Receive the Eucharist.
4. Observe the days of fasting Ash Wednesday and Good Friday and abstinence on Ash Wednesday in Lent established by the Church.
5. Help to provide for the needs of the Church
Encountering Christ and being a witness to his love means we are called to live like Jesus and work for justice and peace in this world by living the 10 commandments, the Beatitudes, the Corporal and Spiritual Works of Mercy and the principles of Catholic Social Teaching.
We are called to stand for the: Life and dignity of the Human Person, Call to Family, Community and Participation, Rights and Responsibilities of the Human Person, Option for the Poor and Vulnerable, Dignity of Work and Rights of workers, Solidarity of the Human Family, Care for God's Creatures.
Author Georgiann BenkovicPosted on January 19, 2023 January 19, 2023 Categories Adult

redpajama_set_name: RedPajamaCommonCrawl


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Nick Carter made his debut in 1886, the year before Sherlock Holmes came on the scene in London. That's where the comparison ends. None of Carter's mysteries or adventures were in the ballpark of the greatest detective of them all, but what Carter didn't have in quality, he made up for (as best he could) in quantity with hundreds of novels and short stories being written.
Scores of Carter's books from his first 37 years are in the public domain. The Nick Carter Collection from Halycon Press for Kindle has one and only one virtue: you can find all the books therein without having to search for them in online. Otherwise, most of these can easily be obtained off Project Gutenberg for free.
Nick Carter was a corporate property with multiple authors writing the stories and what exactly Nick's adventures liked really seemed to depend on who was writing the story and probably the trends of the day.
The Nick Carter franchise would eventually be featured in Hollywood films in 1939-40, a 1960s film, a 1972 telefilm, and a series of 206 spy novels.
Nick Carter's radio series was perhaps his best-known incarnation from 1943-55. It was a New York-based radio drama by the mutual network that managed to survive from 1943-55 as the radio detective genre went through a wide variety of phases from the romantic detectives to the hard boiled series to the realistic procedures.
Lon Clark (1912-98): Lon Clark was a veteran New York radio and stage actor. He was best known for his role in the Nick Carter programs from 1943-55. Outside of this, he appeared as a character actor with distinguished roles in radio programs such as Words at War and later programs such as The CBS Mystery Theatre and Theater Five.
Radio Episode Log: (Right-click to download)
Echo of Death (Original Air Date: July 6, 1943)
Murder in the Crypt (Original Air Date: August 2, 1943)
The Glass Coffin (Original Air Date: September 27, 1943)
The Flying Duck Murders (Original Air Date: October 4, 1943)
State's Prison Evidence (Original Air Date: October 18, 1943)
An Angle on Murder (Original Air Date: October 25, 1943)
Body on the Slab (Original Air Date: November 3, 1943)
The Drug Ring Murder (Original Air Date: November 10, 1943)
The Substitute Bride (Original Air Date: November 17, 1943)
The Double Disguise (Original Air Date: January 8, 1944)
Nine Hours to Live (Original Air Date: January 15, 1944)
Records of Death (Original Air Date: January 22, 1944)
The Unwilling Accomplice (Original Air Date: January 29, 1944)
Corpse in the Cab (Original Air Date: February 5, 1944)
The Missing Harold Ascort (Original Air Date: February 12, 1944)
Death after Dark (Original Air Date: February 19, 1944)
Dead Witnesses (Original Air Date: February 26, 1944)
Death in the Pines (Original Air Date: March 4, 1944)
The Drums of Death (Original Air Date: March 25, 1944)
The Professor's Secret (Original Air Date: April 1, 1944)
Murder by Magic (Original Air Date: April 8, 1944)
A Cat Brings Death (Original Air Date: April 15, 1944)
Kidnap for Sale, Parts One and Two* (Original Air Dates: April 17 and 18, 1944)
Kidnap for Sale, Parts Three and Five* (Original Air Dates: April 19 and 21, 1944)
Kidnap for Sale, Parts Six and Seven* (Original Air Dates: April 24 and 25, 1944)
Kidnap for Sale, Parts Eight and Nine* (Original Air Date: April 26 and 27, 1944)
The Accidental Bullets, Parts One and Two* (Original Air Dates: June 12 and 13, 1944)
The Accidental Bullets, Part Three and Six* (Original Air Dates: June 14 and 19, 1944)
The Numbers Murder (Original Air Date: October 1, 1944)
The Slingshot Murder (Original Air Date: October 15, 1944)
Murder on Mad Mountain (Original Air Date: October 22, 1944)
The Funeral Wreath (Original Air Date: October 29, 1944)
Death in the Pool (Original Air Date: November 5, 1944)
Murder in the Night (Original Air Date: November 12, 1944)
Death Plays a Lead (Original Air Date: December 3, 1944)
Stands for Murder* (Original Air Date: December 17, 1944)
Murder Goes to College (Original Air Date: December 24, 1944)
Murder in a Decanter (Original Air Date: December 31, 1944)
Monkey See Murder (Original Air Date: January 7, 1945)
Murder by Fire (Original Air Date: January 14, 1945)
Death by Ricochet (Original Air Date: January 21, 1945)
Eye for An Eye (Original Air Date: January 28, 1945)
Ready for Murder (Original Air Date: February 4, 1945)
Mind Over Murder (Original Air Date: February 18, 1945)
Four Rings of Death (Original Air Date: February 25, 1945)
Poison with a Past (Original Air Date: March 4, 1945)
Webs of Murder (Original Air Date: March 11, 1945)
Death Goes to the Post (Original Air Date: March 18, 1945)
Death Behind the Scene (Original Air Date: March 25, 1945)
The Witch of Dondenberg Mountain (Original Air Date: April 22, 1945)
The Vanishing Lady (Original Air Date: April 29, 1945)**
The Mystery of Hangman's Wood (Original Air Date: May 13, 1945)**
The Haunted Rocking Chair (Original Air Date: May 20, 1945)**
The Case of the Museum Tragedy (Original Air Date: May 27, 1945)*
The Man Who Lived Too Long (Original Air Date: July 1, 1945)
The Make Believe Murder (Original Air Date: July 22, 1945)
The Unwritten Letter (Original Air Date: July 29, 1945)
The Hanging Paperhanger (Original Air Date: August 5, 1945)
The Case of the Sick Statue (Original Air Date: August 12, 1945)
The Vanishing Postman (Original Air Date: August 26, 1945)
The Case of the Talking Tree (Original Air Date: September 9, 1945)
The Case of the Howling Horse (Original Air Date: September 30, 1945)
Shakespeare's Ghost (Original Air Date: December 30, 1945)
The Body in the Ice (Original Air Date: January 27, 1946)
The Witness Saw Nothing (Original Air Date: February 24, 1946)
Eight Records of Death (Original Air Date: April 2, 1946)
The Case of the Little Old Ladies (Original Air Date April 23, 1946)
The Case of the Poker Murders (Original Air Date: May 21, 1946)
The Case of the Demented Daughter (Original Air Date: May 28, 1946)
The Case of the Dictaphone Murder (Original Air Date: June 4, 1946)
The Case of the Clumsy Forgeries (Original Air Date: June 11, 1946)
The Case of the Make Believe Robbery (Original Air Date: June 18, 1946)
The Case of the Missing Alarm Clock *(Original Air Date: June 25, 1946)
The Red Goose Murder (Original Air Date: August 25, 1946)
The Case of the Blue Mink (Original Air Date: September 15, 1946)
The Case of the Imitation Robbery (Original Air Date: December 22, 1946)
The Case of the Gold Headed Cane (Original Air Date: January 19, 1947)
The Case of the Persistent Beggars (Original Air Date: January 26, 1947)
The Case of Careless Employees (Original Air Date: February 2, 1947)
The Case of the Crystal Prophecy (Original Air Date: March 23, 1947)
The Case of the Chemical Chickens (Original Air Date: April 13, 1947)
The Lucrative Confession (Original Air Date: April 20, 1947)
The Case of the Luminous Spots (Original Air Date: April 27, 1947)
The Case of the Missing Thumb (Original Air Date: May 4, 1947)
The Case of the Sunken Dollar (Original Air Date: June 29, 1947)
The Case of the Missing Piano Player (Original Air Date: July 13, 1947)
The Case of the Wandering Macaroni (Original Air Date: July 20, 1947)
The Case of the Bearded Queen (Original Air Date: September 7 1947)
The Case of the Two Faced Firemaster (Original Air Date: September 21, 1947)
The Case of the Hermit Thrush (Original Air Date: October 12, 1947)
The Case of the Perfect Alibi (Original Air Date: October 19, 1947)
The Case of the Barefoot Banker (Original Air Date: November 23, 1947)
The Case of the Jeweled Queen (Original Air Date: November 30, 1947)
The Case of the Explored Alibi (Original Air Date: December 7, 1947)
The Case of the Priceless Prose (Original Air Date: December 14, 1947)
The Case of the Policymakers (Original Air Date: December 21, 1947)
The Case of the Missing Street (Original Air Date: December 28, 1947)
The Case of the Devil's Eye (Original Air Date: January 4, 1948)
The Case of the Graveyard Gunman* (Original Air Date: January 11, 1948)
The Man Who Died Twice* (Original Air Date: January 1, 1948)
Case of the Invisible Treasure (Original Air Date: January 25, 1948)
The Case 0f the Classical Clue (Original Air Date: February 1, 1948)
The Case of the Wandering Corpse (Original Air Date: February 15, 1948)
The Case of the Boy Who Got Lost (Original Air Date: February 29, 1948)
The Case of the Absent Clue (Original Air Date: March 7, 1948)
The Case of the Last Old Timer (Original Air Date: March 14, 1948)
The Case of the Magic Rope (Original Air Date: March 21, 1948)
The Case of the Martyred Rat (Original Air Date: March 28, 1948)
The Case of the Star of Evil (Original Air Date: April 4, 1948)
The Case of the Hen-Pecked Husband (Original Air Date: April 11, 1948)
The Case of the Fatal Redhead* (Original Air Date: April 25, 1948)
The Case of the Nameless Blonde (Original Air Date: May 9, 1948)
The Case of the Salesman of Death (Original Air Date: May 16, 1948)
The Case of the Tatooed Cobra (Original Air Date: May 23, 1948)
The Case of the Littlest Gangster (Original Air Date: May 30, 1948)
The Case of the Unexpected Corpse (Original Air Date: June 13, 1948)
The Case of the Flowery Farewell (Original Air Date: June 20, 1948)
The Case of the King's Apology (Original Air Date: June 27, 1948)
The Case of the Midway Murder (Original Air Date: August 1, 1948)
The Case of the Professional Beggar (Original Air Date: August 15, 1948)
The Case of the Red Arrow (Original Air Date: August 22, 1948)
The Case of the Failing Eyes (Original Air Date: August 29, 1948)
The Case of the Quiet Roommate (Original Air Date: September 5, 1948)
The Case of the Great Impersonation (Original Air Date: September 12, 1948)
The Case of the Homely Bride (Original Air Date: September 19, 1948)
The Case of the Candidate's Corpse (Original Air Date: September 26, 1948)
The Case of the Substitute Slayer (Original Air Date: October 3, 1948)
The Unwanted Wife (Original Air Date: October 10, 1948)
The Case of the Double Frame (Original Air Date: October 17, 1948)
The Case of the Bull and Bear (Original Air Date: October 24, 1948)
The Case of the Wrong Mr. Wright (Original Air Date: October 31, 1948)
The Case of the Forgetful Killer (Original Air Date: November 7, 1948)
The Clue Called X (Original Air Date: November 14, 1948)
The Case of the Perfect Alibi (June 19, 1949)
The Case of the Vanishing Weapon (Original Air Date: September 18, 1949)
The Phantom Shoplifter (Original Air Date: December 25, 1949)
The Case of the Haunted Burial Cave (Original Air Date: May 16, 1954)
Christmas Episode (played out of order):
Nick Carter's Christmas Adventure (Original Air Date: December 25, 1943)
Log courtesy of OTRSite.
*Played out of order.
**Episode announced with wrong date. Date in log reflects updated information.
http://www.podtrac.com/pts/redirect.mp3/media.blubrry.com/greatdetectives/p/www.greatdetectives.net/otrdetectives/gd1074.mp3
4 comments for "Nick Carter"
Hi Adam, been biting my tongue about Nick Carter since the beginning but cant hold it in any longer! Still don't know what to make of this series. It started with some situations that were frankly insulting to the listener's intelligence (being trapped in a glass box that was being slowly filled with water and using a glass cutter not to cut around the lock, or a big hole to crawl out, but to cut a hole from which to get his hand out and pick the lock, I mean, really!). This was made worse with the intro, in which they say that Nick Carter was the best detective ever. This annoyed me so much that I changed the name of the series in my mind to "the insulting adventures of Nick Carter"… Then the series got a lot better and I started to enjoy it. That is until EP1230, which is just ridiculous, in which at the end someone who has had an employee, his whole family and his dog murdered in cold blood and was almost murdered himself says he is quite fond of the murderer and doesnt want to call the police! Then the murderer, who is in the same room as four other people including Nick Carter say that when you werent looking (how could they not see it) I have just drunk the bottle of poison that I happened to have on me in just case… Hope this series gets better, because at the moment I don't know if I am going to get a decent mystery or a ludicrous one. Did you say we have over a year of it?
Anyway love all the other shows and I still will listen to Nick Carter. Thanks for all the hard work and for the many hours of listening pleasure. Cannot imagine driving without this podcast.
Javier – near Madrid in Spain
Wes Williams
Nick Carter was among the first radio detectives to have a catchphrase: "Quiet, Patsy!"
Though I've heard every episode, I don't enjoy them nearly as much as Philip Marlowe and Johnny Dollar. The character of Nick Carter is written to be just too perfectly competent to be believed, and the sycophantic way Patsy and others regard him is nauseating.
James Bearden lll
i really enjoy the old episodes as I drive, work, or out for a walk. Keep up the good work.
Vinton Henry
I agree with the previous listener's comments. The Nick Carter detective series is simplistic, naive, transparent, unsophisticated and dated. Precisely why I enjoy listening. This series transports me to another time and allows me to dwell there for a little less than 28 minutes. What a great antidote for living in 2017 Los Angeles. Thanks for the radio theater therapy!


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in: Italy articles missing geocoordinate data, All articles needing coordinates, Articles incorporating text from Wikipedia,
Battles of the French Revolutionary Wars
Battles involving Austria
Battles involving France
1796 in Austria
1796 in France
Battles of the War of the First Coalition
War of the First Coalition
Battle of Rovereto
Part of the French Revolutionary War
Rovereto, present-day Italy
French victory
First French Republic Habsburg Austria
Napoleon Bonaparte Paul Davidovich
20,000[1] 10,000[1]
750[1] 3,000, 25 guns, 7 colours[1]
Porrentruy (fr)
Marquain (fr)
Thionville (fr)
1st Mainz
Jemappes
Namur (fr)
Maastricht (fr)
1st Aldenhoven
Neerwinden
2nd Mainz
San Pietro and Sant'Antioco
1st Arlon
Lincelles
Hondshoote
Menin
Peyrestortes
Truillas
Maubeuge (fr)
1st Wissembourg
Fort-Louis
1st Kaiserslautern
Froeschwiller
2nd Wissembourg
Saint-Florent
Le Cateau
2nd Arlon
1st Landrecies
Saorgio
Courtrai
Grandreng
3rd Arlon
2nd Kaiserslautern
Erquelinnes
Ushant
Ypres
Lambusart
San-Lorenzo
3rd Kaiserslautern
1st Dego
2nd Aldenhoven
Gulf of Roses
Groix
Handschuhsheim
3rd Mainz
Pfeddersheim
Voltri
Montenotte
2nd Dego
Mondovì
Cherasco (fr)
Peschiera (fr)
Friedberg (fr)
1st Bassano
Schliengen
2nd Bassano
Expédition d'Irlande
Valvasone
Tyrol (fr)
Tarvis
Diersheim
Veronese Easter
War in the Vendée
War of the Pyrenees
Flanders Campaign
Rhine Campaign of 1796
Anglo-Spanish War
French Revolutionary Wars – Italian Campaigns
1st Mantua
Cassano
Trebbia
2nd Mantua
In the Battle of Rovereto (also Battle of Roveredo) on 4 September 1796 a French army commanded by Napoleon Bonaparte defeated an Austrian corps led by Paul Davidovich during the War of the First Coalition, part of the French Revolutionary Wars. The battle was fought near the town of Rovereto, in the upper Adige River valley in northern Italy.
The action was fought during the second relief of the Siege of Mantua. The Austrians left Davidovich's corps in the upper Adige valley while transferring two divisions to Bassano del Grappa by marching east, then south down the Brenta River valley. The Austrian army commander Dagobert von Würmser planned to march south-west from Bassano to Mantua, completing the clockwise manoeuvre. Meanwhile, Davidovich would threaten a descent from the north to distract the French.
Bonaparte's next move did not conform to the Austrians' expectations. The French commander advanced north with three divisions, a force that greatly outnumbered Davidovich. The French steadily pressed back the Austrian defenders all day and routed them in the afternoon. Davidovich retreated well to the north. This success allowed Bonaparte to follow Würmser down the Brenta valley to Bassano and, ultimately, trap him inside the walls of Mantua.
1.1 Plans
Plans[]
After being defeated in the Battle of Castiglione on 5 August, the Austrian army under Feldmarschall Würmser retreated north to Trento. Meanwhile, the French army resumed the Siege of Mantua. Pre-dawn attacks on 24 August led by General of Division Jean-Joseph Sahuguet and General of Brigade Claude Dallemagne pressed the Austrian garrison back into the fortress.[2]
Dagobert von Würmser
On 26 August orders arrived from Emperor Francis II to immediately attempt a second relief of the fortress of Mantua. Würmser's new chief-of-staff, Feldmarschall-Leutnant Franz von Lauer therefore drew up plans for an offensive. The division of Feldmarschall-Leutnant Johann Mészáros near Bassano was reinforced to 10,700 troops. Würmser would lead two divisions from Trento into the Brenta River valley. This route went east, then south to reach Bassano. From that location, the Austrians would turn southwest, join Mészáros, and march to Mantua via Legnago.[3]
The 17,300-man Mantua garrison was sent orders to stage attacks on the besiegers when the relief army drew close. Feldmarschall-Leutnant Davidovich with 19,600 troops defended Trento.[4] If the French forces facing him weakened, he was to move south on Mantua. Lauer noted that the French army, "had suffered badly during the recent combats, and had not properly recovered, nor received significant reinforcements. However, he drew some dangerous conclusions from this..." Lauer confidently predicted that the French army would remain quiet long enough for the Austrian relief effort to get well underway.[5]
In fact, the French government approved a strategy that sent the Army of Italy north across the Brenner Pass to link with General of Division Jean Moreau's army in Bavaria. Accordingly, General of Division Bonaparte planned to mass 33,000 soldiers from the divisions of Generals of Division Claude Belgrand de Vaubois, André Masséna, and Pierre Augereau, then advance to Trento. His remaining 13,500 men covered the blockade of Mantua and the line of the Adige near Verona and Legnago.[6] Bonaparte instructed Sahuguet and General of Division Charles Kilmaine to leave a garrison in Peschiera del Garda and fall back behind the Oglio River if they were unable to resist an Austrian attack from the east.[7]
The 4,100-man division Feldmarschall-Leutnant Karl Philipp Sebottendorf moved out on 1 September. It was soon followed by Feldmarschall-Leutnant Peter Quasdanovich's 4,600 soldiers. Davidovich controlled 19,555 troops, but only 13,695 of these were immediately available. He deployed the brigades of General-majors Josef Philipp Vukassovich and Johann Rudolph Sporck near Rovereto, while the brigade of General-major Prince Heinrich XV of Reuss-Plauen held Trento and some positions west of the Adige. The brigades of General-major Johann Loudon in the Valtelline and General-major Johann Grafen in the Voralberg were not within supporting distance.[4]
Vaubois, with 10,000 men, lay to the west of Lake Garda. He put General of Brigade Jean Joseph Guieu and his brigade in boats, while his other two brigades marched north past Lake Idro to Riva del Garda at the northern end of the lake. Joined by Guieu, Vaubois turned east toward Rovereto. Bonaparte sent Masséna's 13,000 troops advancing directly north up the Adige valley while Augereau's 9,000 men struggled through the mountains north of Verona.[8]
Battle of Rovereto strategic situation
On 3 September, Masséna attacked 1,500 of Vukassovich's troops near Ala and drove them back to Marco on the east bank of the Adige. Vukassovich tried to warn Davidovich, but his superior was away at a conference with Würmser in Trento. Vaubois brushed aside some elements of Reuss's brigade at Nago-Torbole and stood poised to attack an Austrian position at Mori on the west bank. Meanwhile, Würmser became aware of the French threat to Trento, but he nevertheless pursued his strategy of moving via the Brenta valley.[9]
At dawn, Masséna's division attacked Vukassovich's Austrians at Marco. General of Brigade Claude Perrin Victor led one demi-brigade straight up the main road, while General of Brigade Jean Joseph Magdeleine Pijon seized the high ground to one flank. After sturdy resistance, the Austrians pulled back to avoid being cut off. Masséna pursued vigorously, breaking up a number of Austrian formations. When he reached Rovereto, Vukassovich stood firm again until noon-time. Then he fell back toward Calliano with the remnant of his brigade and Sporck's troops. By this time, Vaubois had captured Mori on the west bank.[10]
Davidovich placed Colonel Karl Weidenfeld and the Preiss Infantry Regiment 24 in a formidable position in the Adige gorge to cover the retreat of his forces. However, the regiment's morale was poor after suffering casualties and being hustled out of several defensive lines. Aided by artillery fire directed by General of Brigade Elzéard Auguste Cousin de Dommartin, Masséna's troops attacked in heavy columns and broke through. Believing themselves well-covered by Weidenfeld's force, Vukassovich and Spork allowed their troops to cook dinner when they arrived in Calliano. Without warning, the French interrupted the proceedings by storming into the camp in the late afternoon. The result was a rout of the surviving Austrians.[11]
Result[]
The French lost 750 casualties during the day. Austrian losses included 3,000 killed, wounded, and prisoners, plus 25 cannon and 7 colours captured.[1] During the night, Davidovich evacuated Trento and fell back to Lavis, a village at the river Avisio and southern frontier of Austrian territory, where he joined Reuss. Masséna entered Trento on the morning of 5 September, followed by Vaubois. At this time, Bonaparte found out Würmser's plan of marching east into the Brenta valley. He discarded the strategy of joining Moreau and adopted a very bold plan.[12]
Far from retiring down the Adige with his whole army, Bonaparte ordered Vaubois to block the gorges north of Trent with 10,000 men, while the remaining 22,000 troops set off in full pursuit of Würmser down the same pass that the Austrians were using. This was an extremely risky course to pursue, for during the operation the Army of Italy would be wholly dependent on what supplies it could seize locally, and even a temporary check on the Brenta might lead to starvation in the midst of the Alps."[13]
On 5 September, Vaubois crossed the bridge of the river Avisio,attacked Davidovich at Lavis and drove him farther north. Satisfied that Davidovich was no longer a threat, Bonaparte sent Augereau's division to Levico Terme on the trail of Würmser. Soon, Masséna's troops followed in Augereau's wake.[14] This set the stage for the subsequent skirmish at Primolano on 7 September and the Battle of Bassano on 8 September.[15]
Siege of Mantua (1796-1797)
Battle of Bassano
↑ 1.0 1.1 1.2 1.3 1.4 Smith, p. 122.
↑ Boycott-Brown, p. 415.
↑ Boycott-Brown, pp. 415–416.
↑ 4.0 4.1 Boycott-Brown, p. 418–419.
↑ Fiebeger, p. 12.
↑ Boycott-Brown, p. 421–423.
↑ Chandler, p. 97.
↑ Smith, p. 123.
Boycott-Brown, Martin. The Road to Rivoli. London: Cassell & Co., 2001. ISBN 0-304-35305-1
Chandler, David. The Campaigns of Napoleon. New York: Macmillan, 1966.
Fiebeger, G.J. (1911). The Campaigns of Napoleon Bonaparte of 1796–1797. West Point, New York: US Military Academy Printing Office. http://www.archive.org/details/campaignsnapole00unkngoog.
Smith, Digby. The Napoleonic Wars Data Book. London: Greenhill, 1998. ISBN 1-85367-276-9
Italy articles missing geocoordinate data
All articles needing coordinates


text:
Q: Python Dataframe: Calculating Confidence or Prediction Intervals Using Groupby on One Column I have a table like below:
Type    Actual  Predicted
A       4       3
A       10      18
A       13      11
B       3       10
B       4       2
B       8       33
C       20      17
C       40      33
C       87      80
C       32      30

I wanted to calculate the R^2 and RMSE for each Type.  The code to do that is below:
import numpy as np
import pandas as pd
from sklearn.metrics import r2_score, mean_squared_error

def r2_rmse( g ):
    r2 = r2_score( g['Actual'], g['Predicted'] )
    rmse = np.sqrt( mean_squared_error( g['Actual'], g['Predicted'] ) )
    return pd.Series( dict(  r2 = r2, rmse = rmse ) )

your_df.groupby( 'Type' ).apply( r2_rmse ).reset_index()

Sample Output Table (values are hypothetical):
Type    R^2     RMSE
A       0.66    4
B       1.00    6
C       0.03    1

The above code worked and gave me the output I wanted.  But now I want to add confidence / prediction intervals into the table at the Type level.  I have literally scoured the internet on how to do this with no luck.
Conceptual Question: If I want the range of values in which the Actual value is captured with 95% confidence, do I run the confidence interval on the Actual column or the Predicted column?
Below is the sample table I want:
Type    Conf_Int_90%  Conf_Int_80%
    A    (21, 100)       (5, 55)
    B    (10, 46)        (3, 14)
    C    (1, 19)         (12, 19)

I have a sense that the confidence interval code is something like this:
st.t.interval(0.95, len(a)-1, loc=np.mean(a), scale=st.sem(a)) BUT ...

What specific code do I incorporate into my existing code (shown above) so I get the table output I want?

A: try following, and from my understanding, the confidence interval should be operated in the predicted columns. Hope it helps you :)
import numpy as np
import pandas as pd
import scipy.stats as st
from sklearn.metrics import r2_score, mean_squared_error

def r2_rmse_interval(g):
    r2 = r2_score( g['Actual'], g['Predicted'] )
    rmse = np.sqrt( mean_squared_error( g['Actual'], g['Predicted'] ))
    st_interval = st.t.interval(0.95, len(g) -1, loc=np.mean(g.Predicted), scale=st.sem(g.Predicted))
    return pd.Series( dict(  r2 = r2, rmse = rmse, st_interval = st_interval) )

df = pd.DataFrame({'Type': ['A', 'A', 'A', 'B', 'B', 'B', 'C', 'C', 'C', 'C'],
               'Actual': [4, 10, 13, 3, 4, 8, 20, 40, 87, 32],
               'Predicted': [3, 18, 11, 10, 2, 33, 17, 33, 80, 30]},
                columns=['Type', 'Actual', 'Predicted'])

df.groupby( 'Type' ).apply( r2_rmse_interval ).reset_index()

A: Using the standard formula for 95% CI:

sample mean +/- 1.96 * std.err

You can do everything in one go with apply:
def stats(g):
    r2 = r2_score(g.Actual, g.Predicted)
    rmse = np.sqrt(mean_squared_error(g.Actual, g.Predicted))
    ci95_hi = g.Predicted.mean() + g.Predicted.sem() * 1.96
    ci95_lo = g.Predicted.mean() - g.Predicted.sem() * 1.96
    return r2, rmse,(ci95_lo, ci95_hi)

df.groupby("Type").apply(stats)

redpajama_set_name: RedPajamaStackExchange


text:
Q: DIfference between "in" and "inside"
Galactic Republic will deliver large payloads to orbit inside a composite fairing, but the rocket can also carry the manned spacecraft.

Does inside a composite fairing function as an attributive or adverbial phrase?
Can I use in a composite fairing instead?

A: Inside a composite fairing is an adverbial phrase here. It specifies the manner in which the payloads will be delivered. If you replaced composite fairing with rocket, the grammar would be the same (though not the semantics, obviously), but hopefully the simplified example makes it easier to understand.
A fairing is a piece of a rocket designed to shield cargo from the atmosphere during launch. Here's a brief synopsis from the Wikipedia article:

A payload fairing is a nose cone used to protect a spacecraft (launch vehicle payload) against the impact of dynamic pressure and aerodynamic heating during launch through an atmosphere.

Composite is an adjective modifying fairing, and it means that it's constructed from multiple materials.
The entire phrase refines the meaning of the verb deliver by telling us the precise manner of action. Damkerng T. offers this example sentence with parallel grammar:

This time James Bond will carry his high tech gun inside his suitcase.

Here, inside his suitcase serves the same grammatical function as inside a composite fairing; it tells us how James bond will carry his high tech gun.

Can I use in a composite fairing instead?

Yes, you can replace inside with in and the meaning will still be essentially the same. Inside is the better choice, though, because it's more specific than in, and in this case, the payload is literally enclosed within the fairing. In doesn't entail enclosure but inside does. Take a look at this question for more on the nuanced differences between these two prepositions.


text:
Opera Boys
Sat 16th Mar 2019
£18.50 + £1 Reservation Fee
Spine Tingling, from the moment these guys walk on to the stage and open their mouths it is obvious that this will be a special evening and their talent will enthrall everyone.
The Public Reviews
Leading men from London's West End combine in a powerhouse of vocal harmony to deliver a stunning blend of music ranging from Opera to Pop, and everything in between.
Operatic arias and classical favourites from 'Nessun Dorma' to 'Time to say goodbye' are mixed with showstoppers from 'Les Miserables' and 'Phantom of the Opera' right through to 'Jersey Boys'. The show also features brand new classical arrangements of modern day pop hits, all performed in The Opera Boys inimitable style.
With beautiful vocal arrangements, spectacular close part harmony and a great line in humour, The Opera Boys have been delighting audiences all over the world with their unique show combining beautiful, powerful and emotional music with funny, engaging and light-hearted entertainment.
Making classical music accessible to the masses, The Opera Boys combine their exceptional classically trained voices with their experience, showmanship and personality to deliver a wonderfully entertaining show not to be missed!
The boys trained at some of the UK's finest schools including The Royal Academy of Music, and have each become highly successful performers in their own right. Between them they have performed lead roles on London's West End and on Broadway in New York. They have performed as backing vocalists to some of the world's biggest superstars including Russell Watson, Robbie Williams, Tom Jones and Elton John, and in 2015 one of the boys appeared as part of the Belgian entry for The Eurovision Song Contest, performing to a global audience of 200 million, and placing a very respectable 4th in the competition!
Together the boys have performed in theatres and concert halls throughout the UK and have been lucky enough to travel all over the world performing their show.
They have been invited to perform at a number of prestigious events including the 10th Anniversary of the world's most famous cruise ship, Cunard's superliner Queen Mary 2, and the inaugural voyage of P&O's largest cruise ship Britannia, launched by Her Majesty Queen Elizabeth II.


text:
Wired 13 Jan 2020 02:00
Australia's wildfires are burning with such intensity that they're sparking contained, small-scale weather systems. Thunderstorms triggered by atmospheric disturbance might at first seem to offer relief in the form of raindrops, but instead, bolts of lightning can strike nearby trees and spread the fire even further than before.
Wired UK
This story originally appeared on WIRED UK.
This is a small-scale example of an environmental feedback loop—where conditions on the ground trigger a self-perpetuating chain of events. Wildfires pump vast amounts of carbon dioxide into the atmosphere, heating up the planet in the short term. But are wildfires helping to accelerate climate change or just a deadly consequence of a more extreme climate?
Since September, hundreds of fires across Australia have engulfed more than 6.3 million hectares of land. Villages have been razed and 25 people killed so far. Months of hot, dry weather and strong winds created the perfectly deadly conditions that keep conflagrations roaring. There were at least twice as many fires in New South Wales in 2019 as there were in any other year this century.
There are a couple of ways increasingly severe wildfire seasons could speed up global climate change. In the months immediately following wildfires, the volume of CO2 in the world's atmosphere increases, magnifying the heat trapped there. "Wildfires create a substantial contribution, because they happen in places like the Amazon rain forest and the peat bogs in Indonesia, which contain a lot of carbon," says Colin Prentice, director of the Leverhulme Centre for Wildfires at Imperial College London. The ongoing Australian fire season has released more than 350 million metric tons of CO2 so far, with fires expected to keep burning over the next two months.
Fires also throw up clouds of soot into the atmosphere, which compounds the problem. "Black carbon is the most strongly light-absorbing material from fires, and it is regarded as one of the most important individual climate-warming agents," Yafang Cheng, a researcher from the Max Planck Institute for Chemistry in Mainz, Germany, told WIRED in November 2018. These particles can float up into the upper layers of the atmosphere where they exert an even greater heating effect—and hang around for months.
But there are longer-term effects too. In more typical wildfire cycles, the vegetation that burns is usually replaced by the same type of plant life. But longer and more severe fire seasons—as we're seeing in many parts of the world—means it's becoming more difficult to predict what type of vegetation will spring up in place of the freshly incinerated ecosystems. "If the frequency and intensity of fires begins to change, then you're probably going to change the character of the vegetation as well—toward one that is adapted to more frequent fires," says Prentice.
What type of vegetation might grow back after the Australian wildfires is still uncertain. But there's a chance that the form it takes could increase the likelihood of future infernos. A 2017 study published in the journal Global Change Biology that examined fauna in the Australian Alps found that one of the first plant species to grow back in the area after wildfires was woody shrubs. Worryingly, these were more flammable than the feathery tussock grasses that had previously colonized the land. One caveat to consider though, is that in the years following an extreme fire, there will simply be less vegetation to burn the next time around—meaning a future blaze would be less intense.
None of this bodes well for the future. But there are other factors at play too. "In short, it's not as simple as 'more fires cause more fire danger,'" says Park Williams, assistant research professor at the Lamont-Doherty Earth Observatory at Columbia University.
"It's not really a dominant mechanism," Prentice says of the fire-climate change feedback loop. "It's a mechanism that does exist, and we can quantify it in the sense that if there are a lot of fires globally in a particular year, that does mean the total biomass on land has gone down a bit, and some of that carbon is going to stay in the atmosphere. But it's probably fair to say it's a secondary effect." The most important effect being, of course, that we emit millions of metric tons of CO2 into the atmosphere every year, and half of it remains there.


text:
title:  Gyvenimo ritmai.
date:   01/04/2019
---

Mokslininkai kalba apie vadinamuosius cirkadinius ritmus, mintį, kad yra biologiniai ritmai (kartais vadinami "kūno laikrodžiais"), reguliuojantys mūsų kūno funkcijas. Kitaip tariant, yra tam tikras reguliarumas net mūsų kūne. Taigi, iki tam tikro laipsnio, ritmai yra visur aplink, net mumyse.

**3. Kokie yra numatomi gyvenimo etapai, paminėti šiuose Šventojo Rašto tekstuose, ir kaip jie tiesiogiai susiję su šeimos gyvenimu?**

`Mok 3, 2`

`Pr 21, 8; Ts 13, 24`

`Ps 71, 5; Pat 5, 18`

`Pr 15, 15; Ts 8, 32`

`Ps 90, 10`

Tarp dviejų gyvenimo pusių, gimimo ir mirties, mes visi patiriame įvairius etapus, skirtingus kiekvienam žmogui. Kai kurie vaikai po gimimo gyvena neilgai; kiti užauga ir tampa suaugusiais, kurie sulaukia brandaus senyvo amžiaus. Vaikai auga ir vystosi savo tempu. Kai kurie pradeda vaikščioti arba kalbėti anksčiau už kitus. Kai kurie galės lankyti mokyklą, užaugs ir taps profesionalais, kiti savo laiką skirs kitoms darbo formoms. Kai kurie turės šeimą, kiti niekada nesusituoks ar neturės vaikų.

Žemėje yra milijardai žmonių, ir nors mes visi turime daug bendro (žr. Apd 17, 26), kiekvienas iš mūsų yra asmenybė, todėl kiekvieno iš mūsų gyvenime bus skirtumų.

Tam tikra prasme šie skirtumai yra svarbūs, nes jie daro kiekvieną iš mūsų išskirtinį, o tai reiškia, kad kiekvienas iš mūsų turime kuo pasidalyti, ko neturi kiti. Trumpai tariant, mūsų skirtumai leidžia mums būti palaiminimu kitiems. Pavyzdžiui, jauni ir seni gali gauti naudos iš to, ką vieni kitiems gali pasiūlyti: "Jaunuolių papuošalas – jėga, o seneliai gerbiami dėl jų žilų galvų" (Pat 20, 29). Kad ir kokiame etape mes esame, nepaisant mūsų skirtumų, mes visi turime ką pasiūlyti ne tik Viešpačiui, bet ir vieni kitiems.

`Kad ir kokios būtų dabartinės jūsų gyvenimo aplinkybės, ką galite daryti, kad būtumėte palaiminimas kitiems? Kodėl sąmoningai nepasistengus, kad būtumėte toks palaiminimas, ypač jūsų šeimos nariui?`

redpajama_set_name: RedPajamaGithub


A new approach to an old favourite that's well worth trying. No-one will spot it has mayonnaise in it − just remember, it has been tested with this mayonnaise and can't be guaranteed with any other brand.
Place HEINZ [SERIOUSLY] GOOD™ Mayonnaise, caster sugar, vanilla essence and bananas in a bowl, beat lightly to combine.
Sift flour, cinnamon, baking soda and baking powder. Gently fold in to the mayonnaise mixture. If the mixture is a little stiff add 1 tablespoon water.
Spread into a baking paper lined 20cm round cake tin. Bake at 170°C for 1 hour or until a skewer inserted comes out clean.
Cool on a wire rack. Ice with lemon icing, store in an air-tight container.
* This recipe has only been tested using HEINZ [SERIOUSLY] GOOD™ Mayonnaise.


M2000 hybrid with Toshiba print head, not only on roll media but also on rigid media. Equipped with a feed and delivery table, it enables direct printing on rigid media up to 30 mm thickness.
The hybrid with both X & Y axis media guide system. As well as a automatic infrared media detection system.
It is equipped with CE certificated suction pump with adjustable suction power and zone.
Two negative generators, one is for color while the other one is for white color.


These hi·def Hyperstix™ give a velvety smooth coverage that is richer and deeper than anything else on the market. With the Fusion Blender, artists of all ages can blend colors to create hyper-pigmented art with a chromatic depth.
Each ORB hi·def creation system™ set includes 60 hi·def Hyperstix in all your favorite colors! It also includes 2 practice templates and a double sided Fusion Blender which intensify any work of art by allowing advanced blending techniques, creating millions of colors.
Select any beautiful template and elevate your art. Each template features a unique theme, with grey outlines that disappear as you color, creating a professional finish.


text:
Sterrhoptilus is een geslacht van vogels uit de familie brilvogels (Zosteropidae). Het geslacht telt vier soorten.

Soorten
Sterrhoptilus affinis  – calabarzonboomtimalia
Sterrhoptilus capitalis  – geelkeelboomtimalia
Sterrhoptilus dennistouni  – vuurkruinboomtimalia
Sterrhoptilus nigrocapitatus  – visayaboomtimalia

Brilvogels

redpajama_set_name: RedPajamaWikipedia


text:
Q: Python3 - Urllib2 | Need to remove the "User-Agent" header completely I need to remove the User-Agent from the header of an Urllib-Request in Python3, but if I do following, then it still transmits the User-Agent, just without a value.
url = "xxx"

headers = {
    "User-Agent": ""
}

req = urllib.request.Request(url, headers=headers)
resp = urllib.request.urlopen(req)

The problem is, that I need to have the User-Agent completely remove from the header, not just with an empty string, so that isset($_SERVER["HTTP_USER_AGENT"]) in php would return false.
Thanks,
Lennart

A: Doing the following fixed my problem.
headers = {
    "User-Agent": None
}

Unfortunately I had to switch from Urllib2 to the "requests" module, because with Urllib, using "None" has thrown an error.
Thanks anyway for all the replies!

A: You could build your own opener and remove 'User-Agent' header:
#!/usr/bin/env python3
import urllib.request

opener = urllib.request.build_opener()
opener.addheaders = [(header, value)
                     for header, value in opener.addheaders
                     if header.casefold() != 'user-agent']

with opener.open(url) as response:
    handle(response)


text:
«Saturdays of Thunder» () — девятый эпизод третьего сезона мультсериала «Симпсоны». Премьера состоялась 14 ноября 1991 года.

Сюжет
В Спрингфилде проходит соревнования гоночных машин-мыльниц (примитивных аппаратов без двигателя, двигающихся за счет спуска с горки), и Барт хочет в нём участвовать. Участникам соревнований следует самим строить машины. Тем временем Гомер пытается отвечать на вопросы викторины «Хороший ли вы отец» и обнаруживает, что он почти ничего не знает о своём сыне. Расстроенный, Гомер предлагает сыну помощь в постройке авто.

Полученный в результате очень кривой и некачественный автомобиль не может проехать даже нескольких метров и разваливается. Мартин Принс на своем футуристичном болиде легко выигрывает гонку, но из-за большой скорости теряет управление на финише и врезается в кирпичный забор. Мартин получает травмы и не может участвовать в гонке.

Разочарованный в умениях Гомера, Барт договаривается с Мартином о совместном участии в гонке — Барт на машине Мартина, с тем чтобы вместе обыграть Нельсона Манца.

Гомер в сердцах говорит сыну, что обижен на то, что Барт отверг его помощь, и ему все равно, что произойдёт в гонке. Однако, вмешивается Мардж, которая считает что Гомер поступил плохо, ведь Барту нужна его поддержка независимо от того, на чьей машине он поедет. Осознав собственный эгоизм, Гомер спешит на трассу. Обрадованный и воодушевлённый поддержкой отца, Барт выигрывает гонку.

Ссылки

Рисованные мультфильмы США 1991 года


text:
---
title: How to Create a Lightbox
localeTitle: Como criar um lightbox
---
## Como criar um lightbox

### Introdução

Uma mesa de luz é uma combinação de dois componentes, um [modal](https://en.wikipedia.org/wiki/Modal_window) e uma apresentação de slides. Aqui você construirá uma lightbox simples usando `HTML` , `CSS` e `JavaScript` .

A caixa de luz estará contida no modal, que será acionado por algum `JavaScript` , a partir de [manipuladores de eventos](https://developer.mozilla.org/en-US/docs/Web/Guide/Events/Event_handlers) na marcação `HTML` . Você construirá estilos que fornecerão estado com `CSS` e comportamento com `JavaScript` . Você também encontrará uma lista de referência dos métodos que você usa e outros bits úteis relacionados a este tutorial, na parte inferior.

#### Nossas Imagens

As imagens que vamos usar estão sendo fornecidas pela [Pexels](https://www.pexels.com/) , uma galeria de fotos gratuita que permite fornecer imagens de alta qualidade aos seus projetos de forma rápida, gratuita e geralmente sem atribuições necessárias.

#### Apenas mostre-me o código!

Um exemplo ao vivo pode ser encontrado [aqui - CodePen / Lightbox](https://codepen.io/rdev-rocks/pen/KXNzvo) e um rascunho completo do código está perto da parte inferior.

### Etapa 1. O Markup

A marcação, ou `HTML` , fornece a estrutura para a lightbox.

```html

<!-- Here is your access point for your user, a preview of the images you wish to display.
     You use the onclick="" event handler to execute the methods you will define in the
     JavaScript near the bottom -->

 <div class="row">
  <div class="col">
     <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" onclick="openLightbox();toSlide(1)" class="hover-shadow preview" alt="Toy car on the road." />
  </div>
  <div class="col">
     <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" onclick="openLightbox();toSlide(2)" class="hover-shadow preview" alt="Toy car exploring offroad." />
  </div>
  <div class="col">
     <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" onclick="openLightbox();toSlide(3)" class="hover-shadow preview" alt="Toy car in the city." />
  </div>
 </div>

 <!-- This is your lightbox, it is contained in a modal. Here you provide all the images,
     controls, and another set of preview images as the dots. Dots show your user which
     image is currently active. Note that you use entities (eg ×), more info on
     them at the bottom. -->

 <div id="Lightbox" class="modal">
  <span class="close pointer" onclick="closeLightbox()">×</span>
  <div class="modal-content">
    <div class="slide">
        <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" class="image-slide" alt="Toy car on the road." />
    </div>
    <div class="slide">
        <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" class="image-slide" alt="Toy car exploring offroad." />
    </div>
    <div class="slide">
        <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" class="image-slide" alt="Toy car in the city." />
    </div>

    <a class="previous" onclick="changeSlide(-1)">❮</a>
    <a class="next" onclick="changeSlide(1)">❯</a>

    <div class="dots">
      <div class="col">
        <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" class="modal-preview hover-shadow" onclick="toSlide(1)" alt="Toy car on the road" />
      </div>
      <div class="col">
        <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" class="modal-preview hover-shadow" onclick="toSlide(2)" alt="Toy car exploring offroad." />
      </div>
      <div class="col">
        <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" class="modal-preview hover-shadow" onclick="toSlide(3)" alt="Toy car in the city." />
      </div>
    </div>
  </div>
 </div>
```

### Etapa 2. Estilo com CSS

O `CSS` fornece estados diferentes para a sua mesa de luz. Coisas como visibilidade, posicionamento e efeitos de foco.

Sua folha de estilo deve ficar assim:

```css
/* Here you provide a best practice's "reset", read more about it at the bottom! :) */

 html {
  box-sizing: border-box;
 }

 *, *:before, *:after {
  box-sizing: inherit;
 }

 body {
  margin: 0;
 }

 /* You define the style of our previews here, you are using flex to display the images
   "responsively". */

 .preview {
  width: 100%;
 }

 .row {
  display: flex;
  flex-direction: row;
  justify-content: space-between;
 }

 .row > .col {
  padding: 0 8px;
 }

 .col {
  float: left;
  width: 25%;
 }

 /* Now you want to define what the lightbox will look like. Note that you have the display
   as none. You don't want it to show until the user clicks on one of the previews.
   You will change this display property with JavaScript below. */

 .modal {
  display: none;
  position: fixed;
  z-index: 1;
  padding: 10px 62px 0px 62px;
  left: 0;
  top: 0;
  width: 100%;
  height: 100%;
  overflow: auto;
  background-color: black;
 }

 .modal-content {
  position: relative;
  display: flex;
  flex-direction: column;
  justify-content: center;
  margin: auto;
  padding: 0 0 0 0;
  width: 80%;
  max-width: 1200px;
 }

 /* Same with your slides, you set the display to none, because you want to choose which
   one is shown at a time. */

 .slide {
  display: none;
 }

 .image-slide {
  width: 100%;
 }

 .modal-preview {
  width: 100%;
 }

 .dots {
  display: flex;
  flex-direction: row;
  justify-content: space-between;
 }

 /* You want the previews a little transparent to show that they are "inactive".
   You then add an .active or :hover class to animate the selections for your user when
   they interact with your controls and clickable content.
 */

 img.preview, img.modal-preview {
  opacity: 0.6;
 }

 img.active,
 .preview:hover,
 .modal-preview:hover {
  opacity: 1;
 }

 img.hover-shadow {
  transition: 0.3s;
 }

 .hover-shadow:hover {
  box-shadow: 0 4px 8px 0 rgba(0, 0, 0, 0.2), 0 6px 20px 0 rgba(0, 0, 0, 0.19);
 }

 .close {
  color: white;
  position: absolute;
  top: 10px;
  right: 25px;
  font-size: 35px;
  font-weight: bold;
 }

 .close:hover,
 .close:focus {
  color: #999;
  text-decoration: none;
  cursor: pointer;
 }

 .previous,
 .next {
  cursor: pointer;
  position: absolute;
  top: 50%;
  width: auto;
  padding: 16px;
  margin-top: -50px;
  color: white;
  font-weight: bold;
  font-size: 20px;
  transition: 0.6s ease;
  border-radius: 0 3px 3px 0;
  user-select: none;
  -webkit-user-select: none;
 }

 .next {
  right: 0;
  border-radius: 3px 0 0 3px;
 }

 .previous:hover,
 .next:hover {
  background-color: rgba(0, 0, 0, 0.8);
 }
```

### Etapa 3. JavaScript

Agora para os negócios! Seu JavaScript deve ficar assim:

```javascript
// Initialize here and run showSlide() to give your lightbox a default state.

 let slideIndex = 1;
 showSlide(slideIndex);

 // You are providing the functionality for your clickable content, which is
 // your previews, dots, controls and the close button.

 function openLightbox() {
  document.getElementById('Lightbox').style.display = 'block';
 }

 function closeLightbox() {
  document.getElementById('Lightbox').style.display = 'none';
 };

 // Note that you are assigning new values here to our slidIndex.

 function changeSlide(n) {
  showSlide(slideIndex += n);
 };

 function toSlide(n) {
  showSlide(slideIndex = n);
 };

 // This is your logic for the light box. It will decide which slide to show
 // and which dot is active.

 function showSlide(n) {
  const slides = document.getElementsByClassName('slide');
  let modalPreviews = document.getElementsByClassName('modal-preview');

  if (n > slides.length) {
    slideIndex = 1;
  };

  if (n < 1) {
    slideIndex = slides.length;
  };

  for (let i = 0; i < slides.length; i++) {
    slides[i].style.display = "none";
  };

  for (let i = 0; i < modalPreviews.length; i++) {
    modalPreviews[i].className = modalPreviews[i].className.replace(' active', '');
  };

  slides[slideIndex - 1].style.display = 'block';
  modalPreviews[slideIndex - 1].className += ' active';
 };
```

E é isso! Agora coloque todo o código juntos. Agora você deve ter uma lightbox funcional.

### Todo o código

```html

<body>
  <style>
    html {
      box-sizing: border-box;
    }

    *, *:before, *:after {
      box-sizing: inherit;
    }

    body {
      margin: 0;
    }

    .preview {
      width: 100%;
    }

    .row {
      display: flex;
      flex-direction: row;
      justify-content: space-between;
    }

    .row > .col {
      padding: 0 8px;
    }

    .col {
      float: left;
      width: 25%;
    }

    .modal {
      display: none;
      position: fixed;
      z-index: 1;
      padding: 10px 62px 0px 62px;
      left: 0;
      top: 0;
      width: 100%;
      height: 100%;
      overflow: auto;
      background-color: black;
    }

    .modal-content {
      position: relative;
      display: flex;
      flex-direction: column;
      justify-content: center;
      margin: auto;
      padding: 0 0 0 0;
      width: 80%;
      max-width: 1200px;
    }

    .slide {
      display: none;
    }

    .image-slide {
        width: 100%;
    }

    .modal-preview {
        width: 100%;
    }

    .dots {
        display: flex;
        flex-direction: row;
        justify-content: space-between;
    }

    img.preview, img.modal-preview {
      opacity: 0.6;
    }

    img.active,
    .preview:hover,
    .modal-preview:hover {
      opacity: 1;
    }

    img.hover-shadow {
      transition: 0.3s;
    }

    .hover-shadow:hover {
      box-shadow: 0 4px 8px 0 rgba(0, 0, 0, 0.2), 0 6px 20px 0 rgba(0, 0, 0, 0.19);
    }

    .close {
      color: white;
      position: absolute;
      top: 10px;
      right: 25px;
      font-size: 35px;
      font-weight: bold;
    }

    .close:hover,
    .close:focus {
      color: #999;
      text-decoration: none;
      cursor: pointer;
    }

    .previous,
    .next {
      cursor: pointer;
      position: absolute;
      top: 50%;
      width: auto;
      padding: 16px;
      margin-top: -50px;
      color: white;
      font-weight: bold;
      font-size: 20px;
      transition: 0.6s ease;
      border-radius: 0 3px 3px 0;
      user-select: none;
      -webkit-user-select: none;
    }

    .next {
      right: 0;
      border-radius: 3px 0 0 3px;
    }

    .previous:hover,
    .next:hover {
      background-color: rgba(0, 0, 0, 0.8);
    }
  </style>
  <div class="row">
    <div class="col">
       <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" onclick="openLightbox();toSlide(1)" class="hover-shadow preview" alt="Toy car on the road." />
    </div>
    <div class="col">
       <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" onclick="openLightbox();toSlide(2)" class="hover-shadow preview" alt="Toy car exploring offroad." />
    </div>
    <div class="col">
       <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" onclick="openLightbox();toSlide(3)" class="hover-shadow preview" alt="Toy car in the city" />
    </div>
  </div>

  <div id="Lightbox" class="modal">

    <span class="close pointer" onclick="closeLightbox()">×</span>
    <div class="modal-content">
      <div class="slide">
        <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" class="image-slide" alt="Toy car on the road." />
      </div>
      <div class="slide">
        <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" class="image-slide" alt="Toy car exploring offroad." />
      </div>
      <div class="slide">
        <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" class="image-slide" alt="Toy car in the city." />
      </div>

      <a class="previous" onclick="changeSlide(-1)">❮</a>
      <a class="next" onclick="changeSlide(1)">❯</a>

      <div class="dots">
        <div class="col">
          <img src="https://static.pexels.com/photos/385997/pexels-photo-385997.jpeg" class="modal-preview hover-shadow" onclick="toSlide(1)" alt="Toy car on the road." />
        </div>
        <div class="col">
          <img src="https://static.pexels.com/photos/574521/pexels-photo-574521.jpeg" class="modal-preview hover-shadow" onclick="toSlide(2)" alt="Toy car exploring offroad." />
        </div>
        <div class="col">
          <img src="https://static.pexels.com/photos/386009/pexels-photo-386009.jpeg" class="modal-preview hover-shadow" onclick="toSlide(3)" alt="Toy car in the city" />
        </div>
      </div>
    </div>
  </div>

  <script>
    let slideIndex = 1;
    showSlide(slideIndex);

    function openLightbox() {
      document.getElementById('Lightbox').style.display = 'block';
    };

    function closeLightbox() {
      document.getElementById('Lightbox').style.display = 'none';
    };

    function changeSlide(n) {
      showSlide(slideIndex += n);
    };

    function toSlide(n) {
      showSlide(slideIndex = n);
    };

    function showSlide(n) {
      const slides = document.getElementsByClassName('slide');
      let modalPreviews = document.getElementsByClassName('modal-preview');

      if (n > slides.length) {
        slideIndex = 1;
      };

      if (n < 1) {
        slideIndex = slides.length;
      };

      for (let i = 0; i < slides.length; i++) {
        slides[i].style.display = "none";
      };

      for (let i = 0; i < modalPreviews.length; i++) {
        modalPreviews[i].className = modalPreviews[i].className.replace(' active', '');
      };

      slides[slideIndex - 1].style.display = 'block';
      modalPreviews[slideIndex - 1].className += ' active';
    };
  </script>
 </body>
```

## \### Mais Informações:

#### HTML

[Modal](https://en.wikipedia.org/wiki/Modal_window) - uma janela pop-up

[Manipuladores de Eventos](https://developer.mozilla.org/en-US/docs/Web/Guide/Events/Event_handlers) - propriedades HTML que escutam eventos de usuários.

[Entidade](https://developer.mozilla.org/en-US/docs/Glossary/Entity) - Uma string que representa um caractere reservado em HTML.

#### CSS

[box-sizing:](https://css-tricks.com/box-sizing/) - Uma propriedade CSS3 que controla a maneira como o navegador processa o conteúdo com base na altura e na largura.

[Flex-box](https://developer.mozilla.org/en-US/docs/Learn/CSS/CSS_layout/Flexbox) - Uma nova tecnologia que ajuda a posicionar o conteúdo HTML em um manor responsivo.

[: hover](https://developer.mozilla.org/en-US/docs/Web/CSS/:hover) - Um pseudo-seletor que é acionado quando um usuário passa o mouse sobre um elemento quando essa classe é atribuída a ele.

#### JavaScript

[Deixe](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Statements/let) uma variável de escopo de bloco.

[const](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Statements/const) Uma constante de escopo de bloco.

[getElementById ()](https://developer.mozilla.org/en-US/docs/Web/API/Document/getElementById) - Um método de documento que retorna uma referência a um elemento HTML.

[getElementsByClassName ()](https://developer.mozilla.org/en-US/docs/Web/API/Document/getElementsByClassName) - Um método de documento que retorna uma matriz de referências ao html que possui classes correspondentes.

[\+ =](https://developer.mozilla.org/en-US/docs/Web/JavaScript/Reference/Operators/Assignment_Operators) - um operador de atribuição que adicionará números ou concatenará strings.

#### Recursos:

[Exemplo ao vivo](https://codepen.io/rdev-rocks/pen/KXNzvo?editors=1111) - Uma CodePen que demonstra o código acima.

[Flex-Box Interativa](https://codepen.io/enxaneta/full/adLPwv) - Uma CodePen interativa que mostra o comportamento flex-box.

[Pexels](https://www.pexels.com/) - Uma galeria de fotos.

[MDN](https://developer.mozilla.org/en-US/) - Um ótimo lugar para informações sobre coisas da web.

[W3School - Lightbox](https://www.w3schools.com/howto/howto_js_lightbox.asp) - Este código foi inspirado a partir daqui. Obrigado W3Schools!


Jingsi Christina Wu, PhD, a media studies professor in the Lawrence Herbert School of Communication, has published her first book, Entertainment and Politics in Contemporary China (Palgrave Macmillan, 2017).
The book examines the role of entertainment in 21st century China, particularly how the rise of reality television, drama series, and social media have influenced political life. Dr. Wu argues that the country's popular culture has contributed to the growth of democratic values such as active citizenship and the building of a civil society.
Dr. Wu is an award-winning media studies scholar who is published in some of the field's most prestigious journals. Most recently, she presented her research from Entertainment and Politics in Contemporary China at the International Communication Association pre-conference on normative theory in communication research in May 2017.
At the Herbert School, Dr. Wu teaches courses on media literacy; global media and news systems; mass media, politics, and policy making; and social media, technology, and policy.


Mitchell made the comments during her recent appearance on the Relentless Health Value podcast.
The program, Mitchell says, aims to accelerate medical research help researchers develop medical breakthroughs, thus giving back participants who are offering up their data.
Click here to listen to the full podcast on Relentless Health Value.


Think about projection technology in a whole new light! The NEC PX1004UL is a powerful installation laser projector with a laser/phosphor light source that makes it perfect for all-new applications. With more consistent brightness, improved color fidelity, and tilt-free or portrait modes these laser projectors will deliver in new verticals such as retail, simulation, and theme park installations. Furthermore, the laser module delivers 20,000 hours of virtually maintenance-free operations, reducing your total cost of ownership!
Built-in HDBaseT enabels simplified installations with a single cable for video, audio, and control signals.


When you create a web design for a client, it is rarely a one-off project. Most web designers end up working with their clients over an extended period, as they often require tweaks, upgrades and additional design work at some point or other. The better you handle client relations, the more likely you are to profit from them, both financially and in terms of your reputation. In this article we will share our top tips on how to build a positive professional relationship with web design clients.
When meeting with web design clients face to face, show that you are taking on-board their suggestions by noting them down.
It is important that your web design clients feel like you value their opinion and input, therefore it is important to show that you are listening to them and taking their suggestions on board. If you are meeting face to face with clients, try to make good eye contact with them, whilst also noting down their key points. When it comes to showing your web design client the finished result, be sure to explain how you have incorporated their ideas into the design and how you have built the website with their needs in mind. This will show them that you care about their business and the work you are doing for them.
As a web designer it is important to not only sell your services to customers, but your personality too. You should be transparent about who you are and what you are capable of doing. If a client requires a service that you are unable to provide, recommend someone who can help them. The more honest you are with your client, the more likely they are to trust you and your services.
Web designing and development is tricky, which is why clients come to you for help and do not try and do it themselves. When you take on a client, it is important to educate them about the web design process as much as you possibly can. The more information you provide, the more informed decisions they can make about their web design. By making more informed decisions, clients are more likely to be happy with your finished product and we all know happy clients usually leads to more work and recommendations!
Do you have local web design clients? If so, why not pop into their workplaces every so often to see how they are getting along with their website? This will show them that you care and are available if they need any additional work doing.
In such a competitive industry, web designers need to find ways to make them stand out from their competition. As mentioned before, a great way of doing this is by showing your personality. The majority of the time, clients will base their choice of web designer on who they get along with the best, as well as their skills, experience and rates.
All business owners value communication, therefore making it important that you show that this is one of your strengths. Keeping in contact with your clients throughout the process, whether this is to ask them questions or give them an update on their web design, is a great way to build up a positive professional relationship. Rather than sending emails back and forth, pick up the phone every once in a while or pop into their work place. Trust us – it will make a huge difference to your business relationship!
Today web designers are required to do so much more than simply design their clients' websites. In order to remain competitive and build profitable professional relationships, they need to sell their personality and people skills too. Whilst efficiency is paramount, it is equally as important to spend time getting to know your web design clients and showing them that you value their business in order to stand a chance at building long-lasting professional relationships that lead to recommendations and additional work.


iNaturalist follows Catalog of Life from the root node through rank phylum. A caveat being that Kingdom Animalia uses a separate framework sourced to WoRMs that takes precedence.
Currently there are some additional Fungi Phyla not in Catalog of Life marked with 'not external' deviations. Its unclear how these map to Catalog of Life. Guidance needed on whether to bring the base of the Fungi tree in line with Catalog of Life, create more informatively mapped deviations, or to create a framework sourced elsewhere.


text:
Ask the Chair
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18 May 2016 <23 May 2016
What Can I Do With an English Major?
The story of the unemployable English major is both powerful and damaging, since students are more than ever concerned that their choice of degree will lead to successful employment—reasonably so considering the lingering effects of the recession and the high cost of postsecondary education in the US. Hence it behooves us to counter the belief that English majors can't get a job. Indeed, both institutions and individuals have begun to push back on that story. For example The Atlantic's boldly titled article from June 2013, "The Best Argument for Studying English? The Employment Numbers," points out that employment statistics for English majors aren't really that different than from other fields—especially when compared to other fields in the liberal arts such as in social science as opposed to "truly pre-professional fields—including health, business, and education." The author of this piece concludes, "Bottom line: If humanities departments really want to win students back from the clutches of political science and econ, they'd be smart to start by showing them the employment stats."
I mostly agree with this author. We do need to show the employment stats. However, I'm uncomfortable trying to "win students back from the clutches of political science and econ." Those are important majors too! In addition, having worked for some time with "the employment stats," I do not think it as obvious as the author of this article to know exactly how to go about doing so. For the remainder of this post I'd like to outline some of the resources we have to make our case, as well as some of the limitations of these resources.
There are two main research groups that produce these numbers, the Hamilton Project of the Brookings Group, and the Georgetown Center for Education and the Workforce. (For Georgetown, see especially the report The Economic Value of College Majors.) Both groups use a detailed census survey called the American Community Survey, often abbreviated ACS. Unlike the decennial census survey with which we're most familiar, this survey is conducted and reported on annually. (A third source, at Payscale.com, uses data volunteered by people who go to the site, rather than data collected randomly, so I am leery of using it.) Of these two sources, I find the Hamilton Project particularly useful–though it hasn't been updated as recently as Georgetown's information has. The first visualization in the interactive feature accompanying the report allow users to compare average earnings over time across different majors. One can see, for example, that Communication and English majors have practically the same average earnings over time, and that Business majors have higher earnings—but, at between 10 to 15 thousand more per year, the difference is not one of orders of magnitude from what English or Communication majors make, as some myths about English major underemployment or unemployment might suggest. We need to remind prospective students and their parents that earning a college degree typically makes a much bigger difference in earnings than does the difference among degrees earned, as a comparison of any of the degree holders' earnings with high school diploma only earners will show.
Even more important are the earnings data shown in the second visualization on the site. This graph looks at earnings not as averages, but as they are distributed over a lifetime from the lowest to highest earners among each set of majors. Averages can be misleading. Suppose you decide to major in business because on average business majors make around 10 to 15 thousand more each year than English majors do. But what if you hate business, and have no head for it, while you're a very good reader and writer, and love the study of English? It would probably be better to end up a successful English major than an unsuccessful business major. For example, at the 50th percentile, business majors make about 300 thousand dollars more than do English majors over their lifetimes. But an English major in the 70th percentile of English-major-earners will make around 500 thousand more than a business major in the 30th percentile for that major. Business and English majors at the 45th and 59th percentiles respectively have about the same lifetime earnings. That is, one only must do somewhat better in English than one would do in business to earn the same amount. The lesson here is that following your heart may not only make you more happy, but also be a good career investment.
These are wage statistics. Neither the Georgetown Center nor the Hamilton project present the data on the relationship between major and occupation. What do students with a degree in a particular major go on to do? This data is available from the ACS too, but I think both groups don't report on it because it's too granular. It's relatively easy to rank 138 majors by median annual salary, as Georgetown does. But showing the distribution of occupations from a particular major would be more like creating an ideas book—something to leaf through major by major, but hard to compare or rank majors. If you're only interested in one major, however, this data is not too granular.
And, best of all, it's positive. One particular danger of salary rates as metrics is that English will never come out ahead in them. The data isn't as bad as the popular myth has it. But we'll never beat accountants or petroleum engineers. Providing wage statistics buys into that whole new way of thinking about the college major as "return on investment." On the other hand, presenting typical occupational outcomes for the major doesn't ignore our students' concerns about employment, but it also allows them to imagine a life, with career conceived of as an interest and a vocation, rather than as the generator of a 7 vs. 8.4% return on investment.
Since Hamilton and Georgetown don't provide information on careers by major, I've produced this kind of report, using the same ACS census data that these organizations do. Here are the results.
Note: Clicking on the picture will take you to a live version of this chart, where you can click on slices of the pie to drill down on occupational categories to see percentages of particular jobs within those categories (you can also see the percentages that aren't visible on this picture).
Not surprisingly, the biggest portion of students with a BA in English go into the teaching professions, at 22.6%. Another 17.2% go on to work as managers of some sort. It's worth noting that 3.2% end up in computers and mathematics, while only 1% end up working in food service. To the myth of the English major barista we can say, you're three times as likely to being working with computers or math than in any kind of food service profession!
One more chart might be of use. This one, using the same ACS data, compares majors by broad occupation category in a heat map.
Note: Clicking on the picture will take you to a live version of this chart, where you can scroll over the heat map to see numerical percentages. The individual majors listed are the degrees offered by the college to which I belong, the College of Humanities and Social Sciences at George Mason University. "Non-CHSS degrees" are all the degrees our college does not offer. "All degrees" are all the degrees categorized by the US Census' American Community Survey.
The takeaway? Again, there is much more similarity in the occupational futures of BA holders than there are differences. Students should study what they love, work hard, learn a lot, and they will find employment success. We have become so vocationalized in our thinking about higher education that we have come to believe that a major is a career. It is not.
Robert Matz
Student Demand in Tension with Faculty Expertise
Crisis Management: Between the Faculty and Upper Administration
Hiring in a Time of Covid-19
Inequity and the "Very Important Professor"
Unsticking the Stuck Professor
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We adore wedges and especially fall wedges. They lengthen our legs without the pain of stilletos and heels. There are many gorgeous wedges out from booties all the way up to knee high boots. Wedges are also versatile depending on the type of material they are made with. If you are a working woman, you can definitely dress them up and wear them to work or you can dress them down and wear them shopping with your girls. We love wedges, so of course we are going to show you are favorites for this Fall.
If you don't have a pair of wedges this fall it's definitely time that you get a pair. We hope that our favorite wedges edition gave you several great options.
Make Your Individual Eye Color "POP"


If you want to watch Der Klassiker: Borussia Dortmund vs Bayern Munich online, these are the live streaming instructions.
Watch Der Klassiker: Borussia Dortmund vs Bayern Munich Live Streaming Via The Bet365 Live Streaming Service.
Known as Der Klassiker, this is the meeting of the two biggest clubs in German football.
Recently, Bayern have had the better of Dortmund here at Signal Iduna Park. Dortmund have won just once in Bayern's last 6 visits.
However, there will likely never be a better opportunity for Dortmund to reverse this recent trend than on Saturday. They remain undefeated this season and have won 5 of their last 6 matches in the Bundesliga. They have scored at least 2 goals in their last 5 home matches in the Bundesliga.
Bayern are also in a similar run of good form after an uncharacteristically shaky start. They have won 7 of their last 8 away matches in the Bundesliga scoring at least 2 goals in each win.
Hopefully this will be another high scoring game between the two sides. There have been over 2.5 goals scored in Dortmund's last 8 home games and in 9 of Bayern's last 11 away games in the Bundesliga.
Robert Lewandowski is the top scorer of all time in this fixture. He had 5 goals in 12 games against Bayern before joining them on a Bosman in 2014. Since then, he has 12 goals in 15 appearances against his former club.
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Carriera
Con i  ha disputato tre edizioni dei Campionati europei (1978, 1980, 1981).

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