text:
This is a list of soups made with fish or seafood.

Seafood soups

 Bisque, usually lobster bisque
 Bouillabaisse — a Provencal dish, especially in the port of Marseilles
 Buridda
 Caldillo de congrio
 Caldillo de perro
 Cantonese seafood soup
 Chowder
 Bermuda fish chowder
 Clam chowder
 Fish chowder
 Spiced haddock chowder
 Chupe
 Cioppino
 Clam soup
 Cullen skink
 Dashi
 Fish soup
 Fish soup bee hoon
 Fish tea
  Halászlé - Hungarian spicy fish soup
 Gumbo – often includes seafood, made with shrimp or crab stock
 Ikan kuah kuning — a Maluku and Papua dish
 Herring soup
 Jaecheopguk
 Lohikeitto
 Lung fung soup
 Maeutang
 Mohinga
 Moqueca
 Paila marina
 Phở – some versions use seafood
 Pindang
 Psarosoupa
 She-crab soup
 Sliced fish soup
 Sopa marinera — a Spanish seafood dish made with oysters, clams, seashells, crab, lobster, shrimp and spices like achiote and cumin
 Sopa de peixe - Portuguese fish soup, usually made using a tomato base. Very rich, it can include a variety of different seafood at the same time, and be a meal in itself.
 Tom Yum
 Ukha

See also

 Fish soup
 List of cream soups
 List of fish soups
 List of soups
 List of seafood dishes
 List of stews

References

Fish and seafood
Seafood


Every Tuesday afternoon from 1 – 3 Child Find will be having All About Me ID Clinic. Come have a booklet made for your child or up-date the one you have if it's been a few years. We will take photos and fingerprints (footprints for babies) and create a booklet that's all about them. Please bring 2 pieces of ID for you (the custodial parent) and 1 piece of ID for your child. A Sask Health Card works great. Give us a call at 306.955.0070 and let us know you're coming and we'll get things ready. Hope to see you soon!


Portmans.com.au is the online fashion clothes and accessories shop for the fashion conscious young woman who values style and the metropolitan look. Extra discounts for all purchases made in the first month is well worth considering, and so are the other attractive deals offered. Portmans searches out the up and coming hot trends for young Australian women and is an important determiner of the keynote coming styles, colours, and must-have outfits.


There is something strangely liberating about arriving for the start of a huge bike ride knowing that you haven't done enough training. If I'd followed the advice of Dennis Hunter (Youth coach of Hull Thursday Road Club, circa 1979), I would have 'ridden my bloody bike' a lot more that I had when I packed it away and set of for Albertville to do Act 1 of the 2012 Etape du Tour.
I'd only done three rides over 100k so far this year, and even if one of those was the Paris Roubaix it was still a long way from enough. Having done OK on that day in April, I'd convinced myself that I was reasonably fit, and would be OK for the mountains of France in July. Even so, I knew that a fantastic performance was totally out of the question, so decided that my tactic for the day would be to simply enjoy a grand day out on my bike.
As I turned off my alarm at five o'clock in the morning on the day of the race, I thought I could hear rain outside. This was a bitter surprise having enjoyed glorious sunshine as we signed on for our numbers the day before, when we'd spend the afternoon watching Wiggo take the yellow jersey, and the thin walls of our hotel had meant we'd heard the shouts of all the British fans in the rooms around us yelling at the television. As I started to get ready and set off down for my pre ride breakfast, my room mate looked out and confirmed that it was raining heavily, and there didn't seem to be any breaks in the clouds rolling off the mountains.
We rode the kilometre of so to the start and filed into our start pen, and sat hoping that the rain would stop. It eased just as we set off, and the huge peleton rode gingerly out of town. It was much more settled than past Etapes I had ridden, and we covered the first twenty kilometres to the foot of the Col de Madeleine at a steady pace, sitting in with a large group. That was the only flat bit of road we rode on all day.
Not having any type of speedo or bike computer, I just relied on the stone kilometre markers at the side of the road to measure my progress. They seemed to come round reasonably quickly, but a look at my watch showed that the first kilometre had taken six minutes. This didn't seem too bad, but the kilometre stone I passed next said 'sommet 23km' – over to hours of climbing before I was going to crest the first of four mountain peaks of the day. I was amazed to see a young neo pro in full AG2R kit sprint past me, then sprint through gaps as they formed in the huge group of riders ahead. The rain had given way to sunshine by now, and the air was hot and humid. By the time I'd got to within 5k of the top, I had to stop to take my rain jacket off, which at least allowed the fans to see my CCC jersey, something which they had plenty of time to do as I was really feeling the gradient by this time.
As ever, the top of the col was magnificent, with stunning views all around. Speeding down the other side, I realised I needed to put my sunglasses back on, but once I'd managed this, I found that they were still so steamed up and dirty that I had to take them back off just to see where I was going.
Next came the Col du Glandon, which was another climb of over two hours, with the last three kilometres into a strong block headwind, before climbing on to the last bit of the Col du Croix de Fer. Three cols done – and it was just time for lunch. I grabbed a bite to eat before taking a snap of probably the most scenic pissoir I've ever seen. I couldn't resist making use of this before setting off down the other side. I don't think I'll ever have chance to empty my bladder with such a view ever again.
By now it was obvious that this ride was a lot harder than I had thought it would be and I knew that the rest of it would be tough. Even the 5.7k Col du Mollard was quite hard, then at last, we got to the final climb to La Toussiere.
This was actually the back of the Col du Croix de Fer which I had just descended, and was a hard climb despite 'only' being a cat 1. The crowds were quite big at this time, including a brass band playing a White Stripes song, accompanied by about twenty pensioners who were, to put it mildly, as pissed as farts. I'd misread a sign on the hill, and was furious when I saw the 'arrive 3k' sign, because I thought it was going to say 2k to go. I wanted to get off my bike and rip the sign up, but thought better of it and took advantage of a short bit of flat road to get my breath back before the one kilometre to go red kite came into view. This always brings on a surge of adrenalin, and I even managed a sprint and an ironic victory salute as I finally crossed the line, before finding our tour operators tent and stuffing myself with handfuls of crisps and about a litre of coke. We had a long wait for our transport back, when the coach driver went the wrong way twice, before he finally dropped us, starving and craving a few restorative beers, at our hotel.
There were 10000 entrants to the event, about 7500 made the start, and only 3000 made the time cut. The broom wagons had to allow an extra two hours, such was the level of attrition. I achieved my objective of a grand day out on my bike, but if there's ever a next time, I'll just make sure I do a bit more of JRYBB.
This entry was posted in Random Stuff, Ride Reports. Bookmark the permalink.


Item Number: H20-9235GL Have a question about this item?
Glass beads with hand-painted epoxy feature Halloween designs. Bead colors include purple, black, orange and more. Bead designs include spider webs, spiders, dots and scary cats. Solid color means the base color of the glass is saturated throughout the object and will not fade or rub off over time. Sizes, shapes and colors may vary with handcrafted items.
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text:
Response to Vice President Rick Bischoff's Letter to the Editor
Tyler Hoffman, Executive Editor & Publisher
On Wednesday, Feb. 12, the Office of University Marketing and Communications submitted an official university response to last week's editorial entitled "Selective transparency stains Snyder's administration." The submission is attributed to Vice President for Enrollment Management Rick Bischoff, and I am pleased to include it in this week's edition. After all, the fundamental purpose of The Observer lies in the advancement of conversations about issues affecting the Case Western Reserve University community.
I am personally encouraged to see that, upon reconsideration, the university's administration chose to make known the figures from which its claim that "applications from underrepresented minorities [in the Class of 2018] climbed 21 percent" was derived. Yet, I am disappointed that administrators released this data only after our editorial appeared and not during The Observer's multiple attempts to collect this information through reasonable reporting.
The rebuttal also calls into question our claim that President Barbara R. Snyder's administration is selectively transparent. I would expect nothing less in an official response from the university; the perspective of decision-making administrators is inherently different than that of their constituents.
I can only hope that administrators will begin to expel as much time and energy substantively communicating with the undergraduate student body as they do debating our perceptions. Because, if they do, they might realize that publishing the date of the provost's only open forum in The Daily four days prior to the event is insufficient. Or, they might understand how closing the feedback portal for the university's Interim Sexual Misconduct Policy four days after soliciting the Undergraduate Student Government's feedback comes across as a fake out.
The notion of selective transparency may be subjective, but I believe it can be judged by answering three simple questions: How open do you perceive the university to be about the issues that matter most to you? When you speak your mind, do you expect to be heard? And when you ask an honest question—like we did—do you trust that it will be answered?
Tyler Hoffman
Executive Editor & Publisher
Editor's Note: This response is in reply to a letter to the editor from the Office of University Marketing and Communications. The letter to the editor can be found online; readers may also find the original editorial, published in issue 18 of The Observer, here. —Kyle Patterson, Director of Web & Multimedia.
Fourth-year medical anthropology student Tyler Hoffman has served as Executive Editor and Publisher of The Observer since April 2012. As Executive...
Editorial: Prime Minister Ardern's courageous stepping down holds a message for us all
Editorial: Let's slow down and live in the present moment
Editorial: We need accessible grocery stores in our community
Editorial: CWRU's student employment system doesn't treat students fairly
Editorial: President Kaler has created far more division than USG ever could
Editorial: Ohio's Supreme Court elections are critical, even if they are partisan
Editorial: The "Halloweekend" may be what we all need
Editorial: We need to talk about CWRU's budget
Editorial: CWRU's alumni association is lacking
Editorial: We all could use a little break outside of school

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Django: how to get size data in a queryset my room table size data is linked with foreignkey with Master table Size data. i want to get size data instance in room instance. any help, would be much appreciated.

i want to get size data as like my image_set in this "Room" model, i
  am not getting anything in size data as a result. any help or suggest
  would be appreciated.

models.py
class Room(models.Model):
    title  = models.CharField(max_length=30)
    slug = models.SlugField(blank=True, null=True, max_length=80)
    description = models.TextField(max_length=1080, blank=True, null=True)
    instruction = models.CharField(max_length=500, blank=True, null=True)
    price = models.DecimalField(max_digits=8, decimal_places=2)
    discount_price = models.DecimalField(max_digits=8, decimal_places=2)

    size = models.ForeignKey("Size", on_delete=models.CASCADE)
    capacity = models.ForeignKey("Capacity", on_delete=models.CASCADE)
    bed = models.ForeignKey("Bed", on_delete=models.CASCADE)
    services = models.ManyToManyField("Services")

    category = models.ManyToManyField("Category")

    created_on = models.DateTimeField(default=timezone.now)
    updated_on = models.DateTimeField(auto_now_add=True)
    status = models.BooleanField(default=True)

    class Meta:
        ordering = ["-id"]

    def __str__(self):
        return self.title

    def get_absolute_url(self):
        return reverse("server_room_detail", kwargs={"slug":self.slug})

    def get_size(self, obj):
        for s in Size.objects.all():
            return s

    def get_image_url(self):
        img = self.roomimage_set.first()
        if img:
            return img.image.url
        else:
            return None

    def get_last_image_url(self):
        img = self.roomimage_set.last()
        if img:
            return img.image.url
        else:
            return None

def image_upload_to(instance, filename):
    title = instance.room.title
    slug = slugify(title)
    base_name, file_extension = filename.split(".")
    new_filename = "%s-%s.%s"%(slug, instance.id, filename)
    return "room/%s/%s"%(slug, new_filename)

class RoomImage(models.Model):
    room = models.ForeignKey("Room", on_delete=models.CASCADE)
    image = models.ImageField(upload_to=image_upload_to)
    created_on = models.DateTimeField(default=timezone.now)

    def __unicode__(self):
        return self.room.title

class Size(models.Model):
    title = models.CharField(max_length=30)
    created_on = models.DateTimeField(default=timezone.now)

    def __unicode__(self):
        return self.title

redpajama_set_name: RedPajamaStackExchange


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text:
Home Library Community Download
Home > Piano sheet music
Piano sheet music:Just Give Me A Reason
Musician/P!nk,Nate Ruess 3734 5
"Just Give Me a Reason" is a song recorded by American singer and songwriter Pink, featuring fun.'s lead singer Nate Ruess. The song was chosen as the third single from Pink's sixth studio album, The Truth About Love (2012). Jeff Bhasker assisted the artists in writing the song and is also the producer. "Just Give Me a Reason" is a pop ballad about the desire to hold on to a relationship even when it appears to be breaking down. It starts off with a simple melody played on the piano, as Pink starts to sing the first verse and chorus, the latter of which introduces drum machines and bass. Ruess then sings the second verse, and the rest of the song is sung as a duet. The song ends with a piano solo, similar to the intro. It has a duration of four minutes and two seconds.
View more pages Download APP
More sheet music by (P!nk,Nate Ruess)
Just Give Me A Reason(只需给我一个理由)[P!nk and Nate Ruess(P!nk,纳撒尼尔·约瑟夫·瑞斯)]-Z06
Similar sheet music
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Business Contact dongfei@tan8.com
E-conmmerce site http://quleyq.tmall.com
Copyright © 2014, Qule Technology Co. Ltd. All Rights Reserved


text:
Q: Either the user, 'IIS APPPOOL\App Name', does not have access to the 'SSAS Cube Name' database, or the database does not exist 1st - I deployed the cube to localhost using SSAS (SQL Server Analysis Services)
2nd - I verified the cube database exists using SSMS (SQL Server Management Studio) even tough the SSAS DB is not showing in SSMS
3rd - I tried to grant permission to my IIS APPPOOL following this answer
4th - I added a new connection in SSMS to Analysis Services in localhost server (instead of a connection to the database engine in the localhost server)
5th - I realized that the process for granting permissions is different for relational databases and multidimensional databases and the previous answer would not work, so I followed microsoft docs to grant cube or model permissions
6th - I tried finding some identifier of the IIS process to add in the role I created in step 5. I did not find any and have no idea what to do to grant access to the ISS process, so I went ahead and tried connecting to the cube database again without success.
7th - I tried changing the connection string to include password for the sa user of the database. Still no luck.
I am taking too long with this issue so decided to post question to stackoverflow while I continue my efforts to solve it. Thanks for any help/pointers to a solution.

A: Here is how I solved it:
1 - Connect to Analysis Services server where the multidimensional model is deployed.
2 - Databases->SSAS(*) Solution Name->Roles
3 - Grant cube or model permissions by creating a new role
4 - In membership, Add->Advanced. Click Find Now, select IUSR and IIS_IUSRS, click ok all the way. Note: Maybe only IIS_IUSRS is required.
*SQL Server Analysis Services


text:
Shigeo Nagashima Invitational Sega Sammy Cup (長嶋茂雄Invitational セガサミーカップゴルフトーナメント Nagashima shigeo inviteishonaru sega samī kappu gorufu tōnamento) är en årligen arrangerad golftävling på den japanska golftouren. Tävlingen har spelats sedan starten 2005 på The North Country Golf Club utanför Chitose.

2016 spelades tävlingen 30 juni – 3 juli och banan 6500 meter med par 72.

Shunsuke Sonoda satte lägsta tävlingsresultatet 2013 på 268 slag (-20 under par).

Vinnare

Källor

Golftävlingar på Japan Golf Tour

redpajama_set_name: RedPajamaWikipedia


text:
Motor Max 1:24 2020 Chevrolet Corvette C8, Orange
8-3-6-6463
The Chevrolet Corvette (C8) is the eighth generation of the Corvette sports car manufactured by American automobile manufacturer Chevrolet. Following several experimental CERV prototype vehicles, it is the first mid-engine Corvette since the model's introduction in 1953 (as well as GM's first production mid-engine sports car since the Pontiac Fiero was discontinued in 1988), differing from the traditional front-engine design. The C8 was announced in April 2019, and the coupe made its official debut on July 18, 2019 during a media event at the Kennedy Space Center (referencing its association with NASA) to coincide with the 50th anniversary of the Apollo 11 mission. The convertible made its debut in October 2019 alongside the racing version, the C8.R. Production officially began on February 3, 2020, delayed by the 2019 General Motors strike.
The C8 retains some design elements found on the C7, but the majority of the exterior has been completely overhauled. The engine's repositioning necessitated a stronger focus on aerodynamics and cooling; large side scoops house air intakes, and the rear features smaller vents below the taillights. A trunk is located at the rear, with additional storage space at the front of the car. Combined, these provide 13 cubic feet (370 L) of cargo space, 2 cubic feet (57 L) less than that of the C7. As a result of the switch to a mid-engine layout, the passenger cell has been shifted forward by 16.5 inches (420 mm). The C8 is also offered in both left and right hand drive configurations, another first for the Corvette. The cockpit has been designed to be driver-centric, with numerous controls mounted on the center console as well as utilizing a new hexagonal steering wheel. A 12 in (30.5 cm) digital screen replaces the instrument cluster and reflects one of the six driving modes selected, and is accompanied by an 8 in (20.3 cm) touchscreen. A special Z button (a homage to the Z06, ZR1 and Z51) is also mounted on the steering wheel; this can quickly activate customized performance settings. Models equipped with the available magnetorheological dampers will also offer adjustable suspension settings.
For the first time since the 1953 Corvette (C1), the current generation Corvette is offered in right-hand-drive configuration for the Japanese and UK markets. After the pre-sale announcement, 300 right-hand-drive Corvettes were sold within sixty hours: a record for the Corvette sales in Japan and three times the annual sales number for its left-hand-drive predecessor.
TSM 1:43 2020 Chevrolet Corvette C8, Accelerate Yellow Metallic
Motor Max 1:24 2018 Dodge Challenger SRT Hellcat Widebody, Green
Paragon 1:64 Mercedes Benz G63 AMG: Liberty Walk Edition
Iconic Replicas 2021 Agenda / Calendar - Limited Edition
Motormax 1:24 2019 Chevrolet Corvette ZR1, Orange
Motor Max 1:24 2020 Chevrolet Corvette, Black
Motor Max 1:24 2020 Chevrolet Corvette C8, Yellow


Who do you think you're callin' a dummy? Oh… you're just looking to hire a ventriloquist and their dummies for your next event? What a good choice! You'll be amazed at how these ventriloquists can manipulate their voices without even moving their mouth! And they are a perfect entertainment choice for basically any type of event. Kiddos will love a family friendly and even educational ventriloquist for their next birthday party, and you and your friends can enjoy a ventriloquist with more adult comedy at your next private or corporate event. Search for Ventriloquists in Oklahoma City, Oklahoma above.
Please note that these Ventriloquists may also travel to Forest Park, Nichols Hills, Warr Acres, Tinker Afb, Wheatland, Spencer, Nicoma Park, Mustang, Choctaw, Jones, Arcadia, Newcastle, Piedmont, Tuttle, Newalla, Harrah, and Luther.


SEL-MOTION Motorsports is pleased to present: Project TT SR. This bike is styled after the 1966 Triumph Bonneville TT Special, in our opinion, one of the most beautiful Triumphs of all time. Our TT Special Replica (TT SR) is based on a new Triumph Bonneville T100 platform using primarily bolt-on parts. The modifications are very modest and DO NOT require any permanent changes to the original bike other than custom paint.
Carburetion: Keihin CVK 36mm carbs, rejetted to match exhaust, heavy-duty stainless steel manifold clamps, BellaCorse Air Box Elimination Kit.


text:
Signe Wilkinson's Editorial Cartoons
Comics and cartoons about freedom of the press .
You might also be interested in Signe Wilkinson's Editorial Cartoons about:
Bill of Rights, censorship, civil liberties, constitutions, first amendment, freedom of expression, freedom of speech, journalism, media, media sources.
View all subjects for Signe Wilkinson's Editorial Cartoons.
Check box to limit search to Signe Wilkinson's Editorial Cartoons.
Use these links to see comics and cartoons about by comic strip and political cartoon.
Result page: 1 (11 images)
Signe Wilkinson's Editorial Cartoons Image #121975
Cartoonist(s): Signe Wilkinson
Comic/Cartoon: Signe Wilkinson's Editorial Cartoons
Caption: Remove anything offensive. News. Editor. Snip. Snip snip. Snip snip. Snip. Wicca. News.
Caption: The Power … of the Press. T. Donald Trump. NYC/Mar-a-lago/etc … Day before reporter called. Date. To: $ Dollars. For: T. Donald Trump. NYC/Mar-a-lago/etc … Day after reporter called. Date. To: Vets. $1,000,000!!! One million dollars. For: Being super generous & nice. Donald Trump.
Caption: How to cartoon! Ink. The infidels are retaliating!!! ISIS elementary.
Caption: Who has damaged Muhammad more?
Signe Wilkinson's Editorial Cartoons Image #97593
Caption: Do you have a comment on wiretapping reporters, Mr. President? U.S. Free Press.
Caption: Vlad Putin Editor-in-Chief. Russian News Editor. I didn't like paragraphs 2, 4, 5 or 7.
Caption: Cartoonists must not draw Muhammad with a bomb in his turban!
Caption: The White House Press Corpse. All the President's Leaks. B. Woodward.
Caption: White House Press Room. They're ready for today's explanation on Karl Rove. Haz-mat. Haz-Mat. Press.
Caption: Judith Miller. Well, at least I got a great cellmate.
Caption: No caption. (W. Mark Felt, who was recently revealed to be Deep Throat, is shown wearing a Medal of Freedom.)


Our stunning African Turquoise natural stone bracelets are made from high quality natural semi-precious gemstones. Using natural cotton for the bracelets and necklaces each natural stone bead has been tied off to create a high end fashionable product. African Turquoise - "Change and Transformation", you must be the change that you wish to see.


text:
TCS' new brand statement 'Building on Belief' represents every good thing about it and how!
As Tata Consultancy Services (TCS) embarks on its next decade of transformation-led growth, it has unveiled a new brand statement, 'Building on Belief' that showcases its mission and relationship with customers.
Staying on par with its vision, TCS has redefined its brand statement in a way that it encapsulates the idea of partnership and collaboration with customers that TCS has been fostering. In addition to this, it also reflects TCS' own belief that along with its customers, it can put its collective knowledge to innovative use for benefitting individuals, communities and the entire world at large.
'Building on Belief' is also said to be representing a promise that is centred on the brand's core strengths. "Our new brand articulation and purpose statement pave the way to engage with our customers as their growth and transformation partners and bring together our contextual knowledge and expertise to help them master their journey. We are excited to take this new articulation of our brand to our clients, associates and all other stakeholders," said Rajashree R, chief marketing officer, TCS.
Speaking on the new brand statement, Rajesh Gopinathan, managing director and chief executive officer, TCS, said that they are partnering with their customers to realise their belief of bettering the world, as well as their purpose. "It is who we are as an organisation and reflects our bold ambition as we embark on our next decade of growth," he added.
Founded in 1968, Tata Consultancy Services will be completing 53 years of its existence on April 1. The company is headquartered in Mumbai and has been operating through over 285 offices in 46 countries.
Related Topics:IT companiesrebranding
Puma India signs RCB Devdutt and Washington as brand ambassadors
Volkswagen might change name to 'Voltswagen' for its electric line
The gateway to your dream job – Brand Story of Waahjobs
Brand Analysis of Infosys – Market Positioning, Brand Scorecard and more
Brand Analysis of Loginworks Softwares, an emerging analytics company


The concept of the Disney+ streaming service seems pretty exciting because, well, Disney owns a whole bunch of stuff.
Star Wars is theirs, as is the Marvel Cinematic Universe – that means Captain Marvel will head straight to their on-demand service rather than to Netflix – and of course Pixar films like the upcoming Toy Story 4.
But what about the films we always used to associate with Disney? The classic animations like Fantasia and Snow White and the Seven Dwarfs? Well, it turns out there's good news on that front too.
Bob Iger, CEO of The Walt Disney Company, confirmed to shareholders that the full library of classic Disney movies will eventually be entirely housed on Disney+.
There's no confirmed timeframe, but Variety reports that Iger made the announcement as one of a number of updates – including the latest on the takeover of Fox.
"There will be businesses within the company that still have the Fox name on them, particularly on the movie side. We will continue to make the movies under the Fox brand and Fox Searchlight brand. FX will keep its name too," he said.
Disney+ is expected to go live in late 2019, with reports suggesting we might be given an update on the specific date at an upcoming investor meeting in April.
Cnet reports that it's likely to cost less than Netflix, which is currently priced at £6.99 per month for the basic service, but will have a smaller library of content (at least to begin with).
We'll be getting a few original series, including a couple of new Marvel series. Disney announced existing Marvel shows including Jessica Jones and The Punisher were cancelled at the end of their current Netflix runs.


The Victoria Grizzlies hosted the Langley Rivermen in a rare Sunday afternoon matchup at Bear Mountain Arena. Grizzlies goaltender Garrett Rockafellow had a stand out performance, posting a shutout in the 2-0 victory. If you are interested in purchasing any of these photographs please contact me at javalon@shaw.ca with the full file name and number located below the photograph and I will send you pricing and payment instructions. These images are © copyright of Glenn Ivens. Thank you.


[pics] so in to the deatbeats, other stuff too. art spree. club monaco.
So. want to know the MOST POSSIBLE amount of fun you can possibly have with arts and crafts for grownups? check THIS out! charlie boy turned me on to what i am pretty much calling the coolest thing on the internet right now. cube e craft. you HAVE to try it!


text:
Talking trade in the latest ISOfocus
Few minutes to read
By Elizabeth Gasiorowski-Denis
Tagged as BusinessConformity assessmentTradeEnvironment
Share on Twitter, Facebook, Linkedin
Global trade trends are constantly changing. A lot is happening throughout the world economy, with contemporary trade concerns and challenges emerging every day. So what are the big issues to watch out for? And what does this mean for standards?
ISO has just released its September/October 2019 issue of ISOfocus. Aptly entitled "Trade, today and tomorrow", it provides a blend of in-depth commentary and analysis of the key issues shaping the trade arena. In addition, it affords valuable insights into the role of standards for fostering productivity and competitiveness, and thus their relevance in international trade.
ISO Secretary-General Sergio Mujica writes in his introductory remark: "It is clear that there has never been a greater or more pressing need for international standards. Transparency, accountability, harmonization and trust are just some of the benefits – for society and business alike," he says.
This edition offers coverage of key issues ranging from harmonization of technical regulations to the alleviation of poverty and inclusive development. It also provides an overview of the most interesting, important and complete conformity assessment issues, particularly useful in today's trade matters.
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text:
SYNONYM

#### According to
The Catalogue of Life, 3rd January 2011

#### Published in
in Georgescu, Anal. Inst. Cerc. Exp. for. , Ser. 1 11: 207 (1948)

#### Original name
Ophiostoma roboris Georgescu & Teodoru, 1948

### Remarks
null

redpajama_set_name: RedPajamaGithub


An Ethiopian Airlines flight to Nairobi crashed early on Sunday with 149 passengers and eight crew members aboard, a spokesman for the airline said. Flight ET 302 crashed near the town of Bishoftu, 62 kilometers southeast of the capital Addis Ababa, the airline said, confirming the plane was a Boeing 737-800 MAX. "The Office of the PM, on behalf of the Government and people of Ethiopia, would like to express its deepest condolences to the families of those that have lost their loved ones on Ethiopian Airlines Boeing 737 on regular scheduled flight to Nairobi, Kenya this morning," the office of Ethiopian Prime Minister Abiy Ahmed said on Twitter.


text:
Oberea tenuata es una especie de escarabajo longicornio del género Oberea, subfamilia Lamiinae. Fue descrita científicamente por Pascoe en 1866.

Se distribuye por Malasia (isla de Borneo, Sarawak). Mide 12 milímetros de longitud.

Referencias

Enlaces externos
 Oberea tenuata Enciclopedia de la vida.
 Oberea tenuata Catalogue of Life.

tenuata
Insectos descritos en 1866
Insectos de Malasia


text:
'No one knows how ancient languages were pronounced'
This one sounds like it should be a no-brainer. We don't have any audio recordings from ancient Rome, after all. On an online forum earlier this month, in answer to the question 'What knowledge is considered lost by mankind?', one user answers
The actual pronunciation of Latin. And ancient Greek, for that matter, but Latin fascinates me because for all the Latinists out there, the best we're getting is a guess at what it probably might maybe have sort of sounded like.
and then goes on to cite a source.
The web page linked there starts off with a couple of caveats -- evidence is 'difficult to interpret', ancient sources 'lack clarity' -- but as it goes on, it makes it look like exactly the opposite is the case. What's going on?
Socrates (the late Tony Steedman) tries to speak Classical Greek to Bill S. Preston, Esquire (Alex Winter) and Ted 'Theodore' Logan (Keanu Reeves). Vowels are a mix of Modern Greek and something else, consonants are British, and he doesn't even make an attempt at the pre-Hellenistic pitch accent. But certainly not laughable. (Bill and Ted's Excellent Adventure, 1989)
There's a trick to this topic. The naysayers, the folks who insist that no one knows how these languages were pronounced -- at least the ones who know what they're talking about -- what they're talking about is a much more strictly defined kind of knowledge than most people are thinking of when they wonder how Latin and Greek were pronounced. What your average Joe is usually wondering about is the phonetics and phonology of Latin and Greek. And those are very well understood indeed.
What's the difference? We're not talking about audio recordings, or idiosyncrasies of speech. Phonetics doesn't refer to the actual noises you'd hear if you took recording equipment back in a time machine: audio data on intonation, pace, and so on truly is gone forever. Phonetics instead refers to a kind of abstraction of the sounds, like the instructions your English dictionary gives on how to pronounce words; and phonology refers to the relationships phonetic elements have with each other and with the words that they're in.
The naysayers' claim is equivalent to saying: if your only contact with English is through texts, you can't ever know how English is pronounced. In some strict senses there's some validity to that: there are many kinds of mannerisms of speaking that you can't extrapolate from written texts alone. But that's not what most people are thinking about when they ask how an ancient language was pronounced. What they're really after is phonetic values. And as I said, that's something that's very well understood.
Even if you've never heard someone speaking English, it's perfectly possible to know that the th in thirty typically represents a dental fricative, but that when spoken with an Irish Republic accent the same word usually has an alveolar stop (as in tin) or, in some parts of the country, a dental stop (a sound that doesn't exist in most other forms of English or other Germanic languages). We don't have audio recordings of ancient Greek, we don't know much about intonation or pace, and the variance within a given dialect is anyone's guess. But we know perfectly well 'how it was pronounced' in this more colloquial sense.
Well, we know a lot more than is often imagined, anyway. There are areas of uncertainty. But they're relatively limited, and they're probably not the kinds of uncertainty that you'd expect. Here are a few examples.
(1) The letter v in Latin. Depending on the Latin teacher you had, you may be aware of the dogma that the Romans pronounced the letter v like English w: so for example the Caesarian motto veni, vidi, vici ('I came, I saw, I conquered') was pronounced weeh-ny, weedy, weaky. It was the consonantal version of u: that's why the Romans didn't have a separate letter u. One letter represented both the w and u sounds, as i represented both the y and i sounds. But in Romance languages and in modern Church Latin, v is pronounced just like English v (so veeny, etc.). So which is right? Are the linguists all at sea? Well, no. The linguists know perfectly well that they're both right: languages change over time. At one time v was pronounced like w; later on, w sounds shifted to v, so the phonetic value of the letter shifted too. There's nothing mysterious or unknowable about that.
Jesus (Jim Caviezel) chats with Pilate (Hristo Shopov): probably the best on-screen attempt at Latin, but that's not saying much (and it's vanishingly unlikely that Jesus knew any Latin). The rhythms and vowels of the minor Roman characters, played mostly by Italians, carry verisimilitude even if they're not always borne out by evidence. But again, much too modern: phonetic values are all those of modern Church Latin. Some sounds we only start to see evidence for in the 1st century; some, not until centuries later. And worst of all, Jesus' lines are chocker with glottal stops -- Latin was much more continuous than Germanic languages like English. (The Passion of the Christ, 2004)
But we don't know very well the timeline of the shift. It seems to have been a gradual thing. We get our earliest evidence of v representing /v/ in the 1st century CE (spelling confusion between v and b; a 2nd century grammarian says v is pronounced with some exhalation, implying a fricative). But v was still representing /w/ in some contexts right up to the 6th century (e.g. the name Valerius being transliterated into Greek as Οὐαλέριος; Consentius writes of the word veni being pronounced as though it had three syllables). So it wasn't like flipping a switch. How exactly did the shift play out? What were the key moments? We don't know the answer to that as well as we'd like. Is that the same thing as saying that our state of knowledge is at best 'a guess at what it probably might maybe have sort of sounded like'? No, that's just dishonest.
(2) β in Greek. This is similar to the first example above: we know the letter β (beta) had two different pronunciations in different periods, but the timeline of the shift is unclear. In Classical Greek beta β had the phonetic value of an unaspirated English b (as in gib board), but in later Greek it was a fricative v (as in sieve), as it still is in Modern Greek. This is a pretty typical shift that you can see in lots of languages: in Latin, too, there was confusion between b and v after v acquired the value /v/. But our timeframe for when the pronunciation shifted from b to v is at least a 300-year window: we know it was pronounced b in the 2nd century BCE, thanks to testimony from two grammarians, and we know it was pronounced v in the 2nd-3rd centuries CE, when we start to find Latin v being transliterated into Greek as β. We know the switchover happened somewhere in between, but we don't know where or precisely when. Sometimes you'll hear this kind of uncertainty exaggerated to the point of saying that we don't know how β was pronounced at all. And that's nonsense.
(3) ττ in Attic Greek. In Attic -- that is, the dialect spoken in Athens up until the late fourth century BCE -- the letter τ (tau) had the phonetic value of an unaspirated t sound, like the first t in coattail. However, we don't know how the consonant combination ττ was pronounced in Attic. On the face of it it looks like ττ ought to represent a double t sound. But it isn't that simple. Where Attic has ττ, other dialects consistently have σσ (which looks like it ought to be unvoiced ss; not as in tosser, but as in toss sir), and ττ/σσ are used in words whose prehistoric forms had several different phonologies. It could be that both ττ and σσ represented affricates, but separate ones; it could be that only Attic ττ did, and represented a /t͡s/ sound (as in N.Z. tea) or /tt͡s/ (Italian grazia), or some other possibilities, depending on what word it appeared in. The fact that Attic spelling is so consistent suggests that all the variants might have been simplified, most obviously to /t͡ʃ/ (chin), or maybe even to exactly what it looks like, /tt/. But we can't be certain. This is one area where we are genuinely in the dark.
'Let it go' in Classical Greek, performed by the University of Auckland Classical Society (May 2014). Pronunciation is student Greek, which is to say a mixture of Erasmian with smatterings of Modern Greek ... but great fun anyway.
So, how do we know what we know about the phonetics of these languages? Like many things that relate to knowledge, it's not simple. You wouldn't expect to extrapolate the Big Bang theory from a single thing in the sky that you can see with a pair of binoculars; you don't reconstruct the phonetics of dead languages in a single easy-to-sum-up step. It's complicated and difficult, but that doesn't automatically mean that it's uncertain. There are several kinds of evidence. Here are a few:
Direct testimony from ancient sources. For example, the 1st century CE Roman grammarian Nigidius Figulus tells us that the letter v in Latin was enunciated with protruded lips, which tells us straightaway that it was a bilabial continuant (/w/); an anecdote in Cicero (1st century BCE) relies on wordplay between consonantal v and the vowel u. Dionysius Thrax and Dionysius of Halicarnassus both tell us that Greek β, γ, and δ were 'intermediate' between aspirated and unaspirated consonants, and they don't call them continuants (ἡμίφωνα). And so on.
Transliteration. For example, Cicero (1st century BCE) tells us that Greek βινεῖ was pronounced like Latin bini: this tells us that, at that time, (a) Greek β and Latin b were both pronounced the same way (but that might have been either /b/ or /v/); and (b) Greek ει was pronounced /i/.
Variant spellings. When we find Byzantine writers translating the Latin names Valerius and Vergilius as Οὐαλέριος and Βεργίλιος, that tells us (a) that Latin v could represent both /v/ and /w/ at the time, and (b) Greek β was pronounced /v/. Another Greek example: in Classical Attic ει, ι, υ, and οι all represented different sounds, but at some point they all acquired the Modern Greek value /i/. From variant spellings we know that ει and ι combined with one another and represented the same sound by Cicero's time, and υ and οι combined with one another from around the 4th century CE onwards; but the two pairs represented distinct sounds until at least the 10th century. This indicates that between 500 and 900 CE, υ and οι both represented the older pronunciation of υ, /y/ (as in French une, German über), while ει and ι represented the unrounded form of the vowel, /i/ (as in see).
Verse. Ancient verse forms relied on certain phonetic properties of their text, so we can often infer those phonetic properties from the texts. For example, Homeric Greek contains formulas that rely on the consonant /w/, but is generally indifferent about whether or not to observe the presence of /w/. So we can safely deduce that in the Ionic dialect of the early-to-mid 7th century, /w/ had no moraic value, which in turn tends to imply that it wasn't pronounced at all.
Common linguistic shifts. For example, we know that /v/ and /b/ are interchangeable in many languages, and we can see shifts between them in both Latin and Greek. Another example: we know that Indo-European had different 'flavours' of laryngeal consonants, and that one of these, h2, regularly turned into /a/; but in the Ionic dialect, we see words from h2 roots written with both α and η, and we know that at a later time these were pronounced /a/ and /e:/ respectively; from this we deduce that η represented a vowel that had once been intermediate between /a/ and /e/, namely /æ/. (And in fact we also have evidence that η still represented /æ/ in the sub-dialect spoken on the island of Naxos up until the 6th century BCE.) And so on.
Anyway, yes, on the whole we have a very, very good idea of how Greek and Latin were 'pronounced', on the understanding that this refers to phonetics and not to anything more nuanced. Yes, Julius Caesar pronounced his own name yoo-li-uss ka-eece-ar; yes, Cicero was kee-ke-raw. We can make a good estimate of pitch contours in Greek when it still had a pitch accent (like modern Norwegian; not a tonal language like Chinese).
Would a time traveller in Rome, armed with a modern rulebook about phonetics and phonology, be able to communicate with an ancient Roman? Absolutely yes. Getting to grips with the accent and pace would be challenging, but neither of them would find the other's pronunciation at all ambiguous, barring personal and local idiosyncrasies.
Would the time traveller stick out like a sore thumb as an obvious foreigner? Also yes.
Allen, W. Sidney 1968. Vox Graeca: a guide to the pronunciation of Classical Greek. Cambridge University Press.
Allen, W. Sidney 1975 [1965]. Vox Latina: a guide to the pronunciation of Classical Latin, 2nd edition. Cambridge University Press.
Horrocks, Geoffrey 2010. Greek. A history of the language and its speakers. Wiley-Blackwell.
Posted by Peter Gainsford at 08:09 No comments:
Labels: Greek, language, Roman, texts
Reading silently and reading out loud in antiquity
It used to be common wisdom that when the Greco-Romans read, they did so out loud. Libraries, it was imagined, must have been a hubbub of constant chatter, not the solemn silent spaces of today. As Bernard Knox puts it,
Greek literature, at least up to Thucydides, was intended for public delivery or performance, and from the early part of the fourth century B.C. on to the end of antiquity, rhetoric was the foundation and eloquence the aim of the educational process.
Woman reading a scroll (fresco from Pompeii; Naples)
The traditional view was laid down by Eduard Norden in 1898, and Josef Balogh in 1927 (see below for full references). I confess I haven't read Norden; Balogh is more standard anyway. Balogh didn't take the extreme view that the ancients were incapable of reading silently, but he did conclude that silent reading was unusual enough to surprise anyone who saw it happening and to require explanation. He supplied a catalogue of supporting testimony, mostly from Roman-era sources.
Exhibit A for the reading-was-always-done-out-loud case has always been this passage in Augustine (ca. 400 CE; Confessions 6.3):
For I wasn't able to ask (Ambrose) what I wanted, when I wanted... When he was reading, his eyes ran over the pages and his heart searched for the intent, but his voice and tongue were still. Often when we were present -- anyone was allowed to enter, and it wasn't his custom to have visitors announced -- we watched him read silently, and never in any other way. We'd have to sit there in silence for a long time, then leave. For who would dare to annoy someone so absorbed?
We guessed that he wanted to have a break from the noise of other people's business for that little time that he had for his own thoughts, and didn't want to be disturbed. Perhaps he was also wary that if he should say out loud something difficult that he was reading, his listener would be interested and want to understand, and he would have to explain it... Though he may also have had a better motive for reading silently, namely to spare his voice, which wore out quickly. Whatever his reason was, a man like that must have had a good one. In any case I never had the opportunity to question him about what I wanted...
The idea is supposedly that Ambrose's habit of reading silently was something out of the ordinary, so Augustine -- a very learned man himself -- feels the need to explain it. Another passage, in Plutarch, has been influential because of how it has affected some people's picture of Julius Caesar (Life of Brutus 5):
...Cato and Caesar were standing together, and had opposing views. Just then Caesar was passed a little note from outside, and he read it in silence; but Cato shouted that Caesar was doing something strange, and receiving communications from the enemy. And the crowd went wild...
Supposedly the 'something strange' that Caesar was doing, reading silently, cast suspicion on him in Cato's eyes.
This was the standard view of things for a long time. There were a few dissenting voices, like Knox, mentioned above. In the 1980s and 1990s, the mediaevalist Paul Saenger argued repeatedly that not only did the Greco-Romans invariably read out loud: reading out loud was a 'physiological necessity' (Saenger's italics). It was impossible to read silently, Saenger argued, because ancient manuscripts had no spaces between words. Supposedly, empirical tests of modern people's ability to read English text without spaces showed that they could not read as fluently as when reading text with spaces: even if they don't read out loud, they supposedly have to do a lot of subvocalising -- talking in their head, or under their breath.
The turnaround came in 1997. That's surprisingly recent. If you find a reputable book claiming that reading out loud was universal, check the date of the book: if it's before 1997, that's why. (That was the same year Saenger published a book-length summary of his arguments, so don't be too hard on him: Saenger had no way of knowing what was coming.)
That year an important article by A. K. Gavrilov (subscription required) abruptly and completely overturned the old orthodoxy. The appendix of the article is where it's all happening: there Gavrilov gives a tidy, straightforward catalogue of evidence both for and against silent reading. The catalogue doesn't just undermine the old orthodoxy: it makes it blindingly obvious that silent reading wasn't just an occasional thing, it was absolutely standard. References to silent reading are about three times as common as references that can be interpreted as supporting the reading-was-always-done-out-loud position, all the way from the 5th century BCE to late antiquity.
Here are a few samples:
(5th cent. BCE) Euripides, Iphigeneia at Aulis 34ff. and 107-108 -- Agamemnon reads and edits a letter repeatedly, but a slave standing next to him still doesn't know its contents.
(5th cent. BCE) Euripides, Iphigeneia among the Taurians 760-3 -- 'I shall tell you aloud everything written in the folds of the writing tablet, my friends, for safety. And if you keep the writing safe, it will continue to speak its contents silently.'
(5th cent. BCE) Aristophanes, Knights 115ff. -- Nikias gives Demosthenes a bundle of oracles to read, and Demosthenes is so absorbed in reading them that when Nikias asks him what they say, he just says 'pour me another cup of wine'. A few lines later he paraphrases what's in the text without quoting it.
(3rd cent. BCE) Herodas, Mime 4.21-4 -- 'Who was the builder who made this stone, and brought it here and erected it?' 'Praxiteles' sons; don't you see the inscription, there, on the base?'
I omit the other 21 items. Perhaps the most striking piece of testimony is one Gavrilov misses: it appears in an afterword by Miles Burnyeat. The source is Ptolemy (2nd century CE; De iudicandi facultate 5.1-2, Burnyeat's translation):
...[F]or judging a thing and discovering its nature, the internal logos [in this context, 'faculty of reasoning'] of thought is sufficient: uttered logos makes no contribution here -- rather, its activity, like the exercise of our senses, disturbs and distracts one's investigations. That is why it tends to be in states of peace and quiet that we discover the objects of our inquiry, and why we keep quiet when engaged in the readings themselves if we are concentrating hard on the texts before us. What talk is useful for, by contrast, is passing on the results of our inquiries to other people.
Woman reading a scroll (Attic, ca. 440-430 BCE; Louvre CA 2220) (source: Wikimedia.org)
Another important result from Gavrilov's catalogue is that it shows an aural metaphor was routinely used for reading and writing, but without any particular implication of actual noise. For example, in Euripides' Hippolytus, 856ff., Theseus opens a letter to 'see' what it 'speaks' to him; a few lines later, having read it silently, he cries out at its horrible contents, stating -- using the aural metaphor -- 'it shouts, it shouts'. At 882 he cries, 'I will no longer keep this unspeakable story within my mouth's gate'. In Herodotus 1.123-125 Cyrus reads a letter: he is alone, so the references to what the letter 'said' and what Cyrus 'heard' are the aural metaphor again; and Herodotus 8.22 tells us what an inscription 'said'. We have the same metaphor in English, of course: texts routinely 'tell' us things, and people 'say' things in writing.
This is important because most of the catalogue of evidence for reading out loud is premised on expressions of this kind that use the aural metaphor. Not only is there overwhelming evidence for reading silently: the aural metaphor disposes of much of the contrary evidence too!
The discussion since then has basically been about thinking about exactly how far the implications of Gavrilov's findings extend. (Though here's an amusing and embarrassing exception, a 2007 conference paper that ignores Gavrilov altogether, pretends there are only two pieces of testimony for silent reading, and assumes that Saenger 'definitively disproves' all contrary possibilities.) This 2000 article (subscription required) thinks about reading out loud as a social act: whether or not people could read silently, Greco-Roman culture was fundamentally an oral culture, and the social dimension was an intrinsic aspect of reading. This 2012 article (subscription required) accepts Saenger's objection that the lack of spaces between words posed a problem for rapid reading, but suggests that the ancients managed by recognising common letter combinations at word breaks instead, based on a statistical analysis of letter-pairs in ancient Greek. And this 2015 article (subscription required) tries to write a history of the debate, and looks at what the debate tells us about the people who are arguing.
The lack of divisions between words in Greco-Roman texts does pose, if not actual problems, then at least questions. (I leave aside Latin inscriptions of the 1st centuries BCE and CE, which regularly use interpuncts, or mid-line dots, between words; ca. 100 CE it seems the Romans decided interpuncts didn't add anything of value, and they stopped using them.) The 2012 article, above, is a worthy attempt to deal with the question of how exactly ancient readers managed to read efficiently.
It's not clear to me that an explanation is actually needed. Saenger's claim is that spaces are necessary for fluent reading without subvocalisation. But the only piece of experimental evidence he cites for this is a 1962 study which tested subjects' reading ability in their native language and script, which they had been accustomed to reading with word divisions for between 10 and 25 years, and didn't even test the effect of word divisions as Saenger claims it did. Ancient readers had a lot more experience in reading continuous text than modern English speakers do. How to design a better test? Where can we find a bunch of people who have decades of practice in reading a phonetic script without word breaks? (Anyone want to bring up a set of 30 or so children who only ever get to see continuous text and are never allowed to see a word break?) Unfortunately, so far as I can find out, all modern phonetic alphabets and syllabaries have spaces or dividers of some kind between words at least some of the time. (Saenger claims the Vai syllabary of Liberia does not; that may possibly have been the case once, but it isn't now.) So it's very hard to imagine an experiment that would actually offer a good parallel to the ancient situation.
Much of the testimony that supposedly supports the rarity of silent reading needs to be reinterpreted in light of the aural metaphor. Gavrilov's interpretation of the Augustine passage is that Augustine resents Ambrose's silence and absorption, and that he is not trying to find an explanation for Ambrose's odd behaviour but trying to justify his friend to himself. In the passage about Cato and Caesar, the 'something strange' (δεινά) that Caesar was doing is a tendentious interpretation: a more natural translation of δεινά would be 'something terrible', meaning the fact that Caesar was supposedly corresponding with Rome's enemies.
Perhaps it's useful to compare another Plutarchan passage about Caesar (Life of Caesar 11.3):
In like manner we are told again that, in Spain, when he was at leisure and was reading from the history of Alexander, he was lost in thought for a long time, and then burst into tears. His friends were astonished, and asked the reason for his tears...
Here too, Caesar reads silently and people are startled. But in this case it's perhaps more obvious that it's not the reading silently that his friends are astonished at, but at his unexpected tears.
The opposing view would have to be that Caesar must have been reading out loud and then fell into thought, and that Plutarch simply happens to omit the fact that Caesar read the book out loud. Give me a break!
Reading as a social activity: woman reading a scroll
(British Museum E190)
Balogh, J. 1927. '"Voces paginarum". Beiträge zur Geschichte des lauten Lesens und Schreibens.' Philologus 82: 84-109, 202-40.
Burnyeat, M. F. 1997. 'Postscript on silent reading.' Classical Quarterly n.s. 47: 74-6.
Gavrilov, A. K. 1997. 'Techniques of reading in classical antiquity.' Classical Quarterly n.s. 47: 56-73.
Johnson, W.A. 2000. 'Toward a sociology of reading in classical antiquity.' American Journal of Philology 121: 593-627.
Knox, B. M. W. 1968. 'Silent reading in antiquity.' Greek, Roman, and Byzantine Studies 9: 421-35.
McCutcheon, R. W. 2015. 'Silent reading in antiquity and the future history of the book.' Book History 18: 1-32.
Norden, E. 1998. Die antike Kunstprosa vom VI Jahrhundert v. Chr. bis in die Zeit der Renaissance. Teubner.
Saenger, P. 1997. Space between words: the origins of silent reading. Stanford University Press.
Vatri, A. 2012. 'The physiology of ancient Greek reading.' Classical Quarterly 62: 633-47.
Labels: Caesar, Greek, language, Roman, texts
What year was it for the Romans?
For most of the world it is now 2016. Many parts of the world use other year-numbering systems alongside the international 'common era' system: perhaps most notably in Taiwan and Japan, where the current year is also called ROC 105 and Heisei 28 respectively. (Not to mention other year-numbering systems just in those countries!) In the western world, probably the best known 'other' year-numbering system is the Hebrew calendar, according to which it is currently the year 5776. But pretty much everyone also uses the 'Common Era' system -- hence the name 'common'.
The Common Era system -- or CE/BCE (AD/BC, for many Christians) -- didn't always exist. How it came to be is a pretty simple story. In the 3rd and 4th centuries, Christian chronographers calculated that Christ was born in 1 CE. (They were probably mistaken over which year Jesus was born, but there's no doubt about the number of years since 1 CE.) The first time anyone actually specified a date using Jesus' supposed birth as a reference point was in 525 CE, in a tract by the entertainingly named Dionysius Exiguus, or 'Dionysius the Insignificant'. (Here's a translation of his On the Paschal Cycle, if you're interested: the relevant section is under the heading Argumenta Paschalia, 'First argumentum'.)
A couple of hundred years later, in the 8th century, the Northumbrian scholars Bede and Alcuin followed Dionysius' lead, and Bede coined the phrase anno Domini 'in the year of the Lord'. And so the AD system gradually took off. Because really, in western Europe by that time, there weren't any other good systems to use.
So how did the ancient Romans number years before that? Popular belief has it that they used a system called 'AUC', standing for ab urbe condita 'from the founding of the city [of Rome]'. The legendary date of Rome's founding was 753 BCE, so
1 AUC = 753 BCE
753 AUC = 1 BCE
754 AUC = 1 CE
2769 AUC = 2016 CE
(For years CE, add 753 to find the year count in AUC; for BCE, subtract the BCE year-count from 754. We have to have separate formulas for CE and BCE, because there was no year 0, and that messes things up. Except astronomers: when discussing astronomical events in the past, they use negative year-numbers instead of BCE, so astronomical year 0 = 1 BCE, year -1 = 2 BCE, etc.)
Trouble is, the AUC system is very nearly a myth. Hardly anyone ever used it for dating purposes, until the tail-end of Rome's imperial dominance. For one thing, Rome's founding wasn't dated to 753 BCE until the great scholar Varro, early-ish in the principate of Augustus. Obviously the AUC system couldn't have existed prior to that. For another thing, scarcely any writers use AUC dates until at least the 3rd century: we really start to see it in Censorinus, and more so in 4th century histories and historians like the Chronography of 354, Eutropius, and Orosius. These last two were writing at a time of intense Christianisation, not long before the Roman state was divided into western and eastern empires, and fewer than 150 years before Dionysius the Insignificant!
Prior to that, Varro's date for the founding of Rome crops up mainly in connection with jubilees, like the 800th jubilee in 47 (in the reign of emperor Claudius) and the 1000th jubilee (under Philip). Even in Eutropius' history, the opening paragraph reads:
Romanum imperium ... a Romulo exordium habet, qui ... urbem exiguam in Palatino monte constituit, XI. Kal. Maii, Olympiadis sextae anno tertio, post Troiae excidium ... anno trecentesimo nonagesimo quarto.
The Roman empire takes its origins from Romulus ... He founded a small city on the Palatine hill on the 21st of April, in the 3rd year of the 6th Olympiad1 ... in the 394th year after the destruction of Troy.2
1 '3rd year of the 6th Olympiad' is faithful to Varro's date. That year ran from 754 to 753 BCE, or 754/3 BCE for short: in Greek calendars the year began and ended in midsummer.
2 Eutropius puts the fall of Troy in 1147/6 BCE. Legendary though it is, the fall of Troy was a central starting point for Hellenistic chronographers. Extant sources give us at least a dozen different dates for it, ranging from 1335/4 BCE (Douris of Samos, FGrHist 76 F 41a, subscription required) to Eutropius' 1147/6. Eutropius was probably following the 4th century BCE historian Ephorus, who put it in 1149/8 BCE (FGrHist 70 F 223, subscription required); the discrepancy can easily be explained as a result of one source or another using inclusive counting for multiple consecutive intervals.
Eutropius has to resort to two other year-numbering systems to get his message across. AUC wasn't something he could take for granted: he subordinates it to the Greek system of counting Olympiads, even writing in the 4th century, not long before the abolition of the Olympia. As his history progresses he mentions AUC dates, but only occasionally.
The other contexts where we see AUC dates are
the Capitoline fasti consulares from Augustus' reign, listed alongside consuls' names (but replaced from 23 BCE onwards by Augustus' regnal years, starting from when he accepted tribunicia potestas in 23 BCE);
three places in Livy's history (3.33.1, 4.7.1, 5.54.5);
three references to lost republican-era historians in the works of Pliny the Elder, Censorinus, and Macrobius (Cassius Hemina fr. 20, fr. 26 ed. Peter; L. Calpurnius Piso fr. 36 ed. Peter);
a single coin from Hadrian's reign; and
a discussion of chronography by Aulus Gellius (Attic nights 17.21).
Part of the Capitoline fasti showing second consuls for part of the 4th century BCE:
one of the handful of documents that actually use the AUC system.
The years listed (circled in red) are inconsistent with Livy's chronology.
As Denis Feeney puts it (see 'further reading', below), the AUC system had connotations of Rome's early monarchical period, and nearly all historians preferred to avoid that. The rate at which modern people cite AUC dates -- like the editor of the Eutropius edition I linked to above, who puts AUC dates in the margins of every page, far more often than Eutropius actually uses them -- is outrageously disproportional to its actual importance.
Basically, no one cared about AUC. AUC was never a thing. Stop trying to make it a thing!
So how did the Romans refer to years? The answer is simple but messy: they used a system of eponymous years. Years were referred to by the names of the most important patrician office-holders, the two consuls. So: 100 BCE was 'during the consulship of L. Valerius Flaccus and C. Marius'; 44 BCE was 'during the consulship of C. Iulius Caesar and M. Antonius'; 1 CE was 'during the consulship of C. Caesar and L. Aemilius Paullus'.
If that sounds horrid and untidy ... well, it's because it is. To navigate a system like that, you need a list of who the consuls were in every year. And that's exactly how Roman historians did it. The consul lists were called fasti consulares, and were a matter of public record. We have several fragmentary consular fasti, like the Capitoline fasti cited above. To measure an interval of years, you didn't simply subtract one date from another: you had to go through a list of names, counting each year one by one. That kind of system also leads to errors: all dates in Roman history before 300 BCE are uncertain by up to three or four years, because of incompatibilities between the Varronian fasti and Livy's history.
The eponymous consular system was far from universal, even within the Roman world. Under the principate, consuls were often sidelined in favour of the emperor's regnal year. And the consuls were closely associated with Rome itself: lots and lots of other calendars continued to exist elsewhere, with their own year-numberings. Most of them were regnal years, in the case of client kingdoms. Some places used eponymous years relating to local magistrates, like the archons at Athens.
A selection of year-numbering systems (Coloured bars indicate periods of widespread usage, not year 1 according to the system!)
The two most important of these other systems were the Olympiad system, which remained the most popular one for chronographers up until the Christianisation policies of emperor Theodosius I in the 390s; and the Seleucid era system used throughout most of the Near East.
Olympiads were reckoned starting from 776/5 BCE: 776/5 was the 1st year of the 1st Olympiad, 772/1 was the 1st year of the 2nd Olympiad, and so on. It doesn't matter that the Olympia festival probably wasn't first celebrated in 776/5 -- just as it doesn't matter that Jesus probably wasn't born in 1 CE. Those are still the years that serve as the origin point for the year-numbering. The Olympiad system was only really commonly used by chronographers: it never enjoyed popular use. The first person to use it as a general-purpose dating system was the late 4th/early 3rd century BCE historian Timaeus of Tauromenion. Later in the 3rd century, Eratosthenes' chronographic work confirmed its role as the standard measuring rod for ancient historians, a role it kept for the next six centuries -- and beyond: after the early Byzantine campaign against pagan Hellenism petered out, Olympiads regained their popularity for a while under the Macedonian dynasty, notably in a 10th century encyclopaedia called the Suda.
The Seleucid system was simpler still: it was a plain count of years since 312/11 BCE, the beginning of Seleukos I Nikator's reign over the Seleucid Empire. Unlike the AUC and Olympiad systems, the Seleucid era count was used popularly throughout the eastern Roman empire and throughout central Asia as far as Afghanistan, not just by historians. The year-count outlived the Seleucid Empire itself: Hellenistic Jews used the Seleucid system for historiographic purposes until Hillel II fixed the Hebrew year in 359/60 CE, and Syriac historians used it for centuries longer still. Arabic scholars sometimes called it the 'Roman era' (târîch el rûm), 'era of Alexander' (târîch Iskender), or 'era of the two-horned one' (târîch dhû-l-karnaini), also referring to Alexander.
By the way, speaking of jubilees: just five years from now, 21 June 2021 will be the start of the first year of the 700th Olympiad. Start planning a party now!
Feeney, D. 2007. Caesar's calendar: ancient time and the beginnings of history, U. of California Press, esp. pp. 139-42, 167-93.
Hannah, R. 2005. Greek & Roman calendars: constructions of time in the classical world. Duckworth, esp. pp. 148-52.
Labels: calendar, Christianity, chronography, Roman
'No one knows how ancient languages were pronounce...
Reading silently and reading out loud in antiquity...


Ustad Bismillah Khan was an Indian Shehnai maestro. He was awarded the Bharat Ratna (in 2001), the highest civilian honour in India and he also gained worldwide acclaim for playing the Shehnai for more than eight decades.
Some lesser known facts about him is that he was raised and blessed in a friendly Hindu environment which recognized talent, irrespective of one's religious denomination. His ancestors were court musicians and used to play in the princely state of Bhojpur, now in Bihar. His father was a Shehnai player in the court of Maharaja Keshav Prasad Singh of Dumraon Estate, Bihar. At the age of six, he moved to his maternal house, close to Varanasi, on the bank of Ganges. His reverential and humble disposition attracted the blessings of mother Ganges, and on her banks, he learnt the art of playing this instrument. He mastered the art of playing Shehnai under the tutelage of his uncle, Ali Baksh 'Vilayatu', a Shehnai player attached to Varanasi's Vishwanath temple. Neither was Bismillah's family members shy of seeking blessings of Lord Shiva, nor is Lord Shiva of Varanasi reluctant to offer his blessings to a non-Hindu.
He was of course a pious Shia Muslim. However, like many Indian musicians, regardless of religion, he was also a devotee of goddess Saraswati, the Hindu goddess of wisdom, and arts. He often played Shehnai in Hindu temples, for the pleasure of God and His devotees. He especially performed at the Vishwanath temple of Lord Shiva at Varanasi.
Ustad Bismillah Khan is one of the finest musicians in post-independent Indian Classical music and one of the best examples of Hindu-Muslim unity in India. He played Shehnai to audience across the world. On his death, as an honour, his Shehnai was also buried along with him. He was known for his vision of spreading peace and love through music. He said, "Even if the world ends, the music will still survive". He also appealed, "Music has no caste." Being a recipient of love and admiration from the majority Hindu community of India, he was grateful and prayerful in his dealings with all. He had deep respect for Hindu religious sentiments. As a reward for his open minded approach to religion, Lord Krishna personally blessed him in one special encounters.
In spite of being a Muslim, the legendary Ustad had great respect for Sri Krishna; and that could have prompted the merciful Lord to appear in person. Once, Ustad Bismillah Khan was traveling by train from Jamdshedpur to Varanasi. It was a coal run passenger train and Ustad was traveling in the third class compartment. From an intermediate rural railway station, a young cowherd boy boarded the bogey in which Ustad was sitting. He was a dark and lean boy; and he was holding a flute in his hands. Slowly the boy started playing his flute. The supreme quality of his music surprised the maestro Ustad who didn't even know the 'Raga' the boy was playing. Ustad Bismillah Khan immediately recognized that the boy is none other than Sri Krishna, the Supreme God Himself. The nectarine Nada-Brahman ( Brahman in the form of music) flowing out of Krishna's flute filled Ustad's heart with ecstasy ; and tears of joy started pouring out of his eyes .
Next day's news papers contained headlines about the melodious new 'Raga' invented by Ustad Bismillah Khan. Having read it, Hariprasad Chaurasia, the legendary Musician (Flutist) , asked about 'Kanharira Raga's' details to Bismillah Khan . Ustad revealed the truth and sang Kanharira; and Hariprasad Chaurasia , the topmost Flutist in the word , burst into tears of joy. 'Kanharira' is a divine gem in Indian music, as it originated from the lotus lips of Sri.Krishna , the God of Gods !!!.


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Difference between revisions of "FAQ"
# What is the difference between [[NASPA]] and the [[NSA]]?
As of 2010-01-01, [[Hasbro]] will no longer be providing regular funding to [[SCRABBLE]] clubs and tournaments. As a result, over the course of 2009, the NSA will transfer responsiblity for clubs and tournaments to the newly formed NASPA, leaving the NSA to concentrate on developing new markets for SCRABBLE in areas such as School SCRABBLE.
# Who is in charge of NASPA?
The [[Steering Committee]] is tasked with managing the transition from the NSA to NASPA. Its co-chairs are [[Chris Cree]] and [[John Chew]].
# How can I help?
If you would like to volunteer with any of NASPA's activities, thank you! Please contact a member of the appropriate NASPA [[committee]].
# How can I help?
If you would like to volunteer with any of NASPA's activities, thank you! Please contact a member of the appropriate NASPA [[committee|committees]].
# Will I have to pay more to play SCRABBLE?
Yes. It takes money to run an organization. Hasbro is no longer providing that money, so for the foreseeable future, players will be charged higher fees than under the NSA regime.
# What will I get for my money?
NASPA is a player-run organization committed to expanding the playing community by continually improving its services and your playing experience.
Here is a list of frequently asked questions about the North American SCRABBLE Players Association. Please check to see if your question is answered here before you contact us.
What is the difference between NASPA and the NSA?
As of 2010-01-01, Hasbro will no longer be providing regular funding to SCRABBLE clubs and tournaments. As a result, over the course of 2009, the NSA will transfer responsiblity for clubs and tournaments to the newly formed NASPA, leaving the NSA to concentrate on developing new markets for SCRABBLE in areas such as School SCRABBLE.
Who is in charge of NASPA?
The Steering Committee is tasked with managing the transition from the NSA to NASPA. Its co-chairs are Chris Cree and John Chew.
If you would like to volunteer with any of NASPA's activities, thank you! Please contact a member of the appropriate NASPA committees.
Will I have to pay more to play SCRABBLE?
Yes. It takes money to run an organization. Hasbro is no longer providing that money, so for the foreseeable future, players will be charged higher fees than under the NSA regime.
What will I get for my money?
NASPA is a player-run organization committed to expanding the playing community by continually improving its services and your playing experience.
Retrieved from "http://www.scrabbleplayers.org/wiki/index.php?title=FAQ&oldid=154"


And in my family, growing up Southern was all about entertaining. If we weren't planning a party we were enjoying memories of the last one or looking for an excuse for the next. With such a focus on bringing friends together, it was imperative early on that I discover truths and short cuts about entertaining.
One of the great pleasures of building a home is creating a place for everything in an easily accessible spot. And it's especially true about entertaining. I have secret closets in the rooms where we dine that hold party chairs hung Shaker style up the walls; another pair of narrow, deep closets hide the requisite 54" round folding tables; and yet another displays a sundry collection of candles, to include the "lucifer" to snuff out the candles on the chandeliers.
The same is true of getting ready for a party. Whether it's "Bellinis and Blossoms in the Garden" (in the summer) or "French Picnic by the Fireside" (in the winter) my china closet is one of my three favorite go-to closets — some pieces were inherited, others were wedding gifts long ago and some were found in treks through antique shops and bazaars around the world. With each comes a memory, adding to the pleasure of entertaining.
When you reflect back upon those defining moments in life when design impressions were imprinted upon your brain and your psyche, never to be lost! One of the pleasures of clocking so many hours in this life is the number of times you can say, "I'll never forget…" These are some, all the more precious because they come immediately to mind. And bring a smile to my face.
~ My mother's designer-of-the-moment shoes ( Herbert Levine, Andrew Geller) in glorious fabrications….watered-silk taffeta, cut velvet, peau de soie. I adored going into her bedroom and opening her closets, just transfixed.
~ The town houses and rooftops of London for the sets of the play Peter Pan. I was only 4, but that love of classical architecture was planted firmly in my psyche.
~ Creating fairy rooms ( with moss, twigs, acorns, feathers, pebbles) within the roots of my grandmother's ancient oak tree.
~ My parent's annual day-after-Christmas cocktail buffet party ( my mother just couldn't bear to see Christmas go) … turkey curry with 11 condiments, a Chinese salad, thinly sliced Smithfield ham, fruit cake.
Before going to sleep…reading a special note from a friend that I've left on my beside table for this little ritual.
I'm never too busy to…hug my husband or my 2 cats.
My day starts …early, with a stroll in the garden, clippers and sketch/note pad in hand.
When returning from a trip…I drop my bags in the mud room, and immediately head to the garden to cut whatever catches my eye, then scurrying back to the house to arrange them, savoring the moment when I choose which of many various containers I'll use for the waiting blooms.
I save… invitations, to write notes on the backsides; recycling in its highest form. And when I turn them over, I can also be reminded of a happy occasion.
Be inspired to change my mind…for years I didn't favor dahlias; now they are one of my favorite flowers. I'm trying to master bringing them along early to plant in mid-spring. Not only are the selections so diverse, covering the full color range and shapes, but they are so serviceable, blooming up to the last frost.
My day is not complete without…hand-writing a note to someone.


Money is tight in Louisiana.
According to the Louisiana Department of Transportation and Development (LaDOTD), the I-49 ICC is very far from being funded.
LaDOTD prioritizes certain unfunded 'megaprojects', as outlined in the 2015 Statewide Transportation Plan. This document (see page 5) places the I-49 ICC as a Priority B Megaproject, behind at least 20 other megaprojects including two in Shreveport.
I-49 North, Northwest Louisiana's current megaproject, was ranked very highly as the first Priority A Megaproject on the 2003 Statewide Transportation Plan (see page 23). The I-49 ICC is not in the same position.
Shreveport isn't that different from many other similarly sized cities. Across the nation, roadway, water, and wastewater infrastructure costs are increasing and there isn't enough money to go around. ASCE, the national coalition for civil engineers, calls this the Grand Challenge. In other words, we need to be more strategic with our infrastructure investments.
Shreveport is left with a deficit of infrastructure funding, which has surfaced in the form of the recent EPA Consent Decree. Currently, our city has a $1.5 billion dollars in maintenance backlogs. That is $7,500 per Shreveport resident.
We can't stay on this path. We can't keep looking to the next development on the edge of town, made cheaper by (interstate) freeway access, to provide growth in Shreveport.


Definitely stops at 4. I don't the previous guys.
I feel like they are are comparable. I've know Oliver for so long that it's going to be so strange to see him die.
Leave the internet untill you watch it. Ye be warned.
Given Darkseid's personality it could have been a plausible moment, but the way it resembles some cartoony work environment makes it laughable.
Two of my favorite horde characters. Vol'Jin, barely.
Based on the cinematic, Kotal outclasses him. Then again, I know very little about Rastakhan.
@nightgate: Indeed. Game recognize game.
@darkthunder: I thought you have written Note: Comic version. My bad.
Definitely way above average. Here is a respect thread for the New52/Rebirth version. Surviving in a deadly space jungle as a boy is hella impressive as well.
Haven't seen the previous two. Not gonna bother with another meh installment.
24 items List of CaV Characters.


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Filed under: Guard Misconduct, Crime/Demographics, Criminal Prosecution, Prison/Jail Murders, Excessive Force, Guard Brutality/Beatings. Locations: California, Illinois.
Sgt. Patricia Pultz and deputies Lawrence Koscianski and William Spatz of the Cook County, Ill. sheriff's dept. were acquitted on March 12, 2002 in the murder of Louis Schmude. Prosecutors allege Schmude's death on May 7, 2000, was the result of a beating by the guards on May 5th in a holding cell at the Bridgeview courthouse.
Defense attorneys claim Schmude died from a fall he suffered in the jail infirmary, where he was transferred after the May 5 beating. They cite as evidence Schmude's death certificate that lists the cause of death as a beating sustained on May 7th. Deputy medical examiner Mitra Kalelkar, who supervised the autopsy, testified that Schmude's death was a direct result of the beating he received May 5th. After the trial, Cook County Medical Examiner Edmond Donoghue said the date on the death certificate "was a mistake."
Judge Ronald Himel apparently disregarded Kalelkar's testimony and took just four minutes to acquit the guards, even though he admitted some of the testimony was "consistent with the defendant's being guilty." Prosecutors say he was biased from the beginning.
On April 11, 2002, in an unrelated incident, El Dorado County Jail guard, Charles David Copeland, 21, was acquitted in the June 21, 2001 beating of EDCJ prisoner Eric Quinn Beeghley, 44.
Authorities claim Copeland punched and kicked Beeghley numerous times. Guard Gayla Wilbur testified that she saw Copeland slam Beeghley against a cell wall, bounce him off a bunk bed ladder and punch him "two or three times," and kick him "five or six times" even though he wasn't resisting.
Copeland's lawyer, Paul Goyette, said Wilbur just misperceived the situation. He contends Beeghley was trying to get weapons hidden in the cell, including a plastic spoon and a three foot rope made from toilet paper.
Two other guards testified Beeghley told them he provoked Copeland and that he got what he deserved. Prosecutor Trish Lelliher characterized the testimony of one of the guards, a close friend of Copeland's, as "absolutely unbelievable."
Sources: Chicago Tribune & The Sacramento Bee
Third Circuit: Gratuitous Use of Force on Prisoner Negates Qualified Immunity Defense, Dec. 1, 2021. Guard Brutality/Beatings, Qualified Immunity.


Our train from London got off on time and we sped north… for a while. Then we slowed. We were told the train ahead of us was on "reduced power". Eventually we stopped and took on all the passengers from that train.
Fields and distant power plants – that's most of what I recall from the ride.
We'd reserved a compact Mondeo with Hertz – it's about the size of an Alero, which is good for the narrow UK roads. We were greeted at counter with "We have a saloon car for you." Say what? We got the keys to a Vauxhall Omega, the British Buick. At least the trunk hid all the luggage.
We hadn't driven on the left since New Zealand. I think I ran up onto two sidewalks in the five minutes it took us to get to the hotel.
In York we stayed at the Alexander House, a nicely updated rowhouse a short walk from the city walls. Dave and Jillian are cheerful hosts, Dave wisely offering to navigate our saloon car into the alley lot behind the inn.
First order of business was checking out York proper. I found it to be too touristy; Melanie was fine with the scene. We walked the wall a bit and finally decided to commit to the Minster.
It's free to enter but two pounds if you want to take pictures. It's a church, so don't forget to take off your hat. They'll remind you if you don't. Three pounds to tour the Undercroft, where you can see the original Roman foundations and watch water still flow though the ancient wells. Interesting artifacts down there.
It's another couple of pounds to take the stairs to the roof. Be warned that the spiral staircase is wound tight and I found it claustrophobic – 250 steps to the top and it gets Phantom of the Opera weird in there if the church pipe organ kicks in like it did for us. It's a relief to burst out into the chicken-wire safety cage at the top, even if it's pouring rain when you get there.
York is where we learned you can't get a meal between about 2 and 7 PM in Great Britain. Restaurant lights are on but the doors are locked. It's much worse when it's raining. We contented ourselves with ale at the Three-Legged Mare until Guy Fawkes' House opened for dinner.
Nothing like heavy skies on a quiet Sunday evening to remind you that you're in England. We stopped at the Swan on the way back to the hotel to down some Tetley's – at 9:30 PM light still poured through the windows. The UK is much farther north than Washington, DC and in summer the days last a good bit longer.
Don't waste too much film on that first peacock that greets you by the entrance. There are plenty more on the grounds, and they'll probably do the plumage thing for you.
It's a good place to start the day. More info on the estate can be found here. Never knew the rhododenron came in so many varieties. We overheard the gardeners grumbling about all the bloody roses.
West of Castle Howard is Abbey Territory. The guidebook mentions a hiking trail that starts in Helmsley leading to Rievaulx Abbey, but we recommend you just drive there. Especially if it's raining again.
There's a good indoor exhibit which details the history of the abbey movement and Rievaulx in particular. The hills are alive with loud sheep.
Somebody needs to trim the roadside hedges in northern England. Those roads are impossibly narrow as it is.
Fountains Abbey, on the way out of York toward the Lake District, is more functional that Rievaulx – they'll host concerts, weddings, etc. Much bigger grounds, including a lovely view from Anne Boleyn's favorite spot (though that's maybe not as majestic as the guidebook would suggest).
Between York and the Lake District lie the Yorkshire Dales: high, rocky terrain with some alarming switchback roads.
In London I'd purchased the Roads and Recreation Europe data pack for my handheld GPS unit, hoping it would give us point-to-point directions for navigating these back roads. No dice. There's plenty of road map information in there, but not quite enough for turn-by-turn directions. Still, it's really handy to know when you're near one of the A roads.
Then there's the guidebook. A word about the Yorkshire Dales map on page 784 of the Lonely Planet England guide (2001) – the unmarked road between Conistone and Malham doesn't exist. And that lady at the hotel in Kilnsey isn't any help. Buy an ice cream bar at the restaurant on B6160 and somebody there will straighten you out.
At the western edge of the Dales near Malham is the Gordale Scar. It's not well-marked – we suspected we'd passed it when the blacktop ran out and a farmer looked at us like we were jerks. There's a little stream with a little bridge where the road splits – that's a good spot to park. Back in the day that little stream gouged out about a hundred feet of limestone to make the scar, which is worth the 15-minute walk to visit.


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Home Entertainment Secret Number: Members Profile, Facts, Official Debut
Secret Number: Members Profile, Facts, Official Debut
Get To Know More About New Girl Group Secret Number Here!
Not long ago, the K-Pop Entertainment industry has been surprised by the appearance of Secret Number! They were one of the newest rookie groups who made their debut in May 2020 through Who Dis? Single. Aside from that, their debut is becoming one of the most anticipated moments since all of the Secret Number members gained their recognition before the official debut. Through this article, Channel Korea will explain to you the details about that and all you have to know about the Secret Number, so stay tuned!
Lea's Profile
kprofiles.com
Léa was born on August 12, 1995, which also made her becoming the Leo squad of the zodiac sign. She was born with the birth name Ogawa Mizuki since her nationality was Japanese, and her hometown was in Tokyo. When she was a debut with Secret Number, she was using Léa as her stage name. Her blood type is B. Meanwhile; she has 170 cm of height. In Secret Number, she was the leader as well as a vocalist. She also the last Secret Number member to be revealed.
Léa was cast on the streets while she was shopping with her mother in Japan.
In 2013 until 2014, she was a member of SKarf to replace the former member Sol. Her stage name in SKarf was Hana.
Léa used to join Alpha Entertainment, but then she left in 2015.
She is also attending CJ E&M Music from 2015 until 2016.
Léa also participated in survival show MIXNINE, but she was eliminated in episode 7 while she was in #109 rank.
She used to known as an actress and appeared through the movie School Days with a Pig.
Léa was a massive fan of Apink, Ariana Grande, and Sunmi. They were also her role-model.
She loved taking pictures, relaxing a bath, and also went hiking.
Léa has a dog.
She was closed with Weki Meki's Suyeon since both of them used to be in the same trainee team.
She has a brother who also a Japanese musical actor.
Dita's Profile
koreanindo.net
Dita was born on December 25, 1996, with the real name Anak Agung Ayu Puspita Aditya Karang. Her zodiac sign was Capricorn. She came from Yogyakarta, Indonesia, but also born as Balinese. In Secret Number, she was the fourth member to be revealed, the principal dancer and lead vocalist. Her blood type was A and has 163 cm of height. Dita Karang was her stage name.
She was pursuing a musical drama career before decided to become an idol. She went for multiple musical drama audition, but only got small roles.
She was studying in New York because she loves Broadway, and alumni of AMDA College and Conservatory.
Dita was tried to audition for several K-Pop Entertainment agency, but she didn't make it.
She used to listen to 2NE1, which also made her wanted to become an idol. She also loves TWICE and IU.
Dita was auditioned for VINE Entertainment in New York and selected to be their trainee since July 2017.
Before her debut, she was attending 1 MILLION Dance Studio and BORN Star Attaining Center Academy.
She loved sports, especially basketball. She also enjoys cooking, dancing, and drawing.
She closes with Jinny and Z-Girls' Vanya.
Dita has a younger sister.
Jinny's Profile
kpop.fandom.com
Jinny was born on January 20, 1998, with the birth name Jinny Park and Korean name Park Jin-hee. Her zodiac sign was Aquarius. She was a Korean-American born that came from California. Jinny could speak both Korean and English but also fluent in Mandarin. In Secret Number, she was the first member to be revealed, main rapper, lead dancer, and vocalist. Her blood type was B and has 165 cm of height. Jinny was her stage name.
She used to be YG Entertainment's trainee for five years, and involved within Future 2NE1 and Pink Punk lineup (pre-debut BLACKPINK lineup) but being removed before they were debuting.
Jinny was joined Produce 48 after she left YG Entertainment and ranked on #69.
Her specialty was rapping, and also loves to write music or produce it. She has been released three singles on her Sound Cloud.
She loved to done make-up and reading during her free time.
She was a fan of Justin Bieber, 2NE1, and BIGBANG.
Jinny also friends with former members THE BOYZ's Hwall.
She has two cats, Mochi and BD.
She has an older sister named Anne.
Soodam's Profile
Soodam was born on November 19, 1999, with the real name Lee Soo-dam and originally Korean. Her zodiac sign was Scorpio. She was the visual, center, lead vocalist, and lead dancer, as well as the third member to be revealed in Secret Number. Her blood type was A and 167 cm of height. Soodam was her stage name.
Soodam used to know as ulzzang.
She also learned traditional Korean dancing, which made her realized that she loves to perform on stage.
She was known as a charming person.
Her name has the meaning of "shining pond."
Soodam has dimples, which also shown when she was laughing or smile.
During her free time, Soodam loves cooking, watching beauty vlogs, or buying skincare products.
Soodam understands English, but she couldn't speak it.
She loves to perform on stage, and her desire is to performing different genres during the stage performance.
Bae Suzy was her role-model.
Soodam is also close to Seo Eun-Kyo, a soloist under VINE Entertainment.
Denise's Profile
Denise was born on January 11, 2001, in Texas, USA, as Korean-American with the real name Denise Kim. Her zodiac sign was Capricorn. In Secret Number, Denise was the make, main vocalist, and the second member to be revealed. Her blood type was O and has 168 cm of height. Denise was her stage name.
Denise used to be YG Entertainment's trainee in 2016, which also made her closed with Jinny.
She appeared in Kpop Star 5 as a part of the Mazinga group.
She could play the guitar.
Denise has been released four single on her SoundCloud.
Denise loves to do photography, baking, and learning new recipes during her free time.
She was a fan of The Band CAMINO, 1975, Panic! At The Disco, and Tori Kelly. Even her role-model was Tori Kelly.
Denise also loves BLACKPINK and being friends with the members.
She has a dog and rabbits.
Official Debut
kpopmap.com
As we have already known, Secret Number was a rookie girl group that also formed under VINE Entertainment and consisting of five members. Mostly, their members used to participated in the K-Pop industry or also known for their visual appearance as well!
Secret Number has officially made the first debut on May 19, 2020. It was scheduled on March 26, 2020, and then it was postponed due to the COVID-19 outbreak at that time. Were they releasing Who Dis? As the first single debut along with the music video. Moreover, the music video has received more than 15 million viewers! There was also Holiday which was included as their debut single as well. Then their debut stage has happened within their performance on Mnet's M COUNTDOWN music program!
The meaning behind 'Secret Number' as their group name also stands for their secret or the particular Number for their passwords or other PIN code as well, such as birth dates. Not only that, but they also wanted to give the 'special' meaning behind their group name for everyone, especially their fans!
Who Dis? Official Music Video
Who Dis? Debut Stage
Who Dis? Live Performance
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