text:
After learning to play the guitar in prison, a young man becomes a rock 'n' roll sensation.
Richard Thorpe
Vince Everett
Judy Tyler
Peggy Van Alden
Mickey Shaughnessy
Hunk Houghton
Vaugn Taylor
Mr. Shores
Jennifer Holden
Sherry Wilson
Jailhouse Rock - Elvis Presley Publicity Stills
Songs On Screen -- Jailhouse Rock (1957)
Jailhouse Rock - Behind-the-Scenes Photos
Ben Mankiewicz Intro -- Jailhouse Rock (1957)
Alicia Malone Intro -- Jailhouse Rock (1957)
New York opening: 13 Nov 1957
Avon Productions, Inc.; Metro-Goldwyn-Mayer Corp.
Loew's Inc.
8,677ft (5 reels)
Convicted of manslaughter for beating a man to death while defending a woman, hot-tempered Vince Everrett is sentenced to up to ten years in the state penitentiary. His cellmate Hunk Houghton, is a grumpy old-timer who runs a prison racket using cigarettes as currency. On days when the inmates' harsh living conditions breed animosity among the men, Hunk sings ballads on his guitar to calm them. After Vince shows interest in his musical skill, Hunk, an old country-western singer, helps the young man master the chords and rhythm. One day, the warden assigns Hunk to produce a nationally televised prison talent show to divert the attention of the state investigators visiting the prison. Hunk showcases Vince, whose performance inspires thousands of young viewers around the country to send letters to the prison. Surmising that Vince's appeal will lead to success upon his release from prison, Hunk pays off the mailroom clerks to keep the fan mail a secret and offers Vince a contract, which makes Hunk his manager and divides the profits 50/50 between them. Days later, Vince receives a flogging for getting into a brawl, but Hunk shows little sympathy and advises him to "do unto others as they would do unto you, but do it first." When Vince's release date arrives, the warden hands him fifty-four dollars and, to Vince's surprise, a large sack of fan mail. After taking a room at run-down hotel, Vince buys a guitar from a pawnshop and goes to club owner Sam Brewster, a friend of Hunk's, to ask for a job. When Sam offers him work as a busboy, Vince boldly performs a number without Sam's permission. Although the patrons show little interest, Peggy Van Alden, who works in the exploitation division of a record company, becomes smitten with Vince and suggests that he record the song at a studio session to improve it. Days later at the studio, after a mediocre recording, Peggy encourages Vince to try the song again but "with a little fire." Excited by the second recording, Peggy asks Geneva Records executive Jack Lease to release the song, and although Jack suggests the song is too experimental, he asks to keep the recording for the evening. When Peggy later secures a contract with a smaller label, a sullen Vince refuses to celebrate until he reaps some of the profit from his efforts. Wanting to introduce Vince to her father, a professor, and mother, Peggy takes Vince to her parents' house for a party, but when the academic crowd tries to engage the young musician in a conversation about progressive jazz, insecure Vince insults her parents and leaves. As Peggy argues that his conduct is unforgivable, Vince's kisses break her resolve. Days later, Peggy and Vince learn that Jack has recorded Vince's song using popular singer Mickey Alba and stolen Vince's arrangement. Undeterred, Vince suggests to Peggy that they start their own record label, Laurel Recordings, in which Vince will record his songs while Peggy promotes and distributes the product. Peggy agrees to a forty percent cut of the company's profits; however, she is soon frustrated with Vince's myopic drive for money and his lack of interest in furthering their romantic relationship. Finding it difficult to secure any airtime for Vince's first album, Peggy asks old friend and disc jockey Teddy Talbot to play a single from it. When the song is a smash hit, Vince quickly becomes a successful performer and playboy. One night, Peggy visits Vince at one of his many lavish parties and catches him kissing singer Laury Jackson. Peggy then brusquely agrees that their relationship should remain solely business and leaves. Soon after, Hunk, just released from prison, asks his old friend for a spot on an upcoming television show and Vince reluctantly consents. At the television recording, Vince sings the catchy "Jailhouse Rock" accompanied by dancers in prison fatigues, but Hunk's old-fashioned country number is cut from the show. Vince's cold response to his friend's disappointment prompts Hunk to pressure Vince with the contract written in prison. Reminding Hunk of his dishonorable scheme to hide the fan mail and then rob Vince of his profits, Vince instead offers Hunk ten percent in exchange for being his lackey. Soon after, Vince signs a contract to star in a Hollywood movie with actress Sherry Wilson. The established leading lady is not amused with Vince's common ruffian interests, but during their first love scene rehearsal, Vince's powerful kiss melts her and a romance develops. Days later at a party, after Vince sings a number about loving Sherry despite her "square" ways, then he tells Peggy about a profitable offer from Geneva Records to buy out Laurel Records. Vince's greed and disregard for the company they built together leads Peggy to flee the party. Later, Vince orders Hunk to complete another menial task, humiliating his friend. When Peggy arrives at the apartment to discuss business, Vince's thoughtlessness drives her to tears and causes a now drunk Hunk to take several punches at the star, accidentally hitting Vince's throat. After an emergency tracheotomy at the hospital, Vince is forced to recuperate in silence for several weeks, unsure of whether he will sing again. Weeks later, a healed Vince is scared of singing again, but with the support of his loyal friend Hunk and Peggy's love, he attempts an enchanting ballad for Peggy and discovers his unique voice is still intact.
Teddy Talbot
Anne Neyland
Laury Jackson
The Jordanaires
Hugh Sanders
Percy Helton
Sam Brewster
Jack Lease
William Forrest
Studio head
Paymaster
George Cisar
Robin Raymond
Ken L. Smith
S. John Launer
Judgy
Dick Rich
Glenn Strange
John Dennis
Mail clerk
Tom Mayton
Bob Stratton
Elizabeth Slifer
Cleaning woman
Gloria Pall
Fred Coby
Walter Johnson
Frank Kreig
Grandon Rhodes
August Van Alden
Katharine Warren
Mrs. Van Alden
Joan Dupuis
Record shop girl
William Tannen
Record distributor
Wilson Wood
Record engineer
Joe Mcguinn
Studio gate man
Bob Hopkins
Tom Mckee
Robert Bice
Bardeman
Steve Warren
Carl Milletaire
Drummond
Don Burnett
Mickey Alba
Francois Andre
Francis Desales
Harry Hines
Bill Hale
Tracey Morgan
Girl in booth
Linda Williams
Girl in bathing suit
Russ Whitney
Alyn Lockwood
Charles Postal
Jo Gilbert
Paula Trent
Orv Mohler
Jack Herrin
Sid Kane
Jack Shea
John Logan
Jack Younger
Roy C. Bennett
Pandro S. Berman
Robert Bronner
Randall Duell
A. Arnold Gillespie
Keogh Gleason
Henry Grace
Kathryn Hereford
William A. Horning
Jerry Leiber
J. Marchant
Dr. Wesley C. Miller
Recording Supervisor
Col. Tom Parker
Technical Advisor
Robert E. Relyea
Aaron Schroeder
Abner Silver
Mike Stoller
Sid Tepper
Guy Trosper
William Tuttle
Ben Weisman
Ralph E. Winters
Ned Young
Based on a Story by
Here are several Publicity Stills taken of Elvis Presley for Jailhouse Rock (1957). Publicity stills were specially-posed photos, usually taken off the set, for purposes of publicity or reference for promotional artwork.
Here are some photos taken behind-the-scenes during production of Jailhouse Rock (1957), starring Elvis Presley.
Movie Clip
Jailhouse Rock (1957) -- (Movie Clip) Treat Me Nice Having resolved to start his own record company, Vince (Elvis Presley) gets started with the Mike Stoller-Jerry Leiber hit Treat Me Nice, in Jailhouse Rock, 1957.
Jailhouse Rock (1957) -- (Movie Clip) Baby I Don't Care Another Mike Stoller-Jerry Leiber tune, ex-con Vince (Elvis Presley) performing at a pool party, then acting with his crooked mentor (Mickey Shaughnessy) and his movie co-star (Jennifer Holden), in Jailhouse Rock, 1957.
Jailhouse Rock (1957) -- (Movie Clip) Title Song Ex-con Vince (Elvis Presley) introducing his act for a TV show, the title song composed by Mike Stoller and Jerry Leiber, choreographed by the star, from Jailhouse Rock, 1957.
Jailhouse Rock - (Original Trailer) After learning to play the guitar in prison, a young man becomes a rock 'n' roll sensation in Jailhouse Rock (1957) starring Elvis Presley and a song score including "You're So Square (Baby, I Don't Care)" and "Young and Beautiful."
Hosted Intro
Intro Aired: Dec 2018
Songs On Screen -- Jailhouse Rock (1957) Introduction and comments following Jailhouse Rock, 1957, with TCM's Dave Karger and guest Chris Isaak.
Intro Aired: Mar 2018
Alicia Malone Intro -- Jailhouse Rock (1957) Guest host Alicia Malone introduces Jailhouse Rock, 1957.
Intro Aired: Oct 2015
Ben Mankiewicz Intro -- Jailhouse Rock (1957) Ben Mankiewicz introduces Jailhouse Rock, 1957.
In Elvis Presley's second film, Loving You (1957), which is closer to an autobiography than any other Elvis film, the rock 'n roll king is depicted as just a humble but extremely talented musician trying to keep a clear head while experiencing overnight success. MGM scrapped this nice guy image in his third outing - Jailhouse Rock (1957) - to create a rebel persona more in line with the James Dean character in Rebel Without a Cause (1955) or Marlon Brando in The Wild One (1954). True to form, Elvis gets slapped with a manslaughter charge and sent to the state penitentiary at the beginning of the film. Although he eventually becomes a singing sensation after making an appearance at his cellmate's prison revue, his rise to fame is not a pretty picture, revealing a darker side to the public performer which is never again explored in his movies.
Of all the Elvis films, Jailhouse Rock just might be his finest song showcase, featuring first rate rock 'n roll numbers by two masters of the form, Jerry Leiber and Mike Stoller. The real showstopper is the "Jailhouse Rock" production number, which Elvis choreographed himself, but there are other gems along the way like "(You're So Square) Baby I Don't Care," performed by an outdoor swimming pool, "Treat Me Nice," and "I Want to Be Free." One of Presley's most famous ballads, "Young and Beautiful," (written by Abner Silver and Aaron Schroeder), is also featured here in three different versions, strategically placed throughout the film to show the singer's development.
Tragically, Elvis's co-star Judy Tyler would die in an automobile accident with her husband shortly before the film was released. But several of her scenes with Elvis will live on in the "Hall of Fame for Immortal Movie Quotes", particularly the one where Presley puts the moves on her. "How do you think such cheap tactics would work on me?" Tyler asks, pushing him away. "That ain't cheap tactics honey. That's just the beast in me" is the classic Elvis response.
Producer: Pandro S. Berman, Kathryn Hereford
Director: Richard Thorpe
Screenplay: Nedrick Young (story), Guy Trosper
Cinematography: Robert J. Bronner
Editing: Ralph E. Winters
Art Direction: Randall Duell, William A. Horning
Original music: Roy C. Bennett, Jerry Leiber, Aaron Schroeder, Abner Silver, Mike Stoller, Sid Tepper, Ben Weisman
Cast: Elvis Presley (Vince Everett), Judy Tyler (Peggy Van Alden), Mickey Shaughnessy (Hunk Houghton), Jennifer Holden (Sherry Wilson), Dean Jones (Teddy Talbot), Anne Neyland (Laury Jackson), Vaughn Taylor (Mr. Shores).
BW-97m. Letterboxed. Closed captioning. Descriptive Video.
by Jeff Stafford
In Elvis Presley's second film, Loving You (1957), which is closer to an autobiography than any other Elvis film, the rock 'n roll king is depicted as just a humble but extremely talented musician trying to keep a clear head while experiencing overnight success. MGM scrapped this nice guy image in his third outing - Jailhouse Rock (1957) - to create a rebel persona more in line with the James Dean character in Rebel Without a Cause (1955) or Marlon Brando in The Wild One (1954). True to form, Elvis gets slapped with a manslaughter charge and sent to the state penitentiary at the beginning of the film. Although he eventually becomes a singing sensation after making an appearance at his cellmate's prison revue, his rise to fame is not a pretty picture, revealing a darker side to the public performer which is never again explored in his movies. Of all the Elvis films, Jailhouse Rock just might be his finest song showcase, featuring first rate rock 'n roll numbers by two masters of the form, Jerry Leiber and Mike Stoller. The real showstopper is the "Jailhouse Rock" production number, which Elvis choreographed himself, but there are other gems along the way like "(You're So Square) Baby I Don't Care," performed by an outdoor swimming pool, "Treat Me Nice," and "I Want to Be Free." One of Presley's most famous ballads, "Young and Beautiful," (written by Abner Silver and Aaron Schroeder), is also featured here in three different versions, strategically placed throughout the film to show the singer's development. Tragically, Elvis's co-star Judy Tyler would die in an automobile accident with her husband shortly before the film was released. But several of her scenes with Elvis will live on in the "Hall of Fame for Immortal Movie Quotes", particularly the one where Presley puts the moves on her. "How do you think such cheap tactics would work on me?" Tyler asks, pushing him away. "That ain't cheap tactics honey. That's just the beast in me" is the classic Elvis response. Producer: Pandro S. Berman, Kathryn Hereford Director: Richard Thorpe Screenplay: Nedrick Young (story), Guy Trosper Cinematography: Robert J. Bronner Editing: Ralph E. Winters Art Direction: Randall Duell, William A. Horning Original music: Roy C. Bennett, Jerry Leiber, Aaron Schroeder, Abner Silver, Mike Stoller, Sid Tepper, Ben Weisman Cast: Elvis Presley (Vince Everett), Judy Tyler (Peggy Van Alden), Mickey Shaughnessy (Hunk Houghton), Jennifer Holden (Sherry Wilson), Dean Jones (Teddy Talbot), Anne Neyland (Laury Jackson), Vaughn Taylor (Mr. Shores). BW-97m. Letterboxed. Closed captioning. Descriptive Video. by Jeff Stafford
I think I'm going to just hate you!
- Peggy Van Alden
No, you ain't gonna hate me. I ain't gonna let you hate me.
- Vince Everett
How dare you think such cheap tactics would work with me!
That ain't tactics, honey. It's just the beast in me.
Elvis Presley refused to watch this movie because of Judy Tyler's tragic death just before it was released.
The swank apartment for Elvis was a slightly redressed set previously used as Lauren Bacall's in Designing Woman (1957).
One day, while filming a scene, Elvis swallowed a tooth cap and had to be hospitalized to remove it.
The film's opening credits read: "Metro-Goldwyn-Mayer presents, An Avon Production, Starring Elvis Presley in Jailhouse Rock." Throughout the film Vaughn Taylor, as the lawyer "Mr. Shores" provides voice-over narration about the financial success of "Vincent Everett's" business. As noted in the October 16, 1957 Variety review, the film was producer Pandro S. Berman's first as an independent producer. His company, which went on to produce a number of films, was called Avon Productions, Inc. A biography about Presley attributes the film's initial idea to Berman's wife, the film's associate producer, Kathryn Hereford. The biography also credits the dance direction for the "Jailhouse Rock" stage sequence to Alex Romero and lists the following persons as the backup band during the first recording session scene in the film: Scotty Moore, Bill Blade, D. J. Fontana and composer Mike Stoller. Soon after completing work on Jailhouse Rock, Judy Tyler died in a car accident on July 3, 1957. The actress had only recently made her film debut in Bop Girl Goes Calypso, which was released in July 1957. Jennifer Holden also made her film debut in the film.
Although 1950s legendary popular music entertainer Presley appeared in two film musicals previous to Jailhouse Rock, the film marked a departure in characterization for the star. Presley, as Vincent Everret, was a cunning entrepreneur whose success causes his own moral demise. According to a biography of the star, Presley disliked the film. A March 4, 1960 Hollywood Reporter news item notes that M-G-M reissued Jailhouse Rock that year to capture the wave of publicity following Presley's return from military service. The song "Jailhouse Rock" became one of the biggest hits of Presley's career. A March 23, 2001 Daily Variety article stated that screenwriters Dick Clement and Ian La Frenais were writing a stage musical adaptation of Jailhouse Rock. Producer Rene Sheridan had acquired the rights to the picture, but as of June 2005, the stage musical had not been produced. For more information about Presley please see the entry below for the 1956 film Love Me Tender.
Selected in 2004 for inclusion in the Library of Congress' National Film Registry.
Released in United States Fall October 1957
Released in United States on Video November 1988
Broadcast over TNT (colorized version) August 10, 1989.


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Vincent is one of a small crop of young growers passionate about good wine who are gradually taking back, bit by bit, their family vines that were originally leased out to négociants. His small Domaine amounts to 5 hectares of Meursault, Chassagne-Montrachet and Pommard vineyards that are treated with the utmost care and respect. The purity of Vincent's wines is staggering, owing to the fact that he won't put his name on anything unless he is 100% happy with it; in 1999, for example, yields for his Pommard Villages were slightly too high, resulting in a wine that did not quite come up to his own high standards, so he sold it off to a local négociant.


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text:
Tesla's Elon Musk weighs into electric car debate
Electric vehicle pioneer says there is 'no question' which side of politics is right about the potential of battery-powered cars in Australia.
David McCowen
news.com.auApril 10, 20193:27pm
Elon Musk wasn't always a billionaire. From creating a video game at age 12 to PayPal and beyond, this is the journey of the real life Tony Stark....
Elon Musk wasn't always a billionaire. From creating a video game at age 12 to PayPal and beyond, this is the journey of the real life Tony Stark.
Tesla boss Elon Musk has weighed into Australia's EV debate. Picture: AFP.Source:AFP
Tesla boss Elon Musk has weighed into Australia's electric car debate.
Electric cars have become a hot topic in Australia following Labor's pre-election announcement that it will aim for half of Australia's new cars to be electric by 2030.
The aim was called into question by Coalition members sceptical of overambitious charging times, whether tradies would be willing to give up their utes, and whether electrical infrastructure is robust enough to handle 500,000 new electric vehicles hitting the road each year.
Atlassian founder Mike Cannon-Brookes told News.com.au he is "incredibly frustrated" by a change in tune from the Federal Government which "will be on the wrong side of history".
Mr Cannon-Brookes tweeted that "I'm pretty sure Elon wouldn't think 50 per cent of new vehicles sold being electric in 11 years is in any way 'ambitious'."
Tesla has led the charge for electric vehicles. (Photo by JOE RAEDLE / GETTY IMAGES NORTH AMERICA / AFP)Source:AFP
The outspoken Tesla founder left his 25.6 million Twitter follows with little doubt.
"Norway has already proven it could be done last month," Musk said.
"No question Australia could do this in far fewer than 11 years."
Electric vehicle sales have overtaken conventionally powered cars in Norway, where battery-powered machines are exempt from a 25 per cent sales tax and registration fees, among other incentives.
Though electric vehicles represent less than 1 per cent of new car sales in Australia, a flood of new models could turn the tide.
Hyundai introduced relatively affordable electric versions of its Ioniq small car and Kona SUV in Australia this year, joining the likes of Tesla's luxury Model S sedan and Model X SUV. Jaguar's I-Pace electric SUV will be joined by Audi's e-tron and the Mercedes-Benz EQC this year.
Nissan's $49,990 Leaf electric hatch hits showrooms in August, and it will be followed by a sub-$100,000 Tesla Model 3, battery-powered Mini Cooper, Porsche's hotly-anticipated Taycan, BMW's iX3, Volvo's Polestar 2 sedan and Volkswagen's ID hatch in the next 12 months or so.
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redpajama_set_name: RedPajamaCommonCrawl


In 1996, the CKCU Ottawa Folk Festival flourished under the direction of Gene Swimmer and artistic directorChris White. The festival made another natural progression, and expanded to three days of folk at Britannia Park (August 23 to 25). It continued to offer an eclectic range of performers and styles. The main stage performers included Quartette, Bert Jansch, Lynn Miles, Moxy Früvous, Thomas Handy Trio, Laura Smith, Lennie Gallant, Danielle Martineau and Rockabayou, and Malaika. The year also marked the 20th anniversary of the Ottawa Folklore Centre. The Helen Verger Award was jointly presented to Colleen Peterson and Sylvia Tyson for their valuable contributions to Canadian folk music. Chopper McKinnon andKaren Flanagan McCarthy returned to host the main stage throughout the festival.
The 1995/1996 Benefit Concert Series held at the National Library of Canada featured the following performers.
Ottawa Folklore Centre owner Arthur McGregor started things off on the main stage with his acoustic guitar ragtime version of our national anthem. The Friday evening main stage opened with Les Hardis Moussaillons, an eclectic group of French-language performers with diverse influences: "rock, punk, flamenco and Latino thrown in a blender at high speed". Montreal's first lady of folk, Penny Lang, next graced the stage, followed by the exotic Latin American rhythms of Miguel Fenton. Songstress extraordinaire Lynn Miles performed to an appreciative crowd. Then the wild and wacky group Moxy Früvous exploded onto the stage. The evening of folk under the stars ended with the swirling sounds of Orealis, a Montreal-based Celtic band.
The Saturday daytime entertainment was packed with talent. On the main stage you could choose from a country session hosted by Lonesome Paul, a bluegrass session hosted by Ron Moores, or a king-size performance of thePurple Dragon Puppet Troupe. For many, the highlight was the Ottawa Folklore Centre Tribute, celebratingthe centre's 20th anniversary. Participants included Alex Houghton, Lynn Miles, Ian Robb, James Stephensand Bob Stark.
Down by the water on the Point Stage, you could enjoy children's entertainment with June and Kathy; aNortel Showcase with the Miguel Fenton Band; a world-beat session hosted by Dario Domingues; and anOttawa Folklore Centre session on how to play the harmonica.
In the cool confines of the Inside Stage, the audience sampled a guitar session with Alan Marsden, Alex Houghton, Bert Jansch and Allan Gorman. A session on toe-tappin' tunes hosted by Marion Linton set the atmosphere for the participatory dance sessions that followed. Catherine Burns hosted a contra dance with musical accompaniment provided by The Old Sod Band. Danielle Martineau hosted the lively Dansez! session with Rockabayou.
The Red Stage was a showcase for singer-songwriters. The All in the Family session was hosted by the Bovine Sisters and included members of six families. The fabulous Laura Smith and George Antoniak were featured in a Nortel Showcase, while the Heart and Soul session hosted by Beth Ferguson featured Bert Jansch andPenny Lang. The session See What I Say featured the music and stories of Malaika, Jennifer Cayley, andRuth and Brian Bowen. Deborah Herr provided beautiful sign language interpretation combined with dance.
The Green Stage packed a lot of entertainment into one afternoon. The Le Hibou Revisited session was one of the most popular of the weekend. Host Richard Patterson welcomed Sylvia Tyson, Colleen Peterson, Penny Lang and Bob Stark for an hour of recalling the glory days of the legendary Ottawa coffeehouse, Le Hibou. The Generation F session showcased a younger generation of folk artists. Bob Stark hosted the Writers are a Strange Breed session, exploring the art of songwriting. Two showcases featured Doug Reansbury andOrealis.
Diversity was the theme on Saturday evening. The main stage opened with native singer-songwriter Willie Dunn, and continued with the bluegrass-fusion quartet The Emory Lester Set. Malaika, a four-woman a capella group that performs music from around the world, was followed by the Thomas Handy Trio. The trio combines a heady combination of jazz and East Indian rhythms to create music with an hypnotic effect. Up next was Quartette, a four-woman group that featured the considerable talents of Colleen Peterson, Sylvia Tyson,Cindy Church and Caitlin Hanford. Sadly, it would be one of Colleen Peterson's last performances. Shepassed away barely six weeks later. British guitar legend Bert Jansch and the energetic Danielle Martineau and Rockabayou rounded out the eclectic evening.
What better time to enjoy some gospel music than on Sunday morning? Host Andrea Karam introduced John Steele; Michelle Sweeney, a woman with a wonderfully powerful voice; and the many members of Voices of Praise, an Ottawa gospel ensemble. Other early birds were treated to devotional music from the Ottawa Shape Note Chorus, in a session hosted by Shelley Posen.
Traditions old and new could be found on the daytime main stage on Sunday. A ceilidh hosted by Ian Robbboasted the likes of Ann Downey, Shelley Posen, Janet Munson, James Stephens, Wilf Gillis and Dan Schryer. Meanwhile, the New Traditions session hosted by Ann Downey featured Jimmy George, The Toasted Westerns and Night Sun. Stepdance Heaven was the title of a toe-tappin' session featuring theOttawa Valley Dancers. The Ottawa Citizen Family Concert featured The Dinosaur Show with Kirk & Magoo.
The children's entertainment continued at the Point Stage with concerts by Magoo and Tom Plant. The sessionMusic from the Isles and a session on how to play the pennywhistle reflected a traditional theme. The session In the Groove, hosted by Suzie Vinnick, explored the art of grooving. Cabin Fever, one of the winners of the festival's Last Chance Saloon competition, strutted their stuff out at the Point Stage.
For those who took refuge in the air-conditioned comfort of the Inside Stage, there was plenty to see and do.
A lively square dance was hosted by Fred Weihs, with musical accompaniment by Paddies on the Tundra. TheWords and Music session hosted by Alrick Huebener featured SugarBeat, thom barker and Aaron Zaadich. More words and music were examined in the Songs from the Heart session featuring Jody Benjamin, Lucie Blue Tremblay, Laura Smith and Lee Hayes. Nortel showcases presented performances by Night Sun, andGerry Griffin & Dario Domingues.
The Red Stage was in danger of bursting into flames during the Fiddles on Fire session featuring the talents ofOliver Schroer, Janet Munson, Michael Ball, Pierre Schryer and Nathan Curry. One of the highlights of the day was the Maritime Stories & Songs session hosted by Shelley Posen and showcasing the talents of Lennie Gallant, Kevin Head and Tom Lips. More stories were shared during the Ottawa Valley Stories & Songssession hosted by Gail Gavan. Performers included Cal Cummings, Gord McAlpine, Tri-Lys, Le Grand Portage and Donna Stewart. The daytime sessions ended with a Nortel showcase hosted by Neema Mugalafeaturing the Sifa Choir.
The Green Stage presented a session on blues music hosted by Larry "The Bird" Mootham and featuringRick Fines, Suzie Vinnick, Guy Del Villano and Vince Halfhide. Festival goers could also listen to Spirit Voices, a session hosted by Cliff Thomas. Willie Dunn, Stephen Augustine and Mary Carpenter performed music and told stories that reflected their heritage. Brenna Rivier hosted a session called Songs of Freedom, with participants Lennie Gallant, Lucie Blue Tremblay and Willie Dunn. Two showcases presented the talents of Steafan Hannigan and Jimmy George.
The Sunday evening main stage opened with the fabulous sounds of the Folk Festival Children's Choir. Celtic- inspired ensemble Jimmy George appeared next, followed by local favourites Finest Kind. This traditionally based trio consists of Ian Robb, Shelley Posen and Ann Downey. French-Canadian singer-songwriter Lucie Blue Tremblay performed a bilingual set. She was followed by Suzie Vinnick and Rick Fines. This duo combines the vocal talents of blues singer Suzie Vinnick with the guitar stylings of Rick Fines. The evening wound down with two superb East Coast performers: Laura Smith and Lennie Gallant. Laura Smith has been described simply as an actress who performs her own songs. Lennie Gallant is a native of P.E.I. who lives in Halifax. His music combines lyrics reflecting the struggles and dreams of real people with Acadian and Celtic influenced music.


For some reason I can't see any of the plays. Spreadsheets not working for me. Can someone post plays on here? Also was Washington a play today?
Twins are a play in the W5Fade Dog play, fading KC for the second and last time to break their W streak.WASH was not a play within these systems today but a good pick if you took them!. If SF continues to trend down to plus money by gametime they could be a play in the L4Dog, opened at -161 and down to -109 currently.
Starting my LABBY play on top VRPI on friday.
And Hamel pitching could be a good one.
I agree with that, that's why I didn't bet kc last night and look what happened. Let's go Phillies!
Jonny. Yes MIL qualifies for L4. COL qualifies for W5, fading LAD for second and last time. In the W5 we already lost twice fading NYM so we stop fading them today. No VRPI today as LAA won first and have stayed the top VRPI all series.
Yes Philly was the first winner at +157 in the L4.
We're is a good spot for highest vrpi? Anyone have a link?
by making Chrome your default browser it should use chrome. Make sure you have macros enabled within excel.
also make sure you click "enable content" when you open the excel file.....that to may be a reason it is not downloading the info from the website. I tried to re-create your error using explorer to no avail, seems to work on my side no matter what browser i use. If you want to see records so far from the links I posted, I update the links with current tracked records 2-3 times a week as I find it useful for me when i travel to be able to have the up to date sheet where ever I am at that given day. Any time you want to see the current records of how i play them anyways (Icy's and RPI/MC1 &2) you can re-download the sheets.
didnt we already face LAD and NYM for 2 games?? why is it a play tonight?
Yes Trader, those 2 games (fade NYM & fade LAD) are not a play although they show in the sheet for W5. I cant figure out a "formula" solution within excel without updating the game results. I can do this from covers but the daily update takes a good half hour so I manually keep it in mind that once fading a team 2 consecutive games it is not a play. I keep trying different solutions and if i come up with one I will update the link.
Cubs have a RPI diff of 156, while Cincy has a RPI diff of 186. Since Cincy was the top Visitor RPI yesterday and was a play and won, and continue to be the top VRPI today, there is no play.


DROP SERVER removes an existing foreign server descriptor. To execute this command, the current user must be the owner of the server.
Do not throw an error if the server does not exist. A notice is issued in this case.
Automatically drop objects that depend on the server (such as user mappings), and in turn all objects that depend on those objects (see Section 5.13).
Refuse to drop the server if any objects depend on it. This is the default.
DROP SERVER conforms to ISO/IEC 9075-9 (SQL/MED). The IF EXISTS clause is a PostgreSQL extension.


Around 58 tribal guests from different parts of the country along with 22 tableaux of the states and Central Government departments and performances by school kids will mark the 90-minute parade of Republic Day 2019.
The Republic Day event, which will be held on Saturday in New Delhi, will have South African President Cyril Ramaphosa as the chief guest. The programme will commence with the laying of the wreath at the Amar Jawan Jyoti at India Gate by Indian Prime Minister Shri Narendra Modi.
The 22 tableaux from different states of India as well as Central Government departments on cultural, historical and developmental themes will be a part of this year's Republic Day parade on 26th January. A few tableaux on cultural themes will also include folk and traditional dances, as per the Home Ministry office memorandum.
In addition, around 26 national award-winning children in open jeeps or vehicles will also take part in the cultural show. 3 groups of children from Delhi schools and 1 group of children from the Eastern zone Cultural Centre will participate in this year's parade.
Each of the group will perform for about two minutes in front of the Presidential dais at the Rajpath.
The home ministry told, "The complete duration of the Republic Day parade 2019 will be about 90 minutes".
On behalf of the Central Government, there will be 58 tribal guests from different parts of the country to be part of the celebrations in Delhi. The tribal guests and tableaux performers will call on the President, Prime Minister, Vice President and Tribal Affairs Minister. The guest will also be taken for sightseeing visits in and around the national capital.
Additionally, four helicopters will lead the parade commander. The lead helicopter will hold the national flag and the other three helicopters will carry flags of the services, while the echelon jet will shower flower petals.
REPUBLIC DAY 2019: From Where and How To Get Parade Tickets?


The event was organized in response to Google's proposal to build a major new campus (6-8 million square feet of office space) in downtown San Jose at Diridon Station, bringing 15,000-20,000 new Google employees to the area.
As Google has not yet submitted full planning documents, there are limited details surrounding the Diridon Station project and how it will approach issues like housing. A coalition of workers, faith leaders, labor, and community organizations have coordinated a campaign called Silicon Valley Rising, to call on Google and the San Jose City Council to include community benefits in their plans.
Tour participants included various members of public, private, philanthropic, and nonprofit sectors. They met inside Diridon Station and took a bus tour, looking at public land sites and surrounding neighborhoods. They also discussed the history of Diridon Station, the housing context in San Jose, and the community vision for the region, reflecting on opportunities and challenges of tech development, including the impact of displacement, gentrification, and homelessness.
We will keep monitoring the situation in San Jose as we continue to be involved in discussions about housing and displacement and hope to play a role in creative solutions.


Does anyone know about Imperial? It is a company founded by Fred Kurt back in 1969. Fred Kurt was a survivor of the Auschwitz concentration camp of Worl War II who wanted to bring fun to the world (he died in 2003 and his son took over). Here are two treasures that I own: an American Mastodon released in 1989 and a yellow Unicorn released in 1983.
I have a couple of horses from Imperial, [You must be registered and logged in to see this link.].
It seems that you have some much more precise info about the brand.
DO you know if Frank Kurt was German ?
He was jewish, I know that. Probably German, or Austrian; he was captured by the Nazis back in the 1940's, so he was probably from somewhere in Central Europe. I also have two Chinese Dragons from Imperial: a 1969 soft rubber one and a big latex 1979 one. I will photograph them soon to post them here.
Very interesting, especially the mastodon. Thanks for sharing!
I'll show a picture later. because in the library, I don't have my toys or my camera with me. For now, I will just say it is recognizable by the crown above the name "Imperial". Although, that crown changed with the generation: my 1980'sImperial creatures have an emperor's crown above the brand's name; today, it's a duke's crown.
Anyway, I started, this morning, taking new pics of other Imperial creatures I have: a 1985 standing frilled lizard, a 1983 green occidental dragon, a 1969 soft rubber oriental dragon and a colorful 1979 oriental dragon. I took care of photographing each one of them aside a canadian 2$ coin, to give an idea of the size of each animal. Tomorrow, I will photograph my Imperial purple 1983 two-headed occidental dragon, plus more animals of other brands you will see when I post them.
Here are two Chinese Dragons made by Imperial: the little Brown one was released in 1969 and the large green one was released in 1979.
Now, from up to down: 1983 occidental Dragon (green), 1983 Hydra (white-purple) and 1985 Collared Lizard (standing).
And here is my 1987 Imperial Arctic Wolf.
I am sure this owlf is missing in most of the collections of our wolf collectors. By the way, do you remember if Imperial ever released a fox?
I also have a large tiger and a large goat I will show you as soon as I can.
Here they are: Imperial Tiger and Imperial Domestic Goat.
The second Chinese dragon and collared lizard look familiar, I should search through my childhood toys again.. Love the Arctic wolf!
I Wonder why Roger didn't put them on TAI, yet... is it because my pictures are in a wrong angle?
It's actually quite a lot of work to put something on TAi. You have to create new pages with tables for all the information. Besides, you have to add the figurines in a list of the same species as well. A few editors are working very hard to add as much as possible to TAi. I know Roger is working on lots of sections, I'm sure he'll find the time to put your pictures on TAi. But until then, we all have to be a bit patient!
All are now on TAi. Julie is right, there is always a lot of work to do on TAi. I don't remember waiting for work there is always something to do. Species section takes a lot of time too.
Angles of pics are not a problem even some of them are asleep. I believe you couldn't picture them standing.
Do you know the years of the goat and tiger?
I could not photograph them standing because the living room window was creating too much light behind them. Yet, I forgot to change the angle when I put them in Photobucket... As for the years of production, the goat says 1986. Unfortunately, the marks on the tiger are so blurry I cannot know the year for sure. Only that it is by Imperial and made in China.
No problem, I could easily rotate these pictures but I decided to let them as they are.
Thanks for goat year, all information is useful once it help us sorting better these collections when lists of figures start getting long.
Could you please check the last starfish in [You must be registered and logged in to see this link.]? It is marked BCLA 1997, when I search for B.C.L.A, I often get results about Imperial dinos. Do you know any link between BCLA and Imperial?
B.C.L.A. is a corporation that "parents" british manufacturers. Maybe Imperial is part of this corporation, despite the fact the founder was from Central Europe (by the way, if you look to sea star topic again, you will see that I found out the AAA Sea Star is NOT a Common Sea Star, but an Ochre Sea Star, explaining the difference between them).
My lack of concentration, it is fixed now!
Thanks! It would be good if I could find more animals by Imperial in the flea market. I know they made dinosaurs, for example.
I almost missed this comment, thanks again Valerie! I agree also about the sea star. I spend so many time editing and on forum that I don't research the correct species as deep as I wished. So, it is fantastic to have your help.
I am sorry, it is fixed now. Interesting the haie detail, the only person I did know with hedges in her name is the actress Carré Otis.
That's OK. Anyway, here is my Imperial Brachiosaurus.
39th brachiosaurus on TAi, thanks for sharing!
Anyway, here is my Imperial Manta Ray. This one is unique, since it has been released in the 2000's.
That's my new sport, to count figures. 16th manta ray at the Wiki. Unusual color indeed.
The Ray Manta, like 2000's other Imperial toys, actually is a rubber bean bag; Imperial toys produced in the 1980's were made of more rigid latex, even sometimes hard plastic.
And here is an Imperial Dog.
It seems to be a St-Bernard. I made a little research a few minutes ago and I found out it is from a line called "Dog Show", released in 1974. That line also included a Boxer, a German Shepherd and a Collie. I don't know if it included more breeds, though.
Anyway, here is my Imperial Sea Turtle. I believe it represents a Caretta caretta.
I also took profit of the occasion to photograph Imperial logos, old one (Fred Kurt's living era) and new one (since Kurt's death, in 2003). The old one, on green, was photographed on the turtle's belly, while the new one, on blue, was photographed from my Mata Ray's bottom. See the difference in the crowns and the letters?
Here is my newest Imperial find: IMPERIAL 1977 ANKYLOSAURUS. Doesn't it look funny? This is a perfect example of the evolution of dinosaur toy manufacturing, the oldest ones representing them simply as "scary lizards", becoming closer and closer to reality with the epoch of manufacturing. 1985 Imperial dinosaurs were a lot more realistic than the ones made in 1977, 1978 and 1979, and the ones made in 1989 are even better done than the ones released in 1985.


text:
The Seattle Washington Temple (formerly the Seattle Temple) is the 21st constructed and 19th operating temple of the Church of Jesus Christ of Latter-day Saints (LDS Church). Located in the city of Bellevue, east of Seattle, it was the first to be built in the state of Washington. The temple has a modern single-spire design.

Due to its proximity to the Bellevue Airfield, the proposed height of the spire was reduced, and a red strobe warning light was installed at the base of the angel Moroni statue. The airfield closed in 1983, and the light was shut off.

History
The intention to construct the Seattle Temple was announced on November 15, 1975, and it was dedicated five years later on November 17, 1980, by church president Spencer W. Kimball. The temple was built on , has four ordinance rooms and 12 sealing rooms, and has a total floor area of .

In 2020, the Seattle Washington Temple was closed in response to the coronavirus pandemic.

See also

 The Church of Jesus Christ of Latter-day Saints in Washington
 Royden G. Derrick, a former temple president
 Comparison of temples of The Church of Jesus Christ of Latter-day Saints
 List of temples of The Church of Jesus Christ of Latter-day Saints
 List of temples of The Church of Jesus Christ of Latter-day Saints by geographic region
 Temple architecture (Latter-day Saints)

References

External links

 Seattle Washington Temple Official site
 Seattle Washington Temple at ChurchofJesusChristTemples.org
  Seattle Washington Temple page with interior photos

20th-century Latter Day Saint temples
Buildings and structures in Bellevue, Washington
The Church of Jesus Christ of Latter-day Saints in Washington (state)
Religious buildings and structures in Washington (state)
Religious buildings and structures completed in 1980
Temples (LDS Church) in the United States
1980 establishments in Washington (state)
Christianity in Washington (state)
Religious buildings and structures in Seattle

redpajama_set_name: RedPajamaWikipedia


Note: This is Part Eight in a series, "God's Emotions: Why the Biblical God is so Very Human." Parts 1-7 are available at this website or at http://www.awaypoint.wordpress.com/.
Have you ever noticed how utterly indifferent God is to how humans treat fish?What I'm trying to illustrate is that by default we use ourselves as the measure of the world. The Golden Rule acknowledges this: "Do unto others as you would have them do unto you." In other words, start with what you know—yourself—and imagine that others want the same (and you're likely to treat them fairly well). By contrast, the Platinum Rule, "Do unto others as they would have you do unto them," can bring us a mental screeching halt, because it asks us to step outside ourselves. That's tough. In the XTC song, "Garden of Earthly Delights," the refrain, "don't hurt nobody" is repeated –and then, just once, it is followed by " 'less of course they ask you." The listener is startled and maybe laughs. Most of us don't want to get hurt, even for titillation, and so we don't expect the exception.
In a similar vein, we tend to assume that God shares our perspective and priorities. Have you ever noticed how utterly indifferent God is to how humans treat fish? Jesus himself magically multiplied fish so they could be hoisted in nets and subjected to slow suffocation. Fish brains are very unlike ours, and the more alien a mind is, the less we are able to empathize. This may be why we concern ourselves less with the treatment of octopus than chimpanzees, even though scientists tell us that octopus are some of the most intelligent creatures on the planet. Unless we can somehow resonate with an animal's experience, meaning feel it, at least at a tentative hypothetical level, it falls outside our moral sphere—and God's priorities.
We relate only distantly to most people on this planet. And even though believers insist that "Jesus love the little children of the world"—equally-- their behavior in the practice of Christian living suggest otherwise. Consider: Thoughtful people sometimes balk at football prayers, the idea that God will favor one team over another. But who balks at grace before dinner? Almost no-one. And yet, those who believe God loves the children of the world equally should. If you had two children, one who had goldfish crackers and juice and cheese sticks and peaches for lunch and then an after school snack; and one who hadn't eaten since yesterday—and then only a thin gruel—which would you feed meat and potatoes tonight? In a less self-centric world, deities wouldn't be thanked for directing the food to American dinner tables; they would be scolded or politely declined.
"Jesus loves the little children." "His eye is on the sparrow." "Ask and ye shall receive." – these soothing verbal mantras work their magic because what is really at stake for each individual believer is a vortex of well-being that centers on him or her, thinning as it reaches beyond family, friends, countrymen and co-religionists to a hazy netherland of alien cultures and creatures. Unfortunately, those of us who lack person-gods have little cause to be smug. The vortex is the same; we merely lack the validation that comes from a deity sharing our personal priorities. Only a mindful commitment to compassionate living can carry us through life in a manner that draws the world into the self-- whether or not the self includes some concept of God.
Valerie Tarico is a psychologist and writer in Seattle, Washington. She is the author of Trusting Doubt: A Former Evangelical Looks at Old Beliefs in a New Light, (Revised ed. of The Dark Side) and the founder of www.WisdomCommons.org.


I was searching for a Property and found this listing (MLS® #10123587). Please send me more information regarding 2 Acrs Pughsville Rd, Suffolk, VA, 23435. Thank you!
I'd like to request a showing of 2 Acrs Pughsville Rd, Suffolk, VA, 23435 (MLS® #10123587). Thank you!


text:
Celebrating My Birthday By Embracing the Land of My Birth
October 22, 1988 was the day my twin sister and I came into this world. We are the youngest of seven children in our Ethiopian family, and the only ones placed for adoption. That fact has seldom bothered me. My rationalization about my placement was my parents had very few choices: during a post-war time of famine and job loss, out of desperation and with hope for a better future, they gave us up for adoption, trusting that it would be the best decision. My memories of my family and life in Ethiopia were something that kept me hopeful when I was a child; I was loved by many (mother, father, brothers, sisters, uncles, aunts, and the entire community). The saying "it takes a village to raise a child" has had a profound impact on how I view what family is.
Arriving in the US at six years old, my sister and I grew up in a Washington, DC, suburb. I returned to Ethiopia in 2011, after 17 years of growing up in the US, and my family and relatives there greeted me in excitement and joy. My life in Ethiopia can't be measured by monetary values, but by the love of those people in my early life, and with whom I have reconnected.
Today is my 27th birthday. I spent 6 years in Ethiopia, and 21 here in the US. I'd like to acknowledge birthdays are hard for many of us adoptees for various reasons. They are reminders of beginnings that may have been joyful or sad, reminders of childhood journeys that took a serious turn. On this birthday, I would like to recognize and celebrate adoptees like myself who feel a deep connection to Ethiopia, and who strive to make a difference in a country we still consider home.
In the last year, I've made some deep and valuable connections through co-founding Ethiopian Adoptees of the Diaspora,which now has hundreds of members from around the world. Several of us—from the US, Canada, Sweden, Holland, and France--are contributing to Lions Roaring, Far From Home, the first Ethiopian adoptee anthology, to be published in 2016, in which we tell our stories in our own voices.
Last weekend I attended my first Ethiopian adoptee-centric meeting. It took place in south Seattle at Kaffa Coffee and Wine Bar, which generously donated their space for adoptees to come together. The meeting included three adoptees passionately talking about their organizations, goals, dreams, and drive to be a part of the change happening in Ethiopia. Who knew Seattle had such a vibrant Ethiopian adoptee community? Sitting there, among about 20 other adoptees on a rainy night in the Pacific Northwest, I felt a sense of pride and solidarity. I was surrounded by people who look and shared similar experiences to mine, young people who had been born in Ethiopia but were placed for adoption as babies, or as young children or teens. Wow what a powerful space I was in. Liya Rubio was the first speaker of the night. She eloquently discussed her commitment to children, about doing several fundraisers for organizations in Ethiopia, and wanting to give back to Ethiopia. Her words were inspiring and motivational.
Next Wondemagegn Breen embraced the room with passion and drive in his voice. He is the founder of Hope in Helping Hands an adoptee-centric organization working to improve the quality of life for children in Ethiopia. Many of us in that room were touched by the power in his voice: "As Ethiopians we are obligated to help our people. We survive together." What stood out to me was his personal narrative, which pushed him to establish his organization: "You don't grow out of the pain of losing your mother." He witnessed his mother die in Ethiopia when he was just five years old. The loss of our mothers is something that sticks with us adoptees forever. We are the street children, we are the orphans, and we know first hand what it feels like to be separated from your family. That pain pushes us to create a safer space for children of Ethiopia. We need to be a part of any conversation about the future of children and orphans.
It was good to hear a male's perspective on adoption issues; women tend to dominate that discourse. He will travel to Ethiopian in January to volunteer and mentor young children with different organizations; I'm looking forward to hearing about it after his return.
Last but not least Sarah Negash embraced us with her warm and kind heart, which illuminated the room. She opened the conversation with a quote by David Pratt: "Orphans are easier to ignore before you know their names." They are easier to ignore before you see their faces. It is easier to pretend they are not real until you hold them in your arms, but once you do, everything changes. She was there to talk about an orphanage, Sele Enat, where she spent several happy years and which now is in danger of closing, The 80 children there are at risk. Sara wants other orphans to feel the love by caregivers that she once felt, and also to share the beautiful memories and space with other children. Keeping the compound open to her means preserving memories, laughter, safety, and friendships. Please consider helping her in her efforts by donating to Mamush. Put "Save the compound" in the donation section to ensure your funds will help the Sele Enat orphanage.
There was something groundbreaking about last weekend's meeting. It reminded me that many adoptees forever feel obligated to their country of birth, even after spending many years outside of it. Our privilege of growing up in a country, which has given us so much, makes us even more aware of sisters playing in the orphanages and our brothers begging in the streets. Our past is so much of who we are. The people left behind will forever hold a special place in our hearts and because of that we feel a huge obligation to go back and give back, in ways that preserve families and protect children. We are the Lions Roaring Far From Home, loud, proud, and dedicated to strengthening Ethiopia and changing the future of vulnerable children in Ethiopia, the land of our roots and our birth.
Sara Negash, Aselefech Evans, Liya Rubio and Wondemagegn Breen


text:
Getting here in 2021, the UK's Digital Markets Unit 'might' begin to do something about the power of online advertisement giants
The UK government has announced plans to set up a Digital Markets Unit (DMU) to level the advertising playing field currently dominated by the likes of Google and Facebook. It's been a while coming. An investigation into online advertising in the UK was kicked off last year by the Competition and Markets Authority (CMA) to…
The UK federal government has announced plans to establish a Digital Markets Unit (DMU) to level the advertising playing field currently controlled by the similarity Google and Facebook.
It's been a while coming. An investigation into online marketing in the UK was kicked off in 2015 by the Competitors and Markets Authority (CMA) to determine the power of the giants and examine if customers understood what data was being gathered and monetised.
The result, and a potential nightmare scenario for the similarity Google and Facebook in the UK, will be a new statutory code of conduct targeted at giving customers more choice and control over what happens to their data in addition to making it possible for small companies to better promote themselves online.
" Online platforms bring huge benefits for organizations and society," said noted UK legislators before including that the concentration of power amongst a little number of tech companies, such as Facebook and Google, could both minimize innovation and possibly have "negative influence on the people and organizations that depend on them."
Hint a standard procedure backed up by UK law.
Unfortunately for customers, but perhaps a ray of hope for the ad-flinging behemoths, things stay rather fuzzy and rather heavy on the word "could" at the moment.
If provided adequate teeth, the brand-new system might well show to be a thorn in Google and Facebook's side and will be notified by the work of Digital Markets Taskforce (DMT), aimed at advising the federal government on how to create and execute procedures to foster competitors. Its report is anticipated later this year.
As for the DMU, it will start work in April but won't be able to do much without some power behind it. The government will decide on the DMU's type and function, and will legislate when parliamentary time permits.
' Something need to be done'
Neil Brown, handling director at tech law office decoded.legal told The Register: "Today's announcement is placeholder for what is to come, instead of anything substantive in itself. It indicates intent, and there is a strong sense of 'something need to be done', however the information of the proposed steps is left for next year.
" The government says that it means to legislate as quickly as parliamentary time enables, but whether that will seek the assessments foreshadowed by today's announcement, or in parallel with them, stays to be seen.
" Strangely enough, because 'online harms' seems to be the stock expression for anything anybody dislikes about the web, that term is missing from today's statement. Nevertheless, because among the proposals in regard of that location of policy includes providing Ofcom powers to determine a platform's terms of service, it looks like there will be an overlap there too."
As for the tech giants themselves, Google indicated the benefits of online platforms with UK & Ireland veep Ronan Harris saying: "Online tools have actually proved to be a lifeline throughout the pandemic and they can assist produce a digital, sustainable and inclusive healing. We support an approach that benefits individuals, companies and society and we look forward to working constructively with the Digital Markets Unit so that everybody can maximize the web."
We asked Facebook for its take on matters, but the anti-social media business has yet to react. ®
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We have a great opportunity for a Multimedia Producer in central London. It's an inhouse role within one of the UK's top influential organisations.
This role will be key to proving high quality multimedia outputs, to engage it members in line with its engaging content, with things such as videos, infographics, and podcasts etc.
•	Planning and delivery of the multimedia plan.
•	Filming video content in line with brand for the company's, communications content.
•	Editing multimedia content, and ensuring high standards.
•	Delivering on time and within budget.
•	Strong understanding of design, typography and composition.
•	An Expert in self shooting camera work/video editing.
•	Ability to produce high quality production concepts, and ability to tell stories though video- the delivery of a message.
•	Strong project management skills, able to meet deadlines.
•	An interest in business affairs, national & regional policy would also be an advantage.


text:
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/**
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 * @copyright  Copyright (c) 2009 - 2011, RealDolmen (http://www.realdolmen.com)
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class Microsoft_WindowsAzure_Diagnostics_Exception
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redpajama_set_name: RedPajamaGithub


Haryanto Adikoesoemo has been the President Director of PT AKR Corporindo since 1992. He was awarded the 2008 Indonesian Entrepreneur of the Year by Ernst & Young; Businessman of the Year 2012 by Forbes Indonesia magazine and Best CEO 2012 by Corporate Governance Magazine Hong Kong. He graduated from Bradford University Management Centre in the UK in 1983 and completed the Executive Management Program at Harvard Business School in the US in 1993.


(Bloomberg) — The union representative on Codelco's board of directors fears a proposal by Chile's incoming government to split the giant copper producer in two is a first step toward privatization.
Chile's incoming government is working on a plan to break up Codelco into northern and southern divisions, Mining Minister Baldo Prokurica told La Tercera newspaper last week. The new cabinet led by President-elect Sebastian Pinera is scheduled to take over March 11.
Pinera, who was president in 2010-2014, begins his new term with copper prices on the rise, fueling hopes that mining investment will resume in the world's largest producing country. Codelco is undertaking an $18.3 billion investment program to upgrade its aging mines and maintain production levels. The company has said it can finance some of the program, but it will need funding from a government that has pledged to cut public spending.
Prokurica hasn't mentioned any plans to privatize Codelco. His team didn't immediately respond to a request for comment Thursday.
In his campaign manifesto, Pinera vowed to give Codelco more independence from political intervention and to make the company more efficient. His campaign also talked about the need for "deep reflection" on funding. The new government plans to appoint a new company chairman, replace two existing directors and is considering increasing the number of board members from nine to 11.
In the lead-up to Pinera's first presidential term, he included a proposal to sell a minority stake in Codelco, which led to a public outcry and was later dropped. During that administration, Codelco's debt levels jumped 84 percent despite higher copper prices.
Espinoza said there are similarities between Prokurica's plans and the privatization process that Chilean public companies went through during Augusto Pinochet's dictatorship in the '70s and '80s, citing examples such as rail, water and road-management. "Codelco is the icing of the cake," he said.
The Federation of Copper Workers is an umbrella group that includes unions in all of Codelco's divisions. Espinoza has been a board member of the company since 2012. The company's unions will meet in two weeks to issue an official response to Prokurica's comments, he said.
Pinera takes office as Chilean miners face an unprecedented number of wage negotiations in 2018. Companies are negotiating contracts with 32 different unions under new labor rules that prevent them from reducing existing worker benefits. Codelco recently signed a contract with two unions at the Andina mine and will negotiate with unions in most of its other divisions later this year.


1. Province De L'ontario Je Renomme Territoires De Pontougas!
2. La Rivalisation Siblinaire. Silence!
This remarkable iconoclastic musical adventure for jazz trio contains 92 titles. Journal des Épisodes is a year long daily musical diary kept by Michel Lambert. Each daily entry contains a musical score for symphony orchestra and a drawing. The album cover shows one of the journal entries. Here, in this new album, the music has been restructured for this jazz trio featuring Alexandre Grogg on piano, Guillaume Bouchard on bass and Michel Lambert on drums.


text:
js.pers
=======

Javascript Simple Persistence

Alpha Version

The Objective of this project is to create a Simple Framework for javascript persistence.
The initial focus is local persistence but may expand to syncronization with remote data.

Current functionality
-------

```js
// New DAO
var exampleDao = new jsPersDao("Example");

// Insert-Update Object
var ex = {};
ex.name = "One";
ex.type = 7;
exampleDao.save(ex);

// Obtain object by id
exampleDao.get(1);

// Obtain all
exampleDao.getAll();

// Agregation
var exChild = {};
exChild.name = "Example Child";
exampleDao.saveChild(ex, "ExampleChild", exChild);

// This will create other object that can be obtained as an element of an array of "ex"
// or directly through a new Dao like (Note the Entity name: "ExampleChild")
var exampleChildDao = new jsPersDao("ExampleChild");

// Obtain object and all agregated items of Entity Type "ExampleChild";
exampleDao.children("ExampleChild").get(1);

// Delete object without removing children
exampleDao.delete(1);

// Delete object and all agregated items of Entity Type "ExampleChild";
exampleDao.children("ExampleChild").delete(1);

```

Pending functionality
-------

```js

// Obtain object and all agregated items
exampleDao.children().get(1);

// Criteria
exampleDao.where("type", ">", 2).and("name", "=", "one").getAll();

```

Notes
-------
* All objects are added with an autoincremental identifier named *id*. Example: *ex.id*
* If any children are obtained they are added to the object as an array in an attribute named as it entity name with the first letter in lowercase. Example: *ex.exampleChild*.


Inspecting a roof can be a tricky and dangerous business. Safety is always a primary concern for the inspector and others in the vicinity. "Accidents waiting to happen" revolve around the use of ladders, steep roof slopes and unsure footing.
In addition, inspectors should not traverse roofs that are in poor condition or that have a roof covering that can easily be damaged.
Finally, some roofs are out of a ladder's reach and are just not accessible. My biggest nightmare is a low-slope roof that cannot be viewed from the ground and is out of the reach of my ladder. Now what? For me, reporting that the roof was inaccessible and could not be inspected is not an option.
Every so often, a product that makes inspections easier and better hits the market. One example is the thermal imaging camera, which is increasing in popularity and becoming more affordable.
Another product gaining popularity in the recreational and photography markets is the unmanned aerial vehicle (UAV) or drone.
By definition, a drone is an unmanned, rotary-wing aircraft. Aircraft are of two types: fixed and rotary wing. Fixed-wing aircraft include gliders, commercial airliners and the like. They get their lift from air moving over the wings. These aircraft must maintain a minimum, forward speed to fly. This type of drone will not work for roof inspections.
The second type—rotary-wing aircraft—includes helicopters and drones that get their lift from one or more horizontally rotating propellers or rotors. Because it is the rotor, not the aircraft, that moves through the air to get lift, these aircraft can hover and their ability to hover makes the rotary-wing aircraft an ideal option for inspecting roofs.
Drones have an even number of rotors. Half of the rotors rotate clockwise and the remaining rotors rotate counterclockwise to cancel the motor torque, thereby keeping the drone from spinning. Drones are usually quadcopters (four blades) or hexacopters (six blades).
Drones have properties that lend themselves well to the inspection industry. A drone never makes contact with the roof, so there is no chance that it will damage the roof covering. The drone "traverses" the roof, leaving the inspector safely on the ground. Roofs are no longer limited to ladder accessibility (Photos 1 and 2). Also, a drone is easier and more compact to transport than a ladder that is 22 feet or longer.
Nothing is perfect. Drones do have drawbacks. They should never be flown in rain, snow, high or gusty winds, or when the temperature is extreme. Drones can't check shingle-to-shingle bonding, the presence of drip-edge flashing or the resilience of the roof decking. (Checking bonding and flashing can be done from a ladder on a lower section of the roof; checking decking resilience can be done in the attic.) It's important for the inspector to always keep the drone (aircraft) in sight during flight.
As a drone operator, you are responsible and legally liable for any damage and personal injury caused by your drone. However, considering the liability related to ladder use and traversing roofs, in my opinion, it's a wash.
A few months ago, I contacted my insurance carrier to determine the rulings and policies on drone use for inspections. Because drones are a relatively new part of the big picture of home inspection, my insurance carrier had no official policy in place. This will likely change with the increased use of drones by home inspectors.
Okay, so you're considering buying a drone. Where do you start?
A good way to start is by visiting drone clubs' websites, drone use forums, independent drone reviews and manufacturers' websites that provide technical information and product features. Learn as much as you can about drones and their capabilities, characteristics and limitations.
Decide which features and attributes are important to you. For me, ease of flight control, stability, flight battery capacity and an on-board camera are musts. Keep in mind that your primary focus will be flying the drone; taking pictures will only occur during momentary interludes. I chose DJI's Phantom 3 Standard (www.dji.com/phantom-3-standard) because of its onboard flight stabilization features: compass, barometer, gyroscopic stabilization and, best of all, GPS locking.
Keep in mind that, without on-board, intelligent control, you cannot fly a drone. A drone is inherently unstable. Most drones may have additional features that may not be important to you. Select the product that best fits your needs. Although I am not specifically promoting DJI's Phantom 3 Standard, it is the one I use and know.
The Phantom's camera takes crisp, 4.5 MB photos, and it can switch between video and still modes at a finger's touch. I do not take videos; I find that the video frame resolution does not obtain a crisp image, even when the photo is reduced to a size suitable for a report. Instead, I operate in still mode and crop the photos to highlight selected features. Image size should be 4 MB or larger.
What is the flight time with a full battery charge? You will probably need 15 minutes or more of flight time to cover an average-sized roof. The Phantom 3 has a flight time of 25 minutes at an air temperature of 70 degrees. Keep in mind that a battery's capacity will decrease with decreased air temperature. In cold weather, for example, you may not get more than 15 minutes on a full charge.
Before you buy, check out the manufacturer and ask yourself these questions: Does the manufacturer offer good product and technical support? Is the company responsive to questions? Does the website provide online tutorials? What is the warranty policy?
Once you've selected your drone, you can build your kit. Of course, you will need the drone and a controller. The Phantom 3 comes with a separate remote control—nice. Invest in a spare battery. You may need it if you will be conducting multiple-unit inspections or if you are inspecting a large, complex roof. I highly recommend obtaining propeller (rotor) guards. The last thing you need is to break a rotor and crash onto an inaccessible roof. I also recommend investing in a quality carrying case. I have a case (by GoPro) that is specifically designed to hold the DJI Phantom 3 series. It cost $350, but I believe that it is well worth the cost to protect my investment.
By the time you purchase all the items you need, your drone kit likely will cost you at least $1,000. But again, in my opinion, considering the freedom, versatility and safety the drone affords me, the investment has been well worth it.
The natural impulse might be to grab your brand new, untested drone kit and whisk off to your first inspection. Don't do it! Flying requires specific skills and hand-eye coordination that can only come with knowledge and practice.
Read the manual first. Most likely, it will be a downloadable document. I printed out the manual for my drone and then I read it five times before flying. Get to know the features and operating procedures for your drone. Watch online tutorials.
Assemble your drone in accordance with the manufacturer's instructions. You most likely will have to attach the propellers (rotors) and the propeller guards (recommended). Make sure the batteries are fully charged before flight. The Phantom 3 drone system consists of three parts: the remote controller, which contains the flight controls; the aircraft itself, which is a quadcopter; and an iPhone or Android mobile device (not included), which serves as both the "cockpit window" via video feed and the instrument panel. The drone application can be downloaded from the manufacturer.
Before your first flight, make sure your mobile device is connected (typically via Wi-Fi) to your controller and that there is a definite link with the aircraft (drone). Wait until you have GPS acquisition before flying, especially the first time. Start the rotors and slowly ascend to about 5 feet AGL. Get the feel of the flight controls by maneuvering your aircraft in a safe area. Check the camera gimbal operation and take some shots of ground features. As you become more familiar with your aircraft's flight characteristics, go higher and farther.
Practice a roof inspection on your own home. Practice hovering in a stable manner over a fixed point below; this is the most frequent and the trickiest flight maneuver you will need to perform. The Phantom 3 aircraft camera connects to a computer via the included cable, which plugs into a standard USB port for image download. The camera looks like any other external storage device for the computer.
I highly recommend that you spend at least 10 hours in practice flight mode before you take your drone on an inspection. You should be as comfortable flying the drone as you are driving your car. Aircraft operation must be instinctive; you won't have time to think and wonder during a drone flight that's part of an inspection.
All drones must be registered with the FAA (to register, visit www.faa.gov/uas/). I recommend that you wait to register until you are sure that your drone operates properly and that you have selected the drone that is right for you. This should not take more than a couple hours of flight time.
We are used to getting in our cars and driving off. If your car quits, all you need to do is pull over to the shoulder and summon assistance or make the necessary repairs. Operating an aircraft is quite different. Eventually, every aircraft will land. The question is, how will it land?
Specific checks must be made before flight to ensure that your aircraft is in good condition and calibrated. This procedure is called preflight. Part of the normal preflight procedure should be checking the rotors and guards for damage. Do not fly with a damaged rotor! Check the aircraft itself for damage and ensure that the camera is mounted properly. Check the flight battery level. It should be fully charged before flight. DJI also recommends compass calibration when flying in a new location. Make sure there are no metal objects nearby, as they will throw off the compass. I always take off my watch and remove keys from my pocket before compass calibration.
Take off slowly and note the sound the aircraft makes. If it sounds irregular or unusual, or if it exhibits any unexpected instability, land immediately! Observe FAA regulations; do not fly in rain, snow or high winds and gusts.
During flight, always keep the aircraft in sight. Most of your attention should be on the aircraft's behavior and position, with occasional glances to your "instrument panel" (mobile device). If the aircraft ducks behind an obstruction, it could lose communication with the remote controller. The Phantom 3 has a return-to-home (RTH) feature that automatically brings the aircraft back to its takeoff location if the controller signal is lost. If you have to move from the front to the back of the house, increase the aircraft's altitude so it is always hovering in sight as you move to the back, then bring it back down to continue your inspection.
Be aware that, during inspections, you will be using the drone in a manner that most manufacturers recommend you don't do: flying close to obstructions. Keep at least a 2-foot distance from obstructions in case the aircraft drifts or is pushed by a wind gust.
All aircraft use fuel. Larger aircraft use either gasoline or jet fuel. Drones use electricity. Think of the aircraft battery as a fuel tank and land when it gets low (below approximately 25 percent). Don't push it! If you run out of "fuel," the aircraft will land in an undesirable and possibly destructive manner.
The advent of drones has opened up new horizons to home inspectors, just as thermal imaging cameras did in the recent past. So, should you invest in a drone? Only you can answer this question. Just as your job is to enable a homebuyer to make an informed purchasing decision, you should apply the same philosophy when you make a decision about whether to incorporate a drone into your inspection business. For me, it was the right move. I've been able to perform more thorough inspections without risking my neck or damaging a roof. My drone has certainly paid for itself.
Ron Greene is Owner-Operator of Golden Eagle Home Services LLC, Mountlake Terrace, WA. He is certified by ASHI and InterNACHI. He has been a licensed home inspector for about three years, after having been a handyman for eight years.


Are you ready to make a difference and help us create a fairer and more compassionate world?
Do you believe you have valuable skills that will enhance our team? Then we want to hear from you.
Based in Uxbridge, West London, we're looking for talented, ambitious people who have the experience and drive to help us grow QCS, have a positive impact on the Care Sector, and improve thousands of lives.
If you have not heard from us within four weeks of your initial application then you have not been successful on this occasion. However, do keep checking our website and apply for any future opportunities that you think may suit you.


President Trump called on Sunday for "tough" immigration reform after a report stated a caravan carrying more than 1,000 people from Central America is traveling through Mexico, with their last stop intended for the United States in hopes of entering the states illegally or by asking for asylum.
The caravan — organized by Pueblos Sin Fronteras, or People Without Borders — traveled through Mexico without authorization last week, BuzzFeed News reported on Friday. Officials in Mexico have not attempted to stop the migrants, about 80 percent of them from Honduras, according to the report. The group's intent is to provide those people a safe way to travel to the U.S.
National Border Patrol Council (NBPC) union chief Brandon Judd told "Fox & Friends" on Sunday that the migrants are riding on the benefit of catch and release, when illegal immigrants are detained in the U.S. and released while they await for their court hearings.
President Trump, who has vowed to end catch and release, tweeted Sunday morning that Republicans need to take the "nuclear option" when passing tougher immigration laws.
"Border Patrol Agents are not allowed to properly do their job at the Border because of ridiculous liberal (Democrat) laws like Catch & Release. Getting more dangerous. 'Caravans' coming. Republicans must go to Nuclear Option to pass tough laws NOW. NO MORE DACA DEAL!" the president tweeted.
"These big flows of people are all trying to take advantage of DACA. They want in on the act!" he said.
Organizers believe about two-thirds of the people in the caravan are planning to enter the U.S. illegally or by asking for protection, according to BuzzFeed. The caravan does not give the migrants the guarantee they will enter the U.S. and uses any form of transportation necessary to make it to the border. Most of the people are reportedly fleeing poverty and political unrest from their home country.
Judd said border patrol agents do not have the ability to stop the migrants at the border even if they only step one foot on U.S. soil.
It's unclear when the hundreds of migrants will be arriving at the U.S. border. Some of those who are traveling with the caravan are planning to stay in Mexico.


text:
<?php

namespace Chamilo\Core\Repository\ContentObject\Presence\Display\Service;

use Chamilo\Core\Repository\ContentObject\Presence\Display\Manager;
use Chamilo\Core\Repository\ContentObject\Presence\Storage\DataClass\Presence;
use Chamilo\Libraries\Architecture\ContextIdentifier;
use Symfony\Component\Translation\Translator;

/**
 * @package Chamilo\Core\Repository\ContentObject\Presence\Display\Service
 *
 * @author Stefan Gabriëls - Hogeschool Gent
 */
class ExportService
{
    /**
     * @var UserService
     */
    protected $userService;

    /**
     * @var PresenceService
     */
    protected $presenceService;

    /**
     * @var PresenceResultPeriodService
     */
    protected $presenceResultPeriodService;

    /**
     * @var Translator
     */
    protected $translator;

    /**
     * @param UserService $userService
     * @param PresenceService $presenceService
     * @param PresenceResultPeriodService $presenceResultPeriodService
     */
    public function __construct(UserService $userService, PresenceService $presenceService, PresenceResultPeriodService $presenceResultPeriodService)
    {
        $this->userService = $userService;
        $this->presenceService = $presenceService;
        $this->presenceResultPeriodService = $presenceResultPeriodService;
    }

    /**
     * @param Translator $translator
     */
    public function setTranslator(Translator $translator)
    {
        $this->translator = $translator;
    }

    /**
     * @param Presence $presence
     * @param int[] $userIds
     * @param ContextIdentifier $contextIdentifier
     */
    public function exportPresence(Presence $presence, array $userIds, ContextIdentifier $contextIdentifier)
    {
        $this->outputHeaders($presence);
        // create a file pointer connected to the output stream
        $output = fopen('php://output', 'w');

        $periods = $this->presenceResultPeriodService->getResultPeriodsForPresence($presence, $contextIdentifier);
        $this->outputColumnHeadings($output, $presence, $periods);

        $users = $this->userService->getUsersFromIds($userIds, $contextIdentifier);
        $this->outputColumnRows($output, $presence, $periods, $users);
    }

    /**
     * @param array $periods
     * @param Presence $presence
     *
     * @return array
     */
    protected function getPeriodLabels(array $periods, Presence $presence): array
    {
        $periodLabels = array();

        foreach ($periods as $index => $period)
        {
            $label = empty($period['label']) ? ('P' . ($index + 1)) : $period['label'];
            $periodLabels[] = $label;
            if ($presence->hasCheckout())
            {
                $periodLabels[] = $label . ' - checkout';
            }
        }
        return $periodLabels;
    }

    /**
     * @param $status
     *
     * @return int
     */
    protected function getAliasedId($status): int
    {
        $id = $status['id'];

        if ($status['type'] == 'custom')
        {
            $id = $status['aliasses'];
        }

        if ($id == Presence::STATUS_ONLINE_PRESENT)
        {
            return 3;
        }

        return $id;
    }

    /**
     * @param array $statuses
     * @param array $user
     * @param int $periodId
     *
     * @return string
     */
    protected function getCheckoutField(array $statuses, array $user, int $periodId): string
    {
        $periodStr = 'period#' . $periodId;

        if (! array_key_exists($periodStr . '-status', $user))
        {
            return '';
        }

        $statusId = $user[$periodStr . '-status'];

        $status = $statuses[$statusId];
        if(empty($status))
        {
            return '';
        }

        $aliasedId = $this->getAliasedId($status);

        if ($aliasedId == 3 &&
            array_key_exists($periodStr . '-checked_in_date', $user) &&
            array_key_exists($periodStr . '-checked_out_date', $user))
        {
            $checkedOut = $user[$periodStr . '-checked_out_date'] > $user[$periodStr . '-checked_in_date'];
            if (isset($this->translator))
            {
                return $this->translator->trans($checkedOut ? 'CheckedOutYes' : 'CheckedOutNo', [], Manager::context());
            }
            return $checkedOut ? 'yes' : 'no';
        }

        return '';
    }

    /**
     * @param array $statuses
     * @param array $user
     * @param int $periodId
     *
     * @return string
     */
    protected function getCodeField(array $statuses, array $user, int $periodId): string
    {
        $periodStr = 'period#' . $periodId;

        if (! array_key_exists($periodStr . '-status', $user))
        {
            return '';
        }

        $statusId = $user[$periodStr . '-status'];

        return !is_null($statuses[$statusId]['code']) ? $statuses[$statusId]['code'] : '';
    }

    /**
     * @param Presence $presence
     */
    protected function outputHeaders(Presence $presence)
    {
        // output headers so that the file is downloaded rather than displayed
        header('Content-Type: text/csv; charset=utf-8');
        header('Content-Disposition: attachment; filename=' . str_replace(' ', '_', $presence->get_title()) . '.csv');
    }

    /**
     * @param $output
     * @param array $periods
     * @param Presence $presence
     */
    protected function outputColumnHeadings($output, Presence $presence, array $periods): void
    {
        // output the column headings
        fputcsv($output, array_merge(array('lastname', 'firstname', 'official_code'), $this->getPeriodLabels($periods, $presence)), ';');
    }

    /**
     * @param $output
     * @param Presence $presence
     * @param array $periods
     * @param array $users
     */
    protected function outputColumnRows($output, Presence $presence, array $periods, array $users): void
    {
        $statuses = $this->presenceService->getPresenceStatuses($presence);

        foreach ($users as $user)
        {
            $fields = array($user['lastname'], $user['firstname'], $user['official_code']);

            foreach ($periods as $period)
            {
                $fields[] = $this->getCodeField($statuses, $user, $period['id']);

                if ($presence->hasCheckout())
                {
                    $fields[] = $this->getCheckoutField($statuses, $user, $period['id']);
                }
            }
            fputcsv($output, $fields, ';');
        }
    }
}


Your address determines your cycle.Customers are assessed a penalty on balances left on the account past the due date and are allowed 10 days after the due date to pay their bill before the account is door tagged and then ultimately disconnected.
After-hours payments for non-pays and disconnects can be made at the Lampasas Police Department, located at 301E Fourth St. There is a fee of $35 for after-hour reconnects.
If you are interested, please fill out the bank draft form and return it along with a voided check or deposit slip.
Credit card payments by Visa /MasterCard/ Discover at the utility counter located inside City Hall, at the drive-up window, by telephone, and online.


Hi Guys! In today´s post I´m going to show you how to make your very own DIY Valentines no sew cushion covers. Yes that´s right. It´s NO SEW and so easy!
I simply love Valentine´s Day and this year I´m going all out with the Diy Valentines Decor. Not only that I´m planning to organize my decor per holiday pin to make sure I can easily get it the next time round and to make sure all my decorations are kept safely stored away.
Ok to start off REMEMBER to switch on your hot glue gun. Like I told you guys in my DIY Valentine Wreath post, I can´t count the number of times I was ready to start with my project just to realise that I forgot to heat-up my hot glue gun… The first thing is to make sure that the pillow / cushion cover fits in the cushion insert. If not, cut it to size like I did. Then turn it inside-out and fold the open sides over and secure it with your hot glue gun. The idea is to make the sides neater so that when you turn it inside out again, ready for your cushion to be inserted, the top sides are neat and ready to be glued close (obviously once you´ve inserted your cushion).
Now it´s time to decorate your cushion cover! I used scraps of heart printed material and cut a heart shape. To make the perfect heart shape watch my video tutorial here. Stick your heart on to your diy cushion cover and allow it to dry. Use ribbon to decorate the heart and the rest of the cushion. I used heart ribbon bunting that I bought at Flying Tiger. You can use anything you have or browse the ribbon pages on Amazon. Be creative and enjoy the process. Decorating is the FUN part!
See you guys next time! Click below to see the full video tutorial!
Haha…I totally know what you mean about Pinterest getting you! I mean I want to go decorate my house top to bottom with Valentine's Day stuff now. And then right after that Mardi Gras…and then St. Patrick's Day…and Easter. Hmmm. Where am I going to store all of this stuff? 🙂 I love how easy this project is. I think even I could handle making these pillows! Great tutorial! And happy (early) V-Day, my friend!


text:
Die Brauerei Frischeisen ist eine Bierbrauerei im niederbayerischen Affecking, einem Stadtteil der Stadt Kelheim, einer Stadt im gleichnamigen Landkreis Kelheim. Bereits seit 1851 befindet sie sich in Familienbesitz. Die Brauerei hatte 2008 eine Jahresproduktion von 7000 Hektolitern. Zu ihr gehören auch ein gleichnamiger Gasthof und ein Hotel.

Produkte
Die Produktpalette umfasst die Biersorten Urtyp Hell. Märzen, Pils und Affeckinger Schloß-Dunkel.

Einzelnachweise

Frischeisen
Produzierendes Unternehmen (Landkreis Kelheim)
Gegründet 1851
Unternehmen (Kelheim)