text:
"""
Basic data classes for representing context free grammars.  A
X{grammar} specifies which trees can represent the structure of a
given text.  Each of these trees is called a X{parse tree} for the
text (or simply a X{parse}).  In a X{context free} grammar, the set of
parse trees for any piece of a text can depend only on that piece, and
not on the rest of the text (i.e., the piece's context).  Context free
grammars are often used to find possible syntactic structures for
sentences.  In this context, the leaves of a parse tree are word
tokens; and the node values are phrasal categories, such as C{NP}
and C{VP}.

The L{CFG} class is used to encode context free grammars.  Each C{CFG}
consists of a start symbol and a set of productions.  The X{start
symbol} specifies the root node value for parse trees.  For example,
the start symbol for syntactic parsing is usually C{S}.  Start
symbols are encoded using the C{Nonterminal} class, which is discussed
below.

A CFG's X{productions} specify what parent-child relationships a parse
tree can contain.  Each production specifies that a particular
node can be the parent of a particular set of children.  For example,
the production C{<S> -> <NP> <VP>} specifies that an C{S} node can
be the parent of an C{NP} node and a C{VP} node.

CFG productions are implemented by the C{CFGProduction} class.
Each C{CFGProduction} consists of a left hand side and a right hand
side.  The X{left hand side} is a C{Nonterminal} that specifies the
node type for a potential parent; and the X{right hand side} is a list
that specifies allowable children for that parent.  This lists
consists of C{Nonterminals} and text types: each C{Nonterminal}
indicates that the corresponding child may be a C{TreeToken} with the
specified node type; and each text type indicates that the
corresponding child may be a C{Token} with the with that type.

The C{Nonterminal} class is used to distinguish node values from leaf
values.  This prevents the grammar from accidentally using a leaf
value (such as the English word "A") as the node of a subtree.  Within
a C{CFG}, all node values are wrapped in the C{Nonterminal} class.
Note, however, that the trees that are specified by the grammar do
B{not} include these C{Nonterminal} wrappers.

CFGs can also be given a more procedural interpretation.  According to
this interpretation, a CFG specifies any tree structure M{tree} that
can be produced by the following procedure:

    - Set M{tree} to the start symbol
    - Repeat until M{tree} contains no more nonterminal leaves:
      - Choose a production M{prod} with whose left hand side
        M{lhs} is a nonterminal leaf of M{tree}.
      - Replace the nonterminal leaf with a subtree, whose node
        value is the value wrapped by the nonterminal M{lhs}, and
        whose children are the right hand side of M{prod}.

The operation of replacing the left hand side (M{lhs}) of a production
with the right hand side (M{rhs}) in a tree (M{tree}) is known as
X{expanding} M{lhs} to M{rhs} in M{tree}.

@group Context Free Grammars: CFG, CFGProduction, Nonterminal
@group Probabilistic CFGs: PCFG, PCFGProduction
@sort: CFG, CFGProduction, Nonterminal, PCFG, PCFGProduction
"""

from nltk.token import *
from nltk.chktype import chktype as _chktype
from nltk.chktype import classeq as _classeq
import re

#################################################################
# Nonterminal
#################################################################

class Nonterminal:
    """
    A non-terminal symbol for a context free grammar.  C{Nonterminal}
    is a wrapper class for node values; it is used by
    C{CFGProduction}s to distinguish node values from leaf values.
    The node value that is wrapped by a C{Nonterminal} is known as its
    X{symbol}.  Symbols are typically strings representing phrasal
    categories (such as C{"NP"} or C{"VP"}).  However, more complex
    symbol types are sometimes used (e.g., for lexicalized grammars).
    Since symbols are node values, they must be immutable and
    hashable.  Two C{Nonterminal}s are considered equal if their
    symbols are equal.

    @see: L{CFG}
    @see: L{CFGProduction}
    @type _symbol: (any)
    @ivar _symbol: The node value corresponding to this
        C{Nonterminal}.  This value must be immutable and hashable.
    """
    def __init__(self, symbol):
        """
        Construct a new non-terminal from the given symbol.

        @type symbol: (any)
        @param symbol: The node value corresponding to this
            C{Nonterminal}.  This value must be immutable and
            hashable.
        """
        self._symbol = symbol
        self._hash = hash(symbol)

    def symbol(self):
        """
        @return: The node value corresponding to this C{Nonterminal}.
        @rtype: (any)
        """
        return self._symbol

    def __eq__(self, other):
        """
        @return: True if this non-terminal is equal to C{other}.  In
            particular, return true iff C{other} is a C{Nonterminal}
            and this non-terminal's symbol is equal to C{other}'s
            symbol.
        @rtype: C{boolean}
        """
        return (self is other or self.__class__ == other.__class__ and
                self._symbol == other._symbol)

    def __ne__(self, other):
        """
        @return: True if this non-terminal is not equal to C{other}.  In
            particular, return true iff C{other} is not a C{Nonterminal}
            or this non-terminal's symbol is not equal to C{other}'s
            symbol.
        @rtype: C{boolean}
        """
        return not (self==other)

    def __cmp__(self, other):
        if self == other: return 0
        else: return -1

    def __hash__(self):
        return self._hash

    def __repr__(self):
        """
        @return: A string representation for this C{Nonterminal}.
            The string representation for a C{Nonterminal} whose
            symbol is C{M{s}} is C{<M{s}>}.
        @rtype: C{string}
        """
        # [XX] not a good repr!  Token uses this now!!
        return '<%s>' % (self._symbol,)

    def __str__(self):
        """
        @return: A string representation for this C{Nonterminal}.
            The string representation for a C{Nonterminal} whose
            symbol is C{M{s}} is C{M{s}}.
        @rtype: C{string}
        """
        return '%s' % (self._symbol,)

    def __div__(self, rhs):
        """
        @return: A new nonterminal whose symbol is C{M{A}/M{B}}, where
            C{M{A}} is the symbol for this nonterminal, and C{M{B}}
            is the symbol for rhs.
        @rtype: L{Nonterminal}
        @param rhs: The nonterminal used to form the right hand side
            of the new nonterminal.
        @type rhs: L{Nonterminal}
        """
        assert _chktype(1, rhs, Nonterminal)
        return Nonterminal('%s/%s' % (self._symbol, rhs._symbol))

def nonterminals(symbols):
    """
    Given a string containing a list of symbol names, return a list of
    C{Nonterminals} constructed from those symbols.

    @param symbols: The symbol name string.  This string can be
        delimited by either spaces or commas.
    @type symbols: C{string}
    @return: A list of C{Nonterminals} constructed from the symbol
        names given in C{symbols}.  The C{Nonterminals} are sorted
        in the same order as the symbols names.
    @rtype: C{list} of L{Nonterminal}
    """
    if ',' in symbols: symbol_list = symbols.split(',')
    else: symbol_list = symbols.split()
    return [Nonterminal(s.strip()) for s in symbol_list]

#################################################################
# CFGProduction and CFG
#################################################################

class CFGProduction:
    """
    A context-free grammar production.  Each production
    expands a single C{Nonterminal} (the X{left-hand side}) to a
    sequence of terminals and C{Nonterminals} (the X{right-hand
    side}).  X{terminals} can be any immutable hashable object that is
    not a C{Nonterminal}.  Typically, terminals are strings
    representing word types, such as C{"dog"} or C{"under"}.

    Abstractly, a CFG production indicates that the right-hand side is
    a possible X{instantiation} of the left-hand side.  CFG
    productions are X{context-free}, in the sense that this
    instantiation should not depend on the context of the left-hand
    side or of the right-hand side.

    @see: L{CFG}
    @see: L{Nonterminal}
    @type _lhs: L{Nonterminal}
    @ivar _lhs: The left-hand side of the production.
    @type _rhs: C{tuple} of (C{Nonterminal} and (terminal))
    @ivar _rhs: The right-hand side of the production.
    """

    def __init__(self, lhs, rhs):
        """
        Construct a new C{CFGProduction}.

        @param lhs: The left-hand side of the new C{CFGProduction}.
        @type lhs: L{Nonterminal}
        @param rhs: The right-hand side of the new C{CFGProduction}.
        @type rhs: sequence of (C{Nonterminal} and (terminal))
        """
        assert _chktype(1, lhs, Nonterminal)
        self._lhs = lhs
        self._rhs = tuple(rhs)

    def lhs(self):
        """
        @return: the left-hand side of this C{CFGProduction}.
        @rtype: L{Nonterminal}
        """
        return self._lhs

    def rhs(self):
        """
        @return: the right-hand side of this C{CFGProduction}.
        @rtype: sequence of (C{Nonterminal} and (terminal))
        """
        return self._rhs

    def __str__(self):
        """
        @return: A verbose string representation of the
            C{CFGProduction}.
        @rtype: C{string}
        """
        str = '%s ->' % (self._lhs.symbol(),)
        for elt in self._rhs:
            if isinstance(elt, Nonterminal):
                str += ' %s' % (elt.symbol(),)
            else:
                str += ' %r' % (elt,)
        return str

    def __repr__(self):
        """
        @return: A concise string representation of the
            C{Production}.
        @rtype: C{string}
        """
        return '[Production: %s]' % self

    def __eq__(self, other):
        """
        @return: true if this C{CFGProduction} is equal to C{other}.
        @rtype: C{boolean}
        """
        return (_classeq(self, other) and
                self._lhs == other._lhs and
                self._rhs == other._rhs)

    def __ne__(self, other):
        return not (self == other)

    def __cmp__(self, other):
        if not _classeq(self, other): return -1
        return cmp((self._lhs, self._rhs), (other._lhs, other._rhs))

    def __hash__(self):
        """
        @return: A hash value for the C{CFGProduction}.
        @rtype: C{int}
        """
        return hash((self._lhs, self._rhs))

    _PARSE_RE = re.compile(r'^(\w+)\s*' + r'(?:-+>|=+>)\s*' +
                           r'(?:("[\w ]+"|\'[\w ]+\'|\w+|\|)\s*)*$')
    _SPLIT_RE = re.compile(r'(\w+|-+>|=+>|"[\w ]+"|\'[\w ]+\'|\|)')

    def parse(s):
        """
        Returns a list of productions!
        """
        # Use _PARSE_RE to check that it's valid.
        if not CFGProduction._PARSE_RE.match(s):
            raise ValueError, 'Bad production string'
        # Use _SPLIT_RE to process it.
        pieces = CFGProduction._SPLIT_RE.split(s)
        pieces = [p for i,p in enumerate(pieces) if i%2==1]
        lhside = Nonterminal(pieces[0])
        rhsides = [[]]
        for piece in pieces[2:]:
            if piece == '|':
                rhsides.append([])                     # Vertical bar
            elif piece[0] in ('"', "'"):
                rhsides[-1].append(piece[1:-1])        # Terminal
            else:
                rhsides[-1].append(Nonterminal(piece)) # Nonterminal
        return [CFGProduction(lhside, rhside) for rhside in rhsides]
    parse = staticmethod(parse)

class CFG:
    """
    A context-free grammar.  A CFG consists of a start state and a set
    of productions.  The set of terminals and nonterminals is
    implicitly specified by the productions.

    If you need efficient key-based access to productions, you
    can use a subclass to implement it.

    @see: L{CFGProduction}
    @see: L{Nonterminal}
    @see: L{nltk.parser}
    """
    def __init__(self, start, productions):
        """
        Create a new context-free grammar, from the given start state
        and set of C{CFGProduction}s.

        @param start: The start symbol
        @type start: L{Nonterminal}
        @param productions: The list of productions that defines the grammar
        @type productions: C{list} of L{CFGProduction}
        """
        assert _chktype(1, start, Nonterminal)
        assert _chktype(2, productions, (CFGProduction,), [CFGProduction])
        self._start = start
        self._productions = tuple(productions)

    def productions(self):
        return self._productions

    def start(self):
        return self._start

    def __repr__(self):
        return '<CFG with %d productions>' % len(self._productions)

    def __str__(self):
        str = 'CFG with %d productions' % len(self._productions)
        str += ' (start state = %s)' % self._start
        for production in self._productions:
            str += '\n    %s' % production
        return str

    def parse(s):
        productions = []
        for linenum, line in enumerate(s.split('\n')):
            line = line.strip()
            if line.startswith('#') or line=='': continue
            try: productions += CFGProduction.parse(line)
            except ValueError:
                raise ValueError, 'Unable to parse line %s' % linenum
        if len(productions) == 0:
            raise ValueError, 'No productions found!'
        start = productions[0].lhs()
        return CFG(start, productions)
    parse = staticmethod(parse)

#################################################################
# PCFGs and PCFG productions
#################################################################

from nltk.probability import ImmutableProbabilisticMixIn
class PCFGProduction(CFGProduction, ImmutableProbabilisticMixIn):
    """
    A probabilistic context free grammar production.
    C{PCFGProduction}s are essentially just C{CFGProduction}s that
    have probabilities associated with them.  These probabilities are
    used to record how likely it is that a given production will
    be used.  In particular, the probability of a C{PCFGProduction}
    records the likelihood that its right-hand side is the correct
    instantiation for any given occurance of its left-hand side.

    @see: L{CFGProduction}
    """
    def __init__(self, lhs, rhs, **prob_kwarg):
        """
        Construct a new C{PCFGProduction}.

        @param prob: The probability of the new C{PCFGProduction}.
        @param lhs: The left-hand side of the new C{PCFGProduction}.
        @type lhs: L{Nonterminal}
        @param rhs: The right-hand side of the new C{PCFGProduction}.
        @type rhs: sequence of (C{Nonterminal} and (terminal))
        """
        ImmutableProbabilisticMixIn.__init__(self, **prob_kwarg)
        CFGProduction.__init__(self, lhs, rhs)

    def __str__(self):
        return CFGProduction.__str__(self) + ' (p=%s)' % self.prob()

    def __eq__(self, other):
        return (_classeq(self, other) and
                self._lhs == other._lhs and
                self._rhs == other._rhs and
                self.prob() == other.prob())

    def __hash__(self):
        return hash((self._lhs, self._rhs, self.prob()))

class PCFG(CFG):
    """
    A probabilistic context-free grammar.  A PCFG consists of a start
    state and a set of productions.  The set of terminals and
    nonterminals is implicitly specified by the productions.

    PCFG productions should be C{PCFGProduction}s.  C{PCFG} imposes
    the constraint that the set of productions with any given
    left-hand-side must have probabilities that sum to 1.

    If you need efficient key-based access to productions, you can use
    a subclass to implement it.

    @type EPSILON: C{float}
    @cvar EPSILON: The acceptable margin of error for checking that
        productions with a given left-hand side have probabilities
        that sum to 1.
    """
    EPSILON = 0.01

    def __init__(self, start, productions):
        """
        Create a new context-free grammar, from the given start state
        and set of C{CFGProduction}s.

        @param start: The start symbol
        @type start: L{Nonterminal}
        @param productions: The list of productions that defines the grammar
        @type productions: C{list} of C{PCFGProduction}
        @raise ValueError: if the set of productions with any left-hand-side
            do not have probabilities that sum to a value within
            PCFG.EPSILON of 1.
        """
        assert _chktype(1, start, Nonterminal)
        assert _chktype(2, productions, (PCFGProduction,), [PCFGProduction])
        CFG.__init__(self, start, productions)

        # Make sure that the probabilities sum to one.
        probs = {}
        for production in productions:
            probs[production.lhs()] = (probs.get(production.lhs(), 0) +
                                       production.prob())
        for (lhs, p) in probs.items():
            if not ((1-PCFG.EPSILON) < p < (1+PCFG.EPSILON)):
                raise ValueError("CFGProductions for %r do not sum to 1" % lhs)

#################################################################
# Demonstration
#################################################################

def demo():
    """
    A demonstration showing how C{CFG}s and C{PCFG}s can be
    created and used.
    """
    # Create some nonterminals
    S, NP, VP, PP = nonterminals('S, NP, VP, PP')
    N, V, P, Det = nonterminals('N, V, P, Det')
    VP_slash_NP = VP/NP

    print 'Some nonterminals:', [S, NP, VP, PP, N, V, P, Det, VP/NP]
    print '    S.symbol() =>', `S.symbol()`
    print

    # Create some CFG Productions
    prods = [CFGProduction(S, [NP, VP]), CFGProduction(PP, [P, NP]),
             CFGProduction(NP, [Det, N]), CFGProduction(NP, [NP, PP]),
             CFGProduction(VP, [V, NP]), CFGProduction(VP, [VP, PP]),
             CFGProduction(Det, ['a']), CFGProduction(Det, ['the']),
             CFGProduction(N, ['dog']), CFGProduction(N, ['cat']),
             CFGProduction(V, ['chased']), CFGProduction(V, ['sat']),
             CFGProduction(P, ['on']), CFGProduction(P, ['in'])]

    prod = prods[2]
    print 'A CFG production:', `prod`
    print '    prod.lhs() =>', `prod.lhs()`
    print '    prod.rhs() =>', `prod.rhs()`
    print

    # Create and print a CFG
    cfg = CFG(S, prods)
    print 'A CFG grammar:', `cfg`
    print '    cfg.start()       =>', `cfg.start()`
    print '    cfg.productions() =>',
    # Use string.replace(...) is to line-wrap the output.
    print `cfg.productions()`.replace(',', ',\n'+' '*25)
    print

    # Create some probabilistic CFG Productions
    A, B, C = nonterminals('A, B, C')
    pcfg_prods = [PCFGProduction(A, [B, B], prob=0.3),
                  PCFGProduction(A, [C, B, C], prob=0.7),
                  PCFGProduction(B, [B, 'b'], prob=0.5),
                  PCFGProduction(B, [C], prob=0.5),
                  PCFGProduction(C, ['a'], prob=0.1),
                  PCFGProduction(C, ['b'], prob=0.9)]

    pcfg_prod = pcfg_prods[2]
    print 'A PCFG production:', `pcfg_prod`
    print '    pcfg_prod.lhs()  =>', `pcfg_prod.lhs()`
    print '    pcfg_prod.rhs()  =>', `pcfg_prod.rhs()`
    print '    pcfg_prod.prob() =>', `pcfg_prod.prob()`
    print

    # Create and print a PCFG
    pcfg = PCFG(S, pcfg_prods)
    print 'A PCFG grammar:', `pcfg`
    print '    pcfg.start()       =>', `pcfg.start()`
    print '    pcfg.productions() =>',
    # Use string.replace(...) is to line-wrap the output.
    print `pcfg.productions()`.replace(',', ',\n'+' '*26)
    print

if __name__ == '__main__': demo()

redpajama_set_name: RedPajamaGithub


A fine new American worship leader Darrell Evans, who will be making his UK debut at this year's Cross Rhythms Festival, spoke to Mike Rimmer.
Worship music is changing. Here in Britain, we've seen Delirious? and Matt Redman along with a host of others pioneer a new sound. Thoroughly contemporary worship music isn't solely a British phenomenon as we're seeing new things happening in America. Kevin Prosch pioneered it and a band like Sonic Flood or an artist like Darrell Evans are taking it to a new level. Evans has a stunning new album, 'Freedom' and an upcoming appearance at the Cross Rhythms festival so now seems like a good time to discover what is happening.
Musically, where British worship has been influenced by Britpop, Evans has embraced North American Stadium rock and says, "I have been influenced by people like Bruce Springsteen or Brian Adams and on the Christian music side Kevin Prosch. On the 'Freedom' record that is me, that's what I do that's the music that's coming out of me! It's a natural thing and I think when a worship leader really taps into who they are and what's their natural flow, whether or not it's the most hip music or the most relevant to the day, people sense there's something honest there. That's what people are searching for the most, something that's honest which speaks to them."
Certainly the success of Delirious? in America can't have harmed Darrell's desire to create music that has a raw contemporary feel. He says, "I think it will open it up for many people. I was kind of steeped in the middle of this probably at the same time. It would be interesting to see the full history of them and how the Lord has used them in England with what the Lord was doing here, almost simultaneously although we weren't recording as early as they were. The Lord was taking us along in the States at a similar pace as he was Delirious? and Matt Redman in the UK and what he's doing in terms of revival of worship. When I heard their record it was like a confirmation that we were going in the right direction."
Listening to his debut album 'Let The River Flow', it doesn't have the same impact as the joyful vibrant passionate rock'n'roll of 'Freedom1. Evans explains, "The honest truth is that 'Let The River Flow', when we recorded it live, was a bit more edgy and a bit more rock. Of course I'm very acoustic orientated but I like something that's got some zip to it and some passion. But the Hosanna Music people aren't used to quite that much edge and so when they mixed the record, some of that was lost, purposely. I still think it accomplished what it needed to."
I suggest that it must have been disappointing for him and he admits, "A little bit. But when we get the cards and letters and phone calls and we meet people as we travel around that have told us that the music has changed their life, then for me it has accomplished what it was to do which was to encourage people to take a step closer in their relationship with the Lord in terms of worship and freedom, and I think it really did that. But sometimes on the musical side it is a little frustrating when you hear something and it doesn't fully come across because they're afraid that their audience might not receive it well. But with 'Freedom', we went for it."
The response that Evans received after the release of his debut is certainly an indication that God is doing something new in worship. Even in the midst of his compromise in the sound of the album, he received much encouragement. He explains, "Many prominent worship song writers and worship leaders from around the country told me that it was different from the typical Hosanna sound although it's not as driving as the 'Freedom' record. A lot of these people told me that it almost gave them permission to write like that so I think it opened up a whole new avenue of expression for a lot of worship leaders and songwriters."
Evans is filled with hope for the impact of his new album. He confesses his vision, "I hope it stretches the paradigm and concept of what fits in the context of worship, what worship really is which involves an interaction and there is an exchange that happens between us and the Lord. Musically I believe that worship is supposed to be the most passionate and creative music in the world, not the least passionate and creative. Other musicians should be following us, and so I really wanted just to go out there and be something that would lead the way."
Evans accepted Christ into his life at age 11 and began writing songs when he was only 14. By age 16 he had begun leading fellow youth in worship. Later, the former Oral Roberts University student went on to serve as youth pastor and worship leader for churches in California, Washington and Oklahoma. It was while serving at a Vineyard church in Tulsa that Evans made his professional songwriting debut with "Let The River Flow", which was published by Mercy/Vineyard Publishing in 1995.
Later, while serving at Open Bible Fellowship in Tulsa, Evans began a relationship with Integrity Incorporated writing songs for the Hosanna! Music label and recorded 'Let The River Flow'. The project later garnered a Dove Award nomination for Praise And Worship Album Of The Year. Shortly thereafter, Evans recorded songs for other Integrity albums such as 'Songs From The Message: The Way Of Love', 'Because We Believe' and 'Our Heart'. Darrell eventually left his position at Open Bible to launch River Flow Ministries, a full time worship concert ministry that is taking him into hundreds of churches around the USA. He also participates in various worship seminars and Christian music festivals.
In late 1997, Evans moved from Hosanna! Music to Vertical Music, a newly launched Integrity label created to reflect emerging music trends among teens and young adults in the Church. According to Danny McGuffey, senior vice president/general manager of the Integrity Label Group, "Darrell perfectly represents the audience we want to reach...young people who are looking for more than entertainment, passionate young adults who want to know God intimately and desire music that leads them into his presence."
Evans' debut album for Vertical was 'You Are, I AM', released January 1998, an interactive CD that contains video clips, interviews and multi media content plus a mixture of new tracks and tracks originally released on 'Let The River Flow'. But it's 'Freedom' which has made the big impact. Highlights include guitar solos by Vertical Music labe-mate and newcomer Lincoln Brewster, who also contributed vocals on several songs.
Darrell is very aware that God is leading the Church into new realms of worship. He comments, "I think He's calling us somewhere, many people don't have a high threshold for change and it can be an uncomfortable growth pattern. I really believe God's calling us somewhere and it involves a renewal of a child like heart. It also means a renewal of an intimate heart and also a heart of repentance and a heart of reverence. All of these things are happening and I think that it's going to spill into our worship, our worship songs and the way that we interact with the Lord. As far as I can see, something needs to be changed if this world is going to come to know Christ. I think worship is one of the greatest draws to the lost that there is."
To record 'Freedom', Darrell took his band to a renowned studio. He has fond memories of recording and explains; "We recorded it in Muscle Shoals in Alabama which in the late 60's early 70's was very famous. The Stones recorded in the studios we were in and many other people like Aretha Franklin and so here we are in this historic studio and we even used the same old board that they had in there that Bob Dylan used. So we set up in the studio, just all of our instruments and we played the tracks together! What we determined to do was just let this be a worship event between us and Jesus."
Evans did have some concerns about the recording process. He says, "We'd mainly been successful at live events and so the fact that this was a studio recording made me wonder whether the passion of worship would happen there. I also wondered whether the creativity and almost the prophetic type of flow would happen and really it did! The week of recording was like a spiritual growth retreat for all the musicians there and for myself. The Lord really did a lot in our hearts and lives and even one of the engineers from the studio was really touched by the Lord. He came and was a part of some of our morning devotions and I was able to give him a Bible. He said when he heard it was a Christian group coming to record he thought that it was going to be yawn music! But he couldn't believe that we were really letting it rip. He said to us, 'I can't believe I love this.' He was really drawn to the Lord by the passion in it. We had such a great time, the record is basically a recording of our fellowship with Jesus that week and what a great time we had."
Darrell Evans will be bringing his exciting blend of rock and praise, enthusiasm and intimacy to the Cross Rhythms festival. The energy of the 'Freedom' album suggests on a musical level that there will be plenty to enjoy but what exactly can we expect from Darrell in a live performance? He laughs, "Well we joke that we don't put on much of a show or performance but what we do is immediately move into being right with Jesus and helping people experience that too. What you can expect musically is just a phenomenal band, the band that played on the 'Freedom' record is going to be there and they're all wonderfully anointed and they love Jesus with all they've got."
He continues enthusiastically, "Musically we're just going to let it all go and there's going to be moments of spontaneous music that happens and new songs and good stuff and there will be opportunities to dance before the Lord and shout. There will be opportunities to get on your knees, but we never know exactly what's going to happen except that we're going to go be with Jesus and it's going to be so overwhelming. People who thought they'd never go to that place in worship are going to go there. People who may not know Christ are going to find it's so infectious that they can't help but go on." Strong expectations but then Darrell Evans definitely has something special. Britain hasn't yet experienced it but this American worshipper has dug into the same anointed creative seam that has fuelled the generation stirring songs of the d:boys, Redman, Oakley and others. God is doing the same thing across the globe, inspiring new music and provoking new worshippers to break out into a new place. As for me, I'll be at the festival. I wouldn't miss this for anything.
It was by divine providence that I came across Darren Evans music, as I searched, one night, in early July of this year for worship music (vocals) to calm my mind and heart as I was going through a deeply traumatic time, with new heart medication. But, Jesus, the ever faithful One, sorted this out, and mercifully, I am so much better now.
Back to Darren's music. He has struck a resounding chord deep within me. I still look out for more of his songs. Previously, even in my alone time, I could not really listen to any kind of Christian music; I just could not connect -- great, beautiful songs and all that, but it all felt like a square peg in a round hole; You know what I mean.
Both of us, my wife Valerie, and I are retired. And we cannot just go out and purchase any music, so I remain content with what i can find.
I want to know if Darren, his wife (can't recall her name -- a beautiful voice and very talented) and the band still travel on ministry. Or do they now limit themselves to recording, and tours inside the USA?
Personally, I wishfully dream of the faintest possibility of Darren, his dear wife, and band possibly returning to the UK, one more time, in the near future. I am certain that the church I am a part of, City Gates Church, in Ilford Essex, (a part of the Elim group of churches) would love to have him minister to God's people here and all over the UK as well.
Our son, Joseph Perry is worship director... and would be thrilled if this was possible. And the bonus of a training day for worship bands in the East of London, and even from London, with Darren and his band, doing the training would be a huge asset, and would enable the Church of Jesus to be built up and strengthen in East London, London itself and the UK.
I ;will leave it there. i tend to ramble on, on subjects that I get excited about!
Darrell Evans: The American songsmith talks about marketing a "worship hit"


Unless otherwise agreed in writing, these Terms and Conditions shall apply to all quotations, orders and supplies. Any purchase conditions of the Buyer shall not be binding on SKAMOL. All quotations shall be subject unsold. SKAMOL shall be entitled to modify the Terms and Conditions without notice.
Terms of delivery are FCA our works (Incoterms 2010), or according to quotation.
Except where fixed prices have been agreed upon in writing, all prices are FCA our works (Incoterms 2010), incl. standard packaging and excluding any taxes, rates and duties. Goods shall be offered on the basis of the rates of exchange and tariff rates for imported goods or materials prevailing on the date of the quotation. In the event of any variations in any of the above mentioned rates, SKAMOL reserves the right to amend the price accordingly for non-confirmed orders and offers outside validity terms.
As a company policy all customers are subject to credit insurance and order confirmations are conditional on credit accreditation/insurance. In the event that SKAMOL's order confirmation deviates from the Buyer's order by way of any supplementary quantities, limitations or reserva¬tions and the Buyer refuses to accept such variations, the Buyer shall notify SKAMOL thereof in writing within one week. lf he fails to do so, SKAMOL's order confirmation shall be controlling for all purposes. The Buyer's order shall not be binding on SKAMOL before the Buyer has received a written order confirmation.
Delivery times are based on the assumption that all technical specifications and data as well as the Buyer's wishes have been clarified at the time of the Buyer making out the order and the assumption that SKAMOL will receive materials from its sub-contractors in due time. SKAMOL makes reservations for any delays due to lack of conformity with these assumptions. In the event that delivery in due time is prevented due to circumstances beyond SKAMOL's absolute control, including strikes and lockout affecting SKAMOL and/or SKAMOL's sub-contractors, and labour disputes, fire, explosion, natural disasters, epidemics, working difficulties, operational breakdowns, war, riots, mobilization, government measures, sequestration, currency restrictions, shortage of means of transport, general shortage of goods, restrictions of power, environmental measures or defects and shortcomings or delays attributable to sub-contractors due to one or more of the aforesaid circumstances, SKAMOL shall be entitled to cancel the order without incurring any liability by notifying the Buyer in writing without delay, whereas delays by reason of the aforesaid circumstances shall only entitle the Buyer to cancel in the event that the delay exceeds six months. Within the said time limit of six months, the Buyer shall only be entitled to cancel following a separate agreement with SKAMOL and on condition that SKAMOL's sub-contractor(s) has/have granted his/their acceptance.
In the event of material delay on the part of SKAMOL that is not covered by the above provisions, the Buyer shall be entitled to rescind the agreement in keeping with the general rules of Danish law. Notwithstanding the Buyer being entitled to rescind the agreement, he shall have no other remedies in this respect unless the Buyer proves that the delay is due to gross negligence on the part of SKAMOL. Hence, SKAMOL shall not be liable for any direct loss or operating loss, loss of profit, loss of earnings or any other indirect loss or consequential loss.
SKAMOL reserves the right to fix the amount of any credit limit for the Buyer. In the event that delivery in due time is prevented due to circumstances for which the Buyer is responsible, including the Buyer's wish to change specifications after the date of order, the Buyer shall nevertheless settle all payments in keeping with the original agreement. Unless otherwise stated in writing, payment for the goods shall be made within 30 days from date of invoice/delivery.
The Buyer shall not be entitled to withhold any payments by reason of any counterclaims which have not been acknowledged in writing by SKAMOL.
lf payment is made after the due date, SKAMOL shall be entitled to charge penalty interest at a rate of 1 per cent per commenced month, counting from the due date until payment is effected. The products sold shall remain the property of SKAMOL until the entire purchase price under the agreement has been paid.
SKAMOL warrants that the goods supplied correspond to those itemized in the order confirmation, but SKAMOL undertakes no further obliga¬tions over and above this warranty, nor for the goods being fit for the Buyer's intended purposes, including in the event that the goods have been resold by the Buyer.
Use and application - including resale - of the goods shall thus be at the exclusive risk of the Buyer. Any information furnished by SKAMOL in catalogues, technical data sheets and the like concerning specifications and the like shall be understood as a guide only and can in no circumstances be claimed to constitute the basis for liability on the part of SKAMOL, whether in whole or in part, nor shall they release the Buyer from making any necessary examinations, tests, etc. on his own initiative. The uncertainty prevailing at all times should be added to all absolute values indicated.
Notwithstanding the following provisions and any substantiated negligence, except from instances of gross negligence on the part of SKAMOL, SKAMOL shall in no event be liable for operational loss, loss of profit or any other indirect loss or consequential loss of whatsoever nature, no matter whether the claim for liability is based on ordinary rules of compensation or on any other basis.
With respect to lack of conformity claimed in due time and within one year after delivery of the goods, SKAMOL undertakes - at its option - (a) to remedy the lack of conformity of the goods, (b) to deliver goods in replacement of any non-conforming goods - and in that event the Buyer shall not be entitled to make any other claims based on lack of conformity - (c) to credit the Buyer with the amount payable for the non-conforming goods returned at SKAMOL's request for the Buyer's account, (d) to grant the Buyer a pro rata reduction of the purchase price for the goods.
In claiming lack of conformity, the Buyer shall state the number and date of invoice. On request, defective parts shall be returned carriage paid to SKAMOL. Over and above the aforesaid obligations, SKAMOL shall not be liable for lack of conformity after the risk for the goods has passed to the Buyer, notwithstanding the said lack of conformity being attributable to causes existing prior to the time when the risk passes to the Buyer and notwithstanding any negligence that might be proved to be attributable to SKAMOL.
Any costs connected with demounting and remounting shall be of no concern to SKAMOL.
The Buyer's claims on the basis of demonstrated lack of conformity cannot be assigned to any third party without the written consent of SKAMOL.
SKAMOL shall not be liable for lack of conformity attributable to incorrect use, transportation, storage, mounting or other negligence on the part of parties other than SKAMOL, and extraordinary or ordinary wear and tear.
In cases where, by their nature, the goods are ordinarily intended for commercial use and are used by the injured party mainly in keeping with such intended purpose, SKAMOL shall be liable for a period of one year only, counting from the date of delivery, for damage to real property or movables caused by the goods.
SKAMOL shall only be liable for such damage if it can be proved that the injury or damage is due to negligence or omission on the part of SKAMOL or its employees, and where SKAMOL is held liable by a court ruling.
SKAMOL shall however in no circumstance be liable for operational loss, loss of profit, loss of earnings or any other indirect loss or conse¬quential loss.
In the event of damage to real property or movables, including products made by the Buyer, SKAMOL's liability is limited to DKK 1 million. SKAMOL's liability does not extend to damage to the product causing the damage.
In cases where, by their nature, the goods are intended for non-commercial use and are used by the Buyer mainly in keeping with such intended purpose, SKAMOL shall be liable for damage to real property or movables in keeping with the Danish legislation on product liability in force at the time in question.
SKAMOL shall be liable for injury caused by commercial as well as non-commercial use of the goods in keeping with the Danish legislation on product liability in force at the time in question.
In the event that the Buyer has been negligent, SKAMOL shall have a right of recourse against the Buyer according to the degree of liability attributable to the Buyer. In all circumstances and notwithstanding any negligence on the part of SKAMOL, the Buyer shall indemnify SKAMOL to the extent that SKAMOL's liability towards third parties exceeds the limitations and rules set out in clause 8 C above.
In the event of damage to property, where the goods are not intended for commercial use, and in the event of injury, and where SKAMOL is held liable towards a third party by reason of the Buyer's use of such goods, including resale of the goods, SKAMOL shall have a right of recourse against the Buyer to the extent that such damage or injury is attributable to negligence on the part of the Buyer.
In the event that the damage or injury is not attributable to negligence on the part of the Buyer, SKAMOL shall be liable in keeping with the Danish legislation on product liability in force at the time in question.
In cases where SKAMOL is liable under the Danish legislation on product liability in force at the time in question, cf. clauses C and D, it is expressly understood that liability does not extend to system or development damage, and that the general rules of Danish law on compensation, including the provisions on limitation of liability for compensation shall apply pari passu with these provisions.
In his use of the goods, including resale, the Buyer shall prudently use/market such goods and to the extent possible take such measures (including the issuing of instructions and warnings to joint contractors and subsequent levels of distribution) which can safeguard the Buyer as well as SKAMOL from incurring product liability. With respect to the provisions on product liability towards third parties referred to above, the Buyer's violation of this provision shall be deemed to constitute an act for which he incurs liability on an equal footing with any other negligence on the part of the Buyer.
Immediately upon receipt of the goods, the Buyer shall thoroughly examine and test the products supplied in order to ensure that the goods are in conformity with the Buyer's wishes.
In the event that the Buyer wishes to claim lack of conformity of the goods, he shall moreover complain thereof forthwith and in writing, and at any rate not later than 14 days after receipt of the goods. In the event that the Buyer fails to give such notification, irrespective of whether he has or should have discovered the lack of conformity, he will lose the right to invoke lack of conformity of the goods at any later date.
All complaints and/or any other claims against SKAMOL shall be made by the Buyer forthwith after he has become - or should have been ¬aware of the circumstances on which the complaint/claim is based. In all other cases, the Buyer has forfeited his rights to invoke them at a later date.
Any dispute arising between the parties, including but not limited to disputes regarding the interpretation or validity of these Terms and Conditions, or any dispute arising between the parties by reason of SKAMOL's quotation/order confirmation or in connection with any supply from SKAMOL to the Buyer shall be settled with final effect according to Danish law. The parties have agreed that the Maritime and Commercial Court of Copenhagen shall be the exclusive venue. SKAMOL shall at its sole discretion be free to choose whether the matter shall be settled by arbitration or by the Maritime Commercial Court of Copenhagen.


text:
package org.springframework.cloud.function.context.test;

import java.lang.annotation.Documented;
import java.lang.annotation.ElementType;
import java.lang.annotation.Inherited;
import java.lang.annotation.Retention;
import java.lang.annotation.RetentionPolicy;
import java.lang.annotation.Target;

import org.springframework.boot.test.context.SpringBootTest;
import org.springframework.boot.test.context.SpringBootTest.WebEnvironment;
import org.springframework.core.annotation.AliasFor;
import org.springframework.test.context.ContextConfiguration;

/**
 *
 * @author Dave Syer
 * @since 2.0
 *
 */
@Target(ElementType.TYPE)
@Retention(RetentionPolicy.RUNTIME)
@Documented
@Inherited
@SpringBootTest(properties = "spring.functional.enabled=true")
@ContextConfiguration(loader = FunctionalTestContextLoader.class)
public @interface FunctionalSpringBootTest {

	@AliasFor(annotation = SpringBootTest.class, attribute = "properties")
	String[] value() default {};

	@AliasFor(annotation = SpringBootTest.class, attribute = "value")
	String[] properties() default {};

	@AliasFor(annotation = SpringBootTest.class, attribute = "classes")
	Class<?>[] classes() default {};

	@AliasFor(annotation = SpringBootTest.class, attribute = "webEnvironment")
	WebEnvironment webEnvironment() default WebEnvironment.MOCK;

}


That rarest of anomalys, psychedelic Northern soul,a strange land where a late sixties slice of psyche pop can run amok with soul legends and funk obscurities in some dingy cellar club in the middle of Blackpool.Innocent and as catchy as hell ,some de riguer flanging and Who style backing vocals cannot deter this song from its righteous melodic path.
From a recent cd re-issue of a for once real lost classic from the enigmatic but well connected Mr Lincoln. This sort of mines the same seam as Syd Barrett but this is psyche pop firmly rooted in English folk/folkloreand the joining of a collage of three different song parts,what some would refer to as an opus or epic.Haunting nursery rhyme intro makes way for weird fairground interlude and lysergic distraction before concluding with the painfully beautiful intro section,before finishing way too early for its own good.They dont make them like this anymore and couldnt if they tried this is from a different time and place.


Welcome to Manor Square Dental Practice through NHS Choices. We are a busy Practice in the market town of Otley.
We are taking on new NHS patients. Please be aware though we have had large volumes of requests and so wehave compiled a waiting list. We are working our way through the list and will contact people as soon as their name comes to the top. Thank you for your patience in this matter.


text:
Cunningham Creek is a creek located in the Cariboo region of British Columbia.  The creek was discovered in 1861 by William Cunningham.  The creek was mined for gold by European and Chinese Miners.

References

Rivers of British Columbia

redpajama_set_name: RedPajamaWikipedia


Both sexes know men prefer a direct approach from woman, but is it just because men can't read the signs?
Men and women's attitudes to relationships have become remarkably similar — when dating women are now much more likely to make the first move.
It will come as no surprise that research finds men prefer this first move to be direct. But do men and women agree on what a direct approach is and why such directness is necessary in the first place?
These questions are addressed in a new study published recently in the journal Personality and Individual Differences (Wade et al., 2009). Forty women aged between 19 and 22 were asked to list the types of opening lines they might use to signal their interest in dating a man.
Directly ask out on a date: Want to go get dinner?
Ask if single: Do you have a girlfriend?
Give out phone number, or ask for a call: You should call me.
Give a compliment: I like your hair.
Ask about shared interests: Do you watch The Wire?
Indirectly hint at a date: What are you doing later this weekend?
Say something funny/sexual humour: Wanna make out?
Suggest familiarity: Have we met before?
Personal interest questions: How was your weekend?
Subtle hello: Hey, what's your name?
Then men were asked which lines they thought would be most effective for women to use on them. They pretty much put the chat-up lines in order of directness, with the most direct also perceived as the most effective.
When women were asked to do the same they produced a similar list with one exception. Women didn't rate as highly giving out phone numbers or asking for a call. Overall, though, women clearly understand that men prefer the direct approach.
The interesting question, although it may seem easy to answer, is why do men prefer a direct approach? Two obvious answers are men's purported inability to read body language or an assumed distaste for reading situational subtleties (in other words: too stupid or can't be bothered).
In the first minute women behaved no differently to men they fancied than those they didn't. They sent many positive nonverbal signals to all the men and hardly any negative signals.
It is only between the 4th and 10th minute that any correlation was seen between an increased sending of positive nonverbal behaviours and wanting to date the man. But even then the difference was only between some positive signals and slightly more positive signals. Again negative signals were very rare.
The reason men prefer a direct approach becomes clearer. Women may think they are sending out all the right nonverbal signals and may blame men for failing to pick up on them. But from a man's perspective there may often be little to pick up on because women, being polite, are always sending positive nonverbal signals.
ranged from 18 to 23, the results accord with what men say anecdotally: they often can't tell if women are interested or not because the signals are too ambiguous.
So subtlety is out and it's back to the age-old problem for both men and women: who has the guts to risk rejection with the direct approach?


In its 16th edition, the prestigious Crossword Book Award in association with Shoppers Stop, Home Stop and Kotak Mahindra Bank witnessed a remarkable literary event, which saw a venerable celebration of Indian writing in English for books published in the year 2017 at the majestic Royal Opera House – Mumbai.
As India's oldest and most respected literary award, the Crossword Book Award encompasses a total of 11 awards in categories such as fiction, non-fiction, children's, translation in the jury as well as popular categories. Two additional categories – business & management and health & fitness are part of the popular awards alone.
The summit of the evening is the Lifetime Achievement Award, instituted in 2016, given to a literary stalwart.
Dr. Shashi Tharoor, Commonwealth Writers' Prize winner and prolific author with a global fan following, was conferred the same, for his exemplary contribution to Indian writing in English.
For the first time in the history of Crossword Book Awards, a celebrity dialogue between Gaur Gopal Das and Soha Ali Khan was organised. Moderated by veteran business journalist Arijit Barman, the panel discussed the theme #ReadingIsGood.
Handing over the award to Dr. Shashi Tharoor was the Chief Guest, Lord Meghnad Desai, a celebrated author, academician, economist and politician.
Presiding over the awards, Lord Desai said, "It is nice to be at the Crossword Book Awards today because I have spent most of my life either in bookstores or libraries. I have also acted in a bit role with Soha Ali Khan," he said to thunderous applause.
Group top management BS Nagesh, Chairman Shoppers Stop, Atur Talsania National Sales Head Saregama, Rajiv Suri, Vice-Chairperson Crossword Bookstores, Maulik Desai, Head, Crossword Bookstores gave away the popular awards. Social media phenomenon Mallika Dua and Shauna Chauhan, CEO ParleAgro also gave away key awards. RJ Hrishi K served as the emcee.
The presence of authors Sudha Murty, Manu S Pillai, Radhakrishnan Pillai, Ira Mukhoty, Gaur Gopal Das, Amish Tripathi, Ravi Subramanian, Vithal Nadkarni, Durjoy Datta, Anand Neelakantan, Sanjeev Kapoor, Rita Chowdhary, Benny Daniel, Perumal Murugan, Mickey Mehta, Zeba Kohli and actor Divya Dutta added gravitas to the evening.
The Crossword Book Award, India's first and most prestigious Book Award, recognises and rewards the best of Indian writing & Indian authors. Incepted in 1998, over the years, the awards have been equated to the Commonwealth Writer's Prize, The Pulitzer and The Booker, and are a definitive, veritable platform for Indian Authors.
The very best of Indian writing in English has been honoured with the Crossword Book Award, including names such as Salman Rushdie, Vikram Seth, Amitav Ghosh, Neel Mukherjee and Kiran Desai are among past winners of the award; thereby raising the bar for its esteem and reverence.
In 2016, for the first time, Crossword Book Award introduced the Lifetime Achievement Award, which was conferred upon Ruskin Bond by the legend Gulzar.
In 2017, Mrs. Sudha Murty was conferred the Lifetime Achievement Award, and world's leading cardiac surgeon Dr. Ramakanta Panda handed her the same.
The awardees, sometimes discovered by the Award itself, have invariably risen to stature in the world of literature; making the Crossword Book Award a definitive barometer for excellence in Indian writing in English.


The fact that I find this game to be cute and somewhat alluring proves just how gay I am (if ever there was a question).
Oh, I know, I shouldn't say something like that--someone might read this and think that old stereotype about gays being swishy little things who wear pink scarves and only buy games starring Barbie or My Little Pony. Well, stereotypes be damned, I think it's cute.
I have no idea what the game--titled Sweets Pet, I believe--is about, although I'm guessing it's some sort of pet simulator. I'd never buy it--just doesn't seem interesting enough to waste my hard-earned dollars on--but it's cute to look at all the same.


This is guide how to install Falcon 4 PMC Theaters.
Falcon 4 PMC Theater installer downloads come in 7Zip (7z) archives. You can open and unpack 7z files using RAR or 7Zip tools (you can not use WinZip anymore as it does not work).
To unpack 7z you basically use rar/7z tool of your choice to browse and click open PMC theater 7z, then choose Extract from the menu, should be button/icon visible on both winrar and 7zip. When extracted you'll get the theater installer EXE file and a readme.
Run the installer - PMC_<NAME>_Theater_<VERSION>.exe and follow instructions.
Be patient when Htti terrain rebuilder and LxNormalFix utilities (2 different utils) are ran. This can take long time depending on your computer hardware specifications.
Htti is ran for all Falcon 4 versions and all theaters.
LxNormalFix is ran only for Falcon 4 Allied Force.


text:
'Hook' Turns 25: Lost Boys Reunite For Photo Shoot, Remember Robin Williams
7:49 AM PDT 8/10/2016 by Ryan Parker
Courtesy of Facebook 22 Vision
The Lost Boys of 'Hook' then and now.
"We haven't seen each other in quite some time but I almost feel like there was no lost time," says James Madio, who played Don't Ask.
Bangarang, Peter!
Steven Spielberg's Hook is turning 25 later this year and the actors who played the Lost Boys in the family adventure film recently reunited for a full-costumed photo shoot. The gang also reflected on their time with star Robin Williams, who died two years ago Thursday.
"We haven't seen each other in quite some time but I almost feel like there was no lost time," James Madio, who played Don't Ask, told Entertainment Tonight. "We just picked it up right away where we were and just reminiscing about everything. It's just really cool."
The Amblin/Tristar film, featuring Williams as Peter Pan, was released in December 1991 and grossed $300 million worldwide.
Production company 22 Vision, which spent years trying to get the Lost Boys together, already shot reunions of The Little Rascals and School of Rock, Brian Pocrass, CEO of 22 Vision told ET.
"Hook is just one of those movies that people really grew up on," Pocrass said. "To get them together to remember Robin and celebrate this milestone is something that I loved being a part of."
Dante Basco, who played the Lost Boys leader, Rufio, lamented the death of Williams.
"I think for all of us [Robin's death] was the death of our childhood," Basco told ET. "There's sadness there, also there's a lot of space to kinda celebrate one of the most legendary artists of our time. [Robin] really taught me at a young age what it means to be a star, what it means to be a leader on a set. Everything you want Robin Williams to be he delivered in spades."
BANGARANG!!!#Hook25th #22Vision pic.twitter.com/U7wFhB2PN9
— 22 Vision (@22Vision) August 9, 2016
.....!#Hook25th #22Vision pic.twitter.com/nvtsXOYd23
Bryan & Brett Willis as Sooner & Later
"Boys, boys, listen...we have to make him Bangarang! - Tinkerbell#Hook25th pic.twitter.com/TKyaeUgexR
"Hey Rufio?" - Peter Pan#Hook25th #22Vision pic.twitter.com/zdPGaVSB5V
Haha. Well done #22vision #hook25th @22Vision pic.twitter.com/9fjLCW9Eln
— James Madio (@JamesMadio) August 9, 2016
Isaiah Robinson as Pockets
"Oh there you are Peter..."#Hook25th #22Vision pic.twitter.com/KyV1P0UhAt
Ryan Parker
ryan.parker@thr.com theryanparker

redpajama_set_name: RedPajamaCommonCrawl


Early in his schooling, it became apparent to Spud that many words were made up of parts of other words. Soon after this, while helping rearrange books in his grandfather's flat, he found a first edition copy of Theodore "Wombat" Inkleton's definitive pseudoxenolinguistic text "The Art of PXL". Since that pivotal moment, his only passion has been the pursuit of new words and interpretations of the English language.
While her majesty recently recognized Ignatius's contributions to the English language with a top secret knighthood, he prefers to be known as "Spud" or "Iggy".
He happily lives on his small (but adequate) estate not far from his place of birth, and is known for having the world's largest collection of old books about stuff no one seems to care about.


text:
The Parks-Reagan House is a historic house at 420 West Poplar Street in Rogers, Arkansas.  Built in 1898, this two-story Colonial Revival house is one of the finest and oldest in Rogers.  It is a wood-frame structure, roughly square in shape, with a pyramidal roof and a forward-projecting gable-roof section.  A single-story porch wraps around the front and side of the house, with a gable-pedimented section marking the entry stairs.  The house was built for George Parks, a local merchant, and has since 1923 been owned by the Reagan family.

The house was listed on the National Register of Historic Places in 1988.

See also
National Register of Historic Places listings in Benton County, Arkansas

References

Houses on the National Register of Historic Places in Arkansas
Colonial Revival architecture in Arkansas
Houses completed in 1898
Houses in Rogers, Arkansas
National Register of Historic Places in Benton County, Arkansas


text:
Movie Poster Image ArtGetty Images
Before Vivienne Westwood and the Sex Pistols, Sue Blane Invented Punk
CR examinesThe Rocky Horror Picture Show costume designer's cultural and sartorial legacy on the anniversary of the film's debut
By Alyssa Kelly
Across the world, people of all ages wait until midnight to put on their most dramatic makeup and homemade costumes before heading to their local theater to watch a rendition of The Rocky Horror Picture Show, which made its silver screen debut on this day in 1975. Since its release, the cult musical-turned-film has garnered a fandom that surpasses country borders and generational gaps. And while the camp film is accredited with influencing culture in a number of forms, one overlooked impact is the role the movie's wardrobe played in laying foundation for the punk movement. So let's do the time warp again to 1971 London.
20th Century FoxGetty Images
Blane and Curry in the early 1970s
Costume designer Sue Blane graduated from what is now Central Saint Martins–an English arts and design college with a long list of accomplished alumni such as Alexander McQueen and Stella McCartney. The young costumier had already worked on a Glasgow theater production of The Maids, during which time she met actor Tim Curry. This connection would be her big break, as Blane would dress the English actor again on The Rocky Horror Show. The "Picture" part was not added until it was made into a film, for which Blane also designed the costumes.
The show features a series of exaggerated looks, specifically for Dr. Frank-N-Furter and his crew. Frank-N-Furter, played by Curry in the original stage production and the film, makes his first performance in a glittery, black lace-up lingerie set with garters and a pearl necklace. The character appears in dramatized makeup, sealed with an unmissable red lip. The good doctor is a self-proclaimed pansexual transvestite, and his costume reflects the fluidity of his sexual and gender orientation. In a time when mainstream ideas of sex and gender abided by a strict binary, Frank-N-Furter challenged the mainstream through his identity and how he fashioned it.
Tim Curry as Dr. Frank-N-Furter
© 20th Century Fox
In the early 1970s, fashion could be summed up by bohemian halter tops à la Olivia Newton-John for women and The Jackson 5's bell bottom pants and suede button-down coats for the well-dressed man. While the rest of the world embraced these funky styles, the youth culture in London, which Blane was involved in, was heavily invested in the trends coinciding with rock music. Teddy Boys and Girls, a cultural stop on the road to punk fashion (as rock was to punk music), were in high concentration. These dapperly dressed individuals were defined by their coiffed hair and Edwardian coats, and while this look sounds formal, it was practically required for entry to rock concerts.
The Jackson 5 dressed in mainstream
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During this time, the styles of emerging punk origins still maintained a gendered dichotomy—girls and boys within the same subculture adopted different pieces, sharing the same overall aesthetic. However, the height of the punk movement would feature a variety of silhouettes and styles embraced by everyone—men in makeup and skinny jeans and women with shaved heads and oversized jackets. And it all began with Blane.
Teddy Boys and Girls at a rock concert
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While the punk subculture was beginning to embrace the hardened look of leather jackets and heavy eyeliner, Blane's creations asserted an image of punk rock fashion that subverted gender norms and embraced extremity. Even as the musical sees itself revived with new casts and iterations, the costumes for Rocky Horror, for the most part, maintain the same punk-promoting essence. In almost every version, Frank-N-Furter and his friends appear in dark and dramatic make-up, while many of the female ensemble cast members are dressed in three-piece suits. Blane's unapologetically androgynous costumes were the shadowy, genderless designs that punk rock fashion would come to celebrate. She brought gender fluidity to punk, breaking binaries before punks knew they existed.
Tim Curry as Frank-N-Furter
Around the same time, fashion designer Vivienne Westwood opened her own King's Road shop called Sex that sold clothes for Teddy Boys and Girls. Her close association with the Sex Pistols and the British youth culture of that moment put Westwood at the forefront of the punk movement in the mid-1970s. However, at the time of Rocky Horror's release, Westwood had not yet delved into punk motifs such as fishnets and leather bustiers, which Blane had already sent out on stage. Although Westwood and Jean Paul Gaultier are two of the designers most widely credited with the birth of punk fashion, Blane's iconic costume work can also be attributed to punk's rise and success.
Vivienne Westwood and Sid Vicious of the the Sex Pistols
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In recent seasons, punk-inspired runway collections have reinitiated the conversation about subversive fashion. For Christian Dior's Fall/Winter 2019 collection, Maria Grazia Chiuri took a page from the Teddy Girl handbook, putting forth formal pieces with androgynous silhouettes. In the same season, Sarah Burton gave the audience a series of romantic, punk designs, full of metal accoutrements and patent leather combat boots in Alexander McQueen's collection. As a whole, punk style–from the Teds' formal look to the rough and casual ensembles worn by the stereotypical punks–blurred the gender binary in fashion. As contemporaries continue to look to the likes of Westwood and Gaultier for creativity, they are also nodding to Blane's legacy, as it bleeds into future generations through the punk-inspired pieces.
Alexandr McQueen Fall/Winter 2019
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More than anything, punk, as a movement, is about pushing back against the mainstream. The essence of the punk is contingent on rebellion and rejection of the ordinary. Frank-N-Furter, in every way, is punk. He doesn't look like Brad and Janet, the two straight-edge preps who embody status quo lifestyles and fashion, nor does he subscribe to conventional ideas of sex and gender. By creating the external look of a character with such internal punk qualities, Blane, ostensibly, gave the world the first true-to-form punk.
Frank-N-Furter meeting Brad and Janet
Blane has gone on to design costumes for films and stage performances across Europe, but her work on Rocky Horror continues to touch-a, touch-a, touch-a, touch fans. The show has been adapted a myriad of times for stage, film, and television. However, the most intriguing development of the show's many revivals is that they extend far beyond the off-Broadway tours and made-for-TV productions. Around the world, local theaters host midnight showings where audience members are invited to dress up as their favorite characters. The cultural milieu of Rocky Horror no longer exists within a specific subculture, but among the larger population of entertainment enthusiasts.
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For punks, Rocky Horror, whether they knew it or not, was the beginning of something revolutionary. Blane's vision sought not to limit one's identity, but to take them on a strange journey of self-expression and antici...pation.
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