text:
J. T. Stanton, N.L.G.
What The Numbers Mean
Learn how to use those confusing numbers
often seen in identifying die varieties
In the study of mint errors and varieties, identification numbers are even more abundant than with the regular segment of the hobby. These numbers are simply easy methods of identifying various varieties. By using these numbers, other specialist can quickly and easily determine exactly which variety is being mentioned. Other numbers are used to describe rarity, and even a certain class or type of variety.
Most of these identification systems are simply numbers listed after the date and denomination. Some, more complex identification listings include letters or symbols to further identify the variety or error. Additionally, some of the identification listing can be confusing, as a couple use the same prefix. In this case, one must be able to assume which identifier the writer is mentioning.
Rarity factors
The Sheldon Scale
For many years, the only method of commonly identifying rarity was the Sheldon Scale. This scale was designed to identify rarity of Large Cent varieties. In this case, this scale worked very well, as mintage figures were relatively small. The Sheldon Scale was adopted for use with many other series and denominations, as it was the only common scale in existence. However, it was not quite appropriate for some indications.
The Sheldon Scale was simply a progression of eight places, in which the population of all Large Cent varieties were to fall, and was prefaced with the letter "R", indicating rarity.
R-1 Common
R-2 Not So Common
R-3 Scarce
R-4 Very Scarce (population est at 76-200)
R-5 Rare (31-75)
R-6 Very Rare (13-30)
R-7 Extremely rare (4-12)
R-8 Unique or Nearly So (1,2 or 3)
As we indicated previously, other writers adopted this scale to represent coins that were considered scarce or rare, however, as you can imaging, the scale would not be appropriate for many coins. For instance, under this scale, the 1955 doubled die Lincoln Cent would be considered common or not so common.
The Universal Rarity Scale
It is quite obvious from the above that another scale was desperately needed by the hobby for indicating rarity of all coins. Leave it to Q. David Bowers to recognize the need, and develop a method that could be used for any series, and any rarity. Bowers developed The Universal Rarity Scale (URS), which as its name implies, is universal for any coin or item. Bowers outlined his scale in the June 1992 issue of The Numismatist. It has already been adopted by many writers and catalogers.
The Universal Rarity Scale by Q. David Bowers
URS-0 None known
URS-1 1 known, unique
URS-2 2 known
URS-3 3 or 4 known
URS-4 5 to 8 known
URS-5 9 to 16 known
URS-6 17 to 32 known
URS-8 65 to 125 known
URS-9 126 to 250 known
URS-10 251 to 500 known
URS-11 501 to 1,000 known
URS-12 1,001 to 2,000 known
URS-15 8,001 to 16,000 known
URS-16 16,001 to 32,000 known
URS-18 65,001 to 125,000 known
URS-19 125,001 to 250,000 known
As you can see by the Universal Rarity Scale (URS), the mathematical progression is simple, and can be applied to any item as an indication of rarity. In addition, the scale, being simple, does not require memorizing the scale, as one can figure what population a URS number indicates.
When using rarity numbers, there are a couple of things to remember. One, rarity generally differs from one grade to another. If a coin is listed as URS 13 (2001 to 4000 known), it may be relatively common. However, if there are only 2 known in grades above AU, it would be a true rarity in MS63. Such is the case with the 1888-O Morgan Dollar, "hot lips" variety. They are fairly common is VG and F, but unknown above AU.
Secondly, rarity and value are not as closely related as one might suspect. If there are 10 examples of a particular variety known, but only 7 or 8 collectors interested in obtaining a copy, the coin would certainly be rare, but because of a relatively low interest factor, it would not command much of a premium. Conversely, there could be many thousands of a variety known, but if many thousands more collectors were interested in obtaining a copy, the premium over the normal value of the coin would be greater due to the high interest factor (demand). This brings us back to the old theory of supply and demand.
Interest factor
Interest factor is a term used to indicate just how much demand a particular coin or variety might have. A variety with a very high interest factor would be in high demand, with thousands of collectors desiring the variety. A medium interest factor may indicate that the variety is desired by hundreds of people, and a low interest factor might indicate that the coin is sought by just a handful of collectors.
The interest factor, combined with the rarity, help to determine the value of a certain variety or error. However, the eye appeal of the variety or error is also a contributing factor and must be considered in the final evaluation. A very important part of eye appeal is the relative strength or visibility of the particular variety or error - how easily can it be seen?
As a variety receives more publicity within the numismatic press, the Interest Factor may rise as demand increases. This may cause the price or value of certain varieties (and errors) to increase without any change in the estimated quantity available. On the other hand, if a large quantity of a variety surfaces, the value of that variety may decrease as the supply outstrips the demand.
As in other segments of the hobby, a combination of supply and demand almost always dictates the price or value of a particular variety.
RPM and OMM listing numbers
You will notice that most RPMs (repunched mintmarks) and OMMs (over mintmarks) are identified simply, such as 1938-D/S 5c, OMM #1. These numbers simply indicate that the coin is a 1938-D nickel, with an over mintmark (D over S), and is over mintmark #1. This indicates that it was the first OMM listed for that particular date by John Wexler and Tom Miller in The RPM Book. The RPM Book has become the standard in the hobby for RPM and OMM reference.
The same holds true for repunched mintmarks. If a coin is listed as a 1960-D 1c RPM #1, it simply means that the coin is a 1960-D cent, and is the first RPM listed for the date. RPM #1 does not necessarily indicate that the RPM is the strongest or the rarest, only that it was the first one to be listed.
Doubled die listing numbers
As with the RPMs and OMMs, the doubled dies are also assigned numbers which correspond to the listing numbers in the CONECA files. These numbers can be confusing to the beginner, so a brief explanation is included herewith.
There are seven basic classes of doubled dies. These classes have nothing to do with the strength of the doubling, but rather indicate how the particular doubling occurred. Because of the complexity, the "how" is covered in other handouts. For example, there is a Lincoln Cent listed as 1971-S PF 1c 1-O-II. These numbers indicate that the coin is a 1971-S Proof 1c, listed as die #1, with the doubling on the obverse, and it is a class II doubled die. As with the RPMs, if the coin is die #1, it does not necessarily mean that it is the strongest doubled die for that date, only the first one listed.
The sequence for these doubled die listing numbers will always be the same. Following the date of the coin will be the indication of a proof (if it is a proof), then the denomination, the die number (indicated by Arabic numerals), an "O" or "R" signifying obverse or reverse, then finally the class of doubled die (indicated by Roman numerals). There are some doubled dies which have more than one class, such as 1971-S PF 1c 2-O-II+V-CW. The "CW" at the end indicates the spread is in a clockwise direction. Class I and Class V doubled dies will be indicated with a CW or a CCW, indicating either clockwise or counter-clockwise spread. There are also cases in which a coin will have a doubled die on the obverse and reverse, such as 1963 25c 7-O-II + 1-R-I.
A more detailed description of each doubled die class is published in The Lincoln Cent Doubled Die by John Wexler. This book is highly recommended for all variety enthusiasts.
Other numbers are used from time to time to usually indicate a listing number is some reference book. A list of these is shown below. This list may not necessarily be complete, as more books and reference works are being produced constantly.
Breen - Listed in Walter Breen's Complete Encyclopedia of U. S. and Colonial Coins.
FS - Fivaz/Stanton, listed in The Cherrypickers' Guide.
S - Snow, listed in Flying Eagle and Indian cents, by Rick Snow.
VAM - Van Allen/Mallis, Morgan and Peace Dollars as listed in Comprehensive Catalog and Encyclopedia of Morgan and Peace Dollars.
Leone - listed if Frank Leone's Longacre's Two Cent Piece Die Varieties and Errors.
Sheldon - Listed in Penny Whimsy by William H. Sheldon
WB - Listed in The Complete Guide to Liberty Seated half Dollars by Randy Wiley and Bill Bugert


text:
Title 31. MONEY AND FINANCE
Subtitle I. GENERAL
Chapter 3. DEPARTMENT OF THE TREASURY
Subchapter I. ORGANIZATION
Section 315. Continuing in office
31 U.S. Code § 315. Continuing in office
When the term of office of an officer of the Department of the Treasury ends, the officer may continue to serve until a successor is appointed and qualified.
(Pub. L. 97–258, Sept. 13, 1982, 96 Stat. 880, § 309; renumbered § 310, Pub. L. 101–73, title III, § 307(a)(1), Aug. 9, 1989, 103 Stat. 352; renumbered § 311, Pub. L. 107–56, title III, § 361(a)(1), Oct. 26, 2001, 115 Stat. 329; renumbered § 312, Pub. L. 108–177, title I, § 105(a)(1)(A), Dec. 13, 2003, 117 Stat. 2603; renumbered § 315, Pub. L. 111–203, title V, § 502(a)(1), July 21, 2010, 124 Stat. 1580.)
Historical and Revision Notes
Revised Section
Source (U.S. Code)
Source (Statutes at Large)
31:1016.
Mar. 2, 1895, ch. 187 (1st par. under heading "Treasury Department"), 28 Stat. 844.
In the section, the words "When the term of office . . . ends" are substituted for "whose terms of office have expired or shall expire" for consistency and to eliminate unnecessary words. The words "may continue to serve" are substituted for "The Secretary of the Treasury is authorized and directed to pay", "and who have been performing or shall perform the duties of their respective offices after the date of such expiration", and "the salary, compensation, fees, or emoluments authorized or provided by law in each case for the respective incumbents of the offices" because of 25 Op. Atty. Gen. 636 (1906) and for consistency with other titles of the United States Code. The words "until a successor is appointed and qualified" are substituted for "before the appointment and qualification of their successors" and 31:1016 (last sentence) for consistency with other titles of the Code.
2010—Pub. L. 111–203 renumbered section 312 of this title as this section.
2001—Pub. L. 107–56 renumbered section 310 of this title as this section.
Effective Date of 2010 Amendment
Amendment by Pub. L. 111–203 effective 1 day after July 21, 2010, except as otherwise provided, see section 4 of Pub. L. 111–203, set out as an Effective Date note under section 5301 of Title 12, Banks and Banking.

redpajama_set_name: RedPajamaCommonCrawl


text:
If you have been locked out of your account you can request a password reset here.
Tropico Series
From Internet Movie Firearms Database - Guns in Movies, TV and Video Games
Nice, but where's the trigger?
This article or section is incomplete. You can help IMFDB by expanding it.
Tropico 4 the most recently released title in the series (2011)
Tropico is a construction and city building game series where the player assumes the role of the leader of a tropical banana republic. Tropico 1 (2001), Tropico 3 (2009), Tropico 4 (2011), and Tropico 5 (due 2014) have a modern setting which gives the player the control of small Caribbean islands during the Cold War and beyond. The series is also well known for its soundtrack, humor, and the cast especially El Presidente.
The following weapons are featured in the Tropico series:
1 Flintlock Pistols
2 M1911A1
3 Smith & Wesson M&P
4 Browning High Power
5 Glock 17
6 Heckler & Koch MP5A3
7 Muskets
8 Blunderbuss
9 AK-47
9.1 Tropico 1
9.2 Tropico 3,4 & 6
10 Colt Model 733
11 M16A2
12 KPVT Heavy Machine Gun
13 M60 Machine Gun
14 Kord
15 M67 hand grenade
Flintlock Pistols
There are several Flintlock Pistols in the menu screen in Tropico 2.
Tower Sea Service Pistol
There is a flintlock pistol on the desk and several hanging on the left wall.
M1911A1
Generals and El Presidente carry M1911A1 pistols in Tropico 3 & 4. Despite being American-made handguns, they will still be available even if Tropico is allied with the USSR unless they're meant to be Spanish Star Model Bs.
Colt M1911A1 - .45 ACP
The generals draw their pistols during battles with the rebels.
El Presidente defends Tropico with his sidearm.
Smith & Wesson M&P
Policemen carry Smith & Wesson M&P pistols with a two tone finish in Tropico 3 & 4. Customs officers were introduced in Tropico 4 and carry the same pistol. The Smith & Wesson M&P is anachronistic because it was introduced in 2005 and Tropico starts in 1950, meaning it would not be around until decades after the game is set. Note that the pistol skin is mirrored and is missing the ejection port.
Smith & Wesson M&P - .357 SIG
A policeman on duty.
Policemen will draw their sidearm, usually during in-game uprisings.
A Customs officer on his way home.
Browning High Power
Female criminals in Tropico 4 carry oversized Browning High Powers. Male criminals carry them as well but only use them when being shot at.
Browning Hi-Power - 9x19mm.
Female criminals openly carry their pistols.
A Glock can be seen in the "Bears Arms" edict.
1st Gen Glock 17 -9x19mm.
The Glock can be seen in the purse.
Heckler & Koch MP5A3
Added in the "Modern Times" expansion for Tropico 4, SWAT Team members carry Heckler & Koch MP5A3s.
Heckler & Koch MP5A3 with "tropical" (no pun intended) forearm - 9x19mm
SWAT members patrolling in the city.
Muskets
Armed guards carry Charleville Muskets in Tropico 2. Pirate ships have to be equipped with Muskets, which are produced locally. In Tropico 6 they are used by Presidential guards.
Charleville Musket - .69 caliber
There are two Blunderbuss hanging on the wall in the menu screen in Tropico 2.
Blunderbuss Flintlock
There are several blunderbuss hanging on the left wall.
All soldiers and rebels carry AK type rifles in Tropico 1 and 6. In Tropico 3 & 4, only the rebels carry AK rifles.
Tropico 1
Type I AK-47 - 7.62x39mm
One of the palace guards carries an AK during the intro of Tropico 1.
A soldier walks near the palace. His AK is hard to see because of the low resolution; it looks much better while moving.
CGI model of the male rebel that was used to create the game sprites.
CGI model of the female rebel that was used to create the game sprites.
El Presidente keeps a personal AK in his office.
Tropico 3,4 & 6
Type II AK-47 - 7.62x39mm
Rebels charge during a battle in Tropico 4. Note that the male and female models actually have two different AKs; the females have taped their magazines together jungle style.
Good view of the difference in AKs.
The statues have M16A2 rifles and AK type rifles. The right statue uses the soldier and the rebel models from the game.
A soldier wandering with an AK in Tropico 6.
Colt Model 733
The icon for the martial law edict shows Tropican Military personal carrying Colt Model 733s.
Colt Model 733 - 5.56x45mm.
Tropican soldiers carrying Colt Model 733s in the martial law edict icon.
M16A2
Soldiers in Tropico 3 & 4 carry M16A2 rifles. These rifles are anachronistic because the M16A2 was introduced in the 1980s and Tropico starts in 1950, meaning the M16 rifle series would not be around until a decade later. Despite being American made, your military will still equip them even if Tropico is allied with the USSR unless they are supposed to be Tropican-made clones.
M16A2 Rifle - 5.56x45mm.
The soldiers in Tropico 3 & 4 carry anachronistic M16A2s.
KPVT Heavy Machine Gun
The Junta DLC adds military-themed decorations. These include armored fighting vehicles, which appear to be BTR-60s with a standard KPVT Heavy Machine Gun. The BTR-60s will be available even if Tropico is allied with the US. Getting a "Heavy Machinery" upgrade for the Weapons Factory will have a BTR-60 with a KPVT parked outside.
KPVT heavy machine gun - 14.5x114mm.
A BTR-60 with a mounted KPVT.
M60 Machine Gun
The icon for the military modernization edict features a South Korean K2 Black Panther tank which presumably mounts a coaxial M60 machine gun.
M60 machine gun - 7.62x51mm NATO
The K2 Black Panther icon. This is a photoshop of an image of a real tank with the hatch-mounted M2 Browning (called K6 in Korean service) removed but the coaxial M60 machine gun presumably still present.
In Tropico 6, Tanks with the Reactive Armor Mk. II upgrade are T-72 with Kord heavy machine gun mounted on them. Is possible to get T-34 and T-72 even if allied with the USA and can also develop anachronistically in 1914.
Kord -12,7 x 108mm.
A T-72 tank dealing with a rebellion in the Soviet way.
M67 hand grenade
The rebels carry M67 hand grenade. The grenades are labeled with a big "Frag".
M67 fragmentation grenade
The rebels making grenade throwing movements during a battle.
Retrieved from "https://www.imfdb.org/index.php?title=Tropico_Series&oldid=1362786"
imfdb.org


text:
Posted on May 15, 2020 May 15, 2020 by youkayvee
A very short account of the murder of one Susan Meyers
Beth stood in front of her bathroom mirror, her jet black hair undone, eyes red, and naked. She kept splashing water from the open tap on the mirror, which was being fogged up by the steam from the hot shower, to get a clearer view. She twitched her neck slightly to the left. It was a quick, involuntary movement that made her look much like a startled pigeon. Her mouth was slightly open, with the lower jaw hanging slightly to the left, like a jewelry box which wouldn't shut properly because of loose hinges. "Susan is such a bitch", she kept murmuring under her breath. "A wise-ass, know-it-all! She can fool everyone with her silly pigtails and pretentious skirts, but she ain't fooling me", she kept on saying, her teeth grinding all the while like a scraper at work, until she spat hard on the mirror. Beth had come home late from work, angry and exhausted. She had yet again spent an extra three hours at the office to complete a job that her boss had assigned her. She had dragged herself up the stairs to her dimly lit apartment, and flung herself onto the shabby bed, where she laid for a whole five minutes before pulling herself up to get washed.
Beth was a silent girl with eyes that looked like she was always trying to come out of something, confused and disconcerted. She had no immediate human company other than an old aunt, who lived in the country. The only times she felt human presence in her life were when she would receive a yearly Christmas card from her aunt, or when she was hollered at from some alleyway, while walking around at night. She liked doing that, staring at the lights that came from the shabby buildings and apartments all around her. She had always wondered why the light decided to stay in the crumbling apartments when it had all the world to travel around. Beth had entered her new job around five months back, and had been a quiet presence in the office too. It was almost as if she was a shadow. No one seemed to notice her, even when they were looking her in the eye. The initial sadness on not being recognized, and not having friends, made way to self-loathing. She started finding reasons for the behavior of her colleagues. She told herself that it might be because she was too quiet, or because she was too shabby. She had a minor drinking problem, which was the result of a bad past and a worse present, but she tried her best to keep it hidden from her colleagues. Once the phase of self-loathing passed, she happened to lay her eyes on Susan. To Beth, Susan was everything she was not, and she now had good reason to focus all her hatred and anger on Susan.
Susan was the perfect woman, according to anyone she was ever acquainted with. Her being the employee-of-the-month consecutively for the six months since she joined the Company hadn't stopped her from being the most liked person among her colleagues. She carried her popularity like a crown, but without the air of a college cheerleader. She was a natural leader who was a part of everything that went on in the office, but without any desire to project herself. Her neatly plated hair with short bangs, the angelic face that was too kind and forgiving, the frock dresses that reached below her knee and the stockings that reached above, and the knitted overalls she frequently wore, gave her the disposition of one of those perfect Catholic wife characters that one would see only in movies. All that was missing was a Bible! Susan's eyes reached every nook and corner of the office. She always had the perfect reaction for every occasion. She was there, beaming with pride when Edward told her that his daughter had come out top in her class. Her eyes shed a couple of involuntary tears when Sarah told her about the passing of her dog, Sarah herself not doing so. She would laugh out loud in gatherings, and would blush and timidly walk away if someone cracked an indecent joke. Her superiors being delighted with her performance at work was just icing on the already succulent cake of her existence.
But Susan had a minor flaw!, a black dot on an otherwise perfectly white sheet that she tried hard to hide with the only fake smiles and words she had ever smiled or spoken in her rigorously religious life. She despised Beth, although she never fully understood why! She thought that Beth was shabby, which she was. She believed that Beth was an alcoholic, which she was. Very often, she would almost detect the faint smell of stale rum on Beth's breath, which she immediately repelled with her pocket perfume and a furtive glance at Beth herself. Sometimes, the both of them would be together among a group of lively colleagues and Beth would be trying hard to come up with a funny anecdote or limerick, craving attention, when Susan would cut her off even before she could bring out her first two words. Beth wondered how Susan always knew when she was about to speak; and Susan thought it was a kindness that she showed to her weird colleague, whom she was sure would become the laughing stock of the group if she uttered even a word. Beth was probably the only human being who believed that Susan was evil. Susan towered over her like a giant shadow, scaring and antagonizing her to her core.
It is very difficult to comprehend the amount of hatred that would make someone murder another human being. Hatred, as an emotion, could not summarize what Beth felt towards Susan, when she decided to take her life. The decision in itself, was not an easy one. However, by the time Beth began planning it out, she found out that things were working out by themselves so perfectly that she even began wondering whether Susan herself was working along with Beth's plan to murder her, especially from the ease with which Beth was able to duplicate a key to Susan's apartment, leave the office early and hide under Susan's bed. She felt a curious excitement while waiting for Susan, holding the surgical blade that she had managed to procure from a shady chemist's shop in the alley. She has ensured that the blade was sharp enough by slicing herself on her left arm, as if she were practicing her act for the day. The careful footsteps that she took walking behind Susan as she undressed herself and headed for the shower, surprised Beth. She was too close to Susan that she was almost walking beside her. Beth remembered with a sly grin on her face that being unnoticeable had finally paid off. While blood sprayed along the red line that the scalpel created on Susan's neck, Beth remembered thinking that it was not how she had imagined the scene would be. She had pictured a more uniform flow down the neck rather than the random spurts, gushes, sprays and even a slight 'pop' when she cut through the windpipe.
'Susan Bethany Meyers', the reporting officer's narrative from the murder report read, 'was found with a scalpel in her right hand and a deep incision across her neck. Among other bruises is another deep incision on her left arm.' It went on to read that there were no signs of breaking in at the apartment and no foreign fingerprints other than the victim's. No one at the office could contemplate why the lovely Susan had killed herself. A few days later, the local police arranged a short session for Susan's colleagues with her psychiatrist in which the doctor tried explaining the drama that unfolded. Most of them wondered loudly about the kind of trauma that a seemingly sorted out person such as Susan must have gone through, to commit suicide. Yet a few others tried understanding the words of the doctor about the importance of mental health. Very few could wrap their heads around seemingly simple words like 'dual personality', that the doctor spoke about in her session. No one had heard of a woman named Beth.
Previous PostPrevious Blue
Zombie!
Of pigs, cows, and God knows what else!
Of plans, chores, and a broken heart
The sound, slippers, and the lost sleep
The adventure that never was
Of trains and men
A life sans dreams!


If your aim is to improve your aptitude and knowledge base in a particular field, all education pertaining to this subject will useful. If this statement is assumed true, then the benefits afforded by private tuition are enormous. You will have the advantage of a whole teacher to yourself, with their lesson plans and strategies of teaching designed just for you! It seems impossible to doubt the enormous benefits this will offer. In a classroom, one teacher may be faced with around thirty pupils, each with different abilities, different rates of learning, and individual strengths and weaknesses; yet despite this, for the majority of the lesson the teacher will be forced to treat his class as if it contained just one student. He or she will orate from one end of the classroom, unable to gauge how effectively each pupil is assimilating the lesson. The lesson plans will be designed to fit the needs of the average pupil; and the teacher will proceed at a rate suitable for the average pupil.
In this environment it is all to easy for a bright child or adolescent to fail to grasp one particular point, as the swathe of teacher talk washes over them like the unrelenting tides. It is unlikely even the best of teachers would spot the particular point of misunderstanding cast on the countenance on one pupil, hidden amongst so many other faces. To draw attention to their lack of understanding can be intimidating for the pupil: everyone else is silent, so they must have understood. Do I want to draw attention to myself? All too often the misunderstanding goes unexpressed and unaided. The obvious benefit of one to one tuition is that the tutor can tailor their teaching style to the abilities of their student. They will be able to gauge the level of the pupils understanding, and, more importantly, track down the sources of misunderstanding, and deal with them effectively. Away from the bustle of the classroom, the student will feel more able to voice their difficulties; and having just one pupil to deal with, the teacher will be more capable of resolving them.
Compared to the conflicts of the classroom, fraught with distractions and intimidations from other pupils, the relaxed environment of tutor and student can be a safe haven of erudition. Most tutors will be willing to travel to the pupil's house, allowing them the benefit of learning in a happy home location.A tutor will be able to focus their teaching on a particular area: the pupil may be very competent in mathematics overall, but be deficient in calculus, with this specific weakness undermining their whole confidence in the subject. Maybe they are highly literate and proficient in English language, but shy away from public speaking. The syllabus may demand some oral work (foreign languages certainly do), so it would be a shame if this particular and minor deficiency detracted from their overall grade in the subject. Even if the pupil is performing well at school or college, it is highly likely that some private tuition will give then the edge over their peers. For it is their friends and contemporaries that they are competing against - many of whomay already be receiving tuition. In an age where extra tuition is almost becoming the norm, it may be necessary to join in, or risk being left behind. Here at Tutor Hunt, we believe that advantages are fine, as long as they benefit you!
At Tutor Hunt we make it simple to locate tutors for your son or daughter. Try our Search to find tutors.


text:
Q: overwrite specific Decorators for all Zend_Form Objects i am working on styling a project and everybody used Zend_Form and default Elements. This makes it impossible to style submit buttons.
Therefore i would like to overwrite the default Zend_Form Decorator for submit buttons, but without changing every line where a Zend_Form is created.
Is that possible?
If yes, how?

A: You probably want to subclass Zend_Form_Element_Submit and use loadDefaultDecorators() to set the default decorators for your submits:
class My_Form_Element_Submit extends Zend_Form_Element_Submit
{
    public function loadDefaultDecorators()
    {
        // set your default decorators for the submit element
        $decorators = $this->getDecorators();
        if (empty($decorators)) {
            $this->setDecorators(array(
                'ViewHelper',
                array(
                    array('field' => 'HtmlTag'),
                    array(
                        'tag'   => 'span',
                        'class' => 'some-wrapper-class'
                    )
                )
            ));
        }
    }
}

The above decorators would result in HTML code looking something like this, allowing you to easily style your submit button:
<span class="some-wrapper-class">
    <input type="submit" name="save" id="save" value="Save">
</span>

redpajama_set_name: RedPajamaStackExchange


text:
Disciplinary Comitee Disciplinary Comitee
The Disciplinary Committee of a faculty deals with the disciplinary infractions of students who are enrolled at the faculty. The Disciplinary Commission presents the Dean with its proposal for dealing with the infraction in question.
What is Disciplinary Infraction
A disciplinary infraction occurs when obligations stipulated in legal regulations or in the internal regulations of a higher education institution or its constituent parts are infringed.
A disciplinary infraction is any form of cheating, copying, or unauthorized cooperation, including all forms of prompting
A disciplinary infraction is publishing of someone else´s work for own use, especially by using a part of someone else´s work in his or her own work without proper reference or literal use of a part of someone else´s work without an obvious indication of the quotation
A disciplinary infraction is submitting the same or partially modified work to fulfill various study obligations
A disciplinary infraction is any recording or propagation of the test or examination content
Basic information about the Disciplinary Committee
Who can become a member of the Committee
Members of the Committee
What are the sanctions?
The members of the Disciplinary Committee of a faculty are appointed and dismissed by the Dean from among the members of the faculty's academic community. Half of the members of the Disciplinary Committee are students. The Chair of the Disciplinary Committee of the faculty is voted for from amongst its members, and he/she is voted for and dismissed by the Disciplinary Committee.
The term of office of members of the Disciplinary Committee of a faculty may not exceed two years.
Ing. JUDr. Zuzana Trávníčková, Ph.D. – chair
doc. JUDr. Iva Chvátalová, CSc.
Ing. Gabriel Hasík
Bc. Martin Vokálek
Ing. Jana Stehlíková
The following sanctions may be imposed for disciplinary infractions:
admonition;
conditional expulsion, including the specification of a deadline by which certain conditions must be met;
expulsion.


text:
New Music: Cassie – Joint (No Sleep)
By ThisisRnB on Sep 01, 2016
Cassie has a brand new single titled "Makeup" on the way, but before she drops that, fans can get ready with the new song, "Joint (No Sleep)," which the singer/actress/model recorded for the movie, Honey 3.
Expressing some real confidence over the winding club-ready beat, Cassandra sings: "We on that floor / Hair tied up / We about to get it, I know you like that booty / You can look, don't touch."
The Bad Boy vixen has been working hard on new music once again. While speaking with E! on the red carpet of the MTV VMAs, she revealed that she has recorded a lot of records with producer Detail, including her first single "Makeup," which is coming soon.
Cassie's last music project, the RockaByeBaby mixtape was released in 2013 to stellar fan feedback.
You can catch her as the lead role in Honey 3, which is being released straight to video/DVD on Sept. 6.
Check out her new song "Joint (No Sleep)" below.
Tags: Cassie,Joint
Video: Kayla Brianna feat. YFN Lucci - Work For It
Janelle Monáe Mourns Death of Cousin Killed in Drive-By Shooting
dcruz87	5 years ago
Finally NEW Cassie!!! It's hot, loving it!


Seven Lâyer Greek Dip is â fun Mediterrâneân spin on the clâssic version we're âll used to! This dip begins with â lâyer of freshly mâde hummus then it's topped with â creâmy, gârlic-herb Greek yogurt lâyer then â lâyer of English cucumbers, grâpe tomâtoes, blâck or kâlâmâtâ olives, then finâlly it's finished with fetâ ând red onions. Don't you just wânt to dive into âll thât goodness?
âdd drâined gârbânzo beâns to â food processor âlong with tâhini, lemon juice, 1 clove of gârlic, cumin ând 1/2 tsp sâlt. Pulse for âbout 1 minute then with food processor running slowly pour olive oil ând 2 Tbsp of the liquid from the chick peâs into the food processor. Hummus should be somewhât thick, but âdd more of the liquid âs needed 1 Tbsp ât â time. Spreâd hummus into ân even lâyer in ân 11 by 7-inch or 8 by 8-inch bâking dish (ât this point chill through if you hâve time).
In â medium mixing bowl stir together Greek yogurt with pârsley, dill ând remâining gârlic. Dollop mixture over hummus lâyer in dish ând spreâd into ân even lâyer. Top with cucumbers, tomâtoes, olives, fetâ ând onions. Serve with pitâ chips (serve immediâtely âfter sprinkling veggies over top for best results). Store in refrigerâtor.


text:
3-day tennis officiating course ends in Onitsha, participants react
Posted by News Express | 14 September 2015 | 2,769 times
A 3-day 2015 officiating course for Tennis referees has ended on Sunday in Onitsha, the News Agency of Nigeria (NAN) reports.
Speaking on his experiences during the course, Callistus Ugwuanyi, a former junior and amateur state player from Enugu State, said he would now go to international and national tournaments with officiating certificate.
Ugwuanuyi told NAN in an interview that, as a retired player, the referee's certificate would open doors of opportunity for him.
"As a former Junior and amateur state player for Enugu State, I started playing competitive tennis in 1985. I played under 16, and under 18 for Enugu State later.
"I played briefly at amateur level then retired to clubbing playing being a worker coupled with family pressure, so I left active tennis.
"Having been a tennis player all my life, I do not want to lose the sight of tennis but to continue and to retire to become a club tennis player.
"I will like to go to national and international tournaments, so officiating will take me to that level."
He added that the programme would benefit him in many ways since in sports, and particularly tennis, the rules improved by the day.
"I will have a lot of benefit from this programme, since I am not a stranger to the game of tennis but you know officiating and the rules improve day by day.
"I can say that I have learnt a lot because there were rules that have come into existence and there are points that were there I did not know of.
"Now I know what is no and what is yes, so when I go back, it will assist me in my officiating career because I do local officiating on the updated rules in tennis officiating.
"A big kudos and a powerful opportunity for us that are participants and a lifetime thing, I did not know that this is the kind of officiating we are coming for.
"An International Tennis Federation's standard, we really appreciate the sponsors and officials of this progamme."
Also speaking, Ebi Agide, a journalist from Anambra State Broadcasting Service, told NAN that, as a journalist, one ought to be versatile in reporting.
"I fell in love with tennis not long ago and that was what prompted me to become a member of the Onitsha Sports Club, and that is the reason I had this opportunity.
"To participate in this programme as a journalist, you become versatile and could report any kind of sporting event.
"Having participated, I believe I have an edge over other journalists as regards to tennis and officiating now.
"Now, not only for journalistic purposes, but also to practice, I will not stop at this `level 1` but also to look for opportunity to go for the other levels."
NAN recalls that the last officiating course was done five years ago in 2009. (NAN)
•Photo shows International Tennis Federation Logo
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text:
The Rivals, and The School for Scandal
(공)저: Richard Brinsley Sheridan
Google Play 도서
DRAMATIS PERSONÆ — THE SCHOOL FOR SCANDAL; 1777 xxxiii
Text.
LIFE OF SHERIDAN
OUR first interest in the Sheridan name is Ancestry.
Dr. Thomas Sheridan, clergyman and schoolmaster at Dublin in the first part of the eighteenth century, connected with literary history through his friendship with Dean Jonathan Swift. The son of this Dr. Sheridan, also called Thomas, was born in Dublin in 1719, was trained at Westminster School and Trinity College, Dublin, and was intended by his parents for the ministry. However, young Thomas Sheridan, ardently fond of public speaking and the theatre, turned to the stage as the best training-school for his talents. As a capable actor and a progressive manager, he rendered worthy service to the English drama of the time. Frances Chamberlaine, who afterwards became the wife of Thomas Sheridan and the mother of the great dramatist, was born of English parents at Dublin in 1724. She was widely recognized as a woman of accomplishment and of literary distinction.
To these parents was born at 12 Dorset Birth and
Street, Dublin, on the 30th of October, 1751, Youth.
Richard Brinsley Sheridan. Young Richard went to Harrow in 1762, where he showed no particular scholarship, but won the respect of teachers and companions. The years at Harrow were a period of happiness to Richard, if not of intellectual profit, but of considerable distress to the father, who in true Sheridan fashion buried himself even more deeply in debt. In 1766, while Richard was still at Harrow, the mother died. A little later, in 1769, the father brought together his four children in London and secured for the boys instruction in mathematics and classics.
In the following year the family moved to Beginning Bath, then in a particular degree the most of Career.
famous city of England. As a health resort, known throughout Europe, it attracted all classes, the sick who hoped for health from its waters, the indolent who wished to be amused, the people of society and dress who coveted a more than local distinction; and, finally, rascals of all sorts: thieves, fortune-hunters, gamblers, who naturally flocked to such a place for personal profit. Into this busy world the Sheridans entered, and Richard found at once his place.
Then began the career of the young man. First,
were rich plans, then numerous attempts, and, later, failures and success. There were early pieces, chiefly in collaboration with Nathaniel Halhed, a friend of Sheridan at Harrow; a farce, Ixion, written by Halhed and revised by Sheridan with the title, Jupiter; a periodical called Hernan's Miscellany, which never was published; a translation in verse of the Love Epistles of Aristænetus, - all of which are unimportant.
In 1773, Sheridan, in quite romantic fashion, Marriage.
married Elizabeth Linley, distinguished as an amateur singer and musician. Certain incidents of this episode find close correspondence to the play, The Rivals. After the marriage, the Sheridans lived happily in seclusion in a country cottage.
It was in January, 1775, that Sheridan's His Plays.
fame really began, for in that month was
produced at Covent Garden his first comedy, The Rivals. Though the play on the first night met a rather unfortunate reception, on every subsequent occasion it has had nothing but success. In May of the same year appeared St. Patrick's Day, or The Scheming Lieutenant, a two-act farce, which the author wrote for a benefit performance. In the following November Sheridan produced, again at Covent Garden, a comic opera called Duenna. This comedy at once became popular, and with The Rivals secured national recognition for the author.


Twin Impeller Shower Pumps for Hot and Cold supplies are ideal for any homes that might be suffering from low hot and cold water pressure. You might notice this in your morning showers as a bit of a dribble rather than a powerful spray. We split our twin impeller shower booster pumps into two categories, one for positive head and one for negative head. This may sound confusing but it's really quite straightforward; positive head pumps work where the cold water storage tank outlet is higher than the outlet in your bathroom, this is generally the norm as most storage tanks are fitting in the loft. Negative head shower pumps are for when the cold water storage tank outlet is lower than the outlet you're pumping to.
I bought a stuart turner monsoon pump for my shower from Boundary Bathrooms, I have used BB before and as usual the service was quick and efficient. The item came by a respected carrier, well packed and no faults. The delivery charge was very reasonable too. It was half the price quoted by my local builders store. My plumber has just fitted it and wow! what a difference. Its quiet and the shower is now everything we expected it to be. We had a 2 bar which is connected to both our main shower and en-suite.
Great service again from plumbworld..... Ordered the pump with a two week lead time to installation and it arrived within three days of placing the order when they said it would. Went for the better quality pump, due to concerns of the amount of plastic in pumps now a days, and have to say the quality is fantastic. Considering the pump is installed in an empty room which echos the pump is very quiet, defiantly recommend.
Order process exceptional. Delivery excellent if only courier had actually left me a card to say they had tried to deliver! Fitted by professional who was extremely pleased with product. I am delighted with my showers. You get what you pay for an excellent product.
Shower pump :- early days but this pump does exactly as required. In addition, unlike some other shower pumps, if installed correctly, the noise level in operation is very low. A good attribute in flats or semi detached dwellings.
It isn't cheap BUT the quality of build is first rate and the flow is phenomenal. It doesn't hesitate to start as soon as the shower valve is opened AND its quiet. Is it worth the money? Definitely!
Great product. Delivered on time as usual. Reasonably priced.


These days, old London mews stables have been converted into dwellings and they are modernised and considered highly desirable places to live.
The beautiful historic town of Lewes with its two-level flea market is a perfect place to visit to source special pieces for your home. The market has several rooms crammed with stuff and it's so much cheaper than London prices.


text:
Q: InfoPath validation for Alphanumeric Characters and period I have a Notes textbox in my InfoPath form which will contain multiple lines of text.
I wanted to add a validation so it can only contain Alphabets, Numbers and period .
No special characters like ! @ etc are allowed.
I tried
description does not pattern [A-Za-z]([ ][A-Za-z]) or
description does not pattern .\d. or
description does not pattern . or
But it throws validation error when I type "please help 123."
Please help!!!
Thanks

A: The conditions you use accept only exact same format as in your expressions, which means the input can only format as A A or 0 or ..
Try this one instead:
[A-Za-z0-9\.\s]*


If you haven't already planned and determined which partners will access the PDC it's time to start thinking about that now before you get further into the process. You might want to include all your partners or just a subset of partners. Fortunately, when it comes to getting your partners into the platform we have multiple methods that will fit your needs regardless of how many need to be added.
Bulk Import: Provide us an excel or .csv file of the partners that will have access to the system. Similar to how a main point of contact is needed for your account, we will need specific partner information as well. You can follow this excel template that instructs you on the type of information that you should be collecting from your partners.
Manual Creation: You have the ability within the platform to manually create partner accounts. This is a great tool if you want to slowly ramp up your channel marketing program.
Single Sign On (SSO): SSO is a process that automatically creates an account for the partner when they attempt to access it from your own partner portal or designated link. This is the most intuitive way to get your partners onboarded into the system quickly. As partners are already familiar with your existing portal, this becomes a natural way for them to access the PDC. In addition to having a smooth login process, SSO also allows us to automatically pass partner profile data such as region or certification level which automatically gets added to the partner's profile in StructuredWeb.


text:
2nd Vice President
Benny Boscio Jr.
1st Vice President
3rd Vice President
Legislative Chairman
First City-Wide Trustee
Manhattan Borough Trustee
Brooklyn Borough Trustee
Bronx Borough Trustee
Queens Borough Trustee
Glenn Morgan joined the department of corrections in 2002. He has 18 years of experience working with inmates, officers, and officials within the OBCC facility.
Glenn started his career working in CPSU housing area and several years later, he was assigned to work in Security. While working in security, he learned his most valuable lesson which consists of team building and knowledge of policy and leadership. Later he was assigned to the storehouse, the position not only consisted of the management and budget of supplies for the entire facility, it also consisted of the development and utilization of project management and interaction with not only officers and inmates, but also contractors and "civilian" employees. In his early years of working in storehouse, he embarked upon a mentor who guided him in depth with regards to understanding and applying policy and procedures, redefining leadership skills and overall interacting with not only his peers but also officials. This ignited a burning desire within Glenn to assist staff and spread the knowledge he had acquired amongst them. He shortly became a "peer" advisor and was prompted to run for OBCC delegate in 2015 and secured the position. He was re-elected in 2016 and currently serves as a delegate to date.
As a delegate of OBCC, he shortly became a household name amongst officers in the facility for advice, support in every aspect, fighting for the safety and protection for not only the officers but the building as a whole. Due to the rise in assaults on officers, he sought to develop and implement a program in which, provided new officers with tactical training within the facility for "Real" encounters with inmates. He developed an technological "open door" policy in which officers are able to ask questions or voice concerns as well as contact him and other union officials within the facility directly. He has strived to build camaraderie amongst staff.
Glenn's mantra is simply "each one teach one". That is his driving force behind his passion to help his fellow officers. He has identified the power of knowledge gifted by those who have mentored and shared with him throughout his career, as well as implementing his own experience; feeling compelled to continue to share this knowledge amongst those who seek his help.
gmorgan@cobanyc.org
Jails Supervision
Otis Bantum Correctional Center
(OBCC)
Shane Sterling
COBA Delegate
Sean Sampson
Konain Rasheed
Patrice Nathan
(ID)
Kareem Claxton
Shaukat Shah


text:
Khoikhoi (în traducere "oamenii oamenilor" sau "oameni reali") sau Khoi, scris Khoekhoe în ortografia standardizată a limbilor Khoekhoe/Nama, sunt o diviziune a grupului etnic Khoisan (locuitorii nativi ai Africii de Sud-Vest). Khoikhoi sunt înrudiți cu San și au trăit în Africa de Sud din secolul V e.c. Când coloniștii europeni au ocupat zona în 1652, Khoikhoi erau un popor pastoral, îngrijind mari turme de vite Nguni. Europenii i-au denumit hotentoți, o imitație a foneticii limbii Khoekhoe; termenul este considerat a fi insultător. În prezent, Nama este singurul grup etnic Khoikhoi existent.

Note

Legături externe

 Articol despre istoria Khoikhoi

Khoikhoi
Grupuri etnice din Namibia
Nomazi africani
Istoria Africii
Popoare antice

redpajama_set_name: RedPajamaWikipedia


Most preaching in the last one hundred fifty years has primarily been centered on the humanity of the LORD JESUS CHRIST. To say that the majority of the so called Christians of our day have a general consideration of HIM as their friend and confidant would be a kind assessment of the grasp most have of who they think HE is. Most think nothing of addressing HIM in the first person as if HE was just some buddy they had run into on the street. Yet none of HIS disciples ever called HIM "JESUS" in their conversations with HIM. Many think it to be in vogue to repeat HIS name over and over in the place of "prayer" as if it was some good luck charm or some key to unlocking the treasure chest of heaven.
Those who knew HIM best and walked with HIM on a daily basis, sitting at HIS feet and receiving the WORD from HIS very lips, would have never addressed HIM by HIS name without prefacing it with LORD, MASTER, or TEACHER. They had the opportunity to see HIS utter humanity every day but this never overcame the awe with which they esteemed HIM far above themselves. They understood that HE was truly a man yet they were more greatly struck by the fact that HE was the LORD of GLORY even as Peter testified. They saw that HE was GOD in the flesh and not flesh made GOD.
Idolatry is often very close to true worship. Nadab and Abihu were Levites, the sons of Aaron, the great high priest. (see Lev.10:1) They decided to make an offering to the LORD of their own making which HE commanded them not and they were destroyed with the censers in their hands. This ONE who has come down and walked among us in flesh and blood is the same ONE whom the Seraphims cease not to worship day and night saying, "Holy, holy, holy, is the LORD of hosts: the whole earth is full of his glory." (Isa 6:3, see Rev.4:8) HE is that ONE who is worthy to open the sealed Book. (see Rev.5:9) HE has come down and dwelt among us, but, HE has not at any time ceased to be GOD nor has HE in any sense become less than GOD, nor should any creature ever deign to approach HIM without this due consideration.
It is impossible to have a right observation of HIS true person apart from a clear knowledge of HIS deity and HIS rightful place of glory which utterly transcends creation. It is this contemplation that drives the born again sons of GOD to fall upon their faces in the dust and ashes of repentance whenever they would approach HIM. Our boldness to approach HIM (see Heb.4:16) is because of our confidence in HIS authority and station as our Great HIGH PRIEST and not because of some assumed familiarity with HIM in HIS humanity. We are quite convinced that HE was tempted in all points as we are, being without sin, yet rather than this observation causing us to embrace HIM as a comrade, we are struck with awe and made to revere HIM who endured this ignominy for sinners such as we are. The spotless LAMB of GOD being subjected to bear the sin and guilt of HIS people does evermore cause them to bow at HIS feet in adoring wonder.
Having said all of that and putting HIS humanity in its proper perspective let us state in no uncertain terms that we are rendered speechless and struck with awe and amazement in the contemplation of HIS walking in the earth as a living human being. "Who, being in the form of God, thought it not robbery to be equal with God: But made himself of no reputation, and took upon him the form of a servant, and was made in the likeness of men: And being found in fashion as a man, he humbled himself, and became obedient unto death, even the death of the cross." (Phil. 2:6-8) Oh how can it be that HE who created death and administers it according to HIS sovereign purpose, should subject HIS own self to it! The wonder of it is beyond the scope of man's understanding. The one who is the KING of kings became a servant, HE who is the very definition of righteousness hung upon a cross of shame which is reserved for the unrighteous. HE who knows all things "learned obedience" (see Heb.5:8). HE who has all power became weak (see II Cor.13:4) for us.
Above all other activities which HE was involved with as HE walked among us as the SON of man, HE was a man of constant prayer. HE personified the exhortation of the apostle Paul, who said "Pray without ceasing" (I Thes.5:17) and HIS own words "men ought always to pray, and not to faint." (Luke 18:1). HE fainted not in the day of HIS trial because HE prayed and the FATHER heard HIM. I cannot fathom how HE subjected HIMSELF to the weakness of human flesh, groaning and crying in it, tasting death for men, "Who in the days of his flesh, when he had offered up prayers and supplications with strong crying and tears unto him that was able to save him from death, and was heard in that he feared." (Heb 5:7) Such wonder cannot be told by men, yet HE has demonstrated it. If HE being the only begotten SON of GOD had need to pray, how much more do we who are of Adam's race stand in such need.
HE has made them HIS sons. "And because ye are sons, God hath sent forth the Spirit of his Son into your hearts, crying, Abba, Father. " (Gal 4:6) Just as surely as an infant of days will cry out for his earthly mother or father, so must the new born sons of GOD call upon HIM. HE has made them acquainted with who HE is.
They know themselves to be without strength. "My grace is sufficient for thee: for my strength is made perfect in weakness. Most gladly therefore will I rather glory in my infirmities, that the power of Christ may rest upon me."(2 Cor.12:9) The popular idea of today is that men ought to pray whenever they have a need. They picture GOD as setting around heaven waiting for someone to dial up the prayer line and make a request. Yet the true sons of GOD must cry out to HIM continually knowing that they have no strength of their own and shall fall immediately if left to their own devices.


text:
Open Government Plan
Strategic Action Plan for Open Government
Timely Publishing of Electronic Data
American Recovery and Reinvestment Act (ARRA)
Aligned to goals:
1.2: Make more data and information available to the public.
1.4: Increase the transparency of the grant application and award process.
1.5: Maintain up-to-date information on the Department's website about Department offices and key programs.
2.2: Provide regularly updated project maps, dated milestones, and financial data regarding open government and other key initiatives.
The American Recovery and Reinvestment Act of 2009 (ARRA) requires an unprecedented level of transparency into government spending. In particular it mandates:
The creation of "a web site on the Internet to be named Recovery.gov, to foster greater accountability and transparency in the use of funds made available in this Act."
Recovery.gov is operated by the Recovery Accountability and Transparency Board, which was also created by the Recovery Act. http://www.recovery.gov
The creation of an agency-specific Recovery Web page located within the agency site and identified on the home page. http://www.ed.gov/policy/gen/leg/recovery/
Weekly reporting by agencies on obligations, outlays, and activities
Quarterly reporting by recipients on awards, spending, jobs impact, and project status.
The Department of Education has been an active participant in the development and ongoing evolution of these sites and tools since their inception. As a result of these initiatives, education stakeholders can now track on a weekly basis the speed with which the Department is awarding its ARRA funding and the extent to which States are putting this money to work. This provides a new level of accountability for federal and State education spending. At the local level, parents and community members can enter the zip code of their local school district, identify exactly how much ARRA funding has been awarded and spent to date, and scrutinize vendor payments over $25,000, holding local officials accountable for their decisions.
As the Department gains experience with the new level of transparency provided via Recovery.gov, the Department is continuing to address the issue of presenting its data in a user-friendly format to ensure its use by the widest possible variety of stakeholders. In doing so, the Department has gone beyond the requirements of Recovery.gov in the following areas:
Weekly ARRA spending to date is posted on ED.gov/recovery with detailed State and program-level detail. This provides the appropriate level of aggregation to help the public understand the flow of funds in their State to different programs, and for program advocates to understand State-level differences in the flow of funds for the program in question.
Section 1512 award, spending, and jobs reporting data are posted on ED.gov/recovery at the State and program levels. This allows the public to assess their State's progress in using ARRA funds to save or create jobs, and allows policymakers to evaluate the impact of different ED ARRA programs relative to job creation.
This enhanced level of transparency for ARRA programs, and the attention to both the availability and accessibility of the information presented, have set a new standard of transparency for the Department. The next step for the Department is to apply these principles to all programs, not just to Recovery Act programs. In particular, more detailed, sub-award reporting will be critical to achieving greater transparency into education funding at the local level.
Message From Deputy Secretary Miller
Transparency, Participation, and Collaboration in Programs
Department Roadmap for Incorporating Principles of Openness Into Core Agency Missions
Open Government Organizational and Management Information
‹ IT Dashboard up USASpending.gov ›
Posted in: Objective 1.2Objective 1.4Objective 1.5Objective 2.2Open Government Plan


text:
Press release on the AGEment App
Available for download the App realized within the AGEment project.
After the italian final event held on March 25th, during which the results of the AGEment project on awareness raising among older adults on active ageing related to European cultural heritage were presented, i.e. the App for Smartphone and SmartTv and the catalogue that provides an overview of the practical cases developed, the application is now available for free download on the Android App Store (link from mobile phone: https://play.google.com/store/apps/details?id=com.kaisesoft.agement&hl=es_419&gl=US).
With a simple click, after searching in the store for the "Agement" App, it will be possible to install it on one's phone and have quick access to all the video interviews carried out within the project with the protagonists chosen as good examples of active ageing linked to cultural heritage. All the videos are available in the original language with subtitles in English and in all the languages of the partner countries (Italy, Spain, Portugal and Romania). For Italy are collected in the application the interviews made to the Dance Teacher Michele Settembrini and to the dancer Giovanni Zito (84 and 82 years old) entitled "Passion for dance", and those made to the painter Mario D'Amico (68 years old) and to the poet Antonio Piroli (79 years old) entitled "Poetry and painting in the Trullo district". Many others are the interesting cases developed by the partner countries, which you can easily see on your smartphone or SmartTv.
Available for download on the project website https://agement-project.eu/results/ is also the awareness catalogue that presents, highlighting the main features, all the 11 cases chosen and the 28 videos made by the partners of the project.
Realizado con éxito el Evento Online de Presentación de Resultados del Proyecto AGEment
Matricularse en
Suscríbete a nosotros para estar siempre en contacto con nosotros y recibir las últimas noticias de todas nuestras actividades.
Jesus Usón Minimally Invasive Surgery Centre (JUMISC)
Carretera Nacional 521, Km 41.8 - 10071,
10004 Cáceres, Spain
Copyright 2023 © All rights Reserved. Design by MeuTempo.pt


text:
Q: Make multipage login form work with password managers I am moving to multipage authentication form with sso and that time one state holds user name then next state holds the password input.
Now Last pass stopped working I've added autocomple="username" that gives chrome native suggestions but not all for the site.
I've tried with fake hidden password input but still Last pass doesn't work opacity visibility display: none everything fails. Just one thing i managed to work is making pwd field absolute and with some long left position.
<input
    tabIndex="-1"
    type="password"
    style={{ position: 'absolute', left: 99999 }}
/>

Is there any better approach to fix this or this will work and won't have any unknown challenges?


Module admin- line is red, but says it's up to date?
What does it mean when you run the check online updates in Module Admin and an item comes up highlighted in red but the text says "Enabled and up to date"? The module in question is FreePBX Framework. I did a force download and install and it's now looking normal. Just wanted to understand what happened.
In a similar question, if I've always done updates via the check online button, how can I have a different module that says "Newer than online version (13.0.11.4)? Module is Call Recording.
I just had this too - FreePBX Framework Upgrade 14.0.2.16 crashed module admin apparently when it tried to retrieve GPG signatures and then I had to install again, got the tampered file warning, and re-downloaded and installed it, then it was okay. I think something is borked with signature retrieval in the upgrade process.
I haven't gotten that warning however when attempting to do module updates today I've had two exception errors come up asking me to submit a report (which I did). I'm not updating the modules one at a time.
Have now finished updates. All modules updated when I did them one at a time. I also did a yum update to the system as I got a warning that items were out of date when I logged into the system to get my Asterisk version from a command prompt. Yes, I see there's an Asterisk Info button now but I'd forgotten. I see I now have a few modules saying I have a newer version than the online version so Yum update must be installing newer files than module admin.


text:
Q: Constrain PEX code-under-test to a single method? Can the code-under-test in PEX be constrained to a single method? I am aware you can constrain it to assemblies and classes, but what about members?
I am essentially trying to achieve 100% code coverage for the following method:
public virtual bool GetLastSymbol(string symbolHint, out string symbol)
{
    if (symbolHint == null)
    {
        throw new ArgumentNullException("symbolHint");
    }

    IEnumerable<string> symbols;
    symbol = this.VariableHints.TryGetValue(symbolHint, out symbols) ? symbols.Last() : null;

    return symbol != null;
}

The following PUT achieves 12/15 code coverage, because I'm only testing for 1 of the possible 2 values it can return:
found = symbolManager.GetLastSymbol(symbolHint, out symbol);
PexAssert.IsFalse(found);

To achieve full coverage for this PUT, I need to change the object's state so that the method hits both branches. I could satisfy this by using separate PUTs using a factory method to setup the different states, but this would leave me with 2 PUTs with incomplete code coverage, rather than 1 PUT with full coverage. I realise in theory the 2 PUTs would have a combined coverage of 100%, but I need that 100% figure in practice so I can setup CI properly.
So, to reach the other branch in the same PUT, I must append the following code to the above 2 lines:
symbolManager.CreateSymbol(symbolHint); // Ensure next call returns true.
found = symbolManager.GetLastSymbol(symbolHint, out symbol);
PexAssert.IsTrue(found);

Presumably the code coverage for the GetLastSymbol method is now 100%, but because I've introduced another method call to the type under test, the code coverage now drops to 20/29.
How can I constrain a PUT to only measure code coverage for a single method? I realise I may have misunderstood this metric entirely, so please explain why if this is the case :)

A: The 'PEX API Reference' which comes installed with PEX was useful for solving this:
The Microsoft.Pex.Framework.Coverage namespace includes several filter attributes which can exclude various facets from effecting code coverage. The one I wanted was:
PexCoverageFilterMethodAttribute

Using this method I was able to remove the CreateSymbol method from the coverage report:
[PexCoverageFilterMethod(PexCoverageDomain.UserOrTestCode, "CreateVariable")]

This now increased my code coverage to 13/15; higher than before, but still not the 100% I was expecting. Long story short, I discovered PEX was including the constructor in the coverage reports too...
[PexCoverageFilterMethod(PexCoverageDomain.UserOrTestCode, "ctor")]

I'm now receiving 13/13 for my code coverage. I'm a happy bunny :)


text:
Q: Google maps - different marker icon per category I am trying to give each marker with a different category a different marker image.
In the json i have 3 examples all with different categories (one, two and three).
At the moment i have one marker image being used for all, but i want to use the category value to control the image URL that is used.
I was possibly thinking about having a url variable with a place to insert the category colour (var url = "http://domain.com/images/marker_" + [category] + ".png"). I can then mix that in with a switch statment, but that is as far as i got.
What is the best way for me to handle this?
Here is the JS i have for the Google maps. I am using v3 of the API.
(function() {

    window.onload = function() {

    // Creating a new map
    var map = new google.maps.Map(document.getElementById("map"), {
        center: new google.maps.LatLng(30.033591,-36.035156),
        zoom: 3,
        mapTypeId: google.maps.MapTypeId.ROADMAP
    });

    // Creating the JSON data
    var json = [
        {
            "title": "USA",
            "lat": 37.616552,
            "lng": -92.988281,
            "description": "USA ...",
            "category": "one"
        },
        {
            "title": "France",
            "lat": 48.372793,
            "lng": 1.230469,
            "description": "France ...",
            "category": "two"
        },
        {
            "title": "UK",
            "lat": 51.517403,
            "lng": -0.098877,
            "description": "UK ...",
            "category": "three"
        }
    ]

    // Custom marker - Need one for each category
    var image = new google.maps.MarkerImage(
        'http://i.imgur.com/3YJ8z.png',
        new google.maps.Size(19,25),    // size of the image
        new google.maps.Point(0,0) // origin, in this case top-left corner

    );

    // Creating a global infoWindow object that will be reused by all markers
    var infoWindow = new google.maps.InfoWindow();

    // Marker Clusterer setup
    var mcOptions = {
        gridSize: 50,
        maxZoom: 15
    };
    var markers = [];

    // Looping through the JSON data
    for (var i = 0, length = json.length; i < length; i++) {
        var data = json[i],
            latLng = new google.maps.LatLng(data.lat, data.lng);

        // Creating a marker and putting it on the map
        var marker = new google.maps.Marker({
            position: latLng,
            map: map,
            title: data.title,
            icon: image
        });
        markers.push(marker);

        // Creating a closure to retain the correct data, notice how I pass the current data in the loop into the closure (marker, data)
        (function(marker, data) {

            // Attaching a click event to the current marker
            google.maps.event.addListener(marker, "click", function(e) {
                infoWindow.setContent(data.description);
                infoWindow.open(map, marker);
            });

        })(marker, data);

    }// END for loop

    // Cluster the markers
    var markerCluster = new MarkerClusterer(map, markers, mcOptions);

}// END window.onload

})();

Thanks

A: @zizther
You want to categorize markers with MarkerClusterer, don't you?
If you so, you can try this code:
<!DOCTYPE html>

        category:<select id="category">
          <option value="one">one</option>
          <option value="two">two</option>
          <option value="three">three</option>
        </select>


text:
Elvis Presley's Movie Career — The Truth About the King's Hollywood Hits Revealed
Aug 21, 2019 11:32 am·
While ex-wife Priscilla Presley and daughter Lisa Marie Presley are still making headlines, unsurprisingly Elvis Presley remains prominent on people's minds. Whether it's the new animated series Agent King that reimagines him as a secret agent or his legacy of music and, in this case in particular, his films, Elvis is everywhere.
When it comes to his movies, there's a perception that for the most part they're dismissible, formulaic and completely superficial. There's the other side of the argument, however, that without them we wouldn't have nearly the amount of music that we have of Elvis, which in many instances was precisely the point. To be sure, these films were created to get butts into theater seats, but, even more importantly, they were geared towards selling soundtrack albums, which in many instances were far more profitable. Not that this was a new approach taken to a popular singer.
"There was a tradition going all the way back to Al Jolson in the early pop era," explains Susan Doll, author of, among other books, The Films of Elvis Presley. "A tradition of pop singers already having an image, because they were already a performer, then showcasing that image in a series of films and sometimes fine-tuning that image in the films. That was kind of the tradition of grooming a popular singer into the movies. So there was Jolson, there was Bing Crosby, and there was Frank Sinatra. Even the opera singer Mario Lanza, who was very handsome and very masculine, Hollywood tapped into. They created a series of vehicles to showcase him. Elvis was a big fan of Mario Lanza, and he also really followed Sinatra's career. In his mind, when he was being courted for the movies, that's how he saw his career going in terms of becoming an actor: Using his singing popularity and then filtering that into an acting career."
Please scroll down for much more on the films of Elvis.
A Fascination With the King
Just as it was Susan's interest in Elvis and film in general that filtered into not only her career as an author but as a Professor of Film Studies at Ringling College of Art and Design, specializing in the Golden Age of Hollywood."I've written several books on Elvis over the years," she explains, "but the starting point is that Elvis was the subject of my dissertation at Northwestern University. The point of the dissertation, because I got a degree in Pop Culture and Film Studies from there, was how his career was managed based on specifically controlling a star's image. At the time, there was nothing scholarly written on him; not even a definitive biography. It was still in the era, I think, of the first 10 years after his death and there were very few serious pieces about him. A lot that was out there were bios by people who had worked for him, or bios by people who were sensationalizing the 'he died of drugs' thing. And people were in shock that he'd had a drug-related death.
"There was this battle for the first few years after his death of he was a drug addict versus he was not a drug addict," Susan continues, "and that kind of really got in the way of any kind of assessment of his contribution to pop culture. So I got into looking at his career after a documentary came out called This is Elvis, and I saw how orchestrated his career had been. As I started looking into it, I discovered there was a lot of planning and control over his career once he became famous. How that occurred and why that occurred was the subject of my dissertation, and I was just lucky enough to get a deal for a coffee table book that was a positive depiction of his contribution to culture. Then I kind of got a little bit of a reputation for writing positively about Elvis, and that let to other types of books."
While her book may have taken a positive slant towards the Elvis movies and helped paint the picture that they represented a wonderful period, the truth was a little bit different. "No," she says, "they weren't all wonderful."
Hulton Archive/Sunset Boulevard/Corbis via Getty Images
Enter Producer Hal Wallis
By the time Hal B. Wallis entered Elvis' life, he had certainly established himself as an A-list producer in Hollywood, his credits including The Adventures of Robin Hood (1938), Casablanca (1942) and True Grit (1969). "A lot of people like to put anything bad that happened to Elvis' career, especially in regards to the movies, on the shoulders of the Colonel — 'It was the Colonel who made him make all those bad movies, blah, blah, blah,'" Susan offers regarding Elvis' manager, Colonel Tom Parker. "I would say the person who tailed Elvis so tightly and squeezed him into a very specific star image, would be Hal Wallis because that was his specialty. He's really one of the best producers to ever come out of Hollywood, beginning with the studio days at Warner Bros. He did these A-list movies, and his specialty was to understand a star's image. That was the lifeblood of Hollywood in the Golden Age where all films were cast based on the pre-existing image of the stars. And grooming a star to have a specific image. Wallis was very good at that.
"In the '40s," she elaborates, "Wallis was one of the first producers to go independent at the studio. He forms his own production company and releases through Paramount, but he begins to sign stars to him under personal contracts and groom them based on their star image. He's the one that gave Dean Martin and Jerry Lewis their break by fine-tuning their nightclub act and turning it into this kind of comedy team image for them in Hollywood. He sees Elvis on television in '56 and the way the studio audience goes crazy for him, and he wants to tap into that popularity. So he signs Elvis for a three-picture deal. And the first thing he did was loan him out to 20th Century Fox for Love Me Tender. He said at the time he didn't have a property for Elvis, but in the back of my mind, I think he was testing Elvis' ability to attract a crowd without having to put out any effort himself, which is why he loaned him out. Then, after Love Me Tender was such a big hit because of Elvis, Wallis went to work."
John Springer Collection/CORBIS/Corbis via Getty Images
The Importance of 'Loving You'
Elvis second film was 1957's Loving You, of which, says Susan, "I'm in awe of the control and deliberate approach to the film in terms of making Elvis a big star, because essentially what this film is, is a fictionalization of the Elvis story. It's not a biography, but it's the story of this singer with a new sound. His name is Deke Rivers, which is kind of an unusual name, just like Elvis is an unusual name. So Deke has a new sound and attracts a young crowd, and he's misunderstood. He seems like he's rebellious and angry, but really he's just misunderstood. So he finds the right girl and becomes a better person. He begins his career as a Country-Western singer, which is what Elvis did, and then his ruthless manager enters, who is kind of like the Colonel — except that it's Lizabeth Scott in the movie, trying to manipulate or exploit him, and then realizes he's really just a nice kid. By the end of the film, you've essentially told the Elvis story and given the spin that, you know what, this is really a good kid who just happens to have a new sound and it's kind of spinning the controversy surrounding Elvis."
Spinning Reel Life Into Real Life
Of Loving You, Susan adds, "So you have the Elvis persona in this character, but you've spun it to make him okay. You know, 'Oh, he's really not the bad guy that the press says he is.' There's these little markers throughout the film to remind the audience that this is a stand-in for Elvis. At one point, someone makes fun of him by calling him 'Sideburns.' That was something that seemed almost ludicrous to the press at the time; they were fixated on his long sideburns. Why would he have them? Well, they're a signifier that he never washes his hair, and only working class truck drivers have sideburns. Why does he have them? And then, everything that was bad about rock and roll, they would attribute to some side-burned singing teenager. So somebody in the movie pikes fun at him because of that. Another point, the manager buys him a Cadillac for doing well, and then there's a scene where these girls discover it's his car and they sign it with lipstick. Which happened to Elvis repeatedly. When he was on the road, if they discovered it was his car, then they would virtually ruin the paint job by scratching their phone numbers and writing on it with lipstick. So there were these little markers to remind you that you're really watching Elvis, but, gosh, it's a fictional character. A kind of controlled way to give you Elvis, but also twist the character to show he's a nice, misunderstood kid so you soften the bad publicity that was swirling out there at that time."
RB/Redferns
'Dancin' to the Jailhouse Rock'
Loving You fulfilled its mission of changing people's perceptions of Elvis to a more positive one while becoming a box office and soundtrack hit. "Because Elvis' schedule wasn't exclusive, and as long as it didn't interfere with Wallis' schedule, other studios could sign him," notes Susan. "With Jailhouse Rock, MGM took the same strategy. You know, here's this kid who's been in trouble, he's controversial, he's been in jail, but he has this great new singing style. He might be rough around the edges and rebellious, but he's really just misunderstood. He finds the right girl and, in the end, he's a changed person. Kind of the same idea."
Paramount Pictures/Getty Images
'King Creole' — Possibly Elvis' Best Movie
For Susan, the next film, King Creole, is probably, "objectively speaking," his best film, which was another Hal Wallis production. "It was originally a film about a young boxer in New York that was to be played by Ben Gazzara," she details, "and that fell through. Wallis had someone rework it as a vehicle for Elvis; the character became a singer with a new sound, and it was set in New Orleans. There's more story that doesn't have anything to do with Elvis. The kid's background is not quite as specified as it is in Loving You or Jailhouse Rock, but it's still in that trope of a young kid with a new sound being misunderstood. Once he is understood and his problems are solved, then he's just a regular kid like everyone else. It just happened to be done with a really good production value. Directed by Michael Curtiz, who directed Casablanca, and it had a great supporting cast: Walter Matthau and Carolyn Jones (Morticia on The Addams Family), and she and Elvis had a really good chemistry. Great cinematography and great music by Keiber and Stoller.
Universal History Archive/UIG/Shutterstock
"So that was the beginning of his film career, and the way the films were used to tone down the controversy over him in the press and to just present him as a regular guy. And there was always that rags to riches show business story that had been a part of Hollywood for a long time, so it kind of fits into that genre as well. The way that they spun his films in the '50s is they took his specific situation and fit him into standards and tropes and conventions that the average moviegoer would be familiar with."
Frank Sinatra's Acting Career Was An Inspiration
Elvis was pleased with the way his film career was going on, but all along he held the aspiration to be seen more as an actor than a singer who appeared on screen. "He had wanted to follow the Frank Sinatra model," Susan points out. "Remember, when Sinatra did From Here to Eternity, where he didn't sing at all, that was like a big comeback for him. And after that, he made mostly dramatic films. Even Bing Crosby in the '50s makes things like The Country Girl, where he's not singing and he's a dramatic actor. Elvis looked at those models as what he wanted to do: 'I'm gonna use my image and popularity as a singer and parlay that into a career as an actor.'"
"By Hollywood standards, there was nothing wrong with Elvis' career. Hollywood standards are you make money and then that enables you to make the next film, so if you go by that standard, which the Colonel and Wallis and his agent at William Morris were going by, everything was going great. In terms of the quality of his films, the turning point was Blue Hawaii in 1961."
Private Elvis Presley
Elvis' film career was sidelined when he was drafted into the U.S. Army, where he served from 1958-60. "There could not be a better publicity situation than him going into the Army and just sucking it up and being a regular soldier," explains Susan. "He was drafted and different branches of the military offered him the opportunity to go into Special Services, where he would entertain the troops at bases around the world, but he didn't. He went into the Army and was just a regular soldier in Germany in the tank division. Because of his fame, he was allowed to live off base, but he would go on maneuvers in the cold and all that crap just like everybody else did. Everybody here said, 'Well, that will be the end of Elvis' career. He'll be out of the limelight for two years.' But the Colonel was a very smart man, and there's a reason why Elvis was incredibly loyal to him his entire career.
United Artists/Kobal/Shutterstock
"For two years, the Colonel worked his ass off keeping Elvis in the spotlight, just kicking out this publicity and taking advantage of him being in the Army, proving that he's not this rebellious teen who smokes pot and shoots his mother (as one rumor had it). Instead, this is a kid who served his country and is glad to do so. There was a lot of publicity about him getting his hair and those 'damn' sideburns cut off to go into the Army. All of that was photographed and on the news. It starts to change people's minds about him and the bad publicity starts to be forgotten and is replaced by positive publicity. He also made sure that some of Elvis' songs were in the can so that they could be released during that time frame."
Welcome Home, Elvis
And there was as much publicity about Elvis returning from the Army as there was for him going, especially with a special episode of The Frank Sinatra Show that heralded the fact that he was back. "That was in the days when one company would do all the ads for the entire hour," Susan emphasizes. "I think it was Timex that contracted Sinatra to do a series, because Sinatra was not singing in the movies anymore, right? For the most part, he's doing dramatic parts. There are a couple of exceptions, but that's where he wants to go. But he sings on television to keep that part of his persona going, so he's in these TV specials, and one of them was devoted to welcoming Elvis back home from the Army. It's Frank Sinatra and Sammy Davis Jr. and Joey Bishop. Nancy Sinatra was there to represent the younger generation. And in the first segment, Elvis comes out in uniform and sings some of the new songs he's just in the process of recording. Then he does a segment where he's dueting with Sinatra, with Sinatra singing a couple of Elvis songs in his style, and Elvis singing a couple of Sinatra songs in his style. So it's all about the optics of mainstream television embracing Elvis."
Things Start to Change in Hollywood for Elvis
Elvis' first film after returning from the Army, G.I. Blues returns to a bit of the tried and true formula. Susan says, "Hal Wallis again does that thing where he minimally refers to something that happened in Elvis' real life: he plays a G.I. who's just getting out of the Army and hopes to go into show business. In the Army, his character was in the tank division just like Elvis was in real life. That was just a minimal amount of biography of the character aligned with Elvis, but it was enough for the fans to see that the character was really Elvis. And, to soften them even further, there were a lot of changes that occur in the Elvis image once he comes out of the Army. If you watch that film, for instance, there are no sideburns. He would not have sideburns again until the 1970s when he stopped making films. Also, the music is more pop and less rock, and in this particular film, he sings in a puppet show to kids. That was really going to broaden and soften the rock 'n' roll rebel image."
Sunset Boulevard/Corbis via Getty Images
Going More Dramatic Doesn't Pay Off
In 1960 and 1961, Elvis pushed to go in a more dramatic direction with, respectively, Flaming Star and Wild in the Country. The singing is kept to a bare minimum and is only there at all because of studio insistence. "Unfortunately," Susan points out, "those films didn't do as well at the box office, so he goes back to the musical comedy film with Blue Hawaii and it pretty much sets the formula: Elvis is the handsome leading man who is not inclined to get married, but he finds a girl who really wants to settle down, so the plot is about how is she going to land Elvis? How is Elvis going to end up with her at the end? He often has an occupation that is not a mundane 9-to-5 job. He starts his own tourist company or something. And it's huge. It becomes his biggest hit, the soundtrack is his biggest selling album. So his management team — Wallis, the Colonel and the William Morris Agency — were, like, 'Well, look, this is what your fans want. Look at the numbers for Blue Hawaii compared with when you tried to become a dramatic actor.' And that was the point, and what people learn is that their film with Elvis will make money even if you don't put that level of production value in it. So when he starts to make films for outside the Wallis deal, they low ball those things and still make money. And that's where they become less charming and more formulaic."
Putting His Faith in the Colonel
With Elvis' success on screen and in music, it would seem that he would have had the clout to insist on better quality scripts and production values on his films, which makes one wonder why he didn't. "I think it was a combination of things," Susan muses. "One was that he had been managed by the Colonel since he was a teenager, and the Colonel was right more than he was wrong. He maneuvered Elvis through the horrible era in the '50s in terms of bad publicity, and he was able to make Elvis an even bigger star after being out of the public eye for two years. That was a phenomenal feat in and of itself, comparable to when, during World War II, people like Jimmy Stewart and Clark Gable, who were incredibly established stars when they went away for two years and came back and were stars again. Elvis had only been around a little while and the Colonel managed to keep him on top. And to maneuver him into a film career, which he had wanted. So he was like a father figure. I think in terms of his personality it would have been hard for him to question that.
Paramount/Kobal/Shutterstock
"The second thing is he is having a lot of fun during this period. He has the money he wants, he has a group of friends around him, and they have a lot of fun. They travel together, they go horseback riding together, they go motorcycle riding together. He's in the Hollywood scene and he's dating all these starlets. So there's a level of fun off camera that he's having to the point where I don't think his mind was on, 'Gee, I wonder how bad this movie really was.'"
The Start of the Nine-Day Specials
Following Blue Hawaii, Elvis shot in rapid order Follow That Dream, Kid Galahad and Girls! Girls! Girls! In 1962; It Happened at the World's Fair and Fun in Acapulco in 1963; Kissin' Cousins, Viva Las Vegas and Roustabout in 1964; and Girl Happy, Tickle Me and Harum Scarum in 1965. Two films in that mix signaled a change in Elvis' attitudes about his movie work. "Harum Scarum and Kissin' Cousins were produced by Sam Katzman," says Susan, "and they are, like, nine-day specials. Made super fast, really lousy music, just absurd storylines that have no grounding in the way that people relate to each other. In Kissin' Cousins, it's actually a very negative depiction of people in the South, which did not go over very well with him. And he plays a dual character in that, a mountain boy who looks just like a long lost cousin in the Army. That was when I think Elvis felt really defeated.
"The thing that saved him is that Priscilla, his relationship with whom had started during the Army when she was very young, was getting older and they're thinking about getting married, so he focused on that. He also records, I believe, a gospel album around '66 or something like that, so he was able to put his creative attention on that. He was a big lover of gospel music and was really good at it. So he was able to divert his attention elsewhere, away from the 'day job,' so to speak."
Elvis Has Had Enough!
A dozen films starring Elvis were released between 1966 and 1969, one usually worse than the last. He'd wanted out earlier, but was still under contract with Hal Wallis and other low-rent production companies the Colonel had made deals with. He has no choice but to proceed with them, but it finally became crystal-clear to him how he was being used. "By that time, Wallis is older and he's just using the Elvis movies to make money," notes Susan. "One of the final straws was Roustabout, which is actually a decent film. Wallis used the money from Roustabout in order to have the equity to make Becket with Peter O'Toole. Becket bores me to distraction, but it's one of those Oscar bait movies at the time starring Peter O'Toole. It doesn't age very well. But at the time it won an Academy Award nomination and it was highly-touted in the press. Wallis talks about how he was able to build equity in his company to make Becket because of what he makes on the Elvis vehicles. That's when it dawned on Elvis that Walls was never going to star him in a quality production.
"It just kind of hit him that he was being used, and he doesn't sign with him again. Ironically, though, he does try to do a couple of things that are really different. At the every end he makes a western called Charro in the style of the Spaghetti Westerns, like Sergio Leone's films with Clint Eastwood, but it was a lousy director and wasn't very good. But then he makes a drama, costarring Mary Tyler Moore, called A Change of Habit. He's a doctor in the ghetto and there are all of these social messages in his dialogue about poverty and crime. Just something heftier than you would find in previous Elvis movies."
Elvis' Film Legacy
Generally speaking, when one looks back at the Elvis Presley filmography, the impression is not generally a positive one. Susan believes there are two reasons for this: "One, is Elvis himself. When he gets back on the road again in '69 and into the '70s, he will make fun of himself and call his body of work 'The Presley Travelogues' as a way to disparage them. Like I said, they had this formula of exotic locale and a handsome leading man with an unusual job and a real fantasy approach to romance. And then, the first people to seriously try to put his contributions in perspective in the '80s were music writers and, of course, music historians or music critics are going to hate the movies, because he changed his recording style and he changed his image in order to fit into the mold of the Hollywood leading man. So they immediately think that that's a step downhill, because he's not playing rockabilly anymore. Between those two things, that accounts for why his movie career is made fun of so much.
"The positive impact for him of having done those films is the fact that he reached more fans, and he was always grateful to his fans. This gave him a wider and broader fan base. And it allowed him a lifestyle to which he was accustomed. Now there were times when he felt isolated by that lifestyle, but there were also advantages to it that I don't think he would have been able to live without once he got used to them, to be honest."
"The worst part of his making those films," closes Susan, "would obviously be when he realized that he would never escape those vehicles. He kept waiting for that serious movie for Wallis to cast him in. Like King Creole was a really good, serious movie, and he just kept waiting — and believing — that they would come back from Wallis, and Wallis never had any intention. Once he could make a certain amount of money on a certain kind of vehicle, he had no intention of pulling Elvis out of that. I think when Elvis realizes that over the Roustabout/Becket thing, that's when he becomes bitter toward Hollywood. That personally affected him deeply, and he simply stopped trying. He felt like the guy he trusted let him down and was using him, and it simply wasn't something he could handle anymore."
Today Would Have Been Elvis Presley's 84th Birthday — Check Out 10 Must-See Moments From His Iconic Career!
Marie Osmond Opens Up About Knowing Elvis Presley When He Was Alive
Elvis Presley's Troubling Relationship With His Mom Ended His Romance With Natalie Wood (Exclusive)


If you're anything like us, your major complaint about pajamas is that they're just too hard to take off. That, and how urine stains never seem to wash out completely. These magnetic pajama buttons don't do much about problem #2, but they totally take the clothing-removal equation to the next level.
Of course, these magnetic fasteners are designed for the elderly and disabled, but our question is this: Why isn't this on all articles of clothing? Think about it, you could remove clothing LIKE THAT. That means perverts could go around and rip off women's clothing with minimal effort, which just leaves us with the one question: Why isn't this on all articles of clothing?


text:
Spout effects syrup production
A new spout developed by the University of Vermont's Proctor Maple Research Center will have a dramatic impact on maple syrup production.
An innovative new spout developed by the University of Vermont's Proctor Maple Research Center, with funding secured by Senator Patrick Leahy of Vermont, will have a dramatic impact on maple syrup production, increasing sap yields by 50 to 90 per cent per tree.
Progressive Plastics in Williamstown, Vermont began commercial production of the check valve spout this month for Leader Evaporator of Swanton, Vermont, which licensed the technology from the university and will market and sell it.
Although Leader has not yet listed the spout in its catalogue or on its website, the company has already received one million advance orders. Leader is projecting sales of three million units this maple season, making the spout its number one selling product.
The check valve technology itself was developed by Dr Timothy Perkins, director of the Proctor Maple Research Center. It employs a valve – a small ball that rolls back and forth in a chamber within the spout – to block the flow back into the tree of sap containing bacteria.
All tapped maple trees pull sap back into their tap holes, as they try to balance the negative pressure established both by natural process and by vacuum systems, which are pervasive in the industry. Bacterial backflow in turn causes the tree's natural defence system to wall off the contaminated area of the tap hole, essentially plugging it and ending a sugar-maker's season. Such walling off typically occurs late in the season.
By allowing the tree's sap to continue to flow, the new spout will extend the sugar-making season by one and a half to two and a half weeks, according to testing conducted by the Proctor Maple Research Center and confirmed by Leader's field testing. The season is typically four weeks long.
'We're very excited about the new fitting. It's going to add as much to syrup and sap production as vacuum tubing did. I'm confident that this is going to be the thing to use in the future,' said Gary Gaudette, president of Leader Evaporator.
19th August 2009 12:29 pm 15th December 2015 3:27 pm
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