text:
D.C., Md. & Va. Opinions
Cape Up
Think before you mob
Editorial page editor Fred Hiatt and opinion writer Molly Roberts debate whether Trump officials should be publicly shamed. (The Washington Post)
Opinion by
Charles Lane
Editorial writer and columnist specializing in economic and fiscal policy
Editorial writer and columnist
June 25, 2018 at 8:34 p.m. UTC
You could argue that the Civil War began on May 22, 1856, when Rep. Preston Brooks of South Carolina entered the Senate chamber and beat Sen. Charles Sumner of Massachusetts nearly to death with his cane.
Brooks's casus belli was Sumner's freshly delivered antislavery speech, in which he called Sen. Stephen A. Douglas of Illinois a "noise-some, squat, and nameless animal," and suggested that Sen. Andrew Butler of South Carolina — Brooks's cousin — was in love with "the harlot, Slavery."
You could argue that Sumner was more than justified in using such uncivil language, given the enormity of the evil, slavery, that Douglas was willing to tolerate and Butler actively defended.
And you could argue that this bloody attack on the senator, if it catalyzed the war, only hastened the inevitable and necessary.
What's perhaps most relevant today, however, is the fact that Brooks's attack exposed beyond deniability the degree to which Americans of the 1850s lived in separate realities. Newspapers in the South not only justified what Brooks had done, they made him a hero; the Northern press did the same for Sumner.
Our broken polity has not yet produced one such climactic breakdown in civility, but we seem to be on our way there, and because so many people seem to relish that — the slogan "F--- civility" is gaining traction — it's important to be as clear as possible about both the causes and the potential consequences.
Civility spreads, as a democratic norm, on the basis of consensus. When most people involved in politics share broad goals and a belief in the overall legitimacy of the political process, they are more likely to disagree, when they do, without being disagreeable.
This is more a matter of incentives than education and training: When democracy is about competing but not warring groups taking turns in power, it's in your self-interest to be civil because doing so sets a useful precedent — for you.
When civility prevails among the politically active, it spills over into calm and normality for everyone else; where you shop, or dine, or go to the movies doesn't have to be a political statement. Commercial establishments are, in that sense, safe spaces. Just ask any citizen of a former communist state in Europe what it was like when every trivial life choice carried political freight.
The broad political consensus that prevailed in the United States between the end of World War II and the end of the Cold War has broken down, and civility has broken down as well. This didn't happen by accident: The first turns in our downward spiral occurred in the early 1990s, when Newt Gingrich broke all kinds of taboos and norms en route to securing a Republican House majority.
By now, however, there's plenty of blame to go around. The dominant modus operandi of American politics, across the political spectrum, is to attack various elements of the postwar consensus as attributes not of a stable democracy, but of "a rigged system." Aspirants for elected office compete to delegitimize not only each other but also American-style democracy itself.
Of course, consensus can mask corruption. A middle-of-the-road two-party system built on the exclusion of certain groups, based on their racial or other identity, lacks legitimacy, even if a lot of people in power say otherwise.
Certainly the division and chaos that led to the Brooks-Sumner clash, and the Civil War, had been a long time coming, notwithstanding Congress's attempt to suppress it through various compromises and, for a time, a ban on even discussing — "agitating," was the word — the "slavery question" in the House.
What we have now is the unprecedented situation of the president of the United States not only attacking the legitimacy of the American political system, not only trashing the very idea of consensus, but also agitating every single question of policy, no matter how sensitive, in the most inflammatory words possible. On basic factual questions, he repeatedly asserts that two plus two equals five, and many seem to believe him.
He is doing all of this from a position of partisan dominance, or at least advantage, over the federal government and most of the states as well.
Those whom this approach inevitably disempowers and threatens now reach for their own unconventional weapons — ostracism, heckling, mobbing. Rep. Maxine Waters (D-Calif.) has said of Trump's Cabinet, "tell them they're not welcome anymore, anywhere."
You can understand why people act and feel this way without immunizing them against basic questions such as how far, exactly, they propose to go, and what, exactly, they hope to accomplish.
Michelle Obama once declared, "when they go low, we go high." That might not work, either, but it does have one clear advantage: It is the only option that could, even at this late date, inspire an upward spiral.
Read more from Charles Lane's archive, follow him on Twitter or subscribe to his updates on Facebook.
The Post's View: Let the Trump team eat in peace
Max Boot: Those who oppose Trump shouldn't sink to his level
The Post's View: Trump retweets hate
Jennifer Rubin: What should happen when Trump says horrendous things
Dana Milbank: Trump's not a liar. He's a madman.


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"Where are the songs of spring?" John Keats asked in To Autumn, last week's Poem of the Week. In this week's choice, Man walking, from the debut collection Otherwise Unchanged, Owen Lowery restores the season, if not the songs. An anonymous passer-by, male, middle-aged, ordinary, becomes a kind of gender-bending urban Persephone, bringing the gift of spring in the bunch of flowers he carries – even in his very action of carrying flowers.
Lowery's subtitle, "by Stanley Park, Liverpool", is specific about the location, and the second line adds detail while delicately pitching the walk as emblematic, bounded by both park and cemetery. It's too long since I visited Liverpool, but a little map-reading suggests that the cemetery in question is Anfield Cemetery, which lies north-east of the historic, Grade II-listed Stanley Park. The latter was founded in 1870 as an amenity for the working people of the city, and is the birthplace of Liverpool football. That working-class social dimension is important to the poem's consciousness of universal human value.
After the close-up "wrap of flowers" (the word "wrap" implying a certain protectiveness and privacy), a geometrical metaphor extends the frame of the poem to reveal a triangle of participants. Besides the walking man, the focal point, there are the speaker and another person watching alongside the speaker: the plural pronoun, "we" shows us that this is a shared observation, and the man centres the "convergence" of their gazes. That the bouquet "lifts" the man is part metaphor, showing him raised to significance, and also evokes a faintly Chagall-like image of someone "walking on air".
"The point he makes/ of early morning" is a spatial concept, but in the colloquial sense "point" can mean "purpose", and that also resonates here. The man's presence perhaps seals some bond between the watchers; additionally, it reflects their own achievement, explained in the second stanza, in having "made/ something of the journey". The slowly moving cross-stanza sentence takes the reader's mind and eye on a winding route from the particular to the philosophical, until it ends on an unexpected note of scepticism: in the "great scheme" (an ironical abbreviation) the man, and, by implication, his observers, are "nothing". There may be a dry humour at work here: the man who's "really nothing" is at the same time "heroic/ in his middle-age". Yet the poem isn't ridiculing him.
On the contrary: to have reached middle age at all implies courage and doggedness. Carrying the bouquet represents a small brave act of self-unwrapping in a macho culture. In the lines, "bearing/ some of what's inside/ for all the road and its morning/ to see", the verb "bearing" doesn't simply mean "carrying": it includes a suggestion of endurance and possibly a pun on "soul-baring".
That surreal flicker at the start of the poem ("A wrap of flowers lifts him…") reappears in the third stanza. Now, rather than a literal description of the flowers, Lowery gives us a near-metaphysical bouquet, which itself "seems to be/ spring". The picture enlarges with "the swathe/ and breath of blossom, fruit/ and may", the canopies of the cherry trees visible above the wall, and, unexpectedly and marvellously, "the timing/ of the parked cars". In this generous vision, the movement is from the natural to the designed to the wholly man-made. The cars are already parked, but the word "timing" seems to take us back a stage to the act of parking, and the finesse and courtesy which, at best, it exhibits.
The sense of "destination" follows on naturally, but again, the poem is making one of its shifts into metaphor: the man's real destination is emotional, since it would be confirmed "by a fall of petal on the dark/ of his back or his shoulder". We might think first of a chance, breeze-borne scattering from the cherry-trees which earlier were "dusting/ the green of the park" but the stronger association is with confetti. Such an anointing would complete his transformation – or almost. A final, new thought adds "a kiss/ for us to remember him by" as consummation. Is it the kiss bestowed by the man's imaginary bride, or by a lover who has greeted him, perhaps also with flowers? Or could it be that of the two people who stood together, observing him?
The poem's diction is precise but pleasantly casual. Short, irregular lines, flowing in unemphatic enjambment, tend to subdue accentual stress-patterns – and their emotional counterpart. Careful and deliberately prosaic, the versification de-romanticises the poem, yet keeps a casually joyous lightness in its step. Lowery, whose career as a British judo champion was curtailed by a severe spinal injury in 1987, is influenced by Keith Douglas and the war poets, and even in love poems, his speakers favour an objective, outward-looking view.
Otherwise Unchanged is a remarkable collection, combining technical poise and an expansive intellectual range. While Man walking is a happy place to begin, the collection represents a many-faceted journey worth sharing with Lowery from cover to cover.
for us to remember him by.


Where to start… To understand why I did this, I guess it's important to explain a bit of my past. My parents divorced when I was about 7 and my father moved to another town, and we (Myself, mother and sister) ended up moving in with my grandfather. My grandfather, Malcolm Ernest Alfred Berndt (or 'papa' as he was known in the family) lived in Gordon's Bay which is a small coastal town just outside Somerset West. And for as long as I can remember, he became what could essentially be considered my replacement dad. I only saw my real father on some weekends and while there were character traits I could now appreciate or relate to with him, at the time I didn't feel as though it was about teaching me anything as opposed to it being about dragging me along with him out of obligation. However, my grandfather on the other hand was always there to show me things and to try broaden my knowledge and teach me things, from meteorology to sport.
I still have vivid memories of standing out on the patio of the Gordon's Bay house and watching thunderstorms and driving through to Bikini Beach during storms to watch it break at a good 4 to 5 foot. Eventually we moved, but my grandfather and mother bought a house together – so we remained in a single house still. And that was the time, around 1995 when we started visiting the beach almost daily. You see, my grandfather had been a surfer for decades and my mother used to often talk about how when they were kids he would drag them around to various beaches looking for a good break. As he grew older, he ditched the long board and opted for a bodyboard which I think was mainly due to his knee problems. But none the less, from around 1997 to 2001 we would go to the beach all the time. He taught me to bodyboard and bought me my first bodyboard, and my second and my fourth. Despite him being in his late 50s and even 60s, he was still riding the waves well, carving in and catching the occasional barrel. And even though we never talked much, we spent a whole lot of time out in the ocean together and the reality of it is that most of my memories from back then involve bodyboarding.
My grandfather suffered a stroke in 2007 or 2008, three years after my father died. Though the stroke wasn't the beginning of the end, the first signs started after he went in for a routine knee operation and suffered side affects from the anesthetic which brought on dementia. He would wake up in the night reaching for his gun because he would imagine there were people in the garden. And while I did a good job of blocking it all out, it's still difficult to think about that period where someone close to you is healthy and fit one day and a few months later they can barely take care of themselves. The stroke occurred after he was put into frail care, and things suddenly went downhill very quickly. He lost the ability to speak, and close his mouth. I ended up trying to avoid family gatherings just to not have to witness it. How do you see someone who has taught you everything you know, now unable to do basic functions like speak? And how do you speak to them? What do you say? How do you know that they can even understand you properly. So when his death came in 2010, to me personally I felt it as a relief. I knew him well enough to know that there was no way he would have wanted to be living in that space. And in hind sight, him and I could probably now engaged in some interesting topics – both him and I being the only atheists within our family, who put science above religion.
I stopped bodyboarding for many years, turning my focus towards rollerblading and then computers. But I recently got back in the ocean again for the first time in nearly 10 years… And it brought back memories of a great time in my life. Though now it's very different.
While driving to the beach one day I was thinking about the topic, and I remembered that his ashes still sit in a cupboard in the house alongside my grandmother's (another amazing person who I need to find a fitting tribute to) – having not been scattered yet. And then I had the idea of melting some surf wax, and putting in some of the ashes.
Instead of sitting in a dark and dreary cupboard, I could ensure that the man who spent so many years in the ocean could 'see the ocean again'. Not only that, but share my time in the barrels – just like 15 years back.
So this evening, I eventually got the box of ashes – cracked it open and for the first time in over 7 years had some form of physical contact with my grandfather. And while I think many people may find it slightly macabre, I know my sister does; it was anything but.
It's important to note that for the most part cremation ash is not really soft and powdery, it's more a course combination of what looks to be crushed bone. So I would only be using a small about.
I took a glass container and put the wax on it, and stuck it in the microwave for 10 minutes. I found that the heat of the microwave was enough to make the plate hot as hell, but didn't do much to the wax itself. So the process involved rubbing the wax square on the plate so that it melted.
After the wax was melted, I poured in some of his ashes and mixed them together with a stick. I found that despite having a few solid small pieces in it, it wasn't enough to ruin the sticky qualities of the wax and considering I wear a wetsuit, I don't have to worry about it too much.
After mixing them together, the wax begin to become solid and I assisted the process by putting it in the deep freeze for a small amount of time.
I then used a wax comb to pull the wax out (while it was still not completely set, as I wanted to remould it).
The wax and ash combination was then turned into a ball – which is obviously not ideal for applying, but it looked better and was easier than shaping a square.
I then applied the wax and remnants of my grandfather to my board and now know that the next time I head out into the water, he'll be joining me – at least in body. And for us non-believers, that's all there really is.
We definitely never always saw eye to eye and still dislike some of his thought processes, but in the end – if it weren't for him, who knows what I would have missed out on in life.
Bryn is a passionate and opinionated antinatalist and naturalist with a love for nature, the ocean, photography, severe weather and music. He spends most of his time looking for new birds within the Western Cape, taking landscape photographs or behind his computer being a nerd.


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Home / Health & Relationship / Beauty / Pre-wed shoot, the most happening trend in photography!
Wedding is a very special occasion for every family, the couple in love and the parents as it makes memories that will last a lifetime. It is every girl's dream to have a fairy tale wedding. To make this dream a reality, many preparations from decorations to food and hospitality are to be done. One of the modern trends in a wedding is the pre-wedding shoot. Pre-wedding shoot is one of the important parts of a wedding. A pre-wedding shoot is a modern trend in the field of photography. This photography is as important as the wedding pictures. As the name suggests, pre-wed shoot usually takes place after the Engagement and before the Wedding. During the early days, couple would be photographed in a studio made to sit on a sofa, The process was uncomfortable both to the bride and the groom. But the modern shoot is one where the soon to be husband and wife head to beautiful destinations with a photographer to get some great pictures for their pre-wedding shoot. They choose interesting and intimate locations for the shoot and create a story with emotions attached to it.
The photographers focus on capturing emotion and passion in a candid manner to create magical & natural images. Pre- wedding shoots are generally relaxed and informal as compared to the ones at the wedding venue. The pictures can be used for e-invitations or even as a slideshow during prior to the reception.
The pre-wed shoot helps the couple to gain confidence for facing the camera on the wedding ceremony. It can be made as creative as possible with endless imagination. One can imagine how nice it will be to look at these albums ten years down the lane and to share the love story with probably their children. Pre-wed shoot photos are one of the most valuable things the couple can treasure throughout their lives.
The best time to have a shoot could be one month prior to the wedding.
Pick a warm and sunny day for the best of lighting and an appropriate location as per the couple's or photographers preference.
The couple should hit the gym before the shoot to get in shape.
Hire a beautician or the photographer will suggest one for you. Every girl wants to look beautiful and attractive in pictures. Make-up is one of the important aspects and it will always add beauty to the pictures. It should match the couple's costume and also with the shoot concept.
The couple can hire a costume designer or pick the clothes they want to wear for the photo shoot. They can experiment by taking pictures in a variety of costumes with different poses prior to the shoot.
The photographer has to visit the place prior to the shoot and decide on certain locations and how to place the couples in each picture. The couples should discuss about their requirements with the photographer and both have to obtain a professional perspective in sync with the couple's requirement with innovative thoughts to make the Pre-wed photo shoot a success!
Next Ten best Getaway Destinations with your partner this Summer!


is absent blackpilling or did he go full ankle-biter?
You are setting yourself up for nothing. Sanders sent in Seth Rich to steal Clintons/DNC voter rolls on her illegal server. Which he did, found more than he bargained for, sent USB to Wikileaks, and ended up murdered via a hit ordered by Tony Podesta on behalf of his bro John "Skippy" Podesta, under orders from HRC herself.
Trump will win another term. Feel free to screenshot this post so in the future you can see I am 100% correct in everything I just said.
Have there been any studies that reflect what Medicare for all would cost the average taxpayer?
bernie sanders is an idiot, and so are his supporters.
***8220;No,***8221; Mr. Sanders replied. ***8220;I mean, you know, what we want is a country where everybody has opportunity. You know, I have a college degree. I***8217;m a United States senator. But a lot of people don***8217;t have a college degree. A lot of people are not United States senators.
According to Bernie, we currently pay 50 trillion over a 10 year period. Under his plan, we would only pay 30 trillion thus saving 20 trillion over 10 years. Of which, he will cover all up front cost with higher taxes on the rich and major corporations.
The logic seems broke, but there is surprisingly little counter data.
I***8217;m just watching his CNN townhall and trying to fact check him.
Last edited by OneManArmy; 04-16-2019 at 16:09..
***8220;I never had any money my entire life,***8221; Sanders told Vermont public TV in 1985, after settling into his first real job as mayor of Burlington.
Sanders spent most of his life as an angry radical and agitator who never accomplished much of anything. And yet now he thinks he deserves the power to run your life and your finances -- ***8220;We will raise taxes;***8221; he confirmed Monday, ***8220;yes, we will."
Last edited by Greedo909; 04-16-2019 at 16:19..
What if I told you that you can have everything you want and not only will you not have to pay for it but you'll actually make money doing it!?


1 2002 - 09/10/2002 - Vapor areas must be limited; concentrations must remain below 25% of the substances' lower flammable limit.
2 1990 - 04/26/1990 - The use of flammable and combustible liquids in dip tanks.
3 1985 - 03/18/1985 - Ventilation requirements for the auto and printing industries.
4 1979 - 06/11/1979 - 1910.123-1910.126, As Applied to Dip Tanks Containing Varnish for Electric Motor Coating.
5 1976 - 11/12/1976 - Dipping and coating operations standard applies to liquids with a 380 degree flashpoint.


text:
Q: ui-select optgroup filter dropdown in Magento 2 Grid Filter I am trying to group the option using optgroup for ui-select component in magento2 grid, but facing some issue.
It is working fine with the [label,value] options not with optgroup.
What i am trying to achieve?

*

*Need to show the dropdown with optgroup in grid filter

*Below is the optgroup

{
                  "options": [
                    {
                      "value": "5",
                      "is_active": "1",
                      "label": "Default Category",
                      "optgroup": [
                        {
                          "value": "1",
                          "is_active": "1",
                          "label": "first sub category",
                          "optgroup": [
                            {
                              "value": "4",
                              "is_active": "1",
                              "label": "subcategory child one"
                            },
                            {
                              "value": "3",
                              "is_active": "1",
                              "label": "subcategory child two"
                            }
                          ]
                        }
                      ]
                    }
                  ],
                  "total": 10
                }

*

*On search, need to call ajax and get the result

*Below is the adminhtml ui component code
<?xml version="1.0" encoding="UTF-8"?>
<listing xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:module:Magento_Ui:etc/ui_configuration.xsd">
    <listingToolbar name="listing_top">

    <filters name="listing_filters">
    <filterSelect
        name="store_id11"
        provider="${ $.parentName }"
        sortOrder="150"
        component="Magento_Ui/js/form/element/ui-select"
        template="Magento_MediaGalleryUi/grid/filters/elements/ui-select">
            <argument name="data" xsi:type="array">
                <item name="config" xsi:type="array">

                    <item name="filterOptions" xsi:type="boolean">true</item>
                    <item name="searchOptions" xsi:type="boolean">true</item>
                    <item name="isDisplayMissingValuePlaceholder" xsi:type="boolean">true</item>
                    <item name="isDisplayEmptyPlaceholder" xsi:type="boolean">true</item>
                    <item name="isRemoveSelectedIcon" xsi:type="boolean">true</item>
                    <item name="filterPlaceholder" xsi:type="string" translate="true">Asset Title</item>
                    <item name="emptyOptionsHtml" xsi:type="string" translate="true">Start typing to find assets</item>
                    <item name="filterRateLimit" xsi:type="string" translate="true">1000</item>
                    <item name="filterRateLimitMethod" xsi:type="string" translate="true">notifyWhenChangesStop</item>
                    <item name="searchUrl" xsi:type="url" path="customwebsitelist/employee/index" />

                    <item name="multiple" xsi:type="boolean">false</item>

                    <item name="listens" xsi:type="array">
                        <item name="${ $.namespace }.${ $.namespace }:responseData" xsi:type="string">setParsed</item>
                    </item>
                </item>
            </argument>
            <settings>

– Please Select assets –

                Asset1
                <dataScope>store_id11</dataScope>
            </settings>
            </filterSelect>
        </filters>
    </listingToolbar>
</listing>

*

*Below is the dropdown in sales order grid

*

*Below is the issue.

If we select any child option it is throwing error as "Entity1 with ID: %s doesn't exist".
Please help me to fix this issue.

A: 1. Create Custom UI Select Component
app/code/Acme/StackExchange/view/base/web/js/grid/filters/elements/ui-select.js
define([
    'Magento_Ui/js/grid/filters/elements/ui-select',
    'underscore'
], function (Select, _) {
    'use strict';

    return Select.extend({
        getSelected: function () {
            if (!this.searchOptions) {
                return this._super();
            }

            return this.lookupSelectedOptions(this.cacheOptions.plain, this.value());
        },
        /**
         * @param {*[]} source
         * @param {*[]|String} selected
         * @param {*[]|null} result
         * @param {String|null} separator
         * @returns {*[]}
         */
        lookupSelectedOptions: function (source, selected, result, separator) {
            let i = 0, length;
            separator = separator || this.separator;
            result    = result || [];
            source = _.compact(source);
            length = source.length;

            for (i; i < length; i++) {
                if (_.isArray(selected) ? _.contains(selected, source[i].value) : selected == source[i].value) {
                    result.push(source[i]);
                }

                if (source[i].hasOwnProperty(separator)) {
                    this.lookupSelectedOptions.call(this, source[i][separator], selected, result);
                }
            }

            return result;
        }
    });
});

2. Use Custom UI Component
<filterSelect component="Acme_StackExchange/js/grid/filters/elements/ui-select"

P.S. Don't forget to implement <item name="validationUrl" xsi:type="url" path="acme/select/validation"/> for lookup dynamic options labels on load

A: I found a solution for this. Basically you need to provide the already chosen value as a select option. Here's an example of what I mean
<field name="product_1" component="Magento_Ui/js/form/element/ui-select" formElement="select">
        <argument name="data" xsi:type="array">
            <item name="config" xsi:type="array">
                <item name="filterOptions" xsi:type="boolean">true</item>
                <item name="multiple" xsi:type="boolean">false</item>
                <item name="showCheckbox" xsi:type="boolean">true</item>
                <item name="disableLabel" xsi:type="boolean">true</item>
                <item name="levelsVisibility" xsi:type="number">1</item>
                <item name="isRemoveSelectedIcon" xsi:type="boolean">true</item>
                <item name="searchOptions" xsi:type="boolean">true</item>
                <item name="searchUrl" xsi:type="url" path="catalog/product/search"/>
                <item name="filterPlaceholder" xsi:type="string" translate="true">Product Name or SKU</item>
                <item name="emptyOptionsHtml" xsi:type="string" translate="true">Start typing to find products</item>
                <item name="source" xsi:type="string">look</item>
                <item name="filterRateLimit" xsi:type="number">1000</item>
                <item name="filterRateLimitMethod" xsi:type="string" translate="true">notifyWhenChangesStop</item>
            </item>
        </argument>
        <settings>
            <required>true</required>
            <validation>
                <rule name="required-entry" xsi:type="boolean">true</rule>
            </validation>
            <elementTmpl>ui/grid/filters/elements/ui-select</elementTmpl>
            Product 1
            <dataScope>product_1</dataScope>
            <componentType>field</componentType>
            <listens>
                <link name="${ $.namespace }.${ $.namespace }:responseData">setParsed</link>
            </listens>
        </settings>
        <formElements>
            <select>
                <settings>
                    <options class="Vendor\Module\Ui\Component\Look\Column\Product1\Options" />
                </settings>
            </select>
        </formElements>
    </field>

Where what I added to fix the issue is this section
<formElements>
        <select>
            <settings>
                <options class="Vendor\Module\Ui\Component\Look\Column\Product1\Options" />
            </settings>
        </select>
    </formElements>

Where this options class is making a query to my custom table and getting the product ID and the product name and creating a single option with those as value => label and returning it. This works perfectly; now when the form loads the product chooser will show the already selected option the same way it does when the option is first selected

A: Yes, it is working with validationUrl. Thanks.

redpajama_set_name: RedPajamaStackExchange


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text:
Jeney ist der Familienname folgender Personen:

 László Jeney (1923–2006), ungarischer Wasserballer
 Ludwig Michael von Jeney (auch: Jennay; * 1723/1724; † 1797), Ingenieur, Kartograph, Schriftsteller und General

redpajama_set_name: RedPajamaWikipedia


text:
Ronald L. Rubin
ronaldrubin@nationalreview.com
Get Author's RSS Feed
Ronald L. Rubin was an enforcement attorney at the Consumer Financial Protection Bureau and chief adviser on regulatory policy at the House Financial Services Committee.
Elizabeth Warren's Sad Sick Joke
By Ronald L. Rubin April 3, 2018
Warren proves Mick Mulvaney's point.
Richard Cordray Delivers the Consumer Financial Protection Bureau Punchline
By Ronald L. Rubin November 27, 2017
Cordray feared that Mulvaney would discover evidence the CFPB has been hiding for years, including explosive sexual-harassment claims against CFPB senior managers.
The CFPB Supervision Problem
By Ronald L. Rubin June 23, 2017
The Consumer Financial Protection Bureal has been mismanaged and misconceived from the start.
Cordray's Choice
By Ronald L. Rubin March 15, 2017
Richard Cordray, the director of the Consumer Financial Protection Bureau, must save the agency by resigning.
Elizabeth Warren's Secrets and Lies
By Ronald L. Rubin February 10, 2017
Elizabeth Warren will stop at nothing to shield the Consumer Financial Protection Bureau from long-overdue scrutiny.
The Tragic Downfall of the Consumer Financial Protection Bureau
By Ronald L. Rubin December 21, 2016
The Consumer Financial Protection Bureau had noble aims, but it was doomed by a structure that made it inherently political.

redpajama_set_name: RedPajamaCommonCrawl


No one like me has appeared in this place before.
and thus feed the earth?
and thus create the mystery of a holy ground?
of the currents of bliss that fill them?
to heal the feet of pilgrims?
where I rise and fall.
RETURN TO "ADI DA'S DIVINE MAHASAMADHI AND ADIDAM IN PERPETUITY"
"I rise and fall" poetically echoes "my birth or death" in the previous line, suggesting an intentional correspondence between "birth" and "rise"; and "death" and "fall". Read The Death and Birth Of the God-Man for a possible interpretation of "fall" that is positive (in accord with the sense of the poem, which contrasts the presumably positive "building of a temple where I rise and fall" with the negative alternative painted by the rest of the poem).


text:
echo off

cd build\codegen

mvn clean install -Drelease

cd ..\..\..\

exit

redpajama_set_name: RedPajamaGithub


text:
Hansi Kürsch On The Story Of 'Beyond The Red Mirror': "It Really Goes Back To The End Of 'Imaginations,' In Particular 'And The Story Ends'"
posted Jan 7, 2015 at 8:17 AM by CROMCarl. (5 Comments)
Band Photo: Blind Guardian (?)
The following interview with Blind Guardian vocalist Hansi Kürsch was a joint venture between MetalUnderground.com and Black Bird Productions. The guest interviewer is none other than Disforia/Judicator vocalist John Yelland, who worked with Kürsch (who appeared as a guest vocalist) on the Disforia track "The Dying Firmament" (from the band's latest album "The Age of Ether" - see review here).
A lifelong fan of Blind Guardian, John approached me with the idea of interviewing Kürsch about the band's upcoming new release "Beyond the Red Mirror" (see our review at this location), and knowing how interesting the interaction would be among musicians and friends, I quickly jumped at the idea. So please sit back, read and watch the interview (video appears at the end) with the legendary Hansi Kürsch presented by one of the best up and coming singers, John Yelland! - CROMCarl
On a chilly winter morning I had the pleasure of interviewing a legend, the master bard himself, mister Hansi Kürsch of Blind Guardian. I had worked with Hansi before on a song of mine in Disforia, "The Dying Firmament", and have stayed in touch with him since. Intensely curious about the growing hype around Blind Guardian's upcoming album 'Beyond the Red Mirror', I was fascinated to learn details behind the album's story, concept, and creation. The interview which follows shines light on the aforementioned subjects, as well as everything from promotion, music videos, and the orchestral project, to beer and The Hobbit movies. Please, enjoy :-)
John Yelland: Last I heard from you, Blind Guardian was busy doing promotional work. Can you tell me what you guys have been up to?
Hansi: What we have done in terms of promotion is press, basically, and some radio stuff. We were traveling all throughout Europe, and actually did the same thing by phone during the last seven days.
John Yelland: Are there any plans for another music video like "Another Stranger Me" or "A Voice in the Dark"?
Hansi: We might do a video, we're discussing that with the record company at the moment. The point with the video is always we don't want to be in there. It's the most horrible thing I can imagine—to perform a video, I hate that, everyone in the band does. So we're looking for an animation company to do the job so we don't even have to appear there. Nuclear Blast is checking opportunities at the moment. So this might come up in January, but so far we haven't done it. We did the lyric video and promotional videos, but nothing in terms of a music video so far.
John Yelland: Metal seems to be much more widely accessible in Europe, right?
Definitely! There was even the consideration of having us over for 2-3 days in New York, but that did not turn out very well in the end because of timing issues. But otherwise we would have made the regular promo run there as well. So it seems that at least for Blind Guardian things in general are going the right direction. There's sometimes that sort of vibe, and I have a really good feeling at the moment because everyone seems to be very curious about the new album.
John Yelland: Yeah, I've always felt that if you guys had the ability to aggressively market in the U.S that you would do very well. Everyone I show Blind Guardian to is blown away, I usually start 'em out with 'A Twist in the Myth', being that it's probably your most user-accessible, rock sounding album.
Hansi: Most European fans would disagree, but yeah it is a nice album.
John Yelland: I think it's a great album!
Hansi: It is a great album.
John Yelland: That's one thing I really like about you guys, is every album you do something different.
Hansi: Yeah, that's the plan, and this is how we look at it. I can see how some people do not get along with it. But the overall aspect on 'A Twist in the Myth' is very positive from our side because it has that mainstream-ish, more modern attitude which attracts people. You know, open minded people are always celebrating the album, while some of the fans more into the old-school stuff have their issues with this album. But you cannot avoid this, it happens from time to time. I see every album as a step in the right direction for the time it was made. Luckily this seems to be the case with the new album again.
John Yelland: So at this point the new album is completely done. When you get the final mix, how many times a day do you listen to the album? At this point can you enjoy your own album or is it just old news by now?
Hansi: It is sort of old at the moment because we have been so wasted at the end of the production, and I was forced to listen to it so many times during mixing that I am trying to stay away from it for a while. So at the moment I am refreshing my experience with the album because it's still a newborn baby and you need to get a little distant from it to really figure what the album might sound like for other people. At points I was listening to it like 4-5 times a day, you know, forced to listen to it 4-5 times a day, plus the two years we were working on it constantly. So it needs a little time in-between before I really can enjoy the album. Usually it takes me at least 6-8 months after finishing the album before I have an open mind to listen to the album in a more consumer way. But right now I'm still the producer.
John Yelland: Do you have any favorite songs on the album?
Hansi: "The Ninth Wave", because this is going to shock and amaze people. I am really impressed by the progression we have taken there, because this is really a step into a new direction. Then we have "Sacred Mind", this is, expression-wise, probably the strongest song on the album in terms of my performance. People maybe will relate differently to it, but I'm really proud of the output. It was really a sort of performance art song, and I like that. And then the third one I would choose would probably be "At the Edge of Time" because this was one of the songs I have had the biggest concerns about, and it turned out really great.
John Yelland: I kind of figured it was just a matter of time before we had a song called "At the Edge of Time", with the line in "And the Story Ends" and the title of the last album.
Hansi: Right, well you got the point because I did not think about that line when we produced the album. Someone brought it up to me, and when we were working on this album and as we were talking about concepts and I finally made my decision to go back to 'Imaginations' I was like, "Okay, I have the line in the song, and I have the album title, it's a great title anyways, so why not use it for a song?" It was fairly obvious.
John Yelland: To me it feels like closing the circle on something that's been in the cooker for a long time.
Hansi: That's what I said, exactly! It was about time to close that circle, because some people just relate it to the album, and it's more a reference to "And the Story Ends" than anything else. So yes, it was closing the circle, finishing it.
John Yelland: So is the new album a full-on concept album like 'Nightfall in Middle-Earth', or is it more like 'Imaginations from the Other Side' where there's just a handful of songs which tell the story?
Hansi: The way I connected it would make it a complete concept out of 'Imaginations from the Other Side' because I was able to involve some Arthurian aspects in the story. Actually, if you bring it down to the point, it would be a sort of modern quest for the holy grail, and the protagonist in the story would be a sort of futuristic Arthur. As mentioned before, the whole thing has a very strong dystopian frame, so everything which was brought up on 'Imaginations' will be reflected on this album, but it's a straight concept here more like 'Nightfall in Middle-Earth'. There's a weird but straight story telling.
John Yelland: Okay, so every song contributes to the story then.
Hansi: Yeah.
John Yelland: Can you describe the story of 'Beyond the Red Mirror'? I'm already familiar with it, but I think having your words would do a lot for us.
Hansi: It really goes back to the end of 'Imaginations from the Other Side', in particular to "And the Story Ends" where we see that boy standing in front of a mirror, and this boy is supposed to take the jump through and become the chosen one in a different world. On 'Imaginations', especially on the cover, there are these two different universes described. One is more an Arthurian fantasy world, and the other one has a lot of similarities to our world. I left it like this on 'Imaginations' and was always sure that the boy would have done the jump. But when I revisited that particular scene, I decided well, the boy is just a boy, and he's afraid to jump, and due to that consequences occurred for both of the worlds. Due to that, both worlds underwent drastic changes into a sort of catastrophe, and this is documented on the album. At the same time we are going to accompany the boy, who has become a man twenty years later, on his quest to recover his memory and a way back to the other dimension. Obviously this is supposed to be found beyond the Red Mirror, which is the final portal between these two universes.
John Yelland: So is the story concluded at the end of the album, or is it left open like "And the Story Ends"?
Hansi: It is left open, but that's also related to the Arthurian epic, because if we go back to Arthur and Mordred, we will find out that Arthur is stuck somewhere, you know the once and future king, the myth is still open. He more or less gets lost, and this is the same thing which is going to happen to the boy. But if you listen to the earbook version, you will get a sort of sequel with a song called "Doom", but this is more dealing with another protagonist of the story, and this would be my sort of Mordred.
John Yelland: Do you feel you identify with the boy in the story, as far the isolation aspect is concerned, or is he just a character you found interesting?
Hansi: It is a character I found very interesting, and of course everything I write has some references to my life, but I've never been in an isolated situation, the opposite would be the case. So this is nothing which really has anything to do with my life or the way I look at things. But there is always that connection.
When we go back to 'Imaginations', especially the title track, we find this character has lost the ability to keep up his imaginations and to revisit these childhood territories, and this of course has been a very essential part on the new album as well. This came by what I have observed looking at and talking to other people, and so real life obviously has an influence on the characters and the story.
John Yelland: I really like the way you approach creating your stories, I definitely admire you as a story teller. Some day in the far, far future when Blind Guardian starts slowing down, do you ever think you would ever take up writing books or stories?
Hansi: I would like to, I have some really nice ideas. I just wrote down the storyboards for 'Beyond the Red Mirror', and I think there are some nice things which I could narrate, but when I did the liner notes I just discovered how difficult it is to write something down like that, and as you said, the time needs to be there to really keep your focus on just telling the story, without thinking about how it interacts with the music. Then yes it would definitely be an option, but it takes time.
John Yelland: With the new album coming out, the orchestral project ahead, I imagine anything like this will have to take place when Blind Guardian is less active.
Hansi: Yeah, definitely, I could do something like that while I'm on the road and I have time to kill, but usually I also like to hang out with the guys, and by the end I'm usually too exhausted. Despite my vision of being more creative while on tour, at the very end once you're on the road you're just wasted and it's just great to do nothing but play the concerts and survive somehow.
John Yelland: Speaking of touring, how many songs off the new album will you be playing?
Hansi: That's always a good question. I just started my rehearsals, and we were talking about a lot of old stuff which we have never (or hardly) ever played, and I just see the difficulties everywhere. And the songs we are playing, they are played for a reason. One reason is they are really appreciated by the people, but the other reason is these really are the songs which are really performable. Some of the stuff like "Curse of Feanor" or "Battlefield" are simply a pain in the ass. To go through them every night, I mean it's just so harsh and so high pitched, and so not my range, basically.
John Yelland: Well yeah, I mean it's a different thing to go into the studio day after day in a comfortable environment where you can sing that high and relax and take your time. But most opera and concert singers would never go out on the road and play for months at a time like you guys do.
Hansi: Right, and this is sometimes hard to explain because people don't see it. But with a song like "Curse of Feanor", if I had to do it once or twice, no problem. But playing four or five shows in the U.S back to back, I can do it twice and on the third day we'd have to skip the number. The same with "Another Stranger Me", this is even easier than some of the 'A Night at the Opera' stuff. But due to the schedule a metal band has, you have to be very careful with the songs you are choosing.
But back to your question, we are really working on three of the heavy songs at the moment and they seem to be very doable. We started rehearsing a piano song today which is called "Miracle Machine", we tried to involve the band there, so it will be a slightly different arrangement in comparison to what we have on the album. I would say we'll prepare five songs off the new album to be performed, and if we end up with three every night I would be very happy.
It seems that "The Ninth Wave" is going to be one of them, and this is a very significant song. This one alone is nine minutes long, and people will experience something new in terms of Blind Guardian, that's for sure. And as I said I just started working on old stuff, and we will do some alterations there as well. So there will be a significantly different approach of songs once we hit the road.
John Yelland: Can you tell me any of the older songs you'll be doing?
Hansi: Um, I would need to open the list which we agreed on, but I remember "Guardian of the Blind" was on there and this is quite doable. The old stuff is usually fairly easy to play. But everything coming up from 'Nightfall in Middle-Earth', all the songs we haven't played from 'A Night at the Opera', they are a pain in the ass. I mean they're just so damn difficult, ugh, I'm having nightmares at the moment.
John Yelland: Well I think you'll handle it, a few friends and I were watching 'Imaginations through the Looking Glass' the other day, and I commented how I like that whenever you can't go for the high notes you still are in pitch and make it work, even if you sing it an octave lower.
Hansi: Yeah, I always try to do that, it's always doable. But again, due to the ranges and the keys some of the songs are composed in, this is becoming more difficult when we talk about 'A Night at the Opera', because there is no reference sometimes. The music is doing something completely different than the vocals, and if you don't go for exactly what's sung on the album then you can get lost. It's different when we're talking about 'Imaginations' or so, then you just go an octave lower and it still sounds very nice. But you cannot do some of that with the newer stuff, I guess it would be the same with your music. In Disforia I imagine there are some songs where the problems are quite similar.
John Yelland: So is "The Ninth Wave" going to be replacing "Sacred Worlds" as the opener?
Hansi: That's at least an option, I do not know if we'll do that every night, but this could be a great option because the introduction of the song is so gigantic it makes even "Sacred Worlds" look small.
John Yelland: That's a big thing to say!
Hansi: Yeah! But you will discover once you have listened to the first 16 bars, there are no questions!
John Yelland: What's the news on the orchestral project? I've listened to all sorts of interviews with you guys and it seems like it's always, "Next year, I swear, next year!"
Hansi: *Laughs* Yeah, next year, I swear! Well we're almost there. We recorded with the orchestra already, the song writing has actually done for a few years, and I do have my first vocal session in February. If things work out well then I might be done with singing in the end of 2015, which would give us the opportunity to release the album in 2016. But my performance obviously depends a little bit on my physical condition after touring. When we're on the road for two and a half months in Europe I'm usually not in the best condition afterwards to sing with a clean voice, which I'm supposed to do in a lot of cases on this album. So we'll see how far I get in 2015.
John Yelland: Well by the time this thing is actually released I think it's just going to blow everyone out of the water.
Hansi: Yeah, I have the same feeling, the problem is that 'Beyond the Red Mirror' is a really strong album, and it contains the metal band, which the orchestral album won't. So there's one great element missing. The songwriting is on the same level, if not higher, but distorted guitars have some advantages, I have to say.
John Yelland: This is a long way down the road, but I don't suppose you've considered doing any live performances of the orchestral project?
Hansi: We've discussed that a couple of times. The options we have with the orchestral album are almost countless. We can go different directions, like involving the band later on and doing performances in orchestra halls, but also in regular concert halls. It's quite open at the moment. I would guess we'll at least do a few showcases with it.
John Yelland: I've watched the lyric video for "Twilight of the Gods" many, many times, and I have my own impressions of what the song might be about. Should I tell you how I interpreted the song and then you can correct me if I'm wrong, of would you rather just tell me what it's about?
Hansi: No, you should do that, because the tricky thing while doing promotional tours is that people always want you to explain everything. I can explain it in a very plain way but actually this is not really what we really want, nor what I want. Even if there is a deeper message, the story is first, but the listener's interpretation is more important than anything else, so I would prefer having someone tell me what he thinks it's about.
John Yelland: Okay, well it seems to me that it's a sort of commentary on the relevance of religion and spirituality nowadays, that they're actually fading and losing their relevance. With lines like "I hail all these non-believers" and "Get up, lay down your ancient faith, we're the chosen ones, come feel the change", it certainly seems there is a religious undercurrent. It seems to tell of an unsettling change in this direction, but that there's also hope and the gods may return, so to speak. That sort of thing. Is that anywhere near the mark?
Hansi: It is near the mark, but you've over-analyzed things a little bit. If we go to the religious point and connect it to nowadays, at the very end the aspects you've brought in are definitely a part. But the overall opinion of the creatures in the story would be that it's too early to give up religion, and this how I look at religion in general. No matter if you believe in it or not, there is a necessity for religion nowadays. This world would definitely be a worse place without religion. Going back to the beginning of the story, in the chapter called 'The Cleansing of Discordia', this is really about trying to create a better world without religion. And actually the protagonist on this side of the mirror, he is going to fail on that because living creatures, human beings, whatever, they need something to relate to, and so this is where he goes wrong. But he has this optimistic feeling that he's doing the right thing and that he's doing it at the right moment. And he's actually banishing the superior beings of this world out of this universe at this point.
John Yelland: That's fascinating, I love getting glimpses into the real stories within the lyrics like this.
Hansi: Yeah, one thing which is really important again, and this brings me back to Tolkien, is that storytelling approach. Of course I come up with a fantasy story which has a strong dystopian attitude, and there has to be a message delivered as well, but on the other hand the story always comes first, I think. And as you said even if it's a straightforward story, I cannot tell it in a straightforward way. Otherwise the story wouldn't lead you anywhere, and I just expect the listener to accept these realities I'm creating.
John Yelland: What music are you listening to these days?
Hansi: It's very difficult to find good new acts and albums, because a lot of the stuff nowadays is repetitive and since this is not exactly what Blind Guardian's philosophy of music is, this is of course my philosophy in listening to music as well. Well you can't resist listening to Michael Jackson, it's still amazing how good his productions sound, they are still top notch. It's just amazing how strongly they out-perform everything else. But I listen to almost anything, from Amon Amarth to Alison Krauss, to Tori Amos, The Beatles, Avenged Sevenfold, Sanctuary. I really like Machine Head. It really depends on the band, I still like hard music, that's for sure. There are still a lot of great bands coming out these days.
John Yelland: The last real question I have, what advice do you have for newer bands trying to get out on the scene and make something of themselves?
Hansi: The first thing is definitely to be confident and just try out, because people will always tell you that the times are bad and that there's definitely no chance of being successful, but exemptions always arise. I would say in 95% of all cases, this new musician may find out that he or she simply is lacking something, but there is still a good 5% chance that you belong to the lucky ones. No one else but you can really decide and judge if the potential is there or not, you definitely have to go for it, there is no other way of finding out.
And another thing, as long as you can manage yourself, you know? Be in charge of yourself. Being recognized nowadays might be more difficult, because I feel record companies are going quite strange ways, I feel.
John Yelland: Yeah, I've actually noticed a lot of younger bands are simply just staying independent.
Hansi: Yeah, and that's good, definitely not for the worse.
John Yelland: Well do you have any last message you want to impart on us? I really appreciate your time, thank you so much for talking to me!
Hansi: Great talking to you as well! To everyone, just enjoy the rest of the year, and enjoy a new year with 'Beyond the Red Mirror.'
John Yelland: Thank you so much, Hansi
Hansi: John, it's been great talking to you
Watch the interview here:
From the early to mid-90's, Carl published his own fanzine called C.R.O.M. In 1997, he released a compilation entitled "CROM: The Resurrection of True Metal," which featured songs from bands from around the world, including the first U.S. release of any kind for bands like Italy's Rhapsody (n/k/a Rhapsody of Fire) and Brazil's Angra. Follow Carl on Facebook and Twitter: @CROMCarl.
Asking Alexandria: Video Interview With Ben Bruce
Ethereal Releases "Unholy Ungodly" Music Video
5 Comments on "Hansi Kürsch Talks From 'Beyond The Red Mirror'"
1. Bruna writes:
Blind Guardian Brasil 2015 o/ esperando .........
# Jan 7, 2015 @ 6:24 PM ET | IP Logged
2. Dr. Steve Brule writes:
now Disforia needs to tour with Blind Guardian pls kthxbai
3. Dante writes:
Great interview,looking forward to listen to Beyond The Red Mirror and see the bard´s on tour in Mexico City 2016
# Jan 9, 2015 @ 10:26 AM ET | IP Logged
Senior Reviewer
4. Cynic writes:
Awesome interview, I'm hyped for this new album now.
5. Vera writes:
yes Disforia tour with BG kkkk
# Feb 4, 2015 @ 1:12 PM ET | IP Logged


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Fish Tracker
A Canadian Company Since 1908
Early 1900's
A group of prominent Montreal businessmen start a social club called Club Des Millionnaires.
The members of Club Des Millionnaires decide to import Portuguese sardines, naming the brand after their club.
Harold T. Griffin begins to represent the Club Des Millionnaires brand. The brand would eventually become a part of Harold T. Griffin Inc, which remained a committed leader in the Canadian food industry for four generations.
A French buyer in Montreal comments to Harold T. Griffin, "The fish she is very small" and the brand's slogan is born.
Ocean Brands, part of The Jim Pattison Group, acquires the Club Des Millionnaires brand.
Club Des Millionnaires is still an all-Canadian brand after all these years. To this day, we proudly maintain the same high quality and dedication to exceptional taste, sustainability, and the health of consumers.
Track Your Catch
For your health and the health of our oceans, we believe it's important to know where your fish came from and how it was sourced. Find out where and how we caught your sardines and anchovies.
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Psychiatrist Dr. Luis Rojas Marcos is one of the most internationally respected science popularizers and a highly-reputed doctor and health system manager who has pursued his career mainly in the United States.
As President and Chief Executive of the New York City Health and Hospitals Corporation and a member of the city's Emergency Management, he had to deal with the impact of the September 11 terrorist attacks in 2001, an experience he captured in his book Más allá del 11 de septiembre: La superación del trauma. (Beyond September 11: Overcoming the Trauma).
He has a degree in Medicine from the University of Seville, PhDs from the University of Bilbao and the State University of New York, and specialized in Psychiatry in the latter city. Since 2004 he has been a board member of Catholic Healthcare West, the fourth largest hospital system in the country, with 45 hospitals spread across California, Nevada and Arizona. In 2005 he was appointed a member of the New York State Board for Medicine.
In Spain he is on the boards of several foundations and works with institutions devoted to social and health issues.


In the present day, everyone on the globe is connected through the internet, specifically through social media. From talking to friends across the globe to bringing news to tapping fingers the moment they are confirmed, the highly complex interconnected web is rich with information and opportunities. However, it is often taken for granted, used to watch cat videos and people's dancing fails instead of expanding minds and providing the base for independent research and development. Social media has the potential to be an educational tool, used for good instead of for procrastinating. By rebranding its purpose, students everywhere can reap the benefits of a global education.
One fairly new feature of social media is the ability to make video calls from any computer with a camera. This, when implemented in the classroom, translates into having the opportunity to invite engaging experts to give interactive lectures without the costs associated with travel. Similarly, students can now hold face-to-face consultations with their professors from anywhere, which can be a huge bonus for learners who love to travel, or have circumstances preventing them from being present in class. This way, unlike a recorded message or an email, the learning experienced becomes personalized and engaging.
Additionally, networking sites such as Facebook and LinkedIn can help students practice interpersonal communication skills necessary for building a life after school. By offering free workshops on topics such as how to send brief, professional messages and how to clean up their web presence in order to show themselves in the best light, Facebook can easily be turned into a bottomless hole of misery into a tool for guiding people towards their dream career. Similarly, social media sites known for a special feature, such as the beautiful graphics seen on Tumblr, can offer crash courses in the basics of their unique field. This quick, but efficient teaching strategy will equip learners with employable skills.
Obviously, the most valued part of social media is its ability to replace face-to-face communication to a certain degree. Its ability for someone to reply to a message that will be instantaneously seen by someone on the other side of the world make it perfect for use in large lecture halls, where it is easy for one voice to get lost among hundreds. By setting up a group chat or forum, students and teachers can interact in live-time, by posting questions, starting debates related to the subject, and questioning the content's validity. Teachers can address issues as they arise, focusing on areas students have the most trouble with.
As one can see, when implemented appropriately within the classroom, social media can be a useful tool for engaging students, personalizing content, and simply ensuring everyone receives the education they want and deserve at their own pace. Although commonly used as an outlet for mindless entertainment, a few improvements can easily turn a mindless activity into a thought provoking one, at almost no cost. By utilizing video chat features, adapting to the high regard society holds social media in, and addressing student concerns live in the classroom, the time sucking monster can be tamed into any learner's best friend.


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Baiami volucripes är en spindelart som först beskrevs av Simon 1908.  Baiami volucripes ingår i släktet Baiami och familjen Stiphidiidae.

Artens utbredningsområde är Western Australia. Inga underarter finns listade.

Källor

Spindlar
volucripes


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Thermae of Caracalla: Book your tickets now!
Thermae of Caracalla - Entrance ticket + Rome Map
Visit the best preserved examples of anciente public bath: the Thermae of Caracalla
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WHY VISIT THE CARACALLA THERMAL BATHS?
Your visit to the Thermae of Caracalla will allow you to see the subdivision of one of the largest Roman baths and understand how important they were in the life of the Romans upper class. The Caracalla Thermal Baths were designed based on the plans of the Baths of Trajan, four entrances were created in the enclosure. For the construction of the thermal complex, a collection of underground tunnels that cross almost the entire surface of the thermal baths were built. Here were located the ovens, the boilers, the tanks, a mill and the mithraeum. Through the narrower tunnels, passed the pipes which flowed the water that fed the thermal baths.
The Caracalla Thermal Baths have been the subject of excavations over the centuries. This brought to light numerous objects and works of art that adorned the Thermal Baths in the years of its splendor. In particular, during the excavations of the 16th century, the three Farnese sculptures were found: the Bull, the Flora and the Hercules that today can be admired in the National Museum of Naples. In the Vatican Museums, on the other hand, there is a mosaic with 28 figures of athletes that embellished one of the gyms of the Caracalla Thermal Baths.
A LITTLE HISTORY OF THE CARACALLA THERMAL BATHS
The Caracalla Thermal Baths were built on the slopes of Piccolo Aventino. The construction began in 212 AD and was inaugurated in 216 AD by Emperor Caracalla. To ensure that the flow of water to the Thermal Baths was greater, a special branch of the Roman aqueduct was created and, to facilitate access to the hot springs, the section of the Appian Way was extended.
In 537 AD the Goth people destroyed the plants that carried the water to the Thermal Baths, putting an end to the activity of the place that had lasted three hundred years. The Thermae of Caracalla were the most impressive public baths built during the Roman Empire, at least until the Thermal Baths of Diocletian were opened, in fact they could hold up to 1500 people.
Over time, the thermal structure was used for other functions, houses emerged and then used as an agricultural area, especially for the cultivation of the vine. It was abandoned in the 6th century and the material that was part of it, even the most valuable as marble and metals, were reused for the construction of other prestigious buildings.
WHAT ARE THE CARACALLA THERMAL BATHS NOWADAYS?
The Thermae of Caracalla are currently one of the best examples of thermal baths of the ancient Rome. The Thermal Baths, besides being a place for baths and body care, were also a place to study and taking walks.
Even today, if we are located in the main axis of the Caracalla Thermal Baths, it is possible to see the subdivision of the complex in the caldarium, tepidarium, frigidarium and natatio. The building was also formed by gyms and other rooms from which it is still possible admire the beautiful decorations that adorned the surroundings.
CURIOSITIES OF THE CARACALLA THERMAL BATHS
Did you know that in the underground of the Caracalla Thermal Baths is the largest mithraeum ever built in Rome? The mithraeum is a natural cave or artificially constructed, therefore, a dark place with no windows, where the followers of the mitronesimo, a mysterious religion, met. The mithraeum of Caracalla has a central plane with cross vaults as roof and has two lateral balconies.
Did you know that it was possible to access the Thermae of Caracalla by four doors on the northeast side? Two of them led to the arcades that bordered the natatio, that is, the pool. Of the four granite columns that decorated the natatio, only one is preserved until today and is currently located in Piazza Santa Trinita in Florence.
HOW TO VISIT THE CARACALLA THERMAL BATHS?
It is possible to visit the Thermae of Caracalla by buying the tickets online. We recommend that you choose the option with audio guide to deepen and complete your visit.
Another very interesting option is the visit of the site in 4D: a new virtual guided tour that will allow you to discover the original aspect of the Baths.
If you have visited the Caracalla Thermal Baths, not far away you will find other places where you can see the monuments and ruins left by ancient Rome. Passing through the Circus Massimo, you will reach the most famous monument in Rome, the Roman Colosseum. Continuing your journey, not far away you can admire the Roman Forum, the Palatine and reach the monumental Altar of the Fatherland.
If you continue your tour of Rome, with the help of the Map of Rome, you can head towards the Tiber River and visit the Pantheon and the elegant Navona Square. Crossing the river you will be very close to Castel Sant'Angelo where you can visit its museum, and not far, you can cross the threshold of the Vatican City. Here you will have the opportunity to admire the beautiful St. Peter's Basilica, the Vatican Museums and the Vatican Gardens, you can visit the Sistine Chapel with its all over the world famous frescoes.
One of the most beloved parks in Rome is the Villa Borghese garden; inside you can visit the Borghese Gallery, the Terrazza del Pincio (Pincian Hill) and the Bioparco di Roma. If instead you prefer to continue your visit through the places of Rome for a while, you can visit the Domus Aurea, the Catacombs, the Capitoline Museums and the Roman National Museum complex. In Via Appia Antica you can also visit other places of great interest such as the archaeological site of Villa dei Quintili and the Tomb of Cecilia Metella.
If you want to leave Rome, there are many characteristic and fascinating places that you can visit, for example, on the slopes of the Tiburtini mountains, you can visit the beautiful Villa d'Este in Tivoli and, closer to Rome, at the Albano Lake you can visit Castel Gandolfo the summer residence of the Pope.
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521323-2 (P) 1993 Bapsi Ltd/One Little Indian Ltd except 12 (P) 1993 Island Records Ltd. The copyright in this recording is owned by Bapsi Ltd under licence to One Little Indian Ltd and is exclusively licenced to Mother Records Ltd.
Marketed in Australasia by Polygram under exclusive licence. Made in Australia. All rights of the manufacturer and of the owner of the recorded work reserved. Unauthourised copying, public performance and broadcasting of this record is prohibited.


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Collaborative Research: Permian-Triassic Mass Extinction in Antarctica
This award, provided by the Antarctic Geology and Geophysics Program of the Office of Polar Programs, supports an interdisciplinary study of fluvial sediments in Antarctica for evidence of what caused the greatest of all mass extinctions in the history of life at the Permian-Triassic boundary. This boundary was, until recently, difficult to locate and thought to be unequivocally disconformable in Antarctica. New studies, particularly of carbon isotopic chemostratigraphy and of paleosols and root traces as paleoecosystem indicators, together with improved fossil plant, reptile and pollen biostratigraphy, now suggest that the precise location of the boundary might be identified and have led to local discovery of iridium anomalies, shocked quartz, and fullerenes with extraterrestrial noble gases. These anomalies are associated with a distinctive claystone breccia bed, similar to strata known in South Africa and Australia, and taken as evidence of deforestation. There is already much evidence from Antarctica and elsewhere that the mass extinction on land was abrupt and synchronous with extinction in the ocean. The problem now is what led to such death and destruction. Carbon isotopic values are so low in these and other Permian-Triassic boundary sections that there was likely to have been some role for catastrophic destabilization of methane clathrates. Getting the modeled amount of methane out of likely reservoirs would require such catastrophic events as bolide impact, flood-basalt eruption or continental-shelf collapse, which have all independently been implicated in the mass extinction and for which there is independent evidence. Teasing apart these various hypotheses requires careful re-examination of beds that appear to represent the Permian-Triassic boundary, and search for more informative sequences, as was the case for the Cretaceous-Tertiary boundary. This collaborative research on geochemistry and petrography of boundary beds and paleosols (by Retallack), on carbon isotopic variation through the boundary interval (by Jahren), and on fullerenes, iridium and helium (by Becker) is designed to test these ideas about the Permian-Triassic boundary in Antarctica and to shed light on processes which contributed to this largest of mass extinctions on Earth. Fieldwork for this research will be conducted in the central Transantarctic Mountains and in Southern Victoria Land with an initial objective of examining the stratigraphic sequences for continuity across the boundary. Stratigraphic continuity is a critical element that must exist for the work to be successful. If fieldwork indicates sufficiently continuous sections, the full analytical program will follow fieldwork.
Becker, Luann Investigator and contact
Becker-OPP-0229917


Tips on creating mobile-ready slscart templates. The template designer should be familiar with HTML5 and CSS (cascading style sheets). Note that slscart uses responsive templates, which have the advantage that mobile and desktop use the same database and code. They respond to any size (screen) device.
The following list has several suggestions for creating a template; responsive or otherwise.
Template include codes, or tics,are an integral part of a template. They begin and end with percent signs, like %BRAND%. Wherever a valid tic appears it will be substituted with the appropriate code when a web page is viewed.
Since search engines are rating sites on how fast they load, the smaller (i.e. filesize, or how much space on the computer it takes up) the image the better. We have found the site tinypng.com most helpful. One can drag and drop an image on the site and it will do its best to shrink the filesize of the image. We have seen, many times, a shrinkage of 70% or more.
In the examples to follow, note the order of %META_TAGS%, %TITLE_TAG%, and %STYLE_SHEET%.
Several templates that come with slscart are explained in detail.
Some fonts do not reside on a mobile phone, just the desktop. A good mobile phone font is Open Sans or Droid Sans which was designed specifically for mobile phones and readability. Android uses Roboto as its default.
Create a mobile.css file. An example one is shown below. There are three sections: all, desktop, and mobile. 'all' elements affect desktop and mobile. 'desktop' only affects desktop pcs (ones with a screen width larger than 640px). Mobile affects only mobile devices (screen width 640px or less).
I use a version number in the mobile css file, e.g. mobile_1.0.0.css so sites will get immediate benefit from mobile css changes, rather than waiting for their browser's cache to update. Note, the template's mobile css needs to be updated, too.
1. The biggest change is the size of the banner. Note there are two banners, one for desktop and one for mobile.
2. Another change is large fixed width columns. These can be changed to percentages or specified differently under 'desktop' and 'mobile'.
3. It is best to use <div> instead of <table> to create columns, etc.
* Template needs to use HTML5 doctype (which is <!DOCTYPE html>) It is case insensitive.
* Note the mobile css file is specified after %STYLESHEET%. This is so mobile css can override any css in the main stylesheet.
Min-width is opposite to max-width. It sets the minimum width of an element. In the example form below, min-width is used on the input text field to prevent the input from getting very small when scaling down.
You can force unbreaking text (eg. long URL text) to wrap instead of running in a single line.


I've heard people say they don't need to edit their books before they submit them to a publisher, because the publisher will edit them anyway. That's only partly true. If a publisher offers you a contract to publish your book, they will edit it. But you improve your chances of getting that contract offer if you've done the groundwork first.
Today Rachel is going to briefly share her top tips for getting your manuscript ready for submission to a publisher ... and address an even more important question about our writing.
I have a somewhat bipolar relationship with my role at Rhiza Press. I'm so chuffed and proud to tell people I'm an editor in a publishing house. But then, too often, I wish I'd been a bit more vague when answering that 'What do you do?' question.
The trouble is that everyone seems to know someone who's written something they want to get published, and for the most part, the writing is not publishable at all.
The question I want to ask is "Why do to they want to be published?" Is it because that's the only way they can imagine sharing their story? Or do they really believe they are the world's next J.K.Rowling? I hate to sound negative, but they're not. There is only one of each of us and J.K. is taken.
Unless you're already an international bestselling author, then before submitting to a publisher your manuscript has to be refined to within a hairsbreadth of perfection. Take a look at the refining process for gold. There are at least 10 steps in the process from mining, through grinding, leaching, and filtering before even the fiery furnace stage, and on to the final product. Imagine going to a Jeweller and being shown a grubby lump of rock. "That there's solid gold missus." Yeah, right. We want to see the shiny blingy things.
Our writing must be refined to the same extent if we're going to produce gold-star quality writing—and that's what every publisher is looking for. Even if you intend to self-publish, the refining process is still important if you mean to sell your books, rather than use boxes of them as expensive patio furniture.
So what are some of the steps in refining your work?
… And then, hopefully, you'll hear back from one... In time.
But taking all that advice aside, the biggest question I really want to ask writers at this stage in their journey is 'Why do you write?' Because maybe, just maybe publishing doesn't have to be the end goal.
Being called to write, and being called to get that writing published are two very distinctive calls. For me? I'm called to sing. I've had a passion to sing all my life and I've been blessed with some gifting and lots of opportunity to minister. But has God called me to become a professional singer, cut DVD's, and sell my voice on Spotify? Absolutely not, no way, at all, ever. But I'm called to sing, and I will sing will all my heart until my lungs collapse.
And it's no different with writing.
If you have a talent or even a God-given gift to write then you absolutely must do that writing. You should dedicate your spare time (or all your time if God's blessed you that much) to perfecting your writing, to listening for leading about what you should write, or who you should write to. There might be a platform by which others can be reached and blessed by your writing but that does not necessarily mean having a book published.
And if writing is your gift, you can and should still apply many of the same snippets of advice I'd give to writers who are intent on being published. Start with the basics of working on style, structure and grammar and share your work widely to gain feedback and make refinements.
Thank you, Rachel! That's great advice. Rachel will be back next Monday to expand on her list. Meanwhile, what do you think? Are we all called to be published?
What other ways could we fulfill our calling to write and be published?
Rachel, thank you so very much for your post. I'm pleased you've shared the question "Why do your write?" and provided your own example of being called to sing. Having been a judge now and read many self-published works I've come to realise that many stories, whether fictional or real, perhaps don't need to be published. Yes, they certainly need to be written and shared but maybe not via the various publishing routes.
And thank you for the gold mining analogy and the accompanying 10 steps before submitting to a publisher. To use a pun, such wisdom is gold for the author, the experienced and the novice.
Overall solid advice but, depending on the writer, hiring an editor to provide an appraisal and then a full edit? If the author intends to self-publish, definitely employ an editor. If the author intends to seek a publisher? Maybe not so much.
I'm interested Terry to hear why you suggest the author might not need to have their work edited before seeking a publisher?
As I said, depending on the writer, as one can learn from the experience of having a work edited. However, if a writer is able write a quality story (after going through the process of bet readers and maybe having someone proof it), with maybe some minor typos or grammar gaffs, etc., that that should not affect a publisher's decision to accept or reject a manuscript, since a reputable publisher is going to edit the manuscript anyway.
For example, as Toni Weisskopf of Baen Books has repeatedly indicated, it's the story that counts, not font of the submission or editorial concerns, etc. I have worked with editors from Tor, in addition to having my own works published, and know/have spoken to small press publishers, and have sat on panels with editors from DAW, Tor and editors from other publishers, who indicated employing an editor is not necessary to be accepted.
In addition, I worked several years for a small speculative fiction magazine/ezine (now closed) as a slush reader and editor. In my experience there, the story was most important, which included structure, pacing, quality dialogue and more. Stories rife with typos and grammar problems almost invariably had story quality issues as well.
Maybe a writer who is very inexperienced at storytelling/writing needs to hire an editor to suggest major revisions to their work and then hire them again to clean up a manuscript prior to submission, but that is a very expensive venture, for a chance to be published. Let's face it, the odds of a manuscript being accepted by any individual publisher are slim. There may be better ways for a writer to develop and learn the craft.
How many authors published by Rhiza Press (through royalties on their novel) would earn back the hundreds of dollars (if not more) spent on a professional editor to do an appraisal and then a complete (comprehensive edit) prior to submission to Rhiza Press? (I am talking about novels for adults, mainly). And that is considering, of the many submissions I am confident Rhiza Press receives, the author's manuscript is offered a contract.
Again, if one is self-publishing, then hiring an editor is wise, as the author is in essence the publisher, who pays an editor to do their part in preparing a manuscript for publication.
I suspect it depends on the publisher. I was looking at the website of a small Christian press yesterday (not Rhiza!). They recommended authors get their manuscripts edited before submission, and I think that's because they can't afford to provide a lot of editing support. While they do edit and proofread, I'd earn twice as much per hour flipping burgers as I would proofreading for that publisher.
Advocating for a writer to pay out of their pocket for a manuscript appraisal and then a full edit, to improve the chances of being offered a contract by publishers that lack the resources to perform and/or pay for a proper in house or freelance edit? What else (other areas) might such publishers be lacking in? Cover art and design, marketing? What would the odds be of the author ever financially breaking even? Or coming close to breaking even? They might be 'published' but, realistically, would any readers ever find and have the opportunity to enjoy the author's work?
Terry, I share your opinion on this one. I did not pay for editing before I signed a multi-book contract with a traditional publisher in 2013 (Harlequin). I paid to enter unpublished writing contests, paid to attend conferences, paid for professional writing memberships, paid for online courses, etc. I considered professional editing to be a benefit from traditional publishing. Fast forward to 2018 and the publoshing world is different. I now pay for professional editing to independently publish my books. If a traditional publisher didn't offer professional editing, I would be weighing up the pros and cons of indie publishing rather than signing a traditional contract. The question I'd be asking would be what can a traditional publisher do for me that I can't do myself by hiring freelancers to indie publish?
Good thoughts Rachel and something to ponder. However I think the problem is, if someone decides to take a different route to publishing, such as writing in a format which doesn't create an income stream, then writing then becomes an expensive hobby if you pay an editor.
Hi Rachel, Thanks for sharing your wisdom and experience with us. It's great to hear your perspective. I agree - manuscripts need to be at a publishable standard prior to submission to an editor at a traditional publishing house. It's the author's responsibility to learn their craft and submit the best possible book.


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RIBA London Regional Awards Shortlist
We are delighted that Ashmount Primary School, Crouch Hill Community Park and the Sir Ludwig Guttmann Health & Wellbeing Centre, East Village have both been shortlisted for an RIBA London Regional Award.
The RIBA Awards programme has been celebrating and awarding the best of British architecture since 1966. Award winning-schemes set the standard for good, excellent and outstanding architecture all across the country and reflect changes in architectural tastes, technology and aspirations.
Regional Award winners will be announced at a ceremony on 6th May.


Here it is folks... another greatest hits package. This one is due out on March 14th, from Rhino Records.
"Greatest Hits 1970�78", executive produced by Sharon Osbourne... the CD contains 16 monster hits from the original BLACK SABBATH, with over 80 minutes of remastered musical mayhem.
Black Sabbath-the Black Sabbath, the original lineup of Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward, four childhood friends from the north of England-grew out of the U.K's late-60s blues/hard rock scene, which also included Led Zeppelin, Cream, Blue Cheer, and other greats. Sabbath's sweeping and masterful metamorphosis away from that tradition spawned heavy metal music, inventing the template for everything that would follow. With crushing rhythms, torpedo riffs, haunting songs, and Ozzy's other-worldly vocals, the band conjured a dark, menacing, and resonant sound that reverberates still.
Pre-order this album from Amazon.com - Click Here!.