text:
The New NATO Secretary-General (For Next Year)
Open the envelope, and the winner is . . . Jaap de Hoop Scheffer for next Secretary-General of NATO! And so the Netherlands contributes its third Secretary-General in the history of the Atlantic Alliance, the first two (as only NATO trivia-buffs will know) having been Dirk Stikker and Joseph Luns. Me, I'm slightly disappointed since I was looking forward to seeing the Norwegian Defense Minister, Kristin Krohn Devold, named instead as NATO's first female Secretary-General. The New York Times Magazine, in a hagiographical article about her that it published back on August 24, virtually promised that this would happen. (That article has by now retreated behind the NYT's paid archives-access gate; if you think you might like to pay to see it, the link is here.)
No, its Jaap de Hoop Scheffer instead – and surely it's time here for a survey of the Dutch press to find out how the thinking-class in Holland is reacting to one of its own being picked out for such a crucial international position. What sort of a politician is he? What qualities will he bring to NATO? What is Holland losing by having him (temporarily) plucked away from its political scene? After all, he is currently the Dutch Foreign Affairs minister; and he used to be head of the CDA, the right-wing, somewhat Christian-oriented ("Christian lite," anybody? – as opposed to the more "hard-core" Christian parties EuroSavant has briefly discussed before) political party which is now the Netherlands' largest and whose current leader, Jan-Peter Balkenende (the man who replaced De Hoop Scheffer), is prime minister.
Let's start out with the man's own words; the Algemeen Dagblad snagged an interview with De Hoop Scheffer in its Tuesday edition, entitled I Am of Two Feelings About My Appointment. It proceeds mainly along short-answer lines: How do you feel? "I don't want to leave as Minister of Foreign Affairs, for it's a fantastic job. But if you get this opportunity and NATO gives you such a broad vote of confidence, then that's fantastic." What's the greatest problem that awaits you as new NATO-chief? "Holding together the US, Canada, and the rest of the Atlantic Alliance, as the current Secretary-General is doing so outstandingly." Must Europe spend more on defense? "I do think so, yes. But that's no new point-of-view." What has the Netherlands to thank for this? "The Netherlands has a good name, in Europe and in the Atlantic Alliance. We appear on the scene as bridge-builders." And so on, including the question of what his wife was doing when she heard the good news. (Oh, I'll give that one away: She was teaching a French lesson!)
The AD also indulges in a bit of analysis, in its companion article The Second Homecoming of De Hoop Scheffer. That notes that De Hoop Scheffer accompanied premier Balkende on a visit to the US to visit President Bush at the beginning of this month. Apparently he made a good impression on the President (who still mis-pronounced his name – but we can't blame him on that score) – although, in the interview (above) he denied that the White House has the power within NATO to name Secretaries-General by itself. But De Hoop Scheffer was in many respects the natural candidate, the AD notes. A life-long civil servant/politician, he started his career working at NATO, before serving as personal secretary to a series of Dutch foreign minsters. Then he went into politics, gained a seat in the Dutch lower house, and eventually made his way to the leadership of the CDA – which proceeded to lose five seats in the election.
Last year, being appointed Foreign Minister in the first Balkenende cabinet, De Hoop Scheffer clearly returned to the diplomatic sphere for which he has more affinity. And with the NATO Secretary-Generalship, he's climbing up yet another step within this sphere. Perhaps, the article speculates, he's not so much a leader but rather more a true diplomat – "a type that weighs every word. And, even more importantly, someone who can 'serve.'" After all, NATO doesn't need a leader. It never does, because the decisions there are not taken by the organization itself, but supposedly by "consensus," and in reality by the leaders of the organization's most important countries, with the US at the head.
Over in Trouw's coverage, Bert Schampers offers a fairly conventional review of where NATO is right now in his opinion piece NATO Believes in Itself. He gives the familiar history: NATO dominating European security from its founding in the late '40s as Western Europe's protector against the Soviet Bloc, yet falling into an intellectual crisis with the break-up of that Bloc, its supposed justification for existence; NATO then (rather late in the game, after much hesitation) conducting peace-keeping in the Balkans and even acting to stop Slobodan Milosevic's ethnic-cleansing campaign in Kosovo just as it celebrated its 50th anniversary in 1999. Now, after September 11, it has been called upon in the international fight against terrorism. It has taken over command of operations in post-Taliban Afghanistan (although the Bush administration had little need of it when going to war there in late 2001 in the first place) and, through it's support of the Polish-led contingent on occupation duties in Iraq, also already has some sort of involvement there.
In this post-1989 history, Schampers sees an organization struggling to find and maintain its relevance in the world's affairs, even as it prepares to expand to 26 members next year. Yet it also regards itself as really the only international security organization that still matters. In addition to the way that it has broken recently out of the European theater that once was its exclusive remit, into Iraq and Afghanistan, it has also established a relationship with Russia and is seeking to do so with China and countries on the other side of the Mediterranean. What's more, it has begun a relationship closer to home – with the European Union! An agreement about the use of NATO assets for EU-instigated peace missions is still being negotiated between the organizations, and is scheduled for signing in December. But the EU is divided about just how independent European security should be from NATO, as was witnessed by the summit in late April between France, German, Belgium and Luxembourg, which sought to start to develop an independent planning and operations capability. The Netherlands did not join its Benelux partners at that meeting, and deliberately so, because of its continued belief in the importance of working through NATO. Naturally, De Hoop Scheffer can be expected to continue to advance that line.
Furthermore, he can be expected to take up the current Secretary-General's mantra – never paid much heed to, it is true – that the Alliance's European members must spend more on defense. This just after the government of which De Hoop Scheffer is a part announced a budget for the coming year in which defense spending is cut yet again. But, in Schampers estimation, his greatest challenge will simply be maintaining harmony within NATO, only months after an acrimonious dispute over whether to provide Turkey with enhanced air defense just prior to the American-led invasion of Iraq showed the Alliance potentially fraying at the edges. This will require his full experience and skills as a diplomat.
Is he up to that? An accompanying Trouw article by Teun Lagas (Jaap de Hoop Scheffer: Loyal Down to the Bone) focuses in on the man himself. As the article's title gives away, loyalty is the main trait that has characterized De Hoop Scheffer's public career: loyalty to the succession of Dutch foreign ministers whom he served as personal secretary, loyalty to the Americans upon whom he recognized Dutch security depended, and loyalty to his party, the CDA (or at least after he switched his affiliation to it from the somewhat more-leftist D66 party, when in 1986 an opportunity was presented to him to be elected to parliament for the CDA). He was loyal to his party even after it had found him wanting after a short time as its leader, and dumped him for Jan-Peter Balkenende. He simply returned to its back-bencher ranks in the Tweede Kamer and, as before, harrassed the then-government from the opposition like a good member of the opposition should. (His nickname in the Tweede Kamer, Lagas reveals, was "Jaap de Hoop Keffer"; "keffer" means "yapper," as in a loud little dog.)
Perhaps, many thought, he couldn't cut it as party leader because his interests and experience were so lopsided towards the Netherlands' business outside its own borders. When the CDA emerged from the opposition last year to form the government, he was seen as a natural choice for foreign minister, and from that pulpit duly proceeded to warn the Dutch about excessive preoccupation with the country's business inside its own borders (even though it was precisely that preoccupation – embodied in the figure of the assassinated Pim Fortuyn – that had led to the political turn-around that brought the CDA to power in the first placed and put him in charge of the Ministry of External Affairs). "We can't go staring at our own navels," he liked to admonish. (In Dutch the verb is navelstaren.) To which his critics replied, when the possibility grew greater that he would be named as NATO Secretary-General, that neither should the country go NAVO-staren. ("NAVO" is the Dutch acronym for NATO.)
He might be a classic foreign policy fanatic, but it's clear that De Hoop Scheffer got his new job (or his job as of next January) because the US has valued his loyalty through the years. At the same time, the "take-sides!" atmosphere within NATO just before the invasion of Iraq showed how skilled he was in defying that imperative and continuing to have good relations with parties on both side of the US/France-Germany split. So that, if NATO's main assignment during his tenure there is simply to stay together, he should be very well-qualified to undertake that indeed.
Finally, De Volkskrant's in its commentary on the appointment (De Hoop Scheffer's Mission) sees that primarily as a triumph for the Netherlands. Holland tried, and failed, in the mid-1990s to get a third Dutch NATO Secretary-General appointed, namely long-time prime minster Ruud Lubbers (who went on instead to become the UN's High Commissioner for Refugees), but Lubbers was everything that De Hoop Scheffer is not: boisterous, back-slapping, not seen as particularly trust-worthy, and with what the paper calls a Dutch penchant for using any high international position to lecture other countries over right and wrong. (So he must be having a fun time with his UN post.)
De Hoop Scheffer is the opposite, which is good because, according to De Volkskrant, he needs to lose any picture of himself as a representative of the Dutch and get to work tackling NATO's problems with a wide approach. This newspaper is still very high on the Atlantic Alliance, calling it "the only credible alternative for America going it alone in the world," and so earnestly hopes that De Hoop Scheffer can set it back on the right path – maintaining its relevance in current world affairs by persuading its European members to speak more with one voice, and persuading America not to walk away from it but rather to listen more and better to that one voice.
Posted on Tuesday, September 23rd, 2003. Trackback
Tags: Afghanistan, Algemeen Dagblad, CDA, De Volkskrant, Jaap de Hoop Scheffer, NATO, Netherlands, Trouw


text:
Q: add a sheet to an ods file via python I started with the package simpleodspy
and it worked fine until I wanted to add an new sheet to an ods file.
Than I figured out that simpleodspy is just an better wrapper for odfpy to simpliy the api. So I guess they scipted the adding an sheet part.
So I tried to figure out how to do it with odfpy.
But I stucked.
So does someone know if it is possible to add an sheet to ods files?
If yes how ?

A: Here's the sample code to add a new sheet:
from odf.opendocument import load
from odf.table import Table
from odf.table import TableCell
from odf.table import TableRow
from odf.text import P

#loading it
book = load('your.ods')
#create a new sheet in memory
sheet = Table(name="test sheet")
#create a new row
tablerow=TableRow()
#create a new cell
cell=TableCell()
#fill-in a cell
cell.addElement(P(text="hello world"))
#add a cell to the row
tablerow.addElement(cell)
#add the row to the sheet
sheet.addElement(tablerow)
#adding the new to the book
book.spreadsheet.addElement(sheet)
#save it
book.save('your_new.ods')

redpajama_set_name: RedPajamaStackExchange


Publish by in Category interior design at September 23rd, 2018. Tagged with navy and white queen comforter set.
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text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<title>ReflectionSerializerFactory</title>
<meta name="date" content="2013-11-12">
<link rel="stylesheet" type="text/css" href="../../../../stylesheet.css" title="Style">

JavaScript is disabled on your browser.

Overview

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Class

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Help

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Summary:

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com.esotericsoftware.kryo.factories

Class ReflectionSerializerFactory

java.lang.Object

com.esotericsoftware.kryo.factories.ReflectionSerializerFactory

All Implemented Interfaces:

SerializerFactory

public class ReflectionSerializerFactory
extends java.lang.Object
implements SerializerFactory

This factory instantiates new serializers of a given class via reflection. The constructors of the given serializerClass
 must either take an instance of Kryo and an instance of Class as its parameter, take only a Kryo or Class
 as its only argument or take no arguments. If several of the described constructors are found, the first found constructor is used,
 in the order as they were just described.

Author:

Rafael Winterhalter <rafael.wth@web.de>

Constructor Summary

Constructors

Constructor and Description

ReflectionSerializerFactory(java.lang.Class<? extends Serializer> serializerClass)

Method Summary

Methods

Modifier and Type
Method and Description

Serializer
makeSerializer(Kryo kryo,
              java.lang.Class<?> type)

Creates a new serializer

static Serializer
makeSerializer(Kryo kryo,
              java.lang.Class<? extends Serializer> serializerClass,
              java.lang.Class<?> type)

Creates a new instance of the specified serializer for serializing the specified class.

Methods inherited from class java.lang.Object

equals, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

ReflectionSerializerFactory

public ReflectionSerializerFactory(java.lang.Class<? extends Serializer> serializerClass)

Method Detail

makeSerializer

public Serializer makeSerializer(Kryo kryo,
                        java.lang.Class<?> type)

Description copied from interface: SerializerFactory

Creates a new serializer

Specified by:

makeSerializer in interface SerializerFactory

Parameters:

kryo - The serializer instance requesting the new serializer.

type - The type of the object that is to be serialized.

Returns:

An implementation of a serializer that is able to serialize an object of type type.

makeSerializer

public static Serializer makeSerializer(Kryo kryo,
                        java.lang.Class<? extends Serializer> serializerClass,
                        java.lang.Class<?> type)

Creates a new instance of the specified serializer for serializing the specified class. Serializers must have a zero
 argument constructor or one that takes (Kryo), (Class), or (Kryo, Class).

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redpajama_set_name: RedPajamaGithub


One day after the International League revealed its All-Star roster, a list littered with top prospects and Minor League veterans enjoying strong seasons, the Pacific Coast League made its own statement.
It was announced Thursday that Sacramento River Cats starting pitcher Graham Godfrey will take the ball first when the two leagues play the annual Triple-A exhibition on July 11 in Buffalo, N.Y. Godfrey is 7-0 with a 2.11 ERA in 11 starts for the Cats; this is his third season pitching for the Oakland A's top affiliate.
The PCL squad comprises 30 total ballplayers: 13 "elected" by club managers and general managers, media members and through online fan voting; 17 "selected" by the league office; and at least one from each of the 16 clubs. The Omaha Storm Chasers, Albuquerque Isotopes and Reno Aces each send a game-high four players to participate. Among the Aces are starting infielders Jake Elmore and Ryan Wheeler, who lead the circuit in batting (.390) and RBIs (72) respectively.
Also featured will be potential star-in-the-making Wil Myers. MLB.com's No. 14 overall prospect leads the Minors with 25 home runs; he has hit 12 since joining the Storm Chasers. Oklahoma City RedHawks veteran baseman Mike Hessman, who is 34 and a dozen years older than Myers, leads the PCL with 23 long balls and will start at first base.
* indicates a selection via club managers and general managers, media members and through online fan voting. ** Andrew Brown (Colorado Springs, OF), Barret Browning (Memphis, LHP) and Luis Cruz (INF, Albuquerque) have been replaced by Dickson and McBride. Brown and Cruz were elected. Landon Powell (Oklahoma State, C) and Heath Hembree (Fresno, RHP) will not play and will not be replaced.


text:
Anchorage sets high-temperature record
Jul 8, 2019 @ 11:23am
By DAN JOLING
ANCHORAGE, Alaska (AP) – Alaska's largest city and two other state locations reached record high temperatures on Independence Day.
The National Weather Service says Anchorage on Thursday afternoon reached 90 degrees (32.22 Celsius).
Meteorologist Bob Clay says the previous record for Anchorage was 85 degrees (29.44 Celsius) on June 14, 1969.
Kenai and King Salmon also reached new high temperatures of 89 degrees (31.67 Celsius). Palmer matched its record high at 88 degrees.
Clay says a high pressure ridge over much of south-central Alaska is strengthening and responsible for the record temperatures.
Rick Thoman (TOH-man) of the Alaska Center for Climate Assessment and Policy says the high temperatures are both a weather story and a climate story as extreme weather events become much more likely in a warming world.

redpajama_set_name: RedPajamaCommonCrawl


text:
BeamStacks Blog
IT Services | Consulting | Digital Transformation| Outsourcing | Enterprise Agile
Choosing an open source CMS based on PHP and MySQL & Benefits of Using a Content Management System
Posted by Admin on February 14, 2018, 6:22 pm	 February 14, 2018 IT
Home IT Choosing an open source CMS based on PHP and MySQL & Benefits of Using a Content Management System
Blockchain Technology Explained: Powering Bitcoin! What is blockchain and how does it work?
Benefits Of Magento Using As An Ecommerce Store Development – The Fastest Growing Enterprise eCommerce Platform
A Content Management System (CMS) is an application used for producing and running a website. It allows anyone, even without a formal technical background, to place content on a web site and keep track of it without too much effort.
Users are able to employ a range of document types and content on a website, and then modify and expand the information posted by themselves without the need of a Web programmer to setup the site and do the updates. Since CMS makes use of templates, no HTML knowledge is required.
CMS software comes in handy for in-text editing or adding images. It also allows users to collaborate on content too. When wanting an operational, appealing website, one can rely on CMS to be able to store content online and allow direct communication with the intended audience.
Advantages & Disadvantages of Using a CMS for Building Your Website
When setting up a website, business owners are faced with a choice – whether or not to implement an off-the-shelf Content Management System or opt for a hand-coded custom one. Before CMSs, people would hand-code their websites on their local computers and used an FTP program to move those files to their webserver, and then these files would become available on their websites. If they needed to modify something, they had to go through the whole process again. While continuing to apply this old method is no longer feasible, some people do favor a custom CMS over out-of-the-box solutions like WordPress or Drupal.
Top 10 PHP CMS List
1. WordPress
2. Joomla
3. Drupal
5. Magento
4. Cake PHP
6. Modx
7. Concrete5
8. PHP Fusion
9. CMS Made Simple
10. PHPWiki
Whatever you decide is best for your needs, you should expect PHP-based CMS systems to have the following features:
Easily add, edit, and remove pages using a Microsoft Word-style editor, also known as a What You See Is What You Get, or WYSIWIG.
Place those pages into buckets and groups, as well as categorize them into menus.
Manage a visitors UX experience through navigation changes, including site menus, breadcrumbs, and maps.
Create, edit, and remove templates to allow for the customization of pages and layouts.
There are a few other key areas to consider when selecting a CMS
Virtually all the solutions listed above offer them, but be sure that your selection has a good library of plugins (sometimes called modules) and a strong third-party community of developers, web development companies, and PHP developers, who are adding and updating them. Plugins add critical items to your website, like e-Commerce solutions, search engine optimization (SEO), social media integration, tagging solutions, and much more. Since you can select plugins that are already written and that work for you, you can save time and money, often avoiding the expense of hiring a separate programmer.
For those who want to build and deploy an ASP.NET Web site, they may want to consider Microsoft CMS server (MCMS).
This is Microsoft's enterprise Web content management system. MCMS integrates with Visual Studio .NET so a user can create a website and place content on to it, which is made possible by using MCMS' tools and components.
MCMS also integrates with SharePoint Online, which is part of Office 365.
In addition to the basic features of a CMS system, MCMS has many additional social capabilities to maintain and restructure content, if not to search for text, share documents, metadata, content and sites with external users or within a networked environment. Also, MCMS integrates with Microsoft SQL Server that makes the databases available via Windows PowerShell.
Other than using MCMS for developing content driven websites, it's also worth considering the free downloadable open-source CMS platform, so-called Orchard CMS, which was initially a Microsoft project but has since been turned over to the CodePlex Foundation. This alternative CMS solution uses JavaScript and XML?meaning, it is really designed with Web professionals in mind to use for building ASP.NET applications.
If not Microsoft's CMS platform, do know there are other content management system vendors on the market, like Joomla! for Windows. This is an award-winning CMS program based on PHP open-source applications can run on the Microsoft Web Platform. Or else, there is Expression Engine, eZ Publish and Vivvo that might be good choices too, according to TopTenREVIEWS. In addition, niche industry such as nonprofit organizations will likely benfit from an exclusive nonprofit content management platform offer by company such as Blackbaud, Inc.
SharePoint Enterprise Content Management System
Microsoft SharePoint in particular is an excellent choice for Microsoft-centric IT organizations and integrates document management technology with already familiar Microsoft Office desktop applications. It provides enhanced content management for both structured (databases, application and code repositories) and unstructured (Office documents, Web pages, PDFs, and email) content. SharePoint combines document management, records management and web content management within a single platform to form a true Enterprise Content Management System for a corporations Intranet, Extranet or customer facing Internet.
At its heart, WordPress is more of a blogging platform than a CMS, however, due to the many plugins available (over 17,000 plugins) it evolved into a more CMS-like software. Given that its script is open source, you're free to use it for any project that you may have, which makes it a multi-faceted and highly customizable platform. It's mostly used for small and mid-sized websites and blogs. Although it's a complex system, it has a fast learning curve even for those who don't possess advanced technical skills. In this sense is probably the best platform for beginners.
WordPress has a huge community of users, meaning that support and documentation on almost all aspects of installing, customizing, updating, using, managing, etc. WordPress are available for users. The abundance of plugins allows you to achieve virtually anything with your WordPress site. By using free and paid templates or themes, you can easily customize your website's look.
Disadvantages of WordPress include: need for PHP, HTML&CSS knowledge for implementing modifications; the need to install a lot of plugins for advanced features; security vulnerability issues brought about by themes and the installation of multiple plugins.
Read: How to Build a Website with WordPress?
In terms of complexity, Joomla is a bit more complex than WordPress, but less comprehensive and advanced than Drupal. Joomla is also an open source platform with more than 3% of the web running on it. Joomla is extremely rich in features and supports all the features of a modern website. It can be used to create any website, however, it's predominantly used for small to mid-tier eCommerce websites.
Although not as easy to use as WordPress, Joomla still ranks high among the easy-to-use content management systems. Users have an abundance of resources available, including programmer's tools and tutorials to get started on their Joomla website.
Thanks to Joomla's comprehensive navigation system, users can successfully manage several hierarchies, meaning that managing a website with hundreds of pages can be easily done.
Disadvantages of Joomla: requires lot of work to make it SEO-friendly, huge server resource requirements, some plugin incompatibility issues, less secure.
Read: How to Create a Joomla Website?
Magento is an open source eCommerce platform that has tons of options for customization and integration available. Magento has the ability to make online shopping even bigger than it ever was before. This article is about the 9 benefits of Magento eCommerce platform website.
Drupal is one of the most comprehensive open source CMSs available, outranking both WordPress and Joomla in terms of complexity. It is considered an enterprise-class CMS, allowing developers to readily integrate it with SAP or other similar applications. Moreover, it is viewed as a content management framework rather than a CMS. This means that unlike a CMS, a CMF does not make any assumptions regarding how a website's content should be managed, leaving a lot of leeway in terms of structuring the content. It's a great platform for creating tailor-made eCommerce websites or any large projects where power, scalability and stability are the most important elements.
Drupal focuses on functionality in all aspects of website management, particularly with respect to user management, graphic content management, page content management, etc.
Drupal facilitates the creation of feature-rich, SEO-friendly, and mobile-ready websites. It also allows companies to deploy core features rapidly and leave customization for later. In this sense, it's a platform that allows for a better dynamic in terms of customization, that is, a Drupal website can better respond to changing business requirements and customer feedbacks.
Disadvantages of Drupal include: steep learning curve, the absence of quality free plugins and a lack of theme variety.
Advantages and Disadvantages of Using CMS
While all CMS software have their own particular advantages and disadvantages, some of the pros and cons are common for each.
Advantages of using a CMS:
Quick development and deployment time: Using a CMS can drastically speed up the process of developing a site;
Open source CMSs are free to download and install;
Advanced site functionality: Most systems allow the implementation of functionalities (forms, polls, quizzes, event calendars, etc.) that would otherwise be extremely hard to achieve;
User-friendly: Gives people with little or no technical skills the ability to create, update or modify content;
Reduces costs: Implementing an out-of-the-box CMS is definitely less costly than a custom one. Also, after users have learned some of the ins and outs of the CMS, they will be able to handle the basic functions on their own, and this reduces the costs of outside technical assistance as well;
Easy maintenance and updates: Most CMSs are developed to be easy to maintain and update.
Huge development communities for open source CMSs;
Disadvantages of using a CMS:
Hidden implementation costs for perfecting the system for users' needs;
Server resources: Some CMSs (e.g. Joomla) can put a load on your server resources;
Some technical skillset requirements: If users have an aversion to learning the basics of using a CMS, the usage of a CMS will not be as efficient. This means that hiring experienced staff or contracting technical help might be necessary;
Maintenance: In the wrong hands, an unmaintained and outdated CMS can do a lot of harm to a website and lead to serious security vulnerabilities;
Direct support: for community-based CMS systems, direct support may not be easy to find, and you have to rely on user forums and existing documentation.
What to Look for When Choosing a CMS?
Apart from the above-mentioned CMS options, there are hundreds of others. Choosing the perfect CMS for you can be a daunting task. Here are some features that you should look for when selecting a CMS for you or your business:
Page management: see if the CMS includes the page management features that you need. For example, a blogging CMS may have restricted page management capabilities making it hard for you to structure content beyond these capabilities.
Adding content: Can adding or modifying content be done in an easy, straightforward way irrespective of the type of content?
Template and theme variety: If customizability is important for you, look for a CMS that supports a lot of templates and themes.
Flexibility of user groups: For organizations in which the workflow requires the collaboration of more users, a CMS that can handle multiple users or user groups is a better option.
Multisite support: Does the CMS support multiple site installs?
Security: If you own an eCommerce site or you handle sensitive data, make sure your CMS is bulletproof in terms of security.
Search capabilities: If searchable content is important on your site, make sure your CMS covers this area both in terms of search speed and structuring results.
SEO-friendly URLs, page generation speed, and clean code generation – all of these can have an impact on the Google ranking of your site.
Support documentation and support community: Make sure there are plenty of resources and that comprehensive documentation is readily available.
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text:
The rags to riches story of super-agent Melanie Blake includes a father who joined a religious cult, a spell living in an Oldham squat and a brush with homelessness
By Susan Griffin
26 Apr 2021 No comments
Home Features Sofa so good
Soaps are relished for their shocking storylines, but the drama depicted on screen pales in comparison to what's unfolding off camera, according to agent and author Melanie Blake.
For two decades she's represented some of the country's biggest female soap stars and has first-hand knowledge of the trials and tribulations taking place behind the scenes, which she's used as the inspiration for her new novel Ruthless Women.
An ode to ego-driven rivalry, backstabbing and ambition, it's prompted comparisons to the late Jackie Collins. Only in Ruthless Women, the backdrop is Jersey's fictional soap opera Falcon Bay, rather than the Hollywood Hills.
"These women, who Iíd had in my brain for years, took over. In seven weeks of 16-hour days, I'd written the story."
"I was compared to Jackie when The Thunder Girls [Blake's debut novel about an eighties girl group reunion] came out in 2019, but it wasn't appropriate. There is no sex in it, for one – it's about a friendship, whereas Ruthless Women is full of it. It's sexy and naughty and unadulterated escapism," says the 44 year old.
"You'll never look at a soap star in the same way again, but I can honestly tell you everything you read, I've seen. I've been in those top rooms, had those massive contract negotiations, seen revenge being taken and people going at each other's throats. I've also seen a famous actress who's on television nightly do that car scene outside an awards ceremony," she adds, referencing a scene in the book where a soap star seduces her driver in the back of a limo.
Blake wrote Ruthless Women during the first lockdown when she found herself living alone following a break-up, and with little to do for the first time in her career.
"These women, who I'd had in my brain for years, took over. In seven weeks of 16-hour days, I'd written the story."
The novel doesn't shine a particularly flattering light on people who populate the soap industry and Blake admits to feeling worried her friends and associates would "go mental at me".
"But I was gobsmacked from day one that they love it. They want people to know what it's like, and how tough it is. Whatever these women go through in their personal life, they have to turn up to work.
"Being in a soap opera makes you very famous, but if you lose that job your life is wrecked because you can't switch that level of fame off, even if you never work again as an actor. It's why returning to real life is tough, why people fight so hard to stay on a show, and why those who don't have careers anymore fight so hard to be in one."
Blake created her own talent agency in 2004 and, in an industry rife with ageism, forged a reputation as the "queen of reinvention".
"When I started my agency, I was representing actresses who were 40 and considered old. I changed that by getting actresses back in shows and played a massive part in helping to revolutionise the way women were seen in show business.
"It's interesting because I was continuously told by my father from a young age that all women over 30 are finished. I knew it was nonsense even then, and I've ended up making my fortune focusing on women who are older."
Blake's father had a devastating impact on her formative years. Growing up in Stockport, she describes living a relatively content life until age seven when her dad joined a religious cult.
"It was designed like a Ponzi scheme to get all the money off the parishioners and he fell for it hook, line, and sinker. Everything that wasn't in the Bible was considered the devil's business. It made no sense, but we had to live under his rules. We became reliant on handouts. I wore second-hand clothes, had free dinners. I was also dyslexic so put in a class with the kids who didn't want to be there. It was horrendous and I left school with a G in maths, but it gave me an incredible desire and resilience," says Blake, who remembers looking through the glossy magazines at the dentist's where her mum cleaned and knowing she wanted more from life.
"I just had this weird feeling I was in the wrong place and that's where I was meant to be. It wasn't delusion or obsession but more like a calling, so from the age of 13 I worked as many jobs as I could and got myself a Halifax account. It was everything to get out of that situation of poverty. Back then Manchester didn't have the media opportunities it does now, so for me the goal was London to see whether I could break the industry."
Blake left home at 16 and moved into a squat in an abandoned house in Oldham, where it was so cold, she says, "I thought I would die".
She recalls returning one night to find the squat boarded up, so was forced to spend the night sleeping out in the garden. The next day, one of the squatters told her they'd heard of a scheme Salford Council was running to help the young and vulnerable. Within 24 hours of registering at the office, she was given the keys to a flat.
"Looking back, I was amazed at how the council helped me. I only wish it was like that for people now. I don't think it's an understatement to say they saved my life. Who knows what could have happened to me if I'd ended up on the streets, I don't even like to think about it," says Blake.
"I have however always made it clear my dad didn't throw me out. I just couldn't live under that roof any longer and listen to this rubbish, so I made myself homeless to escape. That tells you how bad it was. He was a deluded man and he's not that person anymore, but we don't have a relationship and I'm not angry about that. I've made my peace with it."
Determined to kickstart her career, Blake left the flat after three months and headed to London, arriving on her 17th birthday. She took temp positions, trying "every avenue I could to break into media" and eventually landed a job as a camera assistant on Top of the Pops.
The show was filmed near EastEnders, which is how she bumped into the actor Gillian Taylforth, who played Kathy Beale. The pair got on and Blake started working as an extra on the soap before moving back to Manchester and doing the same on Coronation Street, meeting the likes of Beverley Callard and Gaynor Faye, as well as Emmerdale's Claire King.
"I've always been opinionated and call things out when everyone's keeping their mouths closed. Nobody tells celebrities the truth, so I got my break by being pretty rough with celebrities by saying 'You don't look good in that' and 'This isn't a good move'. As I got to know these women, they said we think you'd make a really brilliant agent. So, within four years, I went from an extra to looking after the lead actresses and having the network's power in my hands. If I hadn't have lived it, I wouldn't believe it," says Blake, who describes herself as a "ballbreaker, always have been".
"But I've always got people's best interests at heart and not a lot of people do. When I worked on Top of the Pops, you'd see the Whitneys and Britneys and the people around them didn't want them to be happy and successful because the more messed up they were, the more they could get away with. I've always wanted my women to be empowered. It's why I've had so many clients for so many years."
Aside from Callard and King, her roster included Patsy Kensit, Sherrie Hewson, Amanda Barrie and Stephanie Beacham, who once lambasted Blake's father for his ageist comments during a memorable phone call. "She told him 'I'm 65 and fucking fabulous' and put the phone down," recalls Blake.
But one of her proudest achievements is the Nolan sisters reunion tour she organised in 2009, which took £2 million at the box office within 24 hours, despite the naysayers.
"I brought my mum and all her friends along when it came to Manchester. She passed away two years later, days after being diagnosed with ovarian cancer, and I can still remember seeing the pride in her eyes knowing I'd put this tour on," says Blake, who now lives in a mansion in north London and makes no apology for her lavish lifestyle.
"I love the life I've built for myself. I grew up in impoverished surroundings, so it's no surprise I like a bit of glamour and luxury. I've earned it. I am 100 per cent self-made – no one's ever given me a penny. So if anyone has anything other than a positive thing to say, as far as I'm concerned, they've got a problem because I am the absolute example of working your arse off. I thrive on keeping busy and run a company that's turned over £30 million, but you don't get to turn that sort of money over without working 24 hours a day – that's the sacrifice."
It's why she's feeling so angry about how she's been treated by the government.
"I've paid millions of pounds in tax willingly and never done any avoidance schemes or tried to get out of paying my dues. I've been proud to give back to this country because of the help I received when I was poor. I'm forever grateful and I was glad to do it.
"But when it comes to this pandemic, because I run a limited company, I get nothing at all – not a penny, no furlough for my staff. I didn't want anyone to lose their jobs so I've been paying their wages for over a year now with no help. I've lost millions in the pandemic but I don't care about that really. I'm a grafter. I'll find a way to earn it again. Once you've been homeless and poor and you've had a taste of the good life, you stop at nothing to keep yourself as well-funded as possible, but it really hurt me the way the government took so much from me but offered me nothing in return. I'll always pay my dues but I'll never respect a government that hangs entrepreneurs out to dry."
As soon as this pandemic is over, Blake's planning on moving away from the UK for a while "to let my anger dissipate".
"I'm going to rent a gorgeous house somewhere for six months to see how it goes and write a newspaper column on dating."
There are also two more books underway, including a sequel to Ruthless Women, and a nationwide tour of The Thunder Girls stage adaptation in the autumn.
"I'm not interested in fame. I'm an author and businesswoman and will hopefully be a mogul with my own studio, so I can make loads of vehicles where no woman will ever be judged by her age." You don't doubt her determination, as she adds. "I'll always be a glass half full girl. I don't know any other way to be. Basically, everything I do that's a success is the greatest revenge on everyone who said I couldn't do it."
Ruthless Women by Melanie Blake (Head of Zeus, £12.99) is out now
Melanie Blake's favourite bonkbusters
When it comes to bonkbusters my shelves are crammed with them. The true test of a bonkbuster is if when you move house you make sure it always moves with you. Here are four classics that will never leave my shelves.
Did anyone do sexy better than Jackie Collins? I doubt it! Her novels seem a bit dated now but who doesn't love some horny nostalgia from an era when we could do it without a face mask on! I loved all her books but Hollywood Wives (Simon & Schuster) is one of my faves which I've read several times.
When a book has been in print for its 60th year that is a sign that it's still got all the right moves to get you in the mood. Jacqueline Susann's Valley of The Dolls (Virago Modern Classics) may be decades old but its tales of Hollywood desperation, drug addiction and scandalous sex are as relevant as ever. Susann was a former actress herself before she turned her talents to writing and I must have read Valley at least five times over the years. It still manages to enthral and move me all at the same time and the sex scenes are still pretty graphic all this time on.
In the 1980s there were not many women who didn't have a copy of Shirley Conran's blockbusting novel Lace (Canongate) and still to this day it's on many women's repeat reads – including mine. This book is absolutely filthy in parts, and even all these years later even I am still shocked at some of the sex in it. I'm not even sure anyone would print it these days, that's how out there one particular scene is. But what a wonderful story Shirley told, of three young schoolgirls, one of whom becomes pregnant and all three decide to take responsibility for the safe delivery of the child into the hands of a loving new family, vowing never to reveal which one of them it was that gave birth. The action plays out over three decades as Lillie, the missing daughter, now a former prostitute turned porn star turned Hollywood A-lister, returns to wreak havoc on the group, uttering the now immortal line: "So which one of you bitches is my mother?" You'll never look at a goldfish the same way again!
My choice from the the queen of the countryside legover Jilly Cooper is The Man Who Made Husbands Jealous (Corgi), which follows hapless hunk Lysander Hawkley's arrival in a small village. His much less attractive friend Ferdie comes up with a scheme to make money out of his natural womanising ways: to help wives make their wandering husbands jealous. It's horny, it's sexy and it's naughty – the perfect ingredients for a bonkbuster – and it definitely puts you in the mood for a roll in the countryside hay!
Unit mistrust
Turning back home
Strict form of anarchy
Interact: Responses to Sofa so good


MESSIAH'S BRANCH Ministries and International Radio: End Time Radio By Messiah's Branch - PROPHECY HOUR: HAS THE WORLD GONE INSANE?
End Time Radio By Messiah's Branch - PROPHECY HOUR: HAS THE WORLD GONE INSANE?
PROPHECY HOUR: HAS THE WORLD GONE INSANE?
Has the world gone insane? It is upside down, what is right what is wrong a thought provoking program…..


I woke up to a shocker this morning with the news of the death of Kristoff St. John. Many of us knew Kristoff St. John as the character Neal who was a main character of The Young And The Restless since 1991.
I remember watching him with my grandmother and mom back in Mississippi and I used to be glued to the television when him and Drew would go at it and eventually when him and Olivia were a thing. Ironically Kristoff lost his son to Suicide back in 2014 and while details are still sketchy about his death. Many believe he never fully recovered over his sons death.
He threatened to commit suicide himself back in 2017 and was placed under watch for a few days following the encounter. This is sad news for the entertainment industry and he will be missed by the soap fans and beyond.


The South Australian Premier Steven Marshall has announced that Rhana Devenport will be the new director of the Art Gallery of South Australia (AGSA). Devenport will take up the position in October 2018.
As part of a new exhibition, State of the Union, which explores partnerships between trade unions and arts workers, a group of Melbourne artists has launched a project to expose exploitation in the arts in Australia.
Tasmanian artist Neil Haddon has won the second annual Hadley's Art Prize with his painting The Visit.
Melbourne-based multidisciplinary artist Jude Walton is the recipient of the 2018 Georges Mora Fellowship.
Renowned Indigenous artist Destiny Deacon has been awarded the inaugural $60,000 Yalingwa Fellowship.
Congratulations to Laith McGregor who has won the $15,000 Paul Guest Prize for Drawing with his pencil drawing on paper, This Old Island, 2018.
From 2019 Mona Foma, the annual summer music, arts and culture festival, will leave Hobart and head to Launceston.
Brook Andrew will be the artistic director of the 22nd Biennale of Sydney (BoS), due to be held in 2020.
The annual Hatched National Graduate Show showcases works by talented recent art school graduates from around the country.


"Just as Virgil led Dante through the underworld, so too Richard Emmerson guides his readers through the visionary landscape of medieval Apocalypse illustration from its early medieval origins right through to the Reformation. One could ask for no better guide. The culmination of a career dedicated to the expert examination of the Book of Revelation and its immeasurable impact on medieval culture, Emmerson's book provides a confident overview peppered with penetrating insights." —Jeffrey F. Hamburger, author of St. John the Divine: The Deified Evangelist in Medieval Art and Theology.
With its rich symbolism, complex narrative, and stunning imagery, the Apocalypse, or Revelation of John, is arguably the most memorable book in the Christian Bible. In Apocalypse Illuminated, Richard Emmerson explores how this striking visionary text is represented across seven centuries of medieval illustrations.
Focusing on twenty-five of the most renowned illustrated Apocalypse manuscripts, from the earliest extant Carolingian ones produced in the ninth century to the deluxe Apocalypse made for the dukes of Savoy and completed in 1490, Emmerson examines not only how they illustrate the biblical text, but also how they interpret it for specific and increasingly diverse audiences. He discusses what this imagery shows us about expectations for the Apocalypse as the year 1000 approached, its relationship to Spanish monasticism on the Christian-Muslim frontier and to thirteenth-century Joachimist prophetic beliefs, and the polemical reinterpretations of Revelation that arose at the end of the Middle Ages. The resulting study includes historical and stylistic comparisons, highlights innovative features, and traces iconographic continuities over time, including the recurring apocalyptic patterns, events, figures, and motifs that characterize Apocalypse illustrations throughout the Middle Ages.
Gorgeously illustrated and written in lively and accessible prose, this is a masterful analysis of over seven hundred years of Apocalypse manuscripts by one of the most preeminent scholars of medieval apocalypticism.
Richard K. Emmerson is Visiting Distinguished Professor of Art History at Florida State University and Dean Emeritus of Liberal Arts, Manhattan College. He is the author of Antichrist in the Middle Ages: A Study of Medieval Apocalypticism, Art, and Literature, coauthor of The Apocalyptic Imagination in Medieval Literature, and coeditor of The Apocalypse in the Middle Ages.
This book synthesizes my thinking about illustrated Apocalypse manuscripts over a period of forty years, examining why and how the Revelation of John was so extensively and strikingly illustrated during the Middle Ages. It studies almost seven hundred years of medieval illustrated Apocalypses, extending from the earliest extant manuscripts, which were produced during the Carolingian period (from ca. 800), to the deluxe Apocalypse made for the dukes of Savoy and completed in 1490. This is a huge undertaking, for more than 130 illustrated Apocalypses are extant, making a comprehensive analysis impossible. Rather than surveying so many manuscripts, the book examines some noteworthy Apocalypses selected from the most important, interesting, and influential illustrative traditions. To substantiate historical and stylistic comparisons, trace iconographic continuities over time, and highlight innovative features, our analysis focuses on recurring apocalyptic patterns, events, figures, and motifs that characterize Apocalypse illustrations throughout the Middle Ages. Significant ancillary motifs that become integral to Apocalypse manuscripts, such as the role of the visionary John and the persecutions of Antichrist, also receive sustained attention.
The Apocalypse or Revelation of John, which concludes the Christian Bible, is one of the most memorable books of scripture, developing a rich symbolism, complex narrative, and stunning visual imagery. As Austin Farrer notes, it "is the one great poem which the first Christian age produced, it is a single and living unity from end to end, and it contains a whole world of spiritual imagery to be entered into and possessed." In contemporary popular culture "apocalypse" often implies catastrophic destruction and violent suffering, but the term simply means an opening of hidden mysteries, a revealing of the divine that imparts insights into God's purposes in history and beyond. For scholars of ancient Near Eastern religions it designates a visionary literature prominent in intertestamental Judaism and early Christian communities (ca. 200 B.C.E.–200 C.E.). John J. Collins defines "apocalypse" as "a genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherworldly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial, insofar as it involves another, supernatural world." The term, clearly fitting the late first-century Apocalypse of John, thus refers to both the literary form and the biblical book from which the genre takes its name. It should be noted, furthermore, that although judgment against evildoers, both human and demonic, and sometimes violent suffering and retribution may be prominent in apocalypses, their outlook is not primarily pessimistic, since divine justice ultimately prevails, and the elect are rewarded for their steadfastness.
This hopeful stance structures the dualistic balancing of good and evil in the Apocalypse of John. It describes as many jubilant scenes, heavenly champions, and cherished promises as plagues and earthquakes, ruthless persecutors, and devastating destruction. Structurally, demonic monsters, such as the great red Dragon (Rev. 12) or seven-headed Beast from the Sea (Rev. 13:1–10), are offset by the sacrificial Lamb of God (Rev. 5:6) or the Rider "faithful and true" (Rev. 19:11–16); the opening of the bottomless pit releasing Locust Beasts with scorpion tails (Rev. 9) is answered by the opening of the heavenly Temple of God revealing the adoration of the Twenty-Four Elders (Rev. 11:15–19); the Whore of Babylon, who fornicates with the kings of the earth (Rev. 17), is balanced by the Woman Clothed in the Sun, who delivers her child to heaven (Rev. 12); those marked with the enigmatic "666" designating allegiance to the Beast (Rev. 13:16–18) are contrasted to the 144,000 marked with the name of the Lamb (Rev. 14:1); and, finally, the city of Babylon, the habitation of demons (Rev. 18:2), is replaced by the New Jerusalem enclosing the throne of the Lamb and the river and tree of life (Rev. 22:1–2). At its conclusion, all mysteries have been revealed, and John is told not to seal the book because "the time is at hand" (Rev. 22:10). The Apocalypse ends with a promise, a prayer, and a blessing: "He that giveth testimony of these things saith, 'Surely I come quickly.' Amen. Come, Lord Jesus. The grace of our Lord, Jesus Christ, be with you all. Amen" (Rev. 22:20–21).
The influence of the Apocalypse on medieval ecclesiastic and political history, visionary mysticism, and literary culture was pervasive. It was extensively represented in medieval art, from Early Christian mosaics depicting iconic images of the Lamb of God (Rev. 5:6–14; 7:9–17; 14:1), Four Living Creatures (Rev. 4:6–9; 5:8–14), and Christ enthroned in majesty (Rev. 4 and 5), through Romanesque fresco cycles and Gothic sculptural programs, to fifteenth-century masterpieces such as Hans Memling's St. John Altarpiece and Albrecht Dürer's Apocalypse woodcuts. Other prominent apocalyptic themes include the Four Horsemen (Rev. 6:1–8), the Souls Under the Altar crying for vengeance (Rev. 6:9–11), the Two Witnesses killed by the Beast from the Abyss (Rev. 11:3–13), the Woman harassed by the Dragon (Rev. 12), the anti-trinity of evil (Rev. 13; 16:13–14), the Whore seated on the waters and riding the Beast (Rev. 17), the Marriage Feast of the Lamb (Rev. 19:7–9), the chaining of the Dragon and release of Gog and Magog (Rev. 20:1–8), and the New Jerusalem (Rev. 21). In the Middle Ages, when the Bible was often read in separate books or gatherings of books—such as the Pentateuch, Prophets, Gospels, and Pauline Letters—the Apocalypse was second only to Psalms in its number of single-volume illustrated manuscripts. Although some offer only a few illustrations accompanying the biblical text, most include substantial cycles of miniatures ranging from forty to over a hundred images and as many as 312 scenes. They exemplify the medieval concern with "vision" as a means to achieve spiritual understanding.
Jeffrey Hamburger points out that visionary experience involves "a double mediation," since visionaries first receive their visions and then communicate them to readers and interpreters. John's visions in illustrated Apocalypses entail additional intermediaries, for they are copied for medieval readers, often include commentaries explaining their meanings, and, most importantly for this study, add pictures not only illustrating but often interpreting the visions. A major focus of analysis in this book will therefore be the ways manuscript images produce meaning beyond the texts they illustrate, how they develop their own visual exegesis of the Apocalypse. I understand visual exegesis to include not only images that take the place of, or fill the gaps in, a biblical text or commentary, but also those interpretive aspects of miniatures accompanying verbal texts that underscore or elaborate their meaning by emphasizing particular aspects of the visionary experience or even adding new details that can change meaning and, in some cases, challenge it. The image thereby creates a new visual "text" that aids the reader-viewer's understanding of John's visions. To understand how this visual exegesis works, we need to recognize the internal coherence of images and shun the temptation to focus only on their textuality, since they are multidimensional. In addition to their iconographic features, their compositions and forms generate meaning by interacting within the manuscript matrix not only with texts but also with other visual signifiers. In analyzing apocalyptic images, the following chapters will not only study their discursive elements, which depict details ultimately derived from biblical and exegetical texts, but also their figural features, which "belong to the image as a visual experience independent of language—its 'being-as-image,'" as Norman Bryson explains.
Textual scholars sometimes fault medieval illustrations for not being "faithful" to the text, for exhibiting inaccuracies, for failing to depict precise textual details, or for including nontextual elements. Such criticism not only assumes the priority of word over image, but also misunderstands the nature of manuscript illustration, which follows its "own visual logic." Attending to this visual logic informs my approach to Apocalypse miniatures, which can be exemplified briefly by the two-page opening of the early fourteenth-century Welles Apocalypse. In its miniature depicting John's response to the voice inviting him to come up to heaven (Rev. 4:1–2), the visionary scrambles up a ladder into heaven's open door and stretches to grasp an angel's hand (fol. 117v; fig. 1). The ladder motif, adopted in other Apocalypses that include the same Anglo-Norman commentary, differs significantly from earlier representations in which John, sometimes led by an angel, looks through a door. The depiction of John actively climbing a ladder to reach into heaven, furthermore, is not based on the biblical text, which simply states: "And immediately I was in the spirit" (Rev. 4:2). It implies that John passively receives the spirit, taking no action whatsoever. The ladder motif is a form of visual exegesis particularly apt for this manuscript, however. It includes the Lumere as lais (Light for laypeople, 1267), a lengthy dogmatic compendium by Pierre d'Abernon de Fetcham written as a dialogue in Anglo- Norman couplets and intended to instruct laypersons and encourage their active participation in spiritual life. Significantly, such encouragement is given by the text on the folio facing the image (fol. 118r). It interrupts the biblical text calling John to "come up" in order to address the reader directly and point to the image: "As you can see in the adjacent figure here present on the other part of the facing leaf." As Lucy Freeman Sandler notes, this unique instruction is inscribed below an initial "A" in which "a striking frontal female head" depicts the viewer's gaze. The ladder motif, ultimately derived from Jacob's visionary ladder (Gen. 28:10–19) and extensively discussed in monastic exegesis, reflects the later medieval appropriation of monastic imagery for vernacular lay devotion. John's climbing the ladder thus models for the reader-viewer the need not only to look at the picture, but also to respond decisively, to seek actively the fundamental apocalyptic vision depicted across the page, which reveals Christ enthroned in majesty surrounded by the Twenty-Four Elders and Four Living Creatures.
This book also strives to balance analysis of the manuscripts as works of art in their own right with attention to their historical, religious, and social contexts. On the one hand, by focusing on specific miniatures in representative Apocalypses, we will see how the manuscript matrix encouraged the reader-viewer to interpret apocalyptic figures and events. The mise-en-page of the Welles Apocalypse opening (fig. 1) anchors text and image, while exemplifying what Hamburger describes as "the symbolic dimensions of the opening as revelation," the effect of images and texts facing each other in the codex. As he notes, "The association of reading with revelation would never have taken hold had not the experience of opening and entering the space of the book, real and imaginary, itself been so profound." On the other hand, the images need to be "anchored" within history as well. This book will therefore consider how Revelation was interpreted over time, how it was associated with other prophetic, didactic, liturgical, and devotional texts, and how apocalyptic expectations and historical events influenced the reception of these manuscripts. The goal is to understand the function and meaning of Apocalypses within a variety of specific interpretive communities throughout the Middle Ages.


text:
Panamerikamesterskabet i håndbold for kvinder 2011 er det 11. panamerikamesterskab for kvinder gennem tiden, og turneringen med deltagelse af otte hold bliver afviklet i São Bernardo do Campo, Brasilien i perioden 28. juni – 4. juli 2011.

Mesterskabet blev vundet af Brasilien, som i finalen besejrede Argentina med 35-16. Dermed vandt brasilianerne panamerikatitlen for kvinder for syvende gang. Det var endvidere femte gang i træk, at finalen var et opgør mellem netop de to hold. Bronzemedaljerne gik til Cuba, som i bronzekampen vandt 37-27 over Uruguay, og det var Cubas første medalje ved mesterskabet siden 1999.

Ud over titlen som panamerikamester spillede holdene om tre ledige pladser ved VM i håndbold 2011 i Brasilien. VM-pladserne blev besat af de tre bedst placerede hold, når man fraregnede Brasilien, der som værtsland allerede var kvalificeret til VM, dvs. at VM-pladserne gik til Argentina, Cuba og Uruguay.

Slutrunde

Hold

Mesterskabet havde deltagelse af otte hold:
 De seks bedst placerede hold ved sidste panamerikamesterskab: Argentina, Brasilien, Chile, Dominikanske Republik, Mexico og Uruguay.
 De to bedst placerede hold ved 1. division-turneringen i 2010: Cuba og Venezuela.

Indledende runde

De otte hold var inddelt i to grupper, hvor holdene spillede alle-mod-alle. De to bedste hold i hver gruppe gik videre til semifinalerne.

Gruppe A

Gruppe B

Semifinaler og finaler

Semifinalerne havde deltagelse af de fire hold, der sluttede på første- eller andenpladserne i grupperne i den indledende runde.

Placeringskampe

Holdene, der sluttede på tredje- og fjerdepladserne i grupperne i den indledende runde, spillede placeringskampe om 5.- til 8.-pladsen. De to hold, der sluttede på femte- og sjettepladsen kvalificerede sig direkte til det næste panamerikamesterskab i 2013, mens de to øvrige hold "rykkede ned" i 1. division, hvor de i 2012 havde muligheden for at spille om de to ledige pladser ved det næste panamerikamesterskab.

Samlet rangering

Kilder / eksterne henvisninger
Panamhandball.org – Femenino 2011 – Results – Primera Jornada
Handball World Archive – Women Handball XI Panamerican Championship 2011

Noter

2011 (kvinder)
Håndbold i 2011
Kvindehåndbold
Håndbold i Brasilien

redpajama_set_name: RedPajamaWikipedia


text:
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PLAYERS CHOICE
MLB players honor Jose Altuve with Most Outstanding Award
Fred Faour
Jose Altuve was honored by the MLB players. Sean M. Haffey/Getty Images
Jose Altuve of the Astros might be named MVP later this month. But he picked up some other hardware on Thursday.
Altuve was named the MLB Players Choice Awards Player of the Year and the American League's Outstanding Player.
Altuve had a monster season for the Astros, winning the batting title with a .346 average, 24 HRs, 81 RBIs and 32 SBs. He hit .310 in the playoffs and led the Astros to their first-ever World Series title.
The second baseman is a seven-time All-Star and the 27-year-old has 1,250 career hits.
Altuve won his fourth consecutive Silver Slugger Award on Thursday, and will catch Craig Biggio if he can do it one more time.
Aaron Judge of the Yankees, considered Altuve's main competition for MVP, was named AL Rookie of the Year by the players. Cody Bellinger of the Dodgers, the team the Astros beat to win their title, won the NL Rookie Award.
Corey Kluber of the Indians won the AL Outstanding Pitcher Award; Max Sherzer of the Nationals won the same award in the NL. Giancarlo Stanton won the NL Most Outstanding Award.
The AL MVP Award will be announced on Nov. 15. Altuve and Judge are considered the front-runners.
George Springer won his first career Silver Slugger Award on Thursday, after finishing the season with a .283 average, 34 HRs, 85 RBIs, and 112 runs. Springer's 5 home runs also tied the all-time single World Series record.
One other Astro is up for an award: manager A.J. Hinch (to be announced Nov. 14).
Credit to Deshaun Watson for taking the high road once again
Will Doctor
Here's why the Texans can't trade away their problems this time
SportsMap Staff
From contract to no contact, here's what spurred Deshaun's change of heart
SportsMap Emails
Are Awesome
MLB FREE AGENCY
Report: Michael Brantley won't be playing for the Blue Jays after all
Joshua Jordan
Astros rally to keep Brantley. Photo by Getty Images.
Mark Berman is reporting that Michael Brantley and the Astros have agreed on a 2-year contract worth $32 million. Several reports indicated that Brantley would be signing with the Blue Jays, but apparently the deal wasn't final. Berman's report appears to be legit. Check out the tweets below from Brian McTaggart and Carlos Correa.
MLB source: #Astros reach an agreement with Michael Brantley on a two-year deal worth $32 million.
— Mark Berman (@MarkBermanFox26) January 20, 2021
I can confirm the Astros are in a two-year, $32-million agreement with OF Michael Brantley, pending physical.
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Q: Replacing string "true" and "false" from union type to booleans I've got one union type that is constructed from object keys, which may contain string, number, and boolean keys.
Example:
type Example = "true" | "semi" | "false";

What I want to achieve is to get a new type, which replaces strings true or false with actual boolean values.
type Example = true | "semi" | false;

Converting directly to boolean won't work since there might be cases where I don't have either true or false
This is what I've tried
type ReplaceTrue<T> = Extract<T, "true"> extends never ? T : Exclude<T, "true"> | true;
type ReplaceFalse<T> = Extract<T, "false"> extends never ? T : Exclude<T, "false"> | false;

type PickMyType<T> = ReplaceBoolean<T, "true", true> | ReplaceBoolean<T, "false", false>

I've also tried combining ReplaceTrue and ReplaceFalse to a single type, but I think that this would lead to a more unreadable code.
However, I feel like these solutions are not elegant and I'm wondering if there is any other method of replacing them.

A: Using a mapping type:
type T1 = "true" | "semi" | "false";

type Mapping = { true: true; false: false };
type T2 = Mapping[T1 & keyof Mapping] | Exclude<T1, keyof Mapping>;
// T2 = boolean | "semi"

A: This is achievable by a straightforward distributive conditional type:
type ReplBool<T> = T extends "true" ? true : T extends "false" ? false : T;

type Example = "true" | "semi" | "false";
type ReplacedExample = ReplBool<Example>;
// type ReplacedExample = boolean | "semi"
// note that boolean is an alias for true | false

You can do more complicated things involving mapped lookups or nested utility types, but the above definition is probably the tersest definition for something with just two cases.
Playground link to code


text:
Meadow Park er et stadion i Borehamwood, Hertfordshire, England. Det er hjemmebane for det engelske kvindefodboldhold Arsenal W.F.C., Boreham Wood F.C. og Arsenal F.C.s reservehold.

Noter

Eksterne henvisninger

Fodboldstadioner i England
Idrætsanlæg i London
Etableret i 1963
Arsenal W.F.C.