text:
Is Masterchef ageist? Plenty of viewers think so.
Mamamia Team
She's 57, from Queensland and dreams of hosting ladies lunches in her own restaurant one day.
Her name is Benita Orwell and tonight she was eliminated from Channel 10's MasterChef Australia.
She was trying to cook prawn wontons with broth under extreme time pressure.
According to the judges, her biggest mistake was taking her eyes off the broth towards the end of the cook because the broth burnt with only minutes to go. The sauce she made as a substitute was "underwhelming".
But some Australians are thinking her elimination has less to do with crustaceans, and more to do with the fact she's over 50.
We wish you all the best @BenitaOrwell ???? #MasterChefAU pic.twitter.com/OBoKV5rbC4
— #MasterChefAU (@masterchefau) May 18, 2017
"Masterchef is a bit ageist I think. They portray the older contestants unfavourably," one viewer commented on Facebook.
"Again the judges are influenced by the 'age'of the contestant!!!! Don't they realise that 50 per cent of their audience is over 50!!! Get real," another said.
"Classic case of 'Ageism' in that decision. Benita deserved to be there to learn more every bit as much as Nicole. Elimination should be on the worst dish not the oldest person Masterchef," one commenter wrote.
Indeed, Orwell was the oldest contestant in this year's competition. And, earlier this week, we saw the show's second oldest amateur chef Pia Gava, 49, sent home as well.
All the oldies gone in record time this year, is there anyone left over 40? #masterchefau
— Brad Sprigg (@bradsprigg) May 18, 2017
Benita didn't stand a chance. The over 50's never make it past the first few weeks. #Masterchefau
— Nez (@fraggle73) May 18, 2017
what ageist games are you playing at ? those 2 crappy excuses for cake could have quite easily been sent home ????????????#masterchefau
— anth????music???? (@anthmusic) May 18, 2017
First Pia now Benita… Ageism? ???? #masterchefau
— Maddy (@Its_me_MaddyO) May 18, 2017
The Brisbane mother of two is devastated to be leaving the show. Part of Orwell's mission on MasterChef was to show others they are "never too old to follow their dreams".
"I desperately don't want to go home today," she told the camera.
"Desperately do not want to go. I'm going to fight like it's the biggest fight of my life, because I want to stay here."
Listen: Masterchef managed to do in one episode what My Kitchen Rules failed to in a whole season.
Most importantly, though, she hasn't lost sight of her dream.
"My food dream is to host ladies' long lunches. Beautiful ladies having a few drinks, eating food, and just having a really good time getting to know each other," Orwell said.
"I've had the best time. I've learned so many new recipes and ideas and techniques. Anyone who thinks that they're too old, well, don't think that you're too old. And if you've always had a dream and you still haven't achieved it, well, go and do it."
Good luck, Benita. Go and get 'em.
Justine Elise Shipton 4 years ago
She made a wrap and sauce for one challenge! End of story!
David S 4 years ago
It's always the worst dish, and Benita's was the worst - no-one can seriously think that the sauce she threw together in, what, 5 minutes, could be any good - the judges are too nice to not slag it off, but it's a long way from some of Nicole's pudding being a bit dry on Gary and George's servings (whereas it was fine on Matt's)
Lady Gaga's Presidential Performance Was Packed With Hidden Messages
The Spill
MAFS: 25 Broken People
Mamamia Recaps


text:
package com.marklogic.client.example.cookbook.datamovement;

import com.marklogic.client.datamovement.DataMovementManager;
import com.marklogic.client.datamovement.JobTicket;
import com.marklogic.client.datamovement.JobReport;
import com.marklogic.client.datamovement.WriteBatcher;
import com.marklogic.client.example.cookbook.Util.ExampleProperties;
import com.marklogic.client.example.cookbook.Util;

import org.springframework.jdbc.datasource.DriverManagerDataSource;
import org.springframework.jdbc.core.JdbcTemplate;
import org.springframework.jdbc.core.RowCallbackHandler;

import com.fasterxml.jackson.core.JsonParser.Feature;
import com.fasterxml.jackson.databind.JsonNode;
import com.fasterxml.jackson.databind.ObjectMapper;

import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import java.io.IOException;
import java.sql.Connection;
import java.sql.ResultSet;
import java.sql.SQLException;
import java.util.Calendar;
import javax.sql.DataSource;
import java.text.SimpleDateFormat;

public class BulkLoadFromJdbcWithJoins {
  private static Logger logger = LoggerFactory.getLogger(BulkLoadFromJdbcWithJoins.class);
  public static final SimpleDateFormat dateFormat = new SimpleDateFormat("yyyy-MM-dd");

  private static int threadCount = 3;
  private static int batchSize   = 3;

  public static final DataMovementManager moveMgr =
    DatabaseClientSingleton.get().newDataMovementManager();

  public static void main(String[] args) throws IOException, SQLException {
    new BulkLoadFromJdbcWithJoins().run();
  }

  public Employee parseEmployee(ResultSet row) throws SQLException {
    try {
      ObjectMapper mapper = new ObjectMapper()
        .configure(Feature.ALLOW_UNQUOTED_FIELD_NAMES, true);
      return mapper.readValue(row.getString(1), Employee.class);
    } catch (Exception exception) {
      exception.printStackTrace();
      throw new RuntimeException(exception);
    }
  }

  public void run() throws IOException, SQLException {
    JdbcTemplate jdbcTemplate = new JdbcTemplate(getDataSource());
    try ( Connection conn = jdbcTemplate.getDataSource().getConnection() ) {
      if(conn.getMetaData().getDatabaseProductName().toLowerCase().contains("mysql"))
        // the following is required because GROUP_CONCAT calls in following SQL can generate long strings
        jdbcTemplate.execute("SET GLOBAL group_concat_max_len = 1000000");
    }
    WriteBatcher wb = moveMgr.newWriteBatcher()
      .withBatchSize(batchSize)
      .withThreadCount(threadCount)
      .onBatchSuccess(batch -> System.out.println("Written: " + batch.getJobWritesSoFar()))
      .onBatchFailure((batch,exception) -> exception.printStackTrace());
    JobTicket ticket = moveMgr.startJob(wb);

    jdbcTemplate.query(
      /******** Generate JSON Employee record with nested salaries and titles arrays ********/
    "SELECT CONCAT('{employeeId:', e.emp_no, ',', " +
            "' firstName:\"', e.first_name, '\",', " +
            "' lastName:\"', e.last_name, '\",', " +
            "' gender:\"', CASEWHEN(e.gender='M',RTRIM('MALE'), CASEWHEN(e.gender='F',RTRIM('FEMALE'),RTRIM('UNKNOWN'))), '\",', " +
            "' birthDate:\"', TO_CHAR(e.birth_date,'YYYY-MM-DD'), '\",', " +
            "' hireDate:\"', TO_CHAR(e.hire_date,'YYYY-MM-DD'), '\",', " +
            "' salaries:[', " +
             " GROUP_CONCAT(CONCAT('{salary:',salary,',', " +
             "  ' fromDate:\"', TO_CHAR(s.from_date,'YYYY-MM-DD'), '\"', " +
             "   CASEWHEN(s.to_date='9999-01-01','',CONCAT(', toDate:\"', TO_CHAR(s.to_date,'YYYY-MM-DD'), '\"')), " +
             " '}') SEPARATOR ','), " +
             "'], titles:[', titles, ']}') " +
     "FROM salaries s, " +
           "(SELECT employees.*, GROUP_CONCAT(CONCAT('{title:\"',title,'\",', " +
                 "' fromDate:\"', TO_CHAR(t.from_date,'YYYY-MM-DD'), '\"', " +
                 "CASEWHEN(t.to_date='9999-01-01','',CONCAT(', toDate:\"', TO_CHAR(t.to_date,'YYYY-MM-DD'), '\"'))," +
                 "'}') SEPARATOR ',') titles " +
            "FROM employees, titles t " +
            "WHERE employees.emp_no=t.emp_no " +
            "GROUP BY employees.emp_no) e " +
     "WHERE e.emp_no=s.emp_no " +
     "GROUP BY e.emp_no, e.first_name, e.last_name, e.gender, e.birth_date, e.hire_date, e.titles",
      (RowCallbackHandler) row -> {
        Employee employee = parseEmployee(row);
        wb.addAs(employee.getEmployeeId() + ".json", employee);
      }
    );
    wb.flushAndWait();
    moveMgr.stopJob(wb);
    JobReport report = moveMgr.getJobReport(ticket);
    if ( report.getFailureBatchesCount() > 0 ) {
      throw new IllegalStateException("Encountered " +
        report.getFailureBatchesCount() + " failed batches");
    }
  }

  private DataSource getDataSource() throws IOException {
    ExampleProperties properties = Util.loadProperties();
    return new DriverManagerDataSource(properties.jdbcUrl, properties.jdbcUser, properties.jdbcPassword);
  }
}

redpajama_set_name: RedPajamaGithub


What is the retail price of the Mini APE now? Is it still USD $300?
I like your Mini APE, arrived today, very well packaged, and very quick delivery, very pleased with it so far.
My Mini APE won't turn on: it gets as far as the copyright screen and then does nothing more. I have tried removing the USB and SD cards, but still nothing.
If I hold down the OK button on the Mini APE for about 5 seconds, the screen goes completely blank (no HiFiDiy screen), if I then hold down the Exit key for a few seconds, it goes back to the Copyright screen. That's all I can get it to do, otherwise it is completely non-functioning.
Sounds like you have a problematic one John, possibly the best thing to do would be to send it back and get it exchanged for another one.
Sorry to hear that, the evaluation one Mike sent over to me to try did similar thing when it arrived along with the ocasional flicker on the screen.
Tell me more (I'm looking for any alternative to sending it back to China!). I have tried re-starting with no SD or USB inserted: it does no more than I have described above. The only thing that works is the on/off switch on the back. Is it worth my opening it up and looking for any obvious disconnections?
It's brand new John.... just "why" would you want to open up a defective music player and try to fix it yourself when all you have to do is ask HiFiDiy for a replacement under warranty?
There is nothing inside to come loose, it's all pretty sturdy under the bonnet... there are no internal user replaceable fuses.... sure, you could open it up but don't expect to see anything "obvious" in there.
Shall I e-mail you the reset .exe? Give that a go first, see if that works.
To save the hassle and expense of returning it to China! If it was a matter of taking it back to a shop, or even mailing it to the UK, of course I'd get it replaced under warranty. I was just wondering if there would be anything obvious under the bonnet that I could see and fix so it could save me time, money and stress.
The reset.exe might be very useful, but if it depends on reading the USB port (as the manual seems to suggest), then it's no use, because I can't get the Mini APE to get past the initial screen. How do I use the reset.exe?
I have e-mailed it to you. Press the right hand button until the screen turns blank.... connect APE to your computer, it will find new hardware.... if it asks for the .sys file (or anything) then point it to the APE folder.
As soon as your computer has recognised it double click the .bat file, it will check and reset the machine.
Actually..... before you do all that just try pressing the right hand button (Key) until the screen goes blank, reboot and see what happens.
Please do not worry and please do not open the machine , by the way, can you tell me your email address , so i can send the latest software, other ones who want the software can ask Mike, i will send to him too .
I've emailed you my email address directly. I'm very pleased to read that you think I can reset the Mini APE and get it working again.
Thanks for the offer, but there's no need: Candy already emailed me the RAR file and instructions.
I have my Aune Mini APE back! There was a bit of a heart-stopping moment when, after the update (using the readme file instructions), it stayed on the copyright screen for a while, but then, BINGO!, the HiFiDiy.net screen came up and the device is now working properly.
Many thanks to both you and Candy.
PS Mike, I don't know if you emailed me any reset file in the end, but it hasn't arrived. As I wrote, I've now got the file direct from Candy, so you needn't bother (it's a very big file, 19MB), but I'm just wondering if you did send it, which particular cloud it's hiding on at the present moment!
Pleased you have your mini-Ape up and running again John, better keep that file handy in case any of the rest of us need to use it.
Mine sounding great, just switched on after being away for the weekend, and its now powered by a Little Pinkie, really is sounding sweet.
Big improvement with a Pinkie ?. Have you tried APE & Pinkie and external DAC ?
Black Box 2, DPA Bigger Bit, Arcam rDAC, Micromega DAC, Roksan Kandy MKIII, Sony CDP227ES, QA550, Systemdek IIX & mods, Chiara & Andante, WNA MK3 & Cascode, Audiophileo, Off Ramp 3, Mission Cyrus One & 751's, Headroom The Little, HD580, HD590, HD600, HD555, K701, & ATH70 Electrets. Too much wire !! - Kimber silver stuff and NVA cables - AND a bottle of Glenlivet Whiskey & a lot of Mods.
Yes i think so Fred, have not done a direct comparison with supplied PSU, just hooked up L-Pinkie to try, but i did think wow!! that sounds nice.
I have not yet tried it through a dac, only straight out through an Amp, will do so later this week and let you know.
I have just got mine due to my own stupidity ..... I actually got my own post code wrong (Cos I've moved) and the postman delivered to the wrong property.
After a week, virtually of chasing around, I managed to track the person who signed for it and I went and found them today!!!
Anyway, I hooked it up with the lovely Aune amp into the sr80i with jumbos and what a lovely sound.
It's a full, fruity sound but what I seem to have latched on to more than anything is the sense of front to back space. There is a spacious element to the sound which is really good.
I've played some low quality files via usb stick and they're absolutely fine. (Although the Ape does show the limitations of the format) Put in a WAV and the sound is extremely good and that depth really appears.
This is a superb player. The relay click is there but I just put it out of the way and so then you're not aware of it. So far, faultless music but so well placed in the stereo mix.
The power supply is really sensible too. Since it takes a figure of 8 plug, it's fine for anywhere in the world.
These are really worth the selling price imo and a bargain in the group buy.
Many thanks Candy for your patience with me in particular (You must think I'm bonkers) and to Mike - you were right again - these devices sound good.
Not a big problem, but I have found that the channels are transposed so the analogue lead needs to be switched at one end.
To test for this, play something orchestral and the first violins should be on the left. On the Ape, with it wired red to red, white to white, the strings are on the right so I just switched one end around.
I believe the red phono is marked "left" and the white phono is marked "right"?
Sorry Mike. You're right. It never occurred to me that it would be done that way round!!
I bet a lot of people get that confused because we're so used to using red for right!!
Actually, the digital straight into the Aune amp is slightly better imo.
I can't stop listening to the music. It's extremely good.
Is there a standard set up for the colouring of plugs? I always associated red for right.


text:
Calvary (2014 film)
Written and directed by John Michael McDonough, Calvary is the story in the week of a life of a priest who starts to feel doubt following a threat from an anonymous man. The film isn't just an exploration about faith but also doubt where a priest contends with those in his parish mocking its ideas while he is trying to help his troubled daughter who has recovered from a suicide attempt. Starring Brendan Gleeson, Kelly Reilly, Domhnall Gleeson, Chris O'Dowd, Isaach de Bankole, Dylan Moran, and Aidan Gillen. Calvary is a mesmerizing yet riveting film from John Michael McDonough.
Set in an entire week in a small town in Ireland, the film revolves a priest who receives a threat during confession stating that he will be killed on the next Sunday for sins that other priests had done to him when he was a child. The film is a study into a man's life on what could be his final week as he receives a visit from his daughter who is recovering from a suicide attempt while he does his duty as a priest. Along the way, he deals with locals whom he suspects is the one making this threat while certain events would happen wouldn't just test his faith but also raise questions about his own duties as a man.
Even as the character of Father James (Brendan Gleeson) is trying to be a good man and do good for others while being aware that he is very flawed. That is part of the brilliance in the film's screenplay that John Michael McDonough creates where it's not just a character study but also a mystery where Father James ponders who wants him dead and if he could really help this person. There are also characters who do see Father James help such as a millionaire named Michael Fitzgerald (Dylan Moran) who is going through a crisis of his own despite the fact that he's an unpleasant man. At the same time, Father James deals with other things in his small town that makes him question his own faith.
McDonough's direction is very engaging for the way he opens the film with this static shot of Father James listening to a confession from the person who would ruin him for an entire week. It lasts for a few minutes in an entirely unbroken take as it plays into the sense of dread that would loom throughout the film. While it is largely a suspense-drama, McDonough manages to put in a few quirks as it relates to the world that Father James is in as there are characters he encounters who are either good or just those that are immoral. McDonough's approach to framing with his usage of wide and medium shots, along with close-ups, play into Father James own sense of detachment from what is happening to him as he struggles to find meaning into his role with the world. Especially as it relates to his own daughter Fiona (Kelly Reilly) who is seeking help as she becomes a reason for Father James to do something good as he is also trying to repair their own relationship in what could be his final days. Overall, McDonough creates an intriguing yet compelling drama about a priest's encounter with doubt.
Cinematographer Larry Smith does excellent work with the film's cinematography in capturing not just the Irish landscapes and mountains but also in some of the scenes set at night for some intricate lighting including the interiors at the pubs where many of the characters go to. Editor Chris Gill does nice work with the editing as it is quite straightforward with a few stylish cuts to play into the air of suspense. Production designer Mark Geraghty and art director Fiona Daly do brilliant work with the look of the church that Father James works at as well as some of the places including the pub where most of the characters frequent. Costume designer Eimer Ni Mhaoldomhnaigh does wonderful work with the costumes as it is mostly casual with the exception of the robes that Father James wears.
Visual effects supervisor Sheila Wickens does terrific work with the film's minimal visual effects for a dream sequence Father James would have involving his daughter as it plays into the events of what could be his last day. Sound editor Ian Wilson does superb work with the sound to play into the atmosphere of the locations as well as some sound effects for a few key scenes. The film's music by Patrick Cassidy is amazing for its traditional-based Irish folk music along with some orchestral pieces to play into the drama while music supervisor Liz Gallacher brings in a soundtrack that doesn't just feature traditional Irish folk music but also rock and blues music that Father James and some of the other characters listen to.
The casting by Jina Jay is fantastic as it features notable small performances from Domhnall Gleeson as a former pupil of Father James who is serving time for murder, Owen Sharp as a young boy named Leo, David McSavage as a bishop whom Father Jay turns to for guidance, Marie-Josee Croze as a Frenchwoman whose husband is critically injured from a car accident who turns to Father James for comfort, Killian Scott as a young man named Milo who is unsure of what to do with his life, Pat Shortt as a gay hustler who is having a thing with Father Leary, David Wilmot as Father James' fellow priest Father Leary, Gary Lydon as a police inspector, and M. Emmet Walsh in a terrific performance as an American writer who is a friend of Father James. Other noteworthy small roles include Orla O'Rourke as the promiscuous Veronica who sleeps around with the men in the small town and Isaach de Bankole in a superb performance as the mechanic Simon.
Dylan Moran is brilliant as the self-loathing millionaire Michael Fitzgerald who tries to seek help from Father James only to display more of his own sense of hatred towards everything including the ideas of what money couldn't buy. Aidan Gillen is excellent as an atheist doctor who likes to antagonize Father James with his views on the world in order to disprove the idea that God exists. Chris O'Dowd is amazing as the local butcher Jack who copes with his cheating wife Veronica while dealing with other things in the hopes he can find some answers with his own troubles. Kelly Reilly is remarkable as Father James' daughter Fiona as a woman who is recovering from a suicide attempt as she seeks to try and repair her relationship with her father while watching him deal with his own sense of doubt. Finally, there's Brendan Gleeson in a phenomenal performance as Father James as this priest who is dealing with a threat that would haunt him for the course of a week as he deals with doubt and other things that would shake his faith as it's a very eerie yet powerful performance for Gleeson who is at the top of his game with this role.
Calvary is a sensational film from John Michael McDonough that features an incredible performance from Brendan Gleeson. Not only is it a captivating film about faith and doubt but also an eerie character study where a man whose job is to do good and help those is being shaken by dark forces around him. In the end, Calvary is a marvelous film from John Michael McDonough.
Related: The Guard
Posted by thevoid99 at 12:55 PM
Labels: aidan gillen, brendan gleeson, chris o'dowd, domhnall gleeson, dylan moran, isaach de bankole, john michael mcdonough, kelly reilly, m. emmet walsh, marie-josee croze, orla o'rourke
Brittani Burnham said...
Great review! You liked it a bit more than I did, but I can't deny how well made it is. Gleeson is awesome.
@Brittani-Thanks. It was well-made and certainly a film that was made with great care. I think John Michael McDonough is already a better filmmaker than his brother.
The Films That I Saw: July 2015
The Straight Story
2015 Blind Spot Series: My Darling Clementine
Summer of Twin Peaks: Episode 8-May the Giant Be ...
Alice Doesn't Live Here Anymore
150 Favorite Films from 2000-2015 Pt. 5 (that isn'...
Summer of Star Wars: The Star Wars Holiday Special
7 Days in Hell
Lava (short)/Inside Out
Pat Garrett and Billy the Kid
Good Night, and Good Luck.
Summer of Twin Peaks: Episode 7-The Last Evening
Fool for Love
Summer of Twin Peaks: Episode 6-Realization Time
The Cruise (1998 film)
150 Favorite Films of 2000-2015 (That Isn't Lost i...
The Auteurs #46: Xavier Dolan

redpajama_set_name: RedPajamaCommonCrawl


BROWNWOOD – May 7, 2013 – Howard Payne University will graduate approximately 138 undergraduate and graduate students at its spring Commencement ceremony on Saturday, May 11, at 10 a.m., in the Brownwood Coliseum.
Dr. Ellis Orozco, senior pastor of First Baptist Church in Richardson, will deliver the charge to the graduates. The undergraduate degrees will be conferred by Dr. Bill Ellis, university president; Dr. David L. Lowrie, Jr., chairman of HPU's Board of Trustees and senior pastor of First Baptist Church in El Paso; Dr. W. Mark Tew, provost; and Lana Wagner '97, registrar. Graduate degrees will be conferred by Drs. Ellis and Tew; Dr. Lois Patton, director of the graduate program in business administration and professor of business administration; Dr. Leslie Plagens, dean of the School of Business and professor of business administration; Dr. Joe Robinson, director of the instructional leadership graduate program and associate professor of education; and Dr. Michael Rosato, dean of the School of Education.
Other program participants will include: Corey Ash '92, director of bands and associate professor of music, directing the Howard Payne University Instrumental Ensemble; Rev. David Cozart '96, president of HPU's Alumni Association and minister of education/administration at Meadowbrook Baptist Church in Waco; Tyler Matthew Heidelberg, graduating senior; Ryan David Hogan, graduating senior; Dr. Ronny Marriott, member of HPU's Board of Trustees and senior pastor of First Baptist Church in Corpus Christi; Dr. Justin Murphy, dean of the School of Humanities, professor of history and director of the Academy of Freedom; and Dr. Elizabeth Wallace '71, faculty president and professor of music.
Remote parking and shuttle service to the Brownwood Coliseum for Commencement will be available at the parking lot across from the Packer Administration Building on the HPU campus. Buses with identification signs in the windows will begin picking up passengers from remote parking at 9 a.m. and will continue running until one hour after the ceremony. Parking in the vicinity of the Brownwood Coliseum will be more limited than usual on the day of Commencement.
The Commencement ceremony will be preceded on Friday, May 10, by Chime Out, an HPU tradition in which graduating seniors pass a chain of ivy to underclassmen, symbolizing the passing of authority, responsibility and privileges to those students who remain on campus to carry on the traditions of the university. Chime Out begins at 6 p.m. at the J. Howard Hodge Memorial Bell Towers. For more information about Chime Out and Commencement, contact the Office of University Marketing and Communications at (325) 649-8009 or via e-mail at communications@hputx.edu.


text:
Working at Scripps College Faculty Positions Assistant Professor of Media Studies
Office of Human Resources
Assistant Professor of Media Studies
Staff job openings
Faculty job openings
Clery Disclosure
Position Starts: Beginning Fall 2020
Tenure Status: This is a tenure-track position.
Scripps College, a women's liberal arts college with a strong interdisciplinary tradition, invites applications for a full-time, tenure-track position in Media Studies, with an emphasis in computational media beginning July 1, 2020. The teaching load is four courses per year plus senior thesis advising in the Intercollegiate Media Studies program of the Claremont Colleges. Courses will include practice-based introductory, intermediate, and advanced courses, as well as teaching the senior seminar in Media Studies on a rotating basis. Participation in the College's Core Curriculum in Interdisciplinary Humanities is expected.
Candidates should be artists or researchers with practices grounded in critical and creative approaches to software, hardware, interfaces, scripting, and/or network media. The candidate should hold a terminal degree in media, art, or a related field, and have an outstanding record of artistic practice, technical innovation, and/or scholarship in your areas of research. We are particularly interested in practitioners whose work engages questions of disability and/or feminist and anti-racist practices in the context of computing. Possible research areas include creative coding, physical computing, augmented reality, disability and media, critical race and media, media justice, and social activism. Preference will be given to applicants with a commitment to the College's goal of improving higher education for underrepresented students.
Please submit a letter of application, curriculum vitae, three sample syllabi, evidence of excellence in college teaching (e.g. course evaluations), URL links to your own portfolio and examples of student work, and contact information for three letters of reference to: https://academicjobsonline.org/ajo/jobs/.
Review of applications will begin on October 15, 2019.
Professor Carlin Wing
Search Committee Co-Chair
Media Studies Department
mediastudies@scrippscollege.edu
Professor Kim-Trang Tran
Scripps College is one of seven members of The Claremont Colleges Consortium located 35 miles east of Los Angeles. In a continuing effort to build a diverse academic community and to provide equal educational and employment opportunities, Scripps College actively encourages applications from women and members of historically under-represented groups.
« Previous: Visiting Lecturer in Psychology Next: Assistant Professor in Religious Studies »


text:
Q: CSS Toggle Switch Script - Help to change it to automatically resize? I have some code that makes a neat toggle switch. The problem is I've been asked to make it resize automatically, but I can't figure out how without rewriting the entire code. Is there some simple fix I can make to this that would change it globally to let it resize automatically>?
For example, if I were to change the labels to "Affirmative" (on) or "Negative" (off), the text currently extends outside the boundaries of the span, but should widen instead.
This is the main css:
.toggle2 { min-width: 79px; height: 25px; display: inline-block; position: relative; cursor: pointer; vertical-align: middle; padding: 0; }
.toggle2 i {display: block; position: absolute; top: 0; width: 100%; height: 100%; -webkit-border-radius: 12px; -moz-border-radius: 12px; border-radius: 12px; text-align: center;  font: 13px/24px Arial !important; text-transform: uppercase;}
.toggle2 i:first-child {left: 0;background-color: #73B9FF;}
.toggle2 i:last-child {right: 0;background-color: #73B9FF;}
.toggle2.on i:first-child {-moz-box-shadow: 2px 2px 4px rgba(0, 0, 0, 0.5) inset; box-shadow: 2px 2px 3px rgba(0, 0, 0, 0.5) inset;}
.toggle2.on i:last-child,
.toggle2.off i:first-child {text-indent: -9999px; width: 24px; height: 24px; -webkit-border-radius: 12px; -moz-border-radius: 12px; border-radius: 12px; z-index: 1; background-color: #fff;}
.toggle2.off i:last-child {}

Here's a jsfiddle:
http://jsfiddle.net/LU5kp/1/
Any help is greatly appreciated! :)

A: Here's a solution:
http://jsfiddle.net/slynagh/UmYkZ/
the CSS:
.toggle2 {

width:auto;
height: 24px;
display: inline-block;
position: relative;
cursor: pointer;
vertical-align: middle;
padding: 0;
}
.toggle2 i {
display: block;
padding: 0 12px;
width: 100%;
height: 100%;
-webkit-border-radius: 12px;
-moz-border-radius: 12px;
border-radius: 12px;
text-align: center;
font: 13px/24px Arial !important;
text-transform: uppercase;
}
.toggle2 i:first-child {
-moz-box-shadow: 2px 2px 4px rgba(0, 0, 0, 0.5) inset;
box-shadow: 2px 2px 3px rgba(0, 0, 0, 0.5) inset;
background-color: #73B9FF;
}
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The northern Lake District is not as well served by good restaurants and places to stay as you might imagine for a place so dedicated to visitors, so our stay at Liam and Kath Berney's Cottage in the Wood, high on the Whinlatter Pass, was a bit of a revelation and a mighty welcome discovery.
Ten bedrooms are beautifully done out with big soft duvets, immaculate linen, fabulous bathrooms and home-made biscuits on the tea tray. Rooms Oak and Ash have views across Bassenthwaite Lake to Skiddaw and the Garden Room has maximum glam with a super-king sized bed and a glitzy wet room.
Not only do the staff know how to welcome their guests on arrival: with a smile, and they're impeccably briefed before dinner so that they know what's on the menu and talk knowledgeably about it. And what's well worth talking about is the Cumbrian terroir: Solway Firth wild salmon, west coast brown crab, Whitehaven turbot, Yew Tree farm Herdwick hogget, samphire, cockles, meadowsweet and wood sorrel.
Liam Berney is in the kitchen working alongside his head chef Ryan Blackburn whose c.v. takes in the Angel at Hetton, Holbeck Ghyll and Restaurant Martin Whishart in Edinburgh, a local lad come back to his roots. His commitment to his produce spills out of every pore and, judging by our excellent dinner, so does considerable skill.
We ate very well across three courses. Like the sound of girolles mushrooms in a spelt risotto; turbot on rosti with pig's trotter croquette, samphire and cockle vinaigrette; Grasmere gingerbread ice cream and soft fruit? We did. Ideally, bag a table in the window of the conservatory dining room where you'll have a cracking view of Skiddaw, birds flocking to the feeders, and - with a little luck - a red squirrel.
A couple of years ago, I spent a happy few months researching the Lakes for the Time Out Guide to the Lake District and like to think I know its hotels and restaurants pretty well. Take it from me that if you're looking for either a superior bed or a quality dinner there's nothing to beat Cottage in the Wood in the Derwentwater, Buttermere, Bassenthwaite sector. Simple as that.


Last night at the Four Seasons Hotel, generations of proud St. Louisans danced the night away at the premier event of the season, Nelly's 8th Annual Black and White Ball. Celebs, business leaders, media personalities, fans, family and friends came out dressed to impress as the cameras flashed and the cocktails flowed in support of the Nelly Black and White Ball scholarship program at Lindenwood University.
Nelly's see-and-be-seen gala has been a staple on the St. Louis social calendar for eight years.
The evening began with a VIP reception, where guests dined as Nelly announced the winners of his official scholarship program, offering two local students full-ride tuition to Lindenwood University. After dinner, the second round of festivities began with a high energy set by R & B queens, En Vogue, who dazzled the crowd with not only their biggest hits, but female power ballads and classics by the likes of Aretha Franklin and Tina Turner, to name a few.
Ending the night with a bang, Nelly performed with the St. Lunatics, turning the already amped crowd into a frenzy, securing the event as one of the most notable of the year.
As part of the always memorable event programming, Nelly recognizes the 2013 Black and White Ball scholarship winners.
En Vogue's performance was a major highlight of the evening.
A-listers including former Cardinal Jim Edmonds walked the red carpet, dressed to impress.
Murphy Lee may be one of our favorite music artists, but it was his fiancé who stole the show in this custom-made white gown by local designer Michael Shead.
New local music act JGE Retro closed the night with a surprise performance following the St. Lunatics.
Joel Kern, of the band It!, rocked the all-black look, while his wife and local fashion blogger Holly added a pop of red.
Radio personality Tammie Holland with Vincent Flewellen featured chic looks and contagious smiles.
Local TV personality Jeff Small (center) struck a pose with Jeff Beatty and fashion blogger Sarah Stallmann before hitting the dance floor.
Nelly's daughter Chanel dancing with a member of JGE Retro.
Fashion blogger and TV Host Christa DeShields kept it classy in a white blazer with metal accessories.
Post-Dispatch Fashion Editor Debra Bass looked fab in her white and black asymmetrical number featuring a pop of pink.
The men were sporting creative pops of white, from piping and pocket squares to ties and shoes. Pictured here are Dont'e Speed and Robert McPike.
Kevin C. Johnson of The Post-Dispatch sporting his signature bow tie.
When talking fashion, St. Louis came dressed to impress. From classy and chic to avant garde, several ensembles made our cut as the evening's Best Dressed.
Akassi Kakree and Graylan Johnson Jr.
The trend of the night, the pant suit, was in full effect–each one featuring fabulous details, accessories and cut-outs.


Bitrix Framework has a module structure. Each module is responsible for managing certain website elements and parameters – website information contents and structure, forums, advertising, mailings, distribution of rights among user groups, collection of visiting statistics, evaluation of advertising campaign efficiency, etc.
Module - is a data model and API for access to these data. Static methods of module classes can be accessed in components, templates, and other modules. In addition, class instances can be created inside Bitrix Framework.
The module Commercial Catalog expands the capacity of the Information Block module and permits you to set up goods prices depending on various conditions and apply a surcharge and discounts to goods, etc.
The Workflow module permits to organize consecutive team work with contents of the modules Information Block and Site Explorer.
It is recommended to delete unused modules in order to save disc space. There is always a possibility to reinstall any module if necessary. During the deinstallation of certain modules, the system offers to save the data accumulated by the module (module tables). If you intend to use these data later on, do not forget to mark up this option when deleting a module.
The level of users' rights to access system modules is managed separately for each module on its setup page. The general parameters of module operation are managed on the same page.
Using the button Settings, located on the administrative panel. This button permits access to the settings of the module which pages (forms) are currently open in the main work area.
where **** - module identifier.
Modules in Bitrix Framework represent models and controllers of a low level (in terms of MVC) and components – controllers of high level which include representations based on the hierarchy of the website file structure. As a rule, all functional capacity of any website is implemented using standard modules, but components have to be customized (or own components have to be written) in order to generate and display pages; these components have to be connected on the relevant website pages.
Bitrix Framework permits developing user modules.


AMEN! Tom Fisher. We agree, higher moorage rates and less maintenance on harbor facilities, so where is the money going?
What happened to the siding on the new harbor office at Bar Harbor?
About: Senior citizen and boat owner in Ketchikan.