text:
DPC gives green light for The Hub
By Eyleen Gomez Share
Parking, the environment, affordability, divorcees, returning students, the gaming industry and Brexit – all of these issues formed part of the discussion on a 15-storey residential development just off Devil's Tower Road that gained outline planning permission at the Development and Planning Commission yesterday.
The developer is trying to attract purchasers such as first time buyers, divorcees, returning students and non-locals who have moved to the Rock for employment.
The project, to be known as The Hub, has been designed to provide sustainable living with an emphasis on shared facilities: a generous reception area; social spaces; TV and games room; residents' gym and a shared laundry facility.
FULL STORY IN TODAY'S PRINT AND E-EDITIONS


Adobe on Tuesday apparent a host of new appearance aural its badly accepted Certificate Billow that aim to accompany added accord to the apple of PDFs. The revamped Adobe DC appearance a absolutely redesigned Acrobat Home view, affiliated PDF reviews, an amplification of Adobe Sign, and touch-enabled PDF alteration on adaptable devices.
With the new affiliated PDF reviews, users can now accelerate out abstracts for ysis and set reminders and deadlines to accept the reviews completed. The yst gets an email notification with a articulation to the document, and can accessible the PDF in Reader, Acrobat or as a bedfellow in a Web browser after any download requirements. Adobe touts the affection as a accurate alive ysis action — anticipate coediting on Google Docs, but with forms or architecture content.
The new Adobe Assurance appearance assignment to advance e-signatures throughout added of Adobe's services, replacing the bound Accelerate for Signature apparatus in Acrobat DC. The aggregation has chip Adobe Assurance throughout Acrobat DC and Acrobat Reader and added added Sensei features. Adobe said all Acrobat DC and Creative Billow All Apps subscribers can accelerate abstracts for signature beyond devices.
Meanwhile, abounding PDF argument and angel alteration is now accessible on Android and iOS tablets. New adaptable alteration capabilities accommodate the adeptness to architecture text, admit and resize images, circle elements, and add lists. There's additionally new capabilities in Adobe Browse that lets users browse assorted business cards in assorted languages and accept them all adored to contacts. Also, a revamped Acrobat Reader Adaptable uses Sensei to accredit anatomy acreage recognition, a affection that recognizes the acreage blazon on abstracts and autocompletes forms with accordant absolute information.
Finally, a absolutely redesigned Home appearance beyond the Acrobat DC desktop app, Acrobat Reader adaptable app and the all-new Adobe Certificate Billow web app acts as a axial hub for all PDF activity. Adobe said the new accoutrement and casework are accessible today.
The software behemothic said the billow amend aims to serve the almost 50 percent of consumers that say they still adopt to accept cast offers via email.
The appearance draw aloft Adobe's Sensei AI framework to let businesses assay chump datasets, advance adaptable experiences, and actualize custom abstracts models.
Update your Adobe PDF today afore hackers accomplishment one of dozens of alien cipher beheading ytical flaws.


In which Leon Kennedy unknowingly has a fan club comprised of BSAA Members; Keith, Quint, Parker, Raymond, and Piers.
After the events of Resident evil 6, Piers Nivans finds himself trapped inside the mysterious facility that is yet to show its secrets that had been buried for a long time. Will he find a way to escape?
This isn't a civilian marriage; you know that. You have the BSAA and he has the DOS. There are unpredictable deployments, long periods of separation, and interrupted vacations. There is misplaced anger and harsh words and haunting gazes and you understand. These are part of the package. But sometimes there's the perfume of another woman, a flash of red in the periphery, and well.
You didn't sign up for that.
A fateful journey brings two lovers together, and may painfully rip them apart.
At night on them banks I'd lie awake, and pull her close just to feel each breath she'd take, now those memories come back to haunt me.
Piers is inspired by his Muse to write some poetry. His 'Muse' however, gets all hot and sweaty . . . and competitive!
A birthday gift to C. of RedfieldandNivans fame.
The years had flew by, but when Leon is asked to help save a old friend everything changes.
Dark erotica, non-consent, definite threads of alpha male and submissive female (of a flavor). Kidnapping and possible death of major characters. How will they survive it and each other? And can they without burning each other up?
Redemption or deception? Hell, who knows!?
Don't ever wonder how a monster was born; it would be like wondering how a man was born.
Don't ever ask yourself useless questions, whose answers already lie in the darkest corners of your mind, under the bed of your conscience, inside the wardrobe of your filthiest secrets.


text:
Council Meetings 2021
Planning Meetings 2021
General Purposes
General Purposes 2021
Finance Sub Committee
Information from the PC and Joint Statement About the School Field - December 2021
Information provided by the School regarding the closure of the field to the community.
Notice of Councillor Vacancy
Open Letter from the Community concerning access to St Andrew's C of E School
Letter from the Chair of Governors for St Andrew's C of E School
Buckland Monachorum Parish Council
The parish of Buckland Monachorum is located between Plymouth and Tavistock about 10 miles north of Plymouth city centre and on the edge of the Dartmoor National Park within the Borough of West Devon. The parish has five villages within its boundaries, Yelverton, Clearbrook, Crapstone, Milton Combe and of course Buckland Monachorum. Part of the parish falls within the National Park and the rest of it is within the Tamar Valley Area of Outstanding Natural Beauty.
The Parish has many notable features such as Buckland Abbey the home of Sir Francis Drake now owned by the National Trust, the Garden House, and an old wartime airfield at 'Harrowbeer' Yelverton.
The parish council was formed just over 100 years ago and has 12 members. The Council meet on the third Tuesday in every month except August when there is no meeting and in December when it is brought forward a week. The council also regularly meet to consider planning applications. Normally this is every fortnight but depends if any applications have been received. The dates and locations of all meeting are published on this site and on all parish notice boards.
Buckland Monachorum Parish Council - Parish Clerk: Katharine Griffiths
Office Hours: 10:00 to 12:00 Tuesday to Thursday - Tel: 01822 855889
(c) 2021 Buckland Monachorum Parish Council

redpajama_set_name: RedPajamaCommonCrawl


text:
Kristallglas, auch Hartglas, Spiegelglas oder Kronglas, ist ein farbloses Glas, das oft Metalloxide oder -ionen als Zusätze enthält. Im Falle von Bleioxid spricht man von Flintglas. Es ist jedoch nicht im physikalischen Sinne kristallin, sondern amorph wie alle Glassorten. Die Bezeichnung "Kristallglas" bezieht sich auf den im Vergleich zu Kalk-Natron-Glas erhöhten Brechungsindex und die erhöhte Dispersion, die Brechung und Farbeffekte hervorrufen, die an Kristalle wie etwa Quarz erinnern.

Geschichte
Bereits im 15. Jahrhundert wurde in Venedig kristallklares Glas hergestellt und als "cristallo" angepriesen, wobei ein Gemisch aus Sand und Pottasche im Hafenofen auf über 1400 °C erhitzt wurde. Später ging diese Bezeichnung auf alle glänzenden, farblosen Gläser mit hoher Lichtbrechung über, die in einer für Glasschliffe optimalen Stärke hergestellt werden konnten, ohne an Transparenz einzubüßen.

Zwar gab es mit Bleioxiden versetzte Gläser schon im Mittelalter; die Erfindung des Bleikristalls im Barock wird jedoch den Engländern zugeschrieben. Es handelte sich dabei um eine kristallklare Glasart, die sich vorzüglich für geschliffenes Glas eignet.

Zusammensetzung
Bleifreie Kristallgläser wurden in Böhmen entwickelt, indem man der Glasmasse Calciumcarbonat in Form von Kreide beimengte – daher die Bezeichnung Kreideglas oder Böhmisches Kristallglas.
Einfaches Kristallglas wird heute hergestellt, indem das Natriumoxid im Glas teilweise durch Kaliumoxid ersetzt wird. Dies gibt dem Glas eine schönere Brillanz.

Das Kristallglaskennzeichnungsgesetz gibt vor, welche Inhaltsstoffe das Glas enthalten muss, damit es als Kristallglas bezeichnet werden darf.
Im Sinne dieses Gesetzes ist Kristallglas ein Glas, das entweder
 Bleioxid (PbO), Bariumoxid (BaO), Kaliumoxid (K2O) oder Zinkoxid (ZnO) allein oder zusammen in Höhe von mindestens zehn Prozent enthält, eine Dichte von mindestens 2,45 kg·dm−3 hat und dessen auf den Natrium-D-Strahl bezogener Brechungsindex mindestens 1,52 beträgt oder
 Bleioxid (PbO), Bariumoxid (BaO) oder Kaliumoxid (K2O) allein oder zusammen in Höhe von mindestens zehn Prozent enthält, eine Dichte von mindestens 2,40 kg·dm−3 und eine Oberflächenhärte nach Vickers von 550 ±20 hat.

Um 1970 waren geschliffene Vasen und Schüsseln, mitunter in zwei Schichten zweifarbig ausgeführt, mit Etiketten wie "Bleikristall(glas) 24 % PbO-Gehalt" als Qualitätsmerkmal ausgezeichnet. Seitdem die Giftigkeit von Blei publik wurde, wird der Bleigehalt von Kristallglas von Produzenten und Händlern nicht mehr in den Vordergrund gerückt. Blei ist in Kristallglas schwer löslich gebunden, kann jedoch durch Essig(säure) herausgelöst werden und soll daher nicht mit Speisen in Berührung kommen.

Siehe auch
 Kristallschleiftechnik

Einzelnachweise

Glasart nach Wirkung oder Funktion

redpajama_set_name: RedPajamaWikipedia


Every now and again I check out the Dial Bookshop's Instagram because they post the unusual finds which come in. That's where I saw A Dictionary of the Underworld. I traded the cost of one of my Chicago writer illustrations for it and have enjoyed flipping through it randomly ever since.
Tucked before the dedication page is a fortune-cookie-fortune-sized slip of paper with the following message: Owing to production delays this book was not published until 1950. Inside, I learn that amusers were people who threw dust into people's eyes, after which their partners would offer to "help" the newly-blinded and disoriented. Going over the Alps meant going to jail, an academy was a whorehouse, and an Adam and Eve on a raft was just two fried eggs on toast; ask to "wreck 'em" if you want them scrambled.
Reading this or that definition I can't help wondering what a dictionary of this age would read like. Meaning is more malleable than it's ever been. Words we used to understand will change definition hour to hour or from one mouth to another. Good thing we have word-processing programs rather than printing presses because a dictionary of our time would require a whole separate appendix of apologies for the inevitable production delays; could such a book ever even be completed to anyone's satisfaction?
This line of thought is so depressing I have to find escape in quaint, overpriced rabbit holes like this old underworld dictionary. I close the New York Times tab and learn that to balance was to swindle, cheap talk is balloon juice, and a beard-splitter is one who enjoys women. It's doubtful I'll ever be able to use any of the information gleaned from these pages, but neither is there much value in following the news these days, aside from giving yourself ulcers and migraines.
What a country! Give me spivs, beggars, and tramps any day of the week.
p.s. I recorded a conversation with Chicago painter Brian Wells. The article I'm writing about him should be published in a couple weeks and made a video clip for my upcoming art show at Dominican University.
p.p.s. Here are the Shel Silverstein and Harriet Monroe cards. I think the Silverstein one was what I traded for the dictionary. I have to believe Shel would've approved.


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Looking for ideal Painting Stripes Manufacturer & supplier ? We have a wide selection at great prices to help you get creative. All the Striping Paint are quality guaranteed. We are China Origin Factory of Paint Stripping. If you have any question, please feel free to contact us.


Did you know that CNN sells Apple iPhone accessories, including cases and cables for up to 66% off?
CNN is known as the 24/7 cable news channel created by Ted Turner in 1980. These days, CNN is owned by WarnerMedia, which is a subsidiary of AT&T. For mobile news junkies, CNN is available on multiple platforms including apps on iOS and Android that stream live video of CNN, CNN International, and HLN (formerly Headline News) with verification of a cable subscription.
You might have known all of the above, but did you know that CNN sells accessories for mobile devices? The CNN Store offers a section called Gears & Gadgets that includes a clear thermoplastic polyurethane (TPU) case for the Apple iPhone X, iPhone XS, iPhone XS Max and iPhone XR. Normally priced at $29.99, you can save 66% and pay only $9.99 (see image at the top of this article). There are two days left on this sale.
Another deal offers a bundle of MFi (Made for iPhone) cables that are certified by Apple. These include a Lightning to 3.5mm headphone dongle, a Lighting to USB-C cable, and a regular Lightning cable. Normally priced at $99.99, CNN is selling the trio together for $39.99, or 60% off. This deal has three days left to run.
Other products being sold include an attachment that helps smartphone users take pet selfies, 48% off at $12.99. A QYLX smart magnetic car mount is 23% off at $37, and a universal 3-in-1 lens kit for smartphones and tablets is 66% off at $9.99.
For every $25 you spend at the CNN Store, you will also receive a $1 credit toward a future purchase.
I'm surprised you guys don't sell iphone cases.
Lol. That case in the picture above looks identical to the pzoz and imak cases on my NexS and Mix2. Excellent cases by the way. But........... they cost me about $6 each so Apple selling them for $29.99 is daylight robbery. I can't understand why iPhone users enjoy the enemas Apple gives them with these accessory prices.
I have an iPhone but I'll never pay over $9 for a case, I've got mine free for the purchase of my iphone and it's working as intended protecting my phone. It has fallen like 3 times and still no scratches or cracks! This also applies to screen protectors, no more than $10. iPhone users that buy overpriced accessories are the reason why Apple didn't include the headphone dongle and big charging brick to the new models.
Wow I'll make sure to never buy anything from cnn, att, or phonearena anymore thanks!
Cnn is basically brainwashing people , it's not news anymore , do you see the news nowadays ? it just feels like useless opinion of dimwit journalists thrown at our faces as news.
It's just items they get from 3rd party retailers and sell them on their website. If you look at the brand that is providing those accessories, you can find them on other websites like StackSocial and even Crackberry's own web store. CNN most likely just gets a cut from the sale.
Hmm, never tried the Fake News brand cases!
Then try the Faux News Channel brand!


Vancouver, BC / TheNewswire / May 15, 2018 – Durango Resources Inc. (TSX.V-DGO) (Frankfurt-86A1) (OTCQB-ATOXF), (the "Company" or "Durango") is in the process of applying for a work permit for its wholly owned Mayner's Fortune Limestone project in northern British Columbia.
The property is located approximately 7.5km southwest of Terrace, BC along the Canadian National Railway route between Terrace and Kitimat and hosts six historically mapped sub parallel limestone units.
Durango has received a preliminary report which includes a recommended drill program for limestone unit #5 based on the lithological defined contacts between the limestone, the intrusive units and dikes to prove up limestone tonnage and consistency.
Historical reports state limestone unit #5 is expected to host the lowest purity of calcium carbonate due to the nearby dikes and intrusive units, however recent visits show that 62% of the samples taken are composed by high purity limestone superior to 96.3%. Limestone unit #5 measures 1.6km long and Durango is interested in determining the calcium carbonate levels at depth to gain an understanding of the potential tonnage of unit #5. Once the drilling/bulk tonnage is completed both volume and quality can be estimated for unit #5. Durango plans to drill limestone units #1 and #3 later as they are known to be high quality and a generous size.
B.C. Premier John Horgan made an announcement in relation to a "final investment decision on LNG Canada's $40B-billion project, which would include a natural gas pipeline built from northeast B.C. to a new terminal in Kitimat as reported in the Financial Post on March 22, 2018 http://business.financialpost.com/commodities/energy/b-c-announces-rebates-conditions-for-liquefied-natural-gas-projects.
The technical contents of this release were approved by George Yordanov, P.Geo, an independent qualified person as defined by National Instrument 43-101. The property has not yet been the subject of a National Instrument 43-101 report.
Durango is a natural resources company engaged in the acquisition and exploration of mineral properties. The Company has a 100% interest in the Mayner's Fortune limestone properties in northwest British Columbia, the Decouverté, Trove and Windfall Lake gold properties in the Abitibi Region of Quebec, and certain lithium properties near the Whabouchi mine, the Buckshot graphite property near the Miller Mine in Québec, the Dianna Lake silver project in northern Saskatchewan, and the Whitney Northwest property near the Lake Shore Gold and Goldcorp joint venture in Ontario.
This document may contain or refer to forward-looking information based on current expectations, including, but not limited to the development, commencement and completion of future exploration, the advancement of the LNG project, or project development programs and the impact on the Company of these events. Forward-looking information is subject to significant risks and uncertainties, as actual results may differ materially from forecasted results. Forward-looking information is provided as of the date hereof and we assume no responsibility to update or revise them to reflect new events or circumstances. For a detailed list of risks and uncertainties relating to Durango, please refer to the Company's prospectus filed on its SEDAR profile at www.sedar.com.


text:
Melissa Hoar (* 26. Januar 1983 in Moruya) ist eine australische Skeletonpilotin.

Melissa Hoar lebt in Dalmeny und betreibt seit 2004 Skeleton. Sie wird von Terry Holland und Ross Smith trainiert. Ihr internationales Debüt gab die Australierin im November 2004 im Rahmen des America's Cup. Im Februar 2005 gewann sie ihr erstes Rennen im Rahmen des Challenge Cup. Im selben Monat wurde sie in Calgary bei ihrer ersten Teilnahme an einer Skeleton-Weltmeisterschaft überraschend 13., nachdem sie erst elf Wochen aktiv den Sport betrieb. Im November 2005 debütierte Hoar im Skeleton-Weltcup. Ihr erstes Rennen bestritt sie in Calgary, wo sie 18. wurde. Zwei Rennen später belegte sie den fünften Platz und erreichte damit ihre erste Platzierung unter den besten Zehn und zugleich ihr bislang bestes Ergebnis in diesem Wettbewerb. Bei der Qualifikation zu den Olympischen Spielen 2006 konnte sie sich gegen Michelle Steele nicht durchsetzen, gewann aber im Februar 2006 in Igls Gold bei der Junioren-Weltmeisterschaft. In beiden Läufen fuhr sie die Bestzeiten und verwies die Deutschen Julia Eichhorn, Marion Trott und Kati Klinzing sowie ihre Teamkameradin Michelle Steele auf die folgenden Ränge. In der nacholympischen Saison 2006/07 erreichte sie mit dem 18. Rang in der Gesamtwertung des Weltcups ihr bislang bestes Resultat in dieser Wertung.

Weblinks

  (englisch)
 Hoar bei Sportresult (engl.)
 Statistik bei the-sports.org (engl.)

Frau
Geboren 1983
Skeletonfahrer (Australien)
Olympiateilnehmer (Australien)
Teilnehmer der Olympischen Winterspiele 2010
Australier


text:
Emergent BioSolutions Signs Five-Year Agreement for Large-Scale Drug Substance Manufacturing for Johnson & Johnson's Lead COVID-19 Vaccine Candidate
By Andrew EckertJuly 6, 2020News
Emergent will provide contract development and manufacturing services beginning in 2021 to produce drug substance at large scale for commercial manufacturing with first two years valued at approximately $480 million
For the remaining three years beginning in 2023, Emergent will provide a flexible capacity deployment model to support annual dose requirements
® technology. Emergent will provide contract development and manufacturing (CDMO) services to produce drug substance at large scale over five years, valued at approximately $480 million for the first two years.
"We are proud to deploy our manufacturing strength to address the COVID-19 pandemic," said Robert G. Kramer Sr., president and chief executive officer of Emergent BioSolutions. "Advancing this collaboration is one of the ways we live our mission – to protect and enhance life."
Under the agreement, Emergent will begin providing large-scale drug substance manufacturing for Johnson & Johnson's adenovirus-based COVID-19 vaccine in 2021, upon successful completion of the activities under the previously executed Technology Transfer Agreement. For the subsequent years beginning 2023, Emergent will provide a flexible capacity deployment model to support additional drug substance batches annually.
"Over the next five years, we are committing our leading CDMO services to advance this important vaccine candidate," said Syed T. Husain, senior vice president and CDMO business unit head at Emergent. "We have the expertise and capabilities to meet the long-term needs of our customers and provide ongoing commercial manufacturing to benefit patients."
This long-term large-scale manufacturing agreement follows and is incremental to the contract announced in April for drug substance manufacturing technology transfer services and for reserving certain large-scale manufacturing capacity to pave the way for commercial drug substance manufacturing for the COVID-19 vaccine candidate.
Activities will be performed at Emergent's Baltimore Bayview facility, a designated Center for Innovation in Advanced Development and Manufacturing (CIADM) by the U.S. Department of Health and Human Services (HHS), designed for rapid manufacturing of large quantities of vaccines and treatments during public health emergencies.
Emergent's Bayview facility has unique capabilities across four independent suites to produce at clinical scale to get candidates rapidly into the clinic, while at the same time scaling up to enable large-scale manufacturing to up to 4000L to prepare for production of commercial volumes to meet customer demand. The CIADM has the capacity to produce tens to hundreds of millions of doses of vaccine on an annual basis, based upon the platform technology being used.
The company will provide an update to its 2020 financial outlook incorporating expectations related to this agreement and any other relevant information when it reports its second quarter financial results.
About Emergent BioSolutions
Emergent BioSolutions is a global life sciences company whose mission is to protect and enhance life. Through our specialty products and contract development and manufacturing services, we are dedicated to providing solutions that address public health threats. Through social responsibility, we aim to build healthier and safer communities. We aspire to deliver peace of mind to our patients and customers so they can focus on what's most important in their lives. In working together, we envision protecting or enhancing 1 billion lives by 2030. For more information visit www.emergentbiosolutions.com. Find us on LinkedIn and follow us on Twitter @emergentbiosolu and Instagram @life_at_emergent.
Emergent's Response to COVID-19
Emergent BioSolutions is deploying its decades of experience in vaccine and hyperimmune development and manufacturing, as well as its molecule-to-market contract development and manufacturing (CDMO) services to provide comprehensive medical countermeasure solutions in response to the COVID-19 pandemic.
Using its established hyperimmune platforms, Emergent is developing two investigational plasma-based treatments – COVID-Human Immune Globulin (COVID-HIG) and COVID-Equine Immune Globulin (COVID-EIG). COVID-HIG is being developed as a human plasma-derived therapy candidate with $14.5 million in HHS funding and will be evaluated in two studies of the National Institute of Allergy and Infectious Diseases, part of the National Institutes of Health, for potential treatment of COVID-19 in severe hospitalized and high-risk patients. COVID-EIG is being developed as an equine plasma-derived therapy candidate for potential treatment of severe disease in humans. Both candidates are anticipated to be in Phase 2 clinical studies in 2020. These investigational products are not approved by the U.S. Food and Drug Administration and their safety and effectiveness have not been established.
Emergent is deploying its CDMO capabilities, capacities, and expertise to support the U.S. government's Operation Warp Speed to pave the way for innovators to advance COVID-19 programs. The company is working with four innovators to develop and manufacture COVID-19 vaccine candidates. For the COVID-19 vaccine response, Emergent's integrated CDMO network provides development services from its Gaithersburg facility, drug substance manufacturing at its Baltimore Bayview facility, and drug product manufacturing at its Baltimore Camden and Rockville facilities, all in Maryland.
For 22 years Emergent has focused on advancing public health, and its multi-pronged approach to tackling COVID-19 demonstrates its commitment to its mission – to protect and enhance life.
This press release includes forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. Any statements, other than statements of historical fact, including statements regarding our ability to produce viable COVID-19 vaccine candidates at the prescribed scale, meet annual dosage requirements in the anticipated timeline and pave the potential pathway to licensure and commercial manufacturing of these candidates, are forward-looking statements. These forward-looking statements are based on our current intentions, beliefs and expectations regarding future events. We cannot guarantee that any forward-looking statement will be accurate. Investors should realize that if underlying assumptions prove inaccurate or unknown risks or uncertainties materialize, actual results could differ materially from our expectations. Investors are, therefore, cautioned not to place undue reliance on any forward-looking statement. Any forward-looking statement speaks only as of the date of this press release, and, except as required by law, we do not undertake to update any forward-looking statement to reflect new information, events or circumstances.
There are a number of important factors that could cause the company's actual results to differ materially from those indicated by such forward-looking statements, including the success of the planned development programs; the timing of and ability to obtain and maintain regulatory approvals for the product candidates; and our commercialization, marketing and manufacturing capabilities. The foregoing sets forth many, but not all, of the factors that could cause actual results to differ from our expectations in any forward-looking statement. Investors should consider this cautionary statement, as well as the risk factors identified in our periodic reports filed with the SEC, when evaluating our forward-looking statements.
Miko B. Neri
Senior Director, Corporate Communications
NeriM@ebsi.com
Robert G. Burrows
Vice President, Investor Relations
BurrowsR@ebsi.com


text:
Home/News/John McAfee arrested for driving under the influence with a handgun
John McAfee arrested for driving under the influence with a handgun
5th August 2015	News
Security expert John McAfee has been arrested for driving under the influence while in possession of a handgun.
The ex boss of security software firm McAfee was arrested in Tennessee on Sunday night after taking a prescription drug called Xanax.
McAfee didn't seem to fazed by the incident though, who can be seen with a wide grin in his recent mugshot taken by Tennessee police.
According to The Register the security mogul said in an email sent on Tuesday evening: "Yes, I was arrested while under the influence of Xanax. It was a brand new prescription received the same day of the arrest, and the physician neglected to warn me about driving while taking it.
"As to the weapons, I always carry them and, unless one is impaired, they are legal to possess and carry."
News channel WBBJ first reported the news, stating that McAfee was picked up on Highway 22, and was arrested on Sunday night.
McAfee has since been released from custody following the arrest.
This news comes after McAfee spoke at this year's Infosecurity event, where he discussed new threats in the security channel as well as sharing his views on various hacking scandals.
Image source: The Jackson Sun
Tags jade-burkeintentmedia-co-uk John McAfee mcafee Security
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Last night there was a Montgomery County council meeting about the Subdivision Staging Policy (SSP) It was a chance for the public to comment on the planning board draft that was submitted to the council. The next steps are various committee meetings on aspects of the SSP. On Monday September 19th, Monday September 26 and Friday September 30 the Planning, Housing, and Economic Development (PHED) committee will meet on the SSP.
The SSP provides the framework for development throughout the county. The intent of the Subdivision Staging Policy is to ensure adequate public facilities infrastructure, particularly schools and roads, associated with new development and growth. It sets impact taxes and fees related to infrastructure required to support new development. Every four years the SSP is reviewed and updated.
Public comments centred around a few areas of the SSP, primarily schools, transportation, metro station areas, and the Silver Spring former enterprise zone.
The largest number of people testifying were commenting on the schools. These were primarily representatives of the various high school clusters and the PTA. They liked the changes in the SSP but didn't think it went far enough and think it should capture more of the cost of new school capacity for new development.
The next were developers and representatives concerned about the treatment of former enterprise zones. Current treatment of enterprise zones and former enterprise zones is the same, they are excluded from impact taxes. The Planning Board is recommending that impact taxes be phased back in within former enterprise zones over four years (currently downtown Silver Spring is the only former enterprise zone in the county). Developers would prefer that the exemption of impact taxes remain, but, as a second choice would prefer that they are phased in over 4 years (the original recommendation was to phase them in over 2 years).
There were also a number of people interested in the transportation aspects of the plan. Many were in favor of the changes which reduces the amount of parking at new development in high density areas, and eliminates the traffic tests in metro station areas. Some people however, thought the new focus on transit ignored the plight of the tens of thousands of road users and the impact of new development on them.
The final group were from the areas surrounding downtown Bethesda. They want the traffic tests and impact taxes to remain in metro station areas (such as the Bethesda central business district) and point out that many of the new occupants will drive, emergency services will still be needed, and trucks will need to make deliveries to the new buildings. They also note that impact fees collected because of road congestion can be used to improve transit, walkability, and bicycle access.


text:
Performance: Cavalli: La Calisto (Hampstead Garden Opera)
Rhinegold Publishing
7:23, 29th April 2014
26 April 2014, Hampstead Garden Opera
It's been a good year for Cavalli enthuasiasts – and about time, too, given how little attention he and his contemporaries from the first half of the 17th century have received from posterity. After March's hosting by the new Sam Wanamaker Playhouse at Shakespeare's Globe of the composer's 1644 opera L'Ormindo, the baton has taken up by Hampstead Garden Opera with their production of Cavalli's most famous work, La Calisto (1651), staged at Upstairs at the Gatehouse in Highgate Village, London.
Despite Cavalli's relative obscurity today, Calisto isn't a completely unknown quantity even on these shores – Raymond Leppard revived it at Glyndebourne in 1970 (as he did with L'Ormindo, in 1967), the Opera Factory produced it at the Royal Court Theatre in the 1980s, and I was present in 2008 when it received its Covent Garden premiere.
HGO's production is performed in translation, in accordance with the company's stated aims – a wise decision for whatever reason, as it both obviates the need for surtitles and makes much easier the task of following the convoluted and unfamiliar plot, adapted from that cornucopia of inspiration for artists and composers, Ovid's Metamorphoses.
Susanna Fairburn (Juno), Chris Webb (Jove), Harriet Burns (Mercury's companion/Jove as Diana)
©2014 Laurent Compagnon
The nymph Calisto, a virginal devotee of the goddess Diana, is railing against the gods for devastating the earth when Jove (Jupiter) appears and, taking a shine to her – as was his wont – disguises himself as her mistress in order to seduce Calisto. When the nymph revels in this unexpected favour supposedly shown her, the real Diana casts her out from her fellowship. Jove reappears as Diana for another tryst with the confused Calisto, but is caught almost in the act by his vengeful wife Juno, who puts an end to her husband's latest escapade by turning Calisto into a bear. Jove, finally showing some genuine care, promises that although he is powerless to reverse Juno's spell here on earth, after Calisto's death she will be immortalised in the heavens (as the constellation the Great Bear). Additional sub-plots bring some levity: Diana isn't as chaste as she likes to make out, struggling with and eventually giving into her love for the shepherd Endymion, various satyrs and Diana-following hunters engage in amorous tussles, and the god Pan tries unsuccessfully to woo Diana for himself.
In the case of Calisto the sparkling and hugely humorous translation is the final product of many weeks' hard work by production director Joe Austin, who took the partially surviving translation by poet Anne Ridler used by the Opera Factory and both completed it and made it tauter and racier – all the while leading rehearsals with both casts (and assisting David Alden at ENO). The result is a triumph – clear and immediately comprehensible without being 'trendy' or overly colloquial, and with trite (and belly-laughter-inducing) rhymes employed when appropriate to the character or situation ("he's so corny … when he's horny" being one of the most memorable).
Chris Webb (Jove), David Fearn (Mercury), Rachel Wood (Calisto)
Austin's visual work is no less satisfying. The setting is a scorched, barren landscape, and in Austin's modern conception Diana and her female followers are hunters (reminiscent of Katniss Everdeen from The Hunger Games) struggling to impose some sort of order in this post-apocalyptic world. Pan and his band of satyrs are grungy, lawless bandits who will take advantage of anything or anyone they encounter, while Jove and his fellow Olympians dress in sleek, opulent black, further emphasising the emotional and moral distance between themselves and the inhabitants of the destroyed earth.
Austin has gone for the 'less is more' approach in his staging, and in such a small space it's the right choice: the staging is on two levels, and the only important moving part is a steel bedframe, which emerges out of the sandy-coloured ground to serve as slumbering place for Diana, torture rack for Endymion, and as Calisto's platform amongst the stars. Otherwise, strewn junk and broken chairs seem to represent both the desolation of the land and the skewed morals, behaviour, and sense of responsibility displayed by all the characters except Calisto and Endymion.
Michael Pandazis (Silvano), Victoria Pym (Satirino), Tom Morss (Pan)
There are many delightful little touches throughout, but it was the clear and detailed direction of the central characters that pleased most: this is a very well-acted production, at exactly the right level of expressiveness and vigour for the intimate space.
If the musical side didn't quite come up to the same level of excellence, it was through no fault of the instrumental playing. At first glance the eight-person orchestra doesn't seem to have evolved much from what we might consider standard for performances of Monteverdi's operas, with its rich continuo basis – two harpsichords (one played by conductor and HGO musical director Oliver-John Ruthven), theorbo, harp and viola da gamba – and four treble instruments – two violins and two recorders, one of the latter doubling with harp. (In fact, this ensemble is smaller than that employed by HGO for their performances of that composer's Orfeo in 2012, although larger than the six-piece band known to have played in the first production of Calisto in 1651.)
However, as Ruthven points out in his programme essay, Cavalli's style is very different from Monteverdi's, even though the latter had only been dead eight years when Calisto was written – the younger man's recitatives are more driven and less static, bass-lines have more of their own character rather than merely serving as a harmonic platform for the melody, and the fact that the original Italian libretto was written entirely in verse rather than in prose means that the lines between recitative and aria in Cavalli's music are often blurred, with the two forms blending and running from one into the other with little hold-up to the flow.
The myriad textures conjured up by the aforementioned continuo team contributed as much to the personalisation and individuation of the three main groups of characters as Austin's staging, and were a source of constant delight throughout the evening – having five instruments at his call meant that Ruthven was able to choose from a wide palette of sound for every action on stage and every mood expressed, frequently silencing the more present harpsichord sound to allow the clarity of theorbo, harp and gamba to shine through.
Zoe Freedman (Diana)
The quality of the singing was inconsistent across the cast, although there were no real weak links – something not always easily avoided with so many small roles that flit in and out of the action. The strongest performances came from soprano Susanna Fairburn as a blazing, venom-spitting Juno who easily stole the show with her electric stage presence and brilliant delivery (not to mention her sparkling feathered cabaret dress), and from countertenor James Hall, who as the ill-fortuned Endymion sings perhaps the opera's loveliest aria, when at the beginning of the second act he rhapsodises about his beloved Diana as she sleeps.
Zoe Freedman's portrayal of Diana was more convincing in her more tender scenes with Endymion (hers and Hall's voices blending particularly well) than in strident voice raging against Calisto, when the vehemence of her delivery sometimes detracted from her vocal tone. Bass Chris Webb's warm lower register made him a convincing and alluring Jove despite rather hammed-up posturing, even if it was the excellent Harriet Burns who – in her role as one of Jove's entourage – supplied the voice of the false Diana. The other principal god, Pan, was acted with enthusiastic coarseness by Tom Morss but sung with sweetness and beauty – his is a powerful and attractive haute-contre voice, and once over some early graveliness was the singing I enjoyed most.
Calisto among the stars
In the title role, Rachel Wood had the most demanding part, and brought to it easily the best diction of the whole cast. Her portrayal fitted well the beleaguered character of Calisto, who after all suffers mercilessly and is cruelly punished for being an innocent and helpless plaything of the gods' capricious nature. The final scene, in which Calisto resigns herself to her ursine fate (albeit with its promise of future glory) and the whole cast comes together to welcome her into the heavens, is perhaps the best, visually and musically, in this excellent and immensely satisfying production – a worthy addition to the woefully short list of modern productions of Cavalli's stage works.
Adrian Horsewood
All photos © 2014 Laurent Compagnon
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Parent Category: Greece
Category: Karpathos
Mesohori
Celebrated for its wild mountains and blue coves, this long craggy island is among the least commercialised in Greece. Legend has it Prometheus and his Titans were born here, and with its cloud-wrapped villages and rugged beauty, there's still something undeniably primal in the air. Homer, never a man to mince his words, called it 'Karpathos', but actually it's a lovely island. Popular with adrenaline junkies, southern Karpathos is in the spotlight each summer when it hosts an international kitesurfing competition. Meanwhile, the fierce wind that lifts the spray from the turquoise waves blows its way to the mountainous north, battering pine trees and howling past sugar-cube houses. Karpathian women at this end of the island still wear traditional garb, especially in the time-forgotten village eyrie of Olymbos, perched atop a perilous mountain ridge. Karpathos (Greek: Κάρπαθος, Greek pronunciation: [ˈkarpaθos]) is the second largest of the Greek Dodecanese islands, in the southeastern Aegean Sea. Together with the neighboring smaller Saria Island it forms the municipality of Karpathos, which is part of the Karpathos regional unit. Because of its remote location, Karpathos has preserved many peculiarities of dress, customs and dialect, the last resembling those of Crete and Cyprus. The island has also been called Carpathus in Latin, Scarpanto in Italian.
https://mazalien.nl/photography/europe/greece/karpathos/karpathos-2002#sigProId9ca7d74873


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Sound Consumer October 2009
October is co-op month
Celebrate with us at the October 27 member meeting
Jon Bansen, Organic Valley
(See our member meetings page for location and reservation details)
(October 2009) — Join us for a delicious, seasonal meal and an interesting keynote address. Our speaker, Jon Bansen, comes to us from CROPP/Organic Valley, a farmer-owned cooperative that provides milk and dairy products to PCC.
Bansen is a third generation organic dairyman in Monmouth, Oregon, who last month was named a winner of the 2009 Oregon Organic Coalition Award for Excellence. He'll talk about how pasturing benefits cows, consumers and the environment, and about Organic Valley's successful co-op structure.
Founded by seven farmers in 1988, CROPP has grown to more than 1,300 farmers with sales of more than $527 million in 2008. PCC has done business with Organic Valley since 1995. The success of both co-ops speaks to the burgeoning strength of the co-op business model.
More than 29,000 cooperative businesses generate more than two million jobs and create more than $74 billion in wages and $654 billion in revenue. These numbers clearly show that cooperatives represent a strong business model and greatly contribute to both the national and local economies.
Your values, your business
Consumers now say they want to do business with companies that share their values, making today's environment ideal for cooperatives — highly transparent organizations that value input from their member-owners.
Cooperatives uphold the internationally accepted values of honesty, openness and social responsibility. Through the member-owned and democratic process, cooperatives straightforwardly maintain these values and continue to offer goods and services that consumers feel "right" about.
Cooperatives generate jobs in their communities and keep profits local; they also typically take part in community improvement programs, ensuring that everyone has an opportunity to benefit from the cooperative experience.
Co-ops make a difference!
Saving farmland with conservation easements, part II
Last month we discussed the benefits of buying conservation easements. The PCC Farmland Trust buys easements in lieu of purchasing property because they are less expensive and help ensure the land will be protected from future non-agricultural development. This month we continue to explore this idea, focusing on the trust's pioneering work using easements for organic farming.
News bites, October 2009
Eat chocolate for heart health?, Trees breathe, Drop in rBGH use in California, and more
The acid alkaline balance
Foods can be categorized as carbohydrates, proteins and fats, but they also can be classified by how we process them. Our bodies transform nearly all foods into acids or alkaline bases, and we need a balance to be healthy.


Merrell Publishers is this week launching The A-Z of Modern Design by Bernd Polster, Claudia Neumann, Markus Schuler and Frederick Leven.
The 540-page encyclopaedia of international product and furniture design features influential designers ranging from Ingo Maurer to Ron Arad, as well as commercial and premium brands, such as Ikea and Sony.
The book also provides information on the chronology and historical significance of products, manufacturers and designers, plus relevant biographies. It will retail at £19.95.


Happy and satisfactory service received by this service centre. I got service from I.V. Airconditioner Kalkaji, Delhi For my Voltas Split AC. There was a Water leakage issue. They came and did the good service. It was quick, service, good response and everything they did perfectly before the time. The repair charge was I paid overall 500. I am pleased with the service they provided.


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Q: I have a web form that will not save input when attempting to save the document
*

*Domino web page built using a Notes table to layout the fields

*Some text fields are hidden and HTML Text Area are what is presented to the user

*The text area HTML appears to be properly built, here is an example:
<textarea name = "printDescription" style="height:40px; width:98%;" placeholder="enter description here..."><Computed Value></textarea>
...the computed text is simply the same as the name..."printDescription"

*Field properties...HTML tab...id is set to equal the field name

*The Notes field is hidden for web, visible in client

*The textarea is hidden in client and visible in web

*Nothing in onSubmit event of the form

*$$Return field is computed value with "[url I want it to go to]" as the value...this works fine

*Two Notes buttons....one with @Command([FileSave]) as client command...visible in both client and web, the other with javascript:  document.forms[0].submit();

I am missing something...the page looks great, but whenever I click either of the buttons, any input I put in the field is not being saved....actually no fields using text area are being saved, while other fields such as radio buttons and plain text fields are being saved.
What could I be missing?

A: Contrary to one of the suggestions, I turned OFF the checkbox to generate html for all fields, and it worked.
The way I read this is if I have it turned ON, then the HTML that is generated 'overrides' the input capabilities of a textarea wkth the same name as the field, and turning it OFF lets the field not be considered on the webform and lets the  act as an input item.   I may have that wrong, but that is what I did, and it is working now,

redpajama_set_name: RedPajamaStackExchange


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On writing: the good, the bad, and the ugly
There are three kinds of people in the world: people who love to write, people who hate to write, and everybody in between. (Okay, there are more than just three kinds of people, but for the sake of explanation let's remember the extremes.)
For people who don't like writing, doing it in any form might feel like a grade school punishment: for these people writing can be tedious, effortful, boring.
Here's the deal with writing, though: whether you enjoy it or not, the act of putting pen to paper (if done in the right way) can have some pretty amazing psychological and physical benefits. These benefits include:
- a boosted immune system
- improved psychological functioning
- increased positive feelings
(Check out the studies here)
Essentially, writing can just make you feel better. Jotting down the thoughts swimming around in our heads can organize them, allow us to make sense of them, and provide a framework for going forward.
In fact, an intentional writing practice might even help you find a job…
In a study of people who had been unemployed for eight months, one group was assigned to write about their feelings around the loss: emotions, thoughts, how they had been affected. Another group was assigned to write about something benign (like their day or the weather), while a third group didn't write at all. After five days of writing (30 minutes a night) the researchers tracked the employment status of the three groups going forward.
Guess which group was re-employed more quickly?
The group who wrote about their job loss.
The researchers found that it was in the "expressive writing" condition that people reframed old attitudes and formed new ones; this may have allowed them to become gainfully employed sooner.
This example gets us to the "right" kind of writing (if you're looking to bring about an emotional shift, that is): expressive writing.
What is "expressive" writing?
Expressive writing is the kind that you do when you know it's for your eyes only. It's raw, unfiltered, and honest; it casts aside the rules of punctuation, bids farewell to being "acceptable" and politically correct, and just...flows. While expressive writing can mean creative, truthful, or lots of things in between, it can be most transformative when going through something upsetting or uncomfortable.
Because writing about a situation can take it out of your head and on to the page. Putting a pen to paper allows us to take an objective perspective, find some truth, feel the feelings we might wish we didn't have...and move on.
That fight you had with your spouse earlier? Try writing about it as an observer. The awkward situation at work? Dictate how it went down from the ceiling's perspective.
When I'm full of fear or just feeling uncomfortable (and the writing isn't just flowing out) there are a series of questions that I ask myself on paper, tracing them further and further and just watching the thoughts tumble out:
What am I afraid of?
What evidence do I have for this fear?
What's the worst thing that could happen?
How likely is this?
What are alternative explanations?
What's the best thing that could happen?
What can I do to address this?
Writing like this can shift us out of rumination and into ideas; it can allow us to realize what's there and then be able to address it.
Personally, I've fallen into the I-love-writing-camp for as long as I can remember (hence the illegible scribble from my earliest journal, pictured below.) But even for those who feel writing is a battle to be fought, I hope this post has encouraged you to put down your sword and pick up a pen.
A couple of nights per week, close the door and just see what comes out on paper. It's amazing what can happen when you let it all flow: by sorting through the bad and the ugly, you might just be left feeling the good.
Tagged: writing, practice, emotions, feelings, proactive, ideas, rumination, control, positive, psychology, well being, recovery
Newer PostWant to be more mindful? Try this
Older PostCreatures of Habit


✅ Trip Verified | I booked this La Valette Club Lounge as I was unsure what facilities were available at Malta airport. The email contact I had when booking was very efficient & courteous. The lounge is very comfortable overlooking the runway. The snacks & drinks available were plentiful & a high quality, staff were attentive but not in your face. This airport lounge was one of the best that I have been in.


The Gospel of Thomas is the noncanonical gospel par excellence. It has been studied more than all the other noncanonical gospels put together, and for good reason. Among all of the extant gospels that did not make it into the New Testament canon, this is the one that has the best claim to antiquity, the only one that provides the potential for extended reflection on the sayings of the historical Jesus. However much we may wish to draw attention to the importance of understanding the development of Christianity in the second century, reaching back into the first century is still far more attractive to most historians of Christian origins. There is romance in the idea that this text, so recently discovered, could provide a special witness to the earliest phase of Christianity.
Tradition, now rises to new prominence alongside the hypothetical source Q, as two early witnesses to a passion-free, sayings-based trajectory in early Christianity, which contrasted with the passion-centered, Pauline influenced versions of Christianity that later won the day.
Trajectories has influenced a generation of scholarship on Christian origins, and its legacy is perhaps most pronounced in the key contributions of scholars like Robert Funk and John Dominic Crossan, most famous for their prominence in the Jesus Seminar, who have applied a model that prioritizes Q and Thomas in historical Jesus research. The responsible historical Jesus scholar now works outside canonical boundaries, and those who ignore texts like Thomas are chastised for their canonical bias. They are seen as engaging in a kind of stubborn, confessional attempt to skew the field by ignoring much of the best evidence.
I should perhaps add that frequency of mention does not necessarily correlate with degree to which I agree with these scholars' arguments.


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Home / Travel
New York's Great Italian Restaurant
Jennifer Livingston
Manhattan's Il Posto Accanto is Roman cooking at its best. Nothing fancy. Just utter perfection.
By Reggie Nadelson on March 30, 2010
It's midday Sunday, a very mellow time at Il Posto Accanto, the little Roman-style trattoria on Second Street in Manhattan's East Village. Sun streams through the glass panes of the doors. Customers sit at a bar eating frittatas and spaghetti carbonara, reading the papers. Over the sound system come the sweet Brazilian strains of João Gilberto's "Corcovado." And from behind the bar, Il Posto's owner, Beatrice Tosti di Valminuta, holds court.
"Senti, sweetheart," Beatrice says to Alessandro Bordoni, a regular here. "Listen, do you feel like something lovely and a little spicy? Some nice penne with vodka? Or do we feel in a more eggy mood today, honey?"
"Regulars are the majority here," says Bordoni, an Umbrian from Spoleto, Italy, who works in New York as a trading manager for a major Italian oil company. "There is for me a blurred line between Il Posto and Beatrice's house."
Bea's domain—almost everybody calls her Bea—consists of Il Posto, which turned ten this year, and its next-door sister, Il Bagatto, a much larger restaurant and lounge that opened in 1995. Il Posto Accanto, which means "the place next door," was Bea's idea for a little oasis, a bar plus a couple of tables and some stools, where she could serve small plates. Here her brother Gabrio—"the wine genius," she calls him—could supply great and hard-to-find Italian bottles from his shop around the corner on Clinton Street.
Today Bea, a voluble 46-year-old, is dressed in one of her signature ankle-length skirts, this one in fuchsia panne velvet, with a pink top and her good pearls. She pushes her long blonde hair back from a high aristocratic forehead, and as she sways elegantly to the other end of the bar, the tattoos along her waist, in the gap between skirt and top, are revealed.
"I'm chubby because I love to eat," she says. "I always loved to eat. My grandmother made my first play dough out of flour and water. Even when I was first in New York and living in a teeny studio with a hot plate, I was making spaghetti with lobster for ten people."
Here, on a semi-gentrified stretch of the continuously gentrifying East Village—it looks, from Il Posto's French doors, like an early Spike Lee, Manhattan style, in progress—Bea staked her fortune, her fame, to love among the then-ruins. The entire neighborhood was dim and shabby; rats and stray cats roamed these streets. But Il Posto has grown from nothing to what some unrelentingly hard-to-please gourmands—writer, editor, and literary éminence grise Jason Epstein is a regular—sometimes call the best little Italian trattoria in, well, maybe…anywhere.
While Il Posto has been on East Second Street for a decade, it always feels like a sudden rare discovery. Authentic and personal, it has perfect pitch for these hard times. Dishes are gently priced, and dinner never has to be more than $50 a person. Quality, not pricing, has always come first. And because it's built on a human scale, Il Posto is unlike more elaborate big-deal Italian places—say Scarpetta or Del Posto, where the bill can be double or triple the one here—that have recently dominated the New York scene.
Everything at Il Posto is made to order, and slowly—sometimes very slowly—the dishes coming up from the basement kitchen. There are the gamberi, lightly fried white shrimp served on a sheet of brown paper, which "soaks up a little of the lovely oil," says Bea. Stuffed squash blossoms, sweet caramelized cipolline, calamari glistening with extra-virgin Sicilian oil, her favorite made from Nocellara del Belice olives. (For special dishes Bea is also partial, she says, to a peppery oil from Puglia and some fruitier varieties from Tuscany.)
After the antipasti there follows a dish of tawny imported Tuscan cannellini beans with tiny mussels (cultivated off Prince Edward Island) in sleek black shells. Homemade fettuccine with shiitake mushrooms and grape tomatoes arrives perfectly cooked. The ragu for the tortellini is a Bolognese made with a secret recipe that is so sublime, so beautifully balanced between sweet and spicy, between vegetable and meat, between spice and herb, it alone would provide sustenance.
Everybody, it seems, is welcome at Bea's. "We get federal judges, doctors, pilots, artists, athletes, Wall Street executives. There's a contingent of lovely Argentines who work at Credit Suisse and my cohort of Italian fashion people," Bea says. Padma Lakshmi, the hostess of the television show Top Chef, is a regular. So, too, is John Legend, the singer. But celebrityhood, thank God, is not the point here.
One warm spring Sunday, sitting at the bar of Il Posto, Silvano Marchetto, the owner of the chic West Village restaurant Da Silvano, announces his determination to eat only salad, then noticing some pasta, changes his mind, removes his sweater, and, in his Marlon Brando undershirt, goes to work on a plate of rigatoni.
"I love going to see Bea on my Sundays off," says Marchetto. "She makes my family feel welcome, like we're at home—and the pasta is fantastic."
Bea has no cookbook (though she plans to publish one someday) and no imperial desire to be branded or boldfaced for celebrity rags. Unlike Marchetto, she has never shown up in People, Us Weekly, or Hello. (Only recently did she find herself in The New York Times, preparing sea urchin pasta in a Dining section story called "Escape from the Sushi Bar.") What she does, she does out of principle, both with food and in life.
She is profoundly life-affirming and optimistic, more so perhaps after surviving ovarian cancer in 2000. Her fierce dedication is not only to cooking good food and making the human condition a little better but also to living her own way. She refuses to see herself as a chef. "I am a cook," she says emphatically.
Raised in a family part stiff-necked Roman bourgeoisie, part tumbledown aristocracy, she always had her own ideas outside of convention and expectation. "All I ever wanted was to open a restaurant," she says. "While others were getting married, I was different. I was pierced and tattooed before anyone else, always traveling with a mixed group of friends—from royalty to the children of the caretaker." Her ability to connect with all kinds of people has made Il Posto its own particular community.
When I was growing up in Greenwich Village in the fifties and sixties, cucina Italiana meant New York–style Italian American. The food was good, even if the staples were veal parmigiana and chicken cacciatore, and, more important, it was neighborhood-friendly. You knew the owner and everyone who ate there. It's this last bit that Bea provides in abundance, even if her cuisine—the half-moon ravioli filled with fresh Roman ricotta with lemon zest, the branzini fillet with a salad of fennel and blood orange—is nothing like the red sauce of my childhood. As cook and hostess, she embodies authenticity.
"She runs a very good trattoria," says Tony May, one of the grandees of New York's Italian food scene, whose recently shuttered San Domenico on Central Park South was a dominant force for two decades. (His new place, SD26, will open this fall.) "A classic trattoria is a restaurant where the food is traditional, usually a mom-and-pop place where a family member cooks," May says. "It's different from a ristorante, which is usually run by a contingent of professionals—chefs, waiters—and where the food is, or should be, about evolving cuisine."
When May arrived in the United States in 1963, he encountered what he calls a "bastardized American Italian cooking"—the kind I ate as a child—"that came out of the immigrant experience where everything was cooked too long and the products were inadequate." I ask him about the differences between northern and southern Italian cuisine. He dismisses any such distinction: the idea of "northern Italian" was made up as a way to suggest something beyond pasta, tomato, and garlic. It's a fake. "What there is in Italy are regional produce and products that define the dishes." May pauses. "Of course, you can get everything everywhere in Italy now; the cooking is more unified, and we are no longer tied to a folkloric version of Italian food."
According to May, the point of reference with Italian cuisine has to be ingredients and recipes where you recognize everything. "Don't mess with the food," he says. "Personally I also think you have to be born in Italy to cook great Italian food."
Everything about Bea, the way she is invested in food, in storytelling, in family, is profoundly Italian. The cooking of the south is where her heart is. It's a matter of obedience "to her traditions and her native home—Rome with an inspired bit of freedom thrown in," notes Wayne Winterrowd, a writer and another Il Posto regular.
"Basically I am an olive oil and garlic girl, not butter and onion," says Bea. Her grandmother had "acreage," as she puts it, in Puglia, where the family got its olives for oil and wheat for pasta. Bea is so devoted to southern Italy that her running joke is, "Everything north of Florence is Austria!" Especially Milan and Venice.
To Bea, the smell, taste, look, provenance, and history of food are both earthy and metaphysical, both staff and music of life. She named Il Bagatto for a figure in the tarot deck, the alchemist. "The magician. This is the fellow who turns base metal into gold, who finds the elixir of life," she says.
For each ingredient Bea has both visceral and intellectual appreciation. She cuts the beef chuck, pork, and veal shoulder for her Bolognese sauce by hand. It was always done that way at home because "people in Rome remembered that during the war you never knew what you got if you bought ground meat, and anyway it tastes better if you cut it yourself," she says.
"Senti, sweetheart, let me look," she says to Hector, one of her waiters, as he appears with a caprese salad, ovals of dense, moist mozzarella and perfectly ripe tomatoes, the kind that have the aroma, flavor, and juiciness that meet the standards of a cook who can hold forth on the horrors of tomatoes gassed with ethylene to artificially ripen them. "My tomatoes are nongassed, all-natural plum tomatoes, as well as organic grape tomatoes and tomatoes on the vine. I use both Italian San Marzano peeled and canned tomatoes and canned Sicilian cherry tomatoes. In season I get my tomatoes fresh, of course."
Bea's motto is, Everything must be just right.
In July, after six months of hanging out and eating at Il Posto—I was almost practically living there—Bea and I are at the Union Square Greenmarket. Twice, three times a week, depending on the season, she sorts through some dozen boxes in search of the right tomatoes. Today, just after dawn, she's discussing produce with Tim Stark, the premier heirloom-tomato guy at the market. For Bea, life is a run-on conversation about food.
"All love and creativity is transmitted through food for Bea," says Olivia Mariotti, who grew up with her in Rome. "She cooks the same way at home as at her restaurants, and hers is not the scientific way men cook, which is more cerebral. She's very emotional about it. When Bea travels she brings home spices, not souvenirs."
At the Greenmarket, Bea throws everything into her giant string bags: tomatoes, fresh corn, organic herbs, a lemon-anise cake for her staff to snack on, smoked trout from David Harris as well as the wild watercress he gathers from the stream upstate where he fishes. With the smoked trout Bea will make an appetizer for tonight's hungry cast.
"See how pretty," she says, picking through some Swiss chard with huge fan-like leaves. "I will make some ravioli with this." Rarely does she plan what she will cook in advance. She buys what looks good at the market and then improvises. Fat, ripe white peaches, albeit barely in season, catch her eye. "Perfetto," she says.
Whenever she can, Bea shops at family stores around the city—Di Palo, on the corner of Grand and Mott streets, for imported mozzarella, Pain D'Avignon in Long Island City for its heavy-crusted country round bread and ciabatta. At Jeffrey Ruhalter's shop in the Essex Street Market—his family has been in the meat business for generations—Bea examines the oxtail and tripe. Says Ruhalter, "Nobody really understands meat and cares about it in the way Bea does."
"My grandfather had a castle in Chianti, with animals on the estate," says Bea, putting the tripe in her bag. "Imagine the happiness of being there. They would slaughter the pig for Christmas, and with ultimate respect for the animal, we'd use every bit, including the lard in which we would fry potatoes," she adds, pulling away from the market. "Darling, now Mommy has to take you to school," she says to Kiki, her teacup Chihuahua. "Kiki must go every day to Doggy Day Care for Small Dogs in the East Village," she says with an expansive chuckle.
Ample of scale, Bea is often cast by her casual clients as a sort of echt Italian mama, the kind devoted to hearth and home, with four or five children. ("I never wanted kids," she says. "Other peoples' are very nice.") But with the gusto and charm come profound curiosity, irony, and sharp opinions.
"Oh, my God, you mean the Parmesan Nazi," says a friend when I tell him about Bea and Il Posto. Bea does not suffer fools lightly, especially when they request cheese on their linguine with clams. Or when Al Pacino asked for lemon peel with his espresso. "I couldn't believe it," Bea says. "Lemon peel is only used when the coffee is bad, to disguise the taste."
"Each dish is like her child," says Mariotti. "If you ask for something else, like the Parmesan, it's as if you criticized her child." Or, say, told her to cut the kid's hair.
Bea pulls her SUV up outside Il Posto. Along the curb is her l965 canary-yellow Cadillac convertible. Across the street is a cantaloupe-colored 1971 Datsun, which belongs to Bea's husband, Julio Pena, who is of Dominican heritage and a dead-ringer for Dizzy Gillespie.
Married in l994, the two live on Harrison Street in TriBeCa, with a big kitchen, art on every wall, and, among the furniture, a couple of Poltrona Frau leather sofas. Bea grew up in a 4,000-square-foot apartment near Rome's fashionable Via Veneto and "had servants who sewed, ironed, and cooked," she says. "Nobody ever went into the kitchen. Except me."
"My mother always had me on a diet," she says, unloading the groceries. When I was six I already had little boobies, my mother weighed about a hundred pounds, and when we went to the beach in Tuscany, she believed a picnic was two tomatoes and two boiled eggs, no salt. 'If you want salt, you can dip them in the ocean,' she always said." Bea pauses. "Other families would arrive for a day, always full of life, the kids already in their goggles and flippers, with a month's worth of food, lovely lasagna and caponata, and I'm so hungry, I have to go begging to them." She laughs at the memory.
After finishing college in Italy, Bea came to New York in 1983 to study journalism and public relations. She went back to Rome and worked in PR, got bored, thought about opening a shack on a beach in Bali, and then, in 1989, moved to New York for good. She still wanted to open a restaurant. Her father—Bea's parents were long divorced—suggested some work experience. (Eventually he became a silent partner in her business. Over the bar at Il Posto is a plaque noting that the four seats below are reserved for him and his guests. Bea goes to see him in Rome every month or two.)
In New York she worked at various jobs—including as a coat check girl at Tanti Baci Caffé downtown, where she also helped out in the kitchen for a while—until she met somebody who offered her a space for her own restaurant, on a derelict street in the East Village, where Il Bagatto eventually opened. "It was mostly junkies and homeless people," says Bea. "I had no idea what I was doing. My friends said, 'With your cooking, they will come.' For the first year I got tennis elbow making focaccia, tiramisu, homemade pasta. I prepped everything, and Julio and I cleaned the restaurant. We maxed out our credit cards. But we knew what we wanted. We were rogues. We cooked like in Rome, where the food was always kick-ass and everybody eats at home. We still don't have cost-effective methods or spreadsheets," adds Bea. For her the restaurants are a way to entertain, not a business. Her intention was never to get rich, but there is a certain pride in the fact that everybody who works for her can take care of their families, and she is able to close for three weeks every August.
Cooking for Il Posto is done in its basement and in a ground-level kitchen at Il Bagatto. On this particular morning Bea greets her staff, puts her head into the tiny office where a young summer intern is working on the computer, checks the huge pot of tomato sauce already simmering on a stove and another of lentils, puts on her apron, and picks up a lettuce leaf, nibbling it thoughtfully. "I never make vinaigrette in advance," she says. "I like to chew on a piece of something green and discover what gift a particular sea salt will give to it."
Onto the grill go the ears of fresh corn. On a pale green board she chops deep-emerald Swiss chard. Her tomato-colored skirt blows in the hot breeze from a fan. The dough she rolls out is made from Italian eggs, the kind with the orange-yellow yolks, and she turns it into ravioli to fold over the Swiss chard, then moves her attention to the squid, slicing it into rings so tiny, so translucent, you could put them on a baby's fingers. Into the salad will go the corn and some delicate green mâche.
Around lunchtime, on a spiffy scooter, a crisp Hermès Zodiac scarf in pale gray and brown tied to the handlebars, Clelia Bendandi, Bea's partner, arrives. Bendandi's family owned the restaurant L'Isola del Sole, a houseboat on the Tevere where, according to Bea, "everybody went." At the end of the nineties, Bendandi called Bea because she no longer had the restaurant and was bored. Then she came to visit New York and never left. "We cook together, and we would not be as good otherwise; it's where the magic comes from," says Bea. "Neither Clelia nor I has formal cooking training. I am a big fan of food, of substance and not appearance, the food of women who cook to feed the tummy and soul."
Checking her sauce again, Bea adds, "I understood from the beginning what people love to eat. I can look at someone and think, 'Do you really want the fusilli, amore? Or today do you want the pork chops or the meat loaf?' "
That evening, outside Il Posto, where there are a couple of tables, the air is heavy, humid, the moon hanging low over the city buildings. Julio sits on his motorcycle with the dog, sipping a beer and talking to a circle of friends leaning against their own bikes. Couples stroll by, the yuppies and winos pass, kids up past their bedtimes cool off in the open fire hydrant, and Bea is on the steps, a bottle of rosé in her hand. "Wow," notes a passing tourist from Omaha. "This is really New York!"
Inside at the bar, some Irish customers drink Bellinis, which Bea has made from the white peaches she bought at the Greenmarket that morning. At one of the high, long tables, a family—two parents, one kid, one dog—eat bruschetta, the coarsely chopped plum tomatoes from the market spiked with the bright green of fresh basil.
Around ten, Bea, who has been up since dawn, blows kisses at everything, gets into her SUV, and disappears into the night.
Three months later, it's November, election night. a crowd has gathered at Il Posto Accanto, the de facto neighborhood clubhouse. Old, young, gay, straight, tourists, locals, all in Obama T-shirts and tiaras supplied by Bea, all eating, drinking grappa and Prosecco. Julio pops some pink Champagne. People cheer, laugh, cry, stream onto the streets. A gaggle of Italians hugs everyone, shouting, "We love Obama, we love America, we love Bea."
"Sentite, amori," she says to the crowd. "Now, what about a lovely panna cotta?"
Il Posto Accanto is at 190 East Second Street, in New York's East Village, where Bea serves dinner every night and does lunch every day except Monday. The restaurant does not take reservations (212-228-3562: ilbagattonyc.com).
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The chimes they are a changin' out in Ahoghill!
Dessie Blackadder
Wednesday 7 August 2019 8:21
The traditional chimes of Big Ben will now ring through Ahoghill following the installation of a new village clock.
The £90,000 project, which included the new clock and enhancements to the Diamond area, are part of the village renewal scheme.
Standing at four metres tall the four sided pillar clock takes pride of place in the heart of the village.
Mounted on a steel column and sitting on a granite raised plinth it is a real focal point for visitors and locals.
The clock comes complete with Westminster chimes which will ring through the village signalling the top of the hour however there are restricted timings in place.
James Perry from Ahoghill Traders Association, said: "The redesign of the central Diamond in Ahoghill and the installation of the new clock will hopefully bring a new lease of life to the village.
"We're delighted with the design and its place in the very heart of the village.
"This focal point of the village will be enjoyed by locals and visitors for many years to come.
"Council has worked closely with the Traders' Association in the re-design of the area. It is hoped that this important initiative will encourage further commercial development in the centre of the village.
"This new feature compliments the other environmental features which the Ahoghill in Bloom volunteers have put in place.
"The village has enjoyed considerable success in both Ulster in Bloom and Britain in Bloom in recent years and this new feature further enhances the local environment."
The new look Diamond area includes new seating, paving, planting and ornamental railings which has significantly enhanced the area.
It is hoped this will prove popular with both visitors and locals as a meeting space and will be a valuable asset to the community.
The new seating is already proving popular with local residents.
The rejuvenation work is part of over £1.27 million being invested in 17 villages across Mid and East Antrim under the Village Renewal Programme.
The programme is funded by Council and DAERA with support from the European Agricultural Fund for Rural Development.
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text:
Q: Uniform convergence and differentiability
Task:
Let $f_n:[a, b] \rightarrow \Bbb R$ be continuous differentiable functions that converge pointwise to a function $f:[a, b] \rightarrow \Bbb R$. The sequence of the derivatives $f'_n:[a, b] \rightarrow \Bbb R$ converges uniformly. Then $f$ is differentiable and
$f'(x) = \lim_{n\to \infty} f'_n(x)$ for all $x \in [a, b]$.

Proof:
The proof starts the following way:
Let $f* = \lim f'_n$. $f*$ is continuous on $[a, b]$. For all $x \in [a, b]$ is
$f_n(x) = f_n(a) + \int_a^x f'_n(t) dt.$
Question:
Where does the last equation come from? What does $f_n(x)$ have to do with that specific integral?

A: The last equation is a direct consequence of the fundamentaly theorem of calculus.
It says that if $$F(x)=\int_a^x f(t) dt$$
then $F'(x) = f(x)$.
So, if $g$ is any continuously differentiable function, you can define $f(x)=g'(x)$ and you can know that the function $F(x)=\int_a^x f(t)dt$ has the same derivative as $g$ (because the derivative of $F$ is $F'=f=g'$, and the derivative of $g$ is obviously $g'$).
So, $F$ and $g$ only differ by a constant.
You also know that $F(a)=0$, which should be enough to conclude that $$g(x) = F(x) + g(a)$$
or in other words $$g(x)=g(a) + \int_a^x f(t)dt$$
which is the same as $$g(x)=g(a) + \int_a^x g'(t)dt$$


text:
Q: How to get json Object From json file I have a json file SenderTest.json in my src/test/resources package of my project. I think my approach of deserializing the json object to java object is right.
JsonObject json = new JsonObject();
String jsonStrng = json.toString();

ObjectMapper mapper = new ObjectMapper();
mapper.configure(DeserializationFeature.FAIL_ON_UNKNOWN_PROPERTIES, false);
Animal animal = mapper.readValue(jsonStrng, Animal.class);

but I am struggling to understand how to get the SenderTest.json from recources package into this JsonObject

A: Try this.
Animal  animal = mapper.readValue(new FileInputStream(new File("SenderTest.json")), Animal.class);

Here we are passing the InputStream as the first parameter in the readValue method

A: If your question is "how do I read a file located within the project itself", it's been asked before - try out the following question for an example: Read file from a folder inside the project directory
If you're actually asking "how do I read the file without working through Object mapping and explicit deserialization", you can do the following:
new JSONObject( IOUtils.toString( new FileInputStream( path.toString() ), "UTF-8" ) );


text:
Ґірдвайнай (Girdvainai) — село у Литві, Расейняйський район, Расейняйське староство. 2001 року в селі проживало 18 людей, 2011-го — 7. Розташоване за 3 км від міста Расейняй, поруч із селами Андрушайчяй та Анілюнас.

Принагідно
 Гугл-мапа
 Girdvainai (Raseiniai)

Расейняйський район


Lakewood Ranch – 2nd Best Selling Master-Planned Community in the U.S.
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Lakewood Ranch Florida is divided into villages that offer townhomes, custom-built estates, and everything in between. So, the community features homes of all sizes, designed to cater to every stage of life. Subsequently, price range is broad, from the $200s to more than $1 million.
At Lakewood Ranch, it's all about the good life. Health, family, and fun are the focus. And, there's an activity to fit every lifestyle. The community hosts 54 holes of golf, a country club with two clubhouses, and tennis and athletic centers. Additionally, it's home to the Sarasota Polo Club and seven world-class polo fields. Lake Ranch polo tournaments attract players from around the world. Still, the list continues with a 75-acre premier sports campus, A-rated schools, and a hospital and preventative medical clinic.
Exhausted from all the activity? There's plenty of time to chill at The Ranch. Lakewood Ranch has its very own Main Street. Cafes, shops, and restaurants offer a daily reprieve and time to socialize. And Main Street's seasonal festivals and events promise year-round parties.
On the more tranquil side, over 150 miles of trails and 10,000 acres of lakes, parks and nature preserves add pristine natural beauty to the community. And, beautiful beaches are just minutes away.
As for a social life, you're pretty covered here. With 60 active social clubs, downtown Sarasota at your fingertips, and nearly every activity you can imagine, Lakewood Ranch Florida is more than a place to live, it's a place you'll love.
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