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Sir Brian May – Queen guitarist knighted for services to music and charity
30 December 2022, 5:30 pm
Sir Brian May has said he feels a renewed responsibility to "behave in a way which benefits the country and the rest of the population" after being given a knighthood in the New Year Honours. As the virtuoso guitarist in rock band Queen, the 75-year-old is responsible for some of the biggest riffs in popular music, from the solo on Don't Stop Me Now to the melodic strums of Somebody To Love. The musician, astrophysicist and animal welfare advocate is being recognised for his services to music and charity.
Stenmark set the standard for ski racing - record-hunting Shiffrin
US ski star Mikaela Shiffrin, who took the women's record of World Cup victories to 84 in Kronplatz on Wednesday, has paid tribute to Sweden's Ingemar Stenmark, whose overall record of 86 she is fast approaching."Everybody knows, if they know anything about ski racing at all, and even if they don't, they know Ingemar Stenmark.
Elephant Seal Ruins Australian Dog Owner's Plan for a Walk
A huge elephant seal who has been causing a stir in Victoria, Australia, interrupted a dog owner's usual walk on a favorite pier on January 22, after rangers roped off the structure so the sea creature could loll undisturbed.Local diver Jules Casey captured footage of the seal at Camerons Bight in the seaside town of Blairgowrie and posted it on Instagram.What's believed to be the same seal was spotted in Point Lonsdale on January 20, and spotted again in Blairgowrie on January 23.Casey said an unintended consequence of the seal taking up residence on the jetty on the 22nd was that it interrupted her usual dog-walking routine with her two canines, Eko and Salty.Casey's Instagram post noted that "most mornings" she takes the pair of dogs for a walk at Camerons Bight beach. "They love to explore the little jetty, but today they weren't allowed on the jetty because we had a very special visitor," her caption noted.The seal, she said, "caused a great deal of excitement amongst the locals and tourists wanting to visit her. So the local wildlife rangers have roped off the area to ensure people keep a respectable distance so as not to disturb her while she is resting."The footage from Casey, a keen diver in the area's waters, shows the seal galumphing along the pier, before dropping back in the water. Additional footage then shows the seal enjoying a snooze on the beach. Credit: Jules Casey via Storyful
Feline uncertain? Cats do give clues if the fur's about to fly, study finds
Study of 105 pairs of interacting felines decodes the cat behaviour that puzzles humans – and flags up the unsubtle battle cry of claws and yowling
Lana Jenkins fought tears as Ron Hall was picked by bombshell Ellie Spence in recoupling
Lana Jenkins was seen fighting tears as Ron Hall was taken from her by bombshell Ellie Spence in a recoupling, in which the new arrival said the financial advisor had not yet "met his match".
Erik ten Hag hails 'unstoppable' Marcus Rashford as Man Utd move towards Wembley
Manchester United boss Erik ten Hag praised the "unstoppable" Marcus Rashford after his brilliant goal against Nottingham Forest helped his side put one foot in the Carabao Cup final. Rashford scored for the 10th time in 10 games since the World Cup to put United on course for a comprehensive 3-0 first-leg semi-final win at the City Ground.
Stroud News
Arrest made after man spotted trying car doors in Stroud
A suspected thief has been arrested after a resident dialled 999 to report suspicious behaviour in Stroud in the early hours of this morning (Friday 27 January).
Alan Carr 'emotional' and 'nervous' as he starts shooting autobiographical comedy
The comedian told fans to wish him luck.
Mystery 'fart' interrupts The View discussion on Mike Pence's classified documents
Mystery 'fart' interrupts The View talks on Mike Pence's classified documentsSource: The View, ABC
Premiership Rugby to test shot clock in weekend fixtures
The Premiership has announced plans to test new shot-clock technology for the first time this weekend
Asteroid 2023 BU to pass Earth in one of the closest approaches ever recorded
Amateur astronomer Gennadiy Borisov discovered the small lorry-sized asteroid on January 21
Oxford Mail
St Helen and St Katharine girls' school opens new sixth form centre
Independent day school for girls St Helen and St Katharine has opened the doors to its brand new Sixth Form Centre - the Benedict Building.
News Shopper
Do you live in London's most expensive postcode? Find out as full list revealed
London's most expensive postcodes have been revealed, see if yours makes the list.
In the clamour and confusion around the Indigenous voice, the media has a special responsibility
The debate is complex and long overdue, but the least we must do is present the arguments with clarity and in good faith
Two new services "to offer Stroud patients improved experience"
TWO services which have relocated to the new medical centre are to offer 'Stroud patients an improved experience'.
The Bolton News
Newsagent 'privileged' to serve Bolton for 30 years as shop prepares to close
A town centre newsagents which has been in the same spot for more than 30 years is set to close its doors for the final time next week.
Six motorbikes and quadbike stolen from garage during burglary in south Essex
Essex Police received reports a garage in Brentwood Road, Bulphan was broken into with several bikes stolen.

redpajama_set_name: RedPajamaCommonCrawl


This excellent program covers speed, sprint mechanics, warm-up and drills, starts, acceleration mechanics, training and seasonal planning. Speed is defined as the product of stride length and stride frequency; Fitzgerald works to improve both variables in his program. He demonstrates bounding exercises that can increase strength through plyometrics. Sprint mechanics include posture, arm action, stretch reflex and leg action. Warming up, important to sprinters, is presented via drills and aerobic conditioning exercises. Many excellent start and acceleration drills are also included. Sprint training is the heart of this presentation and begins with repetition training. Key components are specific distance in specified time, recovery time and distance. Various examples of repetition training are illustrated. Also included are high lactate training and peak speed training. The seasonal plan includes designing a calendar, which is divided into four phases: pre-competition, early competition, competitive and championship. 58 minutes. 2007. DVD.


The turbine-component manufacturer's original facility in Mexico was getting cramped, the president says.
Groups are working to encourage the growth of the "fintech" industry in Arizona.
The rupture caused raw sewage to flow from Naco, Mexico into the border town of Naco, Arizona.
One Canadian official says President Trump's insults may cause Canadian snowbirds to head to Northern Mexico instead of Southern Arizona.
Some Arizona business leaders are tentative about the Mexican president-elect's idea for an economic "free zone."
The decision on one of Mexico's most serious environmental disasters in decades could set precedent for other similar cases.
Law professor David Gantz discusses recent developments in efforts to renegotiate NAFTA.
Officials were hopeful for a trilateral agreement, but gave Canada until Friday to decide whether it would sign on to a new deal.
The administration still needs to negotiate with the third party in NAFTA: Canada.
The association behind the report says most were fleeing violence or seeking to reunite with family.
Potential cancellation of the project has worried business groups and civil organizations.
The trainings have dramatically reduced how often trucks are taken out of service at the border, ADOT says.
All facing deportation after being found Friday.


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Press Pass: Joe Purdy
July 16, 2009 12:03 AM by Mike Hume
Joe Purdy stands on stage during the middle of his set at Soho's City Winery, repeatedly strumming the chords to the chorus of "San Jose." But the next line he utters is absent from the song's proper lyrics.
Joe Purdy (Photo: Courtesy Brian Klein)
"I'm not going to lie," Purdy begins. "I forgot the words. Can someone help me out?"
The admission draws a laugh from the sold-out crowd, but no clear answers.
"See," Purdy continues. "You guys don't know them either."
There was a time, he says the next day in the lobby of his hotel, when he didn't need to write down any of his work. He could recall ever word and every tune to every song he'd authored from memory, more or less a fan favorite that landed on "Grey's Anatomy." But that time was before his songbook blossomed to 10 albums and over 100 tracks in an eight-year span.
With a few more cries from the crowd and some mental gymnastics, Purdy plays out the remainder of "San Jose" and takes calls for the next song. The crowd obliges by showering the stage with titles: "The City," "Waiting on Something Good," "You Can Tell Georgia." Purdy summarizes the majority of them when he jokes into the mic, "Play the sad one! About the girl!"
Indeed, the balance of Purdy's work deals with romances tested by time and distance, and usually to pulled apart by a slow departing train. However, much of his newer work has shifted focus. After relocating from Los Angeles to his home state of Arkansas more than a year ago, he's strayed from his tales of travel and tangles with women, broadening his subject matter and, at the same time, making it more personal.
"I didn't want to write about the streets of L.A. anymore. And as much as I love New York, I've written plenty about that too. I wanted something that was giving more intensive light to where I came from, something a little closer to home that felt more real to me," Purdy says through a well-groomed, but definitively bushy beard the day after the show. "Of course now I have to remember how to chop wood, burn brush and keep warm. But all those things I complain about, that's exactly what I wanted to do."
So now, as he builds fences and screens in porches and cuts down dead trees around his home and adjacent studio on Blue Herron Farms, he hears of stories both past and present from the area. Some of which end up in song.
"Man, there is some crazy shit that has gone on there," he says.
One example: Near his property resides a local couple whose son killed himself in a car on their property. Since his death some 40 years ago, they have not moved the car and now raise wolves in a pen that encloses the decrepit automobile.
"It's wild," Purdy says. "But it's all just fuel for writing."
In that vein, some of his newest work, like the recently released Last Clock on the Wall, has had a more folk-tale tinge to it. On that album, Purdy sings of past depressions and wars, and the people who play their part in them. Some of his new unrecorded songs, set for release on a potential double-album dubbed The Mudtown Crier, share that sentiment. One tune called "Ballplayer" follows the life of a washed-out minor leaguer. Another, "Angelina" taps into dark territory to detail the love and, ultimately, murder of a woman by a man who adored her.
"I don't even know how that song took the turn it did," says Purdy, who wrote the lyrics in a near stream of consciousness. "I got to the end and I was like, 'Aw, man. He killed her.'"
While Purdy may not play the protagonist in these tunes, he still manages to place the listener squarely inside the song through the use of poignant vignettes and a knack for connecting with is characters. Each composition is like a five-minute short story that will ring in your head for days to come.
His new work, just like his old, is highly memorable. Now, whether or not he remembers all the words is another story.
• For more on Joe Purdy, visit www.joepurdy.com.


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Inicio > Degree Programmes > Degree in informatics engineering > Undergraduate Course Enrolment
Undergraduate Course Enrolment
There are two enrolment periods for returning students during the academic year. These periods are September to October and February to March. From September to October students can enrol for all the subjects they would like to take, taking into account the constraints specified below. The February to March period is designed for students to add to the list of the subjects that they enrolled for in September.
Undergraduate course enrolment formalities: Procedures and closing dates.
Enrolment support system (SAM): Tool for checking possible timetable and examination date overlaps.
Enrolment Constraints
At the time of enrolment, students must take into account the following constraints on their choice of which subjects to enrol for:
The 1996 degree programme subjects have no prerequisites or corequisites.
1st CYCLE: 90 credits per year (maximum 55 per term).
2nd CYCLE: 120 credits per year (maximum 65 per term).
Students are first-cycle students until they have completed all the first-cycle subjects.
Students can enrol for optional subjects as free choice subjects provided this is an option. If chosen as an optional subject, students are not allowed to take the subject as a free choice subject and vice versa.
Students are obliged to enrol for previous year compulsory and core subjects.
Students cannot enroll for subjects from more than five terms in one academic year, where an annual subject counts as two terms.
The 39 free choice credits shall be allocated to the degree course (not to a particular year) and can be taken at any time during the course.
The final-year project is not a fifth year subject. It is to be defended when students have passed all the degree subjects. Students that pass will be awarded six credits.
Admission and Enrolment Policy (in Spanish)
Admission and Enrolment Policy Annexes (in Spanish)
General information for new students (in Spanish)
List of Free Choice Subjects on Offer (in Spanish)
Grants (MEPSYD general-purpose grants, MEPSYD mobility grants,etc.)(in Spanish)
Last updated: 23 de julio de 2009


This six day tour, starting on 28th April 2019, takes us to the Netherlands. Booking for this tour will start at the November lecture meeting.
For further information, detailed itinerary and booking form please click HERE.


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Home | Shows | Station 19
Is Station 19 Cancelled?
All you need to know about Station 19 TV show. Find out about the cancel/renew status and premiere date of Station 19 season 6 and Station 19 Season 7.
Find out the cancel/renew status of Station 19 TV show.
Has Station 19 been cancelled? Is Station 19 renewed for the 2021-2022 season?
We have the most reliable information on whether Station 19 is cancelled or renewed for the 2021/22 season or beyond. See below to discover whether there be Season 7 of Station 19!
Status: Renewed through Season 6
Station 19 2021/22 return date: FALL 2022
Series Run: March 22, 2018 –
Network(s): ABC
Genre: Action, Serial-Procedural
Station 19 Series Information:
ABC Orders Season Six of "Station 19"
Krista Vernoff Set to Return as Showrunner
'Station 19' Soars by +234% in Adults 18-49 After Delayed Multiplatform Viewing
ABC has renewed "Station 19" for its sixth season. Executive producer and showrunner Krista Vernoff will continue to helm the successful "Grey's Anatomy" spinoff series.
"Station 19" follows a group of heroic Seattle firefighters as they put their lives and hearts on the line. The latest series, from the executive producers of "Grey's Anatomy," takes us inside the tough, tight-knit and sometimes heartbreaking world of the city's bravest first responders.
"It's a privilege to tell stories of our heroic first responders, who on our show and in real life put their lives on the line every day to keep us all safe," said Vernoff. "I'm so grateful to Disney and ABC for the early pickup for season six of 'Station 19!' It's a tribute to the incredible work of our talented cast, crew, writers and creative team, as well as the dedication of our loyal fans who tune in every week."
"The riveting storytelling and passionate fan base that 'Station 19' continues to cultivate is a testament to the unrelenting dedication of Krista Vernoff and the incredibly talented cast and crew," said Craig Erwich, president, Hulu Originals and ABC Entertainment. "Coupled with yesterday's renewal of 'Grey's Anatomy,' the return of 'Station 19' ensures more crossover opportunities and a thrilling night of appointment television."
"Station 19" averages a 2.17 rating among Adults 18-49 this season after 35 days of viewing on linear and digital platforms, marking an increase of +234% over its initial Live+Same Day rating.
"Station 19" stars Jaina Lee Ortiz as Andy Herrera, Jason George as Ben Warren, Boris Kodjoe as Robert Sullivan, Grey Damon as Jack Gibson, Barrett Doss as Victoria Hughes, Jay Hayden as Travis Montgomery, Danielle Savre as Maya Bishop, Stefania Spampinato as Carina DeLuca and Carlos Miranda as Theo Ruiz.
Krista Vernoff serves as showrunner and executive producer of "Station 19." The series was created by Stacy McKee. Shonda Rhimes and Betsy Beers serve as executive producers. "Station 19" is produced by ABC Signature, a part of Disney Television Studios.
LATEST Station 19 CANCEL/RENEW NEWS
Station 19 Renewed For Season 6 By ABC!


The client brief in this narrow block was to fit in an entertaining area with bbq and outdoor dining, a spa with an adjoining deck and a low maintenance garden. We worked collaboratively with the owners to design and build a modern, lush garden that provided areas for both relaxation and entertainment. Using clean lines and lush, sculptural plantings, the space transformed from a basic lawned yard to an unexpected private oasis in Sydney's inner west.


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« After the Transfiguration of Jesus — Some Lesser Known Allusions to Moses
Rome Burning – Difficulties with the Tacitus Passage »
Rome Burning — and the Christians: A New Study
Filed under: Ancient Literature, Historical Methods and Historiography, History and Biography
Tags: Barrett: Rome is Burning, Great Fire of Rome, Neronian Persecution, Tacitus: Annals
Anthony Barrett – UBC profile
Historian of ancient Rome Anthony Barrett draws upon updated archaeological studies to supplement his analysis of the literary sources in order to especially analyze how the fire contributed to the downfall of Nero. Included in his study is a chapter on the evidence that Christians were singled out as scapegoats by Nero and suffered barbaric deaths as a result.
Not one of our literary sources for the fire – Tacitus, Suetonius, Dio — was contemporary with the fire itself, but they did draw upon other sources that were. Tacitus, in whose work we read the account of persecutions of the Christians, made use of works by Pliny the Elder who lived at the time of Nero and often mentioned his name. Tacitus further refers to elderly citizens of his day who were alive at the time of the fire but "frustratingly, he seems to have chosen to make relatively little, if any, use of" their recollections. At least as important to keep in mind when thinking through the account of Tacitus is Barrett's assessment of him as a historian:
Tacitus's account of the fire is an excellent example of his great narrative skills. Serious historian that he is, he expresses appropriate skepticism about Nero's culpability, the only one of the three main authorities to do so, and records that the sources are divided on the issue. But his hostility to the emperor is such that by the end of his narrative the reader is left with a vaguely defined but strangely compelling impression that somehow Nero's behavior was so abominable that he must be held accountable for what had happened. That is a remarkable feat of writing. (p. 13 – my highlighting in all quotations)
One may wonder how archaeological evidence could be relevant to the question of Christian persecutions in the wake of the fire but it is important to know what areas suffered in relation to the Jewish area since Christians were considered members of a Jewish sect. More generally, Barrett, a historian and not an archaeologist, makes an interesting comment on the evidence from archaeology that is worth keeping in mind next time one is addressing René Salm's analysis of the archaeological reports on Nazareth:
There seems to be a rather dangerous article of faith that what is preserved in the archaeological record is ipso facto more reliable than information derived from literature, on the grounds that archaeology is uncontaminated by authorial bias.We must avoid falling prey to this widely held misconception—the situation is by no means so clear-cut. While the physical material itself may be untainted, it is almost never as explicit as its literary counterpart, and our understanding of that material is very dependent on how it is interpreted and presented to us by the archaeologist. And since archaeology very often involves the ordered destruction of the site being examined, and the archive of the site will as often as not be held in storage, for practical purposes the information to which we have access will ultimately come filtered through the investigator's interpretations. In the case of the Great Fire we are fortunate that the main body of archaeological evidence for the event has been brought to light by a highly professional team led by Clementina Panella for the Sapienza University of Rome, and it has been published to high scholarly standards. But these standards are not necessarily maintained by other excavators, and elsewhere we must be on guard against conclusions that can be highly speculative and at times fueled by an almost poetic imagination. The archaeologist's idiosyncrasies and preconceptions can occasionally shape what is supposedly objective evidence. (p. 16)
Amen to that manifold more times for "the place where Jesus grew up".
Enough of the preliminaries. Let's get to Barrett's chapter five titled "The Christians and the Great Fire".
We rely entirely upon just one source for the view that Nero attempted to deflect public suspicion that he had been responsible for the fire by singling out the Christians.
Despite Nero's best efforts, Tacitus tells us that nothing that the emperor did, whether in the civil or the religious sphere, could lay to rest the persistent nasty rumor that had taken hold, that he had personally ordered the fire. Nero was astute enough to realize that once a negative idea has been implanted in the popular mind, it is almost impossible to dislodge it. He needed a dramatic solution, and dramatic gestures were his forte. The account in the Annals of what came next— it is our one and only source of information—is arguably the most disputed text in the whole of Classical literature. Complicating the debate is the question of whether this section of the Annals is an authentic piece of Tacitus, an important issue addressed later in this chapter. (p. 145)
And a few lines later the historical significance of this event strikes the reader:
It is impossible to exaggerate the importance of this episode in the history of the Christian church. . . . It is, as Brent Shaw puts it, a "foundational event" in the annals of Christianity. In a way it can be viewed as symbolically setting the scene for the repeated martyrdoms that Christians will endure at the hands of Roman authorities in subsequent centuries. It is also a major factor in the persistence of Nero's image as the epitome of villainy during the nearly two thousand years since then.
Here is a key part of the passage as translated by Barrett:
Annals 15.44.2. But neither human resourcefulness nor the emperor's largesse nor appeasement of the gods could stop belief in the nasty rumor that an order had been given for the fire. To dispel the gossip Nero therefore contrived culprits on whom he inflicted the most exotic punishments. These were people hated for their shameful offenses whom the common people called Chrestians [or Christians].
44.3. The man who gave them their name, Christus, had been executed during the rule of Tiberius by the procurator Pontius Pilatus. The pernicious superstition had been temporarily suppressed, but it was starting to break out again, not just in Judea, the starting point of that curse, but in Rome as well, where all that is abominable and shameful in the world flows together and gains popularity.
44.4. And so, at first, those who confessed were apprehended and, subsequently, on the disclosures they made, a huge number were found guilty [or "were linked"]—more because of their hatred of mankind than because they were arsonists. As they died, they were further subjected to insult. Covered with hides of wild beasts, they perished by being torn to pieces by dogs; or they would be fastened to crosses and, when daylight had gone, set on fire to provide lighting at night.
44.5. Nero had offered his gardens as a venue for the show, and he would also put on circus entertainments, mixing with the plebs in his charioteer's outfit or standing up in his chariot. As a result, guilty though these people were and deserving exemplary punishment, pity for them began to well up because it was felt that they were being exterminated not for the public good, but to gratify one man's cruelty.
On the two sections, 44.2 and 44.3, Barrett remarks,
This whole section constitutes in all only some 154 words in the original Latin text ("some" is added here as a caution because we can not be totally sure of the exact wording of the original manuscript). We can go a little further. Scholarly interest has focused almost exclusively on the first two sections (15.44.2–3), and together these produce a total of some ninety-three words. But this relatively brief passage, fewer than one hundred words in length, has prompted several books and perhaps as many as a hundred scholarly articles dedicated totally, or at least substantially, to the topic. Moreover, this vast and flourishing scholarship industry has so far exhibited no signs of recession. As measured by the number of words produced in research publications relative to the number of words in the text being analyzed, this handful of sentences is beyond doubt the most researched, scrutinized, and debated of any in Classical antiquity. What follows in this chapter can convey only a brief summary of these prodigious scholarly endeavors.13
In the next post I will attempt a "brief summary" of Barrett's "brief summary" and address his own conclusions.
Till then, endnote 13 directs readers to details of that discussion that I reformat with added links:
13. The early sources are summarized in
Canfield (1913), 45–56, 141–60,
and a useful, if selective, bibliography up to 1934 is found in Cambridge Ancient History X (1934), 982–83.
From 1948 on, we have the benefit of the valuable surveys conducted periodically by Classical World:
48 (1955), 121–25;
58 (1964), 69–83;
71 (1977), 1–32;
Shaw (2015), 98–100 provides a useful bibliography of more recent contributions.
Other sources cited by Anthony Barrett and of interest to some Vridar readers include Richard Carrier's 2014 article and even Earl Doherty's 2009 book Jesus Neither God Nor Man – the Case for a Mythical Jesus.
Barrett, Anthony A. Rome Is Burning: Nero and the Fire That Ended a Dynasty. Princeton, New Jersey: Princeton University Press, 2021.
Author Neil GodfreyPosted on 2022-01-10 21:48:19 GMT+0000 2022-01-11 11:17:24 GMT+0000 Categories Ancient Literature, Historical Methods and Historiography, History and BiographyTags Barrett: Rome is Burning, Great Fire of Rome, Neronian Persecution, Tacitus: Annals
11 thoughts on "Rome Burning — and the Christians: A New Study"
Gilbert Gélinas says:
If Tacitus made use of works by Pliny the Elder, then it's warranted to marvel at the supposed cluelessness of Pliny the Younger concerning the Christians
it's good to read historians in 2020 (and not NT scholars) doubting the testimonium taciteum's authenticity
Johnny Amaral says:
Has JW Ross's book Bracciolini The Annals forged in the XV Century ever being debunked or was it just ignored though Ross was a Latinist ar Oxford University?
I finally found the response to your question that I was looking for, thanks to a kind soul on the BC&H forum: See Is the Forgery of Tacitus' Annals in the Renaissance an Untenable Position?
Russell Gmirkin says:
There may also be an early echo of Rome's burning in Rev. 18 (which builds on Rev. 17), which pictures Babylon the Great (Rome) burning as punishment for shedding the blood of the martyrs and the saints. I interpret this as recalling the murder of Christians in Rome blamed for Nero's fire, and predicting Rome burning again as punishment. (The historical context is 69 CE when it was anticipated that Rome would be the scene of civil war among the contenders for the throne in "the year of the four emperors"; cf. 17.6.) If this interpretation is correct, it becomes an early witness to events under Nero that supports the later account by Tacitus.
With all due respect, I raise 2 points.
Revelation is such a cryptical and allegorical book that it would be very unwise to rely upon it as recounting any specific past events (aside from Jesus's death).
The martyrdom referred to might not be that of Christians killed in Rome specifically, but throughout the Roman Empire in general.
Even if the passage in question refers to a slaughter of Christians in Rome, the slaughter would seem to me to be placed before the burning of Rome, which is presented as punishment for such slaughter. In contrast, Tacitus places the Christians' deaths after the fire.
The Herodian Paul got whacked right around the same time as his fraternity brother Seneca the Younger (whose elder brother apparently came to Paul's rescue in Corinth). The Pseudo-Linus inserts a paragraph in his Passion of Paul telling how Seneca frequently conversed and corresponded with Paul, admired him much, and read some of his writings to Nero.
VinnyJH says:
What does it mean when Tacitus says "those were confessed were apprehended"? Wouldn't they have confessed after they were apprehended? That has always confused me.
The same point is discussed by Barrett. I'll cover it in the next post.
Ark says:
I've always thought it odd that Tacitus uses the word Christus as if it were a name rather than a title.
And wasn't the original word Chrestus?
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Persone
 Alfredo Signori – pittore italiano
 Francesco Signori – calciatore italiano
 Giacomo Signori – pallanuotista e nuotatore italiano
 Giosuè Signori – arcivescovo cattolico italiano
 Giuseppe Signori – calciatore italiano
 Giuseppe Signori – giornalista italiano

Luoghi
Colle dei Signori – colle delle Alpi Liguri

Pagine correlate
 Signore
 Piazza dei Signori
 Signore e signori

redpajama_set_name: RedPajamaWikipedia


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Join us in our Oldham workshop and learn a new skill to add to your millinery bow.


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package org.wildfly.apigen.test.invocation.logging.subsystem.customHandler;

import org.wildfly.swarm.config.runtime.Address;
import org.wildfly.swarm.config.runtime.ModelNodeBinding;
import java.util.Map;
/**
 * Defines a custom logging handler. The custom handler must extend java.util.logging.Handler.
 */
@Address("/subsystem=logging/custom-handler=*")
public class CustomHandler<T extends CustomHandler> {

	private String key;
	private String attributeClass;
	private Boolean enabled;
	private String encoding;
	private Map filter;
	private String filterSpec;
	private String formatter;
	private String level;
	private String module;
	private String name;
	private String namedFormatter;
	private Map properties;

	public CustomHandler(String key) {
		this.key = key;
	}

	public String getKey() {
		return this.key;
	}

	/**
	 * The logging handler class to be used.
	 */
	@ModelNodeBinding(detypedName = "class")
	public String attributeClass() {
		return this.attributeClass;
	}

	/**
	 * The logging handler class to be used.
	 */
	@SuppressWarnings("unchecked")
	public T attributeClass(String value) {
		this.attributeClass = value;
		return (T) this;
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	 * If set to true the handler is enabled and functioning as normal, if set to false the handler is ignored when processing log messages.
	 */
	@ModelNodeBinding(detypedName = "enabled")
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		return this.enabled;
	}

	/**
	 * If set to true the handler is enabled and functioning as normal, if set to false the handler is ignored when processing log messages.
	 */
	@SuppressWarnings("unchecked")
	public T enabled(Boolean value) {
		this.enabled = value;
		return (T) this;
	}

	/**
	 * The character encoding used by this Handler.
	 */
	@ModelNodeBinding(detypedName = "encoding")
	public String encoding() {
		return this.encoding;
	}

	/**
	 * The character encoding used by this Handler.
	 */
	@SuppressWarnings("unchecked")
	public T encoding(String value) {
		this.encoding = value;
		return (T) this;
	}

	/**
	 * Defines a simple filter type.
	 */
	@ModelNodeBinding(detypedName = "filter")
	public Map filter() {
		return this.filter;
	}

	/**
	 * Defines a simple filter type.
	 */
	@SuppressWarnings("unchecked")
	public T filter(Map value) {
		this.filter = value;
		return (T) this;
	}

	/**
	 * A filter expression value to define a filter. Example for a filter that does not match a pattern: not(match("JBAS.*"))
	 */
	@ModelNodeBinding(detypedName = "filter-spec")
	public String filterSpec() {
		return this.filterSpec;
	}

	/**
	 * A filter expression value to define a filter. Example for a filter that does not match a pattern: not(match("JBAS.*"))
	 */
	@SuppressWarnings("unchecked")
	public T filterSpec(String value) {
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		return (T) this;
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	/**
	 * Defines a pattern for the formatter.
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	@ModelNodeBinding(detypedName = "formatter")
	public String formatter() {
		return this.formatter;
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	/**
	 * Defines a pattern for the formatter.
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	public T formatter(String value) {
		this.formatter = value;
		return (T) this;
	}

	/**
	 * The log level specifying which message levels will be logged by this logger. Message levels lower than this value will be discarded.
	 */
	@ModelNodeBinding(detypedName = "level")
	public String level() {
		return this.level;
	}

	/**
	 * The log level specifying which message levels will be logged by this logger. Message levels lower than this value will be discarded.
	 */
	@SuppressWarnings("unchecked")
	public T level(String value) {
		this.level = value;
		return (T) this;
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	/**
	 * The module that the logging handler depends on.
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	@ModelNodeBinding(detypedName = "module")
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	/**
	 * The module that the logging handler depends on.
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	public T module(String value) {
		this.module = value;
		return (T) this;
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	/**
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	@ModelNodeBinding(detypedName = "name")
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	/**
	 * The name of the handler.
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	@SuppressWarnings("unchecked")
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		this.name = value;
		return (T) this;
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	/**
	 * The name of the defined formatter to be used on the handler.
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	/**
	 * The name of the defined formatter to be used on the handler.
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	@SuppressWarnings("unchecked")
	public T namedFormatter(String value) {
		this.namedFormatter = value;
		return (T) this;
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	/**
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	@ModelNodeBinding(detypedName = "properties")
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	/**
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	public T properties(Map value) {
		this.properties = value;
		return (T) this;
	}
}

redpajama_set_name: RedPajamaGithub


text:
How to Recover Deleted Videos on Mac
John Bullock
John is an experienced freelance content writer with an eclectic employment history.
Losing video files can be panic-inducing, but all may not be lost.
Free-Photos - Pixabay
Anyone who has used a computer for long enough will probably have experienced that gut-wrenching feeling that hits you when you realize you have just accidentally deleted a file that you really didn't want to delete. Whether you realize immediately, or a little after the fact, it's a sinking feeling that only varies in intensity based on how irreplaceable the files were. Sometimes we are talking perhaps half an hour of work. Other times it could be months of work. All too often, it is video footage that is near-irreplaceable.
If you are reading this because it has happened to you, hold back the panic—all is not lost yet. There are several ways to retrieve lost data on a Mac, and we've put together this handy guide to help you save your files. Welcome to Recover Deleted Videos Mac Edition!
The Theory of Recovering Deleted Videos on a Mac
When deleting a video, several factors come into play. Firstly, there is your trash folder. As long the file is not excessively large, and there is space on your hard drive, your deleted files will be moved to your trash folder, which is essentially the same as moving them to any other regular folder. While in here they will be out of sight and unusable, but they still take up the same amount of hard drive space. Because the data is not really gone, it can be restored as easily as moving a file from one folder to another, since that is basically what is happening. Once they are cleared out of your trash folder, however, they are deleted from your hard drive. Or are they?
The simplest way to think of your computer's file system is as a literal filing cabinet. The drawers are directories, and the files are, well, files. When you delete something the usual way (that is, not using secure data destruction software), all you are really doing is taking the label off of the file. The information inside that file is still there.
Of course, at some point, your Mac is going to want to put new data in those files, at which point your old data will be gone for good. But if you catch it before that happens, you can recover your lost video.
Methods to Recover Deleted Videos on Mac
So, now you understand the theory behind recovering deleted videos on Mac, let's move onto the how. There are several methods, and the method you need will depend on your specific circumstances. We're going to start with the easy one.
1. Restore Deleted Video Files on Mac from Trash Folder
For files that have been banished to the Trash Folder, recovery is a straightforward process. Simply open your Trash Folder, search through the files in there until you find what you need, and right-click on it to bring up the contextual menu. In there you will find an option to "Put Back". Select that option, and the files will be returned to where they were when you deleted them.
Please note that your Mac will automatically delete files in the Trash Folder after 30 days, so don't leave it too long! If you have multiple files to recover, you can select as many as you want at the same time and put them all back in one click.
There is little to complain about with this quick and painless method. The only drawback is that it only works for files that haven't been completely deleted yet.
2. Recover Deleted Videos From Time Machine Backup
For those of you that have it set up, you will be able to recover permanently deleted videos from Mac Time Machine. This is Apple's in-house backup software, which periodically backs up your data for just such an occasion as this.
To do this, head into your Mac's system preferences and find Time Machine. Once you've clicked on that, if your Time Machine has been set up correctly, you should be presented with a list of backups. Find the one you'd like to use and hit "Restore". And that's all there is to it.
Time Machine is a full system backup, so restoring from a Time Machine backup will revert your whole system to the way it was at the time of backup. That may not be a problem for you, but it is a little overkill when there are other options.
Time Machine can be a great way to rescue lost video... as long as you have it set up properly.
StartupStockPhotos - Pixabay
3. Recover Deleted/Lost Videos With AnyRecover for Mac
It may be the case that for video recovery Mac has some reliable built-in options, but sometimes you have to venture outside of the box. AnyRecover is a third party application that will bring your files back to life. The process is simple.
Download AnyRecover from their website and install it. This process won't take long.
Open the application and select the location on your system where the deleted files were. AnyRecover will begin scanning that location.
Once the scanning is complete, you will be presented with a list of recoverable files, with some files, like photos, available to preview. Select the files you need to rescue and click "Recover".
That's all there is to it.
AnyRecover can rescue video files when all else may seem lost.
Pro Tip: Regular Backups!
We couldn't put together a "How to Recover Deleted Videos on Mac" guide without mentioning backups. The best way to save your data from inadvertent deletion is to have backups of that data.
On a Mac, Time Machine is the easiest way to achieve this. If you have not got it set up, simply navigate to the Time Machine's settings as described above, and set it to "Back Up Automatically".
Hopefully, you now feel fully versed in how to recover videos on Mac. Remember, keep regular backups of your work, and never empty your Trash Folder unless you are sure you are done with the files that are in there. Also, remember that your Trash Folder will empty itself every thirty days.
Recovering deleted files may not be as hard as it first seems, but the best method will always be not accidentally deleting those files, to begin with. Whenever you're deleting potentially important files, take an extra breath to consider whether you are really done with the file or not.
© 2020 John Bullock
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Bobby Dunn
Bobby Dunn has built an incredible presence on the big screen throughout his acting career. Dunn's career beginnings included film roles in "The Upland Rider" (1928), "'Neath Western Skies" (1929) and "The Racketeer" (1929). He then acted in "The Royal Rider" (1929), "Canyon Hawks" (1930) and "Trails of Danger" (1930). He also appeared in the drama "Cockfighter" (1974) with War...
Murder in Coweta County (1983)
Liquor Runner
Cockfighter (1974)
Slave Ship (1937)
Member of crew
The Bohemian Girl (1936)
Cockeyed bartender
Mr. Deeds Goes to Town (1936)
George White's 1935 Scandals (1935)
Cross-eyed man
Bobby Dunn has built an incredible presence on the big screen throughout his acting career. Dunn's career beginnings included film roles in "The Upland Rider" (1928), "'Neath Western Skies" (1929) and "The Racketeer" (1929). He then acted in "The Royal Rider" (1929), "Canyon Hawks" (1930) and "Trails of Danger" (1930). He also appeared in the drama "Cockfighter" (1974) with Warren Oates and "Murder in Coweta County" (CBS, 1982-83). More recently, Dunn worked on "French Open 2001" (USA, 2000-01).
Redheads on Parade (1935)
Here Comes Cookie (1935)
Old crony
One More Spring (1935)
Broadway Bill (1934)
Terror Aboard (1933)
Cross-eyed sailor
The Phantom (1931)
The Last Ride (1931)
Hell's Valley (1931)
Canyon Hawks (1930)
Trails of Peril (1930)
The Canyon of Missing Men (1930)
Gimpy Lamb
Breed of the West (1930)
Call of the Desert (1930)
Parade of the West (1930)
The Parting of the Trails (1930)
Restless Roberts
The Racketeer (1929)
The Royal Rider (1929)
Captain Cowboy (1929)
'Neath Western Skies (1929)
Percival Givens
Code of the West (1929)
Riders of the Storm (1929)
The Upland Rider (1928)
The Thrill Hunter (1926)
Ferdie
When the Wife's Away (1926)
Hogan's Romance Upset (1915)
Misc. Crew (Feature Film)
Our Relations (1936)
Cinematography (Special)
Michael Jackson Talks... To Oprah -- 90 Primetime Minutes With the King of Pop (1993)
Cast (Short)
The Fixer Uppers (1935)
You Said a Hatful! (1934)
Sherman Said It (1933)
Too Many Highballs (1933)
Rhapsody In Brew (1933)
Speed in the Gay Nineties (1932)
The Dentist (1932)
The Rap (1931)
Bacon Grabbers (1929)
A Harem Knight (1926)
Water Wagons (1925)
Dirty Work in a Laundry (1915)


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Liz & Dick
Nathan Rabin
Lifetime's Liz & Dick, a chintzy biography of the tumultuous love affair between Richard Burton and Elizabeth Taylor, is easily one of the most talked about and high profile television movies in recent memory, if not in the history of the oft-maligned genre. But it would be a mistake to imagine that most of the folks anticipating it with crazed glee expect anything even vaguely resembling quality. No, the cult of Liz & Dick (and it's a measure of the project's weird notoriety that it seems to have a cult before it even aired) is largely composed of camp aficionados and schadenfreude enthusiasts delighted to see the perpetually struggling, eternally troubled Lindsay Lohan once again flamboyantly embarrass herself publicly, though in a strange twist, this time they're excited to see her embarrass herself through her chosen trade and not her off-screen shenanigans.
Liz & Dick seems custom-made for the curious custom of "hate-watching": deliberately watching campy junk or shows otherwise deemed annoyances for the purpose of mocking them, whether through live-Tweeting, viewing parties, or just cackling maniacally at moments that are supposed to be somber and filled with meaning. Liz & Dick arrives on the small screen with a giant "kick me" sign rooted both in Lohan's tabloid infamy and the sad overreaching of trying to chronicle an epic love affair that unfolded across continents and decades on a tiny television movie budget.
The intense fascination surrounding Liz & Dick has a lot to do with the parallels between Elizabeth Taylor and Lohan's lives. Both were child stars who grew into smoky sexpots whose stormy love lives and career foibles captivated the tabloid media and a voyeuristic public. In fact, the tabloid press might as well have been created specifically to document Burton and Taylor's extra-marital fling on the set of 1963's Cleopatra. Lohan's life and career so eerily echo Taylor (minus, you know, the great films, Oscars, longevity, and extraordinary talent) that her performance in Liz & Dick reeks of clumsy self-parody even if, ironically, Lohan doesn't really look or sound anything like Taylor.
Liz & Dick's idiotic framing device has its stars dressed in all black like beatnik theater students and sitting in director chairs while talking about their love affair directly to the camera. This device consciously or unconsciously recalls the direct-to-camera confessionals of reality television, which, at root, isn't a bad analogy. Liz & Dick posits Taylor and Burton as the first reality stars, shameless exhibitionists whose lives and love played out in a series of screaming tabloid headlines and public stunts. Judging by the film, the great stars lived their lives as if there was a camera pointed on them at all times, which wasn't too far from the truth. And, like contemporary reality stars, Burton and Taylor screamed and whined and fought their way through a train wreck of a relationship in ways that dared audiences and an endlessly fascinated public to look away.
The titular twosome's affair began on the set of Cleopatra while both were rather inconveniently married to other people. Burton (forgettably played by Grant Bowler) makes a stumbling first impression when he asks Tayor if anyone has ever told her she's pretty. Taylor publicly mocks his oafishness, which prompts Burton to explain, "I said to [Taylor], 'Has anyone ever told you you're a very pretty girl?' Then I paused, and she walked away, before I could add, 'Well they would be a fool! You are not a pretty girl though you once were. You are now a beautiful woman, with the depths of the ocean in your violet eyes and the promise of a ripe plum in your soft firm lips and your spilling white-hot bosom.'"
I'm not sure anyone alive could deliver this deliciously over-heated purple prose about ripe plums and spilling white-hot bosoms naturally or convincingly. Hell, I'm not sure even Burton himself could. That points to a problem for any actor playing Burton: The Welsh legend was such an incorrigible ham that to match his theatricality would invite accusations of crazed overacting, but underplaying the role misses the essence of the man. Thankfully Lohan's performance is such a train wreck that it takes the attention off Bowler.
Burton refers to Taylor as his "ocean" more than once, but given the relentlessly superficial nature of the film and everything in it, she feels more like the shallow end of a kiddie pool. Underneath the simmering contempt lies a raging geyser of sexual attraction, or at least it would if the filmmakers had cast leads with any kind of chemistry.
Soon Taylor and Burton are boldly flaunting their extramarital affair before a simultaneously shocked and titillated public. Liz & Dick leapfrogs clumsily through time, from one big moment in the couple's fabled history to the next, tackling each milestone with a minimum of subtlety or sophistication. Lohan plays Taylor as a cross between a scheming gold digger and Lucy Ricardo, a greedy opportunist always eager to horn in on her husband's professional life despite her own incredible success, fortune, and fame. Sometimes, it works the other way around, however. In a typically ham-fisted scene, Who's Afraid Of Virginia Woolf screenwriter Ernest Lehman pops up so Burton can tell him that he's perfect for the male lead. (Taylor had already been cast in the female lead). Lehman at first asserts that Burton's far too virile and masculine for the role of an emasculated husk of a man. Besides, Lehman adds in a statement groaning with clumsy historical irony, he can't possibly imagine the two of them arguing the way the characters in Who's Afraid Of Virginia Woolf do. (He's apparently the only person in Western civilization who hasn't heard about epic fights between the couple so loud and public they can be heard from neighboring galaxies.) Burton and Taylor do 30 seconds of mock-bickering, and Lehman instantly changes his mind and gives the role to Burton less than a minute later.
Taylor and Burton here are like a (pseudo-) sexy version of Itchy and Scratchy. (They fight, and fight, and fight and fight and fight, drink, drink, drink, fight, fight, fight, The Taylor and Burton show!) There's no elevation or deepening or pathos, just a whole lot of shrill arguments, tacky period clothing, and crucial moments dutifully marked off a checklist. Meanwhile, Lohan's Taylor never seems to age or gain weight until the very end of the film, despite constant references to Taylor's weight problems and wildly fluctuating appearance.
It's been said that no one ever sets out to make a bad movie. Liz & Dick suggests that's not true. It feels throughout like those behind it made a deliberately campy, dumb, over-the-top and wildly unconvincing film to satisfy the whims of an audience eager to laugh at, rather than with, it. Of course, nothing kills good camp like self-consciousness or cynical calculation. Liz & Dick has moments of dumb fun throughout its first act, but after a while, the campy fun dissipates and the misbegotten project becomes unbearably shrill and one-note.
It's a testament to how badly Liz & Dick misses the mark that Taylor receiving news of Burton's death inspires the film's biggest unintentional guffaws. At least the actor has the release of being put out of his misery, a fate that should have befallen this misbegotten vanity project before shooting even began. Lohan might have embraced this project as her professional salvation. In a different, kinder universe, one where Lohan didn't plummet from the A-list to the gutter, this might have been her Oscar role, a challenging opportunity to play a bona fide American icon. Instead, it feels like yet another low for the luckless actress. Liz & Dick is less a comeback vehicle than a career-killer.
Stray observations
What the hell is Creed Bratton doing here, beyond being a distraction?
This is less likely to win Lohan an Emmy than the first-ever Golden Raspberry for a television movie.
How hilarious is Burton's satanic beard?
This film really reduces the Hollywood couple of the 20th century to a pair of insufferable overgrown infants.
I admire Liz & Dick's restraint in not actually having a wealthy dowager faint in horror at Taylor and Burton's antics
"I'm bored! I'm so bored!" seems to be the film's attempt at a "No more wire hangers ever!" catchphrase
Poor Lohan. She really did lose her way. Such a tragic figure in so many ways.
Recent from Nathan Rabin
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The spy who disappointed me case file #85: The Brothers Grimsby


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You are here: Home › Perdue Stadium upgrades recommended
Perdue Stadium upgrades recommended
By Kevin Reichard on March 4, 2014 in Minor-League Baseball, News
A consultant for the Maryland Stadium Authority has recommended $5.7 million in upgrades to Arthur W. Perdue Stadium, home of the Delmarva Shorebirds (Low Class A; Sally League).
The report recommends changes to bring the ballpark up to modern standards, including the installation of a new scoreboard, new field and drainage system, a new wraparound concourse with berm, and upgraded seating. The changes would boost attendance (and, we presume, per caps) by 10-15 percent, leading to $1.4 million in new economic spending and the creation of 20-30 new jobs outside the ballpark. The consultant does not specify a financing tool to accomplish these upgrades. From Delmarva Now:
Crossroads Consulting Services of Tampa, Fla., prepared the report to help guide lease negotiations between Wicomico County and the Delmarva Shorebirds' owner, 7th Inning Stretch LP. The agreement expires next year.
The report doesn't specify who will pay for the improvements: the public, the team's owners or both. Nor does it provide a time line for the work. Such details will be worked out in the negotiations, said Susan Sieger, president of Crossroads Consulting.
Many of the upgrades are necessary to help ensure the stadium remains profitable and competitive with its peers in minor league baseball, she said. The recommendations grew out of proposals offered during the ongoing stadium talks.
Perdue Stadium opened in 1996 and has not undergone any major upgrades since it opened. As noted, the team's lease expires after the 2015 season. Given that Sally League teams are in some demand and having a portable franchise is very desirable in today's MiLB business marketplace, the team does have some leverage in asking for some very basic upgrades.
2015, class a, crossroads consulting services, delmarva shorebirds, lease, maryland stadium authority, perdue stadium, sally league, susan sieger, wicomico county
Any month with baseball is a good month
New for 2014: Tbaytel Park


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Next:COLOMBIA: FARC Prefers To Die For Amnesty
Electronic Weapons: Too Much Is Not Enough
June 5, 2015: With great effort over the last two decades the American military has been able to get enough bandwidth (data transfer capability) to get video and still photos from aircraft and UAVs back to ground stations via satellites. There remains one big drawback in that there isn't enough bandwidth available on the battlefield to move around the data needed to keep the troops updated on what the UAVs, aircraft and satellites are seeing. The bandwidth problem has proved to be a real tough one. Mainly because high speed data transfer on the battlefield first became possible via satellite communications and data was soon being produced far faster than it could be moved around to the people who needed it. This was all about continuing bandwidth shortages. The army in particular is working on solutions. The most obvious one is to edit the data feeds to retain only the essential data.
What is happening to the military has also been experienced by most civilians. The many people who have used civilian digital cameras since they first showed up in the 1990s are well aware of how the size of those picture files has grown by more than fifty times in the last two decades. To these users it is obvious that 1990s digital cameras took useful photos but the current ones capture a lot more detail and military users find that "excessive detail" is the most useful part of a photo or video. So the effort to develop workable software that would send (after the operator selected criteria for what is important) a much smaller data file to the troops, showing only essential data. Working out how all that functions in practice has proven difficult.
Meanwhile the U.S. Air Force has managed to keep up, just barely, with its military communications satellite programs. Three of six AEHF (Advanced Extremely High Frequency) communications satellite are already in orbit and operational. The first of the AEHF satellites was launched on August 2010. It achieved its initial orbit but then it was discovered that its main maneuvering rocket, needed to get the six ton satellite into its permanent fixed 36,000 kilometer orbit, was not working. Efforts to get the main engine going failed. The engineers then went to work and found a way to use the lower thrust maneuvering rockets to still get the AEHF bird into position. But the alternate method was slower and took about nine months. That was a small price to pay for a satellite that is supposed to last 14 years, once you get it in the right position. AEHFs will replace the older MILSTAR birds, providing more abundant and reliable (jam-resistant) communications.
The major consumer of all this new bandwidth is live video being generated by the increasing number of vidcams on the battlefield. These vids are being exchanged by the units cooperating in an operation. This huge growth in bandwidth began in the 1990s, when the U.S. armed forces moved to satellite communications in a big way. This made sense, especially where troops often have to set up shop in out of the way places and need a reliable way to keep in touch with nearby forces on land and sea, as well as bases and headquarters back in the United States. At the time of the 1991 Gulf War there was enough satellite bandwidth in the Persian Gulf for about 1,300 simultaneous phone calls (12 megabits per second). But while the military has a lot more satellite capacity now (the exact amount is a secret), demand has increased even faster. UAV reconnaissance aircraft use enormous amounts of satellite capacity. The Global Hawk needed 500 megabits per second and Predators about half as much. The major consumer of bandwidth is the live video.
UAVs have other sensors as well, as do aircraft. A voice radio connection only takes about 240 bytes per second and each of the multiple channels needed to control the UAVs use about the same. But it adds up, especially since the military wants high resolution video. Until recently (when the AEHF birds went up) the U.S. had far more demand for satellite communications than it could support. As a result, not all the Predator and Global Hawk UAVs in combat zones had sufficient bandwidth to send their video back to the United States. Data compression and using lower resolution was often necessary or using satellite substitutes (aircraft carrying transponders) to send the video to local users. The substitutes are becoming more common, simply because there is neither the money, nor the time, to get sufficient satellites into orbit.
While the larger UAVs need satcomm to send video back to the United States, most of the bandwidth demand now is for local use. Tanks, helicopters, and aircraft are all sending and receiving more vids, maps, and data of all sorts. AEHF is needed to get essential material to higher headquarters as quickly as possible. The basic idea is to keep everyone connected, all the time. More radios and other wireless devices are on the way, as well as more features any Internet user would recognize, all available while under fire. AEHF is an essential link in this data chain.
NAVAL AIR: Why Indian Naval Helicopters Fade Away
COLOMBIA: FARC Prefers To Die For Amnesty
Electronic Weapons: Current 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999


The "Civil Rights Party for More Freedom and Democracy" today held a petition in central Munich against the opening of a mosque at the Stachus.
The party, which is described as a right-wing group with an anti-Islamic thread, set up a marquee on Kaufingerstrasse and looked for the signatures of anyone who opposes the opening of a mosque in Munich's centre.
The party believes that democracy should be enhanced in Europe by giving control of Europe to Europeans. Among their political messages is a strong pro-Israel stance and a call for a stop to immigration into Germany.
Several police officers gathered at the scene, presumably to prevent any clashes between the party and onlookers, many of whom were opposed to the presence of the "Civil Rights Party."
Several onlookers had brought their own placards and posters, which extolled anti-racism messages and calls for greater tolerance of Islam. Non-violent arguments could be seen taking place between the anti-Islamists and the anti-racists, who stood on opposite sides of a police-erected barricade.


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Hieronymus Christoph von Pöllnitz (* 1620; † 18. Februar 1697) war Offizier und Beamter im Erzstift Mainz und im Hochstift Bamberg.

Leben
Von Pöllnitz war der dritte Sohn des kursächsischen Ministers Hans Georg von Pöllnitz und dessen Ehefrau Anna Petronella von Heil. Im Gegensatz zu seinem protestantischen Vater war Hieronymus Christoph von Pöllnitz Katholik. 1652 kaufte er seinen Brüdern Gerhard Bernhard und Johann Ernst die Herrschaft Aschbach (Aschbach (Schlüsselfeld)) ab. Ab 1677 ließ er Schloss Aschbach als Wohnsitz erbauen. 1670 heiratete er die katholische Anna Katharina von Kerpen († 1690). 1670 wurde er von Kaiser Leopold I. in den Freiherrenstand erhoben.

Er trat in die Dienste von Mainz und Bamberg und wurde Geheimrat beider Fürstentümer und Kaiserlicher, Bamberger und Mainzer Generalmajor. 1652 bis 1670 war er Bamberger Oberkämmerer und danach bis zu seinem Tod Kommandeur der Festung Forchheim. Später war er zugleich Oberamtmann im Amt Burgebrach. 1672 wurde er dazu noch Bamberger Obermarschall.

Aus der Ehe mit Anna Katharina von Kerpen gingen folgende Söhne hervor:
 Ferdinand Johann (1664–1692), Bamberger Rat
 Marquard Sebastian Carl Christoph Anton (1686–1742), Bamberger Hofmarschall, Oberamtmann
 Wilhelm Georg Ernst Ludwig (1689–1740), Bamberger Oberamtmann

Literatur
 Claus Fackler: Stiftsadel und Geistliche Territorien 1670–1803, 2006, ISBN 978-3-8306-7268-5, S. 168.
 Johann G. Knup: Historische und genealogische Beschreibung des Geschlechts derer von Pöllnitz, 1745, 1870, S. 109, Digitalisat

Amtmann (Hochstift Bamberg)
Generalmajor
Freiherr
Geheimrat
General der Frühen Neuzeit
Deutscher
Geboren 1620
Gestorben 1697
Mann


text:
Q: Diagnosing "contains undefined reference for architecture" at linking phase I'm trying to build a x86_64 application on MacOSX, using qmake/qt. I was able to compile in QT4, but not in QT5.
Anyway, after running qmake to generate my makefiles etc:
qmake -recursive -spec macx-clang  app.pro CONFIG+='release static'
Then when I run make, eventually I end up here:
/Applications/Xcode.app/Contents/Developer/Toolchains/XcodeDefault.xctoolchain/usr/bin/clang++ -headerpad_max_install_names -arch x86_64 -Wl,-dead_strip -framework Cocoa -framework Carbon -Wl,-syslibroot,/Applications/Xcode.app/Contents/Developer/Platforms/MacOSX.platform/Developer/SDKs/MacOSX10.8.sdk -mmacosx-version-min=10.6 -o (...author's note--tons of .o files here...)  -L../lib -L../../debug -F/Users/seth/workspace/qt5.1.0//5.1.0/clang_64/lib -lprotobuf -framework Security -framework SecurityInterface -framework ApplicationServices -framework CoreFoundation -lxml2 -lbz2 -lxar -framework ScriptingBridge  -L/Users/seth/workspace/qt5.1.0//5.1.0/clang_64/plugins/iconengines -lssl -lcrypto -lz -lFLAC  -framework Carbon -framework QtWebKitWidgets -framework QtQuick -framework QtQml -framework QtNetwork -framework QtCore -framework QtGui -framework QtOpenGL -framework QtWidgets -framework QtPrintSupport -framework Cocoa -framework QtWebKit -framework QtSql -framework QtSensors -framework QtSvg -framework QtXml -framework OpenGL -framework AGL
ld: '__ZN3Log16DebugE7QStringS3_' in debug/Log.o contains undefined reference for architecture x86_64
clang: error: linker command failed with exit code 1 (use -v to see invocation)
I do not understand what 'undefined reference for architecture x86_64' means, and that's certainly the heart of the problem. Upon reading some other threads, some suggest that the libraries I'm linking against aren't x86_64, but after checking and rechecking, I can't find any non-x86_64 libraries involved in the process.
All my .o files from the build are Mach-O 64-bit object x86_64, after checking with the file command.
And for all libraries that I'm trying to reference (like libcrypto, for instance):
Non-fat file: ../lib/libcrypto.a is architecture: x86_64
And of course all the mac framework libraries are both 32/64bit capable.
Does anyone have any suggestions on how I could debug this further?

A: Been fiddling all day, found it.
The method that the link is complaining about has this in it:
qt_mac_execute_apple_script
This method does not exist in qt5.
Also, earlier in the problematic file, I have this:
extern bool qt_mac_execute_apple_script(const QString &script, AEDesc *ret);
if i comment these lines, the error goes away.
So basically, a very bad compiler error for a missing symbol – because the compiler wasn't nice enough to point out what the actual problem is beyond the vague architecture statement; probably made worse because I'm building my application statically coupled with the extern.

redpajama_set_name: RedPajamaStackExchange


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text:
Wii Zapper Revived
One year after Nintendo's first mention of the Wii Zapper attachment, it has returned in its new form at Nintendo's E3 2007 press conference. This time, the controller peripheral allows both the Wiimote and Nunchuk to attach into it, making it a two-handed gun. Reggie Fils-Aime, during the conference, called the Zapper the "first offspring of the Wiimote and the Nunchuk," and announced new games that will use the attachment, including Resident Evil: Umbrella Chronicles, Medal of Honor, and Ghost Squad.
Personally, I never liked the Zapper, and my opinions stands even more firmly than before. It is a useless add-on that doesn't enhance functionality and will only make games harder to play. After all, Nintendo had always described the Wiimote-Nunchuck style as "freehand." Why tie up our hands with a hard-to-use gun like this?
[via Joystiq] Save This Page Slashdot It! |Share on Facebook|
E3 07
Reggie Fils-Aime
Wii Zapper
Mass Effect On 360 This November
PSP Redesign Confirmed
Genericon 2010: Tales of a First-Time Staffer
Ani-Gamers at AnimeNEXT 2011
Con Report: New York Comic Con vs. New York Anime Festival vs. You (2010)


text:
Q: Is there a way to include time zone in IntelliJ File Template Header? #set($MyName = "Test User")
#set($test = $date)
/**
 * Created by ${MyName} on ${test}-${MONTH_NAME_SHORT}-${YEAR} ${TIME} .
 */

I know that Intellij came with a build in velocity apache variables. Is it possible to somehow get the time to be displayed (with timezone) on file creation?


text:
Tara Babcock – Bio, Facts & Personal Life Of The Model And YouTuber
By Adeola Seun
Talking to a camera and uploading it on the internet may once have been looked down upon as the interest of young adults who have no responsibilities and bills to worry about. However, with the monetization of YouTube and other major video platforms as it is today, that can no longer be held as a true fact seeing that social media stars have cut across all age brackets and across various age groups, one of whom is Tara Babcock.
For those who might not be familiar with Tara, she's a model who is also a renowned gamer and YouTube star vlogger. Her work on her channels, Tara Babcock Vlogs, and Tara Babcock Games has brought her significant popularity and success, both professionally and financially.
In this article, we take a closer look at the life, YouTube and modeling career of one of the many new stars of online entertainment content.
Tara Babcock's Bio
Tara Babcock was born on the 10th of November, 1989 in Seattle, Washington to parents named Bob and Mary. According to available information, her parents were never married to each other but raised her together, bestowing all of their love on their only child. She has established herself as somewhat of a philosopher willing to tackle big and interesting ideas on her online platform and the brilliance she has executed it with is a trait that has been with her since her high school days where she excelled academically.
As for college, we cannot say definitively if she attended college but we know other than her high school education, she began to attend modeling school at the age of 12, where she gained the knowledge and skill in fashion and beauty that has defined Tara Babcock as her fans and audience know her today.
Although it is believed she had a successful time as a model, much of the details of her active modeling years are unknown but in more recent times, she has deferred to YouTube, where she has expanded her creative juices outside the walls of fashion and beauty into gaming and vlogging.
Through her channel, Tara Babcock Games! which she created on the 27th of December, 2008, she has been creating and streaming gaming content on YouTube. She also goes by the same online name on Twitch, where she equally streams similar content. Over the course of the time, she has been a recognized member of the online gaming community, she has been known to enjoy games like StarCraft, Mortal Kombat, Assassin's Creed, God of War and a host of others.
When she is not producing gaming content, Tara Babcock defers to her vlogging channel, Tara Babcock where she shares her opinions on several social issues and pop culture events. The channel, which was created in August 2013, has over 700 videos with over 420,000 subscribers. Her gaming channel has over 220,000 subscribers.
Tara Babcock and a fellow gamer during a gaming session
Tara Babcock interests in sharing knowledge and information also extend to modeling, fashion and beauty through her channel, Tara Babcock Beauty! where she shares makeup tips, posture training, and other related matters.
When it comes to relationships, Tara Babcock has been at the center of a few rumors about her personal life, including one with a named Toby Turney in 2013 and most recently, a man with the Instagram account, @Jecko5. While there has been strong fire to fuel the rumor based some of the pictures that have surfaced online, Tara has never confirmed her relationship to either to them. If the YouTube star is in a relationship, so far, she has done a good job of keeping it away from public view.
What is Her Height?
She may primarily sit on a gaming chair these days as she takes on orcs and bad guys in various video games like God of War, Metal Gear Solid and others, but her modeling days are not yet completely over and a quick look at her only proves that. Tara Babcock has a body height of 5 feet 5 inches and an accompanying weight of 49.9 kg which is defined by an hourglass body that comprises of 36 inches bust size, 23 inches waist size and 36 inches hip size.
See Also: Reina Scully – Biography, Husband, Age, Height, Family of The YouTuber
Other Facts About Tara Babcock
While she was in high school, Tara Babcock was a cheerleader.
Outside of her YouTube presence, she has her own personal website, TaraBabcock.com.
Although her exact net worth is unknown, analysis of her YouTube channels suggests she makes an average monthly income of over $4,000 on just one of her channels, Tara Babcock.
Adeola Seun
Seun is a CCNA certified graduate of FUTA. He has been writing on various subjects that include finance, economics, celebrity net worth, lifestyle, biographies and politics for over 7 years, Other than writing, he enjoys movies, video games, and sports
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Welcome to bryan-schwartz.com
Scroll the menu on the left to view all of Bryan's projects and involvements.
Bryan Schwartz holds an LL.B. from Queen's and a Master's and Doctorate in law from Yale Law School. He has been a member of the Faculty of Law at the University of Manitoba since 1981, and in 1999 became the inaugural Asper Professor of International Business and Trade Law. Bryan is an author/contributor of 27 books and has over 200 publications in all. He is the founding and general editor of both the Asper Review of International Business and Trade Law and the Underneath the Golden Boy series, an annual review of legislative developments in Manitoba. Over the years he has received numerous awards and honours for teaching, research and community service. Bryan's practical experience has included acting as counsel for the Pitblado Law firm since 1994. He has advised or presented in a wide variety of public and commercial law cases in a wide variety of courts and tribunals. He has participated in the drafting of briefs or the presentation of oral argument in over a dozen Supreme Court of Canada cases. In recent years his clients have also included federal, provincial, municipal, and aboriginal governments, as well as private individuals, non-profit organizations, and administrative agencies. The issues in which he has been involved include constitutional, aboriginal human rights, labour, the environment, health care reform, and regulation of the professions. Bryan has served as an arbitrator in international trade law cases and labour grievances. He teaches labour law, has been a Canada Labour Code adjudicator since 1994, and has served as a sole arbitrator or panel member in a number of grievances brought under collective agreements.
Bryan's Curriculum Vitae
Download Bryan's full CV here and the highlights here.
Asper Chair of International Business and Trade Law
Room 454, Robson Hall
Winnipeg, MB R3T 2N20
Email: Bryan.Schwartz@umanitoba.ca
Pitblado LLP
2500-360 Main Street
Winnipeg, MB R3C 4H6
Email: bryanpschwartz@gmail.com
Disclosure, funding sources:
All views I express as a teacher, scholar, editor member of an academic committee or in any other role as a university professor are strictly my own independent opinion.
Donors for projects with which I am associated come from sources that include:
The Social Sciences and Humanities Research Council (Grants in Aid of Scholarly Journals); The Asper Chair Endowment;
The Legal Research Institute of the University of Manitoba (law journals, various research projects);
The Canadian Credit Management Foundation fellows program (for summer students working on the Asper Review);
The Canadian Credit Management Fund for International Business and Trade Law Conferences (annual International law conference);
The Asper Family Foundation;
Canadian Friends of Hebrew University;
The Jewish Foundation of Manitoba (student subsidies to participate in the Israel and International Law Program, all for student subsidies for the Mishpatim program); and
The Faculty of Law Endowment Fund (for Manitoba Law Journal projects).
As counsel for the law firm Pitbaldo LLP, I carry out professional practice for various clients that include First Nations and the Planning and Priorities Secretariat of the Provincial Government. I also serve on an international dispute resolution panel (Bilcon v Delaware), with the costs shared by the parties, and as an adjudicator under the Canada Labour Code.


Capitalising on over 15 years of experience and expertise in information security management and committed to developing knowledge and skills, dartalis has developed an information security training program.
The course plan proposed by dartalis focuses on key fields of information security based on our solutions portfolio, as well as providing comprehensive support for day to day operations security.
Since Thomas Edison turned on the light, technology has never stopped evolving and provides you the ability to achieve your business objectives. Keeping your mind trained ensures that you maintain the skills and knowledge required to get the most out of your technology solutions.
All our trainings are held in our offices in Contern – Luxembourg; however, we can also provide you dedicated classes on your premises. Our portfolio is adapted to follow the evolution of the security market.
The Luxembourg State supports businesses in their vocational training program by providing a financial contribution to their training plans. More information here.


Jeez, Tyson Kidd's really let himself go.
– Hey, guys. I don't ask much for heroically gutting out Smackdown every week, just a quick share on your social media platform of choice. Here's the buttons!
– Join the cool kids' wrestling club by following With Spandex on Twitter and Facebook. Follow yours truly on Twitter, too!


Steinberg Media Technologies GmbH today announced the immediate availability of the Metal Essentials VST Sound Instrument Set.
Metal Essentials consists of exclusively recorded Styles that span a broad range of heavy metal rhythmic patterns instantly accessible through the Style Player of Groove Agent.
Available for the Acoustic Agent drum kits of Steinberg's award-winning Groove Agent 4 drum software and the Groove Agent SE 4 plug-in included in latest versions of Cubase, Metal Essentials features ten Styles comprising a variety of intros, main grooves, fills and endings that cover different tempos and time signatures.
Visit www.steinberg.net/metalessentials for details on Metal Essentials.
The VST Sound Instrument Set, Metal Essentials, is exclusively available through the Steinberg Online Shop for 24.99 euros, including German VAT.
Delivering Sounds and Effects that Fulfill any Creative Requirement.


text:
Home › Colleen Green › I Want to Grow Up
Colleen Green
I Want to Grow Up
LP - $14.00 USD CD - $11.00 USD Digital - $9.00 USD
Label: Hardly Art
COLORED VINYL IS SOLD OUT!
I Want to Grow Up, the latest collection of songs from LA songstress Colleen Green, follows a newly 30-year-old Green as she carefully navigates a minefield of emotion. Her firm belief in true love is challenged by the inner turmoil caused by entering modern adulthood, but that doesn't mean that her faith is defeated. This time, she's got a little help from her friends: the full band heard here includes JEFF the Brotherhood's Jake Orrall and Diarrhea Planet's Casey Weissbuch, who collaborated with Green over ten days at Sputnik Sound in Nashville, TN.
First press of LPs available on clear wax with a blue/pink swirl. All LPs include a download code.


text:
package com.dianping.cosmos;

import java.io.Serializable;

public interface Updater extends Serializable {

    byte[] update(byte[] oldValue, byte[] newValue);

}


text:
Home Main News Oyo records 17 cases of child abuse in 4 months
Oyo records 17 cases of child abuse in 4 months
No fewer than seventeen (17) cases of child abuse were recorded in Oyo state in the past four months.
The cases were recorded between March and June 2020, according to the state government.
The state government made these declarations on Thursday.
The government said the age of the victims fall between one to seventeen years.
Chairman, Ministry of Women Affairs and Social Inclusion's Rapid Response Team on Sexual, Gender-Based Violence and Child Abuse, Mr. Marcus Williams, while presenting his report explained that part of the mandate of the team was to prevent and protect children from violence and other ill treatments.
Williams noted that the response team has increased the number of children who enjoy democratic dividends.
He added that access to free health care and education of children have
increased in the state.
Williams while speaking further enumerated some of the challenges militating against the team to include incomplete information on violence survivors and inaccurate reports which hindered swift responses in most cases.
He added that the unavailability of sufficient responders, cultural values, and family pressure of the survivors limited the extent of prosecution of offenders.
Commissioner for Women Affairs and Social Inclusion, Alhaja Faosat Sanni in her remarks, appreciated the efforts of the team for their swift responses stressing that most of the cases reported happened during COVID-19 pandemic restrictions.
Sanni who was represented by the Permanent Secretary in the ministry, Mrs. Christiana Abioye, said security agencies and non-governmental organisations have been collaborating with the Ministry to see that cases of rape and gender-based violence were dealt with accordingly.
See also Man 'deliberately drove into motorcyclists in Berlin motorway terror attack'
She admonished philanthropists who have a passion to care and advocate for the survivors and the less privileged to follow due process of registration as the Oyo State government would not spare anyone jeopardizing its efforts.
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text:
Oliver Pashley is a clarinettist based between London and St Leonards-on-Sea. He is a founding member of contemporary quartet The Hermes Experiment and holds the position of Sub-Principal Clarinet with Britten Sinfonia. Oliver plays regularly with orchestras and ensembles at home and abroad, including the Philharmonia Orchestra, BBC Symphony Orchestra, Manchester Collective, Riot Ensemble, and the Haffner Wind Octet, and has played guest principal with the Royal Philharmonic Orchestra, Royal Philharmonic Concert Orchestra, BBC Concert Orchestra, Bournemouth Symphony Orchestra, London Mozart Players, and English National Ballet.
Oliver's playing has featured on several high-profile releases, both in the world of classical music and beyond. His recently recorded Mark Simpson's Geysir alongside Mozart's Gran Partita, on a disc that was selected as one of Presto Classical's 2020 Recordings of the Year, alongside a Gramophone Editor's Choice award. He was also featured on Harry Escott's BAFTA-winning Soundtrack to the popular BBC Series Roadkill in 2020. He has tutored on several occasions at Aldeburgh Music, delivering courses and coaching to young musicians in the area, and is highly in demand as a musical collaborator with groups far and wide, having recently embarked on a tour with Manchester Collective, both around the UK and further afield in Europe.
As part of The Hermes Experiment Oliver has toured the UK and abroad. The ensemble, consisting of soprano, clarinet, double bass and harp, won the Royal Philharmonic Society's Young Artist Award in 2021, and the group has released two albums to critical acclaim. Their debut disc, HERE WE ARE, was Gramophone Magazine's Editor's Choice, and was selected as one of Presto Classical's 2020 Recordings of the Year, in addition to being featured as one of Apple Music's 10 Classical Albums of the Month and The Guardian's 10 Best Contemporary Albums of 2020. The group won the Gold Medal at the Royal Overseas League Mixed Ensemble Competition in 2019, and since its inception in 2013 has commissioned over 50 new works and arrangements for the group, also frequently venturing into live improvisation, graphic score, and performance art. Praise from The Observer includes '[t]his clever mix of instruments is more versatile than you might first think', and the ensemble's performances have been described by The Times as 'meticulously nuanced, witty and chic.' The ensemble gave an adaptation of Shakespeare's The Winter's Tale at the Cockpit Theatre in December 2016, and a debut recital at King's Place in February 2017. Recent highlights include performances at Wigmore Hall, BBC Radio 3 Open Ear at LSO St Luke's, Tallinn Music Week, St Petersburg's Sound Ways Festival, Southbank Centre, Kings Place and Spitalfields Festival.
Oliver studied at Cambridge University, and went on to obtain a Master's Degree with distinction from the Guildhall School of Music and Drama. Oliver was an Artist Fellow in residence at the Guildhall School in 2014-15, which culminated in a concert featuring an unconducted performance of John Adams' Gnarly Buttons given with the School's New Music Ensemble.
Oliver is a contributor to the Hong Kong-based online music journal Interlude.hk, having interviewed artists including Charlie Siem, Roxanna Panufnik, Menahem Pressler, Mahan Esfahani, the Emerson Quartet, and John Malkovich.
To contact Oliver for engagements, please use the contact form.


text:
Ochthocosmus attenuatus är en tvåhjärtbladig växtart som beskrevs av J.A. Steyerm. och J.L.Luteyn. Ochthocosmus attenuatus ingår i släktet Ochthocosmus och familjen Ixonanthaceae. Inga underarter finns listade i Catalogue of Life.

Källor

Malpigiaordningen
attenuatus


text:
William Gaddis Quotes
On Thomas Pynchon:
I haven't read Pynchon enough to have an opinion either of his work or whether it might have been "influenced" (perilous word) by mine, though I've understood he feels not & who's to know if he'd ever read mine before V?
(August 1982 postcard to Steven Moore)
I think both Pynchon and I—and I don't know him—are simply involved with different aspects of the same problems. I would doubt that my work has influenced him; his has certainly not influenced mine in any way at all.
(November 1986 interview with Zoltán Abádi-Nagy)
On James Joyce:
I recall a most ingenious piece in a Wisconsin quarterly some years ago in which The Recognitions' debt to Ulysses was established in such minute detail I was doubtful of my own firm recollection of never having read Ulysses.
(March 1972 letter to Jean [?] Howes)
I've about reached the end of the line on questions about what I did or didn't read of Joyce's 30 years ago. All I read of Ulysses was Molly Bloom at the end which was being circulated for salacious rather than literary merits; No I did not read Finnegans Wake though I think a phrase about "psychoanaloosing" one's self from it is in The Recognitions; Yes I read some of Dubliners but don't recall how many & remember only a story called "Counterparts"; Yes I read a play called Exiles which at the time I found highly unsuccessful; Yes I believe I read Portrait of an Artist but also think I may not have finished it; No I did not read commentary on Joyce's work & absorb details without reading the original. I also read, & believe with a good deal more absorbtion [sic], Eliot, Dostoevski, Forster, Rolfe, Waugh, why bother to go on, anyone seeking Joyce finds Joyce even if both Joyce & the victim found the item in Shakespear, read right past whole lines lifted bodily from Eliot &c, all of which will probably go on so long as Joyce remains an academic cottage industry.
(June 1975 letter to Grace Eckley)
On Malcolm Lowry (specifically, why he avoided reading Under the Volcano for so long):
[I] found it coming both too close to home and too far from what I thought I was trying to do
(February 1961 letter to David Markson)
On Alan Ansen's encouragement:
It was Ansen's unrestrained enthusiasm at sharing his own rather marvelous store, languages, literature, Bellini, the works, his hunger for work well done or the hope of it, and it was terribly infectious.
(conversation with Steven Moore, recounted in Moore's Introduction to Ansen's Contact Highs: selected poems 1957-1987)
On influences in general:
Speaking of influences, I think mine are more likely to be found going from Eliot back rather than forward to my contemporaries.
On T. S. Eliot:
[Eliot] was very formative in my life and thinking when I was in college and even later, when Four Quartets came out. I even wanted to include the whole of it in The Recognitions. I think Eliot still has very much to do with my thinking, with my attempts to use language, and so forth.
(1984 interview with Marie-Rose Logan and Tomasz Mirkowicz)
On capitalism:
I'm frequently seen in the conservative press as being out there on the barricades shouting "down with capitalism!" I do see it in the end as really the most workable system we've produced. So what we're talking about is not the system itself, but its abuses, I don't mean criminal but the abundant abuses just within the letter of the law.
On his studies at Harvard:
we read Chaucer, we read Dryden and so forth, Elizabethan drama, Restoration comedy, all the things that a good education in that area gives you. And very little current. I mean, it was before the days of writing workshops, and discussing current novels, and so forth. It was much more . . . I can't call it 'classic' education, because that was much more Greek and Latin, but it was more old fashioned, which I'm delighted, I'm very glad of. I always have been very happy about that.
(June 1985 interview with Miriam Berkley)
On attention paid to the author rather than the works:
I feel like part of the vanishing breed that thinks a writer should be read and not heard, let alone seen. I think this is because there seems so often today to be a tendency to put the person in the place of his or her work, to turn the creative artist into a performing one, to find what a writer says about writing somehow more valid, or more real, than the writing itself.
(acceptance speech for the National Book Award in Fiction for J R, April 1976)
I have generally shied from parading personal details partly for their being just that, partly from the sense that one thing said leaves others equally significant unsaid, and the sense in those lines to the effect that we are never as unlike others as we can be unlike ourselves.
(Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works, 1968)
On his preference for long passages of uninterrupted dialogue:
It's alive, it's alive, whereas expository writing is the writer writing.
On his works in progress circa 1962:
a novel on business begun and dropped in about '57 [J R]; a novel begun, rebuilt into an impossibly long play (very rear guard, Socrates in the US Civil War), shelved 1960 [Once at Antietam]; current obsession with expanding prospects of programmed society & automation in the arts which may bring an advance, a commitment, even an escape from the tomb of the 9-to-5 [the original nonfiction Agapë Agape, which, he later wrote, eventually became "a casualty of overresearch" that "will never be realized but in massive notes & marked margins in the hands of some beleaguered doctoral candidate"—AW].
(1962 letter, recipient unidentified)
On sacrilege:
Then, what is sacrelige [sic]? If it is nothing more than a rebellion against dogma, it is eventually as meaningless as the dogma it defies, and they are both become hounds ranting in the high grass, never see the boar in the thicket. Only a religious person can perpetrate sacrelige: and if its blasphemy reaches the heart of the question; if it investigates deeply enough to unfold, not the pattern, but the materials of the pattern, and the necessity of a pattern; if it questions so deeply that the doubt it arouses is frightening and cannot be dismissed; then it has done its true sacreligious [sic] work, in the service of its adversary: the only service that nihilism can ever perform.
(unused 1949 prefatory note to The Recognitions)
On alchemy in The Recognitions:
My early impression was that the alchemists were simply trying to turn base metals into gold. Later I came to the more involved reading and better understanding of it all—that it was something between religion and magic and that it did not necessarily mean literally lead and gold. So the gold in many of the symbolic senses in alchemy is the perfection, is the sun, is a kind of redemption. When at some despairing moment Wyatt says—when he realizes that the table of the Seven Deadly Sins is the original and not his copy—"Thank God there was the gold to forge," that is very much the key line to the whole book.
On the genesis of The Recognitions:
[The Recognitions was born in 1945 as a short story about a collapsing marriage, which eventually became Chapter 3 of the novel. By 1947, Gaddis was expanding the piece, in part by incorporating elements of the Faust story.—AW]
It began with the Otto-Wyatt-Esther triangle, and progressed openly as it does here, in the first part; though the original intention, closely following the FAUST, was Wyatt-Esme as Faust-Gretchen, and Esme's damnation through Wyatt's negation of her (as a model in forgeries; and his refusal to love her)
When I started this thing [ . . . ] it was to be a good deal shorter, and quite explicitly a parody on the FAUST story, except the artist taking the place of the learned doctor.
(unpublished notes for The Recognitions, 1945-51)
[In 1948 Gaddis traveled to Spain, and around this time he began incorporating elements from Sir James Frazer's The Golden Bough, Robert Graves's The White Goddess, and the third-century Recognitions, falsely attributed to the martyred Pope St. Clement. The novel's size and scope grew; the version submitted to the publisher was substantially longer than the published version and even included footnotes.—AW]
We come back to the Faust story and to the original Clementine Recognitions, which has been called the first Christian novel (I remember thinking mine was going to be the last one), about his search for salvation, redemption and so forth. And I had these notions of basing The Recognitions on the constant presence of the past and and of its imposition of myth in different forms which eventually come down to the same stories in any culture.
[Robert Graves] was such a fine and generous man that we had numerous talks and, in fact, he was to become somewhat the physical model for Rev Gwyon.
(July 1982 letter to Steven Moore)
Once one gets a theme in one's mind it becomes obsessive. If it happens to be forgery, then everywhere you look all you see is forgery, falsification—of religious values, of art—plagiarism, stealing. Gradually this panorama emerged. I thought, 'I've got to get it all in here.'
William Gaddis website