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Catalog > Photo & Video > Videography > Adobe Premiere Pro Cc Video Editing: The Complete Guide > Advanced Editing Techniques: Preference Hacks
Adobe Premiere Pro CC Video Editing: The Complete Guide
Advanced Editing Techniques: Preference Hacks
Let's take a look now at some preferences. We've been looking at preferences throughout the course, but let's focus on the handful of ones that we did change and some that we haven't that I like to change, that, to me, makes the editing experience a little more efficient and a little smoother. So again, on a Mac you'll find preferences underneath, where it says Premiere Pro. Under a Window's version of Premiere, you'll find it at the very bottom of the file menu. Once you open them up, they're exactly the same on both platforms. I'm gonna jump right in here to General, and we've seen a couple of things that we've changed already. Your duration of your transitions. We talked about this, but we did not change it. And that is, whenever you bring in a still image, it will come in that at default duration. And you may have noticed that it comes in at five seconds. Okay? If you want it to be shorter or longer, you can change this. You can also bring it in terms of frames, if you're thinking ...
in frames. I got a lot of people who do animation, think in terms of frames. And the way this works, again to refresh or reiterate, is whatever the setting is when you first import a still image, that's the length it will always be in your bin. You can always make it longer or shorter once you bring it to the Timeline. If you change this, any subsequent images that you bring in, will have the new default duration. Again, it's completely nondestructive. You can always stretch, but don't think that if you change this number, things that are already existing in your project pane will automatically change to that duration. If you have 100 clips and you want to change them back, just go ahead select delete, reimport them after you've modified this and said, "Oh, I want these to be 10 seconds long "so I don't have to stretch them all out." So that's one I like. Everything else is smaller. I always turn on this shortcut, and I'm gonna zoom in again so it's a little sharper. Snap playhead to Timeline when Snap is enabled. What does that mean? Snapping, which can be turned on and off, remember that's the S-key, is usually for clips to each other. But you'll notice by default when you move the playhead close to the edge of a clip, it doesn't snap to the end. We've been using the up and down arrow keys to jump between edit points. If this is turned on, as you bring the playhead close, like a magnet, it will snap to the edit point. Depending on the type of editing you're doing, sometimes you want that, because you don't get those flash frames. But sometimes you want to get close, and you're finessing audio, and it's really annoying is as you bring it close it's always snapping to it. Again, it's a personal preference. I usually personally leave it on by default, and then if I'm in a critical situation where I'm doing audio and fine-tuning, I may either toggle snapping off, or go here and toggle it off temporarily. But I just wanted you to be aware of that, in that, you know, why is the playhead not snapping, if snapping is turned on, because there's a subcategory in preferences which you need to activate. Playback, return to the beginning when restarting playback. That's a looping issue. We saw out of sync indicators. If that's turned off by default, that's the little things where you can say, "Oh, the audio's out of sync from the video." Again, some people find it annoying to have it on all the time, but it is valuable if you think there is an audio sync issue. This is an interesting yet very dangerous checkbox, and I do want to address it. So remember, and I'm sure you remember, but it's just a turn of a phrase, that when we brought things in that were a different size, images, we had a choice of setting to frame size, or, no I'm sorry, Scale to Frame Size or Set to Frame Size. And I said, well the problem with Scale to Frame Size is it rasterizes it, and it's hard to make it bigger or smaller. And that's why we always used set. Well, this is a setting that if it's checked and you bring in photographs, or even video that's a different size than your sequence, it will automatically scale it to fit when you drop it in. But it's scale, so if you looked at the Motion tab, it always looks like it's 100% of its original size, which is a little confusing. So I personally leave this off. I always try to use Set to Frame Size, because then I can see if I've actually blown it up or shrunk it when I look into that Effects Control tab. But maybe there are times that I wanna use it. Somebody just gave me a whole bunch of stills, I want to cut together a real quick video. I import them, they're automatically scaled, so when I drop it in the Timeline, at least they fit the frame. And maybe I do that Automate to Sequence that we learned earlier, and I put it to music and five minutes later I'm done. That's a reason I was able to justify this checkbox. In hindsight, I probably would never do that. I would still bring it in, and I'd rather select everything and right click, and go ahead and probably do the Set to Frame Size. Because I would wanna tweak it. But, I want you to realize that if you check that and you bring things in, you'll be wondering why is everything coming in as a perfect fit, and now when I need to zoom in and blow it up, I'm going above 100%. This might be turned on. So I recommend not turning it on. The next one is important to me, and hopefully will be beneficial to you. Throughout the course, we've been opening up bins, going deeper into another bin. And when I initially showed you that and I double-clicked it, the bin opened up as just this floating pane on top, and I said that's very annoying, so what we could do is we can hold down, on a Window's it's Command. And I believe it's Control on a PC. We've been holding that down, and we've been stepping inside. I also showed you that if we held down the option key, it would open up a second pane to the right, or a third and whatnot, which works just fine. But, the truth is that I never, never open this in a new floating window. So I actually changed the default workflow, and you can pick whichever one you want. But I was just picking one of the two, is whenever I double-click, it's gonna just go ahead and dig deeper into the folder without opening it up. So now, Command and nothing work exactly the same way. And I'm gonna actually close this out just to show you. Now when I'm working here, and let me step up a little bit. I'm in, of course, in a place where I can't see my my bins, there we go, Tilde. Oh, that's because maybe I don't have any bins here, on what I'm working on? My own worst enemy. Okay. Let's go ahead and make a bin, and put them in! New bin, grab this arbitrarily, throw this in, bing. The old way, it would actually create this wonderful floating noisy thing. Now if I double-click it's just as if I held down the Command key, and I don't have to think about that anymore. The only gotcha is when you go to a machine, and somebody hasn't done that and you start editing on it, it's like wait a second, why is this working so weird? I'd definitely change that in preferences. Some people like to be able to dig in. Some people like to just have an additional pane open. Either way, I think you're in better shape changing one of those. Let's go back into preferences and into General while we're there. Zoom in a little bit. So I switched to open in place. I don't want to talk about like every single keyboard shortcut, because every single keyboard shortcut, I'm sorry, every single preference doesn't need to be changed, and you don't have to know what every one is just to start editing. So I just wanna talk about the ones that I like. So we have the Snap to playhead, the out of sync, the other one that's important is underneath Auto Save, and we've talked about Auto Save briefly, that it does make a back-up copy every x number of minutes. Now the default is, it will do it every 15 minutes, and it will keep up to 20, and then when it gets to 20, it just throws the older one away. What do you set them at? Depending, you know, what's right? There is no right. What there is, is there's your personal style, and what are you cutting? If I'm cutting a one hour documentary, I don't need to save it, a version of it, every minute. Okay, it's not that big of a change. So I might leave it every 15 minutes, maybe even every 30 minutes cause I'm doing it over months of time. And 20 versions is fine. If I'm cutting a 30 second spot, a 30 second commercial, I might be changing a lot between 15 minutes, so I might go ahead and say, you know something, save it every five, save it every three. And I might want to save more copies. Maybe I'll make that a hundred versions. They're small, the project files, remember they're blueprints to the house. They're not the, all the house stuff. The tricky part is, is that when it's saving, it may cause the machine to hesitate while it's thinking about everything it has to save and writing down the database of what your project file is. So if you have a really big show, like a documentary, with hundreds and hundreds of cuts and hundreds and hundreds of clips, and every minute it's trying to save, you're gonna get really frustrated that your machine keeps interrupting your train of thought. So you should pick a number that works for you, and you can change it very easily. If you need to go back to these Auto Saves, they're located in an Auto Save folder, usually it's stored with the project, cause that's the default unless you've changed it, and you can go back. And they're basically named by the time that they're saved. And I actually use this myself, because I went back to some of the starting points of the lessons we covered, because I had changed everything. And I wanted to have a clean copy for us to put up for the people who are downloading the project files. So there's a lot of benefits, maybe you wanna go back and just open up what you did yesterday. It opens this up as a brand new project and you close the current ones. So you're not replacing what you're working on and lose all your work, it has a different name. Often you can go back and pull it out of that Auto Save folder, it's just a project file. Rename it, open it up as yesterday's version. If you've got to save it, yesterday's version. Very useful. Save to the Cloud. So we haven't talked a lot about the Creative Cloud. We've touched on it, but we have mentioned that there are things that you can save to your Cloud account when you have, The Creative Cloud with all the apps. If you're hooked to the net, and you have this checked, and you're logged in. Those are lots of qualifications, if, if, if. But logged in, connected to the net, makes sense. And you say save a back-up project to the Cloud, it will actually save a back-up of your project file, not all the media cause that's huge, but your project file to the Cloud, which you can access from multiple machines. And also in case you have a catastrophic failure of your hard drive, at least you have your project. You have the blueprint of your house, and you can go back and go to that back-up media that you've stored in a very safe location, bring that back into your computer. And now point to it, and rebuild your show because that's the creative thing you're doing. That project file is that hundreds of hours of brain power that you wanna not have to recreate. So, very good, save a back-up to the Cloud. I like that feature, it's not on by default. And if it works for you, it's a great thing. The last few things we're gonna cover, again for preferences, we have the Auto Save, under Media, we talked about creating the proxies. This is where you will enable proxies to be used, one of the places you can toggle it on and off so it will use them. If it's turned off, it goes back to the original media. It's just you need to tell it what to look at. You have a choice, you're in control. Okay? Some of these are, like growing files, that's broadcast. That's when they're recording the Emmy Awards live, and they're editing it. So literally, that quick time file is growing as they're working on it. So that's not something you guys would deal with. But again, it's a product that can be used from film to broadcast, to consumer and corporate, for everybody's needs. And finally to being able to enable proxies. Everything else I leave the same. We looked at Trim, there is sync settings. And that goes back to the Cloud, and we've talked about this. If you are logged in and you do have internet, you can have it automatically backed-up, your preferences, to the Cloud. All the workspaces you've created and all the keyboard shortcuts. And you can have it do that every time you, to always upload your changes, or you can say always when I launch, download my latest ones, or the default is ask. And it's not doing this, cause I'm not logged in, so there wasn't a sync. But it's a really nice way that if you want to one, not lose things, or if you're working across multiple machines and you create a new set of settings here, and you want to use them at home, you don't have to put it on a thumb drive, figure out where they are, export them. You can just download them, and there's really a couple of great options. If you're sharing machines, you can have every time you quit, it just goes back to the default. And you would have to actually download your preferences. So maybe you're sharing a machine with somebody. But that's an important thing. You can get to it from multiple places, but that's where you would ultimately set it up. And then, of course, we're back down to Trim, which is what we saw. I'm gonna go ahead and hit okay, and so those are the preferences that I find very, very useful. I mentioned in the open that we're gonna talk about subclipping, explaining what it is, and showing you how useful it is, and how to do it. This is very useful for interviews, when you wanna break it into smaller chunks for you to think about. It's useful if you have been given, in my case, that underwater footage, which is actually a movie, and I want to be able to break it into smaller pieces. I want to break something long into something short. Let's go ahead and do it with our Camera Master here. I want to go ahead and subclip this. So, there's a few ways to do it. The easiest is, I'm going through, I'm playing, let me bring this and make this a little bit bigger, and as I'm going through I can mark an In Point, and then I mark an Out Point where I like this sound bite to be, obviously I just did this arbitrarily. And all I have to do, and I wanna show you the bottom a little bit, is I hit Command + U on a Mac, I hit Control + U on a PC. And when I do that, it says what do you wanna call this portion of this clip? So you could type in maybe what he's talking about. Okay? Or if you're breaking up, somebody gave you that underwater video, this is the turtle, this is the otter, this is the diver. So when I do that, I give it a name, and then there's a checkbox here that says restrict the trim to subclip boundaries. Let me make one both ways, because seeing is a lot easier to understand what it means. Again, you always have flexibility, but sometimes you need to turn something off to go back to the original way. I'm gonna restrict it, I'm gonna say okay. And let me call this subclip one, sub clip interview one, that way I can search for the word one. And I'm gonna hit okay. It will put that subclip in the current folder that you have clip in that is active. So if you want it to go into a subfolder, you need to select that folder, and create a subfolder. Otherwise, we've learned you can move it around. So I restricted the edges, this is what a subclip looks like. It looks like a regular video clip, but if you notice it has these little brackets on either side. Okay? So I want you to see that icon. If I double-click this and load it into my project, I look at the duration, this is only 41 seconds. We know that the interview was nine minutes. So what I did is, this is just that one area of the clip. Okay? And I go to the end, and obviously that's not the end of the interview. It's just that one chunk, so it breaks it down to something smaller. I can again put In and Out Points to make it even smaller. But it allows me to organize this into smaller pieces so I'm not always hunting for, oh what was that great sound bite? Or what was that great visual? Okay? The original clip still exists in my project bin, I just now have a reference to a smaller section of it. So it's not like that master clip is gone. If I edit this in, and I'm editing in the entire clip, it's just the range of that subclip. And if I want to make it longer to stretch it, I would grab the edge, but wait a second. I know there's media, why can't I stretch it? That's because I put limits on the edge of my subclips. And there's times you may want to. Maybe you know for a fact that you pulled from a larger finished piece, and if you pull it to the left, you're just going to see the previous shot. And you don't wanna accidentally do that. Or you put a dissolve on it, and you don't want it pick up the extra media. So you want it to be definitively ending there. You can remove the subclip limits. I would go under Help to remember this sub, cause I normally don't put them on. Edit subclip, okay. I guess I would have to actually select the subclip, so I can't edit it to remove that. I generally don't put it in to start with. There we go. So I can go in here, and I can uncheck that in the clip. It says restrict, okay, and I'm good to go. Convert to a Master Clip, if you do this it'll actually turn this into a new self-containing clip that isn't affected by what it originally came from. It creates kind of a, like, as if you reimported this as itself. And that might be useful if you want to apply a color correction to the master part without affecting another area. Maybe the light had changed in the big one. Lots of things you can tweak here. You can change the duration and whatnot, but for the most part I want you to see that button. And if I wanted to create one of these from scratch without that, again, let me load in the original clip. Ah, let's use one of the skills we learned earlier. There it is, I can go down here. Remember all the previous clips that we used? Boom, I now have the full one. Go in, mark an In, mark an Out, maybe I wanna look at that in reference to the audio and see what he's saying, okay? Now I hit Command + U. We'll say okay, I'm not gonna rename it. I'm gonna turn that off, and we'll remember that it's turned off. And then we have the new subclip. Where did I put it? I don't know, but I can see very easily where it is because it has a different icon. Click to bring that into my source window, there we go. Do I have that? Did I open the right one? What did I do with my magical clip here? ♪ Do do, do do, do do ♪ Probably what it was doing it, because this is actually how they compress that longop stuff I talked about a few lessons ago. It had to create the proxies to fill in the video, so that took a second. And we know how patient I am, right? And this will happen sometimes. When you bring in highly compressed media, it actually is making these little, not proxies, but they're like WAV form files and picture icons. So that when you see the little pictures, it's not really looking at the original clip, it's looking at these little things it created. So that's what it was doing, it was creating that. Go ahead, bring this in. As a matter of fact, I'm gonna go ahead and hit the backslash, put my playhead right there, and so this is a subclip. And I chose not to put any restrictions on the edge, so I believe. And there I can go ahead, and I can stretch it to be longer.
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Understanding Editing
Building a Rough Cut
Refining Your Edit
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Finishing: Prepping for Output
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Ingesting Media
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Green Screen, Warp Stabilizer and other Special Tools
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Software Used: Adobe Premiere CC 2017
Understanding Editing: Bootcamp Overview
Understanding Editing: Overview
Understanding Editing: Video Examples
Tour The Interface: Digital Video Workflow
Tour The Interface: Project Panel
Tour The Interface: Choosing Your Shot
Tour The Interface: Music And Voice Over
Tour The Interface: Video Tracks
Tour The Interface: Edit Markers
Building a Rough Cut: Cut Planning
Building a Rough Cut: Selecting Media
Building a Rough Cut: The Edit
Building a Rough Cut: Edit Points
Refining Your Edit: Preparation
Refining Your Edit: Making Cuts
Refining Your Edit: Using Markers
Refining Your Edit: J and L Cuts
Refining Your Edit: Replace Edit
Working with Audio: Overview
Working with Audio: Levels
Working with Audio: Music
Working with Audio: Mixing And Syncing
Transitions: Overview
Transitions: Effect Controls
Filters & Effects: Overview
Filters & Effects: Using Multiple Filters
Motion & Animation: Motion And Animation Overview
Motion & Animation: Movement With Still Images
Motion & Animation: Picture In Picture
Motion & Animation: Motion Effects
Titling & Graphics: Overview
Titling & Graphics: Advanced Tools
Titling & Graphics: Roll And Crawl Effects
Titling & Graphics: Working With Photoshop
Speed Changes: Overview
Speed Changes: Stills And Variable Speeds
Color Correction: Overview
Color Correction: Lumetri Scopes
Color Correction: Contrast
Color Correction: Advanced Tools
Color Correction: Adjusting To A Master Clip
Finishing: QC Edit Points
Sharing & Exporting: Overview
Sharing & Exporting: Size And Quality
Ingesting Media:
Ingesting Media: Transferring And Importing
Multi-Camera Editing: Overview
Multi-Camera Editing: Creating A Sequence
Multi-Camera Editing: Switching Multiple Cameras
Multi-Camera Editing: Finalizing
Creating Timelapses: Shooting Strategies
Creating Timelapses: Editing Images
Creating Timelapses: Importing Strategies
Creating Timelapses: Animation
Advanced Editing Techniques: Take Command Of Your Timeline
Advanced Editing Techniques: Transitions
Advanced Editing Techniques: Keyboard Shortcuts
Thinking Like an Editor: Editing Choices
Thinking Like an Editor: Telling the Story
Special Tools: Warp Stabilizer
Special Tools: Morph Cut
Special Tools: Green Screen
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Read, Listen & Learn
ENVIRONMENT REPORT - November 8, 2002: Kenya Lion Cares for Oryx - 2002-11-07
This is the VOA Special English ENVIRONMENT REPORT.
Scientists do not understand the unusual actions of a female lion in a protected wildlife park in northern Kenya. The lioness in the Samburu National Reserve has been caring for baby antelopes that it would normally kill and eat. The lioness has become the most popular animal in the wildlife park. Many people have visited the park to observe her unusual behavior. Scientists say the lioness has defied the laws of nature.
Local people in Kenya named the lioness Kamuniak, which means "the blessed one" in the local Samburu language. She has cared for five young oryxes since January. An oryx is a kind of African antelope. At birth, the oryx is a light brown color. When it grows up, it develops black and white markings on its face. It develops long straight horns. Lions in the wild usually eat them.
The lioness became famous in Kenya when pictures of her were published on the front page of a local newspaper. She was walking side by side and lying in the grass with a baby oryx.
The lioness has cared for each of the five baby oryxes and protected them from other lions. Most of the oryxes later escaped with the help of their mothers. Sometimes, park officials had to intervene to rescue a baby oryx as it became weak from lack of food. Their mothers were usually too afraid of the lioness to get close enough to feed their young. One time, however, a baby oryx was eaten by a male lion while Kamuniak slept.
The lioness usually does not hunt for food while raising the baby antelopes. Experts say she apparently is too concerned about the safety of the oryxes to leave them alone.
Wildlife experts do not understand Kamuniak's actions. Some have said the lioness wants to be like a mother to the baby antelopes because she is unable to give birth to her own babies. Others say she has a mental disorder. Park officials have welcomed nature experts and researchers to the park to study the lioness's strange behavior.
Last month, one of the oryxes died of starvation and the lioness ate it. It was the first time Kamuniak had eaten one of the young animals. A wildlife official at the park and many visitors were surprised to see this. But the official said it was only nature.
This VOA Special English ENVIRONMENT REPORT was written by Cynthia Kirk.

redpajama_set_name: RedPajamaCommonCrawl


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The 1904 City of London by-election was a parliamentary by-election held in England on 9 February 1904 for the House of Commons constituency of City of London.

The by-election was triggered by the disqualification of the sitting Conservative Party Member of Parliament (MP), Hon. Alban Gibbs. The 57-year-old Gibbs was re-elected unopposed.

Vacancy
Gibbs had been an MP for the City of London since the 1892 general election, when he was elected to succeed his father Hucks Gibbs.

Alban Gibbs and his brother Vicary (MP for St Albans) were partners in the family business Antony Gibbs & Sons. This firm had organised the sale to the Admiralty of the two Swiftsure-class battleships,  and Swiftsure, which had been constructed in England for the Chilean Navy. Financial difficulties prevented Chile from completing the purchase, and they were bought for the Royal Navy to prevent them from being purchased by Russia, which had made a cash offer for them. Vicary Gibbs told his constituents that if the ships had passed into the hands of a rival nation, the balance of power would have been significantly altered, and that Britain would have fallen behind in naval power relative to its rivals.

However, in organising the sale, the two brothers had disqualified themselves from sitting in the House of Commons, under the terms of the House of Commons (Disqualification) Act 1782 (22 Geo. III, c. 45)
which debarred MPs from accepting contracts from the Crown. Vicary Gibbs told his constituents on 18 January that he would resign from the Commons by taking the Chiltern Hundreds, and then present himself for re-election. On 26 January Alban Gibbs told the City of London Conservative Association that his seat would become vacant on the first day of the new session of Parliament, but he was unsure whether this would happen through taking the Chiltern Hundreds, or by some other means.
The Association's chairman, Sir John Puleston, moved a vote of thanks to Gibbs for rendering such a "patriotic service" to the country.

Writ
When Parliament reassembled, neither of the Gibbs brothers applied for the Chiltern Hundreds. Instead they both wrote to the Speaker on 1 February to inform him of the contract. Their letters were read to the Commons on 2 February, and the writs were moved the following day.
The writ for the City of London was opposed by the South Donegal MP J. G. Swift MacNeill, who moved an amendment to establish a Select committee to investigate whether the two MPs were actually disqualified. This, he said, was the procedure followed in relation to Baron Rothschild in 1845, and of Sir Sydney Waterlow in 1869; in each case the Speaker had suspended the Motion for the Writ until the question had been considered by the committee. The Speaker disputed MacNeill's assessment, but when MacNeill sustained his objection, the writ was adjourned for debate on the following day. MacNeill similarly objected to the writ for St Albans, and debate on it was also adjourned.

Debate resumed on 3 February, when MacNeill submitted that the Gibbs brothers were brokers, and should not necessarily be deemed to be contractors. He believed that it was for the House itself to decide whether the brothers were contractors within the meaning of the Act. This view was opposed by the Home Secretary, Aretas Akers-Douglas, who argued that there was a crucial distinction.  Akers-Douglas pointed out that in the previous cases the members concerned had opposed disqualification and wanted to defend the right to retain their seats, whereas the Gibbs brothers wanted to vacate their seats and defend them in by-elections. He argued that the two men had acted in good faith, and that it would be wrong to leave the constituencies unrepresented while the question was decided.

The amendment was put and defeated. The writs were then issued for both the City of London and St Albans by-elections.

Nominations
After notifying the Speaker of his disqualification, Gibbs published a brief address "to the electors of the City of London", which was published as an advertisement in The Times newspaper on 3 February.
He told voters that having been obliged to vacate his seat, he intended to offer himself for re-election. Gibbs stated that his "views on political matters are so well known to you that it is unnecessary for me to dwell on them here", but he did venture a cautious comment on the then-current controversy between free trade and protectionism. He pledged his support for the Prime Minister Arthur Balfour on fiscal policy, but professed "the greatest sympathy for the Imperial Policy by which Mr Chamberlain proposes to bind the Empire together". By contrast, his brother Vicary was less equivocal, telling voters in St Albans that if re-elected he would support Chamberlain's proposals

The nominations day was set as Tuesday 9 February, with polling to be on Saturday 13 February if the seat was contested.
However, The Times reported that there was "no probability of a contest", and when the returning officers received nominations at the Guildhall on 9 February Gibbs was indeed unopposed. His election was announced from the Guildhall at 1pm.

His brother was not so lucky. Vicary Gibbs faced a strong campaign from his Liberal opponent at the St Albans by-election, and was narrowly defeated.

Aftermath
Two years later, at the general election in January 1906, Gibbs was one of two Conservatives re-elected for the City of London with a large majority over their Liberal opponents. However, the outgoing Prime Minister Arthur Balfour had been defeated in his Manchester East. After consulting with leading Conservatives in the City of London, Gibbs wrote to Balfour on 24 January offering to resign his safe seat to allow Balfour to stand, and the following day Balfour sent a telegram accepting the offer.
Gibbs resigned from the Commons on 14 February by the procedural device of appointment as Steward of the Manor of Northstead. At the resulting by-election on 26 February, Balfour was returned with 78.9% of the votes.
In September 1907, Gibbs succeeded his father as Baron Aldenham, and took his seat in the House of Lords.

See also
 Lists of United Kingdom by-elections
 1904 St Albans by-election

References

City of London,1904
City of London by-election
City of London by-election
Elections in the City of London
Unopposed by-elections to the Parliament of the United Kingdom in English constituencies
City of London by-election

redpajama_set_name: RedPajamaWikipedia


The lifesaveing volunteers have made the shortlist to win £2,000 of equipment to help them with the vital work they do.
A spokesman for Peli UK said: "It takes epic amounts of courage, determination, dedication and compassion to help others and save lives, day in, day out.
"We think it's about time that these heroes are well and truly celebrated.
Buxton Mountain Rescue Team volunteers give up much of their time to train and use their skills to rescue people in all weathers, often putting their own lives on the line.
To vote for Buxton Mountain Rescue Team for your emergency service heroes like and share the post on Facebook, and the group with the most votes by Thursday, July 5 will win.
To support BMRT click here.


text:
<< Back to Festival Page
THE DONUT KING
Saturday, October 24, 1:00PM ET
Followed by a Q&A with Alice Gu (Director) with Wayne Yeh (panelist); Moderated by Sovanna Pouv (Cambodian Mutual Assistance Association)
Directed by Alice Gu
94 mins | Documentary | USA/Cambodia | English
The rise, fall, and rise again of a Cambodian refugee who escaped genocide and overcame poverty to build a life for himself and hundreds of other immigrant families by baking America's favorite pastry and building an unlikely empire of donut shops.
Advisory: Film may contain themes, language or images not suitable for all audiences. Please contact ArtsEmerson Box Office (617-824-8400) for specific details .
Director's Bio - Alice Gu
Alice Gu began her directing career initially as a still photographer/cinematographer. With a BFA in photography from the University of California, San Diego, she started by shooting stills for the music industry. She soon realized that she could actualize her creative vision further in moving images and began pursuing a career in the motion pictures.
Website: https://thedonutkingfilm.com
Facebook: https://www.facebook.com/TheDonutKingFilm
Instagram: https://www.instagram.com/thedonutkingfilm
Co-presented by:
- CMAA (Cambodian Mutual Assistance Association)


text:
Anopheles parensis is een muggensoort uit de familie van de steekmuggen (Culicidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1962 door Gillies.

parensis


text:
Around the World: True Dungeon
This entry might consume a little of the site's "near-topic" credit, but the game it discusses is sufficiently close to being on-topic and sufficiently interesting that you'll hopefully enjoy reading about it anyway.
Since 2003, True Dungeon has been an annual feature of the giant GenCon tabletop gaming convention that happens annual in August(-ish) in Indianapolis. It is a swords-and-sorcery-themed live action game that sees teams of players form an adventuring party to defeat a number of thematic challenges placed in their way. On a matter of semantics, many – most? – consider it to be a slightly different kind of game to a role-playing game as the players are not actually required to adopt characters, though players do adopt character classes, powers and capabilities familiar from the genre. It would not be too perverse a misinterpretation to consider the overarching game to be a series of seven consecutive, linked, 12-minute exit games with unusual mechanics.
Many traditional RPGs require the adventuring party to defeat creatures that they encounter through combat. Instead of the traditional dice-rolling of a tabletop game, or the padded weapon physical combat found in many live action RPGs, combat here is simulated by the physical challenge of a shuffleboard-like game where the sliding of a disc determines whether a blow lands and how much damage it does. Attempts are made to give as many different characters as thematic an experience as possible; players representing classes associated with the study of magic have some degree of real-world memory test in order to perform their spells (etc.) with maximal effect, and players representing rogues may have a physical dexterity challenge to perform in order to achieve in-game feats. (Possibly with real-world consequences if this real-world challenge is failed!)
Traditionally, the same story has been offered to players in two slightly different formats. Some people like to emphasise the simulated combat encounters, and these can be dialed up slightly. Alternatively, it is possible to play through the same story with less of an emphasis on the combat and more of an emphasis on puzzles. To an extent these take the form of the riddle trope found in fantasy stories; to an extent, some of these can be quite abstract. Possibly the best way to get a feel for them is the images gallery from over the years. Some of the brainteasers do feel rather familiar, though they need to be put in proper historical context. For instance, the challenge that is effectively a 7×7 irregular word sudoku was featured long enough ago that it would have pretty accurately blended unfamiliarity with accessibility at the time.
The game does feature plenty of physical aspects by way of attempting to trigger as many of the senses as possible. The rooms contain actors and reportedly spectacular animatronic creatures to this regard, arguably drawing from the US haunted house tradition. (Sadly for me, they have incorporated sufficiently many aspects of this haunted house experience in the past that I would happen not to feel quite safe trusting the game's sense of taste.) A very considerable budget goes into making the game happen; participation is priced at $48 per player for a two-hour experience (of which, essentially, 84 minutes is the live game) which is probably on par with most US exit game tickets, on a minute-by-minute basis, these days. There are multiple stories and multiple difficulty levels offered each year, so people can and do find it worthwhile to play several times over the four days of the con.
Additionally, some players choose to show patronage by purchasing real-world tokens which offer in-game advantages. While this trading-card-game-like aspect has flourished over the years with a thriving secondary market, there is a fine balance to keep the entirety of the story accessible and enjoyable for those who choose not to participate. The forums suggest that the most dedicated players devote as much passion and resources to this single game as they might to a trading card game over the course of the year; these optional purchases contribute, I get the impression, a sum of the order of tens of thousands of dollars per year towards the cost of making it all happen.
Being played in one place globally for four days per year, this is something of a niche game. Nevertheless, most of the players who like it really, really like it; almost 8,000 tickets became available just over a week ago, 93% of them were sold within 32 hours and you might have to scrabble round to find a spare ticket, possibly by resale, even now. The existence of True Dungeon makes the gaming world a richer place.
Tags around the worldfantasyin-personlarp-except-nottrue dungeonusa
DASH 6 by the numbers
All the news from the exit games
Challenge Anneka? No, Challenge You
The annual DASH participation statistics post
Drawing a line from one DASH to the next
Mission accomplished – DASH 8 described
Some quick comparisons between editions of DASH
Pingback: An academic approach to exit games | Exit Games UK


text:
/*
 * This file is subject to the license found in LICENCE.TXT in the root directory of the project.
 *
 * #SNAPSHOT#
 */
package fr.jayasoft.ivy.conflict;

import java.util.Date;

import fr.jayasoft.ivy.ConflictManager;
import fr.jayasoft.ivy.Ivy;
import junit.framework.TestCase;

public class StrictConflictManagerTest extends TestCase {

    public void testInitFromConf() throws Exception {
        Ivy ivy = new Ivy();
        ivy.configure(StrictConflictManagerTest.class.getResource("ivyconf-strict-test.xml"));
        ConflictManager cm = ivy.getDefaultConflictManager();
        assertTrue(cm instanceof StrictConflictManager);
    }

    public void testNoConflictResolve() throws Exception {
        Ivy ivy = new Ivy();
        ivy.configure(StrictConflictManagerTest.class.getResource("ivyconf-strict-test.xml"));

        ivy.resolve(StrictConflictManagerTest.class.getResource("ivy-noconflict.xml"), null, new String[] { "*" }, null, new Date(), false);
    }

    public void testConflictResolve() throws Exception {
        Ivy ivy = new Ivy();
        ivy.configure(StrictConflictManagerTest.class.getResource("ivyconf-strict-test.xml"));

        try {
            ivy.resolve(StrictConflictManagerTest.class.getResource("ivy-conflict.xml"), null, new String[] { "*" }, null, new Date(), false);

            fail("Resolve should have failed with a conflict");
        } catch (StrictConflictException e) {
            // this is expected
        }
    }

}

redpajama_set_name: RedPajamaGithub


text:
Professors that shred
Austin Hale
OCMD plays at Canyons in Blowing Rock, NC on Saturday, April 9. Photo by Austin Hale.
Professors having lives outside of the classroom is a foreign concept to many students, a recent Yik Yak user posted. But the idea of professors spending their free time "[thinking] of ways to make you suffer," as one Yakker commented, is far from the truth.
History professors Jari Eloranta, Antonio Bly and physics and astronomy professor Johnny Hollandsworth started their own band. Along with keyboardist Greg Taylor and bassist Kenny Johnson, they make up Obsessive Compulsive Music Disorder, or OCMD.
Bly said the group got their start when Eloranta helped him move into his house. Eloranta noticed an instrument case and suggested the two get together and play.
"We got together and there was like a click," Bly said.
The two played together in several "permutations of different groups," Bly said, before picking up drummer Hollandsworth three years ago. Then at a conference in Nashville, they added Johnson to the group and Taylor joined soon after.
The band plays a genre of music they call "jazz rock funk fusion." Bly said that all of those music forms have been genuine at some point. Bly defines genuine music as music that people dance to. He said when music becomes intellectual and cerebral, "it loses its spirit."
Bly has been playing bass for 20 years. He started because a friend owed him money.
"He didn't have my money and he knew I was interested in picking up a musical instrument," Bly said.
To settle the debt, Bly took his friend's old Harmony bass, had it repaired and learned how to play it.
"At that time I didn't really understand the instrument or its position in a musical setting," Bly said.
As a Jimi Hendrix fan, originally Bly wanted to play the song "Purple Haze." At his first lesson, his instructor showed him the bass part and explained a bass player's role in a band.
"I said, 'I don't want that, I want those two other strings,'" he said.
Eventually, Bly resigned to the rhythmic role of a bass player. He learned how to play a variety of Hendrix and other rock 'n' roll songs before discovering jazz, and Bly has been playing bass ever since.
"That's when I began to discover the instrument," Bly said. "This [instrument] is heavy, this is no joke."
Eloranta has been playing guitar for 30 years. Unlike Bly, he got into the instrument through peer pressure.
"I had a couple friends who played and when I saw what they were doing I got interested," Eloranta said. "And attention from girls, that helped too."
When he first got started, Eloranta was into hard rock and metal. He has played in several metal bands.
In college, Eloranta played in a Blues Brothers tribute band before moving to a Finnish dance orchestra and then to a few funk bands semi-professionally. He even thought about studying music in college.
His grandmother convinced him otherwise. "She just told me 'First of all you have to get a real job, then you can have fun playing music,'" Eloranta said.
Eloranta said he got into academia because of one of his professors.
"I was doing okay in his class, but then he took me aside in the middle of the semester and said, 'What are you doing? Why are you wasting your time here? You know you're going to get the 'B' with minimal effort, but you have much more talent than that," Eloranta said.
After that talk, Eloranta said he got his act together and got serious about school. When he was ready to graduate, his professors suggested grad school.
"It was at that time I was already hooked anyway, that this is what I want to do," Eloranta said.
Bly said he knew he wanted to be a professor since he was a kid. He had an old friend who told him, "I'm gonna do the math, and you're gonna do the history, and together we're gonna change the world."
From that point on, Bly said, he and his friend went down the path of academia.
Bly's passion for history is evident among his students.
"He's really approachable and passionate about what he teaches," Omar Heikal, a junior molecular biology major enrolled in Bly's global studies class, said. "He grades on discussion so he encourages everyone to give their input and talk to one another."
When it comes to Bly's musical pursuits, Heikal said he was not surprised because, "he seems like he's really chill in his spare time," Heikal said.
"Music has always been my escape," Bly said. "I look at it as a way of expressing myself more fully."
On top of music, Bly is also passionate about ballroom dancing.
"It's all part of a piece of me," Bly said. "It's my stress reliever."
Eloranta said he does not find professors moonlighting as musicians all that unusual. Many of his friends in academia play musical instruments, he said.
"Music is very complicated," Eloranta said. "So it draws a certain type of mind."
Eloranta said it's likely that OCMD will record an album in the future because the majority of the band members have equipment at home where they can record.
Story by: Austin Hale, A&E Reporter
Playlist of the week: Ode to the Green Comet
Grandfather Mountain welcomes home founder's photos
Barks and brews 10th annual K-9 keg pull
Sculpture Center crew pour their heart into local art
Boone's exploding artists
Lookie lookie, some bookies


The canvas is simple: tubular meat, squishy bun, maybe a squirt of mustard. But when that simple combination is done right, a hot dog becomes more than the sum of its parts, a meal that's simultaneously low brow and divine. Just like the best sushi in Las Vegas, the best hot dogs in Las Vegas come in all shapes and sizes: from sausages topped with relish, ketchup, mayo and mustard to classic franks, wieners and wurstels. Sure, you might find some delicious variation of the food at the best buffets in America, but there is something about each one of the hot dogs below that makes it truly top-notch. And, remember, no sausage experience is complete without a cold beer in hand (here are the best places to drink craft beer in Las Vegas… You're welcome).
Gourmet hot dog may sound like an oxymoron, but that's what's for dinner at this Korean-inspired joint where the menu boasts 19 different options and taps toppings as diverse as pork belly and pico de gallo. If you like things spicy, you won't be mad at the Angry Dog, a fiercely tasty frank that comes piled with spicy pork bulgogi, Asian slaw, jalapeño and spicy mayo. Want even more? Pair it with Angry Kimchi sweet potato fries smothered in five cheeses, onions, kimchi and jalapeños and topped with more bulgogi and a fried egg. Damn.
When the food truck boom hit Las Vegas, Fukuburger was leading the pack with its bright red ride, Asian-inspired hamburgers and street party vibe. While the namesake burgers are true flavor bombs, the Nagadog quickly emerged as a dark-horse contender for best order with its 1/3-pound hot link laden with grilled kimchee, daikon relish, wasabi mayo and strips of nori. If that sounds like a lot of bold tastes riding in the same bun, well, it is. But trust us, it totally works.
Once a humble hot dog cart, today Cheffini's slings beef, turkey and vegan franks to the downtown crowds from a post inside the Container Park. "More is more" is the philosophy at this wiener stand, where the so-called Naked dog comes with two toppings and sauces and the Classic Cheffini's is loaded with onions, tomatoes, jalapeño, mozzarella, crushed potato chips, pineapple sauce and—deep breath—mayo, mustard and ketchup. Still hungry? Throw your cholesterol to the wind and order a plate of Latin American favorite salchipapas, deep-fried hot dog slices served over French fries and doused in signature sauce.
Check your diet at the door of this Los Angeles import, which specializes in bacon-wrapped hot dogs and deep-fried desserts. While the official lineup has a scant five franks, those in the know go off-menu with the Mutt, a combination of the Red Dog (spicy tomato chili sauce, chipotle aioli and onions) and the Green Dog (chimichurri sauce, guacamole and cilantro) that packs a flavorful wallop. Try to save room for an order of the dirty corn or some deep-fried Oreos for dessert.
Old dogs and new tricks is the theme at this Henderson shop and the PBB&JJ definitely falls into the latter category. The PBB stands for peanut butter and bacon, as in a bacon-wrapped Nathan's frank topped with creamy peanut butter, and the JJ stands for jalapeño jelly, as in the perfect foil to that salty, meaty melange. Think you can do better? Build your own decadent dog starting with the frank of your choice and then picking from dozens of toppings. We won't judge if you add some totchos on the side.
Love him or loathe him, Gordon Ramsay knows a thing or two about making food you want to eat. Exhibit A: Gordon Ramsay BurGR, where the menu is full of high-calorie temptations, from the Pork Belly "Hot Pockets," to the Uber Cheese Burger and the Sticky Toffee Pudding Push Up Pops. Hell, even the quinoa salad sounds delicious. And hidden at the bottom of the menu you'll find the chef's take on a chili dog: an all-beef frank simmered in hellfire sauce and grilled then smothered in roasted Fresno peppers, jalapeños, cheddar, avocado, onions and chipotle ketchup. Be sure to order a milkshake for when your mouth needs a break.
This entry into the race for Vegas' best falls into the classic category, adhering to the strict specifications that make a frank worthy of bearing the name Chicago. For starters, a Vienna beef hot dog cradled in a steamed poppy seed bun. Then come the accoutrements: yellow mustard, diced onions, relish, tomato slices, a kosher pickle spear, zingy sport peppers and a sprinkling of celery salt. Whether you grew up on these or are just discovering them now, there's something magical about this combo of tubular meat and toppings that stands the test of time.
The latest tenant to fill the literal shack (or perhaps kiosk) in the Dino's parking lot, Pepito earns its money turning out two-hander burgers, open-faced sandwiches and hot dogs that literally overflow with goodness. Order up the Scooby Dog, an eight-inch beef frank on a lobster roll piled high with sauteed jalapeños, mushrooms and onions; potato strings; cole slaw greens; bacon; cheese; egg; avocado and two homemade sauces. Grab some extra napkins. You'll need 'em.
Las Vegas' mobster past—and whether the city was better when made men ran the joint—is a popular topic of debate in town. There's even a museum dedicated to organized crime and the lawmen who fought it, so it's fitting for the city to also boast a killer Mafia-inspired hot dog. Great Links offers 18 styles of franks as well as numerous sausages from Polish kielbasa to Portuguese linguica. Tempting though they may be, you're getting the Mob Boss, an all-beef dog with a satisfying snap topped with grilled onions, peppers and mushrooms, doused in marinara sauce and Parm and crowned with a pair of mozzarella sticks. So gangster.
If you haven't yet sampled Dog Haus, "the absolute würst," that won't be the case for long. The California-based chain is on an expansion kick and now has locations in five states with 12 more (for a grand total of 450 restaurants) on the way soon. What to order when you get in the door? There's a full list of dogs and burgers (give a raise to whoever named the Scott Baioli), but a sausage is calling. The Another Night in Bangkok is a spicy Thai currywurst topped with peanut sauce, slaw and crushed peanuts.


text:
Post Convention – Like We Really Cared About Them – Open Thread
July 29, 2016 July 29, 2016 Mark Noonan
Of all the Convention speakers, I think I caught about 30 seconds of some Democrat droning on about something as the TV channels switched between re-runs of some doctor soap opera and Fixer Upper on HGTV. In other words, I didn't in the least care to hear what a bunch of people I repose no trust in had to say. On the other hand, following along on Twitter with the jokesters was hilarious. I am certain, however, that Hillary came out 2nd best in it and it was because of Obama's assertion that Hillary is the best qualified person in history to run for President…if that's the case, why didn't the Democrats nominate her in 2008?. I think normal people who don't follow politics will consider the whole thing a farce. But, we'll see, shan't we?
Along with following the jokes on Twitter I did notice plenty of highly educated, very experienced Conservative political pundits wailing and moaning and gnashing their teeth of the Democrats' new-found respect for patriotic sentiments. Oh, my goodness, went the comments – because of the idiot GOP voters, the Democrats get to be the patriots! This pretty much finished many Conservative political pundits for me – for crying out loud, it's not like the Democrats are being truthful here, guys! Give me a break! They are just lying – as they always do – in order to wow the suckers. Perhaps it will wow the suckers but if your definition of "love of country" is "make patriotic noises if it'll help you win votes", then I want no more to do with you. The bottom line is that we've lost and lost and lost and now got Trump because the GOP has played it's own base for fools. We – the run-of-the-mill, average, everyday GOP/Conservative Americans – wanted certain things done. Certain fights to be had (even if we lost them); certain principals to be upheld; certain demands to be made and adhered to come heck or high water. The GOP leadership didn't do this – they said they'd do it, and then as soon as they had garnered our votes, they went off and surrendered. And, so, Trump. Suck it up, sunshine – Trump isn't our fault, he's yours.
Who will win? Probably Hillary – she's got the money and the political infrastructure. Both candidates are terribly unpopular and it may come down to a low turn-out election where Hillary's superior resources can drag enough people to the polls. But, no one can really tell – it is notable that about 10 days ago, Rasmussen was the only pollster showing Trump ahead…now that almost all other polls show Trump ahead, Rasmussen has him behind. I'm putting this down to what I've expected all along with 2016 polling – no one can be sure who to poll. So many regular voters are disgusted and so many irregular voters are (at least in theory) excited that it is going to be very hard to detect who is really ahead. Some pollsters are very smart and they may be able to create an accurate model of the electorate…but we won't know, for sure, if any of them have done that until after the election. To be sure, if polls show Hillary consistently up by 5 or 10 by late October, then it'd be safe to bet the she wins on November 8th…but even then, not 100% for sure. And ditto for vice-versa.
I've still no dog in this hunt – and I'm still unsure of what to do. I'll probably remain unsure what to do until November 8th…after I've skipped past the Presidential contest to spend a great deal of time carefully going over the crucial city judge election contests and then stare blankly at the screen for a while, weeping softly… But as the co-author of The Worst President in History: the Legacy of Barack Obama, I will state firmly that neither of the two candidates will be as bad as Obama has been (and have you picked up a copy? I just re-read it a bit and it's quite good…and selling fairly well for an independent publication with no advertising budget…just go on over to http://www.worstpresidentbook.com and buy it, today!). Part of this is because of the massive damage Obama has already done – hard to burn down a building a second time, ya dig? But mostly because Obama really has been a horror from day one…how in heck we elected someone out of the corrupt Chicago Democrat machine will always amaze me. If you haven't read the book then you are likely unaware of the level of just sheer graft that has gone on – and while Hillary and Trump are not likely to be watchdogs against graft, it would take some spectacular efforts on their part to go beyond Obama's cronyism. They can't possibly be more un-Constitutional than Obama because there's pretty much no provision of the Constitution that Obama hasn't tried to violate (often with great success). Both of them are also quite old – we might luck out and find that either of them wind up a one term President. We can deal with four years of either of them – at all events, fixing this country is a generational thing and if we don't get started until 2021, it won't be that much harder a task.
And, so, off to the general election we go. Will there be debates? Not sure – some are saying Trump will shy away from them, fearful of Hillary's razor sharp intellect (no, seriously; some people are saying that – stop laughing!). Some are saying Hillary will shy away from them because she doesn't want Trump bringing up her rank corruption to a national audience (for a very large number of people, it would be the first time such things as the e mail scandal were really presented to them). It might make an interesting argument – what with Trump demanding that "unfair" MSMers be excluded and Hillary saying she can't appear on stage with someone like Trump.
Trump will shoot his mouth off. Count on it. Each time he does, it will be announced that his most recent statement has finished him. File those with the 1,000 times his candidacy has already been declared dead because of his verbal monstrosities. It might be that his mouth eventually sinks him, but it hasn't so far so don't count on it doing so in the future. Hillary is going to run a "Rose Garden" campaign – pretty much acting like she's already President, already has the election in the bag, giving carefully scripted interviews (but perhaps not a single press conference – too much risk that someone will ask a question not pre-vetted by the Hillary campaign)…and leaving it to surrogates to hammer Trump relentlessly. Trump will relentlessly bait Hillary (and Obama) hoping to make them lose their cool at some point – we'll see how disciplined they are. Trump's only hope is if several million people who don't normally vote – or who normally vote Democrat – come his way. To really get them to the polls, he'll have to build up some sort of good ground game…we'll see if he's disciplined enough to do that (or at least smart enough to let the pros do that for him).
I expect the House to remain Republican, and for the Senate to probably remain GOP, as well (looks like we might lose one or two, but will probably pick up Reid's seat in NV…so, a net loss of one). If somehow Hillary pulls of a landslide, it might be different – but even then it might not. Nixon won in a blowout in 1972 with no significant change in Congress.
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10 thoughts on "Post Convention – Like We Really Cared About Them – Open Thread"
Retired Spook July 29, 2016 / 9:24 am
Any regular American who is planning to vote for Hillary because she will help the "little" guy needs to read this.
Also, anyone undecided or undecided but leaning toward Hillary needs to see Dinesh DeSousa's new documentary, Hillary's America.
http://www.theblaze.com/stories/2016/07/28/tucker-carlson-says-nancy-pelosis-remarks-on-white-males-show-dems-have-pulled-the-mask-off
Her comment about God being "a woman's right to choose" makes me ponder, again, the Church allowing her to partake of the sacraments while promoting the atrocity of murdering unborn children and using her position to further it.
M. Noonan July 29, 2016 / 10:21 pm
More and more Bishops are calling that sort of thing out – it is a massive wrench for the Conference of Catholic Bishops because the Democrat-Catholic alliance went back to the 1840's and was just part of the natural order of things for so long. The Church always changes slowly – but I think it is ever more perceived that as we give a pass to Catholics who have fallen for the World, it brings discredit upon the Church, as a whole. Care still needs to be taken, of course – the Church never breaks with a government if there's any possibility of some sort of accommodation and it is understood that once people like Pelosi are denied the Sacraments, then it will be open war between the left and the Church. This is something to be avoided if at all possible – but it is getting less and less possible all the time.
Is the Church a religious organization dedicated to certain religious principles, or it is a political organization beholden to various political entities? (I am not talking about the internal politics of the Church.)
In other words, the Church is faced with the same decisions we all are, as individuals—the weighing of principle against pragmatism. Yes, it might seem to the Church that it gains a lot by its association with the Democrat Party in the United States. But it also loses a lot. Ideally it would stand along, firm in its dogma and holding its members to that dogma. Don't want to follow the rules? Then find another church.
Right now in the United States we have top government officials who are putative Catholics. We have Pelosi, and we can't forget Kerry, who had a Catholic marriage of nearly 20 years, which had produced two children, suddenly "annulled" so he could marry a rich woman who refused to marry a divorcee, and who has always supported abortion. I don't remember—does Reid claim to be Catholic? And what about Biden?
Just as you and I have said that conservative pundits have lost our confidence and respect because their recent actions don't mesh with their stated political philosophy, the Church is facing the same kind of reaction to what is either hypocrisy or spinelessness. Or possibly both.
But let's just say, for sake of discussion, that if the Church wants an affiliation with a U.S. political party, what would it lose by being closer to the Republicans? It is the Republican Party that wants to both protect and encourage faith-based charities, it is the Republican Party fighting for the right to worship, it is the Republican Party more likely to restrict abortions, it is the Republican Party which believes in the virtue of work and self sufficiency. As far as I can tell, the only attraction to the Left is its superficial lip service to wanting to "help the poor".
The Church has made some serious errors in its shift to the Left, the most serious being its recruitment of homosexuals for the priesthood and then its protection of homosexual predation upon young post-pubescent boys by its priests. I don't see a downside to the Church making a decisive move to the Right—to the true political philosophy of the Right, not the distorted South American version of the Right or the popular misconceptions about the Right but its true foundation in equality of all and opportunity for all and freedom for all.
"…war between the left and the Church. This is something to be avoided if at all possible.."
Why? Why would this be a bad thing, "to be avoided if at all possible"? If the Left is directly responsible for the atrocities we discuss here, ranging from genocide to the enslavement of millions by making them dependent on tyrants to the butchery of millions of innocent unborn, then why should the Church, or anyone else for that matter, cringe at open conflict with it?
How can you have an organization with a foundational premise of fighting evil fretting about upsetting the representation of evil acts? The history of the Church has been one of courage in taking on evil and vanquishing it, going back to the vanquishing of Lucifer. Funny, but I have never seen an artistic representation of Michael sitting at a desk going through a list of Pros and Cons for taking a stance.
The Church is very much hated – and not just by our Progressives. A full on war against the Church by a Progressive government, which is what we'd get if Hillary becomes President after the Church de-jure excommunicated all pro-abortion Democrats, would be applauded not just among Progressives, but among a great deal of American Protestants, as well. It's not something to enter lightly into, especially as you and I don't know what transpires between, say, Pelosi and her confessor.
I think the break is coming – the time when it will be officially declared from on high that any person who openly advocates from abortion is no longer a Catholic unless they give public repentance of their pro-abortion views…but, not yet.
Amazona July 29, 2016 / 12:04 pm
"This pretty much finished many Conservative political pundits for me "
Many of them were toast as far as I am concerned for quite a while now. People I have respected for their intellect and acumen have made the most bizarre and utterly stupid comments I have ever seen, and many of the "conservative pundits" who used to have some credibility have lost it.
Take those who have defended Trump's putative Christianity. He says he is a Christian, so shazaaam! he IS–never mind his entire life history, never mind his defining being a Christian as "eating that little cracker", never mind him repeating that he has never felt the need to repent for anything (remarkable, given his past) all that these people needed to hear was a declaration from him that completely wiped the slate clean.
Not that I care if he is or isn't—I'd vote for a Druid if his politics were sound—-but it is the determination to justify an indefensible position by making indefensible claims that bothers me, and makes me dismiss those people.
I've always thought of Newt Gingrich as a smart guy. I couldn't figure out his love of Trump, but then I don't know the details of his thought process. Or I didn't, until he fatuously declared that Trump's marriage to Melania PROVES that he is "not against immigration". ?????? Huh? It proves that he likes compliant big-haired big-breasted women, even if one or two happen to be born in other countries. Newt instantly plummeted off my "credible" list. That insipid titter and fatuous look on his face when he said this screamed "bromance" to me, and was profoundly creepy.
I don't agree that Hillary would not be worse than Obama. Yes, he has set the stage and he is a hard act to follow. She can't redo what he has done, but she can and will build on it. The one thing that screams to me, over the noise of everything else, is THE SUPREME COURT. Put a couple of 40-year-old Liberals on the Court and our entire constitutional system is under constant erosion for the next 40 years or so.
That, and vetoing every bill sent up by a Republican Congress.
You'd be hard put to find a more vocal, more passionate anti-Trump person than I have been the past few months, but now that we are stuck with him as our nominee I truly don't see that I have any choice at all regarding how to vote, much less whether or not to vote.
I am retaining my disdain for those who have put him where he is, including those mindless "conservative" pundits who have proven themselves to be no more than Identity Politics, issues leaves floating on the surface of serious politics.
Oh, yeah – the Conservatives who have gone full on for Trump are also heavily wrecked in my view. I can understand making an argument that Hillary is so bad that Trump is a necessity…but for the Conservatives who have suddenly discovered that Trump is what Conservatism always wanted? Bull…stuff.
It would appear that the best tactic to use against Hillary is to exploit her stunning ignorance. And not just about Wall Street, but her ignorance about identifying classification markings on classified emails, her ignorance that, when she generates an email that deals with classified topics, it's classified whether she marks it or not, since, as SOS she had original classification authority.
Amazona July 30, 2016 / 8:42 am
You are so right. Trump needs to have a little paragraph he says over and over—she was in the White House for 8 years as "co-president" and in the Senate for 6, where she sat on committees dealing with classified information, yet after 14 years she still didn't understand the rules for dealing with sensitive information. I would get the actual wording of everything she signed regarding the need for security, and quote it. And then finish with "And even after all this, she now says she just didn't KNOW, or just didn't UNDERSTAND, what she was required to do. And now she wants you to think she is smart enough to be president? She's either not smart enough or she is lying about what she understood which means she is not honest enough."
A better speaker than Trump could go back into the days when she was hounded by FOIA demands, and had to come up with stuff she had not wanted to have to reveal, hiding some of it till it was "found" later, and explain that her private server was a calculated effort to avoid ever having her correspondence examined again. Of course, not being very smart, she didn't stop to think that its existence would ever be known, or that any decent hacker could get into it and acquire every single correspondence from the State Department, I would explain that the reason for having the server in the first place was to avoid examination of her anticipated shady dealings, proof she planned in advance to do things as Sec of State that were shady if not outright illegal, and she knew she couldn't have these actions documented in official government records.
Most people don't understand the significance of what she did. They think it was really no big deal, just a simple mistake, and the eeeevil Right are just making too much of it. Somehow it needs to be laid out, step by step, not just what she did but why she did it and what she wanted to hide.
I love this: when she generates an email that deals with classified topics, it's classified whether she marks it or not, since, as SOS she had original classification authority. How could she not know this?


flood | What? Why Bother?
Bloody hamstrings. I was up to running 5km at least three times a week by this time 2013, and 3km on the other days (but weekends off – I'm not a masochist!). Since then I've had to stop running altogether for weeks at a time , sometimes months, because my hamstrings were killing me and I could hardly walk sometimes.
I'm back running again: I ran twice in the week and felt a slight pulling in the hamstrings, but nothing too drastic. And I felt a lot better for it. I'm hoping to run 2 to 3 km every weekday next week. I would have started maybe a week or two earlier, but my usual jogging route was under a metre of water, the river Severn had burst its banks.
I really miss not running, plus I was turning into a human-sized lump of lard, which is not a good thing.
I have been trying to get back into running this year, after buggering up my hamstrings. Days like this don't help: I usually run 3 to 5km along the river, and two lines of trees here next to the flooding River Severn are where my usual running route is. It'll be days before this goes down enough to run.
It floods a little most years, not usually this much. I'll just sit here and get fat, then.
I have my 2nd roll of film back, and this time it's not blank.
The shots are just of things around the town, nothing special. The shots I lost on the blank roll would have been more interesting, I think, lots of flood water (which has now receded). This is the first camera I have owned with controls for aperture, shutter speed and focus. It also has a 'bulb' mode, where the shutter stays open for as long as the keep the release pressed down, ideal for night shots.
The shot above of St. Chad's (a round church in the middle of Shrewsbury) was taken at 8PM, with a shutter time of about 3 seconds. Unfortunately, I hadn't wound the film on enough, so I had a massive over-exposed strip on the left. I'll learn.
The camera I'm using is older than me, a Voigtlander Vitoret D.
This is going to get worse before it gets better, and it can get a lot worse than this. Not so easy to go running through this, or even take a shortcut to Asda.
Cleared out the setting on my old N73, and using that as my camera now. So I am carrying around 3 mobile phones now.
Yes, it's getting slightly damp on my jogging route again. Notice how the railings have almost disappeared underwater at the far end. It is expected to get worse this weekend. Luckily, most of this town is built on a hill, and that is never going to flood.


The clock movement (or clock electric motor) is the heart of every contemporary timekeeping job, as it controls the rotation of each hand along with the screen of other essential details. Choosing a clock activity for your wrist watch is usually not a challenging endeavor when you have actually determined the complete capability or full set of features required. But there are periodic nuances one must look out to, and also catering to the artistic preferences of your customers is likewise something not to be disregarded.
Producing a different clock movement for each conceivable mix of attributes is entirely unwise for suppliers, so they produce the most prominent as well as salable parts. This suggests that the professional clockmaker or hobbyist in the marketplace for one (whether for a new layout or to fix a broken-down watch) has to sometimes modify his function set shopping list a little to optimize the overlap with what is readily available.
Naturally the other clock elements, the hands, dial, structure, and devices, additionally play an essential role in the completed item. And some care must be given to make sure that these various other elements balance as a system, blending their individual shades, dimensions, as well as designs. However, like the foundation of a home or a body's skeleton, the activity has to be developed initially in order for whatever else to work appropriately.
When you create a clock from scratch you could manage to think about consisting of supplementary attributes that you possibly would not find in an off-the-shelf timepiece. We are thinking of such points as chiming, alarms, and pendulums. The electric motor manages the procedure of these additionals along with standard timekeeping features, and so be sure to add them to your want list throughout the option process if you want to apply them.
Naturally, if you battle to think up a shopping list, there is absolutely nothing avoiding you from designing your clocks according to an alternative technique, that of investigating what's offered and choosing what stimulates your fancy. This is likewise a helpful method to find a few of the extra heavy clock activities available.
Furthermore, you can eschew structure from parts and also just order an insert (or "fit-up"). This approach will conserve some labor also. However, for optimum customization as well as to fully manage your job's look, get the components, including the motor, individually, developing all of it from the ground up.
Many motions present time in the standard 12-hour layout. But you can discover electric motors that sustain a 24-hour style or perhaps further time extensions. These typically call for a special dial (which should be calibrated or a minimum of combined to the motion) and in some cases an added hand.
This extra hand can be made use of to show the day of the week or the day of the month, once again, all inning accordance with what timing the activity results. And also though all activities support showing seconds, the previously owned is optional and there is a selection in between discrete and audible ticks or a continuous as well as quiet sweep.
For showing moisture, temperature, and/or barometric pressure, there are purely weather movements, additionally readily available with the exact same supplier as that for temporal clock parts. These retrieve up-to-date worths from sensing units and equate them right into a hands-over-dial format. Revealing tide degree is also an alternative; in this instance the motion is a hybrid of estimations from lunar cycles, solar cycles, as well as regional conditions.
One point to keep an eye out for is the quantity of torque supplied by the motion to revolve the hands. Requirement motors have enough zest to transform minute hands up to concerning 7 inches long, whereas clocks larger than 14 inches in diameter require a high-torque activity. Look additionally for motors that sustain the additional features of chimes or pendulums.
We have actually covered the majority of the issues one has to recognize to build stylish as well as working watches from scratch. As a result of its utmost value, focus has been on the methods that come in handy for clock motion selection and virtuosity.


ALOTENANGO (AFP): Nearly 200 people are missing and at least 75 have been killed since Guatemala's Fuego volcano began erupting over the weekend, officials said Tuesday.
Seven communities in already devastated areas were evacuated as the volcano's activity increased, with rescue operations halted.
"We will continue until we find the last victim, though we do not know how many there are. We will probe the area as many times as necessary," Cabanas told AFP.
The speed of the eruption took locals by surprise, and could be explained by it producing pyroclastic flows, sudden emissions of gas and rock fragments, rather than lava, said volcanologist David Rothery of Britain's Open University.
UN Secretary-General Antonio Guterres said he was deeply saddened by the "tragic loss of life and the significant damage caused by the eruption," and said the UN was ready to assist national rescue and relief efforts.


text:
package gocat

import (
	"runtime"
	"testing"
)

func Test_functionName(t *testing.T) {
	var skip = 0

	var names = []string{
		"gocat.Test_functionName",
		"testing.tRunner",
		"runtime.goexit",
	}
	for i := skip; ; i++ {
		if pc, _, _, ok := runtime.Caller(i); !ok {
			break
		} else if functionName(pc) != names[i] {
			t.Errorf("incorrect function name: got %s, want %s", functionName(pc), names[i])
		}
	}
}

func Test_trimPath(t *testing.T) {
	var expect = "gocat/trace_test.go"
	if _, filename, _, ok := runtime.Caller(0); !ok {
		t.Errorf("error occurred in reading top of the stack")
	} else if trimPath(filename) != expect {
		t.Errorf("incorrect trimPath result: got %s, want %s", trimPath(filename), expect)
	}
}


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The Australian Federal Police will work with local police to verify the status of items confiscated from the Malaysian woman, Anita Ting Siong.
National Capital District and Central Commander, Sylvester Kalaut, said police have been advised by the woman's lawyer that the items were beauty products.
However, Mr Kalaut said, only further testing will determine the status of these items.
Some of these items were found in the woman's residence while others were found hidden in the speaker of the vehicle she was using.
Mr. Kalaut said they've informed Australian police to have the items tested.
"We are still awaiting them to get back to us," he said.
"Once that's done we will hand over the items so that they can have it tested for us.
"They have advised us that those are face removal or facial products for beauty, but you know we can't take their words for granted.Those items are to be tested," Mr Kalaut said.
"Why! Because we are suspicious that some of these items were hidden in a speaker," he said.


text:
Home > Council & democracy > Council meetings > Agenda for Licensing Sub Committee on Tuesday, 5th February, 2019, 6.30 p.m.
Agenda, decisions and minutes
Licensing Sub Committee
Tuesday, 5th February, 2019 6.30 p.m.
Attendance details
Agenda frontsheet PDF 119 KB
Agenda reports pack
Supplemental Agenda 1 PDF 799 KB
Printed decisions PDF 85 KB
Printed minutes PDF 114 KB
Venue: C3, 1st Floor, Town Hall, Mulberry Place, 5 Clove Crescent, London, E14 2BG
Contact: Simmi Yesmin, Senior Democratic Services Officer Tel: 020 7364 4120, E-mail: simmi.yesmin@towerhamlets.gov.uk
DECLARATIONS OF DISCLOSABLE PECUNIARY INTEREST PDF 67 KB
To note any declarations of interest made by Members, including those restricting Members from voting on the questions detailed in Section 106 of the Local Government Finance Act, 1992. See attached note from the Monitoring Officer.
No declarations of disclosable pecuniary interests were declared.
RULES OF PROCEDURE PDF 83 KB
To note the rules of procedure which are attached for information.
Guidance for Licensing Sub , item 2. PDF 75 KB
The Rules of Procedure were noted by the Sub Committee.
MINUTES OF THE PREVIOUS MEETING(S) PDF 89 KB
To confirm as a correct record the minutes of the Licensing Sub-Committees held on 4th & 20th December 2018 and 8th January 2019.
Draft Minutes - Lic Sub Committee - 20 Dec 18 , item 3. PDF 80 KB
Draft Minutes- Lic Sub Committee - 08 Jan 19 , item 3. PDF 126 KB
The minutes of the Licensing Sub Committee meetings held on 4th and 20th December 2018 were agreed and approved as a correct record.
ITEMS FOR CONSIDERATION
Application for Variation of a Premises Licence for The Craft Cocktail Club Ltd, Arch 253, Paradise Row, London, E2 9LE PDF 115 KB
Craft Cocktail Appendices Only , item 4.1 PDF 4 MB
LCC Hearing Submissions , item 4.1 PDF 79 KB
Management Policy LCC , item 4.1 PDF 535 KB
At the request of the Chair, Ms Lavine Miller-Johnson, Licensing Officer, introduced the report which detailed the application for a variation of the premises licence for The Craft Cocktail Company, Arch 253, Paradise Row, London E2 9LE. The application was to vary their existing licence condition to extend the outside seating area from 21:00 to 23:00 hours, seven days a week. It was noted that an objection had been received on behalf of the Environmental Health Team.
At the request of the Chair, Ms Lana Tricker, Legal Representative on behalf of the Applicant explained that they wanted to vary one of their existing licence conditions for the use of the external area from 21:00 hours to 23:00 hours. She explained that the Craft Cocktail Company was a very experienced cocktail brand and given the location it was very popular, had lots of seating and good transport links and mainly attracted a female clientele. Ms Tricker stated that the application had been discussed with Responsible Authorities such as the Police and had been discussed at the local Pub Watch meeting.
It was noted when the application was first made the premises was not part of a Cumulative Impact Zone (CIZ) and the Police had made no objections. There had been no individual representations as the Applicants had developed a positive relationship with local residents. She highlighted that the concerns from Environmental Health were due to the late hours and the concerns of noise escape. Ms Tricker highlighted the fact the hours of extension were within the framework hours and any noise escape would be managed by the conditions in place and supervision by an SIA accredited door supervisor.
Ms Tricker concluded by stating the ways in which they rebut the presumption of the CIZ; they were active members of the community, the manager was the Chair of the local Pub Watch scheme, had internal polices promoting the licensing objectives, together with additional conditions offered such as a condition to limit the number of people in the outdoor area to 45 persons after 10pm. A dispersal policy, tightly controlled with two managers and four members of staff and that they were part of the Best Bar None initiative where their policies had been tested and rated.
Members then heard from Ms Nicola Cadzow, Environmental Health Officer, she explained that any noise that would be generated from outside the premises was likely to cause a disturbance to local residents in the vicinity. She highlighted that the premises was in a CIZ and the idea of using the outdoor space would encourage other premises to apply for later hours, therefore affecting residents.
She said that Temporary Event Notice applications were not a problem but the outdoor area was only 10 metres away from residential properties, the premises had music speakers outside, and Ms. Cadzow therefore asked that speakers should not be allowed outside at any time.
In response to questions from Members the following was noted;
That the applicants had a good relationship ... view the full minutes text for item 4.1
Application for a New Premises Licence for (The Town House) 5 Fournier Street, London, E1 6QE PDF 115 KB
Townhouse Appendices Only , item 4.2 PDF 5 MB
Supporting Letters_Redacted , item 4.2 PDF 122 KB
At the request of the Chair, Ms Lavine Miller-Johnson, Licensing Officer, introduced the report which detailed the application for a new premises licence for Town House, 5 Fournier Street, London E1 6QE. The application was seeking a licence for the sale of alcohol. It was noted that objections had been received on behalf of local residents. It was also noted that there was one letter of support.
At the request of the Chair, Mr Mike Nickson, Licensing Representative on behalf of the Applicants explained that they wished to vary the application to apply for off sales only, this was due to the concerns raised by residents. He said they were not applying for late night refreshments or regulated entertainment, but merely the flexibility to sell craft artisan beers/ciders. He said that it had been a coffee shop for the past 20 years, a charming and cultural café. He said that there were two floors to the premises and the licence would relate to the basement floor only. He said it was not proposed to operate the premises as an off licence, but to sell artisan and craft beers/ciders produced in small quantities by the Applicants, which would be on sale in the basement floor only and therefore not be behind the shop window or openly displayed on the premises. Therefore, the proposed sale of artisan and craft beers/ciders was not likely to attract street drinkers.
He explained that many discussions had been made and many have welcomed the idea with letters of support contained in the agenda and supplemental agenda. He said that the hours were within the framework hours and objections raised by residents related to activity from other licensed premises in the local area.
Mr Nickson acknowledged that the premises was within a Cumulative Impact Zone (CIZ), and that therefore, the burden was on the Applicants to prove how they would rebut the presumption against granting a licensing application relating to premise in a CIZ. Mr Nickson also argued that any cumulative impact which objectors relied on, would need to be proved by evidence. It was noted that no Responsible Authorities had objected to the application as they had no concerns. It was noted that the Applicants estimated that the proposed sale of alcohol would account for no more than 5% of the business. The Applicants submitted that any decision is to be proportionate and reasonable and based on evidence.
The Applicants presented that the Town House had community support, and that there had been dialogue with residents for the past 18 months, as a result of which the Applicants had indicated having applied self-imposed conditions. The Applicants also suggested conditions such as restricting the licence to craft and artisan beers only and for the licence only to be operated by Fiona and Clifford Atkins.
Mr Nickson referred Members to page of 209 of the agenda which referred to the Special Cumulative Impact Policy for the Brick Lane and Bethnal Green Area, in particular section 19.8 which ... view the full minutes text for item 4.2
EXTENSION OF DECISION DEADLINE: LICENSING ACT 2003
The Sub Committee may be requested to extend the decision deadline for applications to be considered at forthcoming meetings due to the volume of applications requiring a hearing. Where necessary, details will be provided at the meeting.
There were no applications that required deadline extensions.


I don't know Egon personally, but with the few interactions I've had with him he seems like a good, honest, dude. The real interesting tidbit in this story is the possibility of the original (non-extended) version of Donuts being released. Read the story HERE.


Today we have Ewen Cluney, who brought over the Maid RPG over to western shores. He also translates Japanese board games as well as write games of his own. Right now, he's working on an expansion to Golden Sky Stories. Hear all about it in our interview with him.


Join us on the beautiful grounds of Landis Valley for this special day when over 75 local artists and craftspeople will demonstrate and sell their work!
Hathy House will be particpating in the Junior League of Lancaster March Madness Shopping Spree held Saturday, March 9th from 9:00 am - 3:00 pm at the Lancaster Jewish Community Center! Admission is FREE!


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