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Q: Put a time window on deleted questions before performing the delete A recent trend seems to be delete voting a question immediately after it's closed.  While I like the sentiment, it has caused issues.  Quite often, the question will be deleted within minutes of asking.  So quick that the original poster never sees that it was closed and just sees it disappear.  So they think there was a bug and re-post the same question.  This obviously is not great for several reasons.  Here is a question that it almost happened to today (2 delete votes within 3 minutes of asking)...
I propose a "Delete Window".  Basically, we'd still allow delete votes immediately after close.  However once the necessary number of votes is received, a banner will appear on the question saying "This question is marked for deletion".  Then it will remain available for some fixed time window as read-only (perhaps 1 hour).  That way the poster can have time to see the fact that it was closed (and the marked duplicates).
The existence of the 20k 'rapid delete' has added some spice to this problem. A user submits a really poor question -- beyond reasonable repair. Within moments, it's both closed and deleted. Well, this is fine, except that it lacks a feedback path to the user, unless that user was watching closely enough to see the comments and/or close reason before the delete happened.

A: The power to delete questions with no delay once closed is given to very high rep users in order to lighten the load on the moderators.
If we add a delay:

*

*It would require more moderator intervention to close those egregiously bad questions that shouldn't remain for even minutes.

*It would allow people to game the site more easily - spammers and abusers would know that their material will be visible for longer, and in a business like theirs seconds make a difference. (note that the flag for abuse also deletes the question or answer much more quickly, as it's automated and only requires 5 votes from people with much lower reputation, so this isn't a strong argument for speedy delete vote access)

*It won't reduce the real issue

*

*Users will still be confused if their question is deleted a day later rather than within a few minutes.

*Users who post such bad questions that they are closed and deleted that quickly probably need more help than can be provided by leaving the question open for a longer period of time.

Keep in mind that it takes 5 people with 3k rep to close it in the first place, and 3 people with 20k rep to delete it.
That means that expert users with a combined experience of well over one year (and probably many years) deem the question unsuitable.
It's not a minor judgement.

A: This seems like an extremely weird way to fix this problem. Can't we just alert them through the inbox that the question was deleted, or through some other method? I was thrilled when the feature request to allow deleting terrible questions was implemented; we really don't need to make deletion worse yet again

A: The speed at which a question is deleted is now in direct proportion to the question's suckiness.  Higher suckiness means faster deletion.
status-by-design
Your question assumes that people who post bad questions just need to be educated.  But in my experience, the people who post really bad questions do not care about your explanations.  They just want to post their spammy questions.
As an example, if a person posts three or four answers with links to their product or blog, without even making a feeble attempt to read the faq or find out what StackOverflow is all about, we don't try to educate them; we just burn their account (and all of their posts with it).
If it's really an honest mistake, the people willing to get better will figure it out.

A: I have a better idea: Start taking closing seriously!
Closing, from the earliest days of the site, has been a "nomination for deletion" - a purgatory where bad questions sit until they've atoned for their sins, get deleted, and are allowed to move on to Question Nirvana.
Ignoring the painfully-mixed metaphors in the previous paragraph, this means if you see a closed question - or a question with close votes - that you think can be improved to the point where it won't need to be deleted, you should do your utmost to improve it and then re-open it!
I recall getting into an argument with another user a few years back for deleting a question that sat closed for months. He made some good arguments for how it could have been salvaged, but... It wasn't salvaged. It sat there, collecting dust, because the prevailing attitude at the time was that deletion was an empty threat, and so once you got your answer in, who cares if the question got closed?
Now, it's pretty obvious that while a question might sit around closed for a good while, it might also disappear within minutes of being closed - that's a good thing! Crappy questions clogging up the site are harmful, and the quicker they're either fixed or deleted, the better it is for the site. If the new deletion rules provide a long-overdue sense of urgency to fans of closed questions, then I'm happy.
It doesn't take an hour to fix a question, or to post a comment urging would-be delete-voters to hold off while editing is in progress. If you post a lousy question and then sit on your hands while other users critique it, close it, and finally delete it... Then you probably have something else you should be doing, and can ask again when you've at least as much time to devote to seeing your question answered as you expect others to put into answering it.

A: If it were me, I'd do a "merge" instead of delete. This is very useful to gather metrics such as determining popular repeated questions and immediately offer them up in the new question title box question list.
Proper merging also helps incrementing usefulness of the original post, that is, if the first post covered 2 facts, a later duplicate could come up with a 3rd fact - a merge ensures the 3 of them co-exist, while a delete would potentially cause more duplicates which focus on the said 3rd fact.
Talking about all this brings "community wiki" to my mind. Perhaps this should be on a similar but smaller level?

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The recent rain has brought out a strange visitor - a creepy, crawly fungus gnats that left a FOX8 viewer curious.
Victoria and Ian of Sophia sent us this video. In the video, you can see the fungus gnats slowly moving along the ground.
According to Colorado State University, fungus gnats, also known as dark-winged fungus gnats, are small, mosquito-like insects often found in homes and offices, usually in the vicinity of houseplants. They are considered a nuisance when present in noticeable numbers, but the adults are harmless insects that do not bite.
Fungus gnat larvae develop in the growing medium of houseplants and are considered minor pests of houseplants.
Adults are 1/8 inch long, delicate, black flies with long legs and antennae. There is a distinct "Y-shaped" pattern on the forewings. The larvae are wormlike and translucent, with a black head capsule, and live in the gorwing medium of houseplants.


certain trails. Dogs and Horses allowed in certain areas. Long riding season.
Cons: Cougar sightings on occasion. Can get crowded.
The Corner Canyon Trail System is a fantastic recreational area near Salt Lake City that is mainly used for mountain biking but also allows foot traffic, dogs, and horseback riding. The trail system is butted up against the Wasatch mountains in the city of Draper in the southeast corner of the Salt Lake Valley. Tucked between developments is a free and wide open swath of doubletrack and singletrack to explore without having to leave the suburbs. With its low altitude, the riding season starts earlier and lasts longer than many Wasatch mountain biking trails. The average difficulty of the trails is moderate with a few more technical sections, meaning this is a place that everyone who loves to ride should try.


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Message From OSGH Executive, News (Owen Sound Girls Hockey)
Message From OSGH Executive
Submitted By Jericko Willets on Wed 03 23, 22
Hello Ice Hawks families,
Unfortunately we're at the end of another hockey season. Although it always seems to end too soon, it has been great to see our players back at the rink this year and we can be optimistic about a return to a "typical" season for 2022/23. In that regard, below is an update from our association.
First, on behalf of the OSGH Executive, we would like to thank all of our families for making this year a success. There were numerous challenges based on COVID protocols, scheduling disruptions, player absences, etc., and everyone did their part to make it work for our players. These extra challenges were frustrating at times, but our families and volunteers adapted and that allowed us to keep playing hockey. Your efforts are much appreciated.
Following our AGM, one of the priorities for our OSGH Executive was to improve communication. As families in our association, it is important that you know our plans, what we're doing to improve our program, and how you can contribute to the success of Girls Hockey in Owen Sound. In that regard, this message will outline where we are at now, what to expect from next season, and where we need help from you.
2021/22 set another record for the Ice Hawks with 155 player registrations across 10 teams. This starts at the youngest age with our MiniHawks Initiation program and we were able to roster 1 team at U9 and 2 teams from U11 to U18.
For 2022/23, we are planning for up to 175 players and 12 teams. Teams and divisions will depend on a number of factors, but we expect to have at least one division achieve 3 teams for the first time in our history. C & LL teams noted below will participate in WOAA and A, BB, B teams will participate in OWHA Southern (formerly LLFHL). Tryouts for U13 and above will begin in April and teams U11 and below will be held in September.
U7 "MiniHawks": New for next season, we plan to include a "jamboree team" within our Initiation program, specifically for the benefit of our returning 6-yr old players.
U9: C and LL
U11: BB/B, C, and LL
U13: A, B/C, and LL
U15: BB/B and C
U18: A and B
Our goal as an association is to achieve registration numbers that support programming for players at all levels. We want every player to have a place in OSGH whether you are brand new to hockey or striving for the next competitive level. The type of program offered to these teams may differ, but we are here to grow the sport, develop our players, and nurture their love for the game. Registration numbers are critical as they allow us to adapt team dynamics to provide the best opportunity to the most players each season.
Our Initiation program is the foundation of strong registration by giving new players an introduction to the sport and the opportunity to develop fundamental skills. For established players, our success as an organization is based on providing the best programming and player development opportunities, and our ability to keep players together as they progress through their minor hockey experience. This hinges on some critical areas:
Financial:
We are updating our sponsorship and fundraising initiatives to ensure we have the resources to build for the future.
This year we had sponsorships for most teams and expect to partner with these team sponsors on an annual basis moving forward. Our goal is for teams to not have to find their own sponsor from year to year so they can focus on their own team fundraising initiatives.
Fundraising has been limited due to restraints of the pandemic. One major opportunity is the return of the Owen Sound Northern Lights tournament, last hosted in 2019. Our tournament will return November 2022 and we will be forming a committee make it an exceptional event.
We've also significantly increased our profile through Social Media. This is engaging for our families, but is also a way to reach the broader community so we can share what we're doing as an association, and so we can provide recognition for our sponsors.
Coaching & Player Development:
Coaches have the biggest impact on our players, and thus, have the biggest impact on the future of our organization. We are currently selecting coaches for 2022/2023, but we also want to support our coaches' ability to deliver the best program for our players. For next season, we will be adopting updated policies for coach selection and tryout evaluation processes for competitive teams.
As a girls hockey program, it is critical that we have female coaches engaged with our players. We have 2 teams this season with female head coaches and many of our other teams have had volunteer female coaches contribute during practices and as bench staff. We need to take this a step further and hope to engage our "Local Legends" in our programming and player development initiatives. One of these initiatives will be clinic-based skills sessions to supplement our players team-based practices.
Icetime
Shared practices and the duration of practice times have been a regular topic of discussion and something we will revisit in planning for next season. The goal of shared icetime is to maximize registration value, especially where we have teams with small rosters. This can present other challenges for teams with full rosters (15+), especially when the ice is shared between large teams. We will be reviewing our ice allocation strategy, but any changes to ice allocation may also be reflected in changes in registration cost.
Volunteers:
Everything we want to accomplish as an association is contingent on having the volunteers to make it happen. We have been very fortunate over the years to have a small number of very dedicated executive members who have kept the wheels in motion. Some of these folks are taking a well-deserved step back from active roles and with the ever-growing registration numbers, we need more volunteers than ever before. Our Executive meetings held monthly and open to the public and we would welcome whatever contribution you are able to make.
Best of luck to all our players and teams as they wrap up their final games and year-end tournaments. For OSGH, it is now time to start working towards next season and we look forward to your continued support as we build towards the future.
Jeremy McCoubrey
VP Owen Sound Girls Hockey
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Team Sites
U5-6-7 (2016-2018)
Accepting Coaching Applications for 2023-24 Season
Planning is underway for the Owen Sound Ice Hawks 2023-24 Season. We are now accepting coaching applications for projected teams at both rep and local levels. Deadline for ALL team coaching applications is midnight February 19, 2023 Please ...
PWHPA Game Jan 21st
TORONTO, ON – November 30, 2022 – The Professional Women's Hockey Players Association (PWHPA), Scotiabank, Secret® and Sportsnet today unveiled plans for a live national broadcast of a PWHPA game during the 2023 Scotiabank Hockey Day in Canada ...
Ice Hawks Apparel Shop
The wait is over, our Ice Hawks Team Apparel shop is now OPEN!
Hockey Registration and Anticipated Start Dates
Hockey is just around the corner!
2022/2023 Season Registration is now OPEN!
Hello Ice Hawks Families, We are pleased to announce that the registration for the upcoming 2022/2023 season is now open.
Coaches and Projected Team Announcement
Owen Sound Girls Hockey is pleased to announce the following coaches and projected teams for the 2022/23 season.
Free FUN Skate - Sunday April 24th
Owen Sound Girls Hockey is preparing for next year and are inviting all girls that are new to girls hockey to join us for a FREE Fun Skate on Sunday April 24th. Ice Hawks players are welcome to come and to bring a friend! The skate begins at 11 ...
Welcome back to hockey! Our teams will be very busy over the next few weeks as they make up games cancelled during the recent pause and as they prepare for OWHA playdowns. COVID continues to be active in our community. In order to prevent game ...
» Message From OSGH Executive

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RUTLAND – Now that spring has sprung, the gardening and gleaning seasons are right around the corner. As Vermonters in Rutland County consider donating extra vegetables to local food shelves, they can now take advantage of new Community Kitchen locations to lightly process excess fruits and vegetables, extending their shelf life.
Community Kitchens across Rutland County have teamed up with Rutland's Nutrition Coalition to make their spaces available for light community use.
Gleaning is the process of collecting excess fruits and vegetables from farm fields and other community sources and then redistributing the food to Vermonters at risk of hunger. Vegetables donated to charitable organizations and food shelves are frequently past their prime, but simply freezing or preparing sauces and soups can make the difference between feeding our neighbors and feeding the compost pile.
Last summer, members of the Vermont Farmers' Food Center Farmacy Project minimally processed and froze over 400 pounds of gleaned foods, which were then distributed during this past winter's Farmacy Season.
"Infrastructure resources, like Community Kitchens, paired with trained volunteer groups can play a crucial role in diverting food waste from landfills and into the region's food security network," said VFFC's Heidi Lynch.
Building this resource became a priority project for Rutland's Nutrition Coalition when a local survey revealed cooking classes were lacking in the county. Access to healthy food choices is a key factor in reducing instances of chronic disease.


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Happy birthday, Leonard Slatkin!
August 30, 2019 in Uncategorized | Tags: Benjamin Britten, Chicago Symphony Chorus, Civic Orchestra of Chicago, Claudine Carlson, Daniel Barenboim, Denis Matsuev, Donald Erb, Grant Park Symphony Orchestra, Jacob Druckman, Jacqueline du Pré, John Cheek, John Edwards, Leonard Slatkin, Margaret Hillis, Ned Rorem, Ravinia Festival, Robert C. Marsh, Robert Chen, Saint Louis Symphony Orchestra, Thomas Willis, Wendy White | Leave a comment
Leonard Slatkin (Nico Rodamel photo)
The Chicago Symphony Orchestra family wishes American conductor Leonard Slatkin a very happy seventh-fifth birthday on September 1, 2019! A frequent and favorite guest conductor, he has appeared with the Orchestra on countless occasions—in Orchestra Hall and at the Ravinia Festival—over the last forty-eight years.
At the invitation of CSO general manager John Edwards, Slatkin—in his second season as assistant conductor of the Saint Louis Symphony—made his debut in Orchestra Hall with the Civic Orchestra of Chicago on March 6, 1970, leading the following program:
SCHUBERT Overture to Rosamunde, D. 644
WAGNER Siegfried Idyll
SCHUMAN New England Triptych
FAURÉ Pelleas and Melisande, Op. 80
RESPIGHI Pines of Rome
Slatkin's program book biography for March 6, 1970
The following year, Slatkin first led the Chicago Symphony Orchestra, conducting two free, outdoor Symphony in the Streets concerts, one in the parking lot at Park Forest Shopping Plaza and the other at the Jubilee Celebration site in Westmont, as follows:
July 12, 1971, Park Forest, Illinois
July 21, 1971, Westmont, Illinois
BARBER Adagio for Strings
GRIEG Peer Gynt Suite No. 1, Op. 46
GRIEG Ingrid's Lament from Peer Gynt Suite No. 2, Op. 55
ROSSINI Overture to William Tell
J. STRAUSS, Jr. On the Beautiful Blue Danube, Op. 314
J. STRAUSS, Jr. Overture to Die Fledermaus
J. STRAUSS, Jr. Perpetual Motion, Op. 257
SOUSA The Stars and Stripes Forever
Also during that residency, he led the Orchestra on a children's concert at the Ravinia Festival on July 13, conducting the following program:
IVES/Schuman Variations on "America"
SATIE/Debussy Gymnopédie No. 3
BERLIOZ Roman Carnival Overture, Op. 9
BACH/Cailliet Fugue in G Minor, BWV 578 (Little)
MUSSORGSKY/Ravel The Hut on Fowl's Legs (Baba-Yagá), The Great Gate of Kiev, Bydło (Oxcart), and Ballet of the Unhatched Chicks from Pictures at an Exhibition
TCHAIKOVSKY Scherzo. Pizzicato ostinato: Allegro (third movement) from Symphony No. 4 in F Minor, Op. 36
And on April 4, 5, and 7, 1974, Slatkin made his debut with the Orchestra on subscription concerts, with this program:
April 4, 5, and 7, 1974
PURCELL Chacony in G Minor
VAUGHAN WILLIAMS Symphony no. 6 in E Minor
PISTON Symphony No. 2
"Leonard Slatkin, an enormously talented young American musician who will be the principal conductor of the Grant Park Symphony Orchestra this summer, made his subscription concert debut with the Chicago Symphony Orchestra Thursday night at Orchestra Hall," wrote Robert C. Marsh in the Chicago Sun-Times. "He has at 29 all the skills and all the qualities of leadership necessary to win the respect of a great orchestra and have them play for him with enthusiasm and the fullest measure of their talent. . . . What was impressive in the manner in which Slatkin could prepare three new works [Purcell, Vaughan Williams, and Piston] and have the orchestra playing them with security and bravura as if they were repertory standards. This, plus the clarity and precision of his beat, promises good things to come . . ."
"As a result of Daniel Barenboim's cancellation—to be with his ailing wife [Jacqueline du Pré]—Slatkin, who is associate conductor of the Saint Louis Symphony, has this week's subscription concerts," added Thomas Willis in the Chicago Tribune. "He has a direct, music-oriented competence which shows the thoroughness of his training and his concentration on things that matter. Conductors with more experience than he have foundered on the tempo changes in Ravel's La valse, but he piloted the ensemble through each tempo change with an easy skill, catching the upbeats, shifting into overdrive, and pacing the rising line of apotheosis precisely."
Slatkin leads the Orchestra, Chorus, and soloists in the world premiere of Ned Rorem's Goodbye My Fancy on November 8, 1990 (Jim Steere photo)
A staunch advocate for new music, Slatkin led the Orchestra in the world premieres of Donald Erb's Concerto for Brass and Orchestra on April 16, 1987; Jacob Druckman's Brangle on March 28, 1989; and Ned Rorem's Goodbye My Fancy with mezzo-soprano Wendy White, bass-baritone John Cheek, and the Chicago Symphony Chorus (prepared by Margaret Hillis) on November 8, 1990. He also led the Orchestra in the U.S. premiere of Benjamin Britten's Quatre chansons françaises with mezzo-soprano Claudine Carlson on May 19, 1983.
And most recently, he returned to the Ravinia Festival on August 7, 2019, leading the Orchestra in this program:
RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30
Denis Matsuev, piano
RIMSKY-KORSAKOV Sheherazade
Robert Chen, violin
Happy, happy birthday, Maestro Slatkin!
Slatkin, Margaret Hillis, Ned Rorem, John Cheek, and Wendy White acknowledge applause on November 8, 1990 (Jim Steere photo)
125 Moments: 044 Margaret Hillis and Mahler's Eighth Symphony
February 9, 2016 in Uncategorized | Tags: 125Moments, Carnegie Hall, Chicago Symphony Chorus, CSO125th, Doreen Rao, Glen Ellyn Children's Chorus, John Edwards, Julius Bloom, Margaret Hillis, Peter Jonas, Sir Georg Solti | 1 comment
Sir Georg Solti had programmed Mahler's Eighth Symphony for the fall of 1977, with three performances in Chicago followed by one at Carnegie Hall. After the first two concerts at Orchestra Hall, early on Saturday, October 29, Sir Georg sprained his right wrist and pulled several muscles in his back, neck, and shoulders when he tripped while exiting an elevator. Chorus director Margaret Hillis arrived at Orchestra Hall later that afternoon and was asked by general manager John Edwards and artistic administrator Peter Jonas to conduct that evening's performance with less than three hours' notice; she respectfully declined. Edwards then asked Hillis to lead Monday evening's performance at Carnegie Hall, and she accepted. The Saturday Chicago concert was canceled.
Margaret Hillis and Doreen Rao (director of the Glen Ellyn Children's Chorus) receive applause following the October 31, 1977, performance in Carnegie Hall (Robert M. Lightfoot III photo)
On Sunday afternoon, Hillis visited Solti in the hospital to discuss details of the symphony and continued analyzing the score on the plane to New York that evening. On Monday, October 31, with no opportunity to rehearse with the Orchestra and soloists and little more than an hour with the Chorus, she was quoted as saying, "Look, don't try to help me do my job. Your job is to sing and play, mine is to keep the whole shooting match together." She returned to her hotel room for about ninety minutes of more study and then an hour's rest before the concert.
The New York Times, November 1, 1977 (see below for the complete article)
When Julius Bloom, director of Carnegie Hall, announced from the stage that Solti would not be conducting that evening's concert, the audience was clearly disappointed by the news. But on Tuesday, Miss Hillis's triumph was front-page news in The New York Times. Donal Henahan wrote: "Miss Hillis built her performance carefully, but she built it well. What her Mahler Eighth sometimes lacked in 'Soltian' fire and tension, it made up for in poise, clarity, and ethereal detail. By the last ecstatic pages she had her forces working for her and Mahler with a burning enthusiasm that radiated a fine glow over the Faustian finale."
Just in time for Thanksgiving . . .
November 25, 2013 in Uncategorized | Tags: John Edwards, Lady Valerie Solti, Lee Lane, Margaret Hillis, recipes, Susan Lane, Teresa Ameling | Leave a comment
During the 1982-83 season, members of the Orchestra and their families, along with the Orchestral Association administrative staff, formed an organization called CODA, the Family Organization of the Chicago Symphony Orchestra. Their first project was a compilation of recipes organized into a cookbook and sold as a premium for the annual Marathon fundraiser that season.
Hundreds of recipes were collected from musicians and staff, including the one below for turkey dressing provided by Teresa Ameling—secretary to general manager John Edwards and still recording secretary for the Chicago Symphony Orchestra Alumni Association—and her husband Bill. (The cookbook also contains Margaret Hillis's festive sweet potato pudding.)
Stay tuned for Lady Valerie Solti's Yorkshire pudding as well as Lee and Susan Lane's fruitcake recipes . . .
Solti 27: Wearing many hats
August 17, 2012 in Uncategorized | Tags: Bavarian State Opera, Bruno Walter, Carlo Maria Giulini, Charles Moore, Dallas Symphony Orchestra, David Webster, Dorothy Chandler, Earl of Drogheda, Eric Oldberg, Frankfurt Opera, Fritz Reiner, Jean Martinon, John Edwards, London Philharmonic Orchestra, Orchestre de Paris, Roy, Seymour Raven, Sir Georg Solti, Solti 100, Zubin Mehta | Leave a comment
In addition to his twenty-two-year tenure as music director of the Chicago Symphony Orchestra (1969-1991), Sir Georg Solti held a number of notable posts with other orchestras and opera companies.
At the Bavarian State Opera in Munich in 1952, leading Wagner's Das Rheingold
His first official post was with the Bavarian State Opera in Munich, where he served as music director from 1946 until 1952. Subsequently, he was also Generalmusikdirektor and Impresario for the Frankfurt Opera from 1952 until 1961.
Shortly after his guest conducting debut with the Los Angeles Philharmonic in 1959, he was invited by Dorothy Chandler—then the chairman of the Philharmonic's board—to become their music director beginning the following year. He accepted.
Also in 1959, following the tremendous success in a production of Strauss's Der Rosenkavalier at the Royal Opera, Covent Garden, he was invited to become music director by their chairman, the Earl of Drogheda.
In Solti's words: "To his great surprise, I explained to him that although I was honored by the offer, I did not want the job, and that my refusal had nothing to do with the salary. I had accepted the directorship of the Los Angeles Philharmonic because I felt that I had spent enough time as an opera conductor and wanted to concentrate on symphonic music, and privately, I was not certain that I would be able to do justice to both Los Angeles and London if I accepted both jobs."
While in Los Angeles for concerts in January 1960, Solti met with Bruno Walter who insisted he take the offer from Covent Garden. Solti took Walter's advice and telegrammed his acceptance to David Webster (general manager of the Royal Opera House). They agreed that his residence would start in the fall of 1961, one year after the beginning of his tenure in Los Angeles.
At the same time, twenty-three-year-old Zubin Mehta had been invited to be an assistant conductor in Los Angeles. For the 1961-62 season, Fritz Reiner had been engaged to guest conduct the Philharmonic, but after his heart attack in October 1960, he canceled all engagements. According to Solti: "Without consulting me, Mrs. Chandler decided that Reiner's concerts should be given to Mehta. In June 1960, while I was in London on Covent Garden business, I received a telegram from Mrs. Chandler, saying, 'With your kind permission I have engaged Zubin Mehta as chief guest conductor of the Philharmonic.' I was horrified. I had nothing at all against Mehta, who was an outstandingly talented young conductor, but the fact that the chairman of my new orchestra's board had engaged a chief guest conductor without asking my opinion was intolerable. . . . I cabled back to say that under these conditions, I was unable to honor my contract in Los Angeles."
Receiving applause with members of the Frankfurt Opera on tour in Paris in 1959, following a performance of Mozart's The Marriage of Figaro
Solti went on to serve as music director at the Royal Opera House, Covent Garden from 1961 until 1971. He also served as music director of the Dallas Symphony Orchestra for the 1961-62 season.
During Solti's one season in Dallas, he was approached by two members of the CSO's Orchestral Association, Eric Oldberg (chairman of the board) and Seymour Raven (general manager). Fritz Reiner had announced his retirement at the conclusion of the 1962-63 season and they were searching for a possible replacement. Solti was concerned about not being able to honor his commitment to Covent Garden and wasn't able to accept an offer.
In 1967, new general manager John Edwards, "came to tell me that Jean Martinon, Reiner's successor, would be leaving the orchestra the following year and to ask whether I would be willing to become music director. I was certainly willing, but I thought that the job might be too much for me, inasmuch as I was still committed to Covent Garden. I suggested sharing responsibilities with [Carlo Maria] Giulini, who had worked often in Chicago and was much liked there." After some negotiation, it was agreed that Solti would be music director and Giulini would become the CSO's first principal guest conductor beginning in the fall of 1969.
Solti also served as music director of the Orchestre de Paris from 1972 until 1975 and as principal conductor of the London Philharmonic Orchestra from 1979 until 1983.
Finally, Sir Georg Solti founded the World Orchestra for Peace in 1995 to commemorate the fiftieth anniversary of the United Nations. He only conducted the orchestra's inaugural concert on July 5, 1995, in Geneva, Switzerland. According to Sir Georg, "I was delighted to be involved in this event, as the UN is an organization in which I firmly believe, although I wish it could have more power and be allowed to function more effectively. Fittingly, the orchestra's seventy-nine outstanding musicians came from forty-five orchestras in twenty-four countries. We played Rossini's William Tell Overture as a tribute to Switzerland, our host country; Bartók's Concerto for Orchestra, to commemorate the fiftieth anniversary of the composer's death; and the final scene from [Beethoven's] Fidelio, for its theme of liberation."
Text excerpted from Memoirs by Sir Georg Solti.
Solti 46: Artifact #1 – Ernesto Galeffi bust
June 21, 2012 in Uncategorized | Tags: Ernesto Galeffi, John Edwards, Lady Valerie Solti, Sir Georg Solti, Solti 100 | Leave a comment
On March 27, 1997, Lady Valerie Solti visited the Rosenthal Archives. During her visit, she noticed we had a bust of Sir Georg prominently displayed in the reading room. We mentioned that we really didn't know the provenance of the sculpture, and she was more than happy to tell us its story. One of my colleagues wrote down her comments, paraphrased below:
"One of the neighbors along the beach in Italy was a painter called Ernesto Galeffi. He lived in a little white house with his girlfriend, and often we would see them on the beach and walk together. They once invited us to go for supper in his house, which was also his studio right on the beach. During one of our many conversations, Galeffi said to Solti, 'I am going to sculpt you.'
"At regular intervals as we sat sunning ourselves on the beach, Galeffi would appear with his camera and take photographs of Solti from every possible angle. When we left at the end of the summer, we moved back into civilian life again and forgot all about Galeffi and the sculpture. But a few months later, a large wooden box arrived in London and in it was the bust!
"We donated it to one of the early CSO fundraisers. I don't know who bought it, but it wound up in [CSO General Manager] John Edwards's office. And once the archives was started, it obviously came to you. The plinth, also crafted by Galeffi, is actually a piece of driftwood from the beach in Italy."
There are not many online references to Ernesto Galeffi (1917–1986), but there is a collection of his works at a small museum in Montevarchi, Italy.
Solti 71: Rochberg's Symphony no. 5
April 3, 2012 in Uncategorized | Tags: George Rochberg, Harold Washington, John Edwards, Sir Georg Solti, Solti 100 | Leave a comment
The composer shows the score to Mayor Harold Washington
On March 13, 1986, Sir Georg Solti conducted the world premiere of George Rochberg's Symphony no. 5, which had been commissioned to celebrate the 150th anniversary of the founding of the City of Chicago. The work was dedicated to Solti and the Orchestra in memory of John S. Edwards, general manager of The Orchestral Association from 1967 until 1984.
The composer was in Chicago for the premiere and contributed to the program notes: "My 5th Symphony is an intense, passionate work of an emotional scale which I hope wholly befits the city, the occasion, the conductor, and the orchestra for which it was written. It was John Edwards, long-time executive director and manager of the Chicago Symphony Orchestra, who originally approached me with the idea of writing such a work and I am truly sorry he is not here any longer to share these first performances with me and his colleagues.
"The character of this work is mainly chromatic with virtually no overt references to the tonal palette which most people have come to associate with my music. Its form, which derives from its general content, is unique for me, not so much because it is cast in seven sections comprising one large-scale, uninterrupted movement, but because I have tried to mix formal procedures with imagistic ones in a process of organic growth stemming from a core. . . .
The composer and Solti backstage following the world premiere
"One has to imagine a kind of constantly evolving and spiralling funnel, starting from the opening statement—the core of the work—which, as it spirals upward and outward in increasingly widening turns with each new section, gathers up ideas and materials already stated until at the Finale everything which has been previously expressed is brought together and unified."


text:
require 'cocoapods-core/source/acceptor'
require 'cocoapods-core/source/aggregate'
require 'cocoapods-core/source/health_reporter'

module Pod
  # The Source class is responsible to manage a collection of podspecs.
  #
  # The backing store of the podspecs collection is an implementation detail
  # abstracted from the rest of CocoaPods.
  #
  # The default implementation uses a git repo as a backing store, where the
  # podspecs are namespaced as:
  #
  #     "#{SPEC_NAME}/#{VERSION}/#{SPEC_NAME}.podspec"
  #
  class Source
    # @return [Pathname] The path where the source is stored.
    #
    attr_reader :repo

    # @param  [Pathname, String] repo @see #repo.
    #
    def initialize(repo)
      @repo = Pathname.new(repo)
    end

    # @return [String] The name of the source.
    #
    def name
      repo.basename.to_s
    end

    # @return [String] The URL of the source.
    #
    # @note In the past we had used `git ls-remote --get-url`, but this could
    #       lead to an issue when finding a source based on its URL when `git`
    #       is configured to rewrite URLs with the `url.<base>.insteadOf`
    #       option. See https://github.com/CocoaPods/CocoaPods/issues/2724.
    #
    def url
      Dir.chdir(repo) do
        remote = `git config --get remote.origin.url`.chomp

        if $?.success?
          remote
        elsif (repo + '.git').exist?
          "file://#{repo}/.git"
        end
      end
    end

    # @return [String] The type of the source.
    #
    def type
      'file system'
    end

    alias_method :to_s, :name

    # @return [Integer] compares a source with another one for sorting
    #         purposes.
    #
    # @note   Source are compared by the alphabetical order of their name, and
    #         this convention should be used in any case where sources need to
    #         be disambiguated.
    #
    def <=>(other)
      name <=> other.name
    end

    # @return [String] A description suitable for debugging.
    #
    def inspect
      "#<#{self.class} name:#{name} type:#{type}>"
    end

    public

    # @!group Queering the source
    #-------------------------------------------------------------------------#

    # @return [Array<String>] the list of the name of all the Pods.
    #
    #
    def pods
      unless specs_dir
        raise Informative, "Unable to find a source named: `#{name}`"
      end
      specs_dir_as_string = specs_dir.to_s
      Dir.entries(specs_dir).select do |entry|
        valid_name = entry[0, 1] != '.'
        valid_name && File.directory?(File.join(specs_dir_as_string, entry))
      end.sort
    end

    # @return [Array<Version>] all the available versions for the Pod, sorted
    #         from highest to lowest.
    #
    # @param  [String] name
    #         the name of the Pod.
    #
    def versions(name)
      return nil unless specs_dir
      raise ArgumentError, 'No name' unless name
      pod_dir = specs_dir + name
      return unless pod_dir.exist?
      pod_dir.children.map do |v|
        basename = v.basename.to_s
        begin
          Version.new(basename) if v.directory? && basename[0, 1] != '.'
        rescue ArgumentError
          raise Informative, 'An unexpected version directory ' \
           "`#{basename}` was encountered for the " \
           "`#{pod_dir}` Pod in the `#{name}` repository."
        end
      end.compact.sort.reverse
    end

    # @return [Specification] the specification for a given version of Pod.
    #
    # @param  @see specification_path
    #
    def specification(name, version)
      Specification.from_file(specification_path(name, version))
    end

    # Returns the path of the specification with the given name and version.
    #
    # @param  [String] name
    #         the name of the Pod.
    #
    # @param  [Version,String] version
    #         the version for the specification.
    #
    # @return [Pathname] The path of the specification.
    #
    def specification_path(name, version)
      raise ArgumentError, 'No name' unless name
      raise ArgumentError, 'No version' unless version
      path = specs_dir + name + version.to_s
      specification_path = path + "#{name}.podspec.json"
      unless specification_path.exist?
        specification_path = path + "#{name}.podspec"
      end
      unless specification_path.exist?
        raise StandardError, "Unable to find the specification #{name} " \
          "(#{version}) in the #{self.name} source."
      end
      specification_path
    end

    # @return [Array<Specification>] all the specifications contained by the
    #         source.
    #
    def all_specs
      specs = pods.map do |name|
        begin
          versions(name).map { |version| specification(name, version) }
        rescue
          CoreUI.warn "Skipping `#{name}` because the podspec contains errors."
          next
        end
      end
      specs.flatten.compact
    end

    # Returns the set for the Pod with the given name.
    #
    # @param  [String] pod_name
    #         The name of the Pod.
    #
    # @return [Sets] the set.
    #
    def set(pod_name)
      Specification::Set.new(pod_name, self)
    end

    # @return [Array<Sets>] the sets of all the Pods.
    #
    def pod_sets
      pods.map { |pod_name| set(pod_name) }
    end

    public

    # @!group Searching the source
    #-------------------------------------------------------------------------#

    # @return [Set] a set for a given dependency. The set is identified by the
    #               name of the dependency and takes into account subspecs.
    #
    # @note   This method is optimized for fast lookups by name, i.e. it does
    #         *not* require iterating through {#pod_sets}
    #
    # @todo   Rename to #load_set
    #
    def search(query)
      unless specs_dir
        raise Informative, "Unable to find a source named: `#{name}`"
      end
      if query.is_a?(Dependency)
        query = query.root_name
      end
      if specs_dir.children.select(&:directory?).map(&:basename).map(&:to_s).include?(query.to_s)
        set(query)
      end
    end

    # @return [Array<Set>] The list of the sets that contain the search term.
    #
    # @param  [String] query
    #         the search term. Can be a regular expression.
    #
    # @param  [Bool] full_text_search
    #         whether the search should be limited to the name of the Pod or
    #         should include also the author, the summary, and the description.
    #
    # @note   full text search requires to load the specification for each pod,
    #         hence is considerably slower.
    #
    # @todo   Rename to #search
    #
    def search_by_name(query, full_text_search = false)
      regexp_query = /#{query}/i
      if full_text_search
        pod_sets.reject do |set|
          texts = []
          begin
            s = set.specification
            texts << s.name
            texts += s.authors.keys
            texts << s.summary
            texts << s.description
          rescue
            CoreUI.warn "Skipping `#{set.name}` because the podspec " \
              'contains errors.'
          end
          texts.grep(regexp_query).empty?
        end
      else
        names = pods.grep(regexp_query)
        names.map { |pod_name| set(pod_name) }
      end
    end

    # Returns the set of the Pod whose name fuzzily matches the given query.
    #
    # @param  [String] query
    #         The query to search for.
    #
    # @return [Set] The name of the Pod.
    # @return [Nil] If no Pod with a suitable name was found.
    #
    def fuzzy_search(query)
      require 'fuzzy_match'
      pod_name = FuzzyMatch.new(pods).find(query)
      if pod_name
        search(pod_name)
      end
    end

    public

    # @!group Representations
    #-------------------------------------------------------------------------#

    # @return [Hash{String=>{String=>Specification}}] the static representation
    #         of all the specifications grouped first by name and then by
    #         version.
    #
    def to_hash
      hash = {}
      all_specs.each do |spec|
        hash[spec.name] ||= {}
        hash[spec.name][spec.version.version] = spec.to_hash
      end
      hash
    end

    # @return [String] the YAML encoded {to_hash} representation.
    #
    def to_yaml
      require 'yaml'
      to_hash.to_yaml
    end

    private

    # @group Private Helpers
    #-------------------------------------------------------------------------#

    # Loads the specification for the given Pod gracefully.
    #
    # @param  [String] name
    #         the name of the Pod.
    #
    # @return [Specification] The specification for the last version of the
    #         Pod.
    # @return [Nil] If the spec could not be loaded.
    #
    def load_spec_gracefully(name)
      versions = versions(name)
      version = versions.sort.last if versions
      specification(name, version) if version
    rescue Informative
      Pod::CoreUI.warn "Skipping `#{name}` because the podspec " \
        'contains errors.'
      nil
    end

    # @return [Pathname] The directory where the specs are stored.
    #
    # @note   In previous versions of CocoaPods they used to be stored in
    #         the root of the repo. This lead to issues, especially with
    #         the GitHub interface and now the are stored in a dedicated
    #         folder.
    #
    def specs_dir
      @specs_dir ||= begin
        specs_sub_dir = repo + 'Specs'
        if specs_sub_dir.exist?
          specs_sub_dir
        elsif repo.exist?
          repo
        end
      end
    end

    #-------------------------------------------------------------------------#
  end
end

redpajama_set_name: RedPajamaGithub


Harvey attended Gillingham Grammar School for Boys and St John's College, Cambridge (for both his undergraduate and post-graduate studies). Harvey's early work, beginning with his PhD (on hops production in 19th century Kent), was historical in nature, emerging from a regional-historical tradition of inquiry widely used at Cambridge and in Britain at that time. Historical inquiry runs through his later works (for example on Paris). He later spent time at Queens University Belfast.
By the mid-1960s, he followed trends in the social sciences to employ quantitative methods, contributing to spatial science and positivist theory. Roots of this work were visible while he was at Cambridge, the Department of Geography also housed Richard Chorley, and Peter Haggett. His Explanation in Geography (1969) was a landmark text in the methodology and philosophy of geography, applying principles drawn from the philosophy of science in general to the field of geographical knowledge. But after its publication Harvey moved on again, to become concerned with issues of social injustice and the nature of the capitalist system itself. He has never returned to embrace the arguments made in Explanation, but still he conforms to the critique of absolute space and exceptionalism in geography of the regional-historical tradition that he saw as an outcome of Kantian synthetic a priori knowledge.
Social Justice and the City (1973) expressed Harvey's position that geography could not remain 'objective' in the face of urban poverty and associated ills. It has been cited widely (over 1000 times, by 2005, in a discipline where 50 citations are rare), and it makes a significant contribution to Marxian theory by arguing that capitalism annihilates space to ensure its own reproduction. Dialectical materialism has guided his subsequent work, notably the theoretically sophisticated Limits to Capital (1982), which furthers the radical geographical analysis of capitalism, and several books on urban processes and urban life have followed it. The Condition of Postmodernity (1989), written while a Professor at Oxford, was a best-seller (the London The Independent named it as one of the fifty most important works of non-fiction to be published since 1945). It is a materialist critique of postmodern ideas and arguments, suggesting these actually emerge from contradictions within capitalism itself. Justice, Nature and the Geography of Difference (1996) focuses on social and environmental justice (although its dialectical perspective has attracted the ire of some Greens). Spaces of Hope (2000) has an utopian theme and indulges in speculative thinking about how an alternative world might look. His study of Second Empire Paris and the events surrounding the Paris Commune in Paris, Capital of Modernity, is undoubtedly his most elaborated historical-geographical work. The onset of US military action since 2001 has provoked a blistering critique – in The New Imperialism (2003) he argues that the war in Iraq allows US neo-conservatives to divert attention from the failures of capitalism 'at home'. His next work, A Brief History of Neoliberalism (2005), provides an historical examination of the theory and divergent practices of neoliberalism since the mid-1970s. This work conceptualises the neoliberalised global political economy as a system that benefits few at the expense of many, and which has resulted in the (re)creation of class distinction through what Harvey calls "accumulation by dispossession". His most recent work The Enigma of Capital (2010) takes a long view of the current economic crisis. Harvey explains how capitalism came to dominate the world and why it resulted in the current financial crisis. He describes that the essence of capitalism is its amorality and lawlessness and to talk of a regulated, ethical capitalism is to make a fundamental error. A series of events linked to this book across London academic forums, such as the LSE, proved hugely popular and sparked a new interest in Harvey's work.
After the birth of his daughter Delfina in January 1990, Harvey returned to Johns Hopkins from Oxford in 1993, but spent increasing time elsewhere as a speaker and visitor, notably as a salaried Miliband Fellow at the London School of Economics in the late 1990s. In 1996, he delivered the Ellen Churchill Semple lecture at UK Geography. He moved to the City University of New York in 2001 as a Distinguished Professor, now residing in its Department of Anthropology. He has spent most of his academic career in Anglo-America, with brief sojourns in France and a range of foreign visiting appointments (currently as acting Advisory Professor at Tongji University in Shanghai). He has supervised many PhD students. Several of these, such as Neil Smith, Richard Walker, Erik Swyngedouw, Michael Johns, Maarten Hajer, Patrick Bond, Melissa Wright, and Greg Ruiters now hold important academic positions themselves. In 2013 Harvey was asked by the Republic of Ecuador to help set up the National Strategic Center for the Right to the Territory (CENEDET), which he currently co-directs with the urbanist Miguel Robles-Durán. Two constants in Harvey's life and work have been teaching a course on Marx's Capital, and his support for student activism and community and labour movements (notably in Baltimore).
Harvey's books have been widely translated, particularly into Korean, Spanish, Japanese and Italian as well some into Arabic, Turkish, Norwegian, Portuguese, Russian, German, Greek, Chinese, Polish, Swedish, Persian and Romanian. He holds honorary doctorates from Roskilde (Denmark), Buenos Aires (Argentina), Faculty of Social Sciences at Uppsala University  (Sweden), Ohio State University (USA), Lund University (Sweden) and the University of Kent (UK). Among other awards he has received the Anders Retzius Gold Medal of the Swedish Society for Anthropology and Geography, the Patron's Medal of the Royal Geographical Society and the Vautrin Lud International Prize in Geography (France). He was made a fellow of the British Academy in 1998, and was elected to the American Academy of Arts and Sciences in 2007. He is a member of the Interim Committee for the emerging International Organization for a Participatory Society.
↑ "Most cited authors of books in the humanities, 2007". Times Higher Educational. Retrieved 5 March 2012.
↑ Andrew R. Bodman, "Weavers of influence: the structure of contemporary geographic research", Transactions of the Institute of British Geographers N.S., v. 16 no. 1 (1991). On line version rev. 9 October, 1990.


Okay everyone, this is the thread where you can list all of the mistakes or inconstincies with a particular episode or a few episodes in relation to another.
For example, we all know the yo-yo one in Season Four.
So, what mistakes can you think of?
The yo-yo is not really a mistake, it's NBC's fault because it changed the order of the episodes.
Not reallt that new SVI. Many other threads like this.
I thought the same thing at first, VL. But, on second thought, it might not be bad to have a thread dedicated to that instead of people just mentioning the odd "mistake" in various threads. But, we would need some rules. For example, Kramer once saying he never took baths and then later taking baths is not a mistake, to me. Over the years a person can change their mind about things, etc... And, even though continuity irregularities are valid if they're obvious, (like the newspaper between George and the couch in one shot, then changing places in another shot), we can't nitpick or it will get annoying. (Jerry having his head down one moment, then his head is up when they cut is not a mistake, just an un-smooth edit).
When Jerry wants Elaine to show a tube of fungus to her doctor (podiatrist) boyfriend, he holds up her purse and puts it in. In the next shot, he's still walking aorund with it in his hand.
I guess you're right, Veg. But I want to try to make this one more successful othan the others!
I know what you mean, Jose. But I want to include those types of errors too.
Keep findin' those mistakes, everyone.
I don't know any off the top of my head, but after I watch an ep or two I'll probably catch one. I'll put them on this thread if I see it.
In the sould mate there's an error when Jerry holds the M&M in close-up, his fingers are in a different position from the before and after the close-up.
After reading that post about rude people from a long time ago, I would just like to say thank you in ahead of time to anyone who contributes or has already contributed to any posts I make.
in the episode in season 2 where jerry is having the cable put in and the two guys are fightijng in front of the tv durring the party Kramer turns around in one shot, and then turns around again.
Off topic I know, so one knowledgeable answer will do.
Is there a reason the continuity in Seinfeld is so terrible?
Right I know as a fan of the programme I would watch it more often then the average person hence noticing the little things come on.
I watch Friends (even the early episodes) loads of times and this is never an issue likewise Only Fools and Horses (a very big Brit sitcom) and others.
I would point out that this opinion is expressed on basis of watching the first 5/6 seasons, you rarely get to see the later seasons in my part of the world unless you have cable which I don't obviously, even so my point is still valid.
Don't consider this a mistake, but if anyone can explain it that would be great. At the end of the Soup Nazi when Jerry asks Newman where's he going. Newman says home to get a big pot. After explaining to Jerry that the Soup Nazi was going back to Argentina Newman goes in one direction, then Jerry goes the opposite direction. Don't they live in the same building?
What I understood there was that while Newman was going back to get his big pot, Jerry was going directly to the restaurant to get some more soup.
In "The Stock Tip," Kramer is in Jerry's apartment, looking out the window through binoculars. Kramer says: "Look at this one by the bus stop... What a body. That's for me." To which Jerry responds: "Yeah, and you're just what she's looking for too--a stranger leering through a pair of binuculars ten floors up."
When did Jerry live on the tenth floor? Even the establishing shot for the apartment building in that episode shows a building that's only five stories high.
Each scene was filmed 1 to 5 times with 4 separate cameras at 4 different angles at the same time.
If they used a particular angle from different take than the normal flow of the scene, then there's a good chance that the actors were not able to match the action exactly as they did in a previous take.
For example, a hand is up in the scene with Jerry and George, but cutting to a close-up of George shows the hand down.
These kind of mistakes should not count in this thread. The Newman and Jerry soup-thing is the kind of stuff that should be discussed.
I think Kramer has a water bottle in his hands and when they both freak, the water flies all over the place and some of it onto jerry's mouth, which he spits out while he's talking. I don't think it was supposed to happen, but they probably kept it because it's preiceless.
The one that stands out for me has to do with a script error. In The Burning where Kramer goes into his acting out of gonoria the script mentions he lights a cigar when in the actual episode he lights a cigarette.
Why is Jerry sometimes in apartment 3A, and sometimes in 5A?
In the suicide episode George mentions that his brother once impregnated a women named Pauline. To my knowledge George doesn't have a brother.


Madame Tussauds San Francisco is on the hunt for its next tech innovator to be immortalized in wax. The museum already has Apple co-founder Steve Jobs and Facebook boss Mark Zuckerberg, and now it wants the public to pick a new tech leader.
Nominees should have a Bay Area connection. To meet this criteria, they must either be living or born in the area or have their company based there.
"The nominee should already be recognized as a thought leader, innovator and/or influencer to their industry," the nomination form states. Madame Tussauds are accepting nominations until April 23 when they will choose the top six and allow the public to vote for the winning tech innovator.
Contenders include Elon Musk, Sheryl Sandberg, Marc Benioff, Jane Metcalfe and Ed Catmull, Re/Code reports. The winner will be announced on May 26, 2015.


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JS Travel Insurance can provide cover for Commerical Pilots on a Single Trip basis only. You can get a policy online on our ADVENTURES website. Please select Flying - Commercial Pilot (Single Trip Only). You can contact us by telephone or email and we can provide you with a quote.
Flying a Private Aircraft requires the pilot to pay for all expenses himself or herself, including costs for fuel, airport fees and maintenance costs. Many countries have less strict rules for Private Aviation than for Commercial Aviation. One example that illustrates this perfectly is the rule that Private Pilots are allowed to execute certain maintenance jobs themselves, but Commercial Airplanes may only be serviced by licensed Technicians.
That being said; everyone who wants to operate an Aircraft, whether Privately or Commercially, must take Flying Courses and succeed for an exam. Everyone needs a Pilot License to legally fly any Aircraft.
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The Open Source movement is rapidly changing the face of software development. Could Thelema – with its emphasis on the Magical Record and the public availability of most of its founding documents – be considered as an application of the principles of the Open Source movement to the domain of spirituality?
Update (3/6/00): As if in response to this article [grin], Salon has just dedicated a new section of their website to the topic of the Free Software Project.
The basic idea behind open source is very simple. When programmers on the Internet can read, redistribute, and modify the source for a piece of software, it evolves. People improve it, people adapt it, people fix bugs. And this can happen at a speed that, if one is used to the slow pace of conventional software development, seems astonishing.
In the cathedral-builder view of programming, bugs and development problems are tricky, insidious, deep phenomena. It takes months of scrutiny by a dedicated few to develop confidence that you've winkled them all out. Thus the long release intervals, and the inevitable disappointment when long-awaited releases are not perfect.
In the bazaar view, on the other hand, you assume that bugs are generally shallow phenomena – or, at least, that they turn shallow pretty quick when exposed to a thousand eager co-developers pounding on every single new release. Accordingly you release often in order to get more corrections, and as a beneficial side effect you have less to lose if an occasional botch gets out the door.
The Open Source model of software development had by that time already achieved notable success through the Linux operating system and the Apache web server. But in the spring of 1998, Netscape stunned the computer industry with its announcement that it would develop the next major version of its web browser as an open source project.
Since then, the movement has expanded tremendously, with many software vendors either establishing Open Source projects (IBM), watering down the Open Source model (Sun), or presenting arguments that the Open Source model isn't applicable to their market (Microsoft).
Underlying this enthusiasm is a shared commitment to the advancement of knowledge combined with the recognition that individuals do their best work when applying themselves to projects they're personally interested in. These principles are similar enough to the conjunction of the Hermetic quest for knowledge and the doctrine of True Will found in Thelema to suggest that Thelema could potentially be viewed as a platform for Open Source development, but of human development rather than software development.
"Mystery is the enemy of truth," Crowley once wrote, and although some of his work is shrouded in secrecy, he opened up the Western esoteric tradition to a degree never before seen in his time. The original publication of the initiation rituals of the Golden Dawn, along with much of their instructional material, occurred in The Equinox, in "The Temple of Solomon the King." This, along with Regardie's later – somewhat more systematic – publication, paved the way for the modern popularity of Ceremonial Magick. It is quite likely that without these works the Golden Dawn system would have vanished into obscurity, and all that has derived from it would never have existed.
Crowley also advanced the idea of the Magical Record, not just as a way for the individual to evaluate his or her progress, but also for the sake of other, later explorers. His publication of Frater Achad's journals as "A Master of the Temple," and Crowley's own "John St. John," provided examples of actual magical work that served as guideposts for those who came after them.
It could be argued that the presence of any "closed" material in his works disqualifies Crowley from any consideration as an early Open Source proponent. Kenneth Grant attempted to strip away the vestiges of occult secrecy in his "Typhonian OTO," and while his heavy-handed management approach triggered (at least in the U.S.) the waning of his organization in the mid-80s, his views regarding secrecy have proved enormously influential among independent Thelemites ever since.
We have Hermes (Mercury) over Aquarius, the symbol or the logos of the Open Path, meaning that the Tarot is to be revealed in the Aquarian Age. […] The age of the development of the individual has culminated with technology and Humanity is now at the point where it must jump level in order to survive. But Humanity is ready for this jump.
You mean this is not a write once language?
Are you ready to give up your Class A's?
Where is it that we get to fork the tree?
What an odd pair of ideas to comingle.
It certainly would be nice to see a 777 server.
away behind the toolshed that you toss journal entries and \\ found objects?
Re: Thelema as Open Source?
Good bunch of questions! You could imagine denominations popping up that had all kinds of differing answers to these.
I don't think it is, although different communities maintain "modules" at different scopes. People interested in Crowley keep his works canonical; Maatians write an add-on module, but Nema might be more inclined to keep Liber PP in a strict observance than would those who come after her, etc.
Not me or my friends, though others might be. I'm just prepared for the possibility that I might receive one of my own some day.
Enjoyed the links, but since magick's a different domain than software (usually, anyway), different sorts of tools would be required. Journal dumps are probably a step in the right direction, though. Maybe a working group could be assembled to recommend a standard for journal entries optimized for cross-individual interoperability. MRML (Magical Record Markup Language)?
Cybernetics really is an advance in human neuro-psychology, not just human technology. The brains which interface with these technologies mutate in unanticipated ways. Is compiler-language a more accurate map of the mind's view of itself than Thirty-Two Paths in Four Worlds? Sepher Yetzirah clearly states that, in the Timeless Aeons before God pressed Run Program, He created the Thirty-Two essential Alphanumerics, Belimah.
Please bear with me. One's Magickal Universe is, and is intended to be, an increasingly accurate map of one's experience of the…I won't get into that one…of the Experienced Universe. If you are getting anywhere at all, this Experienced Universe should itself be expanding. But didn't Aleister say our conceptions of things should be growing progressively simpler? Yes, he did, and Yes, it does. We need to create Macros for handling increasingly more complicated tasks which become increasingly more common.
Phew! Okay. Each World Wired Wizard, there I said it, has already, and will continue to make, their own Magickal-Aesthetic-Stylistic choices. Ye-Waaz, AShub,whaddayatryinta do, start a fight? The only difference is,that if it is the Will of the guy or gal magic-dude-person to communicate effectively with other like- or similarly-minded individuals, we now have an OPPORTUNITY to enclose fully-documented downloadable attachments which express our attitude towards our shared traditions, JUST SO EVERYBODY CAN BE SURE.
Some people have signed pieces of paper, taken Oaths, or simply thought it would be in good taste to give one's expressed Assent to "Change not so much as the Style of a letter" in Liber AL. Many have also accepted The Beast's Own attribution of other Inspired Works to this category. This is a convenient convention, and we all understand what it means.
And what it means is this: YOU DO NOT CHANGE THIS TEXT.
Don't you see the beauty of this? Aleister categorized how he thought his varying materials should be used, and we should do the same. Also, it is specifically to be inferred that Not Every Word Uttered or Written by The Man Aleister Crowley is Canonical or Sacred. It's Not Just The Law, It's A Good Idea.
We have an opportunity to understand–for ourselves–how we navigate through terms like "Canonical", "Traditional", "Personal", "Communal", "I like it", "I borrowed it", "I changed it", or "I made it up". Not to mention, "I didn't like it, so I threw it out." In reference to our favorite Magickal Tradition–and all the other Traditions we each individually pilfer, cherish, hold dear. It is beyond the scope of this little essay, but the subjects Brother AShub and Brother Xnoubis raised apply to all of our mixed and matched personal practices.
Some examples about Evolving Collective Protocol, or: Can We All Get Along? In the East Bay, Public Gnostic Mass tradition, certain "House Protocols" have evolved. The Children are not obligatory, don't add much, and we don't use them. The Saints List can be added to, with respect and discretion. What the priest wears in re: one robe, two robes, or at one point no robe is up to the priest. What a Participating Congregant says to the assembled People after communicating, is Soo up to the individual Congregant that no-one would even consider objecting on Doctrinal, or even possibly Magickal, grounds, but only on the grounds of extreme lack of good taste combined with extreme disregard for the most essential social graces and even then, only the Natural Law of Social Ostracization, and no other, would come into play.
So you see, trying bravely to stick to the original metaphor–can't see the posts because I'm in Edit-Preview Mode–Xnoubis thinks that Magick and Computing are similar, but not alike. He does not understand that it is AShub's nefarious Master-Plan to ruthlessly Bend, Squeeze, and Mutate our Technology, our Morality, and our Reality until they BECOME the same thing. I had a great finish for this thing, but it got swallowed irretrievably in one of those mysterious Screen-Freeze glitches. Anyway, the Voodoo Witch Lady is telling me it's time to light the Shabbat candles. 30.
since magick's a different domain than software (usually, anyway), different sorts of tools would be required.
Screaming in laughter at mental picture of a Hermetic clutching the dusty tomb to chest whilst abjuring the computer in the triangle. That's no way to talk to a sourcerer!
My first thought was a browsable CVS tree that multiple people could work on. Unfortunately, that requires directory structure hierarchy … Having the text centralized allows grinding with something like Tinderbox. However, some wandering in the halls turned up Wiki … an grandly abusable tool with source control back ends. There's a new one where we can start playing now citing Memetic Drift and a Zope based one that you could run with.
You mean you're going to print "Emblems and Modes of Use" now?
I think the argument would be: "Emblems" isn't an essential part of Thelema, but rather one example of the "secrecy method" applied to the development of one group's initiates.
If Liber AL were left unpublished, and shown only to initiates, then we could say with certainty that Thelema was irredeemably closed.
The key, IMO, is that the basic techniques and practices and 'secrets' in "Emblems" and other documents are available in many of Crowley's other writings that are publicly and available without any controversy. If the core of the system wasn't available, albeit in less obvious form, I'd probably scream louder for the release of absolutely everything, but the fact remains that Crowley does live up to his word in MTP about writing the secret "somewhere" in his published works. All it takes is a bit of digging that is really required to understand the 'unobtainable' documents anyway.
This, of course, brings up the greater irony that nobody's reading them. A proliferation of "new" texts will likely be as rapidly ignored as anything that doesn't have the great forbidden secret and unobtainable reputation forever stamped upon its spine.


18mm Diameter & 15MM sticking out from wall.
High Quality made with brass polish chrome FINISH.
Glass shelf support, screw fixing For glass thickness up to 10 mm.
Glass secured by grub screw with nylon cap Glass projected 4 mm from wall Polish Chrome.
Screw into the wall with screws & plugs.
Slide in the glass from front & tight the glass by tightening the bottom screws which has the plastic tip to avoid scratches on the wall.
Suitable for up to 200MM & 20CM deep shelf if a wall is strong.
Apply one support after each 15CM to put heavy things on the shelf.


text:
Author: Kaitlyn Sage Patterson
As I contemplated this post, I wondered what more I could say. I feel like I've pulled back the curtain on my life a bit this year as we've gone through the ups and downs of being a debut author. I'm not going to lie, it's been hard and exhilarating and daunting and anxiety inducing and a dream come true and a nightmare all at the same time. It's been…
To All the Words I've Loved Before
I know I made a lot of mistakes while writing and publishing The Diminished. I know because it's literally impossible to not make mistakes while writing and editing and promoting a book. That said, and much like Julie, I don't really remember what those mistakes were. I have a tendency to dwell on things. If I said something that might be misconstrued as being somewhat out of line to you ten years ago,…
How to Birth a Book
This week we are talking about launch parties! As I thought about writing this post, I found myself wishing that I'd written it closer to my actual launch. That time feels SO LONG AGO! But! I had the great good fortune of joining the wonderful Tracy Banghart as she launched her novel GRACE & FURY just a couple of weeks ago, and I thought I'd talk a little about the…
Interview with L.L. McKinney, Author of A Blade So Black
L.L. McKinney is a writer, a poet, and an active member of the kidlit community. She's an advocate for equality and inclusion in publishing, and the creator of the hashtag #WhatWoCWritersHear. She's spent time in the slush by serving as a reader for agents and participating as a judge in various online writing contests. She's also a gamer girl and an adamant Hei Hei stan. A Blade So Black is her debut…
Trunked: A Love Story
I have a veritable stockpile of poems none of y'all are ever going to read, and you should thank your lucky stars because those words– though they taught me about imagery and evoking emotion and storytelling– they are not good words. There are 23 versions of my first novel sitting on a hard drive next to 3 years of MFA poetry work that you're also not going to read. And that's…
Book Two and the Reviewers in My Ear
I wrote The Exalted, the sequel to The Diminished, in late 2016 and early 2017. By the time I began editing The Diminished, I'd already written the sequel as well as another book. By the time reviews started rolling in, I was already halfway through the initial edit on The Exalted. I turned in my first round of major revisions the day The Diminished was released. In a lot of ways, I think that gave me…
Taking From Our World to Build Something New
Much like Cass, I am, by training, as much a historian as I am a writer. I took more history classes in college than I did English classes by a fairly wide margin. (I don't, however, have a history degree because I stupidly refused to take one class, taught by a racist old white dude, that was not taught by anyone else and required for the degree. Way to go,…
What Do We Want? Success! When Do We Want It? Now!
I had the great good fortune to meet a group of wonderful veteran YA authors about a year before my book came out, and their greatest advice to me was to manage my expectations. Very few people hit the NYT list, and those that do get there because of publisher buy-in and enormous marketing campaigns, a thing The Diminished was never going to have. My friends told me to set reasonable goals,…
Breadcrumbs in The Diminished
I didn't think much about Easter eggs when I was writing The Diminished. So much of my focus was on making something new, something fresh, that everything I did, every choice I made, was in pursuit of writing something that no one had seen before. That said, when I went back and edited the book, I wanted to leave a few things behind. Though it doesn't exist on the page, there…
Taking Up Space
I am, by nature, a people pleaser. I think it's a trait that a lot of women struggle with, whether they learned it or, like me, came with it. Being a people pleaser wasn't taught to me. In fact, my parents actively discouraged this trait, and yet, at my core, my driving force is to please others. It's a trait that makes it harder to be a woman in publishing, and…


Jordan Wine Estate adds coffee to its offering and we're excited!
One of Stellenbosch's premium wine estates now has its own brand of coffee.
"World-class wines and excellent coffee are a must!" says Jordan Wine Estate marketing manager, Thea van der Merwe, "but it was first and foremost essential to offer great coffee to guests visiting the estate and to those staying in the Luxury Suites on the estate, during breakfast time. "
After many requests from guests asking about where the delicious coffee they were drinking, came from, the team at Jordan decided to add it as a retail item and name it after their Merlot, called Black Magic. "Our Merlot vineyards are based on Black Tourmaline-rich granite which darkens the soil, leading to perfumed, inky wines!"
The process of bringing the coffee to life started in September with many cups sipped before deciding on the perfect blend. It's a blend of two central American countries, and a little bit of Ethiopian Sidamo to add complexity. Currently, the coffee is roasted fresh, every two weeks by Red Roof Roasters in Stellenbosch and all the coffee beans used are Fairtrade and ethically sourced.
Find the coffee at The Bakery at Jordan - where it comes in 250g bags and you can choose between ground or beans. It's also the coffee used in the restaurant so you can enjoy a cuppa with a sweet treat from the bakery while overlooking the gorgeous dam and stunning Stellenbosch mountains.


text:
Cherry Blossom is a type of chocolate confection in Canada produced by the Canadian subsidiary of Hershey. "Hershey Canada Inc." used to produce it at its Canadian manufacturing facility in Smiths Falls, Ontario.

History

The candy had been manufactured since the 1890s by the Walter M. Lowney Company of Canada which was taken over by Hershey as a subsidiary brand. The facility in Smiths Falls, northeast of Kingston, is now closed.

A prominent man in Mansfield, Massachusetts, Lowney opened and operated his candy factory in the city, being also involved in the development of other interests in the city. In the mid 1890s a subsidiary of Lowney Co. was opened in Canada. The company continued to grow and so did the Cherry Blossom.

In the mid-20th century, Hershey bought out the Smiths Falls factory and began manufacturing Cherry Blossoms. The plant remained active for 45 years until it closed in 2008.

Information
The Cherry Blossom consists of a maraschino cherry and cherry syrup surrounded by a mixture of chocolate, shredded coconut and roasted peanut pieces. The candy is sold in an individually wrapped 45-gram (1½ oz) portion, packaged in a close-fitting cardboard box.

Contrary to common myth, filling is not injected inside the chocolate. The cherry candy is coated with an enzyme, invertase, that breaks down the solid into a liquid over the next 1 to 2 weeks.

The Cherry Blossom candy provides 210 calories of food energy. It contains 10g fat (15%Daily), 29g carbohydrate (10%Daily), 1g fibre (4%Daily), 27g Sugars and a further 2 grams of protein.

See also
 List of chocolate bar brands
 List of cherry dishes

References

The Hershey Company brands
Canadian confectionery

redpajama_set_name: RedPajamaWikipedia


text:
/**
 * Represents a cell in a table.
 * Does not expose any API.
 *
 * @function cellDirective
 * @module lightGrid
 */
angular.module("lightGrid").directive("lgCell", function cellDirective($compile, DEFAULT_VIEW_NAME) {
	"use strict";

	var countProperties;

	if (typeof (Object.keys) === "function") {
		countProperties = function (obj) {
			return Object.keys(obj).length;
		};
	} else {
		countProperties = function (obj) {
			var count = 0;
			for (var prop in obj) {
				if (obj.hasOwnProperty(prop)) {
					++count;
				}
			}

			return count;
		};
	}

	return {
		require: "^lgRow",
		link: function cellLink(scope, element, attrs, rowController) {
			var views = scope.columnDefinition.views;

			var transclusionScope = rowController.getCellScope();

			// CSS class defined on column template is copied to the rendered TD element...
			element.addClass(scope.columnDefinition.attributes.class);

			// ...and so is the width attribute
			if (scope.columnDefinition.attributes.width) {
				element.css("width", scope.columnDefinition.attributes.width);
			}

			if (countProperties(views) === 1 && !angular.isUndefined(views[DEFAULT_VIEW_NAME])) {
				// Optimization: if there is just default view defined, we don't need ngSwitch.
				// Instead we'll just wrap the original contents of the directive in a div.

				var singleView = views[DEFAULT_VIEW_NAME];
				var singleViewNode = angular.element("
").append(singleView);

				element.append(singleViewNode);
				$compile(singleViewNode)(transclusionScope);

				return;
			}

			var switchRoot = angular.element("
");

			for (var view in views) {
				if (views.hasOwnProperty(view) && view !== DEFAULT_VIEW_NAME) {
					// Processing all the views except the default one:
					// each view gets linked with the cell scope and wrapped in a ng-switch-when container
					// that shows it only when scope's view property matches the view name
					var viewHtml = views[view];
					var switchElement = angular.element("
");

					// View content is added to the container with a ng-switch attribute
					switchRoot.append(switchElement);
					switchElement.append(viewHtml);
				}
			}

			// The view identified by DEFAULT_VIEW_NAME is a special case - it defines the 'fallback'
			// view used if no other view matches.
			if (angular.isDefined(views[DEFAULT_VIEW_NAME])) {
				var defaultElement = angular.element("
");
				switchRoot.append(defaultElement);
				defaultElement.append(views[DEFAULT_VIEW_NAME]);
			}

			element.append(switchRoot);

			// The whole container needs to be compiled to enable the ng-switch directive.
			$compile(switchRoot)(transclusionScope);
		}
	};
});


text:
Denso keeps Saab 9-5 drivers entertained
Steven Wingett
Denso Corp. supplies the new Saab 9-5's high-end, voice-operated infotainment/navigation unit. The system has numerous features including a hard-drive for storing audio tracks and a time-shift function to stop and replay live radio programs. The audio output is played through a Harman Kardon surround sound system.
German supplier Hella KGaA Hueck & Co. produces the vehicle's bi-xenon front headlamps while U.S.-based Visteon Corp. provides the rear lighting system, which includes the rear lamps, LED brake lights, two-diode backup lights, bumper-mounted fog lights, rear-side lights and the bulbs to illuminate the license plate. The Saab 9-5's rear lamps and LEDs are developed and manufactured by the company's Visteon-Autopal unit in Novy Jicin, while the fog lamps are assembled in Rychv, both in the Czech Republic.
Saab launched the second-generation Saab 9-5 in 2010, 13 years after the first model debuted. The sedan shares its platform with the Opel/Vauxhall Insignia. Opel/Vauxhall and Saab were sister brands under General Motors Co., which sold Saab to Spyker Cars NV in late February 2010.
The new 9-5 is key to the Swedish automaker's plans to recover from nearly being closed by GM earlier this year following years of financial losses.
The new 9-5 comes with a choice of four engine variants: three gasoline and one turbodiesel.
A company that plays a big part in keeping those engines secure is
ContiTech AG's Vibration Control division. The business unit supplies the 9-5's plastic power unit mounts, which are used on the engine, transmission and other parts. The mounts damp vibration and prevent the powertrain from coming into direct contact with the automobile's body.
The fasteners need to be very secure to prevent powertrain detachment, which is a possibility during a collision. Such high-strength requirements normally require the power unit mounts to be made from steel or aluminum. However, ContiTech's fiberglass-reinforced polyamide units meet those strength requirements while also reducing weight, which leads to better fuel economy and a reduction in CO2 output. In addition, less heat energy is required to mold plastic than aluminum, further underling the product's environmental credentials. The mounts are made at ContiTech's factory in Hanover, Germany.
Haldex AB supplies the automobile's all-wheel-drive system to which American Axle & Manufacturing Inc. provides the rear-drive module. AAM produces the rear-drive module at its plant in Silao, Mexico.
Saab builds the 9-5 at its plant in Trollhattan, Sweden.
CA7095998.PDF
Supplier to the new Saab 9-5
CA7095998.PDF >


text:
Looking for Lincoln
Full-color, heavily illustrated guidebooks in the Looking for Lincoln series invite readers to learn more about the life, times, and legacy of Abraham Lincoln in central Illinois and the people, places, and forces in the region that shaped and elevated him to the White House. Collectively, books in the series examine Lincoln's development and rise during his time in central Illinois; promote public awareness of the region's history, culture, and significance; encourage heritage, cultural, and recreational tourism; and raise public consciousness about the needs and benefits of preserving the historic and cultural legacies of central Illinois.
The series is a collaborative effort between Southern Illinois University Press and the Looking for Lincoln Heritage Coalition, which coordinates projects, programs, and events that focus on telling the unique stories of the Abraham Lincoln National Heritage Area, which encompasses more than forty counties in Illinois.
Sponsoring Editor, Sylvia Frank Rodrigue
sylvia@sylverlining.com
Carbondale, IL 62901-6806
Bryon C. Andreasen
Guy C. Fraker
Dana Homann
Matthew Mittelstaedt
Sylvia Frank Rodrigue
Kim Rosendahl
Timothy P. Townsend
Samuel Wheeler
Heather Wickens
Looking for Lincoln in Illinois
Erika Holst


Back in 1977, no one had ever heard the term "Lynchian." In fact, no one had ever heard of David Lynch. The director of The Elephant Man, Blue Velvet, and Mulholland Drive had never made a full-length movie when Eraserhead arrived on the scene. But the cult horror film quickly seared a number of black-and-white images onto fans' brains—chiefly, Jack Nance's wild hair and that grotesque "baby" at the center of the story. In honor of its 40th anniversary, here are 12 gross, trippy, and terrifying facts about the midnight movie classic.
1. DAVID LYNCH ACTUALLY WANTED TO MAKE A MOVIE ABOUT INSECTS AND ADULTERY.
Eraserhead is technically a student film, since Lynch started making it while he was studying at the American Film Institute's Center for Advanced Film Studies. But if things had gone a little bit differently, his first feature would've been Gardenback, not Eraserhead. Gardenback was a 45-page script that came from one of Lynch's paintings of a "stooped figure with green things growing out of its back." The screenplay concerned a couple named Henry and Mary. When Henry looks at another girl, "something crosses from her to him." It's a bug, which proceeds to grow into a monster in Henry and Mary's attic.
2. ONE LINE IN THE BIBLE INSPIRED ERASERHEAD.
3. NO, LYNCH WASN'T WORKING OUT HIS ANXIETIES AS A NEW DAD.
4. HE DISSECTED A CAT FOR RESEARCH.
To prepare for the shoot, Lynch decided he needed to look at a dead cat's membranes, hair, and skin. It was apparently a texture thing.
5. PHILADELPHIA INFORMED THE MOVIE'S IMAGERY AND SOUND.
Lynch moved from his hometown of Missoula, Missouri to Philadelphia to study at the Pennsylvania Academy of the Fine Arts in 1965. The city had a profound effect on him—though not necessarily a positive one.
"The biggest influence on my life was Philadelphia, Pennsylvania," Lynch later told Philadelphia Weekly. "I loved the fact that Philadelphia had a mood, and that mood was dark and foreboding. I felt industry. I felt smoke and fire and fear. I felt insanity. These things that I felt influenced me." Lynch has said that "industrial world" directly shaped the Eraserhead's feel and sound.
6. IT TOOK FIVE YEARS TO FINISH THE FILM.
7. LYNCH PAID FOR IT WITH HIS NEWSPAPER ROUTE.
To make ends meet, Lynch took a paper route; he delivered The Wall Street Journal during production, which earned him an extra $48 per week. This wasn't actually a "day job," as his route was scheduled during the night. Lynch also insisted on shooting Eraserhead at night, so at some point each evening, he'd have to suspend shooting to go complete his paper route.
8. SISSY SPACEK HELPED OUT ON SET.
Jack Fisk played the so-called "Man in the Planet," and sometimes invited his girlfriend to the set. That girlfriend (and later wife) just happened to be Sissy Spacek. She would hold the slate while Fisk was on camera, which is why she received a "thanks" in the credits.
9. A TORTURE SCENE WAS CUT.
Lynch claims he cut three or four scenes from the final print, and one was a strange sequence where the main character Henry looks into a room with two women tied to a bed. They were not alone. There was also a man holding an electrical box with large cables and sparks leaping off it. He moves toward the women before the scene cuts, leaving his intentions to the imagination.
10. LYNCH WILL NEVER TELL HOW THE "BABY" WAS MADE.
Fans have speculated about how Lynch made the deformed baby prop (nicknamed "Spike") for decades. Some say it's a lamb fetus, others think it's a skinned rabbit. But they might as well keep guessing, because Lynch has repeatedly refused to reveal its origins. Same goes for Jennifer, who won't even tell her own daughter.
11. THE INITIAL REVIEWS WERE NOT KIND.
Eraserhead was not an immediate critical darling. In 1976, Variety called it "a sickening bad-taste exercise." And that was a relatively early review. Eraserhead screened almost exclusively as a midnight movie for a couple years, but when it went wider in 1980, Tom Buckley at The New York Times was no fan, either. He dubbed it a "murkily pretentious shocker" with an "excruciatingly slow pace." Ouch.
12. BUT MEL BROOKS LOVED IT.


text:
Das Inyo County ist ein County im Osten des US-Bundesstaates Kalifornien. Der Verwaltungssitz (County Seat) ist Independence.

Geographie
Inyo County liegt zwischen dem Gebirgskamm der Sierra Nevada mit unter anderen dem Mount Whitney im Westen und der Staatsgrenze zu Nevada im Osten. Dazwischen liegt das von Nordwest nach Südost gestreckte Owens Valley des Owens River, in dem alle nennenswerten Siedlungen des County liegen. Das Tal wird durch den U.S. Highway 395 erschlossen.

Der Death Valley Nationalpark, mit Badwater als dem tiefsten Punkt Amerikas, liegt im Osten des Countys und macht knapp die Hälfte seiner Fläche aus. Die Anteile des Countys in der Sierra Nevada sowie ein Teil der Inyo Mountains und der White Mountains gehören zum Inyo National Forest, einem Nationalforst unter Verwaltung des U.S. Forest Service. Teile des National Forests in der Sierra sind unter den Namen John Muir Wilderness, Golden Trout Wilderness und South Sierra Wilderness als Wilderness Area ausgewiesen, der schärfsten Klasse von Naturschutzgebieten in den Vereinigten Staaten.

Im Süden reichen große Teile des Truppenübungsplatzes der U.S. Navy China Lake Naval Weapons Center in das County.

Im County liegen mit dem Mount Whitney und Badwater sowohl der höchste Berg der Vereinigten Staaten außerhalb Alaskas als auch der tiefste Punkt Amerikas.

Geschichte
Der Inyo County wurde 1866 aus Teilen des Mono County und Tulare County gebildet und ist nach den Inyo Mountains benannt.

Während des Zweiten Weltkriegs waren im Manzanar War Relocation Center zwischen Independence und Lone Pine 10.000 Japaner und japanischstämmige Amerikaner interniert.

Im Inyo County liegt eine National Historic Landmark, der Coso Rock Art District. 16 weitere Bauwerke und Stätten des Countys sind im National Register of Historic Places eingetragen.

Naturgeschichte
Der Inyo County besitzt mehrere natürliche Sehenswürdigkeiten:
 Der Berg Mount Whitney ist mit  der höchste Punkt der Vereinigten Staaten außerhalb Alaskas.
 Badwater im Death-Valley-Nationalpark ist mit  der niedrigste Punkt der USA.
 Exemplare der Langlebigen Kiefer (Pinus longaeva) zählen zu den ältesten Bäumen der Welt.
 Owens Valley ist das tiefste Tal des Amerikanischen Kontinents.

Demografische Daten

Nach der Volkszählung im Jahr 2000 lebten im Inyo County 17.945 Menschen. Es gab 7703 Haushalte und 4937 Familien. Die Bevölkerungsdichte betrug 1 Einwohner pro Quadratkilometer. Ethnisch betrachtet setzte sich die Bevölkerung zusammen aus 80,06 % Weißen, 0,16 % Afroamerikanern, 10,04 % amerikanischen Ureinwohnern, 0,91 % Asiaten, 0,08 % Bewohnern aus dem pazifischen Inselraum und 4,60 % aus anderen ethnischen Gruppen; 4,15 % stammten von zwei oder mehr ethnischen Gruppen ab. 12,58 % der Bevölkerung waren spanischer oder lateinamerikanischer Abstammung.

Von den 7703 Haushalten hatten 27,90 % Kinder und Jugendliche unter 18 Jahre, die bei ihnen lebten. 49,80 % waren verheiratete, zusammenlebende Paare, 9,90 % waren allein erziehende Mütter. 35,90 % waren keine Familien. 31,40 % waren Singlehaushalte und in 13,60 % lebten Menschen im Alter von 65 Jahren oder darüber. Die Durchschnittshaushaltsgröße betrug 2,31 und die durchschnittliche Familiengröße lag bei 2,88 Personen.

Auf das gesamte County bezogen setzte sich die Bevölkerung zusammen aus 24,40 % Einwohnern unter 18 Jahren, 5,80 % zwischen 18 und 24 Jahren, 23,40 % zwischen 25 und 44 Jahren, 27,30 % zwischen 45 und 64 Jahren und 19,10 % waren 65 Jahre alt oder darüber. Das Durchschnittsalter betrug 43 Jahre. Auf 100 weibliche Personen kamen 95,40 männliche Personen, auf 100 Frauen im Alter ab 18 Jahren kamen statistisch 92,90 Männer.

Das jährliche Durchschnittseinkommen eines Haushalts betrug 35.006 USD, das Durchschnittseinkommen der Familien betrug 44.970 USD. Männer hatten ein Durchschnittseinkommen von 37.270 USD, Frauen 25.549 USD. Das Prokopfeinkommen betrug 19.639 USD. 12,60 % Prozent der Bevölkerung und 9,30 % der Familien lebten unterhalb der Armutsgrenze. 16,00 % davon waren unter 18 Jahre und 8,30 % waren 65 Jahre oder älter.

Orte

Städte
 Bishop

Census-designated places
 Big Pine
 Cartago
 Darwin
 Dixon Lane-Meadow Creek
 Furnace Creek
 Homewood Canyon
 Independence
 Keeler
 Lone Pine
 Mesa
 Olancha
 Pearsonville
 Round Valley
 Shoshone
 Tecopa
 Trona
 Valley Wells
 West Bishop
 Wilkerson

Bildung
Im Deep Springs Valley befindet sich das 1917 gegründete Deep Springs College.

Einzelnachweise

Weblinks

Wikipedia:Artikel mit Video
Gegründet 1866


Last year our charity shops across the borough raised an amazing £650k!
This wouldn't have been possible without our fantastic volunteers. We are always looking for volunteers to come and help at our 8 shops.
The roles within our shops vary from window displays and serving customers, to sorting donations and steaming stock.
Retail skills such as visual merchandising.


Let's go! Launch your project in Caledonia County today!
Companies technical in application development located in Caledonia County!
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Teaming up with mobile app developers, this will surely make you save hours!
However what is sure is that a capable agency will give your company the expert view that your firm desires, together with special knowledge for improving the return on investment of your action. This will then build up to an finer employing of your hours. Building up, in turn, to a boost in your productivity.
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