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Robert Sterling Arnold (January 26, 1905February 8, 2003) was an American shape note music publisher, singer, composer, singing school teacher, and the cousin of country western singer, Eddy Arnold. Robert was born at Coleman in Coleman County, Texas, the son of Millard Franklin and Rowena Victoria (Lawrence) Arnold.

Arnold received his musical training from southern shape note teachers such as Mr. & Mrs. J. H. Carr, W. W. Combs, L. A. Gordon, J. B. Herbert, John A. McClung, Will M. Ramsey, and Frank White. He traveled as a member of several quartets, including the Central Music Company Quartet. He also traveled extensively to teach about 300 shape note singing schools.

In 1927, he joined Bill Bynum, Cecil MacDonald, and Bernie Horner to form the Overall Quartet. Sponsored by the J. C. Penney Company, the group wore pressed blue overalls, white shirts, and black bow ties at their concerts. In 1928, he married Cora Angie McDonald, whom he met at a gospel singing at Veribest (near San Angelo, Texas). They lived in Fort Worth, Kennedale and Jefferson, Texas, returning to Coleman in 1975. While in Fort Worth, he had a studio and taught piano and voice. He was the founder and owner of the National Music Company, which company published about fifty singing convention books. Before that he was a partner with Albert E. Brumley and W. Oliver Cooper in the Hartford National Company. Robert and Cora Arnold were members of the Church of Christ.

Some of his more popular songs include Did You Repent, Fully Repent?, Have You Thought, Really Thought?, If I Could But Just Take One Soul To Heaven, and I Wanta Get Right. No Tears in Heaven, written in 1935, is probably his best known song. In addition to its popularity at shape note singings No Tears in Heaven has been recorded by gospel quarters and artists such as Buck Owens, Skeeter Davis, Red Foley, and The Chuck Wagon Gang.

Robert Sterling Arnold is a member of the 2005 Southern Gospel Music Hall of Fame inductees. Arnold was inducted into the Texas Gospel Music Hall of Fame on September 14, 1985. He died in Coleman County at age 98 on February 8, 2003 and was buried in the Silver Valley Cemetery.

References
Article by Robert S. Arnold in International Gospel Hour News, Jul-Aug 1986
A Video of Robert S. Arnold can be found by searching for Oldest Living Quartet, Gaither Homecoming, Apr 29, 2008 <https://www.youtube.com/watch?v=mCS10_LP3Kc>
Obituary, Coleman Chronicle and Democrat-Voice, Coleman, Texas, February 11, 2003, page 7-B.

Specific

External links
Robert S. Arnold, from Singing News
Robert S. Arnold, from Stamps-Baxter
Texas Gospel Music Hall of Fame

Page includes picture of Robert S. Arnold (1999)

1905 births
2003 deaths
20th-century American singers
American members of the Churches of Christ
American music publishers (people)
20th-century American composers
American country singer-songwriters
American gospel singers
American Christian hymnwriters
American male singer-songwriters
Composers of Christian music
People from Coleman, Texas
People from Tarrant County, Texas
Shape note
Singer-songwriters from Texas
Southern gospel performers
Writers from Texas
People from Jefferson, Texas
People from Fort Worth, Texas
20th-century American male singers


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JEAN ETIENNE CHARLES
Jean Etienne Charles holds a Bachelor of Science degree in Accounting from Long Island University/C.W. Post and an Associate degree in Business Administration from the State University of New York at Farmingdale. He also holds a CPA license from the State of New York and currently attends a Master of Business Administration Program in Finance at LaSalle University in Philadelphia, PA. He is currently a Bank Examiner with the OCC, an Agency of the US Treasury Department and participates in a variety of philanthropic and social initiatives aimed at improving the living conditions of Haitians in Haiti with a primary focus on providing guidance, counseling, and education for children. He is currently the Director and Chairman of Comité de Relèvement des Anglais a New York ("CRAN"), a local Haitian Community based-organization in the U.S. Diaspora located in New York with a mission to improve Les Anglais's physical, educational, social and health infrastructures.
ELLEN MORRIS
Ellen Morris is the Director of the Energy and Environment Concentration at the School of International and Public Affairs. In addition to her faculty appointment, Ellen is the President and Founder of Sustainable Energy Solutions, a consulting services company that promotes the increased use and deployment of clean energy technologies and services as a means to support economic development and reduce poverty in developing countries. She is currently a Founding Partner of a new social enterprise called Embark Energy that is focused on radically increasing the scale of energy access by empowering thousands of clean energy entrepreneurs in low-income countries. Their mission is to create clean energy enterprises using a web-based portal that is centered on experiential learning, business coaching, supply chain management, links to financing and access to high-quality energy products.
In 2007, Ellen was the co-founder of Arc Finance, an organization that promotes and expands access to end-user finance for modern energy. Since 1996, Ellen has been a senior consultant for the United Nations Development Programme on sustainable energy, where her work focuses on technical and programmatic support for countries seeking to advance energy as a means for poverty reduction and enterprise development. Ellen serves as an advisor and Board Member for social enterprises focused on clean energy, including Simpa Networks (India), Earth Spark International (Haiti), and Empowered by Light (Zambia).
Ellen started her career in clean energy working for the National Renewable Energy Laboratory. In the early part of her career, she worked as a Science Advisor to the U.S. Congress and as an exploration geophysicist for Texaco. She holds a Bachelor of Science degree in geophysical engineering from the Colorado School of Mines and a doctoral degree in marine geophysics from the University of Rhode Island.
SCOTT SKLAR
Scott Sklar runs a clean energy technology optimization and strategic policy firm, The Stella Group, LTD, which he founded in 1995 and came on full time to lead in 1999. The firm facilitates clean distributed energy projects for commercial, industrial, and military applications. It specializes in blending technologies and financing projects, as well as assisting companies' market penetration with a focus on standardized, modular, web-enabled, and interoperable systems.
Before The Stella Group, Sklar concurrently served 15 years as Executive Director of two national trade associations: the Solar Energy Industries Association (SEIA) and the National BioEnergy Industries Association (NBIA). Previously, Sklar spent two years as Political Director of The Solar Lobby, a renewable energy advocacy group founded by the big nine US environmental organizations. Prior to joining The Solar Lobby, he served the National Center for Appropriate Technology (NCAT)–a federally-funded applied technology institution promoting renewables and energy efficiency–in the roles of Washington Director for two years and Acting RD&D Director for one year.
Sklar started his energy career serving nine years on the Washington personal and Committee staffs of Senator Jacob K Javits (NY), as a military and energy aide. Sklar co-founded the Congressional Solar Caucus in the mid-1970's, when most renewable energy legislation was first passed by the US Congress as a result of the first and second oil embargos.
In addition to his work with The Stella Group, Sklar serves on the Boards of Directors of three national non-profits: Business Council for Sustainable Energy, Renewable Energy Policy Project, and The Solar Foundation. He also serves as Steering Committee Chairman of the Sustainable Energy Coalition, composed of the 20+ national energy efficiency and renewable energy industry organizations, advocacy groups, think tanks, and environmental groups.
TED STECK
Ted Steck is a member of the faculty of the University of Chicago, where he is a professor emeritus in the Department of Biochemistry and Molecular Biology and the former chair of the Environmental Studies Program, which he founded in 1994. Dr. Steck received his B.S. degree in Chemistry from Lawrence College (Appleton, WI) and his M.D. degree from Harvard Medical School (Boston, MA). He received his clinical training at the Beth Israel Hospital (Boston) and did post-doctoral work at the National Institutes of Health (NIH) and Harvard Medical School before joining the faculty of the University of Chicago. He holds an honorary Doctor of Science degree from Lawrence University. His scientific work has focused on basic membrane biochemistry and cell biology and has been funded principally by the NIH, NSF, and American Cancer Society. He has served on a variety of national advisory boards, most recently Population Connection.
RICHENDA VAN LEEUWEN
Richenda Van Leeuwen has more than 20 years of executive experience in private equity emerging markets renewable energy investing and with international organizations, philanthropies and non-profits in microenterprise and SME development and post-conflict reconstruction. She now serves as Executive Director for Energy Access, Energy and Climate at the UN Foundation. She also served as a co-chair of the Scaling Renewable Energy Program (SREP) Technical Expert Group as part of the work of the Climate Investment Fund at the World Bank in 2010.
From 2006 – 2010 she worked as Senior Advisor to Good Energies, Inc. a private equity firm focused on renewable energy focusing on emerging markets commercial transactions as well as impact investments supporting energy access and climate change mitigation. Prior to this time she was the CEO for an international microenterprise development agency, Trickle Up, and worked with several organizations on microfinance, microenterprise development and SME financing as well as post conflict reconstruction in Africa, Asia, the Americas and Europe.
Mrs. Van Leeuwen currently serves on the board of SELCO India, a leading renewable energy company focusing on delivering energy solutions for low income households, and advises a number of renewable energy companies and non-profit organizations globally. She holds both Bachelor's of Science and MBA degrees from the University of Durham, UK.
TIM ZAK
Tim Zak is an Associate Teaching Professor and Director of the Institute for Social Innovation at Carnegie Mellon University. He has spent over 25 years leading global organizations and advising executives in the public, private, and nonprofit sectors.
Tim began teaching at CMU in 2002 as an Adjunct Professor of Operations Management and Manufacturing at the Tepper School of Business. In 2005, he also joined the adjunct faculty at the Heinz College where he focused on courses related to social entrepreneurship and innovation. From January 2007 until May 2010, Tim was the Executive Director of Carnegie Mellon's start-up campus in Australia.
Before joining CMU, Tim was the founding CEO of the Social Innovation Accelerator, a private operating foundation providing seed capital and direct support for a portfolio of ventures focused on novel, financially-sustainable ways to address social problems. Prior to launching the Accelerator, he was a consultant in the Business Technology Office at McKinsey and a leader in the firm's e-Operations practice. While at McKinsey, he served global clients in a variety of industries including Media and Entertainment, Health Care, and High-Tech and focused on the development of new, technology-based ventures.
Tim has extensive experience in start-up companies with senior management stints at both a B2B e-commerce company and a technology research and consulting firm. He was also a Manager in Arthur D. Little's IT Practice and a Manufacturing Engineering Manager at IBM where he specialized in start-up production processes and the development of factory IT systems.
Tim earned a Bachelor of Science degree with honors in Computer Science and Industrial Management from Carnegie-Mellon University and a Master of Science degree in Engineering Science with concentrations in Manufacturing Systems and Reliability from Rensselaer Polytechnic Institute. He also has an M.B.A. with distinction from New York University in Finance, Marketing, and International Business.

redpajama_set_name: RedPajamaCommonCrawl


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Stores depot construction work
Procurement Open procedure
Common Procurement Vocabulary Stores depot construction work
Waste disposal site construction work
Official name: Welwyn Hatfield Borough Council
Postal address: The Campus
Town: Welwyn Garden City
Postal code: AL8 6AE
Contact person: Andrew Harper
E-mail: a.harper@welhat.gov.uk
Main address: www.welhat.gov.uk.
The procurement documents are available for unrestricted and full direct access, free of charge, at: www.supplyhertfordshire.uk.
Tenders or requests to participate must be submitted electronically via: www.supplyhertfordshire.uk.
WHC — Tewin Road (Welwyn Garden City) Redevelopment
Reference number: C843.
Welwyn Hatfield Borough Council (hereinafter referred to as the Council) is embarking on a project to redevelop Tewin Road Depot The site is currently utilised by the Council as a streetscene depot (including waste collection, cleansing and grounds maintenance across the borough). The Council in collaboration with Hertfordshire County Council are seeking to redevelop the site and replace the Cole Green Household Waste Recycling Centre currently located close to the borough. The streetscene contractors will need to operate out of the depot during the works and the successful contractor will need to develop a phasing plan with the interested parties to enable this to happen.
Welwyn Hatfield Borough Council (hereinafter referred to as the Council) is embarking on a project to redevelop Tewin Road Depot The site is currently utilised by the Council as a streetscene depot (including waste collection, cleansing and grounds maintenance across the borough). The Council in collaboration with Hertfordshire County Council are seeking to redevelop the site and replace the Cole Green Household Waste Recycling Centre currently located close to the borough. The streetscene contractors will need to operate out of the depot during the works and the successful contractor will need to develop a phasing plan with the interested parties to enable this to happen. This redevelopment includes:
— modernising and replacing most of the existing buildings and facilities on site with upgraded infrastructure,
— re-surfacing the site,
— the construction of a new split level HWRC for public and small scale commercial use, including:
—— a re-use centre;
—— a weighbridge,
— the erection of the following within the depot, for operational and staff use:
—— vehicle wash;
—— vehicle workshop;
—— 3-storey car park;
—— upgraded material bays, and
— the inclusion of staff, operational vehicle and public parking where appropriate across the site. A 2 stage procurement process is being adopted. The successful bidder will be selected in accordance with the evaluation criteria contained within this invitation to tender (where the Bidders are requested to provide priced preliminaries and pre construction design and other services, overheads and profit). The contractor would be appointed at the end of the first stage process and be required to enter into a 'Pre Construction Service Agreement' and be required to undertake the services detailed in the pre-construction service schedule. At the end of this stage 1 the Council will have the option to either:
(a) continue with the contractor and enter into a JCT2016 design and build contract (as contained with this tender pack); or
(b) not continue with the contractor without any further liabilities to the contractor. If the Council opts to for Option 2.3b (above) then the Council may use the information (including any designs and other technical information) to issue to the market place to secure further tenders for stage 2 of the scheme. The Council is not considering novation of the existing designers, so for the purpose of this tender, contractors should price for their own design team to complete the design duties set out in the pre-construction services schedule.
As stated in the procurement documents.
Obligation to indicate the names and professional qualifications of the staff assigned to performing the contract
Open procedure
The procurement is covered by the Government Procurement Agreement: no
Welwyn Garden City.
Official name: Welwyn Hatfield BC


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EVENTSHamptons & East End
Weekend: Best Bets for Events in the Hamptons & East End September 16 – 19, 2016
September 15, 2016 by Genevieve Kotz East End Events, EVENTS, HAMPTONS, Hamptons & East End, NORTH FORK
Watermill Center Fall Open House, an artist studio tour and a merlot tasting from vineyards around the world are some of our top picks for things to do this weekend in The Hamptons and North Fork. Also expect to find talks and conversations on art and the art world taking place on the East End of Long Island this weekend.
Watermill Center Fall Open House
"INXILE" by Álvaro Restrepo, a collaborative ceremony between El Colegio del Cuerpo and the Shinnecock Nation. Image Courtesy of the artist & Watermill Center.
The Watermill Center hosts its Fall Open House on September 17 - 18, 2016. The event is free and offers visitors the chance to tour the performance lab and Robert Wilson's collection.
Events kick off on Saturday with Artist Talks by two of its artists-in-residence, Noel McKenna and Zeinab Shahidi Marnani. McKenna's Talk begins at 1 p.m. and presents new works relating to the local landscape or inspired by the Watermill Center's collection. Iranian artist Zeinab Shahidi Marnani's Talk follows at 2 p.m. where she will discuss her experimental video documentary project. Click here for details on both.
Sunday features an Open rehearsal by Álvaro Restrepo. The performance in process is based on a massive ceremony the artist created in 2010 in his native country of Colombia to honor the victims of internal displacement, according to Watermill Center. The Open Rehearsal features members of the Shinnecock Nation and eight dancers from El Colegio del Cuerpo in a collaborative ceremonial performance.
The Watermill Center is located at 39 Water Mill Towd Rd, Water Mill, NY 11976.
Click here for more details. Events are free but RSVPs are required.
Guild Hall Curator Talk
Guild Hall Museum Director/Chief Curator hosts a Gallery Talk on "Aspects of Minimalism" on Saturday, September 17, 2016 at 2 p.m. The exhibition is the first on the East End to delve deeply into the importance and range of Minimalism and its lasting influence, according to the museum. The show includes works by Donald Judd, Dan Flavin, Agnes Martin and others. The exhibition will run until October 10, 2016.
The Museum at Guild Hall is located at 158 Main Street, East Hampton, New York 11937.
For event details, click here. For a review of the show, click here.
Artist Studio Tour
The Artist Alliance of East Hampton (AAEH) hosts a free artist studio tour on Saturday and Sunday from 10 a.m. to 4 p.m. The self-guided tour features 16 studios in The Hamptons, set from Bridgehampton to Amagansett. For the full list of artists and a tour map, click here. The tour includes artists Ted Asnis and Casey Chalem Anderson. Click here for a preview of the art in their respective studios. On Sunday, a post-studio tour reception will be held at the home of AAEH's President Peter Gumpel from 4:30 to 6:30 p.m.
Click here for event details.
Art/History/Amagansett Conversation Series
A discussion on the origins of the Halsey McKay Gallery, artist-gallery relationships, and the difference between the New York and East End art markets are topics of conversation on Saturday at 6 p.m. as part of the Art/History/Amagansett Conversation series. "How It All Began: Halsey McKay Gallery" features gallery co-founder and co-director Hilary Schaffner and gallery artist Patrick Brennan in a discussion moderated by Douglas F. Maxwell, an art advisor and professor at NYU.
The series continues on Sunday at 6 p.m. with "Website and Social Media Savvy for Artists" presented by artists and entrepeneurs Steve Miller and Colin Goldberg, who creates artist websites through his website design and branding studio Everbeta.
Events are free and open to the public with a reservation which can be made by calling 631-267-3810 or online by visiting amaglibrary.org. The series is supported, in part, by Hamptons Art Hub and East End Arts. The Amagansett Library is at 215 Main Street, Amagansett, N.Y.
Amagansett Free Library is located at 215 Main Street, Amagansett, NY 11930.
Lenz Winery's Merlot World Classic
Lenz Winery is hosting its 27th annual Merlot World Classic on Saturday, September 17, 2016 from 5:30 to 8 pm. The Merlot World Classic featuring tastings from wineries from the East End and from regions around the world paired with a selection of artisanal cheese. Area wineries participating include Wölffer in Sagaponack, Lieb Cellars, Lenz Winery, Pindar, Martha Clara and others. Tickets are $50 or $30 for Lenz Winery members.
Lenz Winery is located at 38355 NY-25, Peconic, NY 11958. For reservations, call 631-734-6010 or e-mail office@lenzwine.com.
Weekend: Best Bets for Events in the Hamptons & East End August 26 – 29, 2016
Weekend: Best Bets in The Hamptons & East End June 24 – 26, 2016
East End Things To Do – Highlights Through June 3, 2018


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Home / Fashion / Style
Being Ralph Rucci
Rick Guidotti
America's greatest unknown couturier.
By Patricia Morrisroe on March 01, 2012
To know Ralph Rucci for ten minutes is to feel as if you've known him forever. Unlike the cool, elegant clothes he designs for Chado Ralph Rucci, he talks openly, cries easily and appears to lack the two essentials for survival in the fashion business: artifice and armor. Even before the waiter takes our order, he's told me about his new relationship (with Jack Mackenroth, an HIV activist and former contestant on Project Runway), his high blood pressure, his meditation and workout routine and his penchant for slathering black paint all over his nude body while attacking a canvas. (Rucci is also an accomplished painter and collagist.)
We're at Balthazar restaurant, around the corner from Rucci's atelier in downtown Manhattan. The designer, 54, is dressed in his uniform of white shirt and Levi's. Though he used to wear his dark hair long, with flared sideburns, it is now short and flecked with gray. His brown eyes are mournful. He rarely smiles. At times he resembles Al Pacino; at others, a Renaissance saint. Fashion design isn't so much his profession as it is his spiritual calling. Even after more than 30 years in the business, he still professes bewilderment at its crass commercialism, decrying the trend of celebrity designers and much more. In many ways, he's a 19th-century aesthete, with a devotion to all things exquisite, from Elsa Peretti's biomorphic designs to Asian art. The words "rag trade" and "Rucci" do not go together.
"I understand you collect art from the Han Dynasty period," my luncheon companion says above the deafening noise.
"Yes, I designed hats for Dynasty," he replies.
Rucci, who showed his haute couture in Paris, designed hats? For the campy 1980s prime-time soap opera?
"But only for Joan Collins," he explains.
Rucci, as it turns out, is full of contradictions: humble and arrogant, spiritual and worldly, modern and old-school. Though he's one of the world's most talented designers, many have never heard of him—which has as much to do with favoritism in the fashion industry as it does with Rucci's creative temperament. "Ralph approaches the medium as an artist," says Harold Koda, curator in charge of New York's Costume Institute at the Metropolitan Museum of Art. "He isn't trend-driven. It's about his evolution, his introspective practice. It's rare to find someone who won't compromise in this business. But real artists can't compromise."
It's no secret that times have been tough. Rucci's business is self-financed, and he runs it himself. "The stress is killing me," he says. "I need a partner. Valentino had Giancarlo Giammetti. I have no one. I can't do it anymore."
"Are you worried that you're going to lose the business?" I ask.
Suddenly St. Ralph recedes and Pacino, eyes blazing, comes to the fore. "There's no such thing as the business and me," he says. "If I lost my business, I'd lose my mind. And I have no intention of doing that."
I'm at a Rucci trunk show at Bergdorf Goodman, but Rucci isn't here. He's selecting the fabric for his fall 2012 show, as well as finishing 12 pieces of couture, including a sable coat for "a very public woman" who needs everything in four weeks. The spring collection, which received some of his best reviews, is displayed in a small fourth-floor boutique. Photos don't do the clothes justice. They really do need to be seen—or, more ideally, worn—to be believed. "His clothes are among the most beautiful in America, or, indeed, anywhere in the world," says Valerie Steele, director and chief curator of The Museum at the Fashion Institute of Technology in New York. "The craftsmanship of his atelier is unparalleled."
Rucci is drawn to sumptuous textiles, labor-intensive weaving techniques and what Koda describes as "obsessive ornamentation," such as "suspension" embroidery, which can take 30 hours for a single jacket, or ostrich feathers that have been burned with acid and then applied by hand. None of this comes cheap. His prices start around $1,200, with made-to-order soaring to six figures. "When you sit in his workroom and watch the attention to detail, you realize the cost is a value," says Ron Frasch, president and chief merchandising officer of Saks Fifth Avenue.
Even so, his customers belong to an elite cult whose high priestesses include Lee Radziwill, philanthropist Deeda Blair and society decorator Susan Gutfreund. As for the other clients, John Lindsey, Chado's sales director, describes them as "quiet billionaires." Though the clothes are refined, they are not "safe." Rucci's offerings for spring include a pink caviar-beaded catsuit with a feathered tunic, a metallic-silver alligator jacket, a glacier-white suit with clear vinyl insets and a horsehair-and-chiffon Infanta gown that is airier than a cirrus cloud. "More and more, he's lightened up," says Cathy Horyn, The New York Times fashion critic. "The spring show really sucked you in. He showed a lot more flash, kinkiness even."
"Kinky" isn't a word one normally associates with Rucci, but in his own sly, subversive way, he's always played against elegance by adding tantalizing hints of transparency, or by referencing S&M with leather braids and knots. "I think of him as a wild Catholic," says Koda. "There's a religious quality, a purity of form to Ralph's clothes. At the same time, they're very sensual and hedonistic."
What they're definitely not is girly. As a result, they flatter women of any age, from 80-year-old model Carmen Dell'Orefice to Maya Haile, who is in her twenties and modeled for Rucci before becoming a customer. She and her husband, star chef Marcus Samuelsson, were in the front row at Rucci's spring show. "The way I'd wear his clothes is different than the way an older woman might wear them," Haile says. "But different isn't better, and Ralph knows that."
As a Bergdorf saleswoman whisks away half a dozen pieces to ship to a client in Texas, Naji Batanian, a sales director, shows me an ethereal caftan embroidered with glittering sequins and silk-screened with pictures of monks in white robes. "Ralph truly believes in a higher power," Batanian tells me later. "Just when you think things are going to end, something miraculous happens."
Several days later, I'm in Rucci's office, which is at the far end of his atelier, where some 30 people work in almost total silence. He approaches practically everything he does with fanatical intensity. Being interviewed is no different. He doesn't receive phone calls or touch a bite of his food and only takes three sips of coconut water, even though his voice is hoarse and he looks as if he might faint. "I want you to get beneath all the twisted stuff," he tells me. "I'm raw for it."
Rucci grew up in southern Philadelphia, the son of a butcher, who'd dreamed of becoming a doctor, and a housewife with a "great sense of style." She'd bring her young son to her dressmaker's, where he'd look, listen and, most importantly, touch the fabric. Using his mother's sewing machine, Rucci taught himself how to make clothes. Though he was never sexually attracted to women, he was hypnotized by their poise and grace, particularly the Sisters of Mercy at his grade school. Their black-and-white habits evoked Chanel. As for the Jesuits in high school, Rucci found many of them cruel and hypocritical. "I wasn't open about my homosexuality in the beginning," he says, "but there was so much persecution, I had to take a stand." When his Latin teacher gave him a humiliating gift in front of the whole class, he hit him in the head with it.
After high school Rucci enrolled at Temple University, in Philadelphia, where he experienced the fashion equivalent of St. Paul blinded by the light. In the library one day, he came across two David Bailey photographs of a bride and her attendant dressed in Balenciaga. Falling in love with their sculptural shapes, he became infatuated with the Spanish couturier who, along with the designers Madame Grès and Charles James, would become his patron saint. He left Temple after three years to study at New York's Fashion Institute of Technology. Two years later he was interning with Halston, a Balenciaga acolyte, though clearly no saint. Rucci couldn't handle the designer's drug-fueled lifestyle and left after a year. In 1981, with $10,000 borrowed from relatives, he showed his own collection at the Westbury Hotel. By 1984 he'd opened his own ready-to-wear company, designing predominately black clothes that were severe and monastic, a reflection of his self-imposed "cleric's life." The hard work paid off. By the mid-'80s Rucci had 22 accounts, including with Martha, the elegant Park Avenue salon, which attracted the most prominent socialites in the world.
In October 1987, though, everything fell apart with the stock-market crash. A major department store canceled a $200,000 order, leaving Rucci deeply in debt. For the next several years, he worked out of his one-room apartment, meeting sample makers on subway platforms and clients in their homes. He didn't want them to see where he lived. "This was a horrible, dark period," he says. "The depression was overwhelming. I got heavily into drugs. It was the only way to buffer reality." He tells me the struggle was so great that he felt the "flesh burning off my body."
He asks if he can take a sip of coconut water. I tell him, "Please do." Meanwhile, Samantha Storto, who's been his design director for ten years, comes in to ask a question. She's wearing one of his sleeveless tunics with black tights and boots; with her edgy haircut and lithe frame, she makes Rucci's clothes look very hip and downtown.
"How's everything going?" she asks.
"Well, he's no day in the park," I say.
She smiles. "But he's so worth it."
In 1994 Rucci started a new company, using the word "Chado" above his name. It refers to the elaborate Japanese tea ceremony that involves 331 steps, a highly choreographed ritual he compares to the arduous process of making one of his garments. Championed by Joan Kaner, who was then the fashion director at Neiman Marcus, he began building a clientele through trunk-show appearances. With the exception of Horyn, he received very little support from the major fashion press. For whatever reason—and plenty of conspiracy theories abound—he was, and still is, dead to American Vogue. Even so, the business flourished; by 2002, he had made the audacious decision to show his clothes during couture week in Paris, becoming the first American since Mainbocher in the 1930s to win acceptance by the rigorous Chambre Syndicale de la Haute Couture Parisienne.
"The morning of the show, I was horrified, terrified," he says. "I didn't want to leave my room. My teeth were chattering out of fear. The models were crying. I was a mess….But by the end of the show, my voice was clear. We were in the couture business the very next day, with a who's who of women."
For the next five years, Rucci continued to show in Paris, along with doing ready-to-wear collections in New York. In early 2007, The Museum at the Fashion Institute of Technology staged a retrospective of his work, with about 100 garments, some suspended from the ceiling. But by the end of the year, the recession had hit, and his business dropped 60 percent. "Husbands told wives to stop buying," he says. "It became worse with the Madoff scandal." Despite his financial worries, or perhaps because of them, Rucci became even more daring. "My collections are an outward extension of where my mind is at that moment, not just an artistic mind, but the soul, a sexual self, the person, me as a man," he says.
And where's his mind for the fall collection? He points to a picture of an elongated Egyptian head. "I am now enamored of the fact that extraterrestrials visited this planet originally and created what was known as Egypt," he says. "I don't know where and how it will translate into the clothes, but when I start a collection I like to challenge myself with concepts like that."
"That's certainly challenging," I say.
"They've been more challenging," he replies. "With 'Suspension [spring 2005],' I had these pieces of double-faced fabric that were all individually cut and then suspended by small threads we call worms. The idea of suspense, as in 'What was I going to do?' gave way to 'Suspension.' It was one in the morning when I started to find the idea. I get chills when I tell you. It was like, My god, stay calm, they're here among you."
"I also happen to have a seventh sense, where spirits come to me," he says. "I'm able to receive information. I'm convinced so much of my work comes from this part."
Maybe because Rucci is such a compelling storyteller, or maybe because I haven't eaten much, the interview is starting to feel like a séance. I'm getting goose bumps, and I can practically see spirits floating over Rucci's head. I tell him I think it's time to stop.
The following week, we meet at his Upper East Side penthouse, which is next to St. John the Martyr church. Rucci lives there with his English bulldog Twombly, named for the abstract painter Cy Twombly. The apartment, which was decorated by Gutfreund, is dark and atmospheric, with embossed-leather walls and a chocolate-colored-thatched-lacquer ceiling. Like a pharaoh's tomb, it is filled with talismans and treasures, such as photos of his idols, Diana Vreeland, Chanel and Pauline de Rothschild; jewelry and objects designed by his friend Elsa Peretti; an extraordinary Khmer torso from Angkor Wat; a pair of Chinese lacquer corner cabinets from Bernard Steinitz in Paris; two Italian bronze statues made for the Medici; and, yes, a Han Dynasty horseman. Books are carefully piled everywhere, Marcel Proust next to gay erotica next to Five Centuries of Indonesian Textiles.
Rucci tells me that the past week has been totally illuminating for him. At an Out magazine party he and Mackenroth attended to celebrate the most influential gay men and women of the year, he realized how few people were familiar with his work. Part of the issue is that his higher-profile clients tend to be older social types. "Being typecast as someone who makes clothes for elderly, wealthy women has been strangling me. I'm willing to leave that cloak behind. I'll always have clothes for that audience, but this is one of my big problems in the press. They think my clothes look a certain way, but, in actuality, they don't." His relationship with Mackenroth has opened his eyes to all sorts of possibilities. In the past he refused to use a stylist and didn't like to lend his clothes for the red carpet. "Why should I give clothes to movie stars?" he told me at Balthazar. "They can buy them." But now he's rethinking that strategy. Faith Hill wore one of his dresses to the Country Music Awards, and he thought she looked beautiful. Lady Gaga's stylist recently called, and he'd love to work with her. ("Really? Lady Gaga?" Frasch said when he heard.) He's planning an active-sportswear collection. And he'd also like to show his couture in Paris again, but he says he needs the right partner for the miracles to happen. "We can have it all," he says.
Several weeks later, I'm at a book party for Rucci. He's signing copies of Autobiography of a Fashion Designer: Ralph Rucci (Bauer and Dean, 2011), a lavish coffee-table book. As he signs my copy, he says, "Remember what you told me? That I was no day in the park?"
I do, and I may have been wrong. He is a day in the park—a brilliant sky with high-altitude winds. I hope Rucci's miracles happen, but even if they don't, he'll make them happen, one scorched feather at a time.
Ralph Rucci's designs can be found at Bergdorf Goodman, Neiman Marcus and Saks Fifth Avenue. For more details on Chado Ralph Rucci, go to chadoralphrucci.net.
30 Years of Ralph Rucci
In 1981, using $10,000 borrowed from family, Rucci created and showed his first collection of about 25 looks channeling "luxurious ease." Twenty-one years later, he became the first American designer since Mainbocher to be invited to show at Paris Haute Couture. This year, he garnered some of the best reviews of his career with his spring 2012 collection, with ethereal looks like a feathered skirt and jacket made from horsehair.
Ralph Rucci's New Step
In October 2011 Rucci joined the likes of Ralph Lauren, Oscar de la Renta and 25 other designers when presented with a bronze plaque for the Fashion Walk of Fame, which stretches from 35th to 41st streets on Seventh Avenue, in New York City.
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Bobbie & Brian Houston desecrating Good Friday (updated).
Posted by Nailed Truth in Sermons
bobbie houston, Brian Houston, desecrating, easter, good friday, Hillsong, Hillsong cult, houston
Chris Rosebrough from Fighting for the Faith has recently reviewed Hillsong's disgraceful and blasphemous Good Friday service.
"When the secular media critiques a pastor or church movement like Hillsong and stuff like that, they have limited ability to do this and what I mean by limited, is that they're not theologians, they're not dealing with an audience that understands doctrine and theology. But the thing they do understand is greed. And so the way they portrayed Hillsong is as just this money-grubbing machine and it's all about the giving. And that probably is the case. The issue is that, you know, I look at this and it's like that's just a symptom, the root is the bad doctrine and theology. And so we'll listen to Bobbie Houston from their Good Friday service, we'll listen to her as she addresses the area of giving." Chris Rosebrough
We would like to give special mention again to the mind of Bobbie Houston who had the audacity to twist this gospel scripture to elevate financial giving above the salvation of Jesus Christ:
"For the message of the cross is foolishness to those who are perishing, but to us who are being saved it is the power of God." 1 Cor 1:17-8
"The truth is when you actually think about it, the message of giving in like manner is also foolishness to those who are perishing but to us is the power of God." – Bobbie Houston, Good Friday service, 2015.
Chris Rosebrough does another outstanding sermon review exposing how Brian Houston refuses to proclaim the Christian faith and the message of Christ and him crucified accurately.
This is a must listen.
Creflo's 65 Million Dollar Theological Tantrum
Click Here to Download this episode
Program segments:
• Creflo's 65 Million Dollar Theological Tantrum
• John Hagee Warns of Imminent World Economic Crash
• Bobbie Houston Says Giving Is Our Power
• Patricia King Discusses Divine Wealth
• Sermon Review: Silent Saturday by Brian Houston
Source: Chris Rosebrough, Fighting for the Faith, http://www.fightingforthefaith.com/2015/04/creflos-65-million-dollar-theological-tantrum.html, Published 23/04/2015. (Accessed 24/04/2015.)
13 thoughts on "Bobbie & Brian Houston desecrating Good Friday (updated)."
thetruth said:
I think that should be: "The truth is, when Bobbie thinks about it…"
Thank goodness bobbie doesn't get too long a speech, i was afraid there was going to be another brian houston story, such as his infamous 'allah' wanderings:
BH "How do you view God? In a desert there's two types of birds: there's vultures and there's hummingbirds."
Completely incorrect yet again.There are hundreds of desert birds.
I'm guessing brian and bobbie are attempting a "Blessed are the Cheesemakers" type theology?
rob said:
How evil is hillsong sucking as much money as they can from people and for wat myths i suppose they believe in fathr christmas and easter bunny
Brian should be charged with desecrating the english language. I quote one of his latest, unstable twitter quotes: "I spoke today physically in Kiev. & via video to Australia & Finland. & by live stream to many countries. & TV many more! I love technology."
I spoke today 'physically' …It wouldn't have been 'supernaturally' now, would it?
"I love technology"…How profound.
Apart from the full stops in his 'grammar' brian really loves the '&' symbol doesn't he?
Brian just wrote a new 'book' ….whoever edited and corrected brian's thoughts, you have my sympathy, it would not have been an easy task.
More evidence that he is losing it, and needs help.
churchwatcher said:
To be fair, grammar and punctuation should not be assessed on twitter. You only have a few characters to make a statement.
Fair comment CW. I should have expressed that more thoughtfully. I'm just noticing a real deterioration in brian's language and behaviour lately, be it twitter, sermons or ACA.
no_false_gods said:
"I'm just noticing a real deterioration in brian's language and behaviour lately"
i would say BH is backsliding, but ive never seen any evidence that he ever frontslid..
nfg
Johnboy said:
Its so easy to pull people down, why are you so negative and bitter!!!
Shouldn't you be asking that to Brian and Bobbie Houston who pull down God? Why are they so negative and bitter towards His Word?
many if not even the majority of us commenting on this site have been burned by these & similar 'ministries' at one time or another.
contrary to the seeming popularity of these 'ministries', we are trying to save others from the harm & grief these 'ministries' historically are leaving in their wake..
if you choose to continue be deceived, after having been warned, that is up to you,
Morrie said:
Uh oh! It sounds like somebody has a little anger problem.
Why are you so upset, John? Is it because you've given lots and lots of money to Brian Houston, and you haven't been "blessed" the way that he said you would be? Are you cranky because you see Brian living a great life surrounded by all the trappings of wealth, while you have to slave away in obscurity just to pay for it all? Has it begun to dawn on you that while Brian enjoys the limelight, you yourself have nothing but a sad and lonely existence in the shadows as just another expendable hillsong drone – and this at the behest of your beloved idol Brian, who cares only for your money and not for you?
Do you have any gifts, John? Do you have any particular talents? It's really too bad that whatever you may have in this regard will never find true expression – it must all, without exception, be laid on hillsong's altar as a sacrifice to high priest Houston. If Brian should deign to make use of any of this – to co-opt your abilities in any manner whatsoever – then you should understand he will do so to further his own ends: to bring glory to himself and to line his own pockets. You will ever find that that Brian and hillsong must be first; you yourself will be consigned to coming a second so distant that Brian would struggle to pick you out as a speck on the far horizon, assuming he so much as cared to glance in your direction.
I can understand your situation, John. The "bitterness" that you can so clearly discern in others is actually a projection of your own gall. The true picture of Brian Houston that is corporately painted by so many Godly people and eyewitnesses does not seem to you a painting at all, but rather a mirror. In that mirror you behold yourself, a supporter of Brian Houston, as nothing but a downtrodden serf, and you are quite naturally overcome with rage at having been hoodwinked by the deceiver. The visceral anger that arises quite unbidden within you finds its outlet as you vent your spleen at others in a cathartically apoplectic outpouring. It's a classic case of shooting the messenger; something that is the stock-in-trade of hillsong apologists and which unambiguously betrays the rawness of their hypersensitivity.
Jesus said that there is no greater love than that which causes a man to lay down his life for his friends. But Brian Houston is not your friend, John; he is just using you – that is why he is rich and you are not, that is why he is famous and you are not. You are in fact laying your life down for a lie, and you should be under no illusions – if you waver in the slightest in your dedication to Brian or his movement, if you voice so much as the slightest doubt or disaffection, Brian will disown you in a heartbeat: as long as this "pastor" of yours has his thirty pieces of silver, he will be quite content with that.
Johnboy, would you have preferred to imitate brian houston and his ACA 'invitation'…. "Just you and me..coffee….you got the guts?"
Negative and bitter. Look no further than brian, your leader as an example.
billy said:
"why are you so negative and bitter!!!"
Do you also think Elijah was being negative when he called out the False Prophets of Baal?
Hey churchwatcher, nfg, Morrie, thetruth, bill, I love you all, but not anything like as much as God does. His love never fails.


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Kim Jeong-eun jokes on Wen Yin: I hope you can rest assured that you will not get up early.
2018-04-27 08:11:21 category:Hot
Kim Jeong-eun crossed the 38 line and invited Wen to enter the DPRK side. At half past nine on the morning of 27 local time, Kim Jeong-eun crossed the Korean military demarcation line and entered the Korean side, shaking hands with Wen Ying Yin, who was waiting on the side of the ROK side. After a brief conversation, Kim Jeong-eun invited Wen to step over the border and enter the side of the two sides. Two people hand in a double spanning. South Korea held a press conference after the morning session, revealing details. When Kim Jeong-eun crossed the line too far, Wen Yin said, you are now in the south. When can I go to the north? Kim Jeong-eun replied immediately, or would you go now? So it took place that Kim Jeong-eun took a short stay of Wen Yins hand across the overline line and entered the side of the DPRK side. The two boys came from the only Korean Village in the demilitarized zone. After Kim Jeong-eun shook hands, two leaders took photos with two Korean teenagers. According to South Korean media, the two teenagers came from Dacheng cave village in the Korean village of the demilitarized zone. The Dacheng Dong village in Korea is only 400 meters away from the Korean Korean military demarcation line, and is only 1 kilometers away from Panmunjom. It is the only village on the Korean side of the Han Fei military area. The villagers said that for more than 60 years, they had been working hard under the serious gaze of all armed soldiers, and they had to be in a very excited mood to know the Korean leaders meeting. Korean traditional honor team playing ballad Ali Lang Following Kim Jeong-euns entry into the ROK side, the two leaders walked to the Panmunjom square from the military demarcation line under the escort of the traditional guard of honor. Kim Jeong-eun inspected the traditional Korean guard of honour, and the guard of honor played the traditional song of the peninsula, the arrow. The Korean traditional guard is a guard of honor dressed in traditional costumes, which is usually presented to foreign heads of state. The Ali Lang is a national song of the peninsula. This song is more famous in Korea. The traditional guard of ceremonial performance of traditional folk songs embodies national characteristics. In addition to the traditional guard of honor, Kim Jeong-eun also inspected the Korean military honor guard, accompanied by Wen Yin. This is the first visit of the Korean supreme leader to the military honor guard of the Republic of Korea. Prior to the visit to Pyongyang in 2000 and 2007, former Korean President Jin Dazhonghe Roh Moo-hyun visited the Korean peoples army honor guard at the summit meeting. However, it is necessary to point out that, in view of the special circumstances of the Korean Peninsula, when Kim Jeong-eun inspected the Korean military honor guard, the national anthem was not arranged and the national flag was raised. The paintings selected by the peace house have profound meaning After the ceremony, Kim Jeong-eun came to the house of peace and inscribed the inscription: new history starts from now. After the inscription, the two men talked in front of a picture. It was said that the painting hung on the front side of the hall was called North Han Shan, which was written by Min Zhengji, a Korean painter. The North Han mountain is a famous mountain in the north of Seoul, the name of which is the largest mountain in the north. The painting hanging from the entrance to the two floor of the house of peace is from the top eight pools to see Mount Kumgang. Mount Kumgang is located at the junction of North Korea and Korea. Most of the peaks are located in North Korea, known as the first mountain in North Korea. Prior to the opening of Mount Kumgang tourism, North Korea and South Korea cooperation projects. The North Han mountain According to Korean media reports, these works are selected by the Korean presidential palace Chong Wa Dae. Chong Wa Dae officials say the series embodies the theme of welcome and care, peace and hope, each with deep meaning. Kim Jeong-eun said he didnt have to get up early in Yin. The North Korean leader Kim Jeong-eun met with Korean President Wen Yin in the morning. Because two people had to rush to Panmunjom in the morning, they got up earlier. Pyongyang is about 200 kilometers from Panmunjom, so Kim Jeong-eun left Pyongyang early in the morning. Seoul is about 52 kilometers from Panmunjom. Wen Yin Yin also started from Seoul early in the morning. In South Korea, after the meeting in the morning, the conference revealed that Kim Jeong-eun also joked with Wen in the talks. Since we, you have been able to get up early to open the national security conference. I hope you can rest assured that you will sleep. This joke is very meaningful. Before the afternoon talks, Wen Yin and Kim Jeong-eun will jointly plant trees and pray for peace and prosperity on the Korean Peninsula. According to reports from South Korean media, the two leaders planted the tree as the pine tree when the Korean Armistice Agreement was signed in 1953. When planting trees, the soil of Hanas and Baitou mountain (Changbai Mountain) will be used, and the water from Hanjiang River will be watered by Kim Jeong-eun. Wen Zaiyin will irrigate Datong River. The tree planting place is located on the cattle road by Zheng Zhouyong, the founder of the late Korean modern automobile. In June 16, 1998, Zheng Yongzhou drove 500 cattle and crossed the 38 line to Korea and received the warm reception of the North Korea. This is the famous yellow cattle diplomacy. Delta Zheng Yongzhou drives cattle to Korea Dinner dishes take care of the characteristics of both Korean and Korean Korean leaders at ten fifteen local time at ten fifteen on the morning of ten fifteen talks, in the opening of the white, Kim Jeong-eun said in Yin, I brought a cold face from Pyongyang, Pyongyang is not far, very close. The cold noodles in Pyongyang refer to the cold surface of Pyongyang Yu Liu Pavilion, which is famous for its cold noodles and is called the representative of the traditional Korean cold noodles. DPRK cold face (data map) In addition to the cold noodles, according to the reports before the Korean media, the dishes on the 27 day welcome dinner included roast fish, Swiss potato pie and other dishes. Korean President Wen Yu spent his childhood in Busan, Korea. The roast fish is the representative food of Busan. North Koreas supreme leader Kim Jeong-eun spent her childhood in Switzerland, so the dinner will also be prepared for Korean style Swiss potato pie. It should be pointed out that South Korea prepared a mango mousses dessert for the dinner, and the pendulum decorated Korean Peninsula map painted a territorial dispute with Japan on the island of the island of bamboo (Japan called Bamboo Island), which triggered a protest in Japan. At present, the island is actually controlled by South Korea. On this issue, the DPRK considers the island to belong to the Korean national territory. Source: CCTV news editor: Li Tian Yi _NN7528 It should be pointed out that South Korea prepared a mango mousses dessert for the dinner, and the pendulum decorated Korean Peninsula map painted a territorial dispute with Japan on the island of the island of bamboo (Japan called Bamboo Island), which triggered a protest in Japan. At present, the island is actually controlled by South Korea. On this issue, the DPRK considers the island to belong to the Korean national territory.


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The Old Royal Palace is the former royal palace in Athens, Greece. The palace faces onto the Syntagma Square and now houses the Hellenic Parliament.
The palace was designed by Friedrich von Gärtner for King Otto of Greece and was completed in 1843. As it served originally as a palace for the Greek monarchs, it is sometimes still referred to as the "Old Palace". After suffering fire damage in 1909, it entered a long period of renovation. The King and Royal Family moved to what was from 1897 until then the Crown Prince's Palace, from then on known as the "New Palace", one block to the east on Herodou Attikou Street, while some royals continued to reside in the "Old Palace" until 1924, when a referendum abolished the monarchy. The building was then used for many different purposes—functioning as a makeshift hospital, a museum, et al.—until November 1929, when the Government decided that the building would permanently house Parliament. After more extensive renovations, the Senate convened in the "Old Palace" (Παλαιά Ανάκτορα) on 2 August 1934, followed by the Fifth National Assembly on 1 July 1935. Although the monarchy was restored that same year, the building has housed Parliament ever since.
More in this category: « Traditional Greek Taverns	Tomb of the Unknown Soldier »
We were picked up by Christos snd Callie in large clean comfortable Mercedes van. I can only say that they were both just Fantastic!! The 1st day we went to Delfi and the following day we went to Mycenae and Epidavros. Christos and Callie were knowledgeable, professional and gave us an 11 out of 10 experience. Above and beyond our expectations. I wouldn't consider any other service!
- Benny Dogger
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At PonyparkCity, you get a pony with your holiday cottage, so you can enjoy plenty of riding fun! In addition, you have a choice of various playgrounds, or how about a refreshing dive in the swimming pool! Do you enjoy good food? There is something for everyone at the Saloon, Viva Mexico or the American BBQ. There are also different shops with fun items for sale!


The French language (French: français, pronounced "frahnseh") is a Romance language that was first spoken in France, Belgium, Luxembourg, Quebec and Switzerland. About 220 million people speak French as a native or a second language. It has also been one of the roots of other languages such as the Haitian Creole language. Like most Romance languages, its nouns have genders that are divided into masculine (masculin) and feminine (féminin) words.
In ancient times, the Celts lived in what is now France. In those days, the land was called Gaul (Latin: Gallia). The Romans spread their power to Gallia and made Gallia their provinces. Because the Romans spoke Latin, the local people learned Latin and began to speak it. Their own language, Gaulish, tended to be spoken less often, although Breton is a language still spoken today in the part of France called Brittany, that came from the old Celtic language.
After the Roman Empire fell and Germanic peoples swarmed the countryside, Latin was changing quickly; and in medieval France it changed into two accents or languages: langue d'oc and langue d'oïl. They both mean "language of yes", because oc was the word for "yes" in the south, and oïl meant "yes" in the north. Today, the word for yes in French is oui, pronounced like "we".
Langue d'oc is now called Occitan, and it is still spoken by many people in Southern France.
French uses the roman alphabet, with English. There are a few differences, because vowels can have three types of diacritics added on to them. These are the acute accent é; grave accent è and circumflex accent î. A cedilla can also be added onto a c to make ç.
a is pronounced like in "father".
ai and ei are pronounced like the "ay" in "say"
an and en are pronounced like the "on" in "wrong", though not if there are two n letters or an e directly after it.
au and eau are pronounced like the "o" in "note".
In the endings er and ez, e is pronounced like the "ay" in "say".
eu is pronounced like the "e" in "verse".
Otherwise, e is like the a in "about". However, it is silent if it comes on the end of a word, unless it's a short word.
é is pronounced like the "ay" in "say".
è and ê are pronounced like the "e" in "bed".
Apart from e, the three diacritics don't really affect how other vowels are pronounced.
i and y are pronounced like the "ee" in "tree".
in is pronounced like the "an" in "bank", though not if there are two n letters or an e directly after it.
o is pronounced like in "note".
oi is pronounced like a "w", following by the "a" in "father".
oin is pronounced like the "wan" in "twang".
on is pronounced like the "on" in "long", though not if there are two n letters or an e directly after it.
ou is pronounced like the "oo" in "food".
œ is pronounced like the "e" in "verse" but with more rounded lips.
u is not a sound that exists in English. It is pronounced like saying the "ee" in "feed", but with your lips rounded in the way that you would say the word "food".
un is pronounced like the "un" in "hung", though not if there are two n letters or an e directly after it.
Like in English, c is pronounced as a "k" before most letters but as a soft "s" before e, i or y.
ç is pronounced as a soft "s".
ch, sh and sch are pronounced like the "sh" in "shop".
g is pronounced as a hard "g" before most letters. Before e, i or y, it is pronounced like the "s" in "treasure".
gn is pronounced like the "ny" in "canyon".
j is pronounced like the "s" in "treasure".
l is normally (but not always) pronounced like the "y" in "yes" if it comes after the letter i; otherwise it is pronounced as an "l".
m and n change if they come after a vowel - see above.
qu is pronounced as a "k".
r is pronounced differently to English, being a gargling sound made at the back of your throat.
th is pronounced as a "t", not like in English.
x is pronounced "gz" or "ks".
b, d, f, k, p, ph, s, t, v, w and z are pronounced the same as in English.
If a word ends with a consonant, this will usually not be pronounced unless the next word starts with a vowel. However, if the word is very short or the last consonant is a c, r, l or f, this is still pronounced.
Je parle français. I speak French.
Où sont les toilettes s'il vous plaît ? Where are the toilets, please?
Comment t'appelles-tu? What is your name?
↑ La langue française dans le monde 2010. La Francophonie. Retrieved 14 April 2010.
↑ "Celtic History". http://www.celticattic.com/contact_us/the_celts/celts_facts_and_fiction.htm. Retrieved 1 August 2010.
This language has its own Wikipedia project. See the French language edition.
This page was last changed on 17 December 2014, at 13:05.


During this diagnosis of an EGR trouble code on this Impala, I have the opportunity to go into detail about computer controlled solenoids, duty cycle, and how they relate to valve position. I also get to showcase the power of the Verus, with side-by-side scope and scan tool testing. Despite the inadvertent fix, this video makes for great study material, especially relating to sections 3, 7 and 20 in my book.
I have a ton of O2 videos on both my free YouTube channel and on ScannerDanner Premium right here on my website. There is a 14 day free trial.
On my free youtube channel, just type in O2 sensor on the videos search.


text:
Monroedoktrinen er en amerikansk politisk doktrin som gik ud på at Nord- og Sydamerika skulle være fri for ydre (primært europæisk) politisk indblanding. Doktrinen lagde således op til at Nord- og Sydamerika lå i USA's interessesfære.

Doktrinen er opkaldt efter den amerikanske præsident James Monroe, som fremlagde den i en tale den 2. december 1823 til Kongressen, idet han erklærede, at europæiske stater ikke længere skulle tillades at kolonisere eller intervenere og blande sig i de nye selvstændige amerikanske nationers (både i Nord- og Sydamerikas) affærer. USA skulle søge at holde sig neutral i krige mellem europæiske stater og deres kolonier, men i tilfælde af at krige af sådan type skulle udvikle sig på de amerikanske kontinenter, ville De Forenede Stater anse sådanne handlinger som fjendtlige. Doktrinen blev forfattet under ledelse af udenrigsminister John Quincy Adams.

Præsident James Monroe slog doktrinen fast som officiel amerikansk politik under sin syvende årlige State of the Union Address ("Tale om unionens tilstand") til Kongressen, og den regnes som en skelsættende markering i amerikansk historie i forhold til omverdenen og i USAs udenrigspolitik.
Doktrinen blev indført som beskyttelse af flere lande i Syd- og Mellemamerika, som på denne tid netop var blevet eller var ved at skaffe sig deres selvstændighed og dermed var i en sårbar fase.

I et tillæg ved Theodore Roosevelt 1904, Rooseveltkorollariet (The Roosevelt Corollary), fastsloges, at USA har ret til at indgribe som "international politistyrke" (international police power), hvis stater i Karibien og Centralamerika optræder "uciviliseret". Denne ret påberåbtes siden flere gange som begrundelse for USAs indblanding i Latinamerika under Den Kolde Krig.

Historie

Udformning
Monroe-doktrinen betegner egentlig en række for De Forenede Staters udenrigspolitik fastlagte grundregler, som første gang klart formuleredes i et budskab til kongressen den 2. december 1823 af præsident James Monroe, og som siden tid efter anden yderligere er udviklet med vedvarende præg af uderigspolitisk norm, men uden at være fastslået i lovform eller ved nogen folkeretlig ratificering. Den oprindelige Monroedoktrin formuleredes af De Forenede Staters daværende udenrigsminister John Quincy Adams mest i anledning af, at Den Hellige Alliances magter forberedte en indskriden for at gengive Spanien magten over dets tabte amerikanske kolonier samt i forbindelse med, at Rusland i kolonisationsøjemed gjorde krav på vidtstrakte dele af Nordamerikas Stillehavskyst (Oregon).

Den var blevet forberedt ved et forslag fra den engelske udenrigsminister Canning samme år til den amerikanske udsending i London, Rush, om en fælles erklæring fra England og De Forenede Stater om, at de for deres eget vedkommende ikke havde nogen erobringsplaner mod de tidligere spanske kolonier i Amerika, men ej heller ligegyldigt ville påse en (på Verona-kongressen (en) i 1822 bebudet) europæisk intervention for områdernes genforening med Spanien. Rushs rapport herom foranledigede Adams til i stedet at planlægge en selvstændig amerikansk deklaration, og efter forhandlinger mellem Adams, Monroe samt ekspræsidenterne Jefferson og Madison medtoges den, formuleret af Adams, i præsident Monroes årsbudskab til kongressen. Deklarationen tog form af en dobbelt erklæring.

På den ene side erklæredes efter en påpegning af den væsentlige forskel mellem de allierede magters politiske system og det i Amerika rådende: "Vi ... erklærer, at vi vil anse ethvert forsøg fra deres side på at udstrække deres system til nogen del af denne halvdel af kloden som farlig for vor fred og tryghed". Vedrørende de frigjorte og af De Forenede Stater som frie stater anerkendte tidligere spanske kolonier hed det videre i erklæringen: "Vi vil ikke kunne betragte nogen intervention af nogen europæisk magt for at underkue dem eller på nogen måde bestemme over deres skæbne i andet lys end som værende en uvenlig handling mod De Forenede Stater". En intervention ville bringe Unionens "fred og lykke" i fare, og det var derfor "umuligt, at vi ville kunne betragte en sådan intervention med nogen form for ligegyldighed".

På den anden side erklæredes som komplement til disse holdninger: "I europæiske magters krige vedrørende deres indbyrdes anliggender har vi aldrig taget nogen del, ej heller overensstemmer det med vores politik at gøre så". På samme måde betegnedes vedrørende forhandlingerne med Rusland i Oregon-spørgsmålet som "et princip, hvori De Forenede Staters rettigheder og interesser indebærer", at "de amerikanske kontinenter, som følge af den frie og selvstændige tilstand, de har opnået og opretholder, herefter ikke er at anse som genstand for fremtidig kolonisation af nogen europæiske magt". Som komplement hertil gælder erklæringen: "Vi har ikke blandet os i og vil ikke blande os i spørgsmål om nogen europæisk magts nu eksisterende kolonier eller besiddelser" (på den vestlige halvdel af kloden).

Det er disse positive og negative principper, som samlet udgør den oprindelige såkaldte Monroe-doktrin. Den afviste europæisk intervention i selvstændige amerikanske staters politiske anliggender og erklærede de amerikanske kontinenter at være optagne af til hinanden grænsende stater, som ikke gav plads for fremtidig europæisk kolonisation, samt bekræftede i øvrigt det allerede af Washington opstillede grundprincip, at De Forenede Stater ikke ville blande sig i Europas politik. Nogen formelig beskyttelsespligt for andre amerikanske republikker iklædte De Forenede Stater sig ikke, og alle europæiske da værende besiddelser i Amerika anerkendtes formeligt.

Siden udformningen
Senere blev imidlertid denne "Monroe-doktrin", resultatet af Adams' og Cannings politik, tid efter anden udvidet og omformet således, at den i populær amerikansk opfattelse havde indebåret forbud mod enhver europæisk territorieerhvervelse på den vestlige halvklode eller rent ud krav om dettes frigørelse fra enhver form for europæisk kontrol eller ret til indblanding i amerikanske anliggender; den var "vokset i magt med den amerikanske nation", således dens tillempning ved kanalanlæggelsen mellem de to oceaner, jævnfør Clayton-Bulwer-aftalen (en) og Panama-kanalen. Den påberåbtes mod den franske intervention i Mexico i 1860-erne og blev gang på gang anført mod europæiske magters ret til at annektere eller på anden måde underlægge sig selv øer i de amerikanske kontinenters nærhed fx Cuba, Hawaii, Den Dominikanske Republik på Haiti.

Præsident Grant udtalte i 1870 som bekræftelse af Monroe-doktrinen "den lige så vigtige grundsats, at herefter skal intet territorium på dette kontinent betragtes som muligt at overgå i en europæisk magts eje". I tilslutning hertil blandede De Forenede Stater sig i 1895 med Cleveland som præsident og Olney som udenrigsminister i en grænsestrid mellem Britisk Guyana og Venezuela, idet Cleveland i et budskab foreslog grænsens fastlæggelse ved en kommission under trussel om krig, hvis dennes afgørelse ikke blev respekteret. Lord Salisbury nægtede da Monroe-doktrinens tillempelse i det da foreliggende tilfælde lige som dens folkeretlige gyldighed, men til sidst medgav den engelske regering dog – formelt uden hensyn til Monroe-doktrinen – grænsestridens afgørelse ved dom.

Af præsident Roosevelt påberåbtes den (og udlagdes i et budskab til kongressen) i forbindelse med Venezuelas konflikt 1903 med flere europæiske stater vedrørende overgreb mod deres undersåtter, idet De Forenede Staters regering protesterede mod enhver vedvarende besættelse eller okkupation af venezuelansk territorium.

Den påkaldtes også i 1912 af det amerikanske senat ved de indskrænkninger, denne tog vedrørende den i 1911 afsluttede, men netop til følge af disse forbehold ikke ratificerede engelsk-amerikanske forligskommissionstraktat. Foruden ved skærpelsen af bestemmelserne mod europæisk intervention optrådte De Forenede Stater ved flere lejligheder i begyndelsen af det 20. århundrede aktivt i spørgsmål om ikke direkte amerikanske anliggender, hvor doktrinens rækkevidde var svækket. Således kunne tidvis De Forenede Staters protektionistiske toldpolitik betegnes som "en økonomisk Monroedoktrin".

En slags sydamerikansk parallel havde Monroe-doktrinen i den såkaldte Drago-doktrin (en), et af den argentinske udenrigsminister Luis María Drago i 1903 i en note formuleret princip, ifølge hvilket udeblevet regulering af statsgælden aldrig skulle kunne foranledige væbnet intervention, end mindre okkupation af nogen amerikansk stats territorium fra europæiske magters side. De Forenede Stater var imidlertid ikke for sit vedkommende gået med til en sådan udvidelse af Monroe-doktrinen.

Litteratur
 Leonard Axel Lawson. The Relation of British Policy to the Declaration of the Monroe Doctrine. New York: Columbia University, 1922.
 Frederick Merk. The Monroe Doctrine and American Expansionism, 1843-1849. New York: Knopf, 1966.
 Dexter Perkins. The Monroe Doctrine, 1823-1826. 3 voll., 1927.
 Nico Perrone. Il manifesto dell'imperialismo americano nelle borse di Londra e Parigi. I Belfagor (revy): 1977, 3.
 Joel S. Poetker. The Monroe Doctrine. Columbus, Ohio: Charles E. Merrill Books, 1967.

Eksterne henvisninger
 Nordisk Familjebok, Uggleupplagan, bind 18 (1913); sp. 950-952; opslag: Monroe-doktrinen
 1904: Theodore Roosevelt: "Corollary" to the Monroe Doctrine (U.S. History Resources)
 Kris James Mitchener and Marc Weidenmier: "Empire, Public Goods, and the Roosevelt Corollary" (2003)

USA's politik
Politiske doktriner

redpajama_set_name: RedPajamaWikipedia


text:
Q: Adding to an ArrayList / Searching to see if element exists and then also adding to it Using ArrayList  - I would like to accomplish the following using the adds and contains methods...
Essentially I want to add objects that have shipping prices attached to them ie.
B("Baseball Bat", 0.8),
G ("Glove", 0.9),
H ("Helmut", 1.0),

If I add $100 worth of Baseball Bats and none are in the list it adds, if baseball bats are already in the list it just adds to the already existent amount...
Any and all insight would be much appreciated!

A: A HashMap is better suited in order to do this :
  HashMap<String,Float> hm = new HashMap<String,Float>();
  hm.put("Baseball Bat", 0.8);
  hm.put("Glove", 0.9);

and if you want to increment something
if(hm.containsKey("Baseball Bat"))
{
    hm.put("Baseball Bat", hm.get("Baseball Bat") + 1.25);
}

To get all the values :
for ( Map.Entry<String, Float> entry : hm.entrySet()) {
    String key = entry.getKey();
    float f = entry.getValue();
    // do something with key and/or value
}

But since you asked for an ArrayList you can put an object in the list.
List<Item> list = new ArrayList<>();

Item could have a String field with the name and also a float value for the amount of money.

redpajama_set_name: RedPajamaStackExchange


One thing that gets me through the long winter months is dreaming about summer! The patio beers, festivals, warm weather and of course the summer cakes! These 8 summer cakes will warm you right up.
You can feel the warmth with this cake! (and a little bit of the sugar as well) Cannot wait for the weather to be warm enough to melt my ice cream!
You can just feel the sand squishing through your toes! Unlike the real thing the brown sugar sand will melt in your mouth.
This was one of the first drip cakes I ever did and I was pleased how it came out! I am also pleased with the vacation vibes this cake gives off.. Especially since I am prone to sea sickness and really don't care for the cruise life. These cruise vibes are enough for me!
Last summer I had challenged my peers to give me inspiration for a summer treat. My friend suggested implementing Popsicles into a cake or cupcake variety. So after a small amount of research it was discovered that Mike n' Ikes with a little toothpick insterted make great looking mini popsicles! So here we have them, they're quaint and fun.
These colours say "fresh" ! This was not an indoor formal strict wedding, this is a fun and intimate summer (possibly outdoor) wedding equipped with an appropriate cake to match!
Can you hear the ocean waves in these cupcakes? These fun mermaid cupcakes will be a great addition to any youngin's summer birthday bash! Or an adult's summer birthday bash I don't judge.
Last but certainly not least in our list of fantastic summer cakes is the chicken wing cake! Edible images are amazing (confession- I am no good at sculpting, it's something I'm working on but until the day I improve I have the images to fall back on) The savory inspired dessert will make you crave wing night. I even experimented with blending my hubby's secret chicken blend in the icing.
There we have it! Miss summer yet? You probably already did and I just made it worse... WELL just remember winter can't last forever and the festival days are on their way!!


text:
Moodle Munch: Nov. 2020
Published 3rd November 2020
Recording of the two case studies from today
I've signed up for the winter series of Moodle Munches as I have taken on the admin of a Moodle install for a small charity I'm involved with, and I need to refresh my Moodle mojo! Moodle Munch is a series of monthly webinars which presents case studies on innovative use of Moodle, coordinated by Dublin City University.
The first presentation today was on extending the use of H5P to include student content production. H5P is a rich content creation tool, typically used by academics to create content for students to 'consume', but this project within a French language programme, wanted to involve students with creation and achieved this by first tasking them with updating content within a video provided by the programme leader, and then by sourcing their own video and annotating it using H5P. Students for the most part reported this being a positive experience, which included side benefits of improving digital and analytic skills. Going forward they are going to try changing the user interface of H5P to French, so that all work and instructions are conducted in French, as students from this cohort reported that switching from their work and the instructions, French, to the UI of H5P, English, was incongruent. All of this work was facilitated through the university's Moodle and Mahara integration where H5P content was hosted and student work submitted.
The second presentation highlighted three different ways that content written in Word can be easily imported to Moodle via a couple of plugins which convert the Word content to HTML Moodle pages. First, a simple Word document was imported using the Atto text editor, Moodle's default. The second was the same or similar process but imported a full 250 page 'book' written in Word which Moodle converted to a series of structured pages with navigation – very impressive! And finally importing a Word document to the Moodle quiz tool, with all question options and feedback in a structured table. Word templates to facilitate all of these imports are available online at Moodle2Word.net. All three of these demonstrations seemed to work really well, but of course are reliant on well structured Word documents as the input source. This approach benefits academics as it is often easier to work in Word to create material, and benefits students as the resulting HTML pages in Moodle are more easily accessible and navigable.
Both presentations were recorded and you can watch them in the embedded YouTube video.
Accessibility Shorts: Office Documents
Mods are asleep, post actual Microsoft Offices. Photo by Matthew Manuel on Unsplash
The latest accessibility webinar from Little Forest on Microsoft Office documents was pretty useful, especially with regards to PowerPoint and Excel, and I picked up many tips.
Good practice commonality included filling in all of the properties for author, title, etc., adding alt text for images (of course), and using the Check Accessibility report which, to be fair, though I knew it existed, I haven't used it a great deal, tucked away in the Review tab of the ribbon as it is. On tables we were advised to keep them as simple as possible, avoiding use of merging or splitting cells.
With regards to PowerPoint we were recommended to always use slides with a Title section and to manually check the reading order as it doesn't always get this right automatically. A third party tool was demonstrated called Color Contrast Checker from The Paciello Group which does exactly what it says on the tin. It's free for Windows and Mac OS, though I couldn't tell if it was open source or not, and works with any application.
Finally on Excel, we were advised to always use the Table tool, rather than relying on the assumption that everyone can see the structure of Excel's default layout. Stick to one table per worksheet, avoid blank rows and cells, and provide headings and names for each table and worksheet. A colleague asked a question about charts and they advised that these are hard to make accessible, so it's best to provide a description explaining the data trends to complement any charts you use.


text:
Q: What are the current methods to check for GAN overfitting? In generative modeling, the goal is to find a way for a model to output samples of some distribution $p_X$ given a lot of samples $x_1, \ldots, x_n$. In particular, we want sampling from our model $G$ to satisfy

*

*$G(z)$ is a new example

*$G(z)$ looks like it was sampled from $p_X$.

GAN's approach this by finding a Nash equilibrium where $p_g=p_X$, where $p_g$ is the distribution implicitly defined by mapping the latent noise $z$ under $G$. How do we know that $G$ does not simply memorize the input data?
For example, if I train a GAN to output pictures of cats, how do I know that the output isn't just a modified picture of one of the cats that was used to train $G$? In the original Deep Convolutional GAN (DCGAN) paper, they have the following explanation  which I don't find particularly convincing.

A: To my knowledge, there aren't any truly robust methods. One strategy that I have seen in involved for the nearest neighbor (often using Euclidean distance). From there, the practitioner conducts visual inspection to check that overfitting is not occuring.
This tends to be a poor indicator though because nearest-neighbor approaches tend not to work in  such high-dimensional space. Also, see here for failures of pixel-wise loss.  Another strategy involves looking at the nearest-neighbors of embeddings of the images (both synthesized and original data) into some space that is designed to extract features.
This sounds better but doesn't seem to have much empirical or rigorous theoretical justification, with only a heuristic explanation.

A: What you're interested is GAN mode collapse and mode dropping. (You can call it overfitting too, it's just that the community has adopted these names). There are literally thousands of GAN papers devoted to solving the problem with varying success, but checking for mode collapse/dropping is still an area of active research.
Mode collapse means that the generator only learns to output a small number of distinct images / classes and very obviously fails to learn the distribution in any sense. Mode dropping means that the generator may appear to learn the distribution, but still drops modes (for example, suppose you train a GAN to generate images 1000 different species of birds... you're unlikely to notice if the GAN only produces images of 500 species and forgets the rest). We can also talk about inter-class mode collapse (GAN fails to learn all classes) and inter-class collapse (GAN can generate images from all classes, but only generates one / a few distinct images for each class).

General purpose metrics for GAN evaluation
The most popular metrics for measuring GAN performance are Inception Score and Frechét Inception Distance. A one sentence summary of Inception Score: do the images look like they're being drawn from many different classes? A one sentence summary of FID: does the distribution of perceptual features from generated images match that of ground truth images?
IS can detect inter-class mode collapse, whereas FID can also detect intra-class mode collapse. However these metrics aren't perfect by any means, and a high score / low distance isn't a guarantee that no collapse/dropping has happened.
Another metric is Classifier Augmentation Score, which basically uses GAN outputs to train a classifier, and measures the performance of the classifier. Intuitively, any form of overfitting / mode dropping would result in a poor classifier. However CAS is pretty expensive to compute.
Specific methods to detect mode collapse/dropping
In GLO, the authors propose to examine mode dropping in GANs by a "reconstruction" test. Basically, for some held out ground truth image $x$, we find the best noise vector $z$ which when passed through the GAN, produces something like $x$, and measure the cost by $\text{min}_z\ ||f(z)-x||_2^2$. The idea is that if your GAN can only produce one image of a cat, it will be unable to reconstruct the held out cat image. A similar idea was explored in more detail recently in Seeing what a GAN cannot generate.
The birthday paradox can be rephrased a bit more abstractly as: "If there are $n$ distinct outcomes, it's likely that you'll come across the same outcome twice after sampling only $\Theta(\sqrt{n})$ times". So, if a GAN only copies the 10,000 images from the training set, we can figure this out by just looking at a ~100 of them, as done by Arora and Zhang.
PRD proposes some direct method to measure the precision and recall of a GAN. (precision meaning high quality, non blurry samples, and recall meaning that we haven't dropped any modes in the data, and are fully covering the distribution). It's too complicated to summarize neatly, but the results look promising.