text:
using System.Linq;
using System.Collections.Generic;
using System.Web.Mvc;
using Orchard;
using Orchard.Localization;
using Orchard.Localization.Services;
using Orchard.Security;
using Orchard.Themes;
using Orchard.Mvc;
using Orchard.Mvc.Extensions;
using Orchard.ContentManagement;
using Orchard.UI.Notify;
using oforms.Services;
using System;
using System.Drawing;
using System.Drawing.Imaging;
using System.Drawing.Drawing2D;
using System.IO;

namespace oforms.Controllers
{
    [Themed]
    public class HomeController : Controller
    {
        private readonly IOrchardServices _services;
        private readonly ISerialService _serial;
        private readonly IContentManager _contentManager;

        private readonly IOFormService _formService;

        public HomeController(IOFormService formService,
                              IOrchardServices services,
                              ISerialService serial,
                              IContentManager contentManager)
        {
            this._formService = formService;
            _services = services;
            _serial = serial;
            _contentManager = contentManager;
            T = NullLocalizer.Instance;
        }

        public Localizer T { get; set; }

        public ActionResult Index(string name) {
            if (!_services.Authorizer.Authorize(StandardPermissions.AccessFrontEnd, T("Not authorized to view forms")))
                return new HttpUnauthorizedResult();

            var form = _formService.GetFormPartByName(name, VersionOptions.Published);

                if (form == null)
                    return HttpNotFound();
                dynamic model = _services.ContentManager.BuildDisplay(form);
                return new ShapeResult(this, model);
        }

        public ActionResult SubmitForm(string returnUrl)
        {
            string name = Request.Params[OFormGlobals.NameKey];
            if (!_services.Authorizer.Authorize(StandardPermissions.AccessFrontEnd, T("Not authorized to submit forms")))
                return new HttpUnauthorizedResult();

            var form = _formService.GetFormPartByName(name, VersionOptions.Latest);
            if (form == null)
                return HttpNotFound();

            if (!form.IsPublished && !_services.Authorizer.Authorize(StandardPermissions.SiteOwner, T("Not authorized to submit form")))
                return HttpNotFound();

            if (form.InnerHtml.Contains("{captcha}") && !IsCaptchaValid())
            {
                _services.Notifier.Error(T("Incorrect captcha. Please try again."));
                return Index(name);
            }

            var submitData = new Dictionary<string, string>();
            Request.QueryString.CopyTo(submitData);
            Request.Form.CopyTo(submitData);
            submitData.Add(OFormGlobals.CreatedByKey, this.User.Identity.Name);
            submitData.Add(OFormGlobals.CreatedDateKey, DateTime.UtcNow.ToString("dd MMMM yyyy"));
            submitData.Add(OFormGlobals.IpKey, Request.UserHostAddress);
            submitData.Add(OFormGlobals.UserAgentKey, Request.UserAgent);
            _formService.SubmitForm(form, submitData, Request.Files, Request.UserHostAddress);

            if (!string.IsNullOrEmpty(form.SuccessMessage))
            {
                _services.Notifier.Information(T(form.SuccessMessage));
            }

            if (string.IsNullOrEmpty(form.RedirectUrl)) {
                return this.RedirectLocal(returnUrl, Url.Action("Index", new { name = form.Name }));
            }

            return Redirect(form.RedirectUrl);
        }

        public ActionResult Preview(int id)
        {
            if (!_services.Authorizer.Authorize(StandardPermissions.SiteOwner, T("Not allowed to edit form")))
                return new HttpUnauthorizedResult();

            var form = _contentManager.Get(id, VersionOptions.Latest);
            if (form == null)
                return HttpNotFound();
            dynamic model = _services.ContentManager.BuildDisplay(form);
            return new ShapeResult(this, model);
        }

        public ActionResult GenerateCaptcha()
        {
            var bitmap = GenerateImage(150, 40);

            var ms = new MemoryStream();
            bitmap.Save(ms, ImageFormat.Bmp);
            ms.Seek(0, SeekOrigin.Begin);

            return new FileStreamResult(ms, "image/bmp");
        }

        public JsonResult ValidateCaptcha()
        {
            return Json(IsCaptchaValid(), JsonRequestBehavior.AllowGet);
        }

        private Bitmap GenerateImage(int width, int height)
        {
            var random = new Random();
            string text = GenerateRandomText(random);
            //save to session
            this.Session[OFormGlobals.CaptchaKey] = text;

            // Create a new 32-bit bitmap image.
            Bitmap bitmap = new Bitmap(width, height, PixelFormat.Format32bppArgb);

            // Create a graphics object for drawing.
            Graphics g = Graphics.FromImage(bitmap);
            g.SmoothingMode = SmoothingMode.AntiAlias;
            Rectangle rect = new Rectangle(0, 0, width, height);

            // Fill in the background.
            HatchBrush hatchBrush = new HatchBrush(
              HatchStyle.SmallConfetti,
              Color.LightGray,
              Color.White);
            g.FillRectangle(hatchBrush, rect);

            // Set up the text font.
            SizeF size;
            float fontSize = rect.Height + 1;
            Font font;
            // Adjust the font size until the text fits within the image.
            do
            {
                fontSize--;
                font = new Font(
                  "Arial",
                  fontSize,
                  FontStyle.Bold);
                size = g.MeasureString(text, font);
            } while (size.Width > rect.Width);

            // Set up the text format.
            StringFormat format = new StringFormat();
            format.Alignment = StringAlignment.Center;
            format.LineAlignment = StringAlignment.Center;

            // Create a path using the text and warp it randomly.
            GraphicsPath path = new GraphicsPath();
            path.AddString(
              text,
              font.FontFamily,
              (int)font.Style,
              font.Size, rect,
              format);
            float v = 4F;
            PointF[] points =
                  {
                    new PointF(
                      random.Next(rect.Width) / v,
                      random.Next(rect.Height) / v),
                    new PointF(
                      rect.Width - random.Next(rect.Width) / v,
                      random.Next(rect.Height) / v),
                    new PointF(
                      random.Next(rect.Width) / v,
                      rect.Height - random.Next(rect.Height) / v),
                    new PointF(
                      rect.Width - random.Next(rect.Width) / v,
                      rect.Height - random.Next(rect.Height) / v)
                  };
            Matrix matrix = new Matrix();
            matrix.Translate(0F, 0F);
            path.Warp(points, rect, matrix, WarpMode.Perspective, 0F);

            // Draw the text.
            hatchBrush = new HatchBrush(
              HatchStyle.LargeConfetti,
              Color.LightGray,
              Color.DarkGray);
            g.FillPath(hatchBrush, path);

            // Add some random noise.
            int m = Math.Max(rect.Width, rect.Height);
            for (int i = 0; i < (int)(rect.Width * rect.Height / 30F); i++)
            {
                int x = random.Next(rect.Width);
                int y = random.Next(rect.Height);
                int w = random.Next(m / 50);
                int h = random.Next(m / 50);
                g.FillEllipse(hatchBrush, x, y, w, h);
            }

            // Clean up.
            font.Dispose();
            hatchBrush.Dispose();
            g.Dispose();

            return bitmap;
        }

        private string GenerateRandomText(Random random)
        {
            var ret = string.Empty;
            for (int i = 0; i < 5; i++)
            {
                if (random.Next() % 3 == 0)
                {
                    ret += (char)random.Next(65, 91);
                }
                else
                {
                    ret += (char)random.Next(97, 123);
                }
            }

            return ret;
        }

        private bool IsCaptchaValid()
        {
            if (Session[OFormGlobals.CaptchaKey] == null)
            {
                return false;
            }

            return (string)Session[OFormGlobals.CaptchaKey] == Request.Params[OFormGlobals.CaptchaKey];
        }
    }
}


text:
Residents disagree on future of TRANSPO lot downtown
Posted: Jul 23, 2014 8:14 PM EST | Updated: Nov 6, 2014 6:17 AM EST
SOUTH BEND, Ind. -- The city of South Bend has 10 acres of prime riverfront real estate up for sale. In just two weeks, TRANSPO will decide on a developer for the property on Northside Boulevard. Nearby residents say that's not enough time to get input from the public.
Click here to see the three plans for the property
The leader of the Howard Park East Bank Neighborhood Association wants the city to take a little more time and educate residents about the different proposals for the property.
"Today, our neighborhood association, the Howard Park East Bank Neighborhood Association, is calling upon the city administration to hold public forums so that the public can be informed about the TRANSPO lot," said Karen Schefmeyer, Secretary of the Howard Park East Bank Neighborhood Association.
The ten acres of land is on the St. Joseph River on Northside Boulevard.
Residents in the Howard Park neighborhood, west of the TRANSPO property, are concerned about what will happen with the property.
"I think the Matthews Plan is the best plan for our neighborhood, it's the best plan for South Bend as a city as a whole and it's the only sort of forward thinking plan," said David Eastman, secretary of the Howard Park Neighborhood Association.
Developer Dave Matthews is proposing the most urban plan of the 3 developers. It calls for outfitting the space with townhomes and condos.
Some of the people at the meeting on Wednesday said they aren't opposed to housing on the site, but they would rather see single family homes than condo units.
"We want residential development here, but responsible residential development," said Schefmeyer.
Schefmeyer says her fear is that the public hasn't been properly informed about all of the options on the table.
"We feel that the public needs to be informed about it, many of these things have been done in secret," said Schefmeyer.
But Eastman disagrees.
"I think there's been plenty of information, at the last TRANSPO open meeting there were over 100 people there. People know about it, people have shown up," said Eastman.
With two weeks before the TRANSPO board's final vote, Schefmeyer says the city is running out of time.
"The public forums need to happen now," said Schefmeyer.
Eastman thinks there has been enough time spent on the process.
"To me there's no need to drag this process on any longer. Anybody who has had anything to say has said it," said Eastman.
On the phone, Matthews said his plan would help integrate the northside community with the rest of South Bend by making it bike and pedestrian friendly.

redpajama_set_name: RedPajamaCommonCrawl


Choosing a proper chemical storage building for your application can be intimidating. Regulators have strict standards, while suppliers provide numerous options.
Disregarding regulations is expensive. The Occupational Safety and Health Administration (OSHA) holds companies accountable for creating and maintaining a safe working environment. They cited and fined a company $272,000 in 2013 for various violations. Investigations revealed a lack of secondary containment in their chemicals storage area. Officials also found some chemicals were not properly stored outside an approved safety building.
How can you keep employees safe and meet regulatory requirements – but at a reasonable cost?
Follow these 5 steps to choose a chemical storage building best suited to your needs.
Suppliers issue a Safety Data Sheet (SDS) with every chemical. It describes the properties of the chemical and the hazards associated with it. Review the SDS to identify which chemicals are hazardous, flammable or combustible. Each category has specific requirements for proper storage. Incompatible chemicals can be stored in separate rooms within one building or in separate buildings altogether.
Depending on their location in proximity to other occupied buildings or property lines, chemical storage buildings may require fire-rated construction. Flammables and other chemicals with low flash points will need explosion-proof electrical components.
Exhaust fans, fire suppression and other components could be required to remain compliant with local and national regulations. Always consult with your local code authority.
International Building Code (IBC), NFPA, OSHA and other governing bodies set requirements for the proper storage of any chemicals, including flammables, combustibles, corrosives, oxidizers, organic peroxides, pesticides, etc. Wall construction requirements depend on the proximity of the chemical storage to occupied buildings and property lines.
IBC codes require fire ratings to provide time to evacuate surrounding areas in the event of a fire.
To determine the proper building size and footprint, you must identify the types and numbers of containers to be stored. Understanding the inventory ensures the size of the building and the spill containment are compliant and optimal for your application.
U.S. Chemical Storage buildings feature elevated flooring. This is due to the secondary containment sump underneath, which catches spills. Select the standard elevated flooring with a load rating of 500 lb. psf, or specify a higher rating according to your needs.
Standard widths and lengths of chemical storage buildings are 6-, 8-, 10- and 12-feet, but can extend up to 52-feet. Choose a combination of standard units or customize a building to the size you need.
The design of a chemical safety building should make transferring chemicals easy. Customers can specify the number of openings. Choose entry ramps or steps as well as racks or shelving systems.
Multi-tier racks are available for totes and pallets or drums. Their heavy gauge construction makes them capable of enduring long years of daily wear and tear, loading and unloading. Select horizontal drum racks for gravity dispensing.
Choose sump shelving to contain small leaks and spills at the shelf. It is easier to clean a small shelf spill than a large spill in the secondary containment sump. Durable and strong, the steel construction handles heavy load requirements.
Secondary containment is an integrated sump that catches spills and leaks inside the building. U.S. Chemical Storage buildings offer Environmental Protection Agency (EPA) and OSHA compliant sumps. Standard spill containment sumps are made using continuously-welded 10-gauge steel sheets at the base, as well as structural steel tubing to create the vertical walls for the containment. Each U.S. Chemical Storage sump is tested at the factory to be leakproof.
Sumps prevent spills from leaving the building and polluting the environment.
Contact U.S. Chemical Storage to learn more about choosing the proper chemical storage building that fits your needs. Our professional consultants help you find the best solution for your application. We provide complimentary quotes for solutions that meet the regulatory requirements.


Halloween is behind the corner and four of your favourite princesses are getting ready to go trick or treating in their great fantasy world. This year they are also going to attend a costume parade and each of them dreams to win the Miss Halloween Princess 2017 title. So it seems that the girls need your expert advice in this brand-new holiday themed dress up game. Come and join them and see what highly original Halloween costumes you can create for each of them. The first in line is the lovely red haired mermaid princess. She is going to give up her sweetness and turn into a bad girl, so how about selecting a villain costume for her? In the next wardrobe there are both floor-sweeping princess dresses and spooky costumes. Will you turn this princess into a royal blooded cutie or rather into a pumpkin? Then you get to pick a skeleton dress or a zombie cheerleader costume for the next lady. Make sure to pair your selection with a new hairstyle, the right pair of shoes and with some matching accessories. Now you can turn the last girl into a cookie monster, a cupcake or a punk rock princess. Choose matching clothing pieces and accessories to unlock the achievements in this beautiful dress up game for girls. Have fun, ladies!


A is for Autism An alphabet of wonderful: my autistic son Jacob.
B is for Best Friend Exactly what my son Jacob needs but does not yet have.
C is for Chewbacca Because it's better to be happy than right.
E is for Ethan All about my wonderful son Ethan.
G is for Goodbye, Willie Saying goodbye to my mother's 19 year-old cat.
H is for Holding Hands A lovely, simple moment with my elderly, widowed mother.
J is for Jacob All about my wonderful son Jacob.
K is for Kryptonite There is never the super-autism-mom without the downside, the kryptonite.
M is for Movies My parents taught me to love them, and they taught me so much about life.
O is for Oxygen How oxygen is like language, something we don't think about unless its missing.
Q is for Quietude Wishful thinking from the house of noise.
R is for Really Wretched I bet you guessed I was not a happy camper the day I wrote this.
S is for Sucktastic I confess that Ethan eats nothing but kid food, still thinks veggies are poison.
T is for Television All about my love/hate relationship with the beast. Plus: the TV talks!
U is for Uncharted Territory Where we live with autism, hanging out with the dragons.
V is for Varda An assertion that I am more than just "Mom" & caretaker. Also? My favorite "V" words.
W is for Wallowing In grief. March brings the anniversary of my father's passing plus his birthday.
X is for Xenophilia Choosing love over hate and fear.
Y is a Crooked Letter A memoirish post about my Grandma Dunia, who used to say this.
Z is for Zzzzzzzzzz My insomnia also provides me with lovely middle-of-the-night writing time.
NOTE: I would like to thank Jenny Matlock for creating, hosting and maintaining this alphabet meme. Participating in it has freed up something in my writing. I sit down with my mind blank save for a single letter and my writing brain goes to places it has never been before. I am always surprised and usually delighted with what flows forth. I feel truly inspired, and this is a gift. And so I give thanks.


Good news! I finished the revisions on my book and it will be up for sale in about a week, once I receive my new copy. In the meantime, I have put the PDF version up for sale in my shop. It's exactly the same content as the book, in all its full colour 67 page glory. Here's a peek at a couple of pages.
I also have a special deal for you – if you previously bought my Ten Days in Tokyo zine, send me an email (hello AT askingfortrouble.org) BEFORE ORDERING THE BOOK with the relevant order number or PayPal email address from your zine purchase and I'll send you a discount code for £1 off the book. Or if you bought it in person, tell me where! I have edited the section on that trip quite a lot for the book but it's still pretty similar to the zine.
PS. Friends and family should check my Facebook – I'll be taking pre-orders for the print book very soon so we can share the shipping. I will also be buying a few copies to sell in my shop but they won't be any cheaper than Lulu.


text:
Amber Rubarth is an American singer-songwriter and actress.  She has toured extensively throughout Europe, North America, Japan, South Korea and South Africa .

Winner of the NPR Mountain Stage New Song Contest, her eighth album, 'Wildflowers in the Graveyard' is engineered and co-produced (with Rubarth) by Matt Andrews (Gillian Welch, David Rawlings, Dawes) and is a concept album of self-penned songs around the cycles of life, death and rebirth as witnessed in nature and relationships.  Rubarth's earlier studio album, A Common Case of Disappearing, was produced by Grammy Award-winning producer Jacquire King and debuted at No. 13 on the iTunes Singer-Songwriter charts. It features duets with Jason Reeves, and Jason Mraz. Chesky Records released two binaural albums recorded live at St. Elias Church in which Rubarth collaborated with cellist Dave Eggar.  The album received great acclaim and led to a performance with the full Ithaca College Chamber Orchestra.  Rubarth has performed twice for TED Talks.

In addition to her solo work, Rubarth is the co-founder of the Brooklyn-based indie band The Paper Raincoat with Alex Wong (as heard on Google and Aquafina commercials), and the U.K.-based harmony trio Applewood Road, named in The Telegraphs best albums of 2016.  Her original arrangement for the group of R.E.M.'s 'Losing My Religion' has received over 1 million plays on Spotify, with her solo live performance video reposted by the band as a "beautiful rendition."

Rubarth has composed songs and scored for films, including collaborations with Paul Brill for Sundance Film Festival winner Joan Rivers: A Piece of Work and the end credit song for the documentary Desert Runners.  Rubarth's arrangement of the traditional "My Dear Companion", performed by her trio Applewood Road, is on the 2017 BBC documentary Sisters of Country: Dolly, Linda and Emmylou and she can be heard with her band The Paper Raincoat on Disney's The Last Song soundtrack featuring Miley Cyrus and Liam Hemsworth.  As well as co-starring in the 2018 feature film 'American Folk,' Rubarth also composed 2 original songs and is featured heavily on the soundtrack alongside Joe Purdy, John Prine, David Grisman and Jerry Garcia.  In 2020 she produced the album Fantastic Fungi: Reimagine, featuring 24 artists (including her single "Everything I Thought I Knew) inspired by the film and mycelial kingdom.

Biography
Rubarth was born in California.  At age 17, she graduated high school and moved to Carson City, Nevada, to apprentice at a wood sculpture studio. After three years, she quit the apprenticeship to pursue music.  She taught herself to play guitar and began performing at local open mic nights and coffee shops. Phil Ramone in The Huffington Post describes her style as "part of the new old-soul generation."

She tours with a 1956 Gibson ES-125 hollow body electric guitar and plays piano.  In her band The Paper Raincoat she sings and plays keyboard, guitar, glockenspiel, and occasionally drums.  With Applewood Road trio, she arranges, sings, plays guitar and electric bass.  She also toured with Glen Phillips (of Toad the Wet Sprocket) as his support act and side musician on vocals, electric guitar, keys, and electric bass.

Tours

Amber Rubarth has toured extensively throughout the US, Canada, UK, France, Germany, Sweden, Norway, Denmark, Belgium, Austria, the Netherlands, Switzerland, South Africa, and Japan.

In May 2009 Rubarth joined Jason Reeves and Brendan James to create "The Vespa Experiment," a musical tour along the California coast in which the three artists traveled on Vespa mopeds, camped, and did community awareness activities for 13 days to support environmentalism. In September 2009, she toured America and Canada supporting Gary Jules and Joshua Radin.

In 2017 Glen Phillips of Toad the Wet Sprocket invited Rubarth to join his U.S. tour as the opening act as well as part of his trio for which she played bass guitar, electric guitar, keyboards, and vocals.

The Paper Raincoat
In addition to her solo work, Rubarth formed a band with songwriter Alex Wong, called the Paper Raincoat. Rubarth explained in an interview with The Boston Globe that her solo work tends to be more personal, whereas the Paper Raincoat's songs are more imaginative, involving fictional characters Their debut EP (Safe in the Sound) was featured as an iTunes Indie Spotlight Artist

In the fall of 2009, they toured the U.S. as support for Vienna Teng, and their music was the subject of CNET's 'The 404' podcast The album The Paper Raincoat was released in October 2009.  The band was named "Best of What's Next" by Paste Magazine who said "We think the world might be a little better if everyone heard this record."  Their songs have been featured in Disney's The Last Song, One Tree Hill and Google and Aquafina commercials.

Movies
Rubarth played the lead role of Joni in the feature film American Folk, which was released in the U.S. through Good Deed Entertainment on January 26, 2018.

Awards and honors
Rubarth was awarded Grand Prize in the NPR Mountain Stage New Song Contest for "Letter from My Lonelier Self" (2010). The prize included recording with Jacquire King and a performance on NPR's Mountain Stage. The album was released on September 30, 2011 through the contest organizer Newsong Recordings.

Rubarth's song "Washing Day", written with Adam Levy, won 1st Place in the 2006 International Songwriting Competition in the Lyrics Only category judged by Tom Waits, Brian Wilson, and Robert Smith. The music video was screened at the 2007 SXSW Festival in Austin, Texas

On May 8, 2008, Bob Boilen chose "You Will Love This Song" from her second album New Green Lines for his NPR show All Things Considered. He said he was "attracted by her honesty and humor". On August 26, 2009, Tom Robinson featured the song on his BBC Radio show Fresh on the Net in the UK. She was listed No. 16 in the UK "Music to Die For's Top 100 Favourite Female Vocalists of the Decade"

Rubarth was awarded "Best Actress" for her lead performance in the feature film ''American Folk'' at the 2018 Scruffy City Film Festival.

Recordings

Something New (2005) - Full-length album recorded in Brooklyn, NY, produced by The Animators.

Unfinished Art EP (2007) - Limited edition handmade version of her "Unfinished Art" EP consisted of an original blind contour painting by Rubarth pressed onto a hanging handmade canvas with the album and liner notes inserted in the back.

New Green Lines (2008) - full-length album featuring "You Will Love This Song"

The Church EP (2009) - collaboration EP with Adam Levy, recorded upstate New York in an old church.

Good Mystery (2009)  to sold out audience at Joe's Pub in New York City. The collectors edition is a hand-crafted birch wood box with red wax hummingbird seal on a sliding lid top. Limited edition of 1000 handmade boxes sold out almost immediately through pre-order. #1 Best seller on Amie Street on release day and for two additional weeks.

The Paper Raincoat (2009) - collaboration with Alex Wong and Kevin Rice. Full-length album for the band the Paper Raincoat

A Common Case of Disappearing (2011) - "New and Noteworthy" release on iTunes, debuted at #13 on the Singer Songwriter charts. NewSong Recordings. Produced by Jacquire King, features duets with Jason Reeves and Jason Mraz. Band included Adam Levy (guitar), Marco Giovino (drums), Frank Howard Swart (bass) and Zac Rae (keys).

Sessions from the 17th Ward (2012) - Live HD Binaural recording featuring Dave Eggar (cello), Tim Snider (violin), and Chuck Palmer (percussion). Chesky Records.

Applewood Road (Applewood Road) (Feb 2016) Trio harmony collaboration with Emily Barker and Amy Speace, released on Gearbox Records (UK)

Scribbled Folk Symphonies (April 2016) Live album released on Chesky Records, featuring string and oboe arrangements. Includes string and vocal arrangement of R.E.M.'s "Losing My Religion" among other original and cover songs.

Wildflowers in the Graveyard (September 29, 2017) Solo album self-penned by Rubarth on the theme of life/death/rebirth cycles as found in nature and relationships.  Recorded analogue to 2" tape with Matt Andrews (Gillian Welch, David Rawlings Machine, Dawes) in Nashville.  (Cambium Records)

Discography
 Something New (2005)
 Unfinished Art (2007)
 New Green Lines (Sounden, 2008)
 The Church with Adam Levy (2009)
 Good Mystery (2010)
 A Common Case of Disappearing (Newsong, 2011)
 Sessions from the 17th Ward (Chesky, 2012
 Scribbled Folk Symphonies (Chesky, 2016)
 Applewood Road (Gearbox, 2016)
 Wildflowers in the Graveyard (Cambium, 2017)

References

External links

American folk musicians
American folk singers
American singer-songwriters
Chesky Records artists
Living people
21st-century American singers
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


text:
Marathon can be lethal for runners
&to=http:// english.pravda.ru/society/2003/02/04/42983.html ' target=_blank>marathon, state media reported today.
Liu Hongbin, 20, a student at Beijing Jiaotong University, and Hu, an unidentified retiree, collapsed during the marathon and died in hospital yesterday, Xinhua news agency said.
Liu collapsed 17 kilometres into the race, and was taken to Haidian Hospital where he was pronounced dead after an emergency treatment, informs New Kerala.
According to the Channel News Asia, "This is the first time (runners have died) in the 24-year history of the Beijing marathon," said a spokeswoman at organizer China Athletics Association who declined to give her name.
"Every year we adopt measures to prevent this kind of thing but unexpected things do happen during sports activities."
The Chinese capital is preparing for the 2008 Summer &to=http:// english.pravda.ru/world/20/91/365/13873_Bush.html ' target=_blank>Olympics and is increasingly anxious to have international sports event go ahead without glitches.
The weather was mild at the time but Xinhua suggested there may have been a &to=http:// english.pravda.ru/science/19/94/379/9863_water.html ' target=_blank>lack of water. "Amateur participants complained that no drinking water was available along the course after 25 kilometers," it said.


text:
The Beatles' songs – complete A-Z list!
I Me Mine
Written by: Harrison
Recorded: 3 January; 1 April 1970
Producers: George Martin, Phil Spector
Engineers: Phil McDonald, Peter Bown
Released: 8 May 1970 (UK), 18 May 1970 (US)
Anthology 3
Let It Be… Naked
George Harrison: vocals, harmony vocals, acoustic guitars, lead guitars
Paul McCartney: harmony vocals, bass, Hammond organ, electric piano
Ringo Starr: drums
Uncredited: 18 violins, four violas, four cellos, three trumpets, three trombones, harp
The last song to be recorded by The Beatles, 'I Me Mine' was written by George Harrison about revelations regarding the ego discovered through LSD use.
Having LSD was like someone catapulting me out into space. The LSD experience was the biggest experience that I'd had up until that time…
Suddenly I looked around and everything I could see was relative to my ego, like 'that's my piece of paper' and 'that's my flannel' or 'give it to me' or 'I am'. It drove me crackers, I hated everything about my ego, it was a flash of everything false and impermanent, which I disliked. But later, I learned from it, to realise that there is somebody else in here apart from old blabbermouth. Who am 'I' became the order of the day. Anyway, that's what came out of it, 'I Me Mine'. The truth within us has to be realised. When you realise that, everything else that you see and do and touch and smell isn't real, then you may know what reality is, and can answer the question 'Who am I?'
I Me Mine book, 1980
It seems fitting that a song about egocentricity was the final recording by the group, who by 1970 had all but disintegrated into acrimony and lethargy, with the various members wanting quite different things from life.
The Let It Be film, shot in part at Twickenham Film Studios, contains a version of 'I Me Mine'. It was captured on 8 January 1969, the day after it was written.
'I Me Mine', it's called. I don't care if you don't want it… It's a heavy waltz.
In the film, Harrison first plays the song to Ringo Starr, followed by a version performed by Harrison, Starr and Paul McCartney, during which John Lennon dances with Yoko Ono.
Although 'I Me Mine' was considered by The Beatles to be little more than a filler track for the album, Harrison evidently retained a liking for it. His autobiography, published in 1980, was named after the song, and he stood by its philosophical sentiments.
'I Me Mine' is the ego problem. There are two 'I's: the little 'i' when people say 'I am this'; and the big 'I' – ie duality and ego. There is nothing that isn't part of the complete whole. When the little 'i' merges into the big 'I' then you are really smiling!
Prompted by the inclusion of the song in the Let It Be film, The Beatles decided to record 'I Me Mine' for the soundtrack album. On 3 January 1970 John Lennon was holidaying in Denmark, and had essentially left the group anyway, so just Harrison, McCartney and Starr attended the session.
The group recorded 16 takes of the song, most lasting not longer than 1'30". Harrison played acoustic guitar and sang a guide vocal, with McCartney on bass and Starr on drums.
Between takes six and seven the group began an instrumental jam, and prior to take 12 they performed a version of the Buddy Holly song 'Peggy Sue Got Married'.
Anthology 3 contains a statement delivered by Harrison, in the style of a press statement, prior to take 15. Making a reference to Lennon's absence, he said:
You all will have read that Dave Dee is no longer with us. But Mickey and Tich and I would just like to carry on the good work that's always gone down in [studio] number two.
Anthology 3 also contained take 16 of 'I Me Mine', although without the orchestration later added by Phil Spector. A different mix, also minus the strings and brass but containing edits made by Spector which almost doubled the song's length, was included on Let It Be… Naked in 2003.
Take 16 was the best take recorded on 3 January, and onto this The Beatles overdubbed electric piano, electric guitar, lead and backing vocals, a Hammond organ and another acoustic guitar.
Phil Spector began work on Let It Be on 23 March 1970. On this day he extended the song from 1'34" to 2'25". He did this by repeating the line "All through the day I me mine" from the first verse, and following it with a further repeat of the chorus and final verse.
With the addition of an orchestra, the repetition was barely noticeable. The orchestral musicians were recorded on 1 April 1970, and was arranged by Richard Hewson.
Ringo Starr played drums on the final session, with 27 string and six brass musicians providing the wall of sound which took Harrison's song from a simple blues waltz into something altogether more elaborate.
Previous song: 'Across The Universe'
Next song: 'Dig It'
Join the Fab Forum discussion on I Me Mine »
Iman Friday 28 November 2008
Such a great track. Thanks for the extra info. After my listening to 40 years of rock music the Beatles still are the best.
Calico Thursday 21 May 2009
I love this song! It's eerily beautiful, and the orchestration is great. It's a shame that Phil got so much flak for his treatment of the material.
Matt Friday 21 August 2009
The original recording is far superior to Spector's smothering orchestration, in my opinion. Not much can beat a hard rocking blues number.
Carmen Lidia Friday 1 January 2010
I never listened "I Me Mine" before my son (17) bought the Rockband. I am delighted that he is so mesmerized with the Beatles as I was when I was his age. I must say that this song captivated me today as much as the others during the years 1965 and on…
BeatleMark Saturday 2 January 2010
I agree with Calico, Spector did get a lot of crap for the hard work that he did to "Let It Be". I like his version of this song better than the "Let It Be Naked" chop.
Joseph Brush Thursday 25 March 2010
IMO not only is Spector's version of I,Me,Mine superior to the LIB Naked version, but Spector should be given some credit for expanding the length of the song itself.
Don't get me wrong, I prefer most of LIB Naked over Let It Be.
David Friday 16 April 2010
I'd like to see a pure Let It Be, Let It Be … Naked is free of Phil Spector's orchestra, but the songs are different takes and Dig It/Maggie Mae were removed, although it does have Don't Let Me Down
vonbontee Tuesday 17 August 2010
George displaying a sly bit of his famous Monty Python fandom in that excerpt from the "I Me Mine" book above. "That's my flannel" is taken directly from the "No Time To Lose Advice Centre" skit.
Hugh Jones Tuesday 26 June 2018
Monty Python fandom.. indeed, if it wasn't for George, The Life Of Brian would never have happened. It was he who put up the money to make the film when John Cleese couldn't find anyone else to invest in it. "Why are you doing this, George?" He asked (gratefully). "Because I want to see the film!" was George's answer. 🙂
Beatlesguru Saturday 15 January 2011
As someone who grew up with this album – along with several other Beatles classics – I have to say I'm always astounded by all the criticism Spector gets. He was asked by Lennon to do a job and he did it (and a fairly good job IMHO). This song sounds great with all the extra horns and violins thrown in. All Spector did enhance the power of the original. LIB is a great album and doesn't deserve the reputation it has. Seriously – if U2 or Coldplay released this album it would be hailed as the greatest of all time. Give Spector a break and enjoy a timeless classic by George Harrison – probably the most fitting song that could have ever ended the Bealtes…
vonbontee Wednesday 10 October 2018
Yeah, Phil deserves much of the crap he gets for his work on this album…but I do think he and Hewson did nice, tasteful subtle work on the orchestrations here, if nowhere else. As for artificially lengthening the track, it was a sound decision and well accomplished. But I can't help thinking that a George Martin would've just anticipated the problem during the arranging process, and maybe gotten the Threetles to just perform the second repeat, and punch it in later as something other than a mere cut-and-paste job.
Mr. Kite Thursday 22 August 2019
Let It Be is a "great album" ? Seriously ?
DB Monday 20 June 2011
The up tempo middle, which makes the song musically, was suggested by Paul after John remarked that he didn't think the song sounded "like a Beatles song". Paul and George had their problems in the latter years of the Beatles and the early years afterwards, but Paul always gave 100% to George's songs and, in my opinion, added depth to them with his fine bass playing, piano and harmonies. And I should add that when Paul let him, George made some fine contributions to Paul's songs, two good examples being "And I Love Her" and "Drive My Car", two of Paul's best Beatles' songs.
Joseph Brush Friday 4 January 2013
The last time I read Many Years From Now Paul mentioned that John worked on Drive My Car along with Paul.
GeorgeTSimpson Friday 6 July 2012
I Me Mine (at least in Spector's arrangement) heralded the All Things Must Pass lp, many songs on all things must pass sound quite similar to this. I'm a big fan of this song (and also the All Things Must Pass lp) but I think Let It Be is not the right place for it, it should habe been on All Things Must Pass
Joaquín Sandoval Thursday 3 January 2013
Beautiful song… and I'd like to point out Paul's mastery in everything he does in this song: the vocals, the keyboards and (obviously) the bass guitar. The man is a true genius of music… (stating the obvious, I know, but still)
Baggio Friday 2 May 2014
This is George's not Paul's. I agree it's a great one though
John Lennon Fan Wednesday 30 January 2013
I thought that 'Because' was the last song recorded by the Beatles, in fact, as most of us already know, Let it Be was recorded before Abbey Road.
Doug Pitts Friday 31 January 2014
MOST of Let It Be was recorded prior to Abbey Road, with the final version of I Me Mine being the exception. The last time all four Beatles were together in the recording studio, the work was on I Want You (She's So Heavy). As stated above, the final session for I Me Mine only had Paul, George and Ringo. The final time they were all present together, as "the Beatles" outside of legal meetings, was for their final photo shoot, the one that yielded the photos for the Hey Jude (The Beatles Again) album (which was released between the release of Abbey Road and Let It Be and was a US-only album). A version of I Me Mine is seen in the Let It Be film, but it is not the version you hear on Let It Be the album.
Bongo Tuesday 15 April 2014
Great guitar intro to I Me Mine! Love it!
Peyeyico Tuesday 15 April 2014
McCartney, Harrison and Starr worked together in the "last" 3 records: I Me Mine, Free as a Bird and Real Love…
Leonard Meyer Thursday 22 May 2014
Joe, I don't think of I Me Mine as a "filler track." I think it is very good and underrated song. Not among George's three Beatles greats—and we all know what those three great songs are–but a very good and under appreciated one.
John Wednesday 14 October 2015
I think you are referring to Something, Here Comes the Sun – but which one is the 3rd?
Dan L Friday 15 April 2016
I'm thinking he must mean While My Guitar Gently Weeps. (But hell, I still regard Don't Bother Me as a great song, so what do I know?)
Piet Nel Wednesday 21 November 2018
If I Needed Someone is pretty good, too.
Bobby Tuesday 8 July 2014
I have to say that "I Me Mine" are the best on Let it be. I remember that I almost cried ( I had tears in my eyes) when I heard the song first time – The song touched me very deep and do so even today.
clint Sunday 20 July 2014
George wrote it plays great and yes he could play excellent bass guitar but not on this track.george was a very melodic guitarist who in my eyes was equal to paul or john on his songwriting.too much emphasis about how great paul was or is.the beatles were 4 members not the media image paul has tried to change.before long he ll say he played and wrote everything
Nick Monday 25 April 2016
George as good a song writer as John and Paul?! So Hard Day's Night (none of George's songs), Rubber Soul (2 of George), St. Pepper (1 crappy Indian song), etc etc needed more of George? I don't get the hostility to Paul from many Beatles fans. John dominated the first half of the Beatles life, Paul the second. Paul was and is one of the most accomplished bass players in rock history. Even John admitted that.
Kate Wednesday 26 July 2017
There are a number of George's songs that outshine Paul's or John's, also consider when George started writing songs and what he accomplished after the breakup (solo and with the Traveling Wilburys). George's songs were frequebtly dismissed by John and Paul (i.e. All Things Must Pass was written for Abbey Road album but they threw together that shitty B side instead of using it). George was also ranked #11 by Rolling Stone in Top 100 Guitarists, no less accomplished than Paul! John, Ringo and George all called a lot of the songs that Paul was writing in the later years "old bitty songs" and complained about having to record them… That being said "good songs" are a matter of preference, I would rather listen to While My Guitar Gently Weeps than Martha My Dear.
Robert Wednesday 2 August 2017
Abbey Road. That shitty B side? They threw it together? That shitty B side on Abbey Road?
Did you really mean to write that?
MikeP Wednesday 9 January 2019
I sort of agree that AR side-2 is a lot of fragments (not necessarily good ones, either) that were sewn together to make something of a "whole".
I've never considered it to be among their best work, though there are a few gems there. "…Sun", "Because" are full, complete songs and great ones. But after that, "…Money", and "Golden Slumbers" are the only ones that actually sound like they could've been extended to standalone tracks.
The "shitty B side" of Abbey Road???? You can't be serious!
Justin Friday 9 October 2015
This is the first time I've read that the song was related to LSD. I seem to recall George saying that the title comes from a book he was reading on Eastern philosophy and "I", "Me", and "Mine" were the most common words that were used. Am I nuts?
Bongo Thursday 14 April 2016
Beautiful song… and I'd like to point out RINGO's mastery in everything he does in this song: the vocals, the keyboards and (obviously) the drums. The man is a true genius of music… (stating the obvious, I know, but still)
Joking aside, how is it possible that this was the final recording by the group when they recorded Abbey Road after this LP?
dougpitts Tuesday 23 April 2019
Noted in the comments above – MOST of Let It Be was recorded prior to Abbey Road, but the version of I Me Mine that you hear on the Let It Be album was recorded by Paul, George and Ringo after abbey Road.
Graham Paterson Saturday 16 April 2016
Great George Harrison song, that only he could have written. Love the message. This is one of my favorites off the"Let It Be" album.I love the tempo changes in this song. Great sequence in the "Let It Be " film with John and Yoko waltzing to this.
flangerfairlie Saturday 21 May 2016
Does anyone have any insight into the recording of I Me Mine (particularly the vocals)? Even as a youngster, the vocals never sounded quite right to me; they always sounded a bit lo-fi and muddled.
David mackin Friday 13 January 2017
I read somewhere Lennon hated the track and George and him argued about it. But it's a great record from George and sums up human nature we are all selfish bastards.
The reason it was final recording was let it be was worked on after abbey road. Because the song was in the film Spector wanted a better recording of it. So it was worked on in Jan 1970 Lennon had left in sept 69 so even if he wasn't on vacation god knows if he would have gone to session. Paul was already working on McCartney album but he agreed to help George record it. At this point Paul was pissed off but was still cooperating but after he heard Phil Spector final mix of album he was no longer nice to the other Beatles. It was war between him and the other members. Those bad vibes didn't calm down til about 1973.
Marcus Tiro Friday 17 March 2017
This is also, IMO, a good example of how a great song-writer like George could use thoughts that applied to one context–in this case, LSD and the revelation of the ego–and let the listener hear them as applying to an entirely different context–how the band-members' egos were destroying the unity of the band. The meaning of the song seemed obvious, even at the time, but Harrison crafted an artistic origin for it that protected him from having to directly criticize his band-mates.
Elias Wednesday 22 March 2017
Nobody noticed the classical guitar during the "I me mine, I me mine, I me mine" parts? I wonder if it is the Ramirez he used for "And I love her"…
Young Fred Friday 14 April 2017
Great song. Great drumming by Ringo! That change of tempo and beat in the chorus gives the song a unique feeling.
Tony_M_1956 Saturday 15 April 2017
I prefer those Beatles songs which have some contribution by all the guys. As good a song as IMM is, not having Lennon on it is to its detriment. Even songs like Yesterday, She's leaving Home, Julia, Blackbird and many others, as great as they are do not sound like Beatles songs with only one or two of the group playing or singing. George Martin, for all the credit he greats as being the fifth Beatle did not control the recording sessions. Had he acted like a movie Director and not a glorified engineer, then the Beatles may have acquired some studio discipline and towed the line when it came to recording. Of course, EMI did nothing to help the Beatles stay together. They offered them nothing., not even complimentary guitars, or even decent toilet paper, and the early contract was a ripoff. Ringo is the only Beatle who did not disrespect his bandmates, and his excellent playing is the backbone of many Beatles songs. Knowing what I now do, how would Paul have liked Ringo to sneak into the studio while the others were away, and re-recording Paul's baselines with those of his own. Before I knew better, I felt I Me Mine was George telling us what life was like in the studio. At the end, John did not want to contribute, and George and Paul were at each other's throat. Ringo looked bored in the Let It Be movie. Thank God Billy Preston was there to calm the madness, and his contributions were an appreciated addition to the Beatles Songs. I listen to Let It Be with sadness, but there are gems in the album.
Hennyon Wednesday 10 May 2017
During 1963-1969 The Beatles brought the future to popular music. Where would we have been without them?
David mackin Sunday 7 January 2018
Lennon actually hated the song telling Harrison we don't do waltz. But to me it's one of George's finest songs. According to Spector Harrison had little confidence during All Things Must Pass.Going against the heavyweights wore George down.
Pablo Castro Tuesday 24 April 2018
Strange, because Yer Blues is almost the same 3/4 rhythmic pattern. Do you have a source ?
Nigel Parker Monday 7 January 2019
So what about Henry the horse?
vonbontee Friday 11 January 2019
There's no tiiiiime for fussing and fight-ing-my-friends 😉
JR Monday 7 October 2019
kupsingh Monday 15 April 2019
I've really come to appreciate this track in my old age. When the remaining group members (minus John Lennon) recorded this, the band was basically kaput, yet they created one of the tightest, most rocking tracks in their entire discography!
George – great vocals and stinging guitar lines
Paul – superb organ (I assumed for years that it was Billy Preston) and bass
Ringo – awesome groove and effortless time signature changes
Phil Spector – yes, I love his "enhancements" to the track as they help with the tension and flow of the song
If The Beatles had carried on, could this track with it's heavy, menacing sound have been a precursor of things to come? One can only imagine at this point…
speffley bass Wednesday 4 December 2019
I really like this comment by @kupsingh. I just want to underline those three main parts: Paul's keyboard work, Ringo's drum work, and George's "stinging guitar lines." Crank this LOUD and those guitar fills rip like a chainsaw into wood. I love that the Beatles created fantastic songs even when all were not on board. What would this song have been like with a contribution from John? His shredding guitar style would've put this in another genre. Imagine that.
MikeP Tuesday 14 April 2020
I think the "…Naked" version is the superior version for a lot of reasons. The one thing Spector did right on LIB was his edits on this song. Using that, but getting rid of the bombastic and superfluous strings and brass, and the general cleanup and de-mudding of the sound, creates an excellent rendition of a very good song.
Paul Beaulieu Wednesday 15 April 2020
This is one case where the 'reproduction' by Spector worked quite well, although I was happy to hear the original version on Anthology 3.
Ha s Thursday 26 November 2020
I have always wanted to know what the final Jan 1970 sessions were like.. what was the mood— and what did they say to each other in the studio? They also worked on the "Let it be" song then, too. So maybe Paul felt— I'll work on I Me Mine cause George did a new solo for "Let it be". I think I also remember reading that the three of them hung out on New Year's eve— a few days before the last sessions.
Marcio Ivam . Monday 11 January 2021
Super Harrison song. He was a great guitar man too. Wonderful record.
Thanks George !!!!


text:
Let's Just Get Rid of Tenure (Including Mine)
By Steven D. Levitt
If there was ever a time when it made sense for economics professors to be given tenure, that time has surely passed. The same is likely true of other university disciplines, and probably even more true for high-school and elementary school teachers.
What does tenure do? It distorts people's effort so that they face strong incentives early in their career (and presumably work very hard early on as a consequence) and very weak incentives forever after (and presumably work much less hard on average as a consequence).
One could imagine some models in which this incentive structure makes sense. For instance, if one needs to learn a lot of information to become competent, but once one has the knowledge it does not fade and effort is not very important. That model may be a good description of learning to ride a bike, but it is a terrible model of academics.
From a social standpoint, it seems like a bad idea to make incentives so weak after tenure. Schools get stuck with employees who are doing nothing (at least not doing what they are presumably being paid to do). It also is probably a bad idea to give such strong incentives pre-tenure — even without tenure young faculty have lots of reasons to work hard to build a good career.
The idea that tenure protects scholars who are doing politically unpopular work strikes me as ludicrous. While I can imagine a situation where this issue might rarely arise, I am hard pressed to think of actual cases where it has been relevant. Tenure does an outstanding job of protecting scholars who do no work or terrible work, but is there anything in economics which is high quality but so controversial it would lead to a scholar being fired? Anyway, that is what markets are for. If one institution fires an academic primarily because they don't like his or her politics or approach, there will be other schools happy to make the hire. There are, for instance, cases in recent years in economics where scholars have made up data, embezzled funds, etc. but still have found good jobs afterwards.
One hidden benefit of tenure is that it works as a commitment device to get departments to fire mediocre people. The cost of not firing at a tenure review is higher with tenure in place than it is without it. If it is painful to fire people, without tenure the path of least resistance may be to always say you will fire the person the next year, but never do it.
Imagine a setting where you care about performance (e.g. a professional football team, or a currency trader). You wouldn't think of granting tenure. So why do it in academics?
The best case scenario would be if all schools could coordinate on dumping tenure simultaneously. Maybe departments would give the deadwood a year or two to prove they deserved a slot before firing them. Some non-producers would leave or be fired. The rest of the tenure-age economists would start working harder. My guess is that salaries and job mobility would not change that much.
Absent all schools moving together to get rid of tenure, what if one school chose to unilaterally revoke tenure. It seems to me that it might work out just fine for that school. It would have to pay the faculty a little extra to stay in a department without an insurance policy in the form of tenure. Importantly, though, the value of tenure is inversely related to how good you are. If you are way over the bar, you face almost no risk if tenure is abolished. So the really good people would require very small salary increases to compensate for no tenure, whereas the really bad, unproductive economists would need a much bigger subsidy to remain in a department with tenure gone. This works out fantastically well for the university because all the bad people end up leaving, the good people stay, and other good people from different institutions want to come to take advantage of the salary increase at the tenure-less school. If the U of C told me that they were going to revoke my tenure, but add $15,000 to my salary, I would be happy to take that trade. I'm sure many others would as well. By dumping one unproductive, previously tenured faculty member, the University could compensate ten others with the savings.
It must not be that simple because few schools have tried, and my sense is that those that took a stab at it capitulated quickly and reinstated tenure. What am I missing?


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