text:
Instrumentation: voice (speaker)
Who Else
I received Crispin Best's poem from Matthew Ogle's Pome in the early days of lockdown. I made a piece from it in May 2020.
i tell the same stories
because who else is going to
and what are the builders making
apart from a racket
the black mould in my room makes it feel
like the wall is learning something
i tell my computer i'm not a robot
when it asks
i can't believe you thanked me
for sleeping in your bed
if a tree falls in the forest
that's fine
• Crispin Best (2019)
You can hear my recording of Who Else by visiting 23 March in A Book of Days.
For performing materials, click the buy button below. The suggested price is $5, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:
Instrumentation: piano voice (speaker)
Ensemble Size: solo
Born Dancin'
In 1989, the cellist Jeffrey Krieger commissioned Born Dancin' to be the maiden voyage for his new electric cello. He recorded the piece in the very early 90's, and it was released on cassette. I have lost the original DAT master, so the audio below is a low quality transfer from cassette.
The story the piece is based on is called The Baby, and it's by Donald Barthelme, who everyone forgot about for a while but he seems to be back lately, which is a very good thing. On the recording, my brother Spencer is reading the story.
/borndancin/materials/1032BornDancin.mp3
The image I've used for this page is by an artist named Yeondoo Jung, who has made a series of photographs based on children's drawings. I found his photographs via google images, which took me to a blog called Born Dancin', which has an excerpt from the Donald Barthelme story as its tagline and an entry about Yeondoo Jung's project. She (I'm guessing Born Dancin' is a she) writes about lots of interesting and entertaining things.
Some days I really love the internet.
Here's a score. I think it's definitely ready to be brought into the 21st century: let me know if you want to work on a remixed version of the piece!
Instrumentation: voice (speaker) cello
Landscaping for Privacy
Landscaping for Privacy was written in August-September 1995 for twisted tutu (Kathleen Supové, keyboards and Eve Beglarian, vocals) while we were in residence at the Bellagio Center in Italy under the auspices of the Rockefeller Foundation. The poem is by Linda Norton. The keyboard part was written to be played using the arpeggiator function of a synth keyboard, sort of like a new convertible with an automatic transmission. I tried to capture the fragile elation urban types feel at driving out of the city on a beautiful Saturday morning in spring.
Make a pagoda of thyself!
Ultima multis
–inscription on a medieval sundial
The hedges along the parkway, the trees, the trees–
They sashay, they nearly genuflect, they breathe.
It's good to breathe; it's good to get away in summer,
It makes you feel clean. The city, the squalor, the mess,
That's what's killing us. Did I tell you about the rat
I saw in the subway last night? It had a swollen belly
And no fear, it went right for a transvestite in heels!
Enough; I know; not here, not now; I should relax,
Shut up, let go. Oh, yes, Long Island's very fresh and nice;
Do they have rats out here, or just field mice? And I forget,
What do people do with themselves in the suburbs?
The streets are empty, the lawns unused. If I lived here,
I'd spread out, I'd hang a hammock, I'd keep sheep,
I'd dig a well. I'd build hummocks to my own
Specs, I'd be positively pastoral.
But you're right, of course. Of course, you're right.
I couldn't keep sheep, there's probably an ordinance,
They'd shoot me for ruining property values.
But what's property, anyway? Years ago
I read about a pillar of roses in an English garden
And so I own it, I have the deed by heart.
Speaking of which, pull over, look,
Here's a surprise for you. Check out my bicep.
Do you like my new tattoo?
What do you mean, "What is it, did it hurt?"
It's a miniature gazebo! Of course it hurt!
Note the incredible detail, the wicked craftsmanship.
See–it's a garden pagoda for me and you,
With ivy, and grass, and a snake in the grass.
Hey, what are you doing? Oh yes, that's good,
Yes, kiss it and make it better. Because
It did hurt a bit. In fact, it hurt like hell
(Remember that night when you touched me
And I yelled?)
OK, let's drive, let's tour the hydrangeas
And the lawns. What could be more suggestive
Than a grassy mattress? Maybe that TV glowing
In a darkened den, shades nearly drawn.
Slow down, slow down–that's strange: a sick room,
A suburban tomb, on a day like this,
With the clouds all starched and bustling
In a Disney sky. Look, they have a gazebo, too,
Jam-packed with rusted rakes and trash.
If I had their lawn I'd soak it and sun bathe on it,
I'd sleep out under the stars, I'd walk to the mall
And strap a sack of fertilizer to my back and hike
All the way home. We've lived in the city far too long,
Yes, that's what's killing us. That, and this monument
To love we lug, this brick inscribed FOREVER.
Let's let it sink. Let's kiss. Give me the wheel,
I'll drive so you can look at clouds.
"All clouds are clocks," bulldozing time.
A pauper? A philosopher?
Well, he was right,
Those pretty clouds are bullies–
Bouffant armada,
Fluffy but cruel,
Ushering last days for many.
–Linda Norton
There are three versions of the piece: the original version for narrator plus the PC88 keyboard's arpeggiator; a version for narrator with acoustic piano and playback; and an ensemble version (voice, alto flute, bass clarinet, vibes, marimba, and piano.)
A recording of Landscaping for Privacy is on my CD Tell the Birds and also on the compilation CRI Emergency Music.
Landscaping for Privacy is May 30th in my ongoing project A Book of Days.
score of piano (plus playback) version –> (.pdf)
score of all-acoustic ensemble version –> (.pdf)
score of original arpeggiator version –> (.pdf)
The charge for the piece is normally $40, but in these pandemic days, I have set the price to pay-as-you-like. You are warmly invited to support this very low-key way of publishing:
Instrumentation: flute clarinet percussion (pitched) piano synthesizer voice (speaker)
Electronics: No Electronics Fixed Audio Live Processing
Lament was originally written for a production of Terry O'Reilly's play, Animal Magnetism, directed by Lee Breuer. The piece was originally played on an abandoned, very out-of-tune piano. If you have access to one of those, it would be great to use it.
It is possible for an actor to perform a text in conjunction with the music, as it was performed in the original production. If you find a new text that you wish to perform in counterpoint to a performance of this piece, please let me know what you have in mind.
Lament is part of my ongoing project, A Book of Days. Please visit March 30th to hear a new recording made for a 2018 tour of the production to China.
You can purchase the performing version for bass clarinet and piano via the paypal button below. If you would like a transposition that works for another instrument, just let me know your needs.
Normally, the price for the materials is $25, but in these pandemic days it's pay-as-you-can. And thanks for supporting this low-key way of publishing!
Instrumentation: clarinet piano voice (speaker)
Cave was commissioned by the St. Louis ensemble Synchronia for a program investigating the theme of America in Y2K. The text is by Eileen Myles. It is the third piece in the last year I have been asked to write on this subject*, and I'm noticing that I know less about the meaning of the millennium, or the future in general, the more I'm asked to write pieces about it. I have, however, had several excellent conversations about souls with Ansel Elgort, who is six, while I've been writing this piece, so I dedicate it to him with love and thanks for his friendship.
* see the continuous life for another
Cave is part of my ongoing project A Book of Days. Please visit July 3rd to hear a recording.
The piece was originally made for flute, clarinet, violin, cello, keyboard (or piano and vibes), spoken voice, and electronics. There is also an optional video by Clifton Taylor.
Here is a score of the piece. I'm open to you adapting it for your ensemble; let me know what you have in mind.
I will send you all the necessary performance materials when you order the piece by clicking the paypal button below, with thanks for supporting this low-key method of publishing.
Instrumentation: flute clarinet percussion (pitched) piano synthesizer voice (speaker) violin cello
Electronics: Live Processing
Do Not Be Concerned
Do Not Be Concerned is the first piece I wrote specifically for my ongoing project A Book of Days . At the time, I was imagining writing a piece for every preset in the General MIDI spec: this piece uses the Calliope Lead (patch #83) to accompany a recitation of a line from the Gospel of Thomas.
A live performance of the piece on synth requires a MIDI echo effect: I have a version implemented already in MOTU's Digital Performer. If you need it in some other program, I can give you the specifications for the effect so you can set it up yourself.
You can perform the piece as a solo, reciting the text as you play, or you can do it as a duo: one person plays while the other speaks.
Do Not Be Concerned is part of my ongoing project A Book of Days . Please visit February 21st to listen to the piece along with my pre-911 slideshow of images of Soho.
And this is Nick Griffiths' 2014 live performance on piano with no processing. It's a very different take on the piece, and I'm delighted by it!
Normally the performance materials for this piece are $25, but during the pandemic, I've set the price to be pay-as-you-can. You are warmly invited to support this very low-key way of publishing:
Instrumentation: piano synthesizer voice (speaker)
Five Things was written on 23 October 2001. It was the first piece I wrote after the events of early September of that year. The text is Thomas Cleary's translation of a Song Dynasty (10th to 13th century) letter to a Zen Master Xiang:
• What has been long neglected cannot be restored immediately.
• Ills that have been accumulating for a long time cannot be cleared away immediately.
• One cannot enjoy oneself forever.
• Human emotions cannot be just.
• Calamity cannot be avoided by trying to run away from it.
Anyone who has realized these five things can be in the world without misery.
Five Things is November 14th in my ongoing project A Book of Days. Please go there to hear a recording by Margaret Lancaster and Erin Rogers on flute and bari sax, respectively, with me doing the text, and to see Judson Wright's very cool video animation for the piece.
There are performing scores in various different transpositions and clefs, please specify what you need. In addition, we can share the animation for real-time projection if you like.
Thanks for supporting this low-key way of publishing by clicking on the paypal button below. Normally we charge $25 for the materials, but in pandemic days, the piece is pay-as-you-can.
Instrumentation: flute bassoon saxophone percussion (unpitched) voice (speaker)
It Happens Like This
It Happens Like This sets the recitation of a poem by James Tate against an adaptation of a traditional Persian chaharmezrab melody and dance rhythm. Perhaps the cyclical embroiderings of the chaharmezrab echo the successive embroiderings of the narrator's tale of the goat.
It Happens Like This was commissioned by Mary Sharp Cronson and Works and Process, Inc. for a celebration of James Tate at the Guggenheim Museum. Many thanks to Greg Hesselink for help and advice with the cello notation, and Mary Rowell for ideas and advice for the two-instrument version.
It Happens Like This was written while in residence at the Civitella Ranieri and is dedicated with affection to Diego Mencaroni, who once loved a goat.
I was outside St. Cecelia's Rectory
smoking a cigarette when a goat appeared beside me.
It was mostly black and white, with a little reddish
brown here and there. When I started to walk away,
it followed. I was amused and delighted, but wondered
what the laws were on this kind of thing. There's
a leash law for dogs, but what about goats? People
smiled at me and admired the goat. "It's not my goat,"
I explained. "It's the town's goat. I'm just taking
my turn caring for it." "I didn't know we had a goat,"
one of them said. "I wonder when my turn is." "Soon,"
I said. "Be patient. Your time is coming." The goat
stayed by my side. It stopped when I stopped. It looked
up at me and I stared into its eyes. I felt he knew
everything essential about me. We walked on. A police-
man on his beat looked us over. "That's a mighty
fine goat you got there," he said, stopping to admire.
"It's the town's goat," I said. "His family goes back
three-hundred years with us," I said, "from the beginning."
The officer leaned forward to touch him, then stopped
and looked up at me. "Mind if I pat him?" he asked.
"Touching this goat will change your life," I said.
"It's your decision." He thought real hard for a minute,
and then stood up and said, "What's his name?" "He's
called the Prince of Peace," I said. "God! This town
is like a fairy tale. Everywhere you turn there's mystery
and wonder. And I'm just a child playing cops and robbers
forever. Please forgive me if I cry." "We forgive you,
Officer," I said. "And we understand why you, more than
anybody, should never touch the Prince." The goat and
I walked on. It was getting dark and we were beginning
to wonder where we would spend the night.
james tate
Here is the traditional chaharmezrab on which the piece is based:
https://evbvd.com/goat/Dastgah-e%20Homayun%20-%20Crmezrab.mp3
It Happens Like This is part of my ongoing project, A Book of Days . To hear a live recording of the duo version by BRIM, please visit July 6th.
The instrumental part has been done on cello, on mandolin, and on guitar, in solo and in duo versions. Please order performing materials by clicking the donation link below (and let me know which instrument(s) you'll be using to play the piece.)
Instrumentation: guitar voice (speaker) violin viola cello
The Continuous Life
The Continuous Life (2000) was commissioned as part of a project called Continental Harmony to celebrate the turn of the millennium. Written for the Houston-based Orchestra X, the piece was supposed to celebrate Houston and incorporate electronics and interactivity.
I chose to set a poem by Mark Strand that is about the opposite of celebrating a particular moment in time:
What of the neighborhood homes awash
In a silver light, of children hunched in the bushes,
Watching the grown-ups for signs of surrender,
Signs that the irregular pleasures of moving
From day to day, of being adrift on the swell of duty,
Have run their course? Oh parents, confess
To your little ones the night is a long way off
And your taste for the mundane grows; tell them
Your worship of household chores has barely begun;
Describe the beauty of shovels and rakes, brooms and mops;
Say there will always be cooking and cleaning to do,
That one thing leads to another, which leads to another;
Explain that you live between two great darks, the first
With an ending, the second without one, that the luckiest
Thing is having been born, that you live in a blur
Of hours and days, months and years, and believe
It has meaning, despite the occasional fear
You are slipping away with nothing completed, nothing
To prove you existed. Tell the children to come inside,
That your search goes on for something you lost—a name,
A family album that fell from its own small matter
Into another, a piece of the dark that might have been yours,
You don't really know. Say that each of you tries
To keep busy, learning to lean down close and hear
The careless breathing of earth and feel its available
Languor come over you, wave after wave, sending
Small tremors of love through your brief,
Undeniable selves, into your days, and beyond.
The original orchestration is spoken word, full orchestra, and a sound mix of recordings of daily life in Houston. At the end, multiple live acoustic guitar players are invited to join in, playing from their places in the audience.
The piece can also be done by sixteen electric guitars plus pre-recorded sound. That version can be heard at September 2nd in my ongoing project, A Book of Days.
A year ago, the New York ensemble Contemporaneous performed a new version of the piece for eight players and pre-recorded sound. If you are interested in performing the piece with an ensemble of at least eight people, please get in touch with me and we'll figure out how to make that happen.
In the meantime, you can visit the very first webpages I ever made, (with lots of help from Cory Arcangel), where I put lots of stories and examples about how I made the piece. I've left the pages pretty much how they appeared in 2000, so you can revel in the millennial flavor ;-).
Instrumentation: guitar voice (speaker) orchestra open instrumentation
On the Battlefield
On the Battlefield was inspired by the memory of a visit I made to the Vicksburg National Military Park during my journey down the Mississippi River in 2009.
The November afternoon I was there, I ended up in a miserable long-distance phone argument with my then-lover in Athens. The site of one of the iconic struggles of the war between the states felt entirely personal and intimate to me that afternoon.
Six years later, I spent an afternoon at that same battlefield with my friend and collaborator Matt Petty as he filmed the footage he used to make the video for On the Battlefield.
On the Battlefield is part of my ongoing project, A Book of Days. You can watch and listen to Matt's trombone version by visiting 23 November.
The piece can be performed by any brass or wind player. You can play back my spoken part or mute it to perform with a live actor, male or female. Whatever you play into Ableton Live will be transformed simultaneously into clusters and also a drone. I have not composed your music: you will want to respond to the text, the visuals, and the live processing. It's possible you will want to be thinking of "taps" as you play, but you definitely won't want to be corny about it.
In order for the Ableton session to work properly, you probably need the full version of Live. You will also need to download and install the free plugins you can find here.
You will want to switch the monitor buttons to IN on the first two tracks, called CLUSTERS and DRONE, and make sure your playing levels do not cover the spoken voice. The video is embedded in the Live session; in order for the video to display, you need to be in Arrangement view, not Session view.
To purchase the Ableton session needed to perform the piece, please click the button below. Normally, the price is $50, but I have made it pay-as-you-can in these pandemic times. And thank you for supporting this low-key way of publishing:


text:
ambadmin • April 8, 2021
"There was a Perfect Master, and he had some followers. They would garland him, bow down to him and give him presents. Every day, this program would be there with the Perfect Master. The Perfect Master would only give a short discourse, and then his followers would go away.
"One day, a rich man came. He did not bring anything. From a distance, he observed people garlanding the Perfect Master, bowing down to him and giving him presents. Then the Perfect Master gave a short discourse, and the people dispersed.
"After the people left, the rich man went to the Perfect Master.
"He did not garland him, did not bow down to him, did not give him any presents. He was teasing the Master and said, 'O Master, what a comfortable life you are leading. People come, they garland you, they bow down to you, and they give you presents. Whatever you need, you get. You are leading a very comfortable life without working. You receive all respect from people. How fortunate you are!'
"The Perfect Master said, 'One day you will come to know.'
"'Why one day?' the rich man asked. 'What is the secret behind it? There is nothing. Just see, I work and work and work. I perspire, then I earn. And without doing any work, you are better off than I am. You get everything!
"'One day you will come to know,' the Master repeated.
"Three or four times this happened. This rich man would come to the Perfect Master, but he would not pay him any respect. He would not give him anything, and he would tease him. Each time the Perfect Master would say, 'One day you will come to know.'
"Eventually, the rich man had a whim that he should go on some adventure, such an adventure that no one had done up until now. He was thinking and thinking, until he decided, 'Why not cross the desert? No one has done it. If I do it, I'll become very popular. Because I am very rich, I can afford it.'"
This is an ancient story -- at that time, there were no means of transport other than walking. Sometimes when people would go to the desert, they would use camels, but they would not cross the desert.
"This rich man called his workers and said, 'Get 100 camels ready. Load eatables and water on them in a large quantity. We have to cross the desert.'
"The workers did as instructed, and then they all started off.
"When they reached the desert, it was very hot. The rich man started pouring water on his body, continuously. The caravan went a certain distance, and the workers thought, 'He is using so much water. Suppose we find ourselves in the midst of the desert, and there is no water. We will die. It is better to warn this rich man not to use so much water.'
"The workers went to him and said, 'Master, you are using so much water. Suppose we are in the midst of the desert, and there is no water? We all will die.'
"This rich man was very, very proud. He said, 'I am paying you. Therefore, you should not make any complaint.'
"The workers said, 'When there is no water, we will not be able to drink the money which you are giving us. We will want water.'
"'Either listen to me without complaint or go away!' the rich man told them.
"All the workers left, and the rich man was alone. But because he was proud, he was going ahead, pouring water on his body. When he was in the midst of the desert, there was no more water. He was very, very thirsty. He was dying.
"Then he said, 'O God, I am dying. Give me water to drink.'
"And a man appeared with water. When he saw him, the rich man said, 'Please, I am dying of thirst. Give me a little water.'
"The man said, 'Give you water?! You have to pay if you want water.'
"'Yes, yes,' the rich man replied. 'I will pay you. How much do you want?'
"'Whatever you have here, you have to give me. Then I will take you back. Otherwise, you will die. When I go back with you, whatever you have -- your business, property, everything you own, you have to give to me.'
"The rich man said, 'You want so much for water?!'
"'Then die if you don't want to give this to me. I don't care,' the man with the water answered.
"But the rich man was dying of thirst, and he had to accept this offer. Then the man started supplying him water.
"He brought the rich man back home and said, 'Now give me charge of everything.'
"The rich man had to give over his property, business, money, everything, to the man with the water. And the rich man was on the street. He was penniless; he had nothing. 'What to do now?' he asked himself.
"Then he remembered the Master.
"The rich man thought, 'He is the only one who can help me.'
"He went to the Perfect Master, who looked at him and said, 'You look so miserable! What happened to you?!'
"The rich man told the whole story to the Master.
"The Master said, 'For water, you have given everything to that man. He deceived you!'
"'I gave everything to him because I was dying,' said the rich man. 'I would have died had he not supplied water.'
"And the Master said, 'This shows that water is more valuable than your property, business, everything!'
"'Yes, Master, I realize this. I was attached to what I was doing. It is good that that man has taken everything away.'
"The Master said, "You are not free from attachment. It is still there in you. You are suffering externally and mentally. If the situation changes, you will be just the same.'
"The rich man said, 'No, Master, now I have realized.'
"And what happened?
"The man who had taken everything from this rich man was approaching. When the rich man saw him, he said, 'This is the man, Master, who has taken everything from me. But don't say anything to him, because he has saved my life.'
"When that man came, the Master said, 'You took away everything from this rich man? You charged so much for the water? Have you no shame?'
"The man replied, 'Master, he was dying, but he wanted to live. He could not live without water. So I put my conditions before him: If he wanted to live, he had to give everything to me. And he did. So it is not my fault. I did not do any injustice to him. On the contrary, he wanted to live because was attached to this world. That's why he gave everything to me.'
"The Master listened, and then he said to the rich man, 'Do you remember when you were dying? What did you say?'
"The rich man said, 'Yes, Master, I do remember. I prayed to God: 'Please give me some water, I am dying.' Then this man appeared.'
"The Master said, 'Do you know who heard your voice?'
"'No, Master, I don't know.'
"'I heard your voice,' said the Master, 'and I sent this man to you to supply you with water. And you say that I don't do anything? That I just sit here, and people come and garland me; they bow down to me, and they bring presents. That you could see, but what I really do, you cannot see.'
"The rich man said, 'Master, I now realize. Please give me shelter near you, and I will do whatever you ask of me.'
"'It is a very difficult life. You have to obey my order. You have to walk on the edge of a sword. So be careful, because you are not ready to do whatever I like.'
"'Master, I have realized it. I will never leave you. I will do my best to please you.'
"So the Master said, 'Now that property, business, your money, everything, belongs to Me. Nothing belongs to you. And this is my order. I make you the caretaker of my property, business, everything which is in your possession. I am the owner. You are only my caretaker. You eat, you have a good life, but never think that it is yours. Whatever you had, it belongs to me now. Will you do it?'
"And the rich man accepted these conditions as the Master's order.
Gist:
Never think that anything belongs to you. Everything belongs to the God and you are the caretaker. If you have this attitude, then God helps you, because whatever you do you do it in order to please Him.
Posted in THE RICH MAN IN THE DESERT, THE SAINT AND THIEF on April 8, 2021 by ambadmin.

redpajama_set_name: RedPajamaCommonCrawl


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Alan is driving a pick-up truck along the road with a flock of ducks in the back. He is stopped by a zealous police officer who informs Alan that he is speeding and then asks him where he's going with all the ducks. Alan replies that he is not sure what to do with them. Alan thanks the police officer and drives off with his ducks.
I guess you have heard about Garfield, the world's most famous lazy cat. Well, this is his real life brother. This cat makes Garfield look like a very lively and energetic pet. I envy this cute animal, eating and sleeping all day. Sounds like an ideal life style. Its owners must enjoying this, too; having a lazy fur ball of a pet. Just see this funny photo gallery of this lazy cat.
२०१९ कांग्रेस का मर्सिया न बन जाए कहीं!


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libuv is the platform abstraction layer used in Node, Julia, NeoVim and many other projects. It features an event loop, timers, signals, as well as many cross platform utilities including threading and name resolution.
This lightning talk will introduce libuv and its current development state.


David O'Brien of the Atlanta Journal-Constitution reports that the Braves have signed reliever Nick Masset.
Masset was DFA'd by the Marlins three days ago after making seven relief appearances in which he allowed three runs (two earned) on 11 hits and one walk while striking out five in eight and two-thirds innings. He had cleared waivers and elected free agency.
The last time the Braves had much to do with him was when he was on the other side of a plunking war with the Rockies last summer. The guy he plunked, though, got traded to the Astros over the winter, so no hard feelings.
The Braves made room on the 40-man roster for Massett by designating right-hander John Cornely for assignment. They made room for him on the 25-man roster by optioning Cody Martin to Triple-A.


text:
Vicious High Street attack
REVELLERS in Portishead were attacked with metal bars after an altercation in a town pub.
Three people were left needing hospital treatment after the vicious attack in High Street, which saw two men and one woman assaulted at about 1.15am on March 7.
It followed an earlier incident, during the evening of March 6, when one of the victims, drinking with her family in The Plough Inn pub, suffered minor injuries during an argument with two other females.
The victim's party remained in the pub until about 1am but when they left, two men in the group were struck with what is believed to have been metal bars.
They were taken to Frenchay Hospital where a 30-year-old man received stitches to a head wound and the other, aged 50, was treated for a suspected broken jaw.
A female friend was also assaulted by two women and was taken to hospital with bruising.
The two men reported to have used the metal bars are described as white men, both about 6ft tall.
One was described as being in his late 30s or early 40s, of stocky, muscular build with a shaven head and wearing a light top. The other was in his early 20s, of medium build and was wearing a light top with dark coat.
Police have described the female suspects as white women, one aged about 20 years, 5ft 6ins tall, of medium build with dark, dyed blonde hair, dressed casually with jeans.
The second woman was described as 38-39 years, around 5ft 8ins tall, of broad build with reddish brown hair.
Police are now appealing for witnesses.
They believe several cars passed through the High Street while the attack was taking place and detectives investigating the incident are keen to track down the drivers, who they believe could have valuable information.
They would also like to speak to anyone who was in the area at the time of the attack.
Anyone able to help should contact Nailsea CID on 0845 4567000 or contact Crimestoppers anonymously on 0800 555111.


text:
Is Tom Cruise Going to the Rodeo with Reese Witherspoon in 'Paper Wings'?
Is Tom Cruise Going to the Rodeo with Reese Witherspoon in Paper Wings?
We last reported on a film called Paper Wings way back in 2006, when New Line Cinema wasn't folded into Warner Bros. and now it seems the film has a new studio home and could have two high-profile lead actors. The Los Angeles Times is reporting that Tom Cruise and Reese Witherspoon are in talks to star in Paper Wings.
The film is now being set up at Sony and the film was said to revolve around a rodeo champion, which Cruise would play, who falls for a talented new country singer, which Witherspoon would play.
No writer or director has been attached to the project as of yet, but the site reveals that Will Smith would produce through his Overbrook Entertainment production company and director Gabriele Muccino, who directed Smith in The Pursuit of Happyness and Seven Pounds, is in early talks to direct, although it was said that other directors are in the mix as well.
The Mandalorian Actor Hints at Why Baby Yoda Is So Important to Moff Gideon
Ex Machina Comic Adaptation The Great Machine Gets Oscar Isaac in the Lead


text:
Star Power: Green-Star Premiers At TexasÌ Transit Mix
August 1, 2008 Concrete News
A second flag bearing a lone star now flies at the Transit Mix Concrete & Materials Co. Seven Points plant outside Dallas, flanking Old Glory and Texas'
A second flag bearing a lone star now flies at the Transit Mix Concrete & Materials Co. Seven Points plant outside Dallas, flanking Old Glory and Texas' own red, white and blue. The new flag signals the first operation certified under National Ready Mixed Concrete Association's Green-Star Program, recognizing a facility's Environmental Management System and continuous improvement of pollution control, waste reduction, and water conservation measures.
As master of last month's Green-Star flag-raising ceremony, 2008 NRMCA Chairman Frank Craddock (Cemex USA) welcomed fellow association members and guests that included Texas State Senator Robert Nichols and Gail Green, a representative for Senator John Cornyn. Craddock noted little surprise in Transit Mix logging the first Green-Star certified plant, as the company has won more NRMCA Environmental Excellence Awards than any other producer. I challenge the ready mixed concrete industry to follow the example set by Transit Mix here, he said, assuring peers that Cemex would soon join the ranks of Green-Star plant operators.
[The certification] is an outstanding achievement that reflects on the business culture and its commitment to growth, but not at the expense of the environment, added Mark Potts, associate director of compliance assurance and enforcement from the Environmental Protection Agency's Region 6 (Dallas). It shows that environmental considerations are integrated into day-to-day plant operations and business decision-making, and the Green-Star program brings those principles home.
WINNING SEVEN
In accepting the Green-Star certification and flag, Transit Mix President Carl Campbell affirmed, This shows the commitment and dedication of the Transit Mix team members. This plant is a model of what can be, what concrete professionals can be, and where we are going.
Seven Points business neighbors and local officials, along with plant personnel, could appreciate his observations more than most guests on hand for the flag raising. Leading up to the Green-Star undertaking, Transit Mix effected an extreme makeover of the property after a 2006 acquisition of a mom & pop, Bow Enterprises. Following a corporate plant template and input from local operations colleagues, construction and environmental staff mapped out a material storage and handling, truck-traffic, and water-management plan for a poorly graded site that had minimal paving and dilapidated iron.
Transit Mix ordered an R&S Apache mobile plant with twin silos, placing it just off the center of a rectangular, six-acre site Û behind the footprint of the rusty structure it replaced. Dallas-based corporate and Seven Points local staff detailed a storm- and process-water management plan around carefully sloped and mostly new concrete pavement; four-step, process-water settling structure; tall diversion curb; and, storm water retention pond.
New equipment, refurbished maintenance shop, and remodeled office and driver break room provided an environment from which Transit Mix could pursue Green-Star certification. The Environmental Management System (EMS) anchoring the Seven Points Green-Star certification challenges plant staff to monitor usage of municipal and recycled process water; reduce returned-concrete volume; and, curtail net vehicle emissions by limiting truck engines idling in the yard. Overseeing the certification is Transit Mix Environmental Coordinator Michael Porch, one of two company representatives NRMCA has registered as Accredited Green-Star Auditor (note box).
PROGRAM EVOLVES
Seven Points is among 100-plus Lone Star State plants under Transit Mix, which has been at the forefront of NRMCA's Commitment to Environmental Excellence Awards since the program's 1995 inception. Green-Star builds on the awards by promoting and recognizing producers' use of EMS, a tool widely used across industry and recognized by government agencies.
The certification program was developed by the Environmental Task Group of the association's Operations, Environmental and Safety Committee. While the NRMCA-OES program offers no formal EMS guidelines, it outlines key components that serve as minimum criteria for certification. EMS implementation thereby is fostered as a tool for environmental benchmarking and continual improvement, as recognition is provided for operations that adhere to essential principles of the sustainability movement.
The Green-Star Certification Program constitutes an industry-specific initiative focusing on ready mixed producers' unique operational characteristics. While not designed to take the place of other EMS-based certifications (e.g., U.S. EPA Performance Track, ISO 14001), it can serve to fill the gap between industry efforts and more generic programs, becoming an effective alternative due to enhanced accessibility. The two-year Green-Star Certification covers a company's existing EMS based on the ÎPlan-Do-Check-ActÌ model of continual improvement. Certifications are made on a plant-by-plant basis, i.e., concrete facilities are Green-Star certified Û not concrete companies, company divisions, or corporate personnel.
Green-Star certification requires implementation by an applicant facility of measures satisfying the program's EMS criteria. To qualify, systems must have operated for a minimum of one complete cycle of at least three months' duration following determination of an initial environmental baseline (Gap Analysis); however, longer durations of at least six months are strongly recommended. First among essential EMS components, an environmental policy statement developed and implemented by the plant should demonstrate a commitment to continual improvement, pollution prevention, and compliance with federal, state and local regulations, as well as routine review.
Second, a program for continual improvement Û beginning and ending with one EMS cycle, at which point it begins again Û must identify key environmental aspects, i.e., activities or processes cited as the cause, and resultant environmental impacts, i.e., the effects, encompassing, but not limited to, 1) water quality management, affecting process and storm water discharge, plus water conservation, reuse and recycling; 2) air quality management targeting airborne process, fugitive, and vehicular emissions; 3) hazardous materials management, tracking petroleum and chemical use, spill/leak prevention, and fuel consumption; 4) solid material management, i.e., handling of returned concrete, fines, stone and sand; 5) community issues, e.g., noise and aesthetic conditions; and, 6) sustainability, i.e., energy conservation, recycling, and pervious concrete production.
Achieving continual improvement entails quantitative documentation (where appropriate) of the facility's environmental aspects at the start of an EMS cycle and setting measurable goals that reflect improved performance at cycle's end. Accordingly, a description is required of specific practices and activities that will be implemented to meet stated goals; and, means must be identified to quantitatively measure and document performance levels at the end of an EMS cycle. Also necessary are processes to determine whether goals have been met and, if not, to provide an explanation for missed performance benchmarks.
A third EMS component stipulated for Green-Star Certification is a self-evaluation program to gauge regulatory compliance and environmental operational status. Used either by the facility or a third-party auditor, any self-evaluation or audit procedure or protocol, deemed satisfactory by the accredited auditor, is acceptable, provided it is a) comprehensive, i.e., covers all areas of environmental compliance pertinent and specific to the ready mixed concrete industry; b) objective, i.e., performed by someone lacking a direct, subjective interest in the audit results; c) regular, i.e., occurring at least once per EMS cycle; and, d) documented.
Another indispensable EMS component is a comprehensive environmental training program for key personnel, emphasizing appropriate NRMCA training courses or their equivalent for appropriate employees. Necessary instruction would cover at a minimum material provided in the NRMCA Environmental Certification Course; NRMCA Plant Manager's Certification Course; Certified Driver Professional Course; and, company- and facility-specific environmental trainings, conducted on a regular basis. Also required are measures, such as written or oral testing and/or performance evaluations, to gauge understanding and comprehension.
Following implementation of a training program, an applicant facility must demonstrate staffing and management commitment sufficient for EMS setup and support. To this end, key personnel directly involved with the plant's EMS program must be identified, including their specific duties and responsibilities; and, a statement (citing personnel and funding as appropriate) must confirm corporate management's commitment to EMS implementation and maintenance. Finally, a public outreach program, potentially involving newsletters, websites and community day events, is required to enable the plant to interact with the community on issues of environmental relevance to a degree appropriate to the facility in question.
Benefits of the certification cited by NRMCA include: a) favored status, as customers prefer doing business with companies known to be environmentally responsible; b) savings accrued via pollution-prevention and waste-reduction measures; c) improved efficiency for greater profits, due to sound, consistent environmental-management methods; d) community goodwill arising from a company's progressive stance on environmental policy and action; and, e) reduced liability and risk by virtue of a pro-active EMS program documenting results and targeting continual improvement.
Additional information on Green-Star Certification can be obtained from an overview document at www.nrmca.org, or NRMCA Director of Compliance David Ayers, [email protected]; 240/485-1155.
GREEN-STAR AUDITORS
Transit Mix's Mike Porch and Bobby Bailey, environmental coordinators responsible for ready mixed and sister Trinity Materials aggregate operations' environmental compliance, are Accredited Green-Star Auditors. Beyond Seven Points, they have secured Green-Star certification for three other Texas concrete plants (Bastrop, Mt. Pleasant, Huntsville). The auditors have noted six- to seven-month windows for Green-Star certification, entailing initial inspection; gap analysis to identify measures between a plant's status quo and full target compliance; and, site and equipment improvements. Transit Mix is eyeing at least one Green-Star plant in each of its nine regions.
Porch and Bailey are among 20 producer-employed Green-Star Certification Auditors NRMCA has registered in the program roll-out. Registrations are valid for three years. Criteria for auditor applicants include: completion of the NRMCA Environmental Course, or equivalent training considered case by case; college degree in engineering, construction management or appropriate field of scientific study; and, three years' documented environmental management work experience in the ready mixed concrete industry. Candidates can substitute a college degree with at least two years of environmental management experience Û on top of the baseline three-year requirement.
Applicants are required to participate in an NRMCA Green-Star Auditor Training Session. The next session will be presented Sept. 2, as a webinar, conducted from http://www.nrmca.org/Webinars/index.asp#Auditing#Auditing.
Npca, Crsi-Backed Coalition Targets Trade Barriers Compounding Steel Price Spikes
Raw Materials Inflation Drives Grace's Double-Digit Admixture Price Hike


text:
Гёц Георге (; 23 июля 1938, Берлин — 19 июня 2016, Гамбург) — немецкий актёр. Сын актёра Генриха Георге и актрисы Берты Древс. Известен прежде всего по роли комиссара уголовной полиции Дуйсбурга Хорста Шимански в телесериале «Место преступления».

Биография
Выходец из актёрской семьи, Гёц получил имя в честь Гёца фон Берлихингена, любимой роли Генриха Георге. После смерти отца в специальном лагере № 7 НКВД в Заксенхаузене Гёц вместе со старшим братом Яном (род. 1931) воспитывался матерью в Берлине. Старший брат Ян стал фотографом и режиссёром документального кино и рекламы, а Гёц решил стать актёром. Дебют Гёца Георге состоялся в берлинском театре имени Хеббеля в 1950 году в постановке Уильяма Сарояна '
«В горах моё сердце». Часто играл в театральных постановках вместе с матерью. В 1955—1958 годах учился в студии по подготовке молодых кадров при UFA на курсе Эльзы Бонгерс. Первая главная кинороль — в фильме «Старая лодка и молодая любовь» (1957). По совету матери в 1958—1963 годах отправился в Гёттинген, где служил в Немецком театре под руководством Хайнца Гильперта. После смерти режиссёра больше никогда не работал в театрах на постоянной основе.

После многочисленных небольших киноролей в 1950-е годы новый этап в актёрской карьере начался с фильмом «Жаклин» (1959), за роль в котором Гёц Георге был награждён Немецкой кинопремией. В 1961 году он получил статуэтку «Бэмби» как самый популярный актёр. В 1970-е годы вновь много работал в театре и на телевидении. В 1980-е годы новая волна успеха пришла к Гёцу Георге с телесериалом «Место преступления», в котором в 1981—1991 годах он исполнил роль комиссара Хорста Шимански.

В 1990-е годы Гёц Георге продолжил успешно работать в кино, что принесло ему многочисленные награды. В 1966—1976 годах он был женат на актрисе Лони фон Фридль, с которой у них есть дочь.

За свою творческую карьеру Гёц Георге удостоился многочисленных наград, в том числе кубка Вольпи, премии Гримме, премии «Бэмби», Баварского телеприза и премии «Роми».

Фильмография

Кино

 1953: Когда цветёт белая сирень — Wenn der weiße Flieder wieder blüht
 1953: Ihre große Prüfung
 1957: Старая лодка и молодая любовь — Alter Kahn und junge Liebe
 1958: Solange das Herz
 1959: Жаклин — Jacqueline
 1960: Kirmes
 1960: Die Fastnachtsbeichte
 1961: Der Teufel spielte Balalaika
 1961: Ihr schönster Tag
 1961: Mörderspiel
 1961: Unser Haus in Kamerun
 1962: Der Schatz im Silbersee
 1962: Das Mädchen und der Staatsanwalt
 1962: Nur tote Zeugen schweigen
 1963: Liebe will gelernt sein
 1963: Mensch und Bestie
 1964: Herrenpartie
 1964: Wartezimmer zum Jenseits
 1964: Unter Geiern
 1965: Ferien mit Piroschka
 1965: Sie nannten ihn Gringo
 1966: Виннету и полукровка Апаначи — Winnetou und das Halbblut Apanatschi
 1968: Ich spreng' Euch alle in die Luft — Inspektor Blomfields Fall Nr. 1
 1968: Der Todeskuss des Dr. Fu Man Chu
 1968: Himmelfahrtskommando El Alamein
 1970: Ostwind (Le vent d'est)
 1976: Die Diamanten des Präsidenten (The Pawn)
 1977: Aus einem deutschen Leben
 1980: Der König und sein Narr
 1984: Abwärts
 1985: Zahn um Zahn
 1987: Zabou
 1988: Die Katze
 1989: Der Bruch
 1989: Blauäugig
 1992: Schtonk!
 1993: Ich und Christine
 1993: Крутое пике — Die Sturzflieger
 1995: Убийца — Der Totmacher
 1997: Rossini — oder die mörderische Frage, wer mit wem schlief
 1998: Das Trio
 1998: Solo für Klarinette
 1999: Nichts als die Wahrheit
 2001: Виктор Фогель — король рекламы — Viktor Vogel — Commercial Man
 2003: Mein Vater
 2003: Gott ist tot
 2005: Maria an Callas
 2006: Der Novembermann
 2009: Mein Kampf
 2012: Zettl

Телевидение

 1957: Kolportage
 1965: Alle meine Söhne
 1967: Schlehmihls wundersame Geschichte
 1968: Match
 1969: Ein Jahr ohne Sonntag
 1969: Spion unter der Haube
 1970: 11 Uhr 20
 1970: Der Kommissar
 1971: Tatort
 1971: Diamantendetektiv Dick Donald
 1972: Der Kommissar
 1972: Der Illegale
 1972: Tatort
 1972: Kesselflickers Hochzeit
 1973: Die Gräfin von Rathenow
 1973: Der Kommissar
 1973: Zwischen den Flügen
 1974: Mandragola
 1976: Café Hungaria
 1976: Tatort — Transit ins Jenseits
 1977: Vermutungen über Franz Bieberkopf
 1978: Деррик — Derrick
 1978: Der Alte
 1979: Der Alte
 1981: Überfall in Glasgow
 1981: Die Sonnenpferde (Les chevaux du soleil)
 1981: Место преступления — Tatort
 1981: Der König und sein Narr
 1981: Место преступления — Tatort
 1982: Место преступления — Tatort
 1982: Der Regenmacher
 1982: Место преступления — Tatort
 1982: Место преступления — Tatort
 1983: Место преступления — Tatort
 1983: Das schöne Ende dieser Welt
 1984: Место преступления — Tatort
 1984: Место преступления — Tatort
 1984: Abgehört
 1984: Место преступления — Tatort
 1985: Место преступления — Tatort
 1985: Место преступления — Tatort
 1985: Место преступления — Tatort: Zahn um Zahn
 1986: Место преступления — Tatort
 1986: Место преступления — Tatort
 1986: Место преступления — Tatort
 1987: Место преступления — Tatort: Zabou
 1987: Место преступления — Tatort
 1988: Место преступления — Tatort: Сломанные цветы
 1988: Место преступления — Tatort
 1988: Место преступления — Tatort
 1989: Место преступления — Tatort
 1989: Место преступления — Tatort
 1989: Spielen willst du ja alles. Götz George — rastlos im Einsatz
 1989: Место преступления — Tatort
 1989: Schulz & Schulz
 1990: Baldur Blauzahn
 1990: Место преступления — Tatort
 1990: Место преступления — Tatort
 1990: Unter Brüdern
 1991: Schulz & Schulz II
 1991: Место преступления — Tatort
 1991: Место преступления — Tatort
 1991: Место преступления — Tatort
 1992: Schulz & Schulz III
 1992: Schulz & Schulz IV
 1993: Morlock I — Kinderkram
 1993: Morlock II — Die Verflechtung
 1993: Morlock III — König Midas
 1993: Schulz & Schulz V
 1994: Morlock IV — Der Tunnel
 1995: Das Schwein — Eine deutsche Karriere
 1995: Der König von Dulsberg
 1995: Der Sandmann
 1995: Der Mann auf der Bettkante
 1996: Tote sterben niemals aus
 1996: Tor des Feuers
 1997: Шимански — Schimanski
 1997: Шимански — Schimanski
 1997: Шимански — Schimanski
 1998: Шимански — Schimanski
 1998: Шимански — Schimanski
 1998: Шимански — Schimanski
 1998: Die Bubi-Scholz-Story
 1999: Die Entführung
 1999: Racheengel — Die Stimme aus dem Dunkeln
 2000: Die Spur meiner Tochter
 2000: Шимански — Schimanski
 2001: Bargeld lacht
 2001: Шимански — Schimanski
 2001: Liebe. Macht. Blind.
 2001: Tödliche Liebe
 2002: Mein Vater
 2002: Liebe ist die halbe Miete
 2002: Шимански — Schimanski
 2002: Der Anwalt und sein Gast
 2003: Verliebte Diebe
 2003: Geheimnisvolle Freundinnen
 2003: Familienkreise
 2003: Alpenglühen
 2003: Blatt und Blüte — Die Erbschaft
 2004: René Deltgen
 2004: Schimanski
 2004: Нет неба над Африкой — Kein Himmel über Afrika
 2005: Einmal so wie ich will
 2005: Liebe versetzt Berge
 2005: Шимански — Schimanski
 2005: Коварство и любовь — Kabale und Liebe
 2006: Commissario Laurenti
 2006: Шквал — Die Sturmflut
 2006: Als der Fremde kam
 2007: Die Katze
 2007: Шимански — Schimanski
 2007: Meine fremde Tochter
 2007: Der Novembermann
 2008: Schokolade für den Chef
 2008: Шимански — Schimanski
 2010: Zivilcourage
 2010: Lüg weiter, Liebling
 2011: Шимански — Schimanski
 2011: Papa allein zu Haus
 2011: Nacht ohne Morgen
 2011: Nachtschicht — Reise in den Tod

Примечания

Литература
 Bernd Schulz: Götz George: Schauspieler und Superstar. Lübbe (Bastei-Lübbe-Taschenbuch 61134), Bergisch Gladbach 1988, ISBN 3-404-61134-9.
 Frank Becker, Frank Jaeger: Das große Schimanski-Buch. Lübbe (Bastei-Lübbe-Taschenbuch 71201), Bergisch Gladbach 1988, ISBN 3-404-71201-3.
 Heiko R. Blum: Götz George: seine Filme — sein Leben. Heyne (Heyne-Bücher 32), München 1989, ISBN 3-453-86106-X.
 Berndt Schulz, Petra Gallmeister: Götz George. Zsolnay, Wien 1993, ISBN 3-552-05108-2.
 Heiko R. Blum: Götz George: Beruf : Schauspieler. Henschel, Berlin 2003, ISBN 3-89487-457-0.
 Torsten Körner: Götz George: Mit dem Leben gespielt. Scherz, Frankfurt am Main 2008, ISBN 978-3-502-15029-9.

Ссылки
 Гёц Георге в каталоге Немецкой национальной библиотеки
 filmportal.de
 Deutsche Welle: В Германии умер исполнитель роли комиссара Шимански

Актёры Германии
Лауреаты Grimme-Preis
Похороненные на Целендорфском кладбище

redpajama_set_name: RedPajamaWikipedia


text:
Joseph Hippolito compares Mark Shea and Ezra Pound
Joe and I have argued on the web before, and one thing I think everyone can agree on is that the man brings a lot of passion to all the subjects on which he writes. That's why it is impressive to me that he can be so thoughtful and measured in his FrontPageMag critique of Mark Shea, a man who has baited him and made fun of him for years. Here's an excerpt:
In "6 B.S. Myths You Probably Believe About America's 'Enemies,'" Cracked.com's Mark Hill wrote that 1) Iranian President Mahmoud Ahmadinejad's comment about obliterating Israel was mistranslated and taken out of context 2) Iran has a smaller military budget than either Greece or Australia and 3) Ahmadinejad can be overruled by his superiors and has no significant power.
"It's sad when the writers of Cracked," Shea wrote, "know more about the Imminent Threat that is not Iran than the warmongers of the Right and the combox cowards who…defend their rhetoric in favor of cold-blooded murder of innocent human beings."
Shea ended by asserting that "all the panic about Ahmadinejad with his finger on the button is pure provincial ignorance…using his stupid blather as a justification for praising cold-blooded murder of civilians as 'wonderful' is both ignorant and evil."
However, the German newspaper Die Welt reported in May 2011 that Iran was building bases in Venezuela for intermediate-range missiles, complete with anti-aircraft batteries and commando facilities. Engineers from a firm owned by Iran's Revolutionary Guard visited the site three months earlier.
The purpose, reported Die Welt, was to attack Iranian enemies — likely the United States — if Iran itself was attacked.
Since Shea's post, the Washington Post reported on Jan. 31 that "Iran is prepared to launch terrorist attacks inside the United States," according to intelligence officials testifying before Congress. On Feb. 24, the International Atomic Energy Agency reported on Iran's accelerated production of enriched uranium that could be converted easily into weapons-grade stock.
The Revolutionary Guard's own news service published an article on Feb. 4 by Alireza Forghani, a strategic analyst who advises Ayatollah Ali Khamenei, Iran's supreme leader. Forghani called Israel "this corrupting material" and stated that "it is a 'jurisprudential justification' to kill all the Jews and annihilate Israel, and in that, the Islamic government of Iran must take the helm."
It is sort of amazing that Mark Shea gets a paycheck from EWTN for his uninformed rants. You can email them at viewer@ewtn.com, or use this page to tell NC Register what you think.
Labels: dhimmitude, Iran, Joseph D'Hippolito, Mark Shea
Pope B16 and the Clamor of "Relevance"
Here's an excerpt from Samuel Gregg's latest article in Crisis about the Pope's and the Church's perceived geopolitical relevance.
Whenever one encounters such assertions, it's never quite clear what's meant by "relevance." On one reading, it involves comparisons with Benedict's heroic predecessor, who played an indispensible role in demolishing the Communist thug-ocracies that once brutalized much of Europe. But it's also a fair bet that "relevance" is understood here in terms of the Church's capacity to shape immediate policy-debates or exert political influence in various spheres.
Such things have their own importance. Indeed, many of Benedict's writings are charged with content which shatters the post-Enlightenment half-truths about the nature of freedom, equality, and progress that sharply constrict modern Western political thinking. But Benedict's entire life as a priest, theologian, bishop, senior curial official and pope also reflects his core conviction that the Church's primary focus is not first-and-foremost "the world," let alone politics.
Rather, Benedict's view has always been that the Church's main responsibility is to come to know better — and then make known — the Person of Jesus Christ. Why? Because like any orthodox Christian, he believes that herein is found the summit and fullness of Truth and meaning for every human being. Moreover, Benedict insists the only way we can fully comprehend Christ is through His Church – the ecclesia of the saints, living and dead.
Maybe we should have a index that shows daily fluctuations in the church's relevance. Sort of like the DJI. That would be a really relevant measure of... something.
Labels: B16, catholic, dictatorship of relevantism, mediatardation
Reaction of a Sensible Georgetown Woman
Read the whole thing here. Excerpt:
Sandra, I hope you take to heart our school's motto of "Cura Personalis" — care of the whole person. You are so much more than your reproductive organs. Please, have some self-respect and take responsibility for your choices instead of having to beg the government for help. The government should not be able to force a religious institution — like the one we attend — to pay for the things they don't believe in. That is pretty clear in the first amendment. But since you missed the ten commandments I can't expect you to read the Bill of Rights either.
I believe in Georgetown. I love this school. And I know that we are so, so much better than what Sandra Fluke would make us out to be.
Nothing to add to that.
Labels: common sense, contra idiocy, contraception, Sandra Fluke


text:
Q: When using the ngResource module, my model is not updating properly I have a small problem with Angular.
I am using the $ngResource module to resolve "comments" from my server:
var app = angular.module('app', ['ngResource']);
app.factory('comment', function($resource) {
  return $resource('/comments');
});
app.controller('commentsController', function($scope, comment) {
  $scope.comments = comment.query();
});

I use the ngRepeat directive to show all  comments:
<li ng-repeat="comment in comments">
    {{ comment.comment }}
</li>

So far, so good.
I want to make it so that, when a comment is submitted to the server, the $scope.comments property is updated, updating the view. I updated the commentsController $scope to have a method: submitComment which is invoked from an ngSubmit directive:
app.controller('commentsController', function($scope, comment) {

  $scope.comments = comment.query();

  $scope.submitComment = function() {
    var commentToSave = new comment();
    angular.copy($scope.comment, commentToSave);
    commentToSave.$save(function() {
      $scope.comments.push(commentToSave);
    });
  };
});

When this method is invoked, the "comment" is successfully sent to the server however, the view is not updated properly. Recall that my ngRepeat directive is defined on a li. When I submit a "comment", a new li is created (i.e. a new bullet point is rendered), but the body is empty. What am I doing wrong?
Update: I noticed that, if I call $scope.comments.push(commentToSave); outside the $save callback, the view is updated correctly. I think commentToSave is being changed when I call $save, something like that anyway.

A: The $save function updates the values of the saved item from the response. So if the response is empty, the properties of commentToSave will be empty as well.
If it's an option for you, you should return the created value from the backend. This is useful because often times you don't have a unique identifier when creating an item in the web page. The ID can then be created when inserting it into a database for instance. So when you post a new item, you respond with the "created properties" so your controller holds the correct ID of the item. You especially need this if you change any values and update the item a second time using $save.
If you don't want to use the response from the server when doing save, just copy the values to a new variable and use that when pushing the item to the array of comments. I'm not sure how you would switch this off in the $resource factory, and haven't seen any option for it either.

A: Sometimes I ave problems with answers coming back from REST apis. So in your case I would do something like this:
commentToSave.$save(function(savedComment) {
    $scope.comments.push(angular.fromJson(savedComment));
});

A: Copy the comment to be not changed:
app.controller('commentsController', function($scope, comment) {

  $scope.comments = comment.query();

  $scope.submitComment = function() {
    var commentToSave = new comment(), commentToDisplay = {};
    angular.copy(commentToDisplay, commentToSave);
    angular.copy($scope.comment, commentToSave);
    commentToSave.$save(function() {
      $scope.comments.push(commentToDisplay);
    });
  };
});

redpajama_set_name: RedPajamaStackExchange


text:
Sujan Akella
Sujan is a Senior Manager of Software Development at Amazon where he has worked for the past three years, spending most of his time growing last mile transportation logistics to enable delivery to the customer's doorstep, and now transitioning into scaling Prime Video Live Events. Prior to joining Amazon, Sujan spent 20+ years in various technical and product roles within Financial Services firms such as Bridgewater Associates and Thomson Reuters. Sujan, Katie and their two boys moved to Seattle from Connecticut in 2016; their oldest son who is high-functioning autistic has recently started at APL in kindergarten and expect their other neurotypical son to join as well when he's of age.
Gary Ennis
Gary is a Senior Director of Finance at Microsoft where he has worked for 16 years, he currently works in Corporate Financial Planning and Analysis and previously spent most of his time helping to grow the Commercial Sales & Marketing Business. Prior to that Gary worked at a dot com start up and trained as a CPA with KPMG. Gary has participated in volunteer work with Microsoft Finance helping a Youth Center for people with disabilities in Costa Rica and has spent 4 years as a Snowboard Instructor with Outdoors For All. Gary and Gillian moved to Seattle from Ireland in 2009 and shortly learned that both of their children were on the Autism Spectrum. Both kids now attend APL and benefit from the amazing environment to learn and grow.
Mary Fordham
Mary is a principal in the Edmonds School District. Formerly, Mary has taught as a special education teacher for students with severe disabilities in Washington, Oregon, and Texas, and supervised/coached teacher candidates in the low-incidence disabilities Master's program at UW. She also teaches a Severe Disabilities graduate course at Seattle Pacific University. She received her Bachelor's of Science from The Pennsylvania State University and her Master's in Education from the University of Washington.
Isaac Wells
Isaac is a portfolio manager and investment partner at a private Bellevue based investment company. In his role, he oversees total portfolio strategies while also playing an active role with private and startup stage companies, as well as a number of Director roles across the portfolio. Wells serves as a Trustee for the Washington State University Foundation, Secretary of the Board for The Baseball Club of Tacoma, and the finance partner of Pancia Piena, a local restaurant group. He has been a member of the selection committee for the Alliance of Angels; a Seattle based Angel Investor Community. Previously, Wells worked at Clearwire Corporation as Operations Manager for the Chief Commercial Officer. Wells graduated from Washington State University with an emphasis in Finance where he served as student body president.
Erin Brewer
Erin is a co-founder of APL and former President of the Board. Erin currently works as a consultant for businesses and cultural organizations focused on inclusion in the greater Seattle area. Previously, she worked in Communications at Microsoft and Ketchum Public Relations in Washington, DC. Erin has a Bachelor's of Arts in English from the University of Virginia and is a proud parent of an APL student.
Traci Corazin
Traci Corazin leads the Global Systems Integrator organization at Microsoft Corp. In this role she connects customers, whose desire it is to transform and digitally innovate their organizations, with Microsoft certified partners.
Before her current role, Traci spent four years at Amazon (AWS) in a variety of Education Sales and Business development positions. Most recently she was the Managing Director of the Global Private Equity Business Development team supporting PE firms with their portfolio digital transformation initiatives.
Prior to Amazon Traci was the general manager of U.S. Education Mobility for Public Sector at Microsoft. In this role, she applied her passion for innovation and extensive experience in education technology to deliver effective learning environments on cutting-edge Windows devices. She is responsible for the U.S. Education mobility strategy and sales to K–12 and higher education customers across the U.S. focused on institutions, faculty, students and key curriculum stakeholders.
Corazin has worked within the education vertical since 2006 and has a keen understanding of education institutional needs. She is skilled in supporting the global public sector community to improve education, government and public safety outcomes through technology that enhances teaching and learning, administration, and public policy.She joined Microsoft as a sales manager in the Education vertical which lead to her ultimately following her passion of improving outcomes through technology in a global environment. Corazin made this philosophy real by working in tandem with the Xbox team to create, develop and deliver educational games and curriculum instruction supporting children on the autism spectrum.
Corazin is active in the autism community: She supports the efforts of not-for-profit charities that seed technology into special education classrooms and was the president and co-founder of the former Unicorn and Rainbows foundation, an organization that refurbishes computers and gaming devices for donation to families with children on the autism spectrum.
Corazin holds a bachelor's degree in psychology from the University of Oregon and her MBA from MIT. She resides in Washington with her family.
Danielle Dolezal, Ph.D, BCBA-D
Since 2010, Danielle Dolezal (Ph.D, BCBA-D) has been at the The Autism Center, Department of Psychiatry and Behavioral Medicine at Seattle Children's Hospital. She created and currently directs the Pediatric Feeding Program at Seattle Children's Autism Center. The program includes an interdisciplinary team of providers across gastrointestinal medicine, nutrition, behavioral psychology, behavior analysis, occupational therapy, and speech and language therapy who all come together to serve children and families with complex pediatric feeding disorders and challenging behavior.
She holds a Ph.D. from the University of Iowa with a focus on School Psychology with a Pediatric Psychology Clinical emphasis. She is also a board certified behavior analyst at the doctoral level. She did her internship and fellowship at the Kennedy Krieger Institute (KKI) and the Johns Hopkins School of Medicine in their Neurobehavioral Outpatient Program and the Pediatric Feeding Disorders Program. She remained on faculty at KKI in the Pediatric Feeding Disorders Program as a treating Pediatric and Behavioral Psychologist. Dr. Dolezal also attended Gonzaga University for her M.Ed in Special Education and Early Childhood Education and her Bachelor's degree in General and Special Education.
Pam Keenan Fritz
Pam serves on the Board of the UW Haring Center where she was Board president from 2014-2019. She also serves on the UW Medical School CUSP Board and is a board alum at KUOW Public Radio and the Pike Place Market Foundation.
Pam spent 14 years in executive positions at Expedia and Axiom law, building and scaling businesses in the Americas, Asia and Europe. Prior to this she was a management consultant at McKinsey & Company and started her career at the UK's HM Treasury advising on economic policy to Chancellor, Gordon Brown M.P.
Pam has a BSc in Economics from the London School of Economics and is a member of the Harvard Law class of 2001 International Tax Program where she was a Fulbright Scholar.
Pam has two children, one of whom is on the Autism Spectrum.
Jonathan Kil, MD
Jonathan is the Co-Founder, CEO, and Chief Medical Officer of Sound Pharmaceuticals, a private biotech focused on developing the first therapeutics for hearing loss and tinnitus. Dr. Kil has been the principal investigator on numerous awards from the NIH and Dept. of Defense (DoD) and received training in neuroscience and otolaryngology at the UW, UVa, Georgetown, and UC Irvine. He's an advisor to the DoD's Hearing Center of Excellence and serves on the Board of UW/Harborview Medical Center. He's a proud parent of a student at APL, in addition to two other children.
Greg Martinez
Greg is the Senior Technology Advisor at Gates Ventures. He holds a Ph.D. from the University of Michigan in Social Psychology. Prior to Gates Ventures, he was a Principal at Intentional Futures, a modern strategy and design consultancy, where he ran the technology and start-ups practice. Greg also worked on the original Xbox and Xbox 360 at Microsoft as well as ran logistical operations for President Jimmy Carter's election observation missions in Liberia and Jamaica. Greg's delightful son enrolled at APL as a Kindergartner in 2016.
Jonathan Roberts
Jonathan is a Founder and General Partner of Ignition Partners. Prior to Ignition, Roberts spent 13 years at Microsoft where he led the marketing and business efforts for various versions of Windows, Windows NT, Back Office, and Windows CE. Roberts received his B.A. in History from the University of Washington, where he was also Student Body President. In addition to his Ignition boards, Jonathan currently serves on the National Bureau of Asian Research (NBR) board and the Advisory Board on the University of Washington's Institute of Stem Cell and Regenerative Medicine (ISCRM). Jonathan was formerly on the executive committees of the Epiphany School, the University of Washington Foundation Board, and the United Nations Association of America. Jonathan is a proud parent of an APL student.
Gary Stobbe, MD
Gary is a Clinical Associate Professor in the Departments of Neurology and Psychiatry at the University of Washington. Gary is a cognitive and behavioral neurologist specializing in autism spectrum disorders with a focus on the transition to adulthood. He is Director of the Adult Transition Program at Seattle Children's Autism Center and Director of the UW Medicine Adult Autism Clinic. He also serves as Director of the Adults and Elders Program at the University Center for Excellence in Developmental Disabilities, UW Center on Human Development and Disability.
Why Parents Love Us
To see our child happy, and with people that care about her, is worth more than anything and we have found that at APL.
- APL Parent
APL turned my child's life around: academically, socially, and emotionally. And my life as well: I no longer dread the phone ringing. I know that my kids are in good hands, and that if ever any sort of problem does come up, I'll be able to work with the school to make things better. What I say matters.
APL provides us peace of mind for our family in a safe and supporting environment.
When we started looking for the right school for our child to attend, we toured everywhere and came up dry. We found ourselves wishing there was a school where ABA therapy and academics were wholly combined in the same classroom. THEN we found APL and it felt like it had been created just for us. Dream come true!
APL has helped our son regain his self-confidence and improve his self-esteem!
The APL way is to care about your child in the best way possible while laying out a road map for progress developmentally and emotionally.
The intrinsic blend of ABA with schooling that has taken my child from not sitting at a school desk, balled up in the corner in a novel, in public school to completing her work and even enjoying many of her academic classes. The value put on the unique traits of individuals and the enormous patience of the staff come in at the top as well.
Donating to APL
The Academy for Precision Learning has 501(c)(3) non-profit status under EIN #91-2143623. We accept donations to supplement tuition and operating expenses. Donations can be sent to our mailing address or made online via the button below.
Kelly Meyer
kelly@aplschool.org
School Emails:
info@aplschool.org
admissions@aplschool.org
development@aplschool.org
P.O. Box 51241, Seattle, WA 98115
5031 University Way NE, Suite 105, Seattle, WA 98105
APL is located at the University Heights Center (www.uheightcenter.org)


In her recent interview with ESSENCE Now, Keyshia Ka'oir speaks about starting the blue lipstick & glitter lipstick trend with KA'OIR Cosmetics in 2010-11.
There are 4 tips to buy shirt, keyshia kaoir, hat, nail polish, jeans.
George Clooney speaks during a press conference at the 2015 Toronto International Film Festival.


text:
By Ali Gohar
First thing first, before we come to the bands and their performances! It must be appreciated that the show has been really helpful for the bands because a) normally these folks don't have the luxury of experts and the audience listening to their play so keenly and judging & correcting them. This is a form of coaching in itself and b) Thankfully the judges are not following the typical Indian style of "drama" and "over-acting" and bashing the participants to create unnecessary hype and TRPs. Their mature and encouraging behavior is giving the show a sensible, subtle and an original touch.
The show and the bands have got an uplift in terms of gadgets and the overall look and feel of the show in the knockout round and it is much crisper now. Lastly well, Ayesha Omer, seems to be the only weak link. I wish it was Fakhar e Alam hosting the show or somebody like him who could understand what actually is going on, in a lighter note.
Lets Start with Band's Performances in Knock out Round:
Darvesh was able to impress the judges again, well but not me, again. Even though the band has quite a few vocalist, (all of them?) but it lacked a voice with depth required of a rock vocalist. The overall feel of "Allah he dega" was not bad for a new comer though.
Jasim & the Pindi Boys are just awesome (I am secretly cheering for them too). It takes more than just guts to perform a Vital Signs track in front of Shahi Hassan himself. The act was knitted well and they were not afraid of experimenting with the breaks within the music piece. All of them looked really enjoying what is going on.
Aura, I am not sure what they did actually. The judges also didn't give very supportive comments. They performed cover of Alamgir's dekha na tha which couldn't make an impact.
Madlock's vocalist looks inspired by the great Faraz Anwar the way he normally speaks and the style or may be it comes automatically with long hair. The band has all the looks of an Alternate Rock band. Meesha and the other judges liked that thing about him. She believes he has a really different vocal tune which outshines him from the rest.
Kashmir, the best thing about them, actually better than their performance was the courage to experiment something different. They picked Mera Pyar by Aamir Zaki (which has been covered hundreds if not thousand times)to make their own version which was somewhere between blues and alternative. The whole thing made the judges go WOW. The audience reaction was similar too and social media is still buzzing right now and terming it as one of the best covers of Mera Pyar.
Badnam, covered the folk song Kala Jora. It was indeed a very energetic performance. The vocalist is very skillful both in his vocals and guitars. The overall performance was powerful and the judges were also quite impressed.
Shajr, picked an NFAK song to cover which was quite a daring thing. The act and performance was like a mature band and every band member gave it's full in to it. The judges believed the vocalist Nimra is very good but may not be the perfect piece of the puzzle for the band.
Roots, who has band members from Karachi, Lahore and Islamabad picked a Hadiqa-Aamir Zaki song and gave it a totally different touch. The pop touch of the originally very dark song may not have been appreciated by the diehard fans of the ultimate guitar maestro Aamir Zaki. But in isolation, the performance was jellying in.
This was a knockout stage of the show. Two out of Eight bands were supposed to leave the show. The way first four bands (Jasim & the Pindi Boys, Darvesh, Madlock and Badnaam) were marked safe was nicely done and all felt the goose bumps. Out of Roots, Kashmir, Shajr and Aura two had to go. And the two more bands who will still be seen in action in coming episode at least are…..Kashmir and Roots.
Shajr and Aura are eliminated and now they will not be a part of the show any further but let's hope they don't give up and continue to contribute to the overall music scene.
Regardless of who takes the title at the end, the best thing is that we are enjoying more music, more bands are getting the much needed limelight and hopefully and more importantly, the talented young lot is getting inspired at home. Hopefully, this process will take #PakistaniMusic to new heights. Fingers Crossed for upcoming episodes 😉
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WORCESTER – Make your next visit to Whole Foods on Thursday, April 18.
The Worcester Regional Environmental Council [REC] announced on Friday that their organization would be receiving 5% of net sales from the Whole Foods Market in Shrewsbury next Thursday as part of the market's annual Community Giving Days.
All sales on Thursday by Whole Foods Market will go towards REC's commitment to youth employment and the development of urban agriculture.
The Shrewsbury Whole Foods will be one of more than 500 Whole Foods Market locations participating in the company's Community Giving Day — an initiative of Health Food Access, investing in organizations, partnerships, projects and events that improve access to healthy food for all, provide healthy eating and cooking resources and education, and highlight the essential role of healthy food in local communities.


The eradication of paper holds great benefit to productivity, workflow efficiency and improving the member experience.
A survey of banking executives recently conducted revealed that their top three short-term priorities are: One, removing friction from the customer journey; two, incorporating big data and advanced analytics; and three, providing integrated omnichannel services. These are certainly exciting areas to be heading toward, as they lead to direct outcomes of reducing costs and growing revenues. However, the challenge that many banks and credit unions will experience while working to achieve these priorities is that much of their processes are still off the digital grid.
Any one of these priorities will necessitate a further drive toward utilizing a digital engagement strategy. Despite these three priorities being quite distinct from one another, in order to be achieved they all necessitate a collective response that sees all consumer activity taking place on a digital sphere. Whether the objective is to personalize member communication, obtain actionable insights, or support member workflows, they all require a holistic digital engagement strategy to be most effective. If consumer data is being collected on paper, then it risks either being excluded from informing this digital ecosystem or requires additional steps of transferring written data to digital.
Inevitably, the move to transfer and collect all data in a digital engagement strategy will make paper obsolete. And now, new digitization solutions are available on the market to enable enterprise financial institutions to completely transform their operations and become pure-digital players. Such advanced tools not only provide the capability to create and distribute digital content across all communication channels, but also the ability to convert existing documents – even hard paper copies – into fully dynamic and interactive content.
A paperless digital engagement strategy paves the way for a wide range of consumer self-service capabilities. For example, if a credit union wants to advise a member of a new high-interest account that is available, it can send the member a message with a link from which they can peruse best interest rates available.
Credit unions can provide dynamic forms that greatly contribute to enhancing the experience of the member journey. Members can fill out a form at times that are most convenient for them. Should they be interrupted, need the assistance of a service agent or need to change devices, they can stop, close the form and continue later without losing any of the data that's already been provided.
Digital documents enable a previously unattainable degree of collaboration between members and credit unions. Now, member service or outbound sales agents can share a digital document with a member over their smartphone, computer or tablet. From there, they can co-browse the document and provide the member with the ability to ask questions about a certain offer – or sign off on a transaction in real time. The same solution makes it possible to co-browse the credit union's website or co-browse a digital form, where the member may have gotten stuck filling it out at some point.
By collecting data digitally, from the very first member interaction through onboarding and throughout the member lifecycle, ensures the accuracy and reliability of member information. A non-comprehensive digital environment that still incorporates a paper trail leaves itself vulnerable to losing member data or inaccurately relaying information into the database. In a digital engagement strategy, as the member fills in a form, information is directly transferred to the database in real time. This eradicates any need to retype data manually – dramatically improving the consistency, integrity and security of member data.
New digitization tools enable organizations to scan hard copy, paper documents and convert them to digital documents that are dynamic and open to being adapted to suit specific or changing needs. Scanned documents and static PDFs are quickly mapped and converted into live documents while the data they contain is directly saved to the financial institution's CRM system. Existing forms – even the most elaborate ones – are easily converted into any form type, including web forms or mobile "wizards," further accelerating the digitization process.
Digitally-collected data not only feeds big data systems to further enrich the quality of insights, it also facilitates the seamless services delivery provided by omnichannel systems. Once data is collected, real-time integrations can be made to update the credit union's database and CRM. This can then be used to enrich credit union knowledge to make more intelligent and educated decisions, ensure consistency across digital channels and ultimately enhance the quality of member retention and the efficiency of marketing campaigns.
One thing that digital does that paper simply cannot do is find your members and start communicating with them, no matter where they may be. As companies start to invest in their digital engagement strategy, the focus must be on meeting consumers wherever they are, be it social media channels or on the web. And however is most convenient, for example by using AI-based voice-activated assistants and natural language processing. An investment in a branch that utilizes paper-based documentation will only serve a radius of five to 10 miles, while an investment in a digital experience can serve an entire global market.
The move to digital is happening whether credit union executives are ready for it or not. The eradication of paper is not only good for the environment (which in itself cannot be overstated enough!), but also holds great benefit to productivity, workflow efficiency and improving the member experience. Combined, these are a compelling set of reasons that will see paper forever discarded to the dust bin, ahem, recycle bin.
Ori Faran can be reached at [email protected].


text:
package com.atomgraph.processor.vocabulary;

import org.apache.jena.ontology.DatatypeProperty;
import org.apache.jena.ontology.OntModel;
import org.apache.jena.ontology.OntModelSpec;
import org.apache.jena.rdf.model.ModelFactory;
import org.apache.jena.rdf.model.Resource;

/**
 *
 * @author Martynas Jusevičius {@literal <martynas@atomgraph.com>}
 */
public class AP
{

    /**
The RDF model that holds the vocabulary terms
 */
    private static OntModel m_model = ModelFactory.createOntologyModel(OntModelSpec.OWL_MEM, null);

    /**
The namespace of the vocabulary as a string
 */
    public static final String NS = "https://w3id.org/atomgraph/processor#";

    /**
The namespace of the vocabulary as a string

     *  @see #NS */
    public static String getURI()
    {
	return NS;
    }

    /**
The namespace of the vocabulary as a resource
 */
    public static final Resource NAMESPACE = m_model.createResource( NS );

    public static final DatatypeProperty cacheSitemap = m_model.createDatatypeProperty( NS + "cacheSitemap" );

    public static final DatatypeProperty sitemapRules = m_model.createDatatypeProperty( NS + "sitemapRules" );

    public static final DatatypeProperty locationMapping = m_model.createDatatypeProperty( NS + "locationMapping" );

}

redpajama_set_name: RedPajamaGithub


text:
Q: При входе в Apple SignIn ошибка Username or Password incorrect Я пытаюсь протестировать приложение на симуляторе Ios.
Для тестирования нужно залогиниться в через Apple Sign In.

*

*То есть захожу в Настройки - Apple Sign in

*Ввожу пароль и емаил

*Ввожу код, который пришел на телефон

*А затем выходить ошибка [Icloud] Username or Password incorrect

Вот скринщот:
http://joxi.ru/MAjROqLujyvdVA

Что нужно сделать, чтобы залогиниться в симуляторе Ios?

A: Если у вас постоянно возникает такая ошибка, а логин и пароль верны, то нужно

*

*Зайти на https://www.icloud.com/

*Ввести свои учетные данные

*Принять пользовательское соглашение

Теперь вход в симуляторе должен заработать


Here we are the week before Dumb Fest 6. We have to admit that we have been going through a lot of heavy things at Black Sheep headquarters these past few weeks completely separate from getting ready for a fifty band festival. We feel it is pretty important to hold a Black Sheep Roundtable Meeting to discuss our future, or the future of any form of DIY all ages show space in Springfield.
We also do need to start cleaning up the grounds for Dumb Fest (picking up trash around the block, clearing weeds, etc). Also vacuuming and tidying up the inside of Black Sheep, etc. We are looking for someone with access to an industrial-sized fan for Dumb Fest Saturday!!!
An open Dumb Fest clean-up will be happening at Black Sheep and surrounding areas on Wednesday, the 6th from 5:30 to 8:00 pm. Then at 8:00 pm we will be holding a Black Sheep roundtable meeting to discuss our future (maybe other Dumb Fest preparation that needs to be discussed). Thank you to all who have been supporting us over the years and continue to do so!
This entry was posted in clean up, meetings by blacksheepspringfield. Bookmark the permalink.


Children under 18years are not allowed in the Crawford's Bar after 10.00pm, but are allowed in the lobby and private function rooms.
We provide our business guests with services such as Internet access, Photocopying, & Faxing. An Internet Kiosk is available on the Conference Corridor. Contact hotel on 021-4556800 for further details.
Should you need a car or Limousine during your stay please Contact hotel on 021-4556800 for further details.
Children's cots are available; if you require one please Contact hotel on 021-4556800 for further details.
If you should require any information on our conference facilities our sales executive would be delighted to help you. Contact hotel on 021-4556800 for further details.
Disabled Parking is available at the front of the hotel and adjacent to Holiday Villa No 2.
If you would like to order flowers, please contact hotel on 021-4556800 who would be happy to assist.
Why not treat that special someone to a Cork's Vienna Woods Hotel Gift Voucher. Gift Vouchers are available for Weekends away, lunch, dinner etc. Contact hotel on 021-4556800 for further details.
There are a number of Hairdressers in the Glanmire area, please contact hotel on 021-4556800 for further details.
Lunch is served in the Hotel from 12.30pm, we have a lightsnack menu in Crawford's Bar and Lounge & an a la carte menu in Mabel Crawfords Bistro.
Should you have any lost property queries, please fill out the online form which will be dealt with within 24 hours.
Complimentary Irish Independents are available from Reception each morning - subject to availability.
Each room in the hotel is equipped with full tea/Coffee making facilities, however should you require extra tea/coffee please contact reception.
The weather in Ireland, can be somewhat inclement, for your comfort we have umbrellas available at reception for your use during your stay.


text:
Q: CSS with IPhone Chat layout I'm trying to create a page wich will be used to send/receive SMS, I want to show when each SMS was sent/received but I can't seem to be able to align the date right...
Here is my jsfiddle: https://jsfiddle.net/xazvruqj/2/
EDIT: My jsfiddle was missing the actual CSS ...
This part in my CSS is causing me trouble :
.dateR{
    position: absolute;
    width: 400px;
    float: left;
    top: 100%;
    text-align: right;
    font-size: 75%;
    font-style: italic;
}
.dateL{
    position: absolute;
    width: 200px;
    left: 2px;
    top: 100%;
    text-align: left;
    font-size: 75%;
    font-style: italic;
}

As you can see the dates on the right are completly wrong, I would like them to be text-aligned to the right and under the message.
I thougth that using position:absolute for the date would make it easier but it was only true for the left side.
Thanks for reading this.

A: There are probably other solutions out there - but it's easy enough if you just place the dates in their own containers and align them separately.
Here's a solution using a new CSS class "bubble-line":

/* Bit of normalisation */

body {
  background-color: #eee;
  color: #222;
  font: 0.8125em/1.5'Helvetica Neue', Helvetica, Arial, sans-serif;
  width: 400px;
}
img {
  display: block;
  height: auto;
  max-width: 100%;
}
.container {
  padding: 10px 10px;
  margin: 0 auto;
  width: 400px;
}
/* .bubble */

.bubble-line {
  width: 100%;
  position: relative;
}
.bubble-line-right {
  width: 100%;
  float: right;
}
.bubble {
  background-image: linear-gradient(bottom, rgb(210, 244, 254) 25%, rgb(149, 194, 253) 100%);
  background-image: -o-linear-gradient(bottom, rgb(210, 244, 254) 25%, rgb(149, 194, 253) 100%);
  background-image: -moz-linear-gradient(bottom, rgb(210, 244, 254) 25%, rgb(149, 194, 253) 100%);
  background-image: -webkit-linear-gradient(bottom, rgb(210, 244, 254) 25%, rgb(149, 194, 253) 100%);
  background-image: -ms-linear-gradient(bottom, rgb(210, 244, 254) 25%, rgb(149, 194, 253) 100%);
  background-image: -webkit-gradient(linear, left bottom, left top, color-stop(0.25, rgb(210, 244, 254)), color-stop(1, rgb(149, 194, 253)));
  border: solid 1px rgba(0, 0, 0, 0.5);
  /* vendor rules */
  border-radius: 20px;
  /* vendor rules */
  box-shadow: inset 0 5px 5px rgba(255, 255, 255, 0.4), 0 1px 3px rgba(0, 0, 0, 0.2);
  /* vendor rules */
  box-sizing: border-box;
  clear: both;
  margin-bottom: 5px;
  padding: 8px 30px;
  position: relative;
  display: inline-block;
  text-shadow: 0 1px 1px rgba(255, 255, 255, 0.7);
  width: auto;
  max-width: 100%;
  word-wrap: break-word;
}
.bubble:before,
.bubble:after {
  border-radius: 20px / 10px;
  content: '';
  display: block;
  position: absolute;
}
.bubble:before {
  border: 10px solid transparent;
  border-bottom-color: rgba(0, 0, 0, 0.5);
  bottom: 0;
  left: -7px;
  z-index: -2;
}
.bubble:after {
  border: 8px solid transparent;
  border-bottom-color: #d2f4fe;
  bottom: 1px;
  left: -5px;
}
.bubble--alt {
  background-image: linear-gradient(bottom, rgb(172, 228, 75) 25%, rgb(122, 205, 71) 100%);
  background-image: -o-linear-gradient(bottom, rgb(172, 228, 75) 25%, rgb(122, 205, 71) 100%);
  background-image: -moz-linear-gradient(bottom, rgb(172, 228, 75) 25%, rgb(122, 205, 71) 100%);
  background-image: -webkit-linear-gradient(bottom, rgb(172, 228, 75) 25%, rgb(122, 205, 71) 100%);
  background-image: -ms-linear-gradient(bottom, rgb(172, 228, 75) 25%, rgb(122, 205, 71) 100%);
  background-image: -webkit-gradient(linear, left bottom, left top, color-stop(0.25, rgb(172, 228, 75)), color-stop(1, rgb(122, 205, 71)));
  float: right;
  display: inline-block;
}
.bubble--alt:before {
  border-bottom-color: rgba(0, 0, 0, 0.5);
  border-radius: 20px / 10px;
  left: auto;
  right: -7px;
}
.bubble--alt:after {
  border-bottom-color: #ace44b;
  border-radius: 20px / 10px;
  left: auto;
  right: -5px;
}
.dateR {
  display: inline-block;
  float: right;
  text-align: right;
  font-size: 75%;
  font-style: italic;
}
.dateL {
  text-align: left;
  font-size: 75%;
  font-style: italic;
}

Test

11 mai 2015 12:02:02

Test

12 mai 2015 12:02:02

TestTestTestTestTest TestTest Test Test TestTestTestTestTestTestTest

12 mai 2015 12:02:02

TestTestTestTestTest TestTest Test Test TestTestTestTestTestTestTest

12 mai 2015 12:02:02

Test

11 mai 2015 12:02:02

Test

12 mai 2015 12:02:02

TestTestTestTestTest TestTest Test Test TestTestTestTestTestTestTest

12 mai 2015 12:02:02

TestTestTestTestTest TestTest Test Test TestTestTestTestTestTestTest

12 mai 2015 12:02:02

That way, you don't run into issues with floats stacking up on the same line, and don't break the  background image positions on the text bubbles.

A: Hi not sure if this will help.
Use on your .dateR
position:absolute;
left: 0; (Or wherever you want it)
No need for float:left with absolute positioning
Also, make sure the parent element is set to position:relative;


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