text:
Pride Of Irons
Constitution & Funding
Mentions in the media
Pride Of Irons vs. Gay Gooners
Pride In London
Pride In London – 2019
Rival Views
Oct 8, 2018 Nov 21, 2020 prideofironslgbt
You Can't See Us Holding Hands
On Friday night West Ham travelled away to Brighton and Hove Albion where we suffered a dejecting 1-0 defeat. Despite playing the better football and having plenty of chances to equalise, we just couldn't break through their 11 men and so the Hammers' travelling faithful all returned home disappointed. None so much as the members of Pride Of Irons.
If you're from abroad or just not particularly familiar with Brighton, it's a town on the South Coast of England with a traditionally large population of LGBT people. Because of this, the Brighton and Hove Albion football team and their fans have, for some time, been targeted by other football fans with chants and songs about…well…being gay. Chants such as "We can see you holding hands" and "Does your boyfriend know you're here?" are on the softer end of the spectrum, but BHA have heard worse over the years.
During Friday's match, those two chants made an appearance. Not really a surprise. Last season a few lads behind us tried to get one of the chants going. A few of us turned around, politely asked them to leave it out and it was over. Done. No aggro, no arguing and we carried on watching the game. Not that the game was particularly enjoyable (what is it about that team? Third loss on the bounce now!). This time though, it was different. It wasn't a small group of lads. We were surrounded by a wall of noise both in front and behind us. From where we were standing, it felt like the whole away end was joining in.
Now despite what some might think looking at some of the comments on social media, our precious snowflake hearts didn't melt. We didn't run out crying or contact the stewards to grass anyone up. We looked at each other, rolled our eyes and shook our heads. Sure it was disappointing, but as LGBT people, we've ALL dealt with much worse. At that particular moment I was most concerned about the young lad who was with us. He's approaching ten and as you can imagine is football mad. He told me on Friday that Issa Diop is his favourite defender because he's a defender at school and Diop is his inspiration. He's like all kids at that age who are mad about football and having the opportunity to go to a Friday night game at that age and stay up late was almost too much excitement to take. The reason I was concerned about him though is he has two Dads. Did he know what the chants meant? Was he okay? Looking at his expression I could tell he'd heard and he understood, but importantly he was okay. You see, kids from LGBT families aren't sensitive snowflakes either.
After the match, one of our committee, Dave, Tweeted from our account:
That's it. Disappointing. No one claimed to be the victim of a hate crime or anything extreme. Just the general feeling amongst our group. Whilst I know there are plenty of people out there just gagging to tell me exactly how I should feel about the chants – and many have – or to tell me that it's "just banter", let's be clear; calling someone gay or insinuating that they are as a form of insult isn't "just banter". The intention is to insult and by using us as the insult, we're made to feel we're less than. If you're reading this and you disagree, then have the courage of your convictions and go speak to a gay friend or family member. Tell them you think the song is banter and then convince them. After all, if it's not a problem they won't have an issue with it, right? Don't have any gay friends to talk to about it? Maybe that's something to think about.
What followed the tweet was something that Dave (ironically a straight guy) hadn't anticipated. From the backlash, anyone would think we'd been the ones chanting something about a marginalised group.
I've omitted the usernames from the below as I've got no interest in digging anyone out or trying to stir trouble for them. I simply want to highlight the kind of stuff we've received.
"Are we allowed to still sing come on you irons? Making a mountain out of a molehill as it was aimed at 1 fan in particular who was attempting to give it to us."
"Disappointing" is making a mountain out of a molehill? And I thought we were supposed to be the dramatic ones.
"I think it's about time we had a group for overweight, middle aged, white, male fans, we are totally unrepresented & I'd like something to be offended by. Or perhaps I'll just stop being stupid "
Ah yes, the truly marginalised community.
"I'm only 27 and since I've left school you can no longer say "you've dropped your gay card", " is that your best mate or your boyfriend". Actually you better not call yourself "pride of Irons" because Irons is slang for poofs. To think Jesus died for this fucking generation.."
I'm sure the Messiah would be horrified to find out that he gave his life and yet poor 27 year olds can't go around mocking gay people.
"Do you know what, I find people that wear make up offensive, shall we ban all women from wearing make up because it offends me? Actually whilst we are at it there's plenty of words I'd like banned too, "on point", "vibes", and that's just for starters."
Yeah, fair point. The two things are totally comparable.
"I do believe that political & rights activists groups should be kept out of football! Why does sexuality have to be constantly defined? You're just humans attracted to other humans. You're not special or hated… that taboo is long gone!"
Keep an eye out for our party manifesto.
"I think you're right there mate. It was a molehill turned into a mountain by a group of our own fans, @PrideOfIrons – I'd say this group will cause trouble for all our chants as time goes on, such is the overly PC culture of such organisations."
Yeah. We're going after Bubbles next.
Honestly though. It's a little ironic that we're the snowflakes for being disappointed by a chant that makes us out to be less than, yet overreacting to our disappointment is totally reasonable.
I've met so many West Ham fans over the years and none have ever had an issue with me being gay. Not to my face anyway. I don't think our fans are bigots and I'm confident the vast majority of those singing the chants aren't homophobic. They probably had a few beers and got swept up in the moment. And that's why we're disappointed. Because we know what it means to be West Ham. We know that's not what our club is about. "West Ham Family" remember? Let's just hope next time we face Brighton, the rest of the family remember us.
It's strange. We're often told that we shouldn't bring sexuality into football. Groups like Pride Of Irons are regularly criticised for speaking out and told we'd be respected and left alone if we're quiet and don't draw attention to ourselves. Yet when LGBT people are dragged into football's spotlight through stuff like this, we're still the villains. We literally can't win. I guess the ultimate irony of this whole episode is that with the current attitudes towards us in football, you really can't see us holding hands. Most of us wouldn't dare.
~ Jim Dolan, Co-Chair
Village Way, Brighton BN1 9BL, UK
Tagged Brighton and Hove Albion, COYI, featured, LGBT, Pride Of Irons, West Ham, WestHam
Published by prideofironslgbt
View all posts by prideofironslgbt
One thought on "You Can't See Us Holding Hands"
Well done for this, I agree with it all.
One of the more vociferous and popular West Ham social media types conplained about your original tweet, claiming it's just banter. I said it wasn't banter at all, and was tired and not funny. His reply asked me if I thought I was God.
You can't beat the irony (no pun etc etc) there.
Good luck all of you.
BTW despite what you and others may think, I disagree that these songs were from a majority. There were few in my area joining in
Bi Bi Baby
Rainbow Laces 2018 – The Lead Up…
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Breaking New Ground
Christin Baker Talks Launching a Web Channel, Tello Films, for Lesbians
Christin Baker co-created Tello Films in 2007 with two goals in mind: invent original content for the lesbian and queer community, and give women filmmakers a platform for their work.
Originally pegged as "YouTube for Lesbian Content," Baker's subscription-based, online streaming site has morphed into something like a constantly evolving entertainment hub for gay women. After a humble start – Baker admits to having a consultant job on the side – nowadays Tello offers fifteen original series, a worldwide audience, and 3,000 to 4,000 subscribers at any given time.
Baker's love for the entertainment industry began as a teenager in her hometown of Nashville. Using her parent's VHS camcorder, she created her first original films. However, her first professional endeavor was in the television production field as a college student at Middle Tennessee State University. She explains how, while the world of news broadcasting left her unenthused, her other summer internship held the answer: "I spent some time on a movie set and fell in love with it. That internship took me into single camera production. Non-linear editing was just becoming a thing, and I wanted to learn all I could about it."
After graduating, the hopeful filmmaker packed up her belongings and headed to Los Angeles – "where all good entertainers go," she jokes. After several years of internships, behind the scenes jobs, and her own indie projects, she says the unthinkable happened.
"I just got burnt out," she confesses. Though she never lost her love of film, Baker took a break from Hollywood. During that time she explored the non-profit world with a job at The YMCA, but she couldn't stop filmmaking all together. "I ended up making videos for The Y – commercials, fundraising clips – you name it."
As luck would have it, however, Baker couldn't help but notice the ever-growing success of YouTube. "I realized that the web was becoming an interesting space for non-traditional entertainment, and wanted to explore it." The drive quickly led her to her co-founder, Nicole Valentine, and together they created Tello.
"Our focus has always been to make series distributed over the web, specifically for a lesbian audience," explains Baker. Why this particular audience? "I did it because it's stuff that I like to watch. I've put my own money into the company – it had to be something I wanted to watch. Because, at the end of the day, if you're putting your free time, money, blood, sweat and tears into something, you'd better be passionate about it."
After a pause, Baker admits to a second reason: the lack of television shows or Hollywood films that feature lesbians as main characters. "The L Word was great to have, and now there are shows that are trying." She names ABC's The Fosters, Netflix's Orange is the New Black, Amazon's Transparent and BBC America's Orphan Black as examples. "But here's the thing: those shows will eventually get canceled like The L Word. On the other hand, we have new content all the time."
Tello's fifteen series are an amalgamation of original content and work that's pitched to Tello for production and/or distribution. Aside from Baker, Tello's two other full-time staffers, Julie Keck and Jessica King, are responsible for writing, directing and producing many of the web channel's stories. Nancylee Myatt, creator of the web series, Nikki & Nora, is just one of the women filmmakers who has found a platform on Baker's site. "She was actually the first person I went to after talking about original content," Baker says referring to Myatt. "I just called her and said we have a chunk of change left — let's make something."
2010 was a milestone year for Tello. King and Keck joined the Tello team as content providers. With their help, Baker's site really began to thrive. "Jess has been an amazing shooter and writer, and Julie takes on most of the communication with providers, social media, and does the majority of writing for the site. They've been great."
That same year, the channel moved towards a subscription-based model, despite Baker's original goal to create revenue on advertising alone. Though they lasted for three years on AdWords (and angel investors), the money just wasn't coming in.
"It didn't happen," says Baker. "I remember thinking if just three lesbians could just give me $3.99 each month, that would be more than we were getting. To survive, we had to switch."
Transitioning Tello into a subscription channel not only managed to keep the business alive, but also offered Baker a better way to support her showrunners and creators. Today, one hundred percent of their net subscription fees go directly to the filmmakers, scaled to which series have the largest audiences. "If a show gets forty percent of the views, then that director gets forty percent of the fees we take in."
Baker also made the decision to not "geo-block" content on her site — meaning, people from all over the world can log in and subscribe to Tello. Approximately thirty to thirty-five percent of the channel's audience currently lives outside of the U.S. Although one of Baker's dreams is to eventually have enough funds to support translating the site's series, for now international viewers can watch the content using subtitles.
The Woman Behind the Channel
Upon Googling Baker, nearly half a dozen titles appear alongside her name. Unsurprisingly, the producer, director, writer and CEO admits, "I'm never not working." But she's not complaining. "I'm also fine with that. And I can work from anywhere I want – I don't have some office to go to. That's the tradeoff."
Among her roles, it's the CEO who's always required to be on. "As an independent business owner, you just have to do everything. I'm lucky to have Jess and Julie today, because at the very beginning I was the tech person and the submissions person. I was the one who had to check out the backend when something wasn't working, I posted all the content – I was everything."
On the other hand, Baker is still delighted by filmmaking. Though she directed her last series – season two of Hashtag – less than six months ago, she feels like it's been too long. "Isn't that just ridiculous?" she laughs. Luckily, come February, Baker will likely return to the director's seat to film Tello's latest project. Though still untitled, the story will follow a ballerina who has to "slum it" at a queer, modern dance company after an injury takes her out of ballet. "This is her last chance as a dancer," explains Baker. If everything goes as planned, the show will be out in late fall or early winter of 2015.
Over the next year, Baker hopes to really strengthen audience engagement on the site. "2014 was all about creating content and having a new piece up every Sunday," she says. "That turned out to be absolutely exhausting and it stopped being fun. Plus, it didn't seem to be super-important to our subscribers. That's the cool thing about working with Jess and Julie – we're all working to know more and then act on what we learn." Now Tello is focusing on producing shows their subscribers want – hence the big 2015 plan.
"We're interested in honoring our audience and subscribers outside of just letting them watch content. We've started to create this great community and now we're really excited to figure out what that looks like and what that is."
Like any small business, Tello has had its share of ups and downs – but that said, it is now headed on an upward trajectory. Last year, Baker was finally able to hire Keck and King on as full-time staff, and she also attended the 2014 TEDWomen Conference as a lesbian filmmaker and a representative of Tello.
"It's been really amazing. I used to look at the company and think how am I ever going to get to that level and be sustainable and viable?" she confides. "I would say persistence is the key. There were times when I got frustrated, but I didn't give up and kept pushing through and, now, here we are."
"I'd like people to know that, regardless of whether or not they subscribe to Tello," she adds. "It's important to support indie artists. If you notice something missing – it's probably out there, being made by someone in the indie community."
TAGS: non-traditional entertainment Women directors Women in entertainment
January 19, 2015 / Culture / TV & Film
Sarah Marloff
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Conveying through text messaging your apoplectic rage.
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Get a Textoplectic mug for your mate Callisto.


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Market report: Thursday
By Mickey Clark for MailOnline
SOARING gas prices could force Centrica to raise household tariffs again, one of the City's big broking houses warned clients today. Morgan Stanley cut its recommendation on Centrica, down 8 1/4p at 236 3/4p, from overweight to equal weight, and reduced its 12-month target from 280p to 270p.
Rising commodity prices are unhelpful for Centrica, causing greater uncertainty over next year's earnings and increasing investment risk, said Morgan Stanley.
Centrica plans to increase its exposure to the upstream sector, which the broker described as a 'sensible' move, although it pointed out opportunities may be hard to find - creating another area of uncertainty.
Although he does not think another tariff rise is likely in the near term, analyst Bobby Chada said: 'Either gas prices must fall or Centrica may need to increase tariffs again.'
The stock was the weakest in the FTSE 100, leading the blue-chip index 8.5 lower to 4626.3.
While renewed strength in oil prices - amid supply fears in Nigeria and concerns over low heating stock levels ahead of the northern hemisphere winter - nagged at overall market sentiment, it buoyed oil stocks, which went against the grain.
BP, which US securities house Goldman Sachs expects to trade at a premium to its peers, added 2 1/2p to 540 1/2p.
Merrill Lynch, meanwhile, made upbeat noises about Shell, up 3 1/4p at 420 3/4p. Setting a 12-month target of 445p for the troubled oil giant, it expects third-quarter earnings growth of 49% - 'well in excess' of the 40% rise it is forecasting for rival BP.
A drop in half-year profits left Body Shop nursing a loss of 2 1/2p at 160 1/4p.
But WH Smith was able to put on 7 1/4p at 326 1/2p. Even though it weighed in with annual losses of £135m and a 1% fall in likefor-like sales, results were in line with market forecasts.
However, brokers remain cautious - Investec said hold and Seymour Pierce downgraded the retailer to underperform* from hold.
Mothercare managed to post a rise of 10 1/2p to 316 1/2p, with Numis Securities and Investec retaining buy recommendations, following a trading update.
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Imperial Tobacco dipped 6p to 1257p. US broker Smith Barney has raised its target from 1290p to 1360p, while reducing that of rival British American Tobacco (BAT), up 2 1/2p at 808p, from 875p to 825p.
However, it still rates Imps a buy ahead of the group's full-year results on 8 November. It expects the company to post operating profits of £1.2bn and adjusted pre-tax profits of £1.01bn.
It retains a hold rating on BAT and forecasts profits of £2.1bn, unchanged from the previous year, when BAT publishes nine-month results on 26 October.
International news agency and financial information systems provider Reuters slipped 1 1/4p to 331 1/2p.
Medical equipment supplier Corin fell 58p to 311 1/2p after revealing takeover talks had broken down.
Scottish Power was 1/2p lower at 432p despite Morgan Stanley repeating its overweight stance and raising its target from 440p to 490p.
Marketing support services company Delling launched on the Alternative Investment Market at 14p, rising to 16 1/2p.


text:
Q: Comparing string before and after DB save in Rails? I am trying to validate uniqueness on an article description. After I save it to the DB, if I retrieve it it comes back in a stripped down format (missing some chars). If I put a validator on the uniquness of the text in the desc.  it doens't get called. If I do a find_by_desc it fails since the text is slightly different. Any ideas? I know the table is UTF-8, but really most of the characters are a few line endings and some dashes (-) here or there.

A: why you don't create an hash-code for that? create it before save, in validation check for the hash comparing. I don't suggest you to compare TEXT fields

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Like all other types of energy, the energy stored in a capacitor is measured in Joules.
Consider the above network of capacitors, which were uncharged before the battery was connected. Let V1 and Q1 be the voltage and charge on capacitor C1.Use similar notations for C2, C3, and C4.
Using charge conservation, energy conservation and the definition of capacitance to complete the table below.
How much energy is stored in capacitor C1?
Since C2 = C4, and their charges are the same because they are in series, the voltages must also be the same, V2 = V4.
Q2 = Q3 = Q4= 30 μC.
Since C3 has the same charge as C2 and C4 and the voltage is given….
The completed table looks like….


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text:
Q: ProgressDialog in a separate Thread gives **Uncaught remote exception!** I have implemented a ProgressDialog in a new thread.
Code in onCreate
progressDialog = new ProgressDialog(this);
progressDialog.setProgressStyle(ProgressDialog.STYLE_HORIZONTAL);
progressDialog.setMessage("Verifying...");
progressDialog.setCancelable(true);
progressDialog.show();

t.start();

Thread declaration
Runnable r = new MyRunnable();
Thread t = new Thread(r);

Runnable
public class MyRunnable implements Runnable {

        @Override
        public void run() {
            Message msg = Message.obtain();
            if (t.isInterrupted()) {
                msg.recycle();
                return;
            }

            long startTime = SystemClock.elapsedRealtime();
            long duration = 5 * 60 * 1000; // 5 min
            long percentageIntervalDuration = 2;
            long interval = (duration * percentageIntervalDuration) / 100; // 6sec
            int i = 0;
            do {
                if (SystemClock.elapsedRealtime() == (startTime + (i * interval))) {
                    msg.arg1 = (int) percentageIntervalDuration * i;
                    mainHandler.sendMessage(msg);
                    i++;

                }
            } while (i != (100 / percentageIntervalDuration) + 1);
        }
    }

Handler attached to Main Thread
Handler mainHandler = new Handler() {
public void handleMessage(Message msg) {
Log.d(TAG, String.valueOf(msg.arg1));
if (msg.arg1 == 100) {
        progressDialog.dismiss();
        } else {
            progressDialog.setProgress(msg.arg1);
               }
        }
    };

Now I am facing two problems
1. The following error messages appear in Logcat when ProgressDialog is dismissed

05-09 17:57:36.386: E/JavaBinder(9822): *** Uncaught remote exception!  (Exceptions are not yet supported across processes.)
05-09 17:57:36.386: E/JavaBinder(9822): android.util.AndroidRuntimeException: { what=4 when=650507787 arg1=1 } This message is already in use.
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.MessageQueue.enqueueMessage(MessageQueue.java:171)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessageAtTime(Handler.java:457)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessageDelayed(Handler.java:430)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessage(Handler.java:367)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.view.inputmethod.InputMethodManager$1.setActive(InputMethodManager.java:428)
05-09 17:57:36.386: E/JavaBinder(9822):   at com.android.internal.view.IInputMethodClient$Stub.onTransact(IInputMethodClient.java:83)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Binder.execTransact(Binder.java:288)
05-09 17:57:36.386: E/JavaBinder(9822):   at dalvik.system.NativeStart.run(Native Method)
05-09 17:57:36.386: E/JavaBinder(9822): *** Uncaught remote exception!  (Exceptions are not yet supported across processes.)
05-09 17:57:36.386: E/JavaBinder(9822): android.util.AndroidRuntimeException: { what=100 when=650507787 } This message is already in use.
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.MessageQueue.enqueueMessage(MessageQueue.java:171)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessageAtTime(Handler.java:457)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessageDelayed(Handler.java:430)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Handler.sendMessage(Handler.java:367)
05-09 17:57:36.386: E/JavaBinder(9822):   at com.android.internal.view.IInputConnectionWrapper.dispatchMessage(IInputConnectionWrapper.java:182)
05-09 17:57:36.386: E/JavaBinder(9822):   at com.android.internal.view.IInputConnectionWrapper.reportFullscreenMode(IInputConnectionWrapper.java:159)
05-09 17:57:36.386: E/JavaBinder(9822):   at com.android.internal.view.IInputContext$Stub.onTransact(IInputContext.java:211)
05-09 17:57:36.386: E/JavaBinder(9822):   at android.os.Binder.execTransact(Binder.java:288)
05-09 17:57:36.386: E/JavaBinder(9822):   at dalvik.system.NativeStart.run(Native Method)

2. ProgressDialog freezes sometimes at a particular percentage.

A: From this previous question, it looks like you may need to create a new Message object every time. Android Handler Message and ListView
Also, this discussion seems to point to Message.clearForRecycle() not being called? http://code.google.com/p/android/issues/detail?id=3318
That said, why not use an AsyncTask? It's pretty much geared for Background Tasks + Publishing to the UI thread and works really well with Progress Dialogs. It has pre-built methods for executing code before and after the main background threaded work is run and it has the capability to publish progress updates to the UI with all the handler stuff nicely hidden for you.
http://androidresearch.wordpress.com/2012/03/17/understanding-asynctask-once-and-forever/
http://www.android10.org/index.php/forums/43-view-layout-a-resource/908-tutorial-progressbar-running-in-asynctask
http://www.vogella.com/articles/AndroidPerformance/article.html#asynctask


So they demand something in return for reform. Ransom, you might call it.
Last year, it looked like the price for rooting out the parochialism and putting the governor in charge of the agency would be a $49 million annual income tax cut and a $61 million-a-year raid on the state's general fund. That's what the House passed, overwhelmingly, along with reform and a gas tax increase.
We didn't need the tax cut, and we certainly didn't need to steal even more money from schools and colleges and police and courts and divert it to road building and repair. But $100 million looked pretty cheap compared to Gov. Nikki Haley's demand that we cut income taxes by $1.8 billion a year.
The Senate refused even to consider the House plan, and when it finally did pass a reform measure this spring, it included a $400 million general-fund raid that was so irresponsibly put together that House leaders rejected it out of hand.
Now the Senate has passed a new road-funding plan that steals $200 million a year from our schools and courts and state police and child protection and economic development and environmental protection and most other state services.
Personally, I'd rather just take the reform this year and deal with the funding next year, once we've seen how the reformed agency works and once senators are maybe a little less crazy than they are right now. But that's not an option. Senators who don't want to give up their influence over the Transportation Department have made it clear that we're not going to get any reform unless we agree to their $200 million-a-year raid on the general fund.
So that, apparently, is the new price of reform: twice as much as the House's initial bid, but still just half the Senate's first plan and only a ninth as much as the governor demanded.
And maybe it's a reasonable price to pay. After all, it's not just money down a rat hole. It's money that will be spent on our roads. Or at least some of it will; a whole lot of it will pay interest on the bonds the state will float in return for $2 billion up front.
But it's still ransom, and if we're going to pay it, we all need to acknowledge that's what we're doing.
It's ransom that's being paid by our schools, which will receive $517 million less in next year's state budget than state law requires. That's money they won't be able to use to pay more to hire better teachers or to pay enough to hire more teachers.
It's ransom that's being paid by cities and counties, which by law are supposed to receive $325 million from the raided general fund. Instead, they'll get at most $240 million. So they'll have to either raise taxes or (more likely) provide fewer police and fire and code enforcement and other services.
It's ransom that's being paid by colleges and universities, which will receive $75 million less than they were receiving before the recession — less, even, than they were receiving in 1989 — even as enrollment increases.
It's ransom that's being paid by the poorest South Carolinians, who are being forced to pay the same $300 sales tax on their $5,000 clunker that the rich pay on their $150,000 yachts and $400,000 Lamborghinis. The Legislature is making changes to the sales tax on vehicles — redirecting the money from the general fund to highways — without fixing the sales tax on vehicles, by eliminating that obscene cap.
Most legislators will object to calling the $200 million a year ransom, because part of it will buy us asphalt. They'll note that the state is already underfunding schools and colleges and cities and counties, already making the poor pay higher tax rates than the wealthy. And all that is true.
But the fact is that a lot of legislators would hold out for a better road-funding deal next year if not for the possibility of reform this year.
Worth it? Probably. Ransom? Definitely.
Scoppe is editorial page editor of The State. She can be reached at cscoppe@thestate.com.


Running from 7 February until 7 April 2019, the exhibition of fashion photography showcases the legendary designs of Christian Dior and its enduring impact on the fashion world. Not only is The House of Dior renowned for revitalising both haute couture and ready-to-wear fashion, it also reinvented the female silhouette and its legacy continues to inspire modern style.
Documenting the brand throughout its first two decades, Proud Galleries' The Dior Collection showcases the iconic works of Mark Shaw, Norman Parkinson, Jerry Schatzberg, Bert Stern and Horst P Horst, from the polished editorial shots capturing well-known figures for Life magazine, to behind-the-scenes studio snapshots.
Since creating his namesake fashion company in 1946, Christian Dior has become recognised as one of the founding figures of haute couture. After a meeting with entrepreneur Marcel Boussac, Dior was invited to design for Paris fashion house Philippe et Gaston. Instead, he launched a new label under his own name, and with Boussac's approval and sponsorship, the House of Dior was born.
In 1947, Christian Dior presented his first show, Corolle. Fabric rationing from the Second World War had ended and he relished the opportunity to step away from what he called the 'hideous and repellent' wartime styles, and his fresh new designs became synonymous with the feminine and voluptuous. The show made the cover of Life magazine and was dubbed 'The New Look' by Harper's Bazaar.
Following Christian Dior's death in 1957, his protégé, Yves Saint Laurent, took full creative control of the brand. YSL was nicknamed 'The Little Prince of Fashion' by the press and his first show was given a standing ovation. In 1960, Marc Bohan's takeover 'refined the lines, lengthened the silhouette and defined a look of dynamic femininity' (House of Dior).
Through the lens of five photographers, The Dior Collection explores the rich heritage and metamorphosis of Christian Dior throughout its early years, as well as its legacy and impact on the fashion industry.
Included in the exhibition are the inimitable works of Norman Parkinson, who often relied on his mischievous eye in photoshoots rather than the formal studio setting.
The playful shots by Jerry Schatzberg feature an insider's perspective into the world of models and designers, capturing a glimpse of 60s studio fashion photography.
Also presented in the exhibition are many notable figures gracing editorial pages in the most coveted Dior designs, from Mark Shaw's works for Life magazine featuring Elizabeth Taylor, to Bert Stern's iconic snaps of Marilyn Monroe, including a capture of her final sitting before her death of barbiturate overdose.
The Dior Collection brings together a remarkable selection of photography, highlighting the brand's unique formative years through the works of leading 20th Century fashion photographers, collating images of classic early designs and exploring them through a contemporary lens.
Is it Time to Build a Wardrobe in the Cloud?
Ad Feature Are Women Taking Over the Watch Market?


Agustín and Denise are artists-in-residence at WPZimmer within the framework of Mestizo Arts Festival's international exchange program.
Their project deals with the relation between architecture, institutional dynamics and artistic creation in both Buenos Aires and Belgium, and the possibilities of collaboration between these two distant territories. The process involves creating and exchanging miniature models of cultural buildings on a 1-to-1 basis, to start a participatory process with the cultural managers and artists working in/around them, with the aim to build sustainable and creative long-distant relationships.
On October 28th, Agustín and Denise will make an open studio at WPZimmer to present the mixed media works produced so far as a result of their field research in Belgium.
AGUSTÍN JAIS (Buenos Aires, Argentina, 1985).
Artist, curator, cultural manager, designer and professor. His main platform is Club Cultural Matienzo, a self-managed, umbrella organization that runs a venue for the arts, culture and community life. One of its founders, Agustin is currently member of both Coordination and Content boards, head of the communications team, co-director of Matienschön -its contemporary art space- and artistic director of the new media festival LET IT VJ. His artistic practice is linked to this experience, and usually takes form as context-based projects developed collectively in space and time. He is interested in institutional dynamics, collaborative networking and community building, and the relational anxieties present in collaborative organizations. He presented installations, multimedia works, murals, video, photos, performances, relational pieces and live visuals at Centro Cultural Juan de Salazar (Asunción, Paraguay), Centro Cultural Parque España (Rosario, Argentina), and CETC – Centro de Experimentación del Teatro Colón, Espacio Telefónica, Centro Cultural San Martín and Club Cultural Matienzo in Buenos Aires. In 2015 he made "Soulseek/2016", his first collaboration with Denise Lara Margules.
DENISE LARA MARGULES (Buenos Aires, Argentina, 1989).
Filmmaker and chef. She studied at Universidad del Cine, attended filmmaking programs at Universidad Di Tella (by Martín Rejtman and Andrés Di Tella) and participated in screenwriting courses with Juan Campanella, Aída Bortink and Fernando Castets. She is part of the Audiovisual Arts department at Club Cultural Matienzo. Her short films were presented at BAFICI (14), MALBA, Festival Internacional de Cine de Cali (FICCALI) and Family Fiction Film Project, Portugal. Her early interest in cooking comes from watching her female relatives cook. She studied at IAG, with Gato Dumas and with Pamela Villar, and created her undertaking "My little cakes". Since 2014, she studies embroidery with Guillermina Baiguera.


We recently talked about how a Wankel rotary engine works. The working was explained via video that was uploaded by the popular YouTube channel, Engineering Explained. Today we will be discussing why the Wankel rotary engine is dead and the reasons behind it.
The Wankel rotary engine was last seen in action in a production car in the Mazda RX-8. There are no Wankel rotary engines in production. However, there are rumors that Mazda might bring the rotary engines back in its RX Vision. Having said that, there are multiple downsides to using the rotary engine. These disadvantages have kept the rotary engine from becoming as successful as one might have thought.
The rotary engines have a long combustion chamber and unburnt fuel making it to the exhaust. This causes it to have a thermal efficiency on the lower side of the spectrum. That's not all though; the rotary engines also have trouble with the rotor sealing thanks to the non-uniform temperatures that exist in the combustion chamber. The combustion chamber has uneven temperatures because combustion takes place in only one portion of the engine. Another problem that has rendered the Wankel rotary engine dead is the problem of oil consumption, as oil is injected for the sake of imparting lubrication and for facilitating the rotor to remain sealed. Lastly, the emissions from the Wankel rotary engines are poor. Furthermore, the fuel economy is way beyond terrible. All of these issues have combined together and caused the Wankel rotary engine to die.
What do you think of the rotary engines? Would you rather have them in production or do you think that it is good riddance that they are no longer being created? Do let us know. Meanwhile, we strongly suggest that you check out the following video by Engineering Explained that will tell you about the reasons why the Wankel rotary engine is dead.


Aluminium is a key material in our lives, present in countless products. This material can be machined in many ways, so it needs unique attention and total precision in processing.
We work with high quality aluminium in the format and finish that our customers require, and we are the only company in Europe with a painting capacity up to a width of 1550 mm with a maximum thickness of 3,05 mm in two finishes (liquid or powder).
The broadest colour chart on the market.
Our structured and smooth finishes (gloss, matt and satin).
We have plants in Spain and Italy, guaranteeing a fast and efficient response.
We have state-of-the-art machinery for the treatment of aluminum coils.
We have a production capacity of around 50,000 tons of lacquered aluminium band.
We offer the broadest colour chart on the market, including any colours in the RAL, NCS and NCS-S charts.
We're always up-to-date on trends and market demands, offering differentiated and exclusive finishes, such as our prestigious wood effects.
Our products are conceived to withstand even the most adverse conditions, with a whole range of specific treatments to extend their lifespan.
Greater resistance to UV rays.
Standard treatment. Applicable to roller shutters, rain gutters and walls.
Special treatment for thermakl insulation, by reflection of infrared rays from sun. Applicable to roller shutters.
Special treatment for thermal insulation, by reflection of infrared rays from electric heating. Applicable to roller shutters.
Special treatment without metalmarking with hig brilliance and low brilliance finishes. Applicable to suspended ceilings.
All processes are carried out at our factories and in-house laboratory, so we can assure product quality in every phase of production. We also provide packing to meet every need, and shrink-wrapped protection to ensure delivery in perfect conditions.


Home Laughing Frequently Yes, Ma'am!
Our Costa Rican tour guide is briefing 16 Americans and 2 Canadians on the rules of engagement for our upcoming week-long trip in her company. She has what I'm beginning to see as the typical personality for successful tour guides. A warm and caring bleached blonde? Yeah, sort of: a cheery and endlessly accommodating dictator.
Stopping at grocery stores for those who want to stock up on munchies for their rooms, serendipitously providing others with an opportunity to stock up on pictures.
Finding lizards up trees for anyone interested, and who wouldn't be?
The Jesus Christ Lizard, which can run across water when it's not lolling 20 feet up a tree.
Coaxing tarantulas out of holes even though some of us (ahem) are less interested than concerned.
Enticing tarantulas. Umm . . .
Stopping at a roadside stand for those who want to know the names of those unfamiliar fruits and vegetables, providing others with an opportunity to take pictures. Again.
All this, while maintaining the schedule without annoying anyone – not the ones who tend to be late, not the ones who don't.
This is her mantra. She understands that things happen: People forget things in their room, or get caught up sending emails using the lobby Wi-Fi, or mistake the time and place for the next rendezvous.
Oh, yes, after 30-some years she understands, all right.
Oh, boo! I don't know the answer.
But I'm not the only one who doesn't know. All 16 Americans and 2 Canadians look at each other, shrug, and look back at her, expectantly. Beginning as she means to continue, she does not disappoint.
Sounds like you had a great tour guide. There's a job I don't have the patience for !!
I hosted some tour groups in the 1970s and 1980s. Patience is indeed essential. We soon learned who would ALWAYS be the last one back on the bus. After a while, we didn't even bother counting the number of passengers on the bus — we just said, "Okay, Audrey's here, we can leave." One time a tour member (not Audrey this time) used every break to nip into the nearest bar for a drink. She too was always the last one on. One time she came out just in time to see the driver moving the bus to a different location. Her face displayed utter shock. She was never late for the bus again.
Jim T – We've been lucky so far – no persistent laggards, although some who came close. Our Australian guide said she'd only ever left one person behind – and he never let her forget it. But when you gotta go to meet a sailing (or something else where you don't control the schedule), you gotta go!
Corvin heads to Europe with 30 adults at the end of June. There is a guide as well (we hope the same as we had last year, as he was terrific!) However, Corvin is responsible for the group outside of the "guided activities" – already he is starting to wonder if they really WILL be any easier than the teenagers we took last year??? In my experience working with the public – not by MUCH! I'm happy to stay home, and just be responsible for myself while he is gone.
Alison – Yeah, 30 is a big number: he's likely to get a full range of personalities and maybe more reluctance to align with someone else's structure than school kids would exhibit with their teacher. Wish him good luck from me!


text:
Le concert du nouvel an 1974 de l'orchestre philharmonique de Vienne, qui a lieu le , est le  concert du nouvel an donné au Musikverein, à Vienne, en Autriche. Il est dirigé pour la  fois consécutive par le chef d'orchestre autrichien Willi Boskovsky.

Johann Strauss II y est toujours le compositeur principal, mais son frère Josef est représenté avec six pièces, son autre frère Eduard avec une, et leur père Johann clôt de nouveau le concert avec sa célèbre Marche de Radetzky.

Programme

 Johann Strauss II : ouverture de Das Spitzentuch der Königin
 Josef Strauss : Aquarellen, valse, op. 258
 Josef Strauss : Die Emancipirte, polka-mazurka, op. 282
 Johann Strauss II : , valse pour chœur masculin et orchestre , op. 361
 Johann Strauss II : , polka rapide, op. 356
 Eduard Strauss : Mit Extrapost, polka rapide, op. 259
 Johann Strauss II : , valse, op.340
 Johann Strauss II :  , polka rapide, op. 409
 Josef Strauss : Frauenherz, polka-mazurka, op.166
 Josef Strauss : Plappermäulchen, polka rapide, op. 245
 Johann Strauss II et Josef Strauss : Pizzicato-Polka, polka
 Johann Strauss II : Histoires de la forêt viennoise, valse, op. 325
 Johann Strauss : Wettrennen-Galopp, galop, op. 29
 Josef Strauss : Künstler-Gruß, polka française, op. 274
 Johann Strauss II : Tritsch-Tratsch-Polka, polka rapide, op. 214
 Johann Strauss II : , polka rapide, op. 43
 Josef Strauss : Ohne Sorgen, polka rapide, op. 271
 Johann Strauss II : Le Beau Danube bleu, valse, op. 314
 Johann Strauss : la Marche de Radetzky, marche, op. 228

Lien externe
 .

1974
1974 en musique
1974 en Autriche
Janvier 1974
Johann Strauss fils
Josef Strauss
Johann Strauss
Eduard Strauss

redpajama_set_name: RedPajamaWikipedia


text:
12 Stones
12 Stones is a post-grunge band that formed in 2000 in Mandeville, Louisiana, a suburb north of New Orleans. The first line-up consisted of Paul McCoy (vocals), Kevin Dorr (bass), Eric Weaver (guitar), Stephen Poff (guitar/vocals) who left to finish One Like Son's Goodbye and Patrick Quave (drums) who was later replaced by Aaron Gainer. After performing no more than 12 live shows, the band recorded a demo and went to New York City where they performed at an industry showcase, where the band encountered some minor difficulties,:Here we are, our first few hours in New York City, McCoy recalls, and Kevin is puking in the bathroom and I'm chasing some guy who stole my wallet just a few hours before we play the showcase. It was crazy.After that, the band was signed up by Wind-Up Records. The situation improved once 12 Stones signed with Wind-up and began recording with producer Jay Baumgardner (Papa Roach, Alien Ant Farm), who helped pump up Eric Weaver's searing guitar solos in the belief that a new guitar hero might be born. Combined with the propulsive rhythm section of Dorr and drummer Aaron Gainer and McCoy's distinctive lyrics, the 12 Stones sound conveys real emotion with a visceral punch. The band's eponymous debut album was released in 2002, produced by Jay Baumgardner. They gained more fame when vocalist McCoy performed in Evanescence's song Bring Me to Life opposite Amy Lee. The song was included in both Evanescence's album, Fallen and in the Daredevil film sound...
Better Than Ezra


text:
Congressman Wants Air Force Prof Yanked For Teaching Critical Race Theory
A Republican congressman has called for an Air Force Academy professor who defended teaching critical race theory to be removed from her position, describing her comments as "utterly unacceptable and incompatible with the mission of our United States Military Service Academies."
"Disparaging the United States as a racist country should disqualify anyone from teaching at one of our country's most prestigious institutions," Rep. Mark Green (R-Tenn.), a West Point graduate and retired US Army major, told Acting Air Force Secretary John Roth in a letter dated Wednesday.
"Our service academies prepare young men and women to fight for our country. How can we expect anyone to fight for a country they are taught is racist?"
Green was responding to a Washington Post op-ed by Lynne Chandler García, an associate professor of political science. García wrote that she teaches critical race theory because "it is vital that cadets understand the history of the racism that has shaped both foreign and domestic policy."
Critical race theory holds that racism underlies all human interaction and views the human experience as a constant struggle between the races, often with a focus on "white privilege." Concerns that the theory will be studied in elementary, middle and high schools have led to a backlash from parents and Republican lawmakers, who say it teaches children to judge each other based on skin color.
"In my classes, cadets learn about the ideals embedded in this founding document," wrote García, referring to the Constitution. "We explore the liberalist theories that promoted these ideals, and we embrace our democratic system of government. But we also acknowledge that the United States was founded on a duality: liberalism and equal rights on the one hand; inequality, inegalitarianism and second-class citizenship on the other."
García went on to say that the military "still struggles" with issues of racism, which she claimed was "… (Read more)


text:
Go Blu-ray Review
by Casimir Harlow Aug 9, 2009
Review Specs Discussion (3)
Go Blu-ray (1999)
Go comes to Blu-ray with a 1080p High Definition video rendition in the movie's original theatrical aspect ratio of 2.35:1 widescreen. It has not aged particularly well, but that is perhaps mainly because of the budget and the way in which it was shot. Taking all that into account you still cannot help but admit this is far better than we have seen before from this film, particularly comparing this to its early-run DVD release. Detail is above average, although many scenes are bathed in noise and grain, indicative of poor lighting. The naturally-lit scenes certainly suffer the most - whether the rave sequences or the supermarket shots. Conversely some of the properly-lit moments, even the darker scenes, look superb, with perfect clarity, no bleeding and solid, deep blacks. It is difficult fully accepting this mixed-bag rendition, which - at times - really shows us what Blu-ray is capable of but also, much more often, betrays the age and budget of the production.
The audio track suffers the same fate as the video, offered up here as a technically superior Dolby TrueHD mix which only really sparks to life during the rave sequences or occasions when the song tracks take over. Dialogue, which is pretty important for this drama, comes across clearly and coherently, largely from the fronts and centre channels. Effects are almost non-existent, partially because it is simply not that kind of movie, but the material should offer up more ambience than it does, the atmospherics simple at best - a few car noises, checkout beeps and some Vegas casino ringing are noticeable, but little else. The score is where all the action takes place, all the aforementioned 'classic' nineties tracks really swamping and positively overwhelming the proceedings when they kick in. The rave scenes are so unbalanced in comparison to the rest of the movie that you're forced to reach for the volume to turn it down significantly until the dialogue resumes. It probably is better than the previous SD offering - in fact it probably is the best we've heard of this movie since it's cinematic release - but not enough effort was put into really making this a quality High Definition rendition, which is a bit of a shame.
First up we get a full-length Audio Commentary by the Director Doug Liman and the Editor Steven Mirrion, who talk about everything from how the production came into existence (an indie flick that was eventually back by Columbia Pictures), and the original screenplay and what changes were made for the final cut, to the characters and - of course - the on-screen action. They discuss trying to make their non-linear-structured film as easily comprehensible as possible, the locations used, the budget restrictions and the tone they were going for. It is a moderately interesting listen, Liman's monotone becomes a bit tedious after a while, but Mirrion's presence goes some way to keeping the momentum going and fans will find plenty of trivia and technical info here to keep them occupied.
The Making-Of Featurette is a fairly dated, and extremely brief, 6 minute effort that plays as simply nothing more than an extended Trailer, peppered with behind the scenes footage and interview soundbites. Explaining the entire story in so much detail that it spoils half of the movie, this is a pointless, marginally annoying Featurette that is arguably fairly typical of its kind when it comes to promotional fluff like this.
We get 25 minutes' worth of Deleted Footage, 14 short scenes which are less character expanse and more just exposition, the plot explained unnecessarily, and the majority of this is thus mostly best left excised from the final cut. Some are complete excisions; some are blatant ad-libs, which are far more interesting. It is just a shame that they are presented with such poor quality video (bad VHS standard) and sound (very choppy and often without effects - for example they answer phones that are not ringing) as most fans would have probably preferred to watch through these and actually enjoy them, rather than struggle to hear or sometimes even understand what is going on. Still, it is better to have them than not.
There are 3 Music Videos: New by No Doubt, Magic Carpet Ride by Philip Steir and Steal My Sunshine by Len. All presented in mediocre but watchable (in comparison to the Deleted Scenes) quality, they showcase a very young Gwen Stefani during her No Doubt Years, the Vegas actors (and a montage of their scenes) pretending to sing the Magic Carpet Ride track which sounds familiar from Reservoir Dogs, and the catchy Steal My Sunshine housed within arguably the most dated of the three videos.
I will always have a soft spot for Go because it was probably made with the sole intention of entertaining viewers of my age, at the time. Utilising non-linear storytelling - now a fairly popular style, but in the Pulp Fiction era it was still quite novel - it paints a multi-character-layered tale of a bunch of twentysomethings whose lives interact, and all go to pot, one fateful Christmas. Although now a little dated in parts, it is still a fairly amusing, enjoyable affair peppered with familiar faces who, whilst often not at career best, are at least far from embarrassing themselves. On Blu-ray, the video is a bit of a mixed bag but is still better than on SD-DVD, the audio peaks with its renditions of familiar (predominantly dance) tracks from the era and the extras are quite plentiful (if not all good, or of good quality), so fans should consider an upgrade. Newcomers who love that Pulp Fiction style of hip, cool movies should give it a rental and see if they like it.


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Saint Martin's vs Seattle (Mar 02, 2007)
Saint Martin's vs Seattle
Mar 02, 2007 at Richland, WA (Columbia Playfields)
Saint Martin's 0 (1-5)
Ballard,Danni c..........  3  0  1  0   0  1  6  0   0
Irwin,Marlaina 3b........  3  0  0  0   0  2  1  3   0
Horton,Ryanne p..........  3  0  1  0   0  0  0  0   0
Morris,Holly 1b..........  2  0  0  0   1  1  2  0   0
Waznis,Karen ph.........  1  0  0  0   0  0  0  0   1
Nauert,Katee ss..........  2  0  0  0   0  0  1  1   0
Seattle 2 (8-6)
Berin,Lauren ph.........  1  0  1  0   0  0  0  0   0
Hansen,Heather 1b........  1  0  0  0   1  0  6  0   0
Sharp,Cassi dh...........  2  0  1  0   0  0  0  0   0
Cueto,Cassie lf..........  2  0  0  0   0  1  1  0   0
Nilles,Amanda c..........  2  0  0  0   0  2 10  0   2
Rojano,Katie p...........  0  0  0  0   0  0  0  0   0
Saint Martin's...... 000 000 0 -  0  3  1
Seattle............. 010 001 X -  2  4  1
E - Nauert(2); Marek(3). LOB - Saints 5; Redhawks 3. 2B - Davidson(1);
Hernandez(2). SH - Marek(3). SB - Purdy(3).
Saint Martin's         IP  H  R ER BB SO AB BF
Seattle                IP  H  R ER BB SO AB BF
Rojano,Katie........  7.0  3  0  0  2  9 24 26
Win - Rojano (1-1).  Loss - Horton (0-3).  Save - None.
Umpires - HP: Roger Cheyne  1B: Alex Akin  3B: Don Thompson
Start: 1:55 pm   Time: 1:25   Attendance: 40
Central Washington Invitational - Game #10
Game: CWI10
Saint Martin's vs Seattle - Play-by-Play
Saint Martin's starters: 5/lf Fuchs; 6/c Ballard; 18/3b Irwin; 13/p Horton; 4/cf
Davidson; 11/1b Morris; 31/2b Ramos; 10/rf Crager; 9/ss Nauert;
Seattle starters: 2/cf Petersen; 7/ss MacIsaac; 9/3b Marek; 17/2b Purdy; 5/rf
Hernandez; 8/1b Hansen; 15/dh Sharp; 1/lf Cueto; 24/c Nilles; 18/p Rojano;
Saint Martin's 1st - Fuchs flied out to lf. Ballard singled up the middle.
Irwin struck out swinging. Horton singled to pitcher; Ballard advanced to second.
Davidson fouled out to c. 0 runs, 2 hits, 0 errors, 2 LOB.
Seattle 1st - Petersen grounded out to 3b. MacIsaac struck out swinging.
Marek popped up to 2b. 0 runs, 0 hits, 0 errors, 0 LOB.
Saint Martin's 2nd - Morris struck out swinging. Ramos walked. Ramos out at
first 1b unassisted, runner left early. Crager struck out swinging. 0 runs, 0
hits, 0 errors, 0 LOB.
Seattle 2nd - Purdy reached on a throwing error by ss. Purdy stole second.
Hernandez doubled down the rf line, RBI; Purdy scored, unearned. Hansen walked.
Sharp singled down the lf line; Hansen advanced to second; Hernandez advanced to
third, out at home lf to 3b to c. Cueto struck out looking. Nilles struck out
swinging. 1 run, 2 hits, 1 error, 2 LOB.
Saint Martin's 3rd - Nauert grounded out to ss. Fuchs struck out swinging.
Ballard struck out swinging. 0 runs, 0 hits, 0 errors, 0 LOB.
Seattle 3rd - Petersen popped up to 2b. MacIsaac struck out looking. Marek
grounded out to ss. 0 runs, 0 hits, 0 errors, 0 LOB.
Saint Martin's 4th - Irwin grounded out to 3b. Horton lined out to 3b.
Davidson doubled down the lf line. Morris walked. Ramos struck out swinging. 0
Seattle 4th - Purdy popped up to 2b. Hernandez fouled out to 2b. Hansen
Saint Martin's 5th - Crager struck out looking. Nauert lined out to 3b. Fuchs
struck out swinging. 0 runs, 0 hits, 0 errors, 0 LOB.
Seattle 5th - Sharp popped up to ss. Cueto popped up to 3b. Nilles struck out
looking. 0 runs, 0 hits, 0 errors, 0 LOB.
Saint Martin's 6th - Ballard grounded out to ss. Irwin struck out swinging.
Horton flied out to cf. 0 runs, 0 hits, 0 errors, 0 LOB.
Seattle 6th - Petersen lined out to lf. Berin pinch hit for MacIsaac. Berin
singled to shortstop. MacIsaac to ss for Berin. Marek out at first 3b to 2b, SAC,
bunt; MacIsaac advanced to second. Purdy singled to left center, RBI, advanced to
second on the throw; MacIsaac scored. Hernandez flied out to rf. 1 run, 2 hits, 0
Saint Martin's 7th - Davidson grounded out to 3b. Morris reached on a
fielding error by 3b. Ramos popped up to 2b. Waznis pinch hit for Crager. Waznis
grounded out to ss. 0 runs, 0 hits, 1 error, 1 LOB.


Hong Kong autumn lighting international exhibition to be heldon October 27th-30th 2013,. Hong Kong international autumn lighting exhibition sponsored by the Hong Kong trade development council.Since 1999, It has successfully hosted the 14sessions,the 15thwill be held in 2013.A large number of buyers and exhibitors, and constant innovation of high valueachievement makes the exhibitionstand in the pre-eminent position in thisindustry the Hong Kong international autumn lighting exhibition has became thelargest exhibition in Asia, ranking the secondin the world.
In 2013, in order to highlight the main business filed in lighting industry , the exhibition zone was arranged more reasonable .It accurately graspsthe global lighting industry trends, meetsthe changeable needs frombuyers .Ten categories of products zones were set up, specific as follows: advertising lamps,commercial lighting, residential lighting, LED and environmental protection lighting, outdoor lighting,decorativelighting & accessories spare parts, intelligent lighting and lighting solutions, inspection and verification services, trading services and publications, lamp gallery.
Exceed has attended the fairfor several years, sincerely invite new and old customers to visit! Recommended article:Exceed attendsthe 15th 2013 Hong Kong international lighting fair this autumn.


text:
Q: Why Http status code 404 shows when I click on submit using war file deployed Image 1. Successful GET request
Image 2. Failed POST when click on submit
Welcome page i.e. index.jsp aprears on localhost:8080/war_filename
but when we click on login in index page it shows http status code 404
Is anyone there, who's having the same issue?
I've copied the war file in apache\webapps
WebController.java
@Controller
public class indexController {
    String errorMessage = "Invalid credentials";

    @GetMapping("/login")
    public String login() {
        return "index.jsp";
    }

    /*********** Login using form ************/
    @RequestMapping(value = "/login", method = RequestMethod.POST)
    public String login(@RequestParam("firstname") String firstName,
            @RequestParam("lastname") String lastName) {
        System.out.println("inside login form");
        Customer object = repository.findByFirstNameAndLastName(firstName,
                lastName);
        if (object != null) {
            return "home.jsp";
        }
        return "index.jsp";
    }
}

index.jsp

Do Login Here

<form method="POST" action="/login">

            Employee ID
        <input type="text" name="firstname" placeholder="Username" required>

            Password
<input type="password" name="lastname" placeholder="Password" required>

            <input type="submit" value="Login" />

</form>

home.jsp

Operations

 <form action="/selectusingform" method="get">
    Select
 </form>

        Insert

        Update

        Delete

        Find


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The package has been tested on Mac OS X, Windows 2000 and Linux. On Windows, it is currently not able to retrieve IPv6 addresses, owing to shortcomings of the Windows API.
It should work on other UNIX-like systems provided they implement either getifaddrs() or support the SIOCGIFxxx socket options, although the data provided by the socket options is normally less complete.


text:
Overturned vehicle prompts Route 8 closure in Bridgeport
by [email protected]_84 October 14, 2020
Emergency lights on a Connecticut State Police cruiser.
Photo: Contributed Photo / Connecticut State Police
BRIDGEPORT — An overturned vehicle prompted first responders to shut down a stretch of Route 8 Wednesday morning.
Police, fire units and medics were dispatched to Route 8 south between exits 5 and 3 around 4 a.m. for a reported crash, according to the state Department of Transportation
Arriving units found an overturned vehicle and shut down the left and center lanes to investigate.
By 6:05 a.m., state police said Route 8 south was closed between exits 4 and 3 because of the crash.
"Use alternate route if traveling
Bridgeport Police: Woman hit by car, seriously injured
A Bridgeport woman was injured when she was struck by a car while crossing Park Avenue Friday evening, Oct. 9.
Photo: Contributed Photo / Bridgeport Police Department
A Bridgeport woman suffered a serious head injury when she was struck by a car while crossing Park Avenue Friday night.
Police responded to a call reporting a serious crash involving a pedestrian at the intersection of Park Avenue and Olive


text:
Home Scheepsbouw- en reparatie Interview with Tobias Schaap, Damen Cruise
Interview with Tobias Schaap, Damen Cruise
december 7, 2020, by peterh
We meet Tender Manager Tobias Schaap in the brand-new office of Damen Cruise, Ropax and Offshore in Rotterdam. The offices have been in use for less than a week. "We are the newest part of Damen", Tobias tells us excitedly. But that is not the only new thing. "Right now, I am working for the 'De Beers' project, the world's first newly built diamond recovery vessel."
Stepping into something new
Tobias welcomes us at the new offices where they are completing the finishing touch. "We moved last week, so this is our first full work week in this new location." Walking around the different departments Tobias shares how his career at Damen started nearly four years ago after he graduated in Naval Architecture at TU Delft. "I started with a two year general traineeship and worked for different departments within the Damen Shipyards Group. After this period, I joined as one of the first employees the startup Damen Cruise, Ropax and Offshore. I really like the idea of stepping into something new", he enthusiastically explains.
"When we started two years ago, nothing was defined yet. We just had an idea: building state-of-the-art cruise, ropax and offshore vessels." So, Tobias became Design & Proposal Engineer for Offshore Vessels.
"After a few months we decided that we needed to approach tenders a bit different than we usually do within Damen. We decided that we had to work with teams in the proposal phase. A team needs someone that is responsible for the outcome and therefore we created the role of Tender Manager. Basically, that means coordinating all activities in the proposal phase. And that is my job!"
'De Beers'
One of the first big tenders for Tobias as a Tender Manager was the 'De Beers' tender. He explains: "It became the first offshore contract we have signed with Damen Cruise, Ropax and Offshore."
The project is called Additional Mining Vessel 3 and it is a large diamond recovery vessel. "This vessel will have a crawler that is recovering diamonds from the seabed in front of the coast of Africa. The soil will be transported to the vessel and on board the diamonds are separated from the soil. After that raw diamonds will be flown towards shore and are further processed into diamonds that end up in your rings, for example." This project is not only a first for Tobias and Damen, it is the first newly built vessel for recovering diamonds in the whole world. "I got really lucky that I was involved from day one and of course very proud of what we have achieved in this tender as a team."
As a Tender Manager, Tobias coordinates the whole tender process. "This includes the engineering coordination, procurement and yard activities, planning and document control. Quite challenging because we have suppliers from all over the world, physically we are building the vessel at our new shipyard in Mangalia in Romania and we are sitting here in Rotterdam", he tells. So that means a lot of calling, skype-conferences, but also traveling. Tobias visits the yard in Romania about once a month. "I think it is really exciting to work with different nationalities. Everybody has their own traditions, ideas and understandings. That makes it very interesting because you learn a lot about different cultures, how to deal with that and making sure that everyone is on the same page and strives for the same goals."
Foundation for success
According to Tobias, teamwork is very important for a project to succeed. "The foundation for success is to lay trust in your team and give them the space so they can excel in what they do best. Very important, for me personally. I am still relatively young and don't have thirty years of experiences I can rely on. Therefore, I really have to trust my colleagues and their experience. It is a learning process", he explains. "I am very happy that Damen gave me this chance to step up to the plate and work as a Tender Manager. They look closely at what your talents are, where you want to go and give you opportunities through new roles and challenges." Working at Damen is much more than getting opportunities. "They organize a lot of different, cool activities, for example with Young Damen. We do that to bring together the youngest from different parts of the company. A great company to be part of."
Be part of the transition
At the age of thirty, Tobias has already achieved a lot. "Do you have any ambitions for the future?", we ask him. "My ambition is to bring Damen Cruise, Ropax and Offshore to the next level. At this moment we are quite busy with our first projects, but what will be very interesting and challenging in the future is the next phase. How do you transfer something you do for the first time into a sustainable business? I am looking forward to being part of that transition."
Specialties from different areas
And they need colleagues to make that possible. "The industry of maritime technology or shipbuilding in general is very wide, so we need a lot of different talents. Not only at Damen but also at other companies in the industry. In the end it is all teamwork, so you need specialties from different areas, level of experiences and ages. It really doesn't matter where you come from. For Damen Cruise, Ropax and Offshore it is important you have ambitions on the one side, but also like working in a not yet 100% fixed organization. We are still in development. We are all entrepreneurial and step up to the plates to move in the right direction. That is the spirit that unites us, no matter where we come from and what our specialty is."
Geplaatst op: about 1 month ago
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Interview with Tom Melis, Van Oord
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After lunch, we walked over to Sainte-Chapelle, which is hidden behind the walls of the Palais de Justice. I was wondering how to get to it, when I saw a line of people waiting along the wall. All of these people cannot be waiting to see the Palais de Justice, I thought, and figured out that this must be the line for Sainte-Chapelle.
I got stopped through the metal detector on the way in, and upon being asked what I had, I answered "D'argent?" and pulled a bunch of coins out of my pockets. The guard smiled at me, either because of my lame accent or because that is an outmoded term. I learned French in the late '80s, back when there were still francs and not Euros. It seems like "monnaie" is more in use now.
After that, we walked over to the Cluny, but there were only a few things I was interested to see there, so we didn't stay long. We saw the Lady and the Unicorn tapestries, the illuminated books, and the stained glass. We came out into a Christmas market and bought beignets, which unlike their New Orleans counterparts, are pretzel-shaped dough covered in granulated sugar.
We took the Metro to the Champs Elysees, and landed in the middle of a much larger and busier Christmas market. We walked up the Champs Elysees to the Arc de Triomphe, and then tried to turn off the Champs-Elysees to walk back to the Metro and ended up getting lost. I started feeling nervous as it was getting late and the streets are not in a grid pattern, so I felt kind of sure we were headed in the right direction, but not positive. We did find a Metro station and made our way back to the hotel, where we had a non-descript dinner and went to bed.
I have wanted to go to Paris since I started learning French in eighth grade, so it has always been a high priority on my travel wishlist. We decided to go over the winter break since we could combine our vacation time for maximum effect and stay for two weeks. I also thought that since I had a heavy schedule of museum visiting planned, the winter weather might not detract from the trip. At some point, we decided to add in Brussels and Amsterdam. I had visited Amsterdam and a few other cities in the Netherlands in high school, but this would be Mike's first time in Europe outside of the U.K.
We flew from Philly overnight to Amsterdam, and from there took the high-speed train to Paris. Our airport taxi driver in Philly had been to Paris, and he told us to forget about going to any museums and just sit in the cafes all day and eat. He said that is what he wants to do when he goes back to Paris. I didn't mention that we are vegetarians, which ended up having a big effect on our food options in Paris.
I actually managed to sleep a little on this flight, due to a combination of Tylenol P.M., an eyemask, and noise-cancelling headphones. Usually I can't sleep much at all, and I was worried about being tired since we then had to take the train and find our way to the hotel in Paris. Getting a little bit of sleep on the flight helped, but I was still kind of a zombie that first day.
I had booked the train later than our arrival time, on the theory that it would be better in case the flight was late. As it turned out, the flight took an hour less than it was supposed to, and we ended up with even more time to kill in Schiphol Airport. I remembered landing and flying out of Schiphol as a teenager, but seeing it again this time, nothing was like I remembered it. I don't know if it has changed that much in the meantime, or if I don't have as good of a memory as I thought I did.
While waiting, we had our first servings of frites, mine with mayonnaise, which I converted Mike to by the end of the trip. This first time, he still got ketchup. Then we took a table at a juice bar and got tea and croissants, marveled at the "smoking closet" where people could sit and smoke (do they charge to use it?), and listened to a roaming barbershop quartet sing American oldies (Elvis Presley) and Christmas carols. By this time we were in a sleep-deprived stupor, and we sat there until it was time to catch the train.
I had booked our train tickets far enough in advance that it was not much more to get first-class tickets, and we were so tired that it was nice to have the cushier seats and snack service. Mike fell asleep on the train, but I mostly watched the scenery and worried about speaking French. I studied French for about seven years total, from middle school through college, but I was very shy about speaking it. When we went to Montreal about ten years ago, although I could understand the French speakers and translate all the signs, I would respond to everyone in English. This does not make you friends in Montreal, and I was pretty sure it wouldn't work as well in France.
In first class, you get a taxi request form so you can have a driver waiting for you at the train station, and I did this instead of trying to figure out how to get a taxi or take the Metro in my sleep-deprived state. When we arrived in Paris, the driver was there holding a sign with my name on it, and we followed him around the building and down a ramp into someplace that looked like a loading dock, and I started to be afraid that we were about to be kidnapped. But we found the taxi, I gave him the address, and we drove through Paris. On the taxi ride, I remember most that sense of disorientation that comes from being surrounded by a foreign language. This was even more intense than Montreal, and I momentarily thought I had made a mistake coming to Paris. It had been about ten years since I had taken a French class and it's not like I made any effort to practice in the meantime.
I had practiced asking about our reservation, but the hotel desk clerk spoke perfect English and she switched right away once I gave my name. We made it up to our room, and went to bed without dinner. I woke up in the middle of the night to fret some more about how we were going to manage with my limited and Mike's non-existent language skills. Then I fell back asleep and didn't wake up until morning.


text:
The hypocrisy of #HijackRaw
Posted by Rich Kraetsch | Mar 3, 2014 | Columns, Featured
You already know the story here, shortly after the 2014 Royal Rumble, CM Punk walked out of World Wrestling Entertainment. The exact reasons are still not entirely clear but future PPV payouts, Batista and general burnout seem to be at the top of the list. It doesn't really matter, the point is CM Punk walked out presumably to never return with his contract due up in June.
A segment of dense wrestling fans started taking to Twitter to proclaim this whole thing a work despite it being reported as fact by reputable wrestling journalists like Dave Meltzer. The very idea that taking one of their top stars off TV and house shows in some roundabout way to build up intrigue is not the way WWE or Vince McMahon does business. He's not in the business of creating buzz, he's in the business of making money.
It was reported to a (correction) source of Meltzer's over the weekend that CM Punk WILL appear on tonight's episode of Monday Night Raw emanating from Rosemont, Illinois (just outside of Chicago):
"One person told me he's back. It's one of the biggest names in the business and he evidently knows"
This, of course, will lead to the "It was a work!" crowd to puff their chests out about how they aren't marks and didn't fall for the story even though it was obviously real and coming to terms is a completely plausible way to solve this issue but whatever.
I don't want to get into this segment of fans, no, I want to get into a different segment of self-important, low-life fans — the #HijackRaw crowd.
Rising from the muck of the "it's a work!" crowd is a different subset of fans, ones carefully planning a hijack of tonight's episode of Raw. The most notable Twitter account @ChicagoRawCrowd claims in their bio: "We are sick and tired of being sick and tired. Chicago = Change #hijackRAW" First off, you've probably heard that quote before, it was made famous by Fannie Lou Hamer a notable civil rights activist who delivered that quote in a speech alongside Malcom X in 1964:
"For three hundred years, we've given them time. And I've been tired so long, now I am sick and tired of being sick and tired, and we want a change. We want a change in this society in America because, you see, we can no longer ignore the facts and getting our children to sing, "Oh say can you see, by the dawn's early light, what so proudly we hailed." What do we have to hail here? The truth is the only thing going to free us."
I don't know if it's intentional or not, but the very idea that Daniel Bryan not being pushed to our heart's content is being likened to the civil rights movement is sickening. I'll give them the benefit of the doubt on this because there are far larger issues with this "movement."
The very idea of it, the objectives and the delivery are delusional.
Let's start with the idea. The gripe is Batista winning the Royal Rumble and being pushed down our throats. That's totally fair, but there's already chinks in the armor. On Friday's Smackdown, Batista began the slow turn to heel and while there hasn't been a ton of movement in changing the WrestleMania main event from Orton/Batista to something a bit more appealing, I'm confident it's going to change. WWE isn't that stupid, they recognize Batista's diminishing returns and are already addressing it. Somehow this change was made without having to make a Twitter account.
There's more than just Batista, Bryan is another focal point and the relative lack of push he's received over the past few months. I was upset initially, but I've started to see the build and although his big title win may have to wait until Extreme Rules, this is hardly something worth fighting for. Over the past few weeks, the commentary, merchandise and perception of Bryan has evolved from the "flying goat" and guy with the crazy, silly beard to a more serious, more polished Bryan. Out with the beard shirts in with the Yes Movement, change is already happening. You could argue he should've had a title win over the past six months, which, yeah, perhaps he should have but you can't argue he's been the focus of the show since SummerSlam. Cena/Orton may be the PPV main event, but Bryan has been ending more Raws than both men, certainly more than Orton over the last half year. This isn't necessary.
Then, there's a general sense of WWE not giving "us" what we want, which is… who the hell knows? The in-ring product of WWE and Raw is the best it's ever been. There's no debate anymore, this is the best ever. There is no other era where you'd get 20 minute matches between über-talented workers like Bryan, Cesaro or The Shield.
There's also some random gripes with the "PG era" which is maddeningly stupid because good wrestling is good wrestling whether to not the show is rated PG or TV-14. If you're pining for the days of Beaver Cleaver and Val Venis, more power to you but I'm okay with the PG era, I remember it being pretty good in the buildup to Money In The Bank 2011.
Which segues perfectly into my final point — delivery. @ChicagoRAWCrowd and various #HijackRaw tweeters continue to mention Money In The Bank 2011 as a time when the Allstate Arena crowd hijacked a show in the IWC's favor. This couldn't be more patently false, I know because I was there. As frequent Voices of Wrestling contributor Vince Morales put it perfectly:
Put it this way there was no #HijackMITB before the show that made CM Punk and Chicago famous. @voiceswrestling
— Ole! Anderson (@OleWrestling) March 3, 2014
There wasn't a #HijackMITB in the lead-up, I don't recall anyone saying "Hey, let's all boo John Cena and cheer CM Punk" it just happened, organically and that's what made it so powerful and so fun.
When "This Fire Burns" hit the loud speakers the Allstate Arena exploded, suddenly Chicago flags were flying everywhere, people were jumping up and down, it was infectious, you couldn't help but be apart of it. It was that moment and that crowd that made me start this very website, the objective of the site has changed since then but that's why it's Voices of Wrestling — we fans created a voice for ourselves.
Fast-forward to today and we have a set of rules to print out and bring with us. Objective one is embarrass the brass: We're suppose to turn out backs to HHH, Batista, Orton and Stephanie McMahon. That'll show those heels! In the event that these men wrestle a match, we're suppose to chant "Same Old Shit!" Oh fun!
The hypocrisy of this movement and the set of rules/directions being passed around is too rich. Let's step back and look at what's happening here.
We're upset that Daniel Bryan, who organically began receiving crowd reactions due to his great in-ring work, stellar charisma and an awesome chant isn't being pushed to our liking and instead WWE is forcing us to follow their plan and cheer for the returning Batista. The only way to respond, of course, is to force people to follow a plan and a set of directions.
You people realize you're destroying everything that made Daniel Bryan special, everything that made the then leader of Nexus CM Punk the biggest babyface in WWE, everything that makes the post-WrestleMania crowd special — organic crowd reactions.
Force feeding people a set of cheers, boos, chants and whatever is completely the opposite of what should happen at tonight's Raw. We should boo/cheer and react as we all please, if it so happens that we're all on the same wavelength, and we all boo Batista as loud as humanly possible or all do the Yes chant like its never been done before, bravo! Go us! But to send out a list of rules to follow as a way to oppose the status quo or The Authority? Beyond stupid.
This whole movement hasn't made me any less excited to attend Raw tonight. I can't wait, I'm counting the seconds down but I really hope that we as a fan base in 2014 can be smarter than piggybacking some stupid #HijackRaw movement and instead let our voices be heard the way it should be, organically.
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