text:
Merchants/Partners
The Leader in Payment Security
Card Present
Data and Payment Security
Retail, Grocery and Pharmacy
Non-Profit / Fundraising
Government / Utilities
Restaurant / Foodservice
Product Set
PCI P2PE
ShieldConex®
Decryptx®
P2PE Direct
P2PE Manager®
PayConex™
PayConex™ Plus
PayConex™ for Salesforce
QuickSwipe® Mobile
Current P2PE PartnersBluefin's payment gateway, processor, and integrated software partners.
Become a P2PE/ShieldConex Partner
Payment and Data Security Solutions for ISV's
Security Solutions for Partner Processors and Payment Gateways
Technical/Education
P2PE FAQs
P2PE Devices
KIF Listing
Data Security University
This GDPR Data Processing Addendum ("DPA") forms part of an applicable service agreement, addenda, and Terms of Use available at bluefin.com/terms or such other location as the Terms of Use may be posted from time to time (as applicable, the "Agreement"), entered into by and between partner, merchant, or client ("the Client") and Bluefin Payment Systems LLC ("Bluefin"), pursuant to which Client has accessed or utilized Bluefin's Services as defined in the applicable Agreement. The purpose of this DPA is to reflect the parties' agreement with regard to the processing of personal data in accordance with the requirements of Data Protection Legislation as defined below.
If you are a Client entity and have executed an order form or statement of work with Bluefin pursuant to the Agreement (an "Ordering Document"), but are not a party to the Agreement, this DPA is an addendum to that Ordering Document and applicable renewal Ordering Documents. If you are a Client entity entering into this DPA, are neither a party to an Ordering Document nor the Agreement, this DPA is not applicable, valid, or legally binding. You should request that the Client entity that is a party to the Agreement receive this DPA.
This DPA shall not replace or supersede any agreement or addendum relating to processing of personal data negotiated by Client and referenced in the Agreement, and any such individually negotiated agreement or addendum shall apply instead of this DPA.
In the course of providing the Bluefin Services to Client pursuant to the Agreement, Bluefin may process personal data on behalf of Client. Bluefin agrees to comply with the following provisions with respect to any personal data submitted by or for Client in the provision of the Bluefin Services or collected and processed by or for Client through the Bluefin Services. Any capitalized but undefined terms herein shall have the meaning set forth in the Agreement.
Data Processing Terms
In this DPA, "Data Protection Legislation" means European Directives 95/46/EC and 2002/58/EC (as amended by Directive 2009/136/EC) and any legislation and/or regulation implementing or made pursuant to them, or which amends, replaces, re-enacts or consolidates any of them (including the General Data Protection Regulation ("GDPR") (Regulation (EU) 2016/279)), and all other applicable laws relating to processing of personal data and privacy that may exist in any relevant jurisdiction.
Definitions such as "data controller", "data processor", "data subject", "personal data", "processing", and "appropriate technical and organizational measures" shall be interpreted in accordance with applicable Data Protection Legislation. For reference, see GDPR text here: https://gdpr-info.eu.
Roles of the Parties
Depending on the Bluefin Services being addressed, Bluefin may act either as a data controller or a data processor. For the purposes of this DPA, and the Bluefin Services addressed here, Bluefin is the data processor. Parties agree that Client is the data controller and that Bluefin is its data processor in relation to personal data that is processed in the course of providing the Bluefin Services. Client shall comply at all times with Data Protection Legislation in respect of all personal data it provided to Bluefin pursuant to the Agreement.
The subject-matter of the data processing covered by this DPA are the Bluefin Services ordered by Client, as additionally described in the Agreement or the DPA. The processing will be carried out until the term of Client's ordering of the Bluefin Services ceases. Further details of the data processing are set out in Annex 1 hereto.
In respect of personal data processed in the course of providing the Bluefin Services, Bluefin:
shall process the personal data only in accordance with the documented instructions from Client (as set out in this DPA or the Agreement or as otherwise notified by Client to Bluefin (from time to time). If Bluefin is required to process the personal data for any other purpose provided by applicable law to which it is subject, Bluefin will inform Client of such requirement prior to the processing unless that law prohibits this on important grounds of public interest;
shall notify Client without undue delay if, in Bluefin's opinion, an instruction for the processing of personal data given by Client infringes applicable Data Protection Legislation;
shall implement and maintain appropriate technical and organizational measures designed to protect the personal data against unauthorized or unlawful processing and against accidental loss, destruction, damage, theft, alteration or disclosure. These measures shall be appropriate to the harm which might result from any unauthorized or unlawful processing, accidental loss, destruction, damage or theft of the personal data and having regard to the nature of the personal data which is to be protected;
may hire other companies to provide limited services on its behalf, provided that Bluefin complies with the provisions of this Clause. Any such subcontractors will be permitted to process personal data only to deliver the services Bluefin has retained them to provide, and they shall be prohibited from using personal data for any other purpose. Bluefin shall be liable for the acts and omissions of its sub-processors to the same extent Bluefin would be liable if performing the services of each sub-processor directly under the terms of this DPA, except as otherwise set forth in the Agreement. Any subcontractors to whom Bluefin transfers personal data will have entered into written agreements with Bluefin requiring that the subcontractor abide by terms substantially similar to this DPA.
shall ensure that all Bluefin personnel required to access the personal data are informed of the confidential nature of the personal data and comply with the obligations sets out in this Clause;
shall to the extent legally permitted, promptly notify Client if Bluefin receives a request from a Data Subject to exercise the Data Subject's right of access, right to rectification, restriction of Processing, erasure ("right to be forgotten"), data portability, object to the Processing, or its right not to be subject to an automated individual decision making ("Data Subject Request"). Taking into account the nature of the Processing, Bluefin shall assist Client by appropriate technical and organizational measures, insofar as this is possible, for the fulfilment of Client's obligation to respond to a Data Subject Request under Data Protection Laws and Regulations. In addition, to the extent Client, in its use of the Services, does not have the ability to address a Data Subject Request Bluefin shall upon Client's request provide commercially reasonable efforts to assist Client in responding to such Data Subject Request, to the extent Bluefin is legally permitted to do so and the response to such Data Subject Request is required under Data Protection Laws and Regulations. To the extent legally permitted, Client shall be responsible for any costs arising from Bluefin's provision of such assistance.
shall take reasonable steps at the Client's request and cost to assist Client in meeting Client's obligations under Article 32 to 36 of that regulation taking into account the nature of the processing under this DPA, provided that Bluefin reserves the right to reimbursement from Client for the reasonable cost of any time, expenditures or fees incurred in connection with such assistance;
at the end of the applicable term of the Bluefin Services, and in accordance Bluefin's Data Retention Cycle, upon Client's request, Bluefin shall securely destroy or return such personal data to Client;
may transfer personal data from the EEA to the US for the purposes of this DPA pursuant to the EU-US Privacy Shield provided that Bluefin maintains its certification under the EU-US Privacy Shield;
upon reasonable request, at Client's sole expense (including reasonable compensation to Bluefin for time and expense) Bluefin shall allow Client and its respective auditors or authorized agents to conduct audits or inspections during the term of the Agreement, which shall include providing reasonable access to the premises, resources and personnel used by Bluefin in connection with the provision of the Bluefin Services, and provide all reasonable assistance in order to assist Client in exercising its audit rights under this Clause. The purposes of an audit pursuant to this Clause include to verify that Bluefin is processing personal data in accordance with its obligations under the DPA and applicable Data Protection Legislation. Notwithstanding the foregoing, such audit shall consist solely of: (i) the provision by Bluefin of written information (including, without limitation, questionnaires and information about security policies) that may include information relating to subcontractors; and (ii) interviews with Bluefin's IT personnel. Such audit may be carried out by Client or an inspection body composed of independent members and in possession of the required professional qualifications bound by a duty of confidentiality. For the avoidance of doubt no access to any part of Bluefin's IT system, source code, data hosting sites or centers, or infrastructure will be permitted. Any audit or audit related activities (i.e. interviews with Bluefin IT personnel, requested resources, and personnel) shall be at Client's sole expense, to the extent permitted by law;
If Bluefin becomes aware of any accidental, unauthorized or unlawful destruction, loss, alteration, or disclosure of, or access to the personal data that is processed by Bluefin in the course of providing the Bluefin Services (an "Incident") under the Agreement it shall without undue delay notify Client and provide Client (as soon as possible) with a description of the Incident as well as periodic updates to information about the Incident, including its impact on Client Content. Bluefin shall additionally take action to investigate the Incident and reasonably prevent or mitigate the effects of the Incident;
Bluefin shall provide information as reasonably requested by Client to demonstrate compliance with the obligations set out in this DPA.
Each party's and all of its Affiliates' liability, taken together in the aggregate, arising out of or related to this DPA, and all DPAs between Authorized Affiliates and Bluefin, whether in contract, tort or under any other theory of liability, is subject to the 'Limitation of Liability' section of the Agreement, and any reference in such section to the liability of a party means the aggregate liability of that party and all of its Affiliates under the Agreement and all DPAs together.
For the avoidance of doubt, Bluefin's and its Affiliates' total liability for all claims from the Client and all of its Authorized Affiliates arising out of or related to the Agreement and each DPA shall apply in the aggregate for all claims under both the Agreement and all DPAs established under this Agreement, including by Client and all Authorized Affiliates, and, in particular, shall not be understood to apply individually and severally to Client and/or to any Authorized Affiliate that is a contractual party to any such DPA. Also, or the avoidance of doubt, each reference to the DPA in this DPA means this DPA including its Schedules and Appendices.
Details of the Data Processing
Bluefin shall process information to provide the Bluefin Services pursuant to the Agreement. Bluefin shall process information sent by Client's end users identified through Client's implementation of the Bluefin Services. As an example, in a standard programmatic implementation, to utilize the Bluefin Services, Client may allow the following information to be sent by default as "default properties:"
Types of Personal Data
Client may submit Personal Data to the Services, the extent of which is determined and controlled by Client in its sole discretion, and which may include, but is not limited to the following categories of Personal Data:
Field Comment
Full Credit and ACH details
transaction_id*
account_id*
authorization_date*
tender_type* Credit, Debit, ACH
transaction_type*
transaction_amount*
name Consumer name
card_brand
last4 Could also be last 4 of ACH account
card_expiration
user_data Custom field for Merchant
authorization_msg returned from processor
authorization_code returned from processor
avs_response returned from processor
cvv2_response returned from processor
ip_address IP address of Merchant or terminal
cashier name of store employee
street_address1 of consumer
city of consumer
state of consumer
zip of consumer
country of consumer
phone of consumer
email of consumer
refund_id
refund_balance
Custom ID Custom field for Merchant
action_date
noc_data ACH notification data
recurring_id
Input Group
invoice_entry
trace_num
term_type
batch_id
batch_date
Test_Label
Client may submit Personal Data to the Bluefin Services, the extent of which is determined and controlled by Client in its sole discretion, and which may include, but is not limited to Personal Data relating to the following categories of data subjects:
Prospects, Clients, business partners and vendors of Client (who are natural persons)
Employees or contact persons of Client's prospects, Clients, business partners and vendors
Employees, agents, advisors, freelancers of Client (who are natural persons)
Client's Users authorized by Client to use the Services
Processing Activities
The provision of Bluefin Services by Bluefin to Client, including credit, debit, and ACH payment processing.
Our monthly Bluefin Payment Security Brief will keep you up to date on the latest data breach statistics, cybersecurity trends, and Bluefin happenings, from press releases, to case studies, to articles from Bluefin's payment security thought leaders.
By clicking to subscribe, you are agreeing to our privacy policy. You can unsubscribe at any time by clicking "Unsubscribe" on the newsletter. We use MailChimp as our marketing platform. By clicking to subscribe, you acknowledge that your information will be transferred to MailChimp for processing. Learn more about MailChimp's privacy practices here.
New research from @TrendMicro finds that 41% of IT leaders believe that #AI will replace their role by 2030 and 23%… https://t.co/VZvyXlVKwd2 minutes ago
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text:
Q: cannot get sidebar and scroll bar to stop above image i have an acitive events list sidebar that i need to have stop above this beta sticker. how can i get the scroll bar and events to end above the sticker and not go behind it ?
here is some of my code:
layout.cshtml:

           Active Events
           <form action="@Url.Action("Details", "Event")" id="acform" class="s-search" >
            @(Html.Kendo().AutoComplete()
                    .Name("s-searchEvents")
                    .DataTextField("Name")
                    .Filter("contains")
                    .MinLength(2)
                    .Placeholder("Search events...")
                    .Events(e => e.Select("onACSelect"))
                    .DataSource(source => source.Read(read => read.Action("GetEvents", "Event")))
                )
             </form>

        @Html.Partial("_EventList", (IEnumerable<ArdentMC.Sentry.Data.Event>)ViewBag.EventList)

   css:

          .s-betaSticker {
           width: 150px;
            height: 121px;
         position: absolute;
           left: 0;
           bottom: 0;
            background-image: url("../Images/beta.png");
           background-size: cover;
              /* In case size is reduced/increased */
                  }

Please any advice or feedback will be greatly appreciated, i have been trying to fix this for days and cant seem to get. thank you
and here is a screen shot of the issue--

A: I figured out my own problem. i was able to add a footer into the sidebar and add the image into the footer. i just used the same styling and background color as the list and it worked perfectly, no overlapping and it looks great

redpajama_set_name: RedPajamaStackExchange


Each of us, who works online, knows that you build your list of e-mail addresses for successful marketing on the Internet. Your compilation of email addresses is your single, most powerful tool.
You already have the e-mail addresses of the people who may be interested in what you have to offer. Why not sell items that are related to topics in your email messages. The person, who trusted you enough to provide their email automatically, gave you the consent to communicate. The informative tips in this blog discuss how to build your list in successful ways.
Tip Number 1: Blogging is king.
More precisely, regular blog posting is king. Starting a blog can be easy or difficult, depending on how you approach the task. The easy way is to automate your blog as you establish it. WordPress (WP) is one such tool of choice. It works on plug-ins and templates. You create a customized look without the problems using coding.
If you can post a blog entry once a day, then you are doing well. I chose to post a new article every 3rd day. The timing allowed me to market each piece for several days on my social media accounts with the idea of generating leads to build your list.
Tip Number 2: Stay relevant.
Whether you are posting blog entries or sending e-mails to the addresses on your list, you need to stay on topic. If a client sees your facebook post, and then receives an email with useful information on another aspect of the same issue, they can connect the dots between you, the topic, and the varied streams of information.. You then maintain focus on the very subject that got people interested in the first place.
When you move away from the topic of interest, people will start skipping over what you send them. If they lose interest, then next step is marking your messages as spam. To make a transition to a new or ancillary topic, state the reason to move from topic one to topic two Use proper paragraphing can achieve this effect of movement.
Tip Number 3: Make a proper squeeze page.
A squeeze page (no, I don't know why it is called that!) is a straightforward webpage built with an offer for visitors in exchange for their e-mail addresses. Sometimes the email is a way to access an online course, download a free ebook, or gain access to a membership site.
Don't confuse the squeeze page with a sales page. A squeeze page asks for an email in exchange for information or a gift of sorts. A sales page does sell your services and products that are displayed on the pages along with price points. What you put on a squeeze page is the premise of your service and sales content and headlines.
Tip Number 4: Skip the video on squeeze pages, or people will skip it.
Video works for generating leads, verifying your expertise, and convincing visitors to buy. People who visit your squeeze page and opt-in are the impulsive personality type. They come to the squeeze page to download what you offer. Mostly, they aren't the patient type, even with high-speed broadband, to watch a video.
By keeping your squeeze pages free of videos, you allow it to load quickly and cleanly. Your visitors get to read the salient points right away, and they will opt-in during that magic moment when they decide they like what you do and represent.
Sounds and music slow down the loading time of the website. Ensure that images are compressed too. Smarter Internet users block media from untrusted sources, so your special effects are just left out, and you do not lose your intended impact.
Tip Number 6: Use video in your posts!
YouTube has made publishing videos a breeze, and it is free, which means you can get a stronger emotional connection with your audience. Facebook Live offers a shorter video opportunity if you have a tribe or group with whom you teach and converse.
For awesome impact, add videos to blog posts. While some people prefer to read, higher numbers of people like to watch and listen. By including a video in your well-written blog posts, you can generate leads from the readers as well as the listeners.
Use videos in marketing blogs to respond to your clients' essential questions. Your followers will know that you do care about what they think and ask because you take the time to create and post videos for them. Picking out the questions that matter most is the tricky part. Another tricky part is staying on topic as you discuss questions and answers. You can answer off-topic questions through email. Another way that videos work for you is that answers generate traffic and boost your popularity.
RSS refers to "Really Simple Syndication." The idea of using RSS to publish your blog posts is that it can publish your media to any RSS reader who is tuned in and signed up for your feed. When you post a blog entry, video, or an audio podcast, then those who chose to receive RSS data from you will get an update on their RSS readers. It's like they get a personal notification every time you put something up online.
If you are not confident about your appearance on video or want to keep your online footprint as small as you can, then using audio instead of a video is a perfect solution. The most important advantage of audio over a video is that it consumes less space and is downloaded quickly.
Search Engine Optimization, also called SEO, is a set of procedures that guide you to fix your web pages and their content, so search engines (like Google and Bing) feature it higher among results for relevant searches.
In practice, SEO is complicated because the rules change over time. Is it worth your time to learn and complete SEO for your site? Or, are you the type of business person who hires a support person to create SEO for your website? Unless you have a fast learning curve, hiring this task out might better serve your goals. At least, once I learned all about SEO, I did hire another person to complete my sites and I learned best practices also.
Parent Coaching focuses on listening, empathizing, asking questions and sharing the love. Imagine how relieved frustrated parents will be to have someone listen and clarify the problem they feel.
How empowered they are or how powerful they appear to their children.
People can turn their problems around. They can be whatever they want. They can have whatever they want. Coaching is about that process. You help them, and it is an incredible job.
Coaches review a client's strengths and focus on them. The medical/psychological establishment focuses on problems and pathology.
We look at wellness and not what is broken. If a coach finds an actual pathology, the coach refers that person to a psychologist or other appropriate specialist. Troubled persons with long-standing problems may not think rationally, and that is why coaches refer them to appropriate professionals for their healing.
In coaching, the model is that the client is whole and wants to achieve goals. The parent is open to advice, and discussion, and looking to the future, not the past.
The clients who employ coaches are healthy and happy people who want to improve their lives. They want to go from good parents to better parents.
Or help people be competent and make parents happy?
Then enroll in the parent-family coaching program and receive two certificates for coaching parents and for coaching families.


text:
Ellisella ceratophyta is een zachte koraalsoort uit de familie Ellisellidae. De koraalsoort komt uit het geslacht Ellisella. Ellisella ceratophyta werd in 1758 voor het eerst wetenschappelijk beschreven door Linnaeus.

Zachte koralen

redpajama_set_name: RedPajamaWikipedia


Leland Street School strives to develop life-long learners and productive citizens, in a safe learning environment, by fostering strong personal character and critical thinking skills.
Our vision is that each student will gain tolerance for diversity, respect for themselves and others,and develop motivation leading to academic excellence in a collaborative school community.
The School Uniform Policy is designed to provide a sense of unity and school spirit among the students. All styles of student dress must meet our dress code standards. Clothing must be clean and in good repair (no holes in jeans, shirts, etc.). Click here for more info.
Our monthly goal in attendance is 96% or higher! We know attendance plays a big part in academic success so please help us reach our goal! Thank you for entrusting us with your children.
Leland Street School welcomes your involvement and support. There are many opportunities for parents and community members to be involved at Leland Street School. Together we can raise the level of achievement and excitement at Leland Street School.
The Leland community welcomes and encourages you to become actively involved in supporting the Leland Street School vision. Here are a few ways that you can increase your involvement with Leland Street School.
Open to parents of English Language Learners. Monthly meetings.
Open to all parents. Monthly meetings.
We are in desperate need parents who are willing to help us with our morning safety valet between 7:40 and 8:00 am. Your gift of 20 minutes to the school one or two days a week will make a huge difference in the quality of our school and the safety of our students. If you are here in the morning to drop off your child and can spare a few extra minutes we would be grateful. If you are interested in joining the morning safety valet group please contact the office.
Please check out the Parents tab for more information!
We need EVERY parent, grandparent, and friend to join.
What does the parent group do???
You can be a part of this through your membership, donations, or volunteering your time. Contact the school for more info.


text:
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
ADVERTISING AT CURTAINUP
Etcetera and
Short Term Listings
TKTS
PLAYWRIGHTS' ALBUMS
A CurtainUp Review
By Deirdre Donovan
And you have to be confident. No pulling at your clothes or anything. No slouching. No crossing your arms over your boobs. You have to act like you dress like that every day. .— Emmy
left to right:Natalia Payne as Claire and Wrenn Schmidt as Emmy
(Photo: Carol Rosegg)
You have to give Deirdre O'Connor's Jailbait an A for gutsy effort. Two teen girls play a dangerous dating game with two older men at a Boston night club. Conning the men into believing they're college students, both teens get a real education on sex and the city. And before the evening is over, they will learn how lies can burn the liar, and that being a "pick up" is a real downer.
Intelligently handled by the young author, this coming-of-age story presents us with a quartet of characters to searingly shows us what happens when teens get in over their head, and passion spins out of control. It also presents the night club scene as it really is, with special emphasis on its pseudo-sophistication and casual sex. Though one may be tempted to label the play as a staged sitcom, it soon proves itself to be a drama with layered characters and a tightly conceived plot.	The contradictory currents in both teens are sustained by the moving complex performances of Wrenn Schmidt's Emmy and Natalia Payne's Claire. Equally interesting are Kelly AuCoin's sensitive Robert and Peter O'Connor's sleazy Mark.
The action begins with both teens primping for the dates they are to meet at the nightclub where Emmy met Mark the previous week. After Emmy instructs Claire on the finer points of seduction, the scene switches to the men at the nightclub waiting for the girls. Interest and mounts when the foursome meets and the scenes alternate between the men and the teens retreating, in turns, to the restrooms to discuss their impressions of the dates so far. These alternating scenes create a pungent sense of what's happening to whom, and how and why various bits of information are being relayed during the evening.
To be sure, neither of the teens can cope with the hard reality of getting picked up, getting laid (or not), and getting dumped all in one evening. In fact, one of the more powerful moments in the show is when Claire refers to the evening as "a date" and Robert instantly refutes her claim with a few disdaining remarks: "No. It's a pick-up. It's a dirty drunken night of f. . .ing followed by no phone call. No contact. No relationship. Nothing. You want to play grown-up? That's grown-up."
There are a lot of such shattering moments and grown-up revelations, but O'Connor doesn't make this play a catechism lesson on private or public morality. To be sure, the theme is sex, and how easily one gets bruised by it. While the men express some suspicions early on about the girls' looking young, it takes a while for them to Emmy's and Claire's ages, and call their game. It's a risky, frisky, and sobering situation. It ends up turning Emmy's careful scheming on its head with her pseudo-sophistication goes flat.
The language of the play is natural and convincing. It captures the patois of adolescents and the idiom of men who wear Brooks Brothers suits. The word "fun" — repeated time and again by the teens—-is a flippant reference to sex in the play, but, not surprisingly, the fun slowly disappears and sex takes on more nuanced meanings with each passing scene. What's more, the teens ultimately learn that sexual intimacy is no shortcut to growing up.
O'Connor has managed to successfully write a play about sex without staging any risqué sex scenes where the audience becomes more voyeurs than viewers. In short, one learns that a good play about sex is not so much about displaying one's privates but rather concerns one's psychological makeup and capacity for commitment.
The director at hand is Suzanne Agins, and a good hand she has. Two of her past forays in directing include Lucy and the Conquest and The Birds at the Williamstown Theater Festival, where she recently served as artistic associate director. She is one of the guiding forces behind the Cherry Lane Mentor Project, in which Jailbait was developed. Along with esteemed playwright Michael Weller, she has nurtured O'Connor's play from its earliest stages to this fully-staged production.
Unlike so many writers of coming-of-age plays, O'Connor has the maturity to portray the strengths and frailities of her characters. Her play has a center of gravity and never spins off its axis—even when the characters spin off theirs.
All in all, this promises to be a good year for O'Connor. Jailbait serves up an interesting theatrical medley of naiveness, experience, sexual fantasy, and reality. As the first tenant of the Cherry Pit, the new Cherry Lane company space in the West Village, it's a breath of fresh air in these stale economic times.
Written by Deirdre O'Connor
Directed by Suzanne Agins
Cast: Kelly AuCoin (Robert), Peter O'Connor (Mark), Natalia Payne (Claire), Wrenn Schmidt (Emmy).
Sets: Kina Park
Costumes: Rebecca Bernstein
Sound: Daniel Kluger &Brandon Wolcott
Lighting: Pat Dignan
Stage Manager: Libby Unsworth
The Cherry Pit at 155 Bank Street
From 3/19/09; opening 3/25/09/closing 4/25/09.
Wednesdays and Thursdays @ 8pm; Fridays and Saturdays @ 7pm and 10pm.
Tickets are $40. For reservations, call SmartTix at 212-868-4444 or visit www.smartix.com.
Running time: 90 minutes with no intermission
Reviewed by Deirdre Donovan based on March 23rd press performance
REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
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The review made me eager to see Jailbait
Click on the address link E-mail: esommer@curtainup.com
Paste the highlighted text into the subject line (CTRL+ V):
Feel free to add detailed comments in the body of the email. . .also the names and emails of any friends to whom you'd like us to forward a copy of this review.
You can also contact us at Curtainup at Facebook or Curtainup at Twitter
Try onlineseats.com for great seats to
Playbill 2007-08 Yearbook
Leonard Maltin's 2008 Movie Guide
©Copyright 2009, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com

redpajama_set_name: RedPajamaCommonCrawl


Our Junior Training Band meets prior to the Main Band rehearsals every Thursday evening at from 7 pm til 8 pm. The band is made up of youngsters from local schools as well as adults wishing to take up brass playing. The band is under the direction of Steve Brown the Bands Principle Euphonium player.
Should you wish to join our happy band please contact us without delay, we will take absolute beginners and if you have your own instrument that's great, however we can provide some instruments but it will be on a first come basis (its all free)!
We would love to meet you, Just come along, or contact us.


Much has already been made of William Pannapacker's January 8th Brainstorm column in the Chronicle of Higher Education, in which he declares that the digital humanities stars came out at the recent MLA convention in Los Angeles. Stéfan Sinclair has produced probably the best and most comprehensive response to date, but the conversation on Twitter has also been extensive (so much so that Pannapacker describes it as like being "nibbled to death by ducks," which is rather funny). No doubt further responses are on the way.
There are a couple of things, I think, to say up front. First, this is one guy's one-off. It's not a pronouncement from the mountaintop. Second, as Pannapacker himself reminds us, he had a lot of positive things to say. The posting was hardly a rebuke or a slam. Third, I am mentioned in the piece in what I take to be a positive light. (To not acknowledge this in light of what follows would be disingenuous.) So what do I make of the allegation of a "star system" in digital humanities?
That phrase, "star system," comes not from Pannapacker himself but from David R. Shumway, who wrote a then-much-talked-about piece in 1997 in PMLA entitled "The Star System in Literary Studies." Shumway, of course, is adopting the phrase from Hollywood (how perfect in context!), recounting the genealogy of "stardom" as a new and distinct form of celebrity manufactured by the studios. Shumway makes several trenchant points, yoking the emergence of stars in literary studies not only to the rise of high theory, but also to the rise of the international academic conference, the airlines that transport us to them, the ongoing institutionalization of academic literary studies as a research discipline (and attendant search for legitimization), and the proliferation of images of the professoriate amid the ferment of the culture wars. Ultimately he concludes that the star system in literary studies is a distinct historical phenomenon, originating in the late 1970s; he also concludes that it's not healthy, the disproportionate resources required to maintain it likely contributing to the rise of contingent labor and the general deterioration of academic working conditions. Moreover, he sees it as Balkanizing knowledge into partisan camps and serving to undermine the public's confidence in the academy by diluting the authority of the rank-and-file professoriate.
Several of Shumway's characterizations of the star system map all too easily onto DH. The management of public image, for example: we do this both trivially in the form of avatars, as well as more substantively through our daily online "presences" on blogs, Twitter, listservs, and more. Likewise, it's worth noting that like "high theory," DH (or "big humanities") positions itself as a kind of meta-discourse (and/or methodology), cutting across all individual sub-disciplines and fields. This is an enormously powerful and seductive base.
Digital Humanities is not some airy Lyceum. It is a series of concrete instantiations involving money, students, funding agencies, big schools, little schools, programs, curricula, old guards, new guards, gatekeepers, and prestige. It might be more than these things, but it cannot not be these things.
. . . and not acknowledge that there are also, inevitably, stars, cliques, insiders and outsiders. To have it otherwise would be to believe digital humanities is somehow unique as a phenomenon in the history of human social relations. One readily observable way in which the star system in DH manifests is in speaking and consulting invitations to institutions looking to start centers or programs in the digital humanities. Many of us receive more such invitations than we can accept, and it's mostly the same couple of dozen people who make the rounds on this particular circuit. As more and more campuses look to gain traction in DH (and make no mistake, this is a very good thing) we find such gestures typically authorized in the first instance by a series of visits from one or more established figures in the field. A talk or a seminar is the centerpiece of the occasion, and there are meetings with students, with faculty, perhaps with campus administrators. This is a lot like what Stanley Fish, quoted in the epigraph to Shumway's essay, calls "flying to Charlottesville," with the delish irony that Charlottesville itself is one of the epicenters of accomplishment in the digital humanities.
Nor are we ourselves immune to slipping into the language of starpower on occasion (I recall that when Digital Humanities Questions and Answers launched, we celebrated the eagerness with which the community was contributing by noting "my god, it's full of stars"). Yes, the lines might be delivered with some self-deprecation, but we're deceiving ourselves if we think they aren't also rendered with satisfaction. Is there a problem with that? Not at all. I'll repeat: of course there are stars in DH, there were even when I was coming up (and it was called humanities computing).
If the stars exist, then the more salient question is whether we can avoid the pitfalls of the star system that Shumway delineates. The problem (and I believe Shumway would concur) is not that a minority of academics are famous for being good at what they do. Knowledge is real, expertise is real, different kinds of institutional authority are real. Smart is real. If you're going to start your own DH center it's not surprising that you would want to hear from someone who's been running one for five or ten or twenty years, and the truth is there simply aren't all that many of those people to go around.
Yet the perception of Twitter cliques and in-groups is also real. And just as a flame over email can have exaggerated impact—you carry around for days the perceived stigma of some barb you would brush aside in an f2f exchange—so too can the inevitable inequities and asymmetries of networked relationships come to chafe in less pointed but no less profound ways. To some extent, this simply must be accepted as a fact of grown up life. None of us have infinite attention spans, thus we hang out with our friends, maybe pay more attention to someone "big" than someone little, and make all kinds of choices, dozens of times a day, as to how to apportion the micro-cycles of attention online community demands. Human nature is what is, even on Twitter.
We often seek to defuse that with testimonials about digital humanities' "niceness," or more tellingly how collectively open and available we all tend to be, rightly pointing to resources like DHQ&A, the THATCamp phenomenon, and the countless uncompensated hours many of us spend advising peers, students, and sometimes perfect strangers who turn up in our email queues (or buttonhole us at conferences) on matters ranging from technical minutiae to institution-wide strategy. But while being nice is good, being nice is not, or may no longer be, enough. For Shumway, star quality is not simply a function of public image or the number of frequent flier miles the academic logs, but of a specific kind of relationship between consumers, or "fans," and the celebrity: "It is the feeling of personal connection that transforms the merely famous scholar into a star" (92). In digital humanities, I would argue, this special relationship is less a function of the performativity of a lecture (most of us are simply not that interesting to watch) than the ruthless metrics of online community, the frisson that comes from an @reply from someone more famous than you, or you'll never believe who just started following me! For those of us who spend time online in Twitter and (to a lesser degree) other social networks, including Facebook and the looser tissues of the blogosphere, this star system is reified (and sometimes even quantified or visualized) in the ongoing accumulation of network relations that describe—often all too precisely—influence and impact, pitilessly allowing one to locate oneself in the ecosystem at any given instant. This seems to me to go some way towards explaining why there is so much anxiety around the Twitter/DH nexus—its constant mappings and metrics have come to inhabit that intangible performative dimension that Shumway earlier ascribed to the public (and in person) appearances of the high theory stars.
But that's not all. Online relationships are eminently portable across the analog/digital membrane. So those who are in positions of visibility and impact online reap rewards that have more tangible consequences in meatspace. Be part of enough high profile online exchanges and you're likely to find yourself squirming in a coach-class airline seat on your way to a speaking gig (or a job interview) six months later. As Phil Agre reminded us a long time ago, the network is a terrific place to . . . well, network. At its best this can be a great multiplier, or democratizer: the individual with a 4/4 load at an isolated teaching institution can wield influence in ways that would have been unthinkable in the theory-era of which Shumway writes. That kind of load-balancing—no longer Yale deconstruction or Duke English, but centers of influence at big public land-grant institutions or small "teaching colleges"—is dramatically different from the star system characterized by glossies of Derrida or De Man, or the faux-fanzine Judy. But it is not any less divorced from the real world balance of academic power, which (still) manifests in the form of jobs, grants, publications, invitations and all the rest of the apparatus that Shumway's high theory stars defined by transcending. As cycles of influence flicker ever more rapidly back and forth between the analog and digital world, as tenure committees in the humanities begin to import impact metrics (citation indices and the like) from the sciences, and as the success stories of the disempowered few who rise above their rank through social networking become more commonplace, digital humanities must do better than simply brush off any suggestion of ins and outs on the networks that connect it day to day. It must acknowledge, openly and frankly, that while Twitter (and other online social networks) and DH are not coextensive, the interactions among and between them are real and consequential and ultimately material. It's not just that our avatars are now the real stars—it's that stardom is also now a function of one's ability to arbitrage influence across all manner of networks, "real" and virtual alike.
How will digital humanities reckon with its growing prominence, prestige, and yes, even stardom? I for one think the jury is still out. I agree with Stéfan, for example, that to a one DH folk are "the most humble and down-to-earth colleagues I can imagine." Yet the kind of tensions (and challenges) Beth Nowviskie gestures toward in her remarkable "Eternal September" post from a few months back are also very real, and at some level deeply related to stardom and such. Part of what it means to be a star in DH, at least the 24/7 segment of it, is being always "on" in exactly the way that Nowviskie sees as most pernicious for the long-term health and sanity of those working in this field. So in the end, yes, I think Pannapacker was on to something, and we would do well to acknowledge it and think about it (and yes, even blog and tweet about it) rather than just brush it away as reductio ad absurdum. I'm looking forward to hearing what others have to say below.
This analysis struck me as correct in all its major points. I appreciated the "always historicize" framework, too. Thanks for this, and I'm looking forward to the PMLA article to follow!
When I was in graduate school, the "stars" (of, in my case, HC, but generally in English studies) seemed untouchable to me. They would greet each other with great enthusiasm at conferences. They always seemed to head off to dinner together after some function. They shared jokes and stories that I had no idea about. Mostly, they seemed to enjoy each others' company and to rejoice in a shared history of being "in the field" for a long time.
Being a bit socially inept (and really, almost shy — despite my often bombastic manner at the podium), I never had a thought of joining these people. How could any outsider break into that? And of course, a group that has this kind of public confidence is very powerful. They tend to agree with each other more often than not, and even when they disagree, you can tell that they're still going to go have a beer afterward. The whole thing is literally *attractive* (and yet repellent at the same time).
Here it is years later. Am I star? I probably look like one. When I go to a DH conference, I know most of the people there. I certainly know every *star* in the field. I have been in DH long enough to remember what people like, well, you — and dozen of others — looked like in their 20s, when we were looking admiringly at the stars of the time, and planning our own revolution.
So when I walk into a DH session at MLA, it's like a family reunion. There I am cracking jokes with so-and-so, waving to that big DH person. And yes, we're all going to go have a drink later. When I walk into a room of people I *don't* know, I make a beeline for the people I do — people who are, inevitably, the ones who (like me) have been around long enough to pile up the frequent-flier miles speaking to everyone about DH.
I'm frankly astonished at this strange turn of events (I bet my forbears were just as amazed). And I can see how difficult it must seem to break into the group that (marvel of marvels) I am now in — as difficult, I expect, as it was when I started out. This is a good way to make yourself feel middle-aged, frankly, but it also raises an ethical question.
Is it possible to willfully transcend this, and say, "You know what, I'm just going to walk up these people and start talking?" I see now that people who came before me weren't necessarily trying to be exclusive, but they didn't go out of their way to be inclusive either. Could we change that by force of will? Is it possible that DH's long sojourn in the wilderness could ironically leave us better equipped to occupy the "cool kid's" table without becoming the jerks that frequently sit there?
As elegant (and spot on) as ever.
It's also interesting to think about how we each inhabit multiple ecologies of stardom. Some of these overlap quite nicely (say DH + media studies), but the relationship is often an inverse one. For instance, at my university, 'fame' on Twitter and being taken seriously by senior administration do not lead to heart-warming Venn diagram.
I think looking for stardom in the Digital Humanities is sort of like seeking social justice in Architecture. BTW I don't agree with Architecture!
Lots of great stuff to chew on here, Matt.
If we can admit (and accept) that some kind of star system is inevitable (maybe even healthy), then we can start to have useful conversations around the mechanics of the star system (in the self-reflexive way that DH seems to excel at, ad nauseum for some folks). In particular, 1) it seems to me that the structure of stars in DH is relatively layered as opposed to pyramid-shaped; there aren't superstars so much as a whole mess of fairly recognizable people (but even that breaks down into recognizable people for subsets of DH, like history, text analysis, new media, etc.). Also, 2) I suspect that the half-life of stardom is shorter than we've seen in the past. A published monograph or influential theory can have lasting staying power, but your big fancy DH thingy may be obsolete in a couple of years, and people may ask "What have you tweeted for us lately?" (I'm caricaturing a bit here, of course.) I take both the flatter and more ephemeral aspects of DH stardom to be good things (there's that DH inclusiveness streak again).
As someone (very) new to DH, both your post and the comments that follow resonate very strongly with me.
I agree that the field seems to have a nascent star system, but I think it differs remarkably from the type fostered in literary studies. I "follow" and listen to DH stars because they serve as essential hubs for new information and ideas – from job announcements to emerging research to this very this blog post. Without the stars, I don't know how well the DH community would function.
Moreover, as a rule, DH stars seem to use their avatars and aliases to promote the work of others, not themselves. Does that make DH nicer? Fairer? More open? I think so.
Matt, you and Stephen Ramsay have the advantage of being DH eminences gris w/o looking, well, old. Your participation in conversation during and after MLA11 has historicized DH, intervened in self-congratulation ("when I hear about 'cool kids,' I worry about my career"), and helped delineate key terms in a field that clearly is moving from its naissance into a loose-limbed adolescence.
Which is just when the suitors come calling.
I think MLA11 is the tipping point for DH. You and Stephen would know vastly better than I who is developing labs at which institutions, but I'm inclined to think the buzz of this MLA will have admins shaking out loose change from campus couches to fund DH programs of their own. From an administrative perspective, I should think DH an assessment dream. What that means for the field I leave it to those more experienced than I to imagine.
Thanks Matt for this great analysis. I agree that there will always be stars in academic fields, but DH stardom is more flexible than the precedent of big theory. Twitter, as an asymmetrical social network, precisely quantifies DH stardom, but it also allows unprecedented access for junior scholars to enter the type of after-conference conversations that Stephen mentioned. What you call meat-space "portability" gives DH some insulation from the negative aspects of the big theory star system, but stars are necessary. The navigation of any field depends on star constellations (which all-too-often reflect real-world academic power structures).
I think it's only natural for some DH veterans to feel as if September has become eternal. Part of being established is knowing the history and directions of a field (being a pole star). Yet September also brings new ideas and new stars. It's an uncomfortable feeling when a group of friends becomes a sea of strangers with new ideas (and old ones that have failed many times before). September means the field is growing. It's uncomfortable because it is changing. The work you're doing to historicize DH is important because it helps ease the growing changes in the DH constellation.
Your post is well-balanced, reasonable, and puts these matters into a useful institutional and disciplinary perspective.
But the real challenge to digital humanities is still intellectual: how does work in this area contribute to theory, methods, or the corpus of humanistic study? This question goes right to the heart of ways we assess the value of tool-making, project development and management, institutional initiatives, programs, Humanities fields constitute themselves, like any discipline, through their theoretical approaches (ways of thinking), methods (ways of doing), and objects of study (pre-existing and constituted by the act of study). I do think we have instances of each of these in our legacy of digital humanities projects, but the explicit articulation of this – rather than blunt assertion – is not yet fully developed or we would not have to keep making the case.
I'd like to have a conversation – with you and others – that outlines specific examples of humanistic method in digital projects that have implications for humanities study – a theoretical principle, methodological move, or innovative object—that can be taken from the project and used to push humanities in new or substantive directions (novelty and innovation aren't the issue so much as contributions that belong to digital humanities, arise from its activities, in ways that are specific to its approaches).
In suggesting this, I'm trying to shift the conversation away from the "to code or not to code" or "whose work matters" and "whose labor gets status" to the substantive core of our undertaking: how are we thinking and how do the digital humanities enable and extend the core values of the humanities – however defined. To me, humanities work is defined by attention to certain objects and practices (production, preservation, and transmission of cultural legacy), theoretical principles (non-self-identicality of objects, constitutive force of discourse on production of objects, observer-dependent conditions of knowledge production), and methods (interpretative, tolerant of ambiguity, situated, embodied, historically and culturally inflected). Not everyone will agree with that list, but the question I'm trying foreground remains, however one defines humanities: How do digital humanities projects create theoretical, methodogical, or artifactual knowledge that can have implications for humanities more broadly conceived? And how can we take the implicit insights we have gained from the last decades and make them explicit? Look at other epistemological and critical shifts in the humanities over the last century, the embrace of political theory, psychoanalysis, structuralism, phenomenology, deconstruction – any methodological or epistemological shift – and think about how it gained currency, then ask how does digital humanities create the same intellectual interest? We have to articulate this clearly. I'd be happy to start with some examples, or create a study in dialogue with others that communicates this.
Matt, could you put a *star* — like in gmail's starred emails — next to the stars who respond to this just so we know?
I don't know how much anxiety Pannapacker's criticism deserves. I think some humanities figures who don't code are frustrated and worried because they expect of themselves a quick and expert orientation in new developments in their fields — and feel that in the case of DH their skills keep them on the outside. But they shouldn't worry — coders will code and the tools will improve to enable scholars to be scholars in this field too.
The after-glow of the MLA was certainly interesting. It went from congratulatory and continually social, to reflective; then the family reunion affect arrived. Some bickering, a little self-reflection, and some startling discoveries about what DH lacks. Some Twitter conversations started very publicly and then quietly became DMs instead.
I'm not so concerned about the stars. My foray into DH is fairly recent and comes from a textual studies angle. I was made aware of the larger community by another set of textual scholars at U Nebraska when they demonstrated text analysis tools across the thousands of pages of texts that I was hand transcribing. Connections were made; questions were asked about discovering an aesthetic with these tools; scholarly inquiry was expanded; I was hooked. On Twitter, my DH pals push me to be a better teacher, to articulate my need for a tool in an assignment, to challenge me when I put forth hasty and emotionally-charged quips (and then yes, invite me out for a beer or glass of good Pinot). For me, DH is a generous crowd that's enthusiastically collaborative. In academia, this type of collegiality is unfortunately *not* the norm. I think the stardom of DH is about this friendliness. And, really, we're all academics so we're all a bit introverted: we can run a classroom but put us into a room with more than 5 people and ask us to work the room, it's nigh terrifying.
If stardom is our worst critique, I'll take it. We can amend the lack that was identified in DM Twitter conversations. But there's a greater mission for DH — as identified by Johanna Drucker above — now that's the stuff.
I am not a digital humanist, but more of a digital interloper in the DH field. I attended the MLA DH session to see how the field talks about the type of learning that occurs when one (or many) is engaged in digital projects. Looking at the type of thinking and learning involved in building tools, networks, archives, etc. needs to be articulated more to see how these new "skills" will spiral down to grad students, undergrads, high school students, and even kindergartners. Basically, I am also interested in the questions Johanna Drucker posed. Specifically this one, "How do digital humanities projects create theoretical, methodogical, or artifactual knowledge that can have implications for humanities more broadly conceived?" Except I would replace "humanities" with implications for learning.
As far as stardom, the energy of the DH MLA session far surpassed any conference session I have ever attended. If we have a few people generating this much energy around harnessing tools for creative scholarship, then so be it. The difference is this scholarship is open to everyone and we can all follow along, learn, engage, and extend the energy to our own work.
Thank you for your thoughtful response! And thanks to Katherine Harris for also bringing up the pedagogical aspect of DH work.
This is a very perceptive reading of a phenomenon very much in flux. I particularly liked the point about the way social media change the venue in which personal relationships with stars may be experienced. It is interesting that there is already a star system in DH. When I wrote my PMLA article, theory was more than 25 years old and clearly had peaked. In the 1970s, leading theorists were not yet stars. Does this increasing rapidity of star production result from social media? Or, is it that we are more willing to describe leading professionals as stars because of our greater consciousness of celebrity in the culture at large?
Thanks to everyone for their comments here, as well as to people who weighed in elsewhere. Its given me a lot to think about, and I appreciate the generous reception for this short piece.
Thanks especially to David Shumway for stopping by. David, while I think it might be tempting to map the terminal velocity of DH's shooting stars onto the general precepts of accelerated internet time, I think it has more to do with social media (as you mention) coupled with the immense capital investment in DH more and more campuses are undertaking (see also Kathi's comments in this regard). The urgency to underwrite and legitimize those investments is enormous, and a "star system" doubtless contributes to that. That said, it's worth remarking that while DH may have only just recently come into its majority, the field (if "field" is what it is) has been building for decades, and some of us (hat tip again to Kathi) are already older than we care to admit.
As to the contours of DH stardom, I think Stefan is on to something, his instinct of the shorter half life as well as his characterization, in place of the celebrity pyramid, of "a whole mess of fairly recognizable people." I'm not sure I can put it any better than that, other than to reinforce that "messes of fairly recognizable people" strike me as exactly the kind of conglomerations social media exists to reify.
Finally, Johanna, as always, cuts to the heart of the matter: the work. Many years back (this is the eminence grise part of the program), I posted to the Humanist listserv suggesting DH compile a casebook of success stories, akin to the pathbreaking papers that made computation a mainstay in, say, bioinformatics. I was roundly castigated for my positivism and enjoined to reread my McGann, the better to imagine what I don't know. I don't think DH will ever (nor would it want to) canonize a small set of key papers, but, at the end of the day, if we can't point to actual scholarship engendered by–to take an example from one strata of DH's development–the great thematic archives of the nineties, then what are we really talking about?


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Bismuth-209 is the "virtually stable" isotope of bismuth with the longest half-life. It has 83 protons and 126 neutrons, and an atomic mass of 208.9803987 u. All primordial bismuth is of this isotope. It is a decay product from lead-209 decaying by β−-decay.
Due to its extraordinarily long half-life, for nearly all applications 209Bi can still be treated as if it were non-radioactive. Although 209Bi holds the half-life record for alpha decay, bismuth does not have the longest half-life of any radionuclide to be found experimentally—this distinction belongs to 128Te with a half-life estimated at 7.7 x 1024 years by double beta decay.
According to the United States Geological Survey, the 2010 world mining output of Bismuth was 8,900 metric tonnes (of which virtually 100% is 209Bi).
210Po can be manufactured by bombarding 209Bi with neutrons in a nuclear reactor. Only some 100 grams of 210Po are produced each year.
In the red giant stars of the asymptotic giant branch, the s-process (slow process) is ongoing to produce bismuth-209 and polonium-210 by neutron capture as the heaviest elements to be formed, and the latter quickly decays. All elements heavier than it are formed in the r-process, or rapid process, which occurs during the first fifteen minutes of supernovae.
^ http://presolar.wustl.edu/work/noblegas.html Tellurium-128 information and half-life. Accessed July 14, 2009.
^ Carlin, James F., Jr. "2010 USGS Minerals Yearbook: Bismuth" (PDF). United States Geological Survey. Retrieved 9 September 2010.
^ "Swiss study: Polonium found in Arafat's bones". Al Jazeera. Retrieved 2013-11-07.
^ Chaisson, Eric, and Steve McMillan. Astronomy Today. 6th ed. San Francisco: Pearson Education, 2008.


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Konjufca: Serbia opened borders for the region, but not for Kosovo citizens
The acting Kosovo Minister of Foreign Affairs, Glauk Konjufca tweeted today that Serbia opened its borders to citizens of all countries in the region, but not to citizens of Kosovo. According to Konjufca, this proves Serbia's "discriminatory and unequal attitude" towards the citizens of Kosovo.
The Serbian government announced yesterday that it had received a recommendation from the emergency team to open the borders with four countries in the region (Albania, Montenegro, North Macedonia and Bosnia and Herzegovina) on June 1st.
The acting Kosovo Minister of Foreign Affairs, Glauk Konjufca reacted to this news today, tweeting that this represents "Serbia's discriminatory approach to Kosovo."
"The Kosovo government condemns Serbia's discriminatory and unequal regional approach to Kosovo. Serbia has opened its borders to citizens of all countries in the region, but not to citizens of Kosovo," he tweeted.
According to him, this approach "proves once again that Serbia is not interested in normalizing relations with Kosovo."
"The Republic of Kosovo will reciprocally respond to this obstacle of Serbia for the citizens of Kosovo," he added.
The Kosovo government condemns Serbia's discriminatory and unequal regional approach to Kosovo. Serbia has opened its borders to citizens of all countries in the region, but not to citizens of Kosovo.
— Glauk Konjufca (@KonjufcaGlauk) May 13, 2020
Following an increase in the number of coronavirus cases in the region, the Serbian government decided to close the borders with its neighbours. Serbia also closed the crossings towards Kosovo, and only ambulances and trucks transporting goods were allowed passage.
In early March, the Kosovo government decided to close all land crossings towards Kosovo as well, except for the citizens with Kosovo IDs. At that time, a measure of obligatory self-isolation for 14 days was introduced for all those who entered Kosovo; however, it was soon replaced by a measure of isolation in the quarantine zone in Pristina.
When Pristina will decide to open land crossings remains to be seen.
Prethodni tekstĐurić: I danas bez novoobolelih na Severu Kosova, šestoro izlečeno
Sledeći tekstPriština: Osam novih slučajeva koronavirusa na Kosovu


Power Supply : Optional. Not available in a standard package!!! 1U PSU can be bought from our online store.
Motherboard, PSU & SSD drive visible on the photos are for advertising purpose only. This case will not include PSU, SSD or motherboard. 1U 250W PSU can be bought separately from our IT-TECH store.


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Q: Записать значение в ячейку по двум условиям Всем привет, имею:
import pandas as pd
df = pd.DataFrame({'column1': ['name1', 'name2', 'name3'], 'column2': [100, 200, 300], 'column3': ['', 200,''], 'column4': [100,'','']})
df

на выходе
  column1  column2 column3 column4
0   name1      100             100
1   name2      200     200
2   name3      300

Задача
В новую колонку "Итог":

*

*если вторая колонка равна четвертой, то вывести значение -
"Условие_1",

*если вторая колонка равна третьей, то вывести значение
из первой колонки,

*если условия не соблюдены -- оставить пустоту.

Итог должен быть таким:
  column1  column2 column3 column4              Итог
0   name1      100             100              Условие_1
1   name2      200     200                      name2
2   name3      300

мое решение:
df['Итог'] = df.apply(lambda x: 'Условие_1' if x['column2'] == x['column4'] else (df['column1'] if x['column2'] == x['column3'] else ''), axis=1)

дает странный результат
  column1  column2 column3 column4                   Итог
0   name1      100             100
1   name2      200     200                      Условие_1
2   name3      300                  [name1, name2, name3]

Собственно вопрос: почему значение вписывается в строчку где совпадения нет, а так же берет все значения из всей колонки, а не только одно?
Я уже решил это через select numpy, но очень хочется получить ответ, как это сделать через apply.
И, по возможности, дайте развернутый ответ -  очень хочется понять как работает, а не просто скопировать готовый код. Заранее спасибо!

A: else (df['column1'] if
      ^^ - тут должен быть x

У вас в одном месте вместо x написано df, а в остальном всё правильно работает. Я исправил только это место:
df['Итог'] = df.apply(lambda x: 'Условие_1' if x['column2'] == x['column4'] else (x['column1'] if x['column2'] == x['column3'] else ''), axis=1)

Вывод:
  column1   column2 column3 column4 Итог
0   name1   100             100     Условие_1
1   name2   200     200             name2
2   name3   300

А объяснять тут вроде особо нечего, просто в lambda применён два раза тернарный оператор x if condition else y (второй раз - внутри else). А lambda тут оперирует строками, в x у вас строка, к элементам столбцов внутри которой вы обращаетесь.


Background. In the past, any detection of adnexal cystic masses was considered abnormal and would result in routine surgery. But the results of several studies concluded that ovarian cysts, especially those smaller than 5 cm in diameter, are hardly malignant. Such cysts constitute an important source of false-positive results in any ovarian screening program. Patients and Method In our study there were included 51 patients who met the following criteria: menopausal status, whether surgical or natural, for at least 1 year (defined as cessation of menses or positive hormonal diagnosis), had at least one ovary, were asymptomatic. Results. Ovaries were more readily visualized when women were less than 5 years postmenopausal (78%), than when they were 10 years beyond menopause (64%), probably because of the progressive decrease in ovarian size. Of the 21 cases included in the study based on ultrasound appearance and / or elevated CA125, in 2 cases (8%) the cyst has completely disappeared, in 7 cases (35.28%) the cysts have decreased in diameter by more than 3 mm, in 4 cases (21 %) the cysts increased in size, and in 8 cases (45.19%) they remained the same size. Conclusions. Ovarian cysts is a surprisingly common condition in postmenopausal women .Such cysts are dynamic in character, in their vast majority changeable in size, between two successive evaluations. We have no proof that all cysts under study and observation were of benign type, but their involution and their very extinction is an element of positive diagnosis.
DONOIU I., MIREA OANA CRISTINA, GIUCA ALINA, MILITARU C., IONESCU D.D.
VERE C.C., STREBA C.T., ROGOVEANU I., GEORGESCU M., PIRVUD., IORDACHE SEVASTITA, GHEONEA D.I, SAFTOIU A., CIUREA T.
Starting from the varied chemical composition of Silene species (Caryophyllaceae family), the pharmacological utilizations (homeopathy) and the cumulative toxicity for a long time administration, were performed researches concerning the preparation and characterization of tinctures from aerial parts of S. alba and S. pendula species. Tinctures were obtained, according to the Romanian Pharmacopoeia Xth edition, by percolation and characterized from physico-chemical point of view: color, taste, smell, relative density, refractive index, and quality conditions – content in iron and heavy metals, alcohol concentration and evaporation residue. Qualitative and quantitative analyses of tinctures were making for the flavonosids, using thin layer-chromatography, respectively VIS spectrophotometry.


text:
In the Habs' Room: Ilya Kovalchuk cements his place on the team with OT winner
Pat Hickey, Montreal Gazette
Updated: January 12, 2020 8:49 PM EST
Blackhawks - Leafs Game Day
Leaf Snaps: Slow recovery for Johnsson
Leafs need a win before break
Flames edge Leafs in a duel of all-star goalkeepers
Canadiens' lIlya Kovalchuk celebrates with teammates after his goal in overtime against the Ottawa Senators at the Canadian Tire Centre in Ottawa on Saturday, Jan. 11, 2020.Marc DesRosiers / USA TODAY Sports
"I came in here and the guys were so welcoming. I felt like I've been here for a long time, but I've only been here for a week."
OTTAWA — Ilya Kovalchuk picked the perfect time to score his first goal as a Canadien.
He scored on a breakaway with 51.9 seconds remaining in overtime Saturday to give the Canadiens a 2-1 win over the Ottawa Senators at the Canadian Tire Centre.
The winning goal came after Kovalchuk was stopped by Marcus Hogberg on an earlier breakaway in the overtime.
"I really wanted to get out there one more time, and the coach put us out there," Kovalchuk said. "There was kind of a broken play when their (defenceman) took a step back and I took off. Phil (Danault) was coming with me to make it a 2-on-1, but I said in my head I'm going to shoot this one."
Canadiens' Ilya Kovalchuk celebrates with teammates after his goal in overtime against the Ottawa Senators at the Canadian Tire Centre in Ottawa on Saturday, Jan. 11, 2020. Marc DesRosiers / USA TODAY Sports
As the media waited to go into the dressing room, you could hear his teammates chanting Kovalchuk's name.
"I came in here and the guys were so welcoming," Kovalchuk said. "I felt like I've been here for a long time, but I've only been here for a week. I feel better on the ice, too. It's good to get my first goal as a Hab, especially in OT, but the win is way more important."
The victory ended an eight-game losing streak for the Canadiens while extending Ottawa's losing streak to six games.
This was not an easy win for the Canadiens, who took a 1-0 lead when Nick Suzuki used Danault as a screen to score a power-play goal in the first period. The Canadiens, who have blown a few leads in the third period during their recent skid, were totally outplayed in the third period with Ottawa holding an 18-2 edge in shots and tying the score on a goal by Drake Batherson.
"I thought we played 35 minutes of good hockey and in the last five minutes of the second period they had some good chances," Kovalchuk said. "In the third period, we took too many penalties. The coach talked about it between the second and third and he said we had to make sure we didn't give up a goal, and that bounce cost us."
"We were moving the puck, we were killing plays and we had lot of scoring chances," Claude Julien said. "The only thing I can say is that we should have been up by more than a goal, and this is where we struggled at times and gave teams the opportunity to stay in the game and give them some hope.
"In the last five minutes of the second period, they started coming on and we got on our heels," Julien added. "In the third period, it was hard to say we were on our heels because we had to kill (three) penalties and, without a doubt, that gives a team momentum. At one point, I ended up shortening my bench because there were guys who sat for a long time because we were killing penalties. But finding a way to win our first one after that many losses in never easy. But we'll take it and hope to build from that."
Canadiens' Carey Price makes a stick save against the Senators at Canadian Tire Centre on Saturday, Jan. 11, 2020, in Ottawa. Jana Chytilova/Freestyle Photo / Getty Images
The Canadiens have a long way to go if they're still harbouring hopes of a playoff berth. They finished the night nine points behind idle Toronto in the battle for third place in the Atlantic Division and they are seven points behind Philadelphia, which holds the final wild-card spot.
Lost in the excitement over Kovachuk's goal was the fine play of Carey Price, who looked like the Carey Price of years past. While he deflected praise and talked about his teammates keeping the shots to the outside, he made 41 saves in one of his best showings this season.
phickey@postmedia.com
twitter.com/zababes1
Canadiens squeak past lowly Senators 2-1 in overtime
Canadiens still holding out hope they can make playoffs
Stu Cowan: Some words of wisdom for upset Canadiens fans
4:00 PM PT5:00 PM MT6:00 PM CT7:00 PM ET0:00 GMT8:00 5:00 PM MST6:00 PM CST7:00 PM EST4:00 UAE (+1)19:00 ET22:00 BRT ATRM/CiTV
Vegas (25-19-6)
Montreal (21-21-7)
© STATS - 2020
Results updated hourly. All times ET
Teen arrested in stabbing of ex-Habs player's son
Habs' Kotkaniemi undergoes left knee surgery
Ex-Habs defenceman Josh Gorges retires


Frederick Alcaro, When in Doubt, Get Locked Out!: A Comparison of the 2001 Lockout of the National Footbal League Referees' Association and the Failed 1999 Resignation Scheme of the Major League Baseball Umpires Association, 5 J. Bus. L. 335 (2003).


text:
Meet Kingsley Fobi – Ghanaian International Footballer at PUMA
By CBase User
Published in Sports News
Ghana's very well-known soccer young maestro, Kingsley Fobi for those who do not know joined one of the world's athletic and casual footwear brand in 2016 and still sailing tremendously as an ambassador for "PUMA", The German multinational company designs and produces athletic and casual gears, which is headquartered in Herzogenaurach, Bavaria in Germany.
Kingsley Fobi for the records graduated from "Right to Dream Academy" as a professional footballer, presently stuns as a player of Watford Football Club in the United Kingdom of Great Britain and on loan to UD Ibiza in Spain.
As a Ghanaian born in antique town of Cape Coast in the central region of Ghana, Kingsley in 2016 departed the Academy to join Italian side Udinese and appropriately moved to Granada on Loan, then managed by England's former captain, Tony Adams after a brief invocation in the under-19s.
Prior to his switch to Italy, Kingsley Fobi fully represented the republic of Ghana at the FIFA under-20 World Cup in the year 2015, performing very well and playing in every game for the Black Starlets which includes a 3-2 conquest against Argentina.
Kingsley then signed for English Premier League team Watford FC in 2017 and has since been celebrated as one of Africa's youngest game changers in football abroad. His deal with PUMA commenced in the year 2016 before joining Watford and he still sways as an Ambassador the PUMA – The world's 3rd largest sportswear manufacturer, founded in 1948 by Rudolf Dassler.
CBase User
Hi my name is Marcubie and I have been the Creative Director on Medunten Technology. The languages only differ in their grammar, their pronunciation and their most common words. he thought. It wasn't a dream. His room, a proper human room although a little too small, lay peacefully between its four familiar walls pronunciation
Website: themesoul.com
Latest from CBase User
CAMPUS MUSIC AWARDS 2020 NOMINEES
NOMINATIONS OPEN FOR 2020 CAMPUS MUSIC AWARDS
UPSA outdoors new state-of-the-art auditorium
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Nadia Buari, Klint Da Drunk, Others Join Soraya Mensah To Feed Over 500…


text:
Q: Как сверстать такие dots в fullPage.js?
Чтобы активный маркер увеличивался - понятно. А как сделать чтобы еще внешний круг появлялся с подсветкой? Спасибо

A:

body {
  margin: 30px;
  background-color: black;
}

span {
  display: block;
  position: relative;
  width: 10px;
  height: 10px;
  background-color: blueviolet;
  border-radius: 100%;
}

span:hover {
margin-left: -1px;
margin-top: -1px;
}

span:hover:after {
  content: "";
  display: block;
  position: absolute;
  top: -7px;
  left: -7px;
  width: 21px;
  height: 21px;
  border: 2px solid blueviolet;
  border-radius: 100%;
}

span:hover {
  zoom: 1.2;
}


Are you running a business? You will definitely agree that in business the most important is the customer and his satisfaction. If he is satisfied with your business, he will definitely come back to you and recommend to your friends. No advertising form works as well as friend recommendations. But how to get a positive customer feedback?
Ensure a good atmosphere in the company. Satisfied staff will better serve your customers and recommend your products and services. How to create a good atmosphere in your company?
Good quality products and services. If you sell faulty goods and poor service, even if they are cheap, your customers will go to the competition. What's more, the old marketing truth says that the unhappy customer will repeat the negative opinion of your company to ten of your friends. This is the way to an inevitable catastrophe!
Communicate with your client. You need to be prepared for various customer questions regarding the product or service you purchased. If a fault occurs, you must be prepared for a quick reaction.
If you run a stationary business – make sure you have a well-designed and tasteful facility. If you run a customer service, have a nice graphics on your company's vehicles and clothing. Good image inside and outside the company will help you keep existing customers and win new ones.
Do not be afraid of technical news. Customers will appreciate it if you introduce some simple solutions into your business that will improve your business. You will be seen as a modern and forward-thinking entrepreneur.


Harvested by hand at the end of October, the grapes are carefully selected. The fermentation lasts about 10 days at 28-30C and the wine is aged in oak barriques for 10 months.
The Borro del Boscone then ages in bottle for 10 months.
Grape Variety: Harvested by hand at the end of October, the grapes are carefully selected. The fermentation lasts about 10 days at 28-30C and the wine is aged in oak barriques for 10 months.
A dark red wine with hints of garnet together with a rare complexity of aromas. This is a powerful and well rounded wine that reflects the characteristics of the terroir.
Food Pairings: This wine is best served accompanying young cheeses or seasoned or cured meats.


Looking for Mr. Right? Try Being Optimistic!
The other day I had an amazing session with one of my clients. We haven't talked in a few weeks and things have really shifted for her. I was so impressed and inspired by her change in thinking and outlook that I wanted to share it with you.
Stephana first and foremost, has a very strong attitude of optimism. She didn't come to dating coaching with this mindset, but she sure has it now. Did she find the right man yet? Nope. So you're probably wondering, why the heck she feels so positive?
I know this might be hard to catch on to, but I am going to list out all the things she mentioned so you can see what a big impact this has on her dating life. Stephana has worked to align her thoughts with her actions, putting her in the optimal place to attract and meet more quality men!
1. Running into an old beau. She recently ran into a man she dated years ago for whom she still had good feelings. While there's nothing there now, she took this as a sign that she's on the right track. Stephana felt this man represented new dating opportunities coming her way and felt grateful she had run into him. She could have easily felt bummed that he was another example of how things don't work out, but that is not how she took the encounter. When you are looking for Mr. Right, how you view your history can shift your current experience.
2. New haircut. She decided to try a new hair stylist and got a new cut that looks fantastic. If you've ever been loyal to a stylist, you know how scary it is to break from tradition and try someone new. Yet, she was rewarded for her bold move.
3. Enlisting friends and family. She's telling more people in her life that she's looking for love. When you are dating over 40 and enlist your circle of friends and family to help you meet more men, you never know who you could meet! This is how I met my husband – believe it or not, I met his sister in a bar and she fixed us up.
4. Practicing gratitude. Stephana has been starting each day with a list of what she is grateful for. When you begin your day with the attitude of gratitude, your energy becomes very magnetic and attractive. She feels happier and more optimistic and thinking this way tends to attract more good things.
5. Flirty, friendly presence. Stephana has been conscious to be more open, friendly and even flirty with men she notices around her. Men are literally everywhere, but most single women looking for Mr. Right don't often notice . When you get past your to-do list that occupies every moment, you will notice more men and then start interacting with them. I call this putting your antennae up so you are tuned in to the men around you.
Tuning in creates countless opportunities! I know women who met "the one" at the dog park, in WalMart, at Bed, Bath and Beyond, at the vet's office, out dancing, on an airplane, and at a child's soccer game, etc. Men really are everywhere, but you have to open up to see them and be approachable to strike up conversation.
6. Dating online. Yes, Stephana is giving online dating a shot. It's not all a bed of roses, but she does her 30-minutes online 4-5 times per week, emailing and seeking prospects. While she hasn't met Mr. Right yet, she knows it's a numbers game. Every man she meets brings her one man closer to finding the right one for her.
7. She wears a ruby ring. Not everyone believes in the energy gems generate, but it actually doesn't matter if it's true or not. Stephana wears a ruby to help her heart open to love and men. That's her intention, so that is the energy she sets forth. I made a similar symbolic gesture when I was dating, wearing a diamond pave heart necklace so I looked like a woman who was loved. It worked for me and kept me feeling tuned into love every time I remembered the necklace around my neck.
All these steps combined have helped Stephana align her energy with an optimism that radiates out along with her inner beauty. She has become a more magnetic, feminine presence. She is primed and ready to meet Mr. Right in a way I wish all my readers could experience.
This mindset and outlook allows her to not only be open to possibilities, but attract hem as well. And the quality of men she is attracting is so much better as she continues to exude warmth, confidence and the optimism that makes her practically irresistible.
If you want to connect with your feminine charm and allure, check out my powerful visualization program I'm So Alluring. This audio will help you relax and tap into your inner Goddess for a warmer, more feminine presence that men find practically irresistible. You can imagine how much this could help as you are looking for Mr. Right.
Dating Over 40: Are you ready to have the time of your life or waiting to get motivated?


text:
The Abbey
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Historical elements have been preserved!
You are here:Start/The grounds
The construction activities in the late Baroque period resulted in the creation of an enclosed space while the previous Abbey complex had been open on several sides ‒ to the north, east and south. Including that in the early Baroque 'old building', this resulted in the development of a total of six courtyards.
Until the fire of 1865, Admont Abbey was the largest monastery and also the most extensive structure in the whole of Styria. The fire primarily destroyed the older parts of the complex. Following the removal of the rubble and ruins, there essentially remained just one single large internal courtyard. The design of the Abbey gardens has been repeatedly modified over the years. Originally thickly wooded, the garden site was first divided into an inner and outer section (by means of palings) in 1890.
After the Second World War, the inner section was further divided into an arboretum in the south (now the home of some magnificent copper beeches) and a rose garden in the north that contains the Neptune fountain dating to 1665. The fountain had been moved here from the former Prelate courtyard after the fire. When the statue created by Alfred Schlosser was installed here in 1956, the area outside the fence to the south of the church was redesigned to become the 'Hemma Park'. In 2000, these three sections underwent a further redesign that left the triple division concept intact.
The gardens next to the Abbey building are surrounded by a high wall. They were used to grow fruit and vegetables and as flower gardens until late in the 20th century. Special features are the two chapels (dedicated to St. Benedict and St. Blasius) that date to c. 1735. Karl Nutzinger, the Abbey's master gardener, decided to extend the dahlia and fuchsia beds to the east and south in the 1960s and 1970s.
In 1973, work on the new school building was commenced on the north side; its structure has been extended on several occasions since. Part of the garden to the east was subsequently assigned to the school for use as playing fields. The Baroque garden pavilion that dates to the period of tenure of Abbot Raimund von Rehling (1659 – 1675) was restored in 1980 and the garden area surrounding it was reconstructed to conform to the layout that appears in a surviving image of 1674. The new large car park was constructed to the south in 1996, between the glasshouses of the plant nursery and the pond that has been here for more than 300 years.
In the inner and the more extensive garden sections of the Abbey, visitors will find that although historical elements have been preserved, it has been ensured that these interact meaningfully with contemporary features. This dialogue between 'old' and 'new' is particularly apparent in the 'courtyard garden' (convent garden) opposite the glasshouses of the plant nursery, the herb garden (which is an accurate recreation of an historical example) and the 'invisible garden' created in 2006/7 with both blind and sighted visitors in mind that stretches along the recreational area around the pond. There are further creative contrasts to be explored; between the restored Baroque sculptures by Josef Stammel in the two garden chapels, the four (restored) figures of the antique goddesses Ceres, Minerva, Diana and Flora by Markus Schokotnig dating to 1726 – 1719 that can be found near the Baroque steps to the Stiftskeller courtyard and the contemporary sculptures, most recently the large loaned sculptural work by Bruno Gironcoli (1936 – 2010).
Click here for some 3D-views of the grounds of the Admont monastery ...
Ökumenischer Gottesdienst in der Benediktuskapelle 23. January 2020
Pontifikalamt anlässlich des Wahltages von Abt Gerhard Hafner 25. January 2020
Krippenmesse mit dem Chor "altoMonte" 26. January 2020
Krippenmesse mit dem Kirchenchor Admont 02. February 2020
Hochamt des Kloster- und Pfarrpatrons hl. Blasius 03. February 2020
The outdoor facilities at a glance
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(up from 8th Century)
Museum brochure
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Local elections will take place in May 2019. Please see informaiton on Medway Council's website for more information.
The parish of High Halstow lies on the north side of the Hoo Peninsula. Its southern half is upland, straddling the ridge of higher ground that forms the peninsula's spine and reaching a peak at Northward Hill. From here the ground drops away to reclaimed marshland, and a river frontage on the Thames. Flanked by St Mary Hoo to the east and Cooling to the west, the central area encompasses both the main settlement and a woodland nature reserve.
Until the mid 20th century it was a modestly sized community, similar in character to neighbouring villages, but thereafter it has experienced considerable growth.
The village remained small until after the Second World War, comprising the church, a school, two shops, a pub, a wheelwright's shop, and an undertaker's, with the village being served by a single policeman. Eventually some of the older houses were demolished and replaced. Churchill Place was developed and in the area behind the church, formerly known as the Square, several modern bungalows replaced five thatched cottages. From 1952 more homes were built in the village to house Isle of Grain oil refinery employees.