text:
(function( win, $, undefined ) {
  'use strict';

  $.fn.sticky = function(options) {

    // ------------------------------------------------------------
    //  * Settings
    // ------------------------------------------------------------

    var defaults = {
      offset: 0,
      scrollRate: 100
    };
    var settings = $.extend( {}, defaults, options );

    // ------------------------------------------------------------
    //  * Define Variables
    // ------------------------------------------------------------

    var winTop = 0;
    var stickyZoneTop = 0;
    var stickyZoneBottom = 0;

    var isScrolling = false;
    var elState = null;

    // Cache elements
    var $win = $(win);
    var $el = $(this);
    var $parent = $el.parent();
    var $stickyWrapper = $('

');

    // The $el
    var elHeight = $el.outerHeight(true);
    var elWidth = $el.outerWidth(true);
    var elTop = $el.offset().top;

    // The $parent
    var parentHeight = $parent.height();
    var parentTop = $parent.offset().top;
    var parentBottom = parentTop + parentHeight;

    // Set sticky wrapper height
    $stickyWrapper.css({ height: elHeight + 'px' });

    // ------------------------------------------------------------
    //  * Scrolling
    // ------------------------------------------------------------

    var scrolling = function() {

      winTop = $win.scrollTop();
      stickyZoneTop = elTop - settings.offset;
      stickyZoneBottom = parentBottom - settings.offset;

      // Scrolling above the sticky zone
      if ( winTop < stickyZoneTop ) {
        makeElementNotSticky();
        return;
      }

      // Scrolling in the sticky zone
      if ( winTop >= stickyZoneTop && winTop <= stickyZoneBottom ) {
        makeElementSticky();
        return;
      }

      // Scrolling below the sticky zone (the stuck zone)
      if ( winTop > stickyZoneBottom ) {
        makeElementStuck();
        return;
      }

    };

    // ------------------------------------------------------------
    //  * Make Not Sticky
    // ------------------------------------------------------------

    var makeElementNotSticky = function() {
      if ( elState !== null ) {
        $el.unwrap($stickyWrapper);
        $el.removeClass('sticky');
        elState = null;
      }
    };

    // ------------------------------------------------------------
    //  * Make Sticky
    // ------------------------------------------------------------

    var makeElementSticky = function() {
      if ( elState !== 'sticky' ) {
        if ( elState === null ) {
          $el.wrap($stickyWrapper);
        }
        $el.removeClass('stuck').addClass('sticky');
        $el.css({ width: elWidth + 'px', top: settings.offset + 'px' });
        elState = 'sticky';
      }
    };

    // ------------------------------------------------------------
    //  * Make Stuck
    // ------------------------------------------------------------

    var makeElementStuck = function() {
      if ( elState !== 'stuck' ) {
        $el.addClass('stuck').removeClass('sticky').css({ top: parentBottom + 'px'});
        elState = 'stuck';
      }
    };

    // ------------------------------------------------------------
    //  * Throttled Scroll Event
    // ------------------------------------------------------------

    $(window).scroll(function() {
      isScrolling = true;
    });

    setInterval(function() {
      if ( isScrolling ) {
        isScrolling = false;
        scrolling();
      }
    }, settings.scrollRate );

  };

})(window, jQuery);

$(document).ready(function() {
  $('.stick-this').sticky({ offset: 20 });
});

redpajama_set_name: RedPajamaGithub


text:
Q: Converting tag format in a XML with XSLT I'm very new to programming in XSLT and I'm trying to practice XML conversions.
I have an example XML with the following entry:
<concept id="Name" value="John"/>

I would like to change this to be only like this
<Name> John </Name>

How would I achieve this?
I have been looking at tutorials, but I can't find the information relating to this specific problem anywhere...

A: You could do it simply like this:
<?xml version="1.0" encoding="UTF-8"?>
<xsl:stylesheet xmlns:xsl="http://www.w3.org/1999/XSL/Transform"
    version="1.0">

  <xsl:output method="xml" indent="yes"/>

  <xsl:template match="concept">
      <xsl:element name="{@id}">
          <xsl:value-of select="@value"/>
      </xsl:element>
  </xsl:template>

</xsl:stylesheet>

See it working here: https://xsltfiddle.liberty-development.net/gVrvcxc

redpajama_set_name: RedPajamaStackExchange


Lutron Electronics is world-renowned for their superior lighting controls, automated shades, and smart integration. Everything behind what Lutron stands for is incorporated with their "Right Environment" Philosophy.
At ERW, we are focused on the movement towards making buildings better for its occupants. Lighting a space is now focused less on saving energy and adding the right fixture and more on providing an environment that promotes comfort and well-being; essentially prioritizing the human experience within a space.
ERW, along with Lutron, we believe that the Right Environment needs to be accessible to everyone, and not just those who can afford luxury products. There are a wide range of solutions for your project, your performance requirement, and your budget. By dynamically designing a space, Lutron products can offer lighting, shading, and temperature control for your next project.
Human-centric lighting is the overarching foundation of the Right Environment. Lighting that changes throughout the course of the day to help influence people's productivity, well-being, enable enhanced well-being, and promote comfort through technology.
Intuitive user-friendly controls allow individuals the power to change their space where and when they need, while Lutron's automated solutions adapt to the customized space.
Your space needs to change focus as frequently and easily as you do. Lutron leverages technology to create dynamic spaces, employing personal controls and simple automation to deliver the right environment – where, when and how you need it.
Lutron's wide array of sensors seamlessly adjust light levels and shades based on environmental conditions without anyone needing to think about it, keeping offices moving efficiently and on task.
Lutron's intuitive Vue software makes building control automation simple. Schedule the entire building's lights, or select individual rooms to turn on and off automatically, raise and lower shades depending on time of day, or create one-time events for special occasions like an after-hours holiday party on the user-friendly 365-day calendar.
Lutron's shading solutions intuitively integrate with lighting controls to preserve views, mitigate glare, and maximize daylight. Humans crave daylight. When given the choice, people generally choose workspaces near windows. Visual connections to the outdoors – some believe – can decrease stress, improve memory, and increase attention. Lutron's shading solutions can automatically adjust to mitigate glare, save energy, bring in daylight and increase views to connect people to the world.
Create personalized environments in any space with automated, motorized, or manually controlled shades, with the highest-quality performance fabric, to work seamlessly with lighting control.Integrated shade and lighting solutions allow for intuitive adjustments without anyone having to press a button. Daylight sensors recognize intense morning sun on east-facing windows and lower shades to mitigate glare, triggering the lighting to adjust to optimal light levels. In the afternoon when the sun exposure is less harsh, the shades will open, allowing for daylight to wash over the space, lift moods, and invigorate employees.
Tunable white lighting control solutions enables spaces to be multifunctional. Event venues can accommodate corporate luncheons, and easily switch gears to a warm and romantic atmosphere in the evening.
Ketra's technology encompasses more than circadian lighting. High-fidelity whites, saturated colors, and pastels offer the ultimate palette of color, vibrancy, and mood for any space. A custom driver chip and patented optics deliver perfectly calibrated light that goes exactly where you want it.
Are you looking to create a dramatic impact on your next project?


As a homeowner in Mooresville, NC, you never know when a disaster could happen. However, you can be prepared for whatever happens when you purchase homeowners insurance. Homeowners insurance is a type of property insurance that can minimize the financial expenses you may be responsible for due to many types of disasters and unfortunate events. With homeowners insurance in place, you can be comfortable, knowing that you will be ready for anything that life throws at you.
There are several things that could occur in Mooresville, NC that could significantly impact homeowners. Insurance, typically, does not always cover things like hail, fires, floods or thefts. You can always get things that are not covered under your policy under supplemental insurance. Homeowners insurance can vary from policy to policy. We believe that you should have the ability to know and purchase what you believe you should be protected for. Since North Carolina is susceptible to more hurricanes and tropical storms, you might consider adding wind, rain and flooding damages to your policy. We don't want you to experience great financial loss and have put together several types of policies that could best fit your potential losses.
At Southeastern Insurance, we understand that each client has different needs and desires for their homeowners insurance coverage. In Mooresville and the rest of North Carolina, we have set standards in place for affordable insurance rates. We offer discounts on bundling, no claims, alarm installations and more so that you, our client, could get more for their money. You can save anywhere between 5%-20% on your coverage rates.
If you are shopping around for homeowners insurance in Mooresville, NC or simply looking to inquire about policies and what Southeastern Insurance could offer you, give us a call today at 800.601.7829 and a member of our team will assist you.


text:
Q: How to effectively convert NCDF time into proper units I'm trying to convert the time units from the netCDF file into their proper format, however, I get the wrong output.
The data I'm using has time in this format:
1 dimensions:
        time  Size:193458   *** is unlimited ***
            units: seconds since 1970-1-1 00:00:00

I have used the function from the package ncdf.tools to extract the time and convert it into dates for time-series classification, though I get the wrong result:
convertDateNcdf2R(id_579$dim$time$vals, units="seconds")

  [75] "1846-07-03 05:04:51 UTC"
  [76] "1846-07-03 05:05:01 UTC"
  [77] "1846-07-03 05:05:06 UTC"
  [78] "1846-07-03 05:05:11 UTC"
  [79] "1846-07-03 05:05:16 UTC"

The date should not be past 1970. Are there any better alternatives to this?
The function that creates this is:
convertDateNcdf2R  =  function(
##title<< Convert netCDF time vector to POSIXct R date object
        time.source ##<< numeric vector or netCDF connection: either a number of time units since
                    ##   origin or a netCDF file connection, In the latter case, the time
                    ##   vector is extracted from the netCDF file, This file, and especially the
                    ##   time variable, has to follow the CF netCDF conventions.
        , units = 'days' ##<< character string: units of the time source. If the source
                    ##   is a netCDF file, this value is ignored and is read from that file.
        , origin = as.POSIXct('1800-01-01', tz = 'UTC') ##<< POSIXct object:
                    ##   Origin or day/hour zero of the time source. If the source
                    ##   is a netCDF file, this value is ignored and is read from that file.
  , time.format =  c('%Y-%m-%d', '%Y-%m-%d %H:%M:%S', '%Y-%m-%d %H:%M', '%Y-%m-%d %Z %H:%M', '%Y-%m-%d %Z %H:%M:%S')
)
  ##description<< This function converts a time vector from a netCDF file or a vector of Julian days (or seconds, minutes, hours)
  ##              since a specified origin into a POSIXct R vector.
{
  close.file =  FALSE
  if (class(time.source) ==  'character') {
    if (file.exists(time.source)) {
      time.source = open.nc(time.source)
    } else {
      stop(paste('File ', time.source, ' is not existent!', sep = ''))
    }
  }
  if (class(time.source) == 'NetCDF') {
    attget.result <- try({
      units.file      <- infoNcdfAtts(time.source, 'time')[, 'value'][infoNcdfAtts(time.source, 'time')[, 'name'] == 'units']
      origin.char     <- sub('^.*since ', '', units.file)
      units <-  sub(' since.*', '', units.file)
    }, silent = TRUE)
    for (formatT in time.format) {
      origin <- strptime(origin.char, format = formatT,  tz =  'UTC')
      if (!is.na(origin))
        break
    }
    if (is.na(origin))
      stop('Not possible to determine origin. Wrong format supplied?')

    date.vec     <- as.numeric(var.get.nc(time.source, 'time'))
  } else {
    if (!is.numeric(time.source))
      stop('time.source needs to be numeric if not a netCDF file connection!')
    date.vec  <- time.source
  }

  if (!is.element(units, c('seconds', 'minutes', 'hours', 'days')))
    stop(paste('Unit ', units, ' is not implemented.', sep  =  ''))
  multiplicator      <- switch(units, days = 60 * 60 * 24, hours = 60 * 60, minutes = 60, seconds = 1)
  time.out <- origin + date.vec * multiplicator
  if (origin <  as.POSIXct('1582-10-30', tz = 'UTC'))
    time.out <- time.out + 10 * 24 * 60 * 60
  if (close.file)
    close.nc(time.source)
  ##value<<
  ## POSIXct vector: time vector in native R format
  return(time.out)
}

Here's some example of the time data:
        time
1 1467435408
2 1467435418
3 1467435425
4 1467435431
5 1467435438
6 1467435444

A: I had similar issues with the different types of calendars but after I discovered the package ncdf4.helpers, everything is much easier and faster now. An example:
 > library(ncdf4)
 > #open the netcdf file
 > ncin<- nc_open("precip_GPCP_1998.nc")

 > library(ncdf4.helpers)
 > #obtain time dimension in date format
 > Time_in_Date_format <- nc.get.time.series(f = ncin,
  time.dim.name = "time")

 > nc_close(ncin)

 > Time_in_Date_format
 [1] "1998-01-01" "1998-02-01" "1998-03-01" "1998-04-01" "1998-05-01"
 [6] "1998-06-01" "1998-07-01" "1998-08-01" "1998-09-01" "1998-10-01"
 [11] "1998-11-01" "1998-12-01"


RPS is a leading multi-disciplinary consultancy with the expertise to support clients through the development process, from planning to design to implementation. We are acknowledged as experts in planning, transport, landscape and environmental consultancy and we are award winning architects, civil, structural and mechanical and electrical engineers. RPS has grown into one of the world's pre-eminent consultancies by maintaining its local connections whilst underpinning these with the resources and knowledge of a global business. We employ 5,000 people in the UK, Ireland, the Netherlands, the United States, Canada, Brazil, Africa, the Middle East, Australia and Asia. Our international presence allows us to undertake co-ordinated and integrated projects throughout the world.


text:
Book - Get Lit on Lit: Lord of the Flies
They say you learn something new every day. Thanks to our resident teacher, Mr Ames, you can tick off today's lesson and rediscover a classic book as he encourages us to get lit on Lit. and discusses Lord of the Flies (with spoilers)...
By trade, I am a high school English and Film teacher and an adjunct college professor. I love the world of literature and especially the way we can look into a written work and really explore the structure and symbolism of each piece, finding beauty and truth in every line. Literature is a wonder in that there can be multiple interpretations for a work and yet, we can usually still arrive at a unified idea of what universal truth the author is trying to portray. I had been talking with my colleagues at The DreamCage and we thought it would be fun to have a little teacher's corner where I can discuss whatever work I am reading with my students. I will focus on one major aspect of the work and then discuss what it means as a whole, to the work, and to humanity. Great literature, at its core, usually discusses one thing: the Human question—what human truth is being expressed in the work, what theme has the author developed over hundreds of pages, what idea did the writer NEED to express to the reader? This corner will be a place where we can discuss these things. If you want to join in, leave a comment requesting a work and I'll see what I can do. I am going to try and keep this centered on famous works of literature (novels, short stories, poetry) so try to keep your ideas in that realm. I will warn you that spoilers will abound so if you haven't read the work we are discussing, you may want to wait until after. Maybe we will establish a lovely little community to help us continue the #savetheculture movement or, maybe, you will learn something yourself. Either way, I look forward to writing these articles.
Last week in my freshman advanced class, we finished reading William Golding's brilliant 1954 novel Lord of the Flies. Most of the class was spent pouring over the allegory that Golding presents. First of all, let's approach the human question of the work: humanity is inherently violent and without society and civilization, we will eventually devolve into savages. The book details the events of what happens after a group of British Schoolboys crash-land on an uninhabited island and try to establish society with disastrous results. Golding wrote this work after experiencing the atrocities of World War II. Today, I think we will look at the use of boys and the allegory Golding created.
In this novel, Golding creates a microcosm (a small community or group which represents a larger group) by using a group of British Schoolboys to represent humanity. Each character represents a different aspect of humanity and as the story unfolds, we are treated to a front-row seat as these differences in personality clash and flare.
Ralph, the elected leader of the party represents leadership and moral strength. He becomes the elected chief of the island in the beginning and we are treated to the story mostly from a third person limited perspective focusing on Ralph.
Jack, the foil to Ralph, is the aggressive character who represents the savage instincts of man. He is the cause of the divide between the boys on the island and the instigator of most of the violence.
Piggy, the fat and unpopular boy, represents logic and intellect. While the other boys are strong and virile, it is Piggy's mind which his real strength.
Simon, the frail and sensitive boy, represents human kindness and spirituality. He also becomes a sort-of unfulfilled or imperfect Christ figure.
Roger, the strongest and most aggressive of the older boys, represents pure violence. He is shown throughout the book to be violent and actually results in the first completely voluntary murder on the island.
The Littluns, the rest of the young boys who follow the older children, represent the masses. They are ignorant and scared and fall in line with whoever is strongest and most charismatic and so they represent the masses of people who follow their leaders.
These personalities all work together in the beginning, as they establish a community where some hunt, others help to keep the signal fire burning, and still others help to build shelters. As with most things that seem perfect, this construct does not last long. The ones who are tasked with building shelters abandon their posts and become lazy layabouts while the hunters are away all day and come back empty handed. Even those who were tasked with keeping the fire burning lose track of their job and miss the chance to signal a passing ship. The boys side originally with Ralph as he is the first to bring them together and seems to be the oldest and strongest of them. He speaks with logic and reason and it is appealing to all at first but as the months pass, the boys begin to defect and eventually Jack faces off with Ralph and starts his own group where, in the end, most of the boys end up. IN the end, the boys burn half of the island down, kill three children (either through ignorance, carelessness, or just plain murder) and are only under control again when a British soldier sees a fire and lands to investigate.
One major aspect of the allegory is the relationship between leadership and the masses. Ralph is initially the obvious choice for leader because he is older, stronger, and much more pragmatic, but once the littluns are treated to meat (caught by Jack) and experience fear in the shape of a beastie (something unseen that frightens most of the boys), they begin to follow that fear and it leads them to Jack's side because he can "protect" them from the monster. In these exchanges between Jack and Ralph, we can see the way political parties argue and work to manipulate their audiences. Ralph continuously tries to talk to the boys logically, using reason to hopefully alleviate their fears and to continue to hope for rescue. Meanwhile, Jack's priorities change as he becomes driven with the passion to hunt. He begins to talk about the beast as though it was real, even though they know it isn't, and in doing so, he plays on the littluns fear that they are in danger. In doing so, they go to his side because he can protect them from harm.
There are multiple symbols which also appear in the book: Piggy's glasses represent science and technology (they are used to start the fire), the signal fire (which represents the hope of rescue), the clothes and facepaint (which represent the ties to civilization, the Pig's head (which represents the Devil and evil), and of course the Conch shell (which represents community and togetherness). All of these symbols are used to help propel the allegory forward. As the adherence to the Signal Fire dissipates, the boys are losing their want or need to be rescued and as they disregard their clothes and begin to pain their faces, they sever their ties to civilized life. The conch, which once brought them together, becomes faded and white, losing its power. Eventually, it is shattered and their community is lost completely.
Arguably the most powerful scene in the book revolves around Simon and his death. Many times throughout the book Simon goes into the woods and communes with nature in a very Christ-like way. He is sensitive and smart and the most logical of all the group. He even has moments of prophecy such as when he tells Ralph cryptically that Ralph will make it home (alluding heavily to the fact that Simon will not). He even says once, as the boys are panicking about the beast, that maybe the beast is them, inside of them, all of them. The telling scene comes when he goes into the woods and has an encounter with the Lord of the Flies (the pig's head). Simon hallucinates a conversation where the head tells him that the boys are going to have fun and Simon had better not stand in the way of that. He faints and as he comes to, he climbs the mountain on the island to see what the beast really is (two boys and then Ralph and Jack went up to see the beast at night and thought they saw a monster). What he discovers is a dead parachute soldier. He runs to tell the boys what he has discovered in hopes that it will help to stop the fighting but as he emerges from the woods, the boys (who are in a frenzy of fear and excitement because of a burgeoning storm) attack him, mistaking him for the beast. They stab him repeatedly, killing him, and the ocean takes his body out to see.
As I stated before, Simon is an imperfect Christ figure because Christ's death resulted in salvation whereas Simon's death plunges the island into chaos. With kindness destroyed, Jack's group steals Piggy's glasses, hijacking technology. When Ralph and Piggy approach the group to get them back, Roger drops a boulder on Piggy, murdering him and killing intellect, which sends the island headlong into a murderous rampage. The novel ends with Ralph fleeing from the group of boys who have planned to kill him and put his head on a pike. It is only stopped when they are once again presented with society in the shape of an adult. The book's last scene contains all of the boys crying while the soldier looks uncomfortably at his own war ship, raising a wonderful question about war and whether what adults are doing is any different than the savagery of the children.
Using boys instead of girls was a brilliant choice on Golding's part, as boys are naturally more vicious and violent than girls (although teaching in a high school has really made me question that notion). This book as well as others of Golding's led to his reception of the Nobel Prize in Literature in 1983 for, "for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today." It is an incredibly important novel, bleak and sad and dark, and a perfect treatise on the human condition, especially our penchant for violence. It is one of those works that speaks volumes about the shortcomings of people and our propensity for manipulation and war.
Follow David Ames on Twitter @TheDavidMAmes
Image - Amazon

redpajama_set_name: RedPajamaCommonCrawl


text:
Posts Tagged 'Hollywood Hotel'
The Story of the Sacketts of Hollywood
Saturday, October 21st, 2017
The extended Sackett family in front of the Sackett Hotel, in 1898. From left to right: Betsy Otis, H.D. Sackett's aunt; Mrs. Sackett; Lyman Hathaway, cousin of Mary Sackett; William H. Sackett; unknown; Mary Sackett; Zella Sackett, married to George Dunlap; unknown; Lilly ? ; Dora Miller. (LAPL)
Horace David Sackett, whose family came to America from England in 1831, was born in Blandford, Massachusetts on December 29, 1843, the son of Leverett and Mary Culver Sackett. When he was eighteen years old, he went to Suffield, Connecticut and started a flourishing general merchandise and farming business that lasted for several years.
On January 15, 1873, Sackett married Ellen Minerva Lyman (b. July 24, 1848) and became the parents of five children, Mary Mariah (b. July 8, 1875), William (b. June 22, 1876), Warren Lyman (b. August 30, 1882), Zella Myra (b. June 11, 1883), and Emily (b. March 1885).
Sackett was a squat, spare, busy man with a short beard. He was cheerful and kindly but firm in his convictions. In 1887, with $10,000 in his pocket, he left Connecticut with his family and moved to Los Angeles. There he heard about land in the North Cahuenga Valley being subdivided for business and residential purposes. This new development called Hollywood was without lights, telephones, paved streets or other modern improvements.
The developer, Harvey Henderson Wilcox and his wife Daeida were looking for men willing to build up the area and attract new residents. Sackett's daughter Mary recalled that her family was one of the first families in the area. "Mr. Wilcox subdivided his 160-acre ranch and named it Hollywood," Mary recalled years later. "Both our families settled down there in May, 1888 when I was 12."
Each lot was going for a fixed price of $1,000 each. But Wilcox gave Sackett, free of charge, three, sixty-five foot lots facing the assigned business area at Cahuenga Avenue and the southwest corner of Prospect (now Hollywood Boulevard), if Sackett made certain improvements before the dummy line (the old steam engine with the open car) reached Wilcox Avenue. .
By 1888, the railroad was functioning, and Sackett built a three-story hotel building (above) of wood with a mansard roof, consisting of a corner store, and Prospect Avenue lobby and parlor. Behind that was the culinary department. The stairway in the lobby led to the upper two stories with eighteen rooms and a bathroom. Behind the hotel was a barn and corral; surrounding the store and lobby front was a cypress hedge and several two-year-old pepper trees planted by Wilcox, giving the place a very cozy appearance.
The Sacketts ran the first hotel in the Cahuenga Valley, and the second general merchandising establishment within the corporate limits of Hollywood. He also kept a few horses for his clientele and gardens to the blocks east and south of the store, to sell produce in his store.
Sackett bought the lot south of the hotel, two lots facing west on Wilcox Avenue, and south of the two northern lots in the row. Here he ran an overnight and breakfast place for city visitors and a bachelors' roost for the young single men of the village. At his store, Sackett sold butter and eggs, crackers and cheese, overalls, jumpers, boots and shoes, ribbons and yardage, and canned goods that were becoming popular.
Another Hollywood pioneer associated with the hotel was Dr. Edwin O. Palmer, who later wrote a history of the area. Upon his arrival in California, he rented a room and an office there for his medical practice.
Sackett's daughter, Mary and her siblings, attended the old Temple Street School through grade school, but didn't go to the downtown high school because they couldn't get there on time. Later, Sackett added another store, where in a corner nook he opened Hollywood's post office; Mary became Hollywood's first postmistress, running her practiced eye over the little rack of boxes. For her duties, Mary was paid as high as $5 per month.
Tragedy hit the Sackett family in 1899 when his son, William died unexpectedly at 23 years of age and was buried at Rosedale, as there would not be a cemetery in Hollywood for another two years.
Due to competition from the new Hollywood Hotel, built three years earlier at the northwest corner of Prospect and Highland, Sackett closed his hotel in 1905. He sold the property to Henry Gillig, but it remained unoccupied for the next five years except for one store room on the first floor.
In 1907, Sackett built a six bedroom house on property he had bought at 1642 Wilcox Avenue. Later that same year, in the reception hall of their home, Sackett's daughter Zella, married George Dunlap, the mayor of Hollywood at the time, and the city's last since Los Angeles annexed Hollywood in 1910.
In 1910, J.P. Creque, one of the wealthiest men in Hollywood, bought the former hotel property for $28,000 from the estate of Henry Gillig, who was now deceased. Creque razed the abandoned hotel and erected a fireproof two-story cream brick structure that cost approximately $30,000. The Hollywood National Bank leased a portion of the new building; there were three other stores facing on Prospect. The second floor had offices with wide hallways and tile flooring. .
The J.P. Creque Building being built in 1911 on the site of the Sackett Hotel at the southwest corner of Hollywood and Cahuenga.
In 1931, the Creque Building was enlarged by adding two stories; the Art Deco building at 6400-6408 Hollywood Boulevard, is still on the site. .
The Creque Building as it appears today on the site of the Sackett Hotel.
Now retired from the mercantile business, Sackett devoted himself to the management of his private interests and several properties that he owned. He took an active part in the public affairs of Hollywood and Los Angeles for many years and was a man of ability and worth. He was a staunch democrat and was interested in politics, especially in local matters.
It was in their Wilcox Avenue home that Horace Sackett died in 1918, and was buried next to his son at Rosedale. In 1929, his wife Ellen followed him in death at the age of eighty from heart disease.
At the time of Ellen's death, the area around Hollywood Boulevard and Wilcox had become mostly commercial, and land was being bought for business purposes. Mary Sackett was living in the family home, but instead of demolishing the house, she sold the property in 1929 and moved the house to the San Fernando Valley which was residential.
Remarkably, the old Sackett house is still standing at 10739 Kling Street in North Hollywood. The 1908 residence looks somewhat out of place next to the small bungalow homes built mostly in the 1930s. .
The altered, but original Horace Sackett home, once located at 1642 Wilcox Avenue in Hollywood, is now at 10739 Kling Street in North Hollywood. PLEASE NOTE: This is a private residence. DO NOT DISTURB the occupants.
The rear of the former Sackett home.
On Wilcox, a row of storefronts still stands in place of the old Sackett homestead.
Mary Sackett never married, and in her old age claimed that she never touched liquor, tea or coffee. "I'm an old maid and proud of it," she insisted to a reporter in 1950. "I've never worn a bit of make-up, yet I had three proposals. Men have taken me out but usually with a chaperone. I wouldn't let them kiss me good-night and to this day no man has ever been allowed to put his arm around me."
In 1954, at the age of 78, Mary appeared on an episode of the You Bet Your Life television show with host Groucho Marx and laughingly ruffled the comedians feathers. She asked Groucho to put away his trademark cigar, either lit or unlit, and he grudgingly complied. .
Mary Sackett, 74, spars with comedian Groucho Marx on "You Bet Your Life."
Click HERE to watch the episode. Mary's segment begins at 18:45
When asked if a man might yet come along and sweep her off her feet, Mary replied, "Not a chance. I'm too set in my ways. I don't want any man cluttering up my house." When Mary died on January 31, 1969 at age 93 in Rosemead, California, she was the last remaining Sackett. She was buried in the family plot at Rosedale Cemetery. .
The Sackett family marker at Rosedale Cemetery.
Mary Sackett's marker at Rosedale Cemetery.
Tags:Creque Building, Daeida Wilcox, Dr. Edwin O. Palmer, Ellen Sackett, Emily Sackett, George Dunlap, groucho marx, Harvey Henderson Wilcox, Henry Gillig, Hollywood Hotel, Hollywood National Bank, Horace Sackett, J.P. Creque, Mary Sackett, Rosedale Cemetery, Sackett Hotel, Warren Sackett, William Sackett, You Bet Your Life, Zella Sackett
Posted in Book/Film News, Hollywood Pioneers | 2 Comments »
The Story of the Lasky-DeMille Barn
Sunday, December 22nd, 2013
This month celebrates one-hundred years since director Cecil B. DeMille arrived in Los Angeles and rented a barn in the sleepy village of Hollywood to make The Squaw Man.
By Allan R. Ellenberger
Paramount Pictures traces its beginnings back to the founding of Adolph Zukor's Famous Players Film Company on June 1, 1912. In 1916, Zukor merged his company with the Jesse L. Lasky Feature Play Company, and with the Paramount Distributing Corp., a subsidiary. The new studio became Famous Players-Lasky Corporation and their films would be distributed under the Paramount name. In 1927 the organization was reorganized under the name Paramount Famous Lasky Corporation. In 1935, the Famous-Lasky name was dropped and the studio officially became Paramount Pictures.
During Paramount's acquisition of the Lasky Feature Play Company, the studio inherited an unpretentious, at least by Hollywood standards, wooden barn. The origins of that barn have had several incarnations. This is one version.
In 1913, Jesse Lasky, a thirty-three year-old vaudeville producer, knew very little about films and how they were made. What he did know was that the fairly new entertainment medium was cutting into his stage show business. One day as Lasky and his partner, Cecil B. DeMille were going over the plans for the 1913-1914 Vaudeville season, DeMille dropped a bomb on his friend and partner. DeMille was having problems living on his royalties and his debts were piling up, so he told Lasky he wanted to quit Broadway and go on an adventure. There was a revolution going on in Mexico and he thought about going there. Lasky did not want to lose his best friend so he blurted out an idea that another friend, Sam Goldfish (he later took the name Samuel Goldwyn) had been trying to interest him in—the movies. Suddenly Lasky made a suggestion. "If you want adventure," Lasky told him, "I've got an even better idea—let's make some movies."
DeMille grabbed his hand and said, "Let's."
"A portion of the motion-picture industry was built on that one word," Lasky later said.
From left: Jesse Lasky, Samuel Goldfish (Goldwyn) and Cecil B. DeMille
But Lasky had one condition. He had seen a four-reel feature starring Sarah Bernhardt called Queen Elizabeth (1912) which Adolph Zukor of the Famous Players Film Company had imported from France for exhibition. If they were going to do this, he wanted to "do it in a big way and make a long picture like Queen Elizabeth."
After lunch they adjourned to the Lamb's Club on West Forty-Fourth Street to discuss the details. At the club they ran into actor, Dustin Farnum and, while explaining their idea, asked him if he would star in a long feature they were going to produce. Looking around the room, Farnum saw Edwin Milton Royle the author of The Squaw Man. "You get Royle to sell you The Squaw Man and I might agree to join you," Farnum told them.
After some discussion, Royle was open to negotiating so Lasky called Goldfish and told him "they were in business."
The Jesse L. Lasky Feature Play Company was formed with Lasky as president, Goldfish the general manager, and DeMille would be the director-general. They each held a quarter of the stock and Farnum agreed to take the other quarter instead of receiving a salary. They paid $15,000 for the rights to The Squaw Man.
At first they planned to film it Fort Lee, New Jersey, just across the river from New York, but Lasky didn't think that would satisfy DeMille's penchant for adventure, so he suggested they go to Flagstaff, Arizona where he knew there were real Indians. "It did not seem necessary for us to go to the then new Hollywood, so we looked at the map and selected Flagstaff, Arizona, as a pretty good name for our producing town," Lasky said.
DeMille was agreeable but Farnum balked at the proposal. As long as he could live at home and work across the river he was willing to be paid off in stock, but if he had to travel across the country, he wanted his salary in cash. With the entire proposition on the verge of collapse, Lasky convinced his wife's uncle and brother to invest and purchase Farnum's stock. Reportedly, if Farnum had held onto the stock for eight years, he could have sold it for almost $2,000,000.
The new producers hired a cameraman with his own camera and they engaged Oscar Apfel to help direct the production. Lasky and Goldfish remained in New York and attended to the sales and financial details as DeMille and Farnum took the train west.
When DeMille finally arrived at Flagstaff, it was raining, so they boarded the train again and continued west to Hollywood. Once there, he sent a telegram to Lasky: "Flagstaff no good for our purpose," DeMille wired, "Have proceeded to California. Want authority to rent barn in place called Hollywood for $75 a month. Regards to Sam. Cecil."
Goldfish was furious. Lasky defended DeMille's decision even though he was not sure it was the right one. After arguing for hours they finally agreed to let the company stay in Hollywood. "Authorize you to rent barn but on month-to-month basis," Lasky wired back, "Don't make any long commitment. Regards. Jesse and Sam."
The barn that became their studio was located in a grove of orange and lemon trees on the southeast corner of Selma and Vine. Built in 1895, it was once a part of the estate of Colonel Robert Northam, whose mansion was located across the street where the Broadway building now stands. In 1904, Northam sold the estate to Jacob Stern, a realtor who, in March of that year, sold the barn to Harry Revier, a producer-director. In December 1913, Revier rented it to DeMille.
Remodeling the barn into a studio to fit their needs began immediately. The horse stalls were removed and the space gained was transformed into a storage area for equipment the company hoped to buy. The carriage stand was turned into offices, a projection room and a primitive laboratory. The washing block was surrounded by walls and called a vault and the hay and feed section was made into an office, shared by DeMille and Lasky. A 30-foot square platform was built to adjoin the barn on the south side. This platform, the company's first stage, was covered with a sail rigged to a mast, which could be adjusted to regulate sunlight.
Shortly, DeMille wired Lasky that production was starting the next day. On December 29, 1913, DeMille ordered "camera" for the first scene of The Squaw Man. The excitement that the production was finally beginning convinced Lasky to come out to Hollywood.
When Lasky arrived at the old Santa Fe Station, he told a taxi driver that he wanted to go to Hollywood. "He gave me a puzzled look," Lasky recalled, "but said, 'Get in boss—we'll find it.'" After conferring with other drivers at the Alexandria Hotel, they found their way over dirt roads, past endless orchards and the occasional farmhouse until they came to the Hollywood Hotel. Lasky introduced himself to the clerk and made inquiries about the film company.
"This is my first trip here and I'm not sure where our studio is located," he told the clerk. "Would you please direct me?"
"I'm sorry," said the clerk, "I never heard of it."
"Perhaps I should have told you that the director-general of the company is Cecil B. DeMille," Lasky stated.
"Never heard of him," the clerk said. Disappointed, Lasky was leaving when the clerk called him back.
"Tell you who might help you," he said. "Drive down this main road till you come to Vine Street. You can't miss it—it's a dirt road with a row of pepper trees right down the middle. Follow the pepper trees for about two blocks till you see an old barn. There's some movie folks working there that might know where your company is."
When Lasky heard "barn" he knew he had the right place. He found the barn at Selma and Vine with a sign that identified it as the Jesse L. Lasky Feature Play Company. When he opened the door he heard someone say: "There's the chief." Outside there was a two-ton Ford truck with the company's name inscribed on its side. When DeMille saw him, he grabbed his hand and gathered the company around and gave a speech of welcome. Afterward he had a photographer take a photo of Lasky and the company against the truck.
Cecil B. DeMille (right) directs a scene from "The Squaw Man"
DeMille finished The Squaw Man in three weeks, and Oscar Apfel took over the one stage for his production of Brewster's Millions (1914), another successful stage play. Edward Abeles, who had starred in the stage production, was brought to Hollywood for the film, which was followed by The Master Mind (1914) and The Only Son (1914).
When The Squaw Man was released, Lasky received a telegram of congratulation from Adolph Zukor, then president of Famous Players. Lasky thought it was generous of him to do so and knew the value of the telegraphic dispatch so he asked Zukor's permission to use his congratulatory message in their advertising.
Further improvements were made on the barn and the studio lot. In May 1914, electrical illumination was used for the first time to augment sunlight, when tow spotlights arrived from the East and were used in the production of Steward Edward White's story, The Call of the North (1914). Meanwhile, the studio was expanding. The platform attached to the barn was outgrown, and a larger, open-air stage was constructed. This received the title of Stage Number One, and when the end of this stage was glassed over, Stage Number One became the pride of the studio and the wonder of Hollywood. Sheds extending from the Selma Avenue side of the barn formed the cutting rooms, carpenter and paint shops, and the first dressing rooms were constructed.
The first feature film to be made on this stage was DeMille's Rose of the Rancho (1914). This picture marked a definite step forward in the life of the studio, for this was the first film which was shot, in part, on location away from the stages. At this period the first major influx of stars started. H.B. Warner, Max Figman, Theodore Roberts and Mabel Van Buren joined the Lasky forces. Dustin Farnum returned to the studio to star in the first film version of Owen Wister's novel, The Virginian (1914), under DeMille's direction. In the east, Marguerite Clark made her screen debut in The Goose Girl (1915).
Stage Number One was inadequate to handle the expanding production of the studio and a barley field to the south was annexed and Stage Number Two, an exact replica of Number one, was constructed. Soon a third stage was built, and then a fourth.
On June 28, 1916, the Jesse L. Lasky Feature Play Company was merged with Adolph Zukor's Famous Players organization, whose most important asset was Mary Pickford. Zukor and Lasky combined forces and capital and purchased Paramount Pictures on July 19, 1916 and announced the formation of the $25 million Famous Players-Lasky Corporation, which included Paramount as its distributing channel. Zukor was elected president and Lasky was placed in charge of production.
The Lasky Studios looking southeast from the corner of Selma and Vine.
The barn is on the far left of the photo.
Within three years they acquired the entire block between Selma and Sunset on which the former barn was located. The barn was transformed into a small property room and the business offices were moved into a new administration building which extended practically the length of the entire block facing Vine Street. A new glass stage was erected 60 by 200 feet, and another glass stage of the same length. New carpenter and property construction shops were built 300 by 100 feet in size. The studio had extended its walls a full block.
An aerial view of the Lasky lot (center)
Further expansion continued and a vacant block on Argyle Street to the east was bought and was referred to as the "back yard," containing fourteen garages and the street sets for outdoor filming. A new double deck paint frame was erected, eight times the size of the former paint frame, which at the time of its construction, was the largest on the Pacific Coast. Over 150 new dressing rooms were built for the stars, members of the organization and the extras. The studio also controlled the Morosco-Pallas Studios at Occidental and Council, and there, a new stage was built and the plant adjusted so that it could handle at least six companies.
Beginning with a total staff of fifteen, just three years after The Squaw Man was completed the Lasky Company now had nearly a thousand on its weekly payroll. It had a complete printing plant on the grounds, which was used not only for printing sub-titles, but for preparing all stationary and the like. From having two automobiles, one of which was the personal property of Cecil B. DeMille, the Lasky Company now had fourteen cars, as well as three trucks. At the rear of the garages a complete machine shop was erected and all repairs were made by an expert mechanic and his crew. A concrete building was put up especially for the housing of transformers for the electricity for lights on the stages and the adjacent outdoor lot.
A thousand-acre ranch near Burbank (now Forest Lawn-Hollywood Hills) was acquired as a site for out-door action. It was on this ranch that the studio's growing collection of horses, cow ponies and cattle were held.
On the studio's twelfth anniversary, about 200 stars and well-known film executives attended and gathered in the old barn, now referred to as the "little grey home in the West," for the celebration on December 14, 1925. Those attending included Ethel Wales, who was a casting director, secretary and, when needed, a leading lady; Mabel Van Buren, James Neill, Theodore Roberts, Dustin Farnum and others. Lasky was presented with a bronze tablet which was placed on the spot where the old barn stood.
A month later, Famous Players-Lasky purchased the United Studios a few blocks south on Melrose Avenue and Marathon Street, reportedly for $5 million. Lasky would move their operations from the old Sunset and Vine lot to the new studio on May 1, 1926. "Although our studio in Hollywood has long been considered the best equipped plant in the country," Lasky said, "it is not big enough to take care of the productions which we have scheduled for this coming year. The United Studios has nine stages and its 26 acres will enable us to expand our activities to take care of the production program we have in mind."
At the time there were no plans on what to do with the old lot, but Lasky was sentimental about the old barn and the studios beginnings, so he had it picked up and trundled over to the new location. In addition, the window frame that he used to gaze out from was removed and placed in his new private office.
Top: An aerial view of the new Paramount lot. Note at the top is
Hollywood Cemetery and the new Cathedral Mausoleum on the far right.
On the new Paramount lot, the old barn served as the studio library and later as the gymnasium. It became part of the studio's western set, and a porch and railroad tracks were added outside. It was later used as part of the Bonanza television series set. On December 26, 1956, the barn was dedicated as California Historical Landmark No. 554.
The dedication to declare the barn a California landmark. From left:
Samuel Goldwyn, Cecil B. DeMille, Jesse Lasky, Leo Carillo.
The barn remained on the lot until October, 1979 when Paramount gave the barn to the Hollywood Historic Trust, a cultural heritage arm of the Hollywood Chamber of Commerce. Until a decision could be made on what to do with the structure, it sat in the parking lot of Dennis Lidtke's Palace, just north of Hollywood Boulevard on Vine Street. For the next three years it sat there becoming an eyesore to the community. Even though money was raised to restore the historic barn, there still was no permanent site to be found.
When Jack Haley, Jr. wanted to film a television special at the Palace, he asked that the barn be moved. The Historic Trust offered to have the barn go to Universal, but preservationists knew it would become just another part of the studios tour. Eventually, Haley and Lidtke backed down on their request and the barn was allowed to stay until a site was found.
The barn on the move.
Meanwhile, Marion Gibbons, co-founder of Hollywood Heritage, and a board member of the Hollywood Chamber, proposed that her organization find the barn a permanent home. In May 1982, the Hollywood Historic Trust signed over the barn to Hollywood Heritage. They found a site on a grassy piece of land across from the Hollywood Bowl on Highland Avenue and signed the lease with the county on September 29 of that year. Gibbons and her volunteers finished painting the barn and getting it ready for removal from the Vine Street parking lot to the Bowl location. When completed, the barn was dedicated in December 1985 as The Hollywood Studio Museum.
After a fire in September 1996, the museum remained closed until July 1999 when it was renamed the Hollywood Heritage Museum in the Lasky-DeMille Barn. When in Hollywood, be sure to visit the old barn where much of the early history of film took place. The museum is open from Wednesday to Sunday from noon until 4PM. For more information, visit their website at www.hollywoodheritage.org .
Tags:cecil b demille, Dustin Farnum, Forest Lawn-Hollywood Hills, Harry Revier, Hollywood Bowl, Hollywood Chamber of Commerce, Hollywood Heritage Museum in the Lasky-DeMille Barn, Hollywood Hotel, Hollywood Studio Museum, Jack Haley Jr., Jacob Stern, Jesse L. Lasky, Marion Gibbons, Mary Pickford, Morosco-Pallas Studios, Oscar Apfel, Paramount Pictures, Samuel Goldwyn, The Squaw Man
Posted in Book/Film News, Hollywood History | 4 Comments »
Early filming in Hollywood
One-hundred years ago this month, the first motion picture studio was opened in Hollywood by David Horsley in the old Blondeau Tavern on the northwest corner of Sunset and Gower. However, it wasn't the first time that filming took place in the environs of the future film capitol. In those days, movie companies would show up unexpected and unannounced and begin filming a scene, then just as quickly leave. One such event occurred just six months before Horsley's arrival at the famed Hotel Hollywood, now the site of the Kodak Theatre. The following is the account as it was reported in the Los Angeles Times the following day.
Turn guns on bellboys
Two stage miners cause panic at hotel while making of motion-picture film progresses
While the guests at the Hotel Hollywood were enjoying a quiet siesta on the wide verandas yesterday they were thrown into an incipient panic by the appearance of two very stagey-looking mining men riding typical desert broncos.
The men were looking about furtively as they drew rein before the hotel. The guests' watched them curiously as they laboriously dismounted.
Just then the doors of the hotel opened and two youths, dressed elaborately as bellboys, rushed out to meet the newcomers. The bellboys grabbed at a heavy leather bag which the mining men were placing on the ground.
Suddenly each of the mining men gave a shout, drew a large revolver and began firing indiscriminately at the bellboys. The hotel guests arose as one person and made a center rush for the doors leading into the lobby. They wedged themselves in the doorways and yelled for help. Children playing on the lawn yelled and fled for the crowded doorway.
Meanwhile the mining men were pumping away blithely with their revolvers. A third man appeared and the bombardment ceased. There was a moment's conversation with a great deal of gesticulation and the mining characters, carrying their heavy leather pouch between them, marched up to the door of the hotel. The trembling bellboys were holding the miners' horses. As soon as the mining men reached the shadow of the veranda they dropped their bag with a sigh and turned around genially to the peering and frightened faces of the guests.
"Gee," said one, "these stunts are hard on we guys."
The scene was staged for the benefit of the American Biography Company and was part of a long film now being made, which depicts the experience of two miners who strike it fabulously rich and have a strenuous experience at hotels owing to their suspicion of everyone who tries to carry their precious gold-laden leather pouch.
If anyone recognizes the plot and knows the title of this film, please post it here. Thank you.
Tags:Anerican Biograph Company, Hollywood Hotel
Posted in Book/Film News, Filmmaking | 2 Comments »
Andreas Dippel at Hollywood Forever
Andreas Dippel, operatic tenor and impressario
Andreas Dippel, a once famous tenor in German opera at New York's Metropolitan Opera house, was distinguished for his progressive and far-reaching vision. Dippel was born in Kassel, Germany on November 30, 1866. His family was not musical and he was destined for a business career. At 16 he worked for a bank and remained there for five years. At the same time he was developing his voice with singing groups and under the coaching of Mme. Zottmayer of the Royal Court Theatre of Kassel.
In 1887 he left home and tried his hand at being an opera singer. In the fall of that year he made his debut in the Stadttheatre of Bremen as Lionel in Flotow's opera Martha, beginning an engagement that lasted, with one important interruption, until 1892. He sang several smaller roles in Bayreuth in 1889, and become a member of the Vienna State Opera in 1893. He sang there until 1898 in 27 roles, including Marcello in the Vienna premiere of Leoncavallo's La bohème. During that period he also sang in London's Royal Opera House.
He made his first American appearance at the Metropolitan on November 26, 1890, in Alberto Franchetti's Asrael. Except for a concert tour, he did not sing in the United States after that season until 1898, when he became a permanent member of the Metropolitan Company, then managed by Maurice Grau.
For twelve years Dippel was one of the important figures in opera in New York, first as a tenor of exceptional versatility, able to jump into a part at a half hour's notice, possessing a repertoire of 150 roles; then, from 1908 to 1910, as administrative manager of the company in association with the newly arrived Giulio Gatti-Casazza as general manager. When Dr. Lee De Forest approached the management of the Metropolitan management for permission to attempt the radio broadcast of opera, Dippel enthusiastically consented, even allowing Caruso himself to sing into the microphone.
Early in this regime it was apparent that all was not harmonious in the executive offices. The outcome of whatever disagreements existed was a superficially happy one. Dippel resigned in April 1910, to assume the management of the Chicago Opera Company, which he guided for three years through the difficult period of its beginning and early development. Again rumors of internal discord arose and he left the organization after receiving a year's salary, $25,000, and other rewards for his promise not to re-enter opera in Philadelphia or Chicago for three years. Thereafter he tried various operatic ventures, none winning more than a temporary success.
In 1914 he formed the Dippel Opera Comique Company which produced the Broadway premiere of Lilac Domino at the 44th Street Theatre on October 28, 1914. It ran for 109 performances and then toured the United States. Rather less successful was Dippel's next Broadway production, The Love Mill, which opened at the 48th Street Theatre on February 17, 1918 and closed five weeks later after 52 performances. Dippel had his own opera school at the Ithaca Conservatory of Music in the 1920s.
In 1920 he was reported to be gaining a livelihood by selling life insurance in Chicago. In May, 1921, a large testimonial concert was given for Dippel at the Metropolitan, following a similar benefit in Chicago. Two years later, along with Hugo Riesenfeld, Dippel once again became an advisor to De Forest when he introduced on Broadway, the Phonofilm, or talking pictures. This scheme to give opera in motion picture houses in combination with "jazz" and a fashion show failed, as did his United States Grand Opera Company.
In 1924 he divorced his wife, the Countess Anita Dippel of Vienna, whom he married in 1890, on the ground of desertion. Once again with De Forest, in 1925 they recorded in the Century Theatre the notable Wagnerian score of the German film Siegfried, arranged by Riesenfeld – the first serious attempt anywhere to utilize the then new sound-on-film for so significant a departure. From then on, Dippel always insisted that the sound-picture would eventually become the medium for the masses of grand opera.
Dippel was brought to Hollywood in 1928 by Metro-Goldwyn-Mayer and worked in the studio synchronization department. The following year he was injured by a street car and spent six months in the hospital. While there he was taken from the studio payroll and was left without finances, yet he toiled indefatigably on his own on the different problems of multi-lingual films.
During the last few months of his life, unknown to most of his friends from whom he had gradually withdrawn, he had become destitute. On May 15, 1932, Dippel's body was found in his room at the Hollywood Hotel; the cause of death was heart disease. Because he was penniless, his funeral was placed under the direction of the Motion Picture Relief Fund and plans were made to bury him at Valhalla Cemetery where they normally placed indigent actors. However, several friends donated money to buy him a crypt at Hollywood Cemetery next to that of actress Renee Adoree.
Dippel's funeral was conducted at Pierce Brothers Mortuary on Washington Boulevard and was attended by several score of intimate friends and associates, including Joseph Zoellner, Sr., Andres de Segurola and Mme. Sophie Traubman, who sang with Dippel in the Metropolitan; Charles Dalmores, formerly of the Chicago Grand Opera and Dr. Lee De Forest. His crypt marker was paid for by a friend and former student.
Tags:Andreas Dippel, Caruso, Chicago Opera Company, Hollywood Forever Cemetery, Hollywood Hotel, Lee De Forest, Metro-Goldwyn-Mayer, metropolitan opera
Posted in Book/Film News, Hollywood Forever Cemetery | 4 Comments »
Hollywood Hotel site
HOLLYWOOD LOST: THEN & NOW
(Hollywood Hotel: LAPL)
The above photo was taken from the northeast corner of Hollywood and Highland. The Hollywood Hotel was built in 1902 with another wing added in 1905. Not long after, the hotel was bought by Mira Hershey, an heir to an Iowa lumber and farming magnate. When the movies came to Hollywood this is where everyone stayed. By the 1950s it was a run down and faded remnant of its former splendor. The Hollywood Hotel was razed in August 1956.
(PHOTO: Allan R. Ellenberger)
Here is the same spot today taken from the same corner. The block is now the Hollywood and Highland complex and further down is the Kodak Theatre, the current home of the Academy Awards.
Tags:Hollywood and Highland, Hollywood Hotel, kodak theatre, Mira Hershey
Posted in Book/Film News, Hollywood Lost | 13 Comments »


We Are All Treaty People. Or Are We?
Often I am asked, what inspired me as a newcomer to learn more about Treaty 7? What inspired the roadtrip that became Elder in the Making? As it turns out, it all began with an acknowledgement.
Just a few years ago I started hearing an acknowledgement about being on Treaty 7 territory, but sadly I had no idea what that meant. Nevertheless I knew it was important, so I became attentive to opportunities to learn. It was Michael Green's Making Treaty 7 production that gave me the chance to dive deep into the subject of treaty. At the Banff Centre residency I met Narcisse and Cowboy as well got all kinds of recommended reading.
One book that stands out is "The True Spirit and Intent of Treaty 7", which brought together stories from Elders about Treaty 7. For most of history, treaties were examined from legal experts, anthropologists, European historians. This was the first I heard from an Indigenous perspective.
From the Blackfoot perspective, treaty was best explained by the concept of inistsi or peacemaking. Treaty was seen as a broad process of peacemaking or of forging new relationships. From the British perspective, it was a legal agreement but also a tool used to expand their empire without resorting to war. Thus treaty is often seen as a land surrender. These two vastly different perspectives came together to sign Treaty 7 in 1877, and as you can imagine, much was misunderstood.
Agreements have force when both sides understand what they have agreed upon and commit to upholding it. A common theme I've heard from the Blackfoot, Tsuu T'ina, and Stoney is that it was understood that the land was to be shared in partnership with the newcomers. In a modern day context, it seems to me that means resource sharing, partnership in utilization of land, as well as respecting important land-based cultural traditions. Simple right?
Over time unfortunately, the government failed to uphold much of their side of the treaty. Indigenous people were squeezed into reserves where they could sustain an economic living. Hunting and trapping became more and more constrained. Big Horn Dam flooded large tracts of ceremonial and burial land without the consultation of the Stoney Nakoda.
Leroy Little Bear says that Canada would not be a nation without the treaties and as a result we are all treaty people. However, what does it mean for people like me who benefit by being Canadian but don't have ancestors here? What about the generations of settlers that have made their home here? Also, the Metis, groups in British Columbia and NWT didn't sign treaty.
Perhaps a new kind of agreement needs to be reached which lives up the spirit and intent of treaty rather than the narrowly defined written version of the treaty. It's no small task when so much trust has been broken or when so much language and culture have been lost or when Indigenous people are disproportionally marginalized. It's still a long road to reconciliation, but at least there's a beginning.


I am Dr. Nagarajan Murali, a Senior NMR Researcher at the NMR facility in the Department of Chemistry and Chemical Biology (CCB) at Rutgers.
The department house a total of 8 spectrometers in two separate buildings.
The Chemistry NMR Facility houses four spectrometers (VNMRS 500, 400, 300, and a Bruker solid-state 400) for the Chemistry department use and are located at the Wright-Rieman Chemistry Lab. I take care of the use, maintenance, and user training of these instruments.
The other four high field spectrometers for Bio-NMR research are located at the Proteomics center. These are: Bruker Avance III HD 800, Bruker Avance III 700, Bruker Avance III 600, and Bruker Avance III HD 600 MHz spectrometers. The 800 and 700 NMR systems have cryogenically cooled probes. The Avance III HD 600 system is equipped for bio solid state NMR application. The solid-state 400 NMR at CCB with its 3.2mm CHN - Efreee Bio-Solids probe is also capable of biological solids NMR applications. Dr. Seho Kim manages the bio-nmr applications and I take care of the hardware issues and act as a liaison with the vendors.
My own interests are in NMR methods development and theoretical aspects of relaxation in NMR. A graduate level course titled NMR Spectroscopy: Principles and Applications was developed and taught during spring 2010. As a facility manager, my core efforts are in helping researchers achieve their goals in NMR applications.
Research training is a major component of the undergraduate program in the Department of Chemistry and Chemical Biology and I enjoy contributing towards that by training young students in NMR. Their enthusiasm and energy are contagious and I draw my own inspiration to teach from these interactions.


An creation to utilizing concept in Social paintings Practice equips the reader to take advantage of fourteen key social paintings theories to steer each one part of the deliberate swap strategy, from engagement via to assessment. appropriate for a generalist process, this booklet illustrates the price of utilizing concept to perform in quite a few social paintings roles, throughout various fields and dealing with diversified demanding situations.
The first part presents a pragmatic starting place for commencing to use concept on your social paintings perform.
Section appears at how one can translate and combine fourteen theories as a rule present in social paintings throughout each one part of the deliberate switch procedure. The theories mentioned are: behavioural, interpretive anthropology, psychodynamic, evolutionary biology, cognitive, symbolic interactionism, strengths, social constructionism alternate economics, position, ecological, serious, feminist, and platforms thought.
The ultimate part addresses a few key concerns for genuine lifestyles social paintings perform, together with universal obstacles to utilizing concept in perform, the opportunity of multi-professional communique and theory-sharing, and constructing an integrative theoretical version to your personal own perform.
Linking to center talents pointed out by means of the Council of Social paintings schooling, this article helps social paintings scholars and practitioners in constructing very important abilities, together with severe pondering, making use of idea and the powerful use of the deliberate swap process.
This publication, a part of the Pocketbook sequence, can be a useful gizmo not just for skilled execs but in addition newly certified social staff and scholars. It offers with themes resembling why humans take ingredients and the hazards concerned in addition to suggesting how you can take care of not easy situations.


text:
Daniel Radcliffe's secret Helena Bonham Carter crush
Daniel Radcliffe had a secret crush on Helena Bonham Carter when they worked together on 'Harry Potter'.
Despite a 23-year age difference, Daniel, 32 - who played the titular boy wizard in the film franchise - revealed he held a torch for co-star Helena, 55, who portrayed Bellatrix Lestrange.
During his appearance on the TV special 'Harry Potter 20th Anniversary - Return To Hogwarts', Daniel read out a note he sent to Helena when filming on the franchise ended in 2011.
It read: "Dear HBC, it was a pleasure being your co-star and coaster in the fact I always ended up holding your coffee.
"I do love you and I wish I'd just been born ten years earlier so I might've been in with a chance."
And Daniel wasn't the only star to fall in love on the 'Harry Potter' set, with co-star Emma Watson, 31 (Hermione Granger), previously admitting to a crush on Tom Felton, who portrayed the villainous Draco Malfoy.
She said: "I walked into the room where we were having tutoring,
"The assignment that had been given was to draw what you thought god looked like, and Tom had drawn a girl with a backward cap on a skateboard. And I just don't know how to say it – I just fell in love with him.
"I used to come in every day and look for his number on the call sheet, it was number seven, and if his name was on the call sheet, it was an extra exciting day. He was three years above me and so for him he was like, you're like my little sister."
To Emma's disappointment nothing ever happened between her and Tom but the 34-year-old actor admitted that he was fully aware of his secret admirer.
Tom said: "I think I was in the hair and make-up chair and someone said something along the lines of, 'Yeah, she had a crush on you.'
"I became very protective over her. Yeah, I've always had a soft spot for her and that continues to the day.
"There's always been something that's like, I don't know, a kinship."
Qld govt backs quarantine facility
Border restrictions may be easing but the Queensland government is confident its regional quarantine facility can still be used for "an array of options".The finishing touches are being put on the centre at Wellcamp, west of Brisbane, which is set to open in the "coming weeks".


View Fairmont Banff Springs Meetings video.
Reflecting the expectations of a world-class capital city, Fairmont Banff Springs is proud to offer professional meeting facilities and Banff Springs meeting space supported by a comprehensive array of professional and state-of-the-art services. Our Banff event planners offer an expert's knowledge in planning events that are unparalleled successes. From 8 guests to 1000, the Fairmont Banff Springs has the flexible event spaces, experienced meeting professionals and enthusiastic Colleagues to ensure your next meeting or conference is a success.
The team of meeting professionals at Fairmont Banff Springs is dedicated to providing the support and expertise you need while our Banff Springs Conference Concierge and Banquet teams will make sure that no detail is too small and no request is too big. We are pleased to have PSAV at the hotel to provide state-of-the-art audio visual equipment and experience technicians.


text:
REAL LIFE HEROES
CELEBS WITH HEART
Tank's Good News
Guy Behind 'Blinking White Guy' Meme Raises More Than $28,000 For Multiple Sclerosis Research
Jennifer Still
If you've used the internet in the past five years, there's no doubt you've come across the infamous blinking white guy meme at least once (but probably way more than that). It's one of the most popular gifs ever, expressing confusion, righteous indignation, and shock all in one. Now Drew Scanlon, the man behind the meme, is using his internet fame for good by raising a ton of money for multiple sclerosis research.
Scanlon, who has roughly 73,000 Twitter followers, took to the social networking site on September 19th asking those who'd seen and enjoyed the gif to consider donating whatever they could to an MS research charity.
"Hi Internet! I'm Drew and THIS IS MY FACE," he posted. "If this GIF has ever brought you joy in the past, I humbly ask you to consider making a donation to the National MS Society. It would mean a lot to me and to those I know affected by the disease!"
Hi Internet! I'm Drew and THIS IS MY FACE.
If this GIF has ever brought you joy in the past, I humbly ask you to consider making a donation to the National MS Society. It would mean a lot to me and to those I know affected by the disease!
Donate at https://t.co/vf6ItTacgR pic.twitter.com/VaFbgOKrV2
— Drew Scanlon (@drewscanlon) September 19, 2019
Scanlon included a link to his Bike MS fundraising page, where he was collecting donations leading up to his 120-mile ride from San Francisco to California's wine country that took place from September 21-23. Within two days of his original post, the donations had already crossed the $20,000 mark, leaving Scanlon overwhelmed with the response.
"Folks, we have raised over TWENTY THOUSAND DOLLARS so far!! Thank you SO MUCH to everyone who has contributed, this is truly astounding!" he wrote in a follow-up tweet.
Scanlon, who has two friends who are battling MS, admitted that it "feels a little uncool" to use the meme he became famous for to get people's attention but felt that it was worth it in order to raise money for such an important cause.
Folks, we have raised over TWENTY THOUSAND DOLLARS so far!! Thank you SO MUCH to everyone who has contributed, this is truly astounding!
Pictured: live footage of my astonishment.
Donate to help support MS research here: https://t.co/vf6ItTacgR pic.twitter.com/S6gAWMXro3
"It feels like the band wearing the band's T-shirt a little bit," he told NPR. "But I figured if I could somehow find a way to leverage the popularity of the meme for a good cause, that's something that I should try to do."
By the time the event took place, he'd raised a whopping $28,343.99 of his $30,000 goal. Scanlon has noted that while the bike ride is over, donations will be accepted until November.
You're amazing, Internet. Your response has attracted news outlets around the world, giving us incredible reach!
Without you, we wouldn't have just hit TWENTY-FIVE THOUSAND DOLLARS!
Help support MS research at https://t.co/vf6ItTacgR (Donations stay open until November!) https://t.co/TM51BUCSU0
Love good news? Get it delivered straight to your inbox!


It seems that this applies equally to our political writers with the odd, very odd exception, right here in Lotusland.
In politics, speculation is half the fun – the other half is figuring out how, with all your experience in the field, you could have been so bloody wrong.
Actually, for the new minister, the reasons he or she is usually wrong are predictable as hell to a guy like me – not because I'm smart, but because I was there once myself. I went into my new Ministry office back on December 22, 1975, full of piss and vinegar, not to mention urgent plans. After all, I had 3 1/2 years of mismanagement to clean up and there's no time to start like right now.
Well, yes, there is, you quickly find out from your Deputy Minister, because there are several decisions to make first. Not that they're earth-shattering, just that not making them means you're going to be pestered until you do. You need a good parking spot, preferably better than Vander Zalm's, a key to your private loo lost by your predecessor, and clear instructions on how to replenish your liquor cabinet.
I've been an activist for too many years to count. In earlier times, I'd catch hell when my Establishment mother heard me rant on the radio, but knowing her love of nature, I think she was secretly a little proud! Do I support protesting Kinder Morgan and the proposed LNG refinery on Squamish? You betcha, on both counts. I've watched activism become more acceptable to more people. Sadly, some activist groups have much to learn about the subject for which they claim expertise – and about basic honesty. That's what this article is about.
First, let's remind ourselves why there is activism.
Looking ahead at our political situation in BC and assuming that the NDP will govern with a one vote majority, perhaps it might be well to consider what that actually means.


Should I drop my PHR?
Great news friends! I have earned my SHRM-SCP. I'm super excited about it because I never thought I would ever try to earn a senior certification, but when someone shared with me last year that they thought I had enough years experience to be a mentor I've been re-evaluating my life ever since. For instance, now I'm overly aware of beauty regiments and my calcium intake as well as the fact that if I try really hard I can burn 10 calories a minute in a boot-camp class, but still consume about 100 calories a minute without trying. 100 calories a minute hasn't always been a problem, but I guess as you reach new heights in your career like being considered a mentor or becoming eligible to sit for a senior certification things just work different than they used to. Also, I found my first gray hair so I guess yeah… I'm a senior certified HR professional.
So what does my PHR have to do with my SHRM-SCP and my baby crows feet? Well, I'm currently unequally certified. I wasn't feeling confident about taking my SPHR before the cut off to basically roll into the SHRM certification level to match my HRCI certification level so I ended up with my PHR and SHRM-CP. A month before my scheduled test for the SCP I had to renew my PHR. Since I hadn't taken the test yet I decided to pay the $150 to renew my PHR and go from there, so technically I'm re-certified at the PHR level for the next three years & I now have my SHRM-SCP for the next three years. Is it worth it to maintain both when they don't represent the same level of experience?
When the HRCI/SHRM split happened there was a lot of speculation over which certification would come out on top. There was a lot of badmouthing from both sides and plenty of HR professionals who had strong opinions one way or the other. I shared why my PHR was important to me at the time, but now the circumstances are different. I've always seen certification as a commitment to continued learning whether its HRCI or SHRM or some other organization. I'm more concerned about professionals maintaining enough credits to re-certify than I am them taking the initial test (though thats clearly necessary and part of the process, its only a one time thing). If professionals are continuing to earn credit then hopefully they are continuing to learn new things about their field and attend events where they can network with other professionals and learn something new and take their own skills to the next level. So now that the circumstances are different and I have to make a decision for which certification is going to "win out" over the other, I'm probably going to pick my SHRM one. It's the more senior one, I'm a member of SHRM, and my local SHRM chapter (NASHRM), and honestly I have never used a resource from HRCI outside of my PHR exam. My PHR was very important to me when I earned it, but now I'm in a different stage of my career and it's time to choose one or the other so yeah, I think I'll drop my PHR.
Author Kristina H. Minyard, SHRM-CP, PHRPosted on April 7, 2017 April 6, 2017 Categories UncategorizedTags certification, continuing education, HR certifications, HRCI Certifications, learning, Professional development, SHRM CertificationsLeave a comment on Should I drop my PHR?


Michael Pion did a fantastic job for us! He provided extraordinary service with the utmost integrity. Mike was thorough, reliable, knowledgeable, and very pleasant to work with. We ended up selling our property to a difficult buyer. Mike helped us manage the entire process and got us the price we wanted. The next time we are in the market, we are definitely calling Mike! We highly recommend him to anyone who is buying or selling a home in the Harrisburg area.


text:
Calixto Sánchez Marín (n. Mairena del Alcor, 27 de julio de 1946) es un cantaor y maestro español, así como una figura del flamenco.

Biografía
Calixto Sánchez Marín nace en el flamenco pueblo de Mairena del Alcor un 27 de julio de 1946, desde su infancia se interesa por el cante tan común en su tierra aunque lo hace de una forma singular, cantando oculto. En 1965 se presenta al tercer grupo del Concurso de Cante Jondo Antonio Mairena por primera vez y allí obtiene el primer premio dotado de 3000 pesetas, a partir del cual se va presentando a diferentes concursos por el resto de Andalucía que va ganando. En 1972 gana el primer premio en la celebración del cincuentenario del Festival de Granada, y Cadena Ser lo elige Sevillano del año, y en 1980 gana el Giraldillo de la primera Bienal de Flamenco de Sevilla. Así pues, está presente a menudo en los mayores eventos del flamenco.

Calixto Sánchez supo abrirse camino también en la docencia, impartiendo, e igualmente organizando, numerosos cursos y talleres de flamenco. Fue director del Centro Andaluz de Flamenco, en Jerez de la Frontera, Cádiz. Es coautor, junto a José Luis Navarro García, de Aproximación a una didáctica del flamenco (1997). Actualmente es presidente de la Tertulia Flamenca de Enseñantes.

En cuanto a su discografía, señalar Calle ancha (1990), Andando el camino (2010), De la lírica al cante (2012) y El barbuquejo en la barbaː homenaje a Villalón (2018) donde junto con el flamencólogo Pepe Marín musicaliza los poemas del poeta de la generación del 27 Fernando Villalón.

Referencias

Enlaces externos
 Artículo sobre Calixto Sánchez en El País.
 Palos del flamenco

Cantaores de flamenco del siglo XX
Cantaores de flamenco del siglo XXI
Nacidos en Mairena del Alcor

redpajama_set_name: RedPajamaWikipedia


text:
Home » PNG DROP » New Food Pyramid 2023 Chart
New Food Pyramid 2023 Chart
New Food Pyramid 2023
The triangular nutrition guide, rendered useless by its latest redesign, is being replaced. Here's a preview of what's to come.
Food Pyramid 2023
On May 26, the U.S. Department of Agriculture announced that it will be releasing a new "food icon" to replace the foodless and useless 2005 MyPyramid, shown above.
The USDA's press announcement explained:
The 2010 White House Child Obesity Task Force called for simple, actionable advice to equip consumers with information to help them make healthy food choices. As a result, USDA will be introducing the new food icon to replace the MyPyramid image as the government's primary food group symbol. It will be an easy-to-understand visual cue to help consumers adopt healthy eating habits consistent with the 2010 Dietary Guidelines for Americans.
What will the new icon look like? The USDA isn't saying, but William Neuman of The New York Times did some sleuthing. According to his account:
The circular plate, which will be unveiled Thursday, is meant to give consumers a fast, easily grasped reminder of the basics of a healthy diet. It consists of four colored sections, for fruits, vegetables, grains, and protein, according to several people who have been briefed on the change. Beside the plate is a smaller circle for dairy, suggesting a glass of low-fat milk or perhaps a yogurt cup.
And WebMD scored an interview with Robert C. Post, PhD, deputy director of the USDA Center for Nutrition Policy and Promotion, who gave additional hints:
"There will be a 'how-to' that will resonate with individuals. That is the behavioral part that is needed. We need to transcend information—'here's what the science says'—and give people the tools and the opportunities to take action."
He referred to six how-to messages to guide healthy eating that were released with the 2010 Dietary Guidelines, and which I enthusiastically posted when the Guidelines were released (I was disappointed that they weren't actually part of the Guidelines):
Balancing Calories
Enjoy your food, but eat less.
Avoid oversized portions.
Foods to Increase
Make half your plate fruits and vegetables.
Switch to fat-free or low-fat (1-percent) milk.
Foods to Reduce
Compare sodium in foods like soup, bread, and frozen meals—and choose the foods with lower numbers.
A bit of history. From 1958 until 1992, the USDA's food guide was a rectangle illustrating four food groups: dairy, meat, fruits and vegetables, and grains. In 1992, after a year of extraordinary debate (recounted in my book Food Politics), the USDA released its highly controversial Food Guide Pyramid.
index.png
Why was it controversial? The food industry objected that the Pyramid make it look as if you were supposed to eat more foods from the bottom of the pyramid than the top (which, of course, was its point).
Nutritionists objected that it encouraged eating too many servings of grains and, therefore, encouraged obesity.
In 2005, the USDA replaced it with the unobjectionable MyPyramid. The food industry liked this one because it did not indicate hierarchies in food choices. Most nutritionists that I know hardly knew what to do with it. It required going online and playing with a website, and was unteachable in clinic settings.
I thought the 1992 pyramid had a lot going for it, particularly the idea that it's better to eat some foods than others. But MyPyramid was a travesty—hopelessly complicated, impossible to teach, and requiring the use of a computer.
Given this situation, the new image is highly likely to be an improvement. If the new icon keeps the hierarchy, conveys concepts easily, and does not require online access, I will consider it a great step forward.
Details about the release:
The announcement will be Thursday, June 2, 10:30 a.m. EST. It will be live-streamed at www.usda.gov/live. All information will be posted at www.cnpp.usda.gov.
If you want to attend in person, it's at USDA's Jefferson Auditorium, USDA South Building (5th Wing Entrance), 1400 Independence Ave., S.W., Washington, D.C.
Image: USDA
PNG tags
PNG info
Dimensions: 1677 by 1677 pixels
MIME type: PNG
Download PNG For Free1 MB


Quilt Motif Monthly – Filler Flowers #2 – Jittery Wings Quilt Co.
Welcome to month two of Quilt Motif Monthly. This week we learn about what I call, Filler Flowers. These beauties work in all sorts of spaces and at all sorts of sizes. This motif is one of my favorites because it gives your quilting a puffy organic fill, especially after the quilt is washed. Make them small for corners, make only one row of clam shell petals instead of three or four…get stuck in a corner…just make another row of petals. This flower will allow you to move all around without feeling stuck.
Follow the simple arrow directions on the image to practice. Quilt a little loop that doesn't close. Working back over the loop without touching it, make little clam shell, half circle, "boops" that look like overlapping flower petals. When you arrive at the end of that original loop, turn and make the clam shells back in the opposite direction. It is best for the design not to allow the rows of clam shells to touch each other. If they do, or if one little clam shell touches, don't sweat it. In the large scheme of a quilt, no one will notice. Move back and forth in this manner making a flower that allows you to end up on the side of the flower you want. You may need to make one row or four rows. I usually shoot for three rows to keep some consistency, but it never works out that way on ever flower. Practice this on paper first so you can get a feel for how the design moves and flows.
Make your clams larger as you move away from the original loop.
If you need to pause, try to pause in the point of a clam shell or at the end of a row.
If you get backed into a corner, just make more clam shells back in the other direction to get you where you need to be to start again. You may need to continue over more than one flower to travel exactly where you want to be.
Flowers can have as many rows of petals necessary to fill a corner or edge space. One or five. However, try to do three rows of clam shells on a consistent basis to give the quilting a cohesive feel.
The points of the clam shells should not touch the curve on the clam shell under it. Leave a little space and try to be consistent with that space.
It has become increasingly more important to me to help our quilting community improve their confidence and skills. A new book – Free Motion Quilting – Improve Your Practice, helps quilters breakdown their own actions and process them in a way that leads to more fluid free motion quilting. For twelve months, I am committed to offering Quilt Motif Monthly as a free resource for learning new quilt motifs to build confidence and skills in your quilting.


Dr. Paul Weibel is excited to have the opportunity to make a difference in the lives of people in the community in which he grew up. He is committed to using and expanding his knowledge of orthodontics to treat each patient who walks through our doors like family. For Dr. Weibel, orthodontics is the perfect blend of art and science, coming together to create beautiful, lasting smiles.
Understanding the need to stay current with all developments in orthodontic care, Dr. Weibel looks forward to attending continuing education courses throughout the year at the local, regional, and national levels.
Dr. Weibel grew up in Landisville, Pennsylvania, and currently resides in Lancaster. His free time is spent hiking, jogging, playing board games, reading, and painting.


text:
SET(CMAKE_DL_LIBS "dl")
SET(CMAKE_SHARED_LIBRARY_C_FLAGS "-KPIC")
SET(CMAKE_SHARED_LIBRARY_CREATE_C_FLAGS "-G")
SET(CMAKE_SHARED_LIBRARY_LINK_C_FLAGS "")
SET(CMAKE_SHARED_LIBRARY_RUNTIME_C_FLAG "-R")
SET(CMAKE_SHARED_LIBRARY_RUNTIME_C_FLAG_SEP ":")
SET(CMAKE_SHARED_LIBRARY_SONAME_C_FLAG "-h")
SET(CMAKE_EXE_EXPORTS_C_FLAG "-Wl,--export-dynamic")

SET(CMAKE_C_FLAGS_INIT "")
SET(CMAKE_C_FLAGS_DEBUG_INIT "-g")
SET(CMAKE_C_FLAGS_MINSIZEREL_INIT "-xO2 -xspace -DNDEBUG")
SET(CMAKE_C_FLAGS_RELEASE_INIT "-xO3 -DNDEBUG")
SET(CMAKE_C_FLAGS_RELWITHDEBINFO_INIT "-g -xO2")

# Initialize C link type selection flags.  These flags are used when
# building a shared library, shared module, or executable that links
# to other libraries to select whether to use the static or shared
# versions of the libraries.
FOREACH(type SHARED_LIBRARY SHARED_MODULE EXE)
  SET(CMAKE_${type}_LINK_STATIC_C_FLAGS "-Bstatic")
  SET(CMAKE_${type}_LINK_DYNAMIC_C_FLAGS "-Bdynamic")
ENDFOREACH(type)