text:
Velocity (Flight HA1710 #2) by Sara York
A MelanieM Review: Velocity (Flight HA1710 #2) by Sara York
The crash of Flight HA1710 brings life into focus for Phil Stewart. Before meeting Davin Tierney, love seemed only a myth to Phil, but one night in New York City changed everything, giving him something he didn't even know existed. But Phil wasn't comfortable saying I love you. During the crash, Davin suffers a brain injury, leaving him in a coma. Phil wonders how love can be so cruel to give him Davin and then take him away so suddenly.
Davin never intended to give Phil a second look, but Phil broke through barriers and made amazing overtures before stalling on the word love. The crash changes everything, and he's no longer willing to play it safe, but can Phil actually change from the playboy Davin first met?
Velocity by Sara York is the second in the airline disaster series HA1710 from a group of writers. Six authors are telling the stories of six couples deeply impacted by this tragedy because they were on the plane when it went down or because they were closely connected to it. The idea behind this series is a moving and emotional one. Book one, Retrograde by RJ Scott, kicked off the series with a terrific installment from the surviving pilot's POV. Now comes Sara York's Velocity and we're caught up in the aftermath from the perspective of a couple that were passengers on the flight who survived the crash…just.
The couple, Phil Stewart and Davin Tierney, are flying to Chicago from their home in Ireland in order for Davin to meet Phil's mother, who's health has left her unable to travel. Phil is taking their 6-month relationship to the next level and this indicates just how serious he is about David and their future together. Then the plane crashes shortly after takeoff.
The story opens a day after the crash. Phil is hospitalized with his injuries and desperate to find out what happened to Davin. Its one frantic, pain filled scene after another and its Phil's anguish and uncertainty that pulls us into their story. We understand his panic and frustration with the hospital personnel, and the lack of information available since the crash is still so fresh. I thought this was actually the best section of the story. Its impact is immediate and deeply felt.
Interspersed with scenes from the present day activities and Phil's attempts to find Davin, we get flashbacks to the night when player Phil first encounters Davin leaving a club in Chicago. Their first connection is electric and it changes their lives in an instant. That is especially true for Phil, who is a "love them and leave them" sort of individual. These scenes worked too. I believed in Phil and Davin's bond and Phil's surprise at the strength of his own feelings.
For the majority of Velocity, I found the story and the couple realistic and believable. Their plight was moving, and the situation around them had the authentic feel of the aftermath of a catastrophe. But then something almost indefinable occurs and the story and their relationship (or perhaps more realistically my interest in their relationship) started to wain. The narrative becomes a bit jumbled as the men try to pick up their lives again.
York only partially addresses the mental and emotional state of those who have just survived a tragedy of such enormous measure, the impact upon them felt fleeting and unbelievable. There is one scene that appears with an emotional explosion that lifts the ennui that has settled over the plot, which would be fine (and authentic) except the author has laid no foundation for it previously in her story. It comes out of nowhere and disappears just as quickly. And the fact that this element was a fascinating turn of events (one of the better ones), left this reader feeling frustrated at its promise and loss.
Velocity is a sweet story that had the potential of a terrific one, the promise of which dribbles away as the story moves to its conclusion. Still, I'm happy to have made Phil and Davin's acquaintance and look forward to the next story in the series, Flashbulb by Clare London. We meet up with Rory Kendrick from RJ Scott's story, Retrograde, in a moving scene at the hospital and I hope that's an element we will have in each story as the investigation of the crash and the impact on peoples lives moves forward. I really like this series and can't wait to see where the stories and characters go next.
If you love reading sweet M/M romance with a hint of angst, this story is for you.
Cover art by Meredith Russell is amazing. I love the way the artist has branded the series and yet still keep each cover individual in design. Great job.
Sales Links: All Romance (ARe) | Amazon | Buy It Here
Published June 19th 2015 by Smashwords Edition
seriesFlight HA1710 #2
Flight HA1710 series
6 authors, 6 primary works
When Flight HA1710 crashes killing seven people the after effects are too many to think on. But how does the crash change people's lives? From the pilot to the guy who missed the plane we chart the stories of those whose lives were impacted by the crash.
Retrograde (Flight HA1710 #1) by R.J. Scott
Flashbulb (Flight HA1710 #3) by Clare London
Fallout (Flight HA1710 #4) by Meredith Russell
Aviophobia (Flight HA1710, #5) by Serena Yates
Fracture (Flight HA1710 #6) by Amber Kell
This entry was posted in Book Reviews, Books, Contemporary fiction, eBooks, LGBTQ Book Reviews, M/M Book Reviews, M/M Contemporary Fiction, M/M Fiction, M/M Romance, Self Published, Uncategorized and tagged A MelanieM Review, author Sara York, Flight HA1719 Story Collection, Sweet M/M Romance, Velocity (Flight HA1710 #2) by Sara York.


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Q: how to create multidimensional array from CSV in Python I want to create multidimensional table from CSV file. It should be grouped by two concatenated column. My CSV file has a structure (data is my imagination):
Year,Country,Sex,Population
1990,USA,M,178
1990,USA,F,179
2000,USA,M,180
2000,USA,F,181
1990,France,M,51
1990,France,F,52
2000,France,M,51
2000,France,F,53

I need to show that data on plot using matplotlib so I decided to create three multidimensional table where year is X axis, population is Y axis, and concatenated country and sex is label.

A: There is two main ways to do it really. Doing it with pandas or hardcoding it. I prefer doing it with pandas. Here's an example:
import pandas
df = pandas.read_csv('data.csv')
print(df)

This will give you the easiest result. Now there's a few ways to access the data. But you might not even need this depending if you continue to develop this app. But still you can access the created pandas DataFrame by using:
# Using `iloc[]`
print(df.iloc[0][0])

# Using `loc[]`
print(df.loc[0]['Sex'])

# Using `at[]`
print(df.at[0,'Population'])

# Using `iat[]`
print(df.iat[0,0])

This is how you make a multidimensional "array" with pandas. I put it in quotes because it's a dataframe that's created not an array actually. Hopefully it helps you to develop this program. I would suggest reading how you can plot this with matplotlib and pandas in this tutorial https://queirozf.com/entries/pandas-dataframe-plot-examples-with-matplotlib-pyplot

A: You should use csv module for this. This works great for me.

*

*First we save the data in a CSV file in data.csv.

*Then import csv module and append each row of csv into an empty ndarray

import csv

arr = []

with open("data.csv") as csvfile:
    reader = csv.reader(csvfile, quoting=csv.QUOTE_NONNUMERIC) # change contents to floats
    for row in reader: # each row is a list
        arr.append(row)

print(arr)

*

*This outputs the desired multidimentional array

[['Year,Country,Sex,Population'],
 ['1990,USA,M,178'],
 ['1990,USA,F,179'],
 ['2000,USA,M,180'],
 ['2000,USA,F,181'],
 ['1990,France,M,51'],
 ['1990,France,F,52'],
 ['2000,France,M,51'],
 ['2000,France,F,53']]

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Dialogue - IOTA UNUM (Romano AMERIO)
Akademi Kontra Indiferentisme Forum Index -> English Only Forum
Posted: Wed, 09-07-2008 7:32 pm Post subject: Dialogue - IOTA UNUM (Romano AMERIO)
I typed this in the span of four days. "TYPED" not "scanned" .
IOTA UNUM - A Study of Changes in the Catholic Chuch in the XXth Century
Romano AMERIO
Chapter XVI (p.347-357)
151. Dialogue and discussionism in the post-conciliar Church. Dialogue in Ecclesiam suam.
The word dialogue represents the biggest change in the mentality of the Church after the council, only comparable in its importance with the change wrought by the word liberty in the last century, The word was completely unknown and unused in the Church's teaching before the council. It does not occur once in any previous council, or in papal encyclicals, or in sermons or in pastoral practice. In the Vatican II documents it occurs 28 times, twelve of them in the decree on ecumenism Unitatis Redintegratio. Nonetheless, through its lightning spread and enormous broadening in meaning, this word, which is very new in the Catholic Church, became the master-word determining post-conciliar thinking, and a catch-all category in a newfangled mentality.[1] People not only talk about ecumenical dialogue, dialogue between the Church and the world, ecclesial dialogue, but by an enormous catachresis, a dialogical structure is atributed to theology, pedagogy, catechesis, the Trinity, the history of salvation, schools, families, the priesthood, the sacraments, redemption, and to everything else that had existed in the Church for centuries without the concept of being in anybody's mind or the word occuring in the language.
The movement from a thetic manner of talking, which was appropriate to religion, to a hypothetic and problematic style, is apparent even in the titles of books, which used to teach, but now enquire. Books that were called Institutiones or "manuals" or "treatises" on philosophy, theology or any other science have been replaced by "Problems in philosophy," "Problems in theology," and manuals are abhored and despised precisely because of their positive and apodictic nature. It has happened in all areas: no more nurses' manual, but problems in nursing, not drivers' manual but drivers' problems and so on, with everything moving from the certain to the uncertain, the positive to the problematic. It is a decline from an intentional apropriation of a real objects by means of knowledge (signified by the syllable no in nosco, I know) to a simple throwing of the object before the mind (proballo in Greek, from which we get problem).
In August 1964, devoting a third of his first encyclical Ecclesiam Suam to dialogue, Paul VI equated the Church's duty to evangelize the world with a duty to dialogue with the world. But one cannot help noticing that the equation is supported neither by Scripture nor the dictionary. The word dialogue never occurs in Scripture and its Latin equivalent colloquium is only used in the sense of a meeting between chief persons and of a conversation, never in the modern sense of a group meeting. Colloquium on three occasions in the New Testament means a dispute. Evangelization is a proclamation not a dispute or a conversation. The Evangelization the Apostles are commanded to undertake in the Gospel is immediately identified with teaching. The very word angelos carries the idea of something that is given to be announce, not something thrown into dispute. It is true that Peter and Paul dispute in the synagoges, but it is not a question of dialoguing in the modern sense of dialogue in search of something, setting from a position of ostensible ignorance, but rather a dialogue in refutation of errors. The possibility of dialogue disappears, in their case, the moment the disputants are no longer open to persuasion, whether through his obstinacy or his incapacity. This can be seen, for example, in St. Paul's refusal of dialogue in one occasion.[2] Just as Christ spoke with authority: Erat docens eos sicut potestatem habens,[3] so the apostles preached the gospel in an authoritative manner, not looking to validate it by dialogue. In the same place Christ's positive way of teaching is contrasted with the dialogues of the scribes and pharisees. The heart of the matter is that the Church's message is not a human product, always open to argument, but a revealed message designed to be accepted rather than argued about.
After having equated evangelization with dialogue, Ecclesiam Suam denies that evangelization, or preaching the truth, means condemning errors, and it identifies condemnation with coercion. The theme of the council's opening speech thus returns.[4]
"Our mission," the encyclical says, "is to announce the truths that are so undeniable and necessary to salvation; it will not come armed with external coercion, but with legitimate means of human education." This is a legitimate and traditional manner of approach, as was proved by the fact that immediately after the encyclical's publication, Wisser't Hooft, the Secretary of the World Council of Churches, hastened to state that the Pope's ideal of a dialogue as a communication of truth without a reciprocal reply, was not in accordance with ecumenical ideas.[5]
[1] In the Osservatore Romano of 15 March 1971, Cardinal Roy said dialogue was a new experience for the Church and for the world. On 15-16 November 1966, on the other hand, the Osservatore said that the Church had always practiced dialogue (mixing it up with controversy and refutation of other arguments) and that if there had been times when it did not practice it, "they were more or less depressed periods."
[2] Acts, 19:8-9.
[3] Matthew 7:29, "He taught them as one having authority."
[4] See paragraph 38.
[5] O.R., 13 September 1964.
152. Philosophy of dialogue.
The new fangled dialogue is based on "the perpetual problemacity of the Christian subject," as the Osservatore Romano puts it,[6] that is, on the impossibility of ever getting into anything that is not itself problematic. In short it denies the old principle, recognize in logic, metaphysics and morality, that anagke stenai.[7]
Dialogue first runs into trouble when it is made to coincide with the Church's universal task of evangelization and heralded as a means of spreading the truth. It is impossible for everyone to dialogue. The possibility of holding a dialogue depends on the knowledge of one has of a subject, and not, as is alleged, on the fact of one's liberty of the dignity of one's soul. The right to argue depends on knowledge, not on man's general ordering towards the truth. Socrates said that on matter of gymnastics, one should consult an expert in gymnastics, on horses an expert on things equine, on wounds and diseases an expert in medicine and on the running of society an expert in politics. Expertise is a result of effort and study, of reflecting on things methodically and steadily rather than hastily and extempore. Contemporary dialogue presupposes, however, that any man is capable of dialoguing with anyone else on any subject, simply in virtue of being a rational creature. The demand is therefore made that the life of a temporal community and the Church should be arranged so that everyone can participate; not as the Catholic system envisages, by each person contributing his knowledge and playing his own proper part, but by everybody giving his opinion and deciding on everything. The paradox is that this right to argue is being extended to everyone at the very moment when the knowledge that gives an authentic title to join the arguments is getting scarcer and feebler even among the Church's teachers.
The next blunder relates to the onus of proof. It is assumed that dialogue can and should satisfy all the objections of an opponent. Now for one man to offer himself to another with the aim of giving him complete intellectual satisfaction on any point of religion is a sign of a moral failing. It is rash for somebody who has asserted a truth to proceed to expose himself to a general, extempore and unlimited discussion. Every subject has many facets; he is familiar with only some, or even one of them. Yet he exposes himself as if he were ready for every objection, impossible to catch off guard, and as if he had anticipated every possible thought that could arise on the matter.
Dialogue labors under yet another difficulty from the side of the inquirer, because it is rests on a gratuitous presupposition that St. Augustine perceptively detected in his day. An intellect can be capable of formulating an objection without being capable of understanding the argument that meets the objection. This fact, that an individual's intellectual strenght may be greater in raising objections than in understanding replies, is a common cause of error. Ecce unde plerumque convalescit error, cum homines idonei sunt his rebus interrogandis quibus intellegandis non sunt idonei.[8]
This diproportion between an intellect's asking a question and understanding a reply is a result of the general difference between potency and act. Refusal to recognize this difference leads to an illogical conclusion in politics: everyone has by nature a capacity to know the truth, therefore everyone actually knows the truth.
In the first book of his Theodicy, Antonio Rosmini also teaches that an individual should not trust his own intellectual powers to solve the questions that arise regarding the workings of divine Providence: no individual can be certain that his own intellectual strength is up to meeting all the objections that might face it. This uncertainty as to a person's intellectual capacities is what Descartes ignored in his method, when he imagined that the power of reason was equally strong and equally exercisable in each individual.
[6] O.R., 15 January 1971.
[7] "It is necessary to stop somewhere."
[8]De peccatorum meritiset remissione, lib. III, cap 8. "Here is a thing that often fosters error; when men are capable of enquiring into things they are not capable of understanding."
153. Appropriateness of dialogue.
In Scripture, evangelization proceed by teaching not by dialogue. Christ's last command to His disciples was matheteuein and didaskein, which literally means make disciples of all men, rather as if the Apostles' task consisted in leading the nations to the condition of listeners and disciples, with matheteuein as a preliminary grade of didaskein, to teach.[9]
Besides lacking a biblical foundation, dialogues is also void of a gnoseological one, because the nature of dialogue is incompatible with a line of argument based on faith. It assumes that the credibility of religion depends on a prior resolution of every particular objection made to it. Now that cannot be had, and cannot be made a precondition for an assent of faith. The correct order is the other way around. Having established even by one convincing consideration that religion is true, the latter is to be held on to even if particular difficulties remain unresolved. As Rosmini teaches,[10] the proposition "the Catholic religion is true" means that there are a great many possible objections that could be raised against it. But it is no necessary to have previously resolved the 15,000 objections in the Summa Theologica before one can reasonably assent to Catholicism. Its truth is, in short, not to be garnered synthetically, as a compound of particular truths, and does not imply that entire intellectual satisfaction necessarily accompanies its acceptance; in fact it is assent to that overall truth that leads one on to the particular assents that follows.
Lastly it should be noted that the present idea of dialogue obscures the way of useful ignorance that is appropriate for minds that are incapable of adopting the way of examination, and that adhere firmly to their fundamental assent and do not devote much attention to opposing views, to find out where their error lies. Being afraid of ideas opposed to what they know is certainly true, they keep themselves in ignorance to preserve the truths they already possess, and shut out false ideas and also any true ones that happen to be mixed in with them, without separating the one from other.
This way of useful ignorance is legitimate in Catholicism, is based on the theoretical principle explained earlier, and is moreover the condition in which the great majority of all religious believers find themselves.[11] It is therefore untrue to say as the Osservatore Romano does that "anyone who refuses dialogue is a fanatic, an intolerant person who always ends up being unfaithful to himself and then to the society of which he is part. Anyone who does dialogue gives up isolation and condemnations."[12] To dialogue unconditionally in all circumstances is a sign of rashness, and of fanaticism that replaces the objective force of truth by one's own subjective capacities.
[9] In his commentary on Matthew, Paris 1927, p.144, Lagrange translates the first word by enseigner and the second by apprendre.
[10] Epistolario, Vol. VIII, Casale 1891, p.464, letter of 8 June 1843 to Countess Theodora Bielinski.
[11] The theory of useful ignorance is developped by Manzoni in his Morale Cattolica. ed. cit., Vol II, pp.422-3 and Vol. III. p.131.
[12] O.R., 15-16 November 1965.
154. The end of dialogue. Paul VI. The Secretariat for Non-Believers.
The difference between the old and new sorts of dialogue can be seen very clearly in the ends assigned to them. The new sort, some say, is not directed towards the refuting of error or the converting of one's interlocutor.[13] The new fashioned mentality abhors anything polemical, holding it to be incompatible with charity even thought it be in reality an act of charity. The idea of polemics is inseparable from the opposition between truth and falsehood. A polemic is aimed precisely at overthrowing any pretended equality between the two. Thus polemic is connatural to thought, since it removes errors in one's own thinking even when it fails to persuade an opponent.
From the Catholic's point of view, the end of dialogue cannot be heuristic, since he is in possession of religious truth, not in search for it. Nor can it be eristic, that is, aimed at winning the argument for its own sake, since its motive and goal is charity. True dialogue is aimed at demonstrating a truth, at producing a conviction in another person, and ultimately at conversion. This was clearly taught by Pauls VI in his speech of 27 June 1968: "It is not enough to draw close to others, to talk to them, to assure them of our trust and to seek their good. One must also take steps to convert them. One must preach to get them to come back. One must try to incorporate them into the divine plan, that is one and unique." This is a very important papal utterance, because the Pope was expressly talking about ecumenical dialogue; its importance was confirmed by the fact that the Osservatore Romano even printed it in a different type, a unique event.
That notwithstanding, in 1975 the head of the Secretariat for Non-Believers made the following diametrically opposite assertion: "The Secretariat was certainly not created with the intention of proselytizing among non-believers, even if that word is understood in a positive sense; nor with an apologetic intent but rather with the aim of promoting dialogue between believers and unbelievers."[14] When I objected to the author that his text contradicted Pope Paul's assertion, he replied[15] that the Secretariat does nothing without the agreement of higher authority and that the particular article had been seen by the Secretariat of State prior to publication. The letter simply makes the difference between the Pope and the Secretariat for Non-Believers all the more obvious. As to my specific objection, the letter answered that although the Church had the task of converting the world "that does not imply that every step and every organization in the Church is specifically aimed at converting one's interlocutor."
This answer lacks charity. The Church has a single all-embracing goal which is human salvation, and everything it does is one particular expression of that goal: when it teaches, it teaches not baptizes; when it baptizes, it baptizes not teaches; when it consecrates the Eucharist it consecrates not absolves, and so on. But all these specific ends are precisely specifications and actuations of the all-embracing goal, and all of them are aimed at turning men towards God, that is at conversion. It is this ultimate end that gives direction to all the Church's subordinate goals, and without it none of the lesser goals would be pursued.[16] The statement of Paul VI we have quoted asserts unequivocally that dialogue is aimed at conversion.
[13] See the Istruzione per il dialogo published on 28 August 1968 by the Secretariat for Non-Believers.
[14] O.R., 21 August 1975.
[15] In an official letter of 9 september 1975.
[16] Summa Theologica, I,II,q.1,a.4.
155. Whether dialogue is always an enrichment.
De facto conversion and apologetics have been excluded from post-conciliar dialogue which is said to be "always a positive exchange"; but that assertions is difficult to accept.
Firstly, as well as dialogue that converts there is a dilaogue that perverts, by which one party is detached from the truth and led into error. Or will it be pretended that truth is always efficacious and that error never is?
Secondly, there is the situation where instead of helping the participants, dialogue presents them with an impossible task. St. Thomas envisages the case in which it is impossible to prove the truth to the person one is addressing because there is no jointly held principle on which to base the argument. All that can then be done is to prove that the opponent's arguments are not conclusive and that his objections can be met. In such circumstances, it is not true that dialogue has a positive outcome for both parties and constitutes a mutual enrichment. The dialogue is unproductive. If its usefulness is then alleged to lie in getting to know the psychology and ideology of one's partner, the answer is that such things are the province of psychology, and are not the goal of a religious dialogue; they belong to history, biography or sociology. Such knowledge can indeed be useful in adjusting the dialogue in a manner more appropriate to the participants, but that is not the same thing as being a mutual enrichment.
156. Catholic dialogue.
The aim of Catholic dialogue is persuasion and, at a higher level, conversion of the other party.
Bishop Marafini says "the method of dialogue is understood as a movement converging towards the fullness of truth and a search for deep unity," but it is not quite clear what he means.[17]
There is a tendency to confuse dialogue on natural matters with dialogue concerning supernatural faith. The former is carried on by the light of reason that all men have in common. Everyone is equal under that light, and above their dialogue, as we have said,[18] they can sense a more important Logos that makes them realize they are brothers, profoundly united by their common nature. But in dialogue about the faith, the two parties cannot converge towards the truth or put themselves on a par. The non-believer rejects or doubts in a way the believer cannot.
It might be objected that the believer adopts a process of methodic doubt, analogous to Descartes': the believer adopts an unbelieving position only for the purpose of dialogue. But the difficulty returns: if doubt or rejection of faith is real, it implies a loss of faith and a sin on the part of the believer. If it is hypothetical or feigned, the dialogue is flawed by a pretense and rest on an immoral basis. There is also the question of whether someone who pretends not to believe what in fact he does, is not sinning against faith, and whether a dialogue based on pretense is not bound to be unproductive as well as wrong. It has been claimed[19] that dialogue is fruitful for the believer's faith, quite apart from being an act of charity. But there is a clear contradiction involved. The article presents a dilemma that "if the Lord Jesus one knows is not the supreme and totalizing for man...one will have something other and greater to learn than what one has received by grace." And if on the other hand Christ is that supreme and totalizing truth "one cannot see how an idea or an experience can be added to him." But then the author casts his dilemma aside and says the believer does in fact gain something to add to his faith by the dialogue "on condition that these new acquisitions are not seen as additions to Christ. They are simply facets, dimensions, aspects of the mystery of Christ which the believer already possess but discover thanks to the stimulus of those who, through not Christians consciously, are Christians in concrete fact." This is to say that an addition to knowledge is not an addition to knowledge; that an atheist is an implicit Christian;[20] and that the atheist possesses facets of the Christian mystery which the explicit Christian does not know but which the atheist will suggest to him.
We may conclude by saying that the new sort of dialogue is not Catholic. Firstly, because it has a purely heuristic function, as if the Church in dialogue did not possess the truth and were looking for it, or as if it could prescind from possessing the truth as long as the dialogue lasted. Secondly, because it does not recognize the superior authority of revealed truth, as if there were no longer any distinction in importance between nature and revelation. Thirdly, because it imagines the parties to dialogue are on an equal footing, albeit a merely methodological equality, as if it were not a sin against faith to waive the advantage that comes from divine truth, even as a dialectical ploy. Fourthly, because it postulates that every human philosophical position is unendingly debatable, as if there were not fundamental points of contradiction sufficient to stop a dialogue and leave room only for refutation. Fifthly, because it supposes that dialogue is always fruitful and that "nobody has to sacrifice anything,"[21] as if dialogue could never be corrupting and lead to the uprooting of truth and implanting error, and as if nobody had to reject any errors they had previously professed.
Dialogue converging towards a higher and more universal truth does not suit the Catholic Church, because an heuristic process putting the Church on the road to truth does not suit it; what is appropriate for the Church is the act of charity, whereby a truth possessed by grace is communicated to others and they are thereby drawn to that truth, not to the Church as an end in itself. The superiority here is not that of the believer over the non-believer, but of truth over all parties in dialogue. It should not be thought that the act of one man persuading another of the truth is tantamount to an act of oppression or an attack on the other's freedom. Logical contradiction and an "either or" are part of the structure of reality, not a kind of violence.
The sociological effect of Pyrrhonism, and the discussionism that follows from it, can be seen the flood of conventions, meetings, comissions and congresses that began with Vatican II. It has also caused the current tendency to regard everything as problematic and to refer all such problems to comittees, so that the responsibility that used to be personal and individual has been dispersed within collegial bodies. Discussionism has developped a whole technique of its own; in Rome in 1972 there was a convention of moderators of dialogues, which was designed to train the moderators, as if one could direct a dialogue in general, without any specific knowledge of what the dialogue were about.
[17] O.R., 18 December 1971. Cardinal König said when presenting the instruction on dialogue to the press that: "Dialogue puts the partners on an equal footing. The Catholic is not considered as possessing all the truth, but as someone who has faith as is looking for that truth with others, both believers and non-believers." I.C.I., No.322, 15 October 1968, p.20.
[18] In paragraph 125.
[19] In an article on "Faith and dialogue" in O.R., 26-27 December 1981.
[20] See paragraph 253.
[21] O.R., 19 November 1971.
Salam damai Kristus,
Good job DV! Thanks for your effort to put this in this forum.
Saya ada yg enggak ngerti nih, tolong dijelaskan:
The next blunder relates to the onus of proof. It is assumed that dialogue can and should satisfy all the objections of an opponent. Now for one man to offer himself to another with the aim of giving him complete intellectual satisfaction on any point of religion is a sign of a moral failing.
It might be objected that the believer adopts a process of methodic doubt, analogous to Descartes': the believer adopts an unbelieving position only for the purpose of dialogue. But the difficulty returns: if doubt or rejection of faith is real, it implies a loss of faith and a sin on the part of the believer.
Kenapa believers adopts an unbelieving position ......?
Wah seram juga believers bisa lost of faith? Apa yg harus kita lakukan kalau berdialog dgn unbelievers yg keras kepala?
Segini dulu. Saya belum selesai bacanya. Mesti pelan-pelan nih - isinya berat buat saya yg inggrisnya pas-pasan.
Thank you in advance for your response.
JHW
Posted: Sun, 13-07-2008 9:23 am Post subject:
Hi DV,
I just realized that this is English only forum. You may delete my post above.
Good job DV! Thanks for your effort to put the "Iota Unum" in this forum.
What does it mean with the sentence that I bold above, especially "a sign of a moral failing?"
Why believers adopt an unbelieving position only for the purpose of dialogue?
It is a little bit scary that we (the believer) may lose faith and sin when we have a dialogue with the unbeliever if we lose in the dialogue? Am I correct here? I guess we need to be very careful and read a lot the Holy Bible, Holy Tradition and Magisterium.
Thanks in advance for you explanation.
Blessings in Christ,
Athanasios
Penghuni Ekaristi
Posted: Sun, 13-07-2008 4:20 pm Post subject:
hwijaya wrote:
Actually we don't have such term as "win" or "lose" on a dialogue. The real problem is on a dialogue we have to find a common ground and sometimes it seems that the heretical or heterodox positions are more fit to be a common ground for dialogue rather than the Catholic position.
For example when we have dialogue about the Church with various Protestant communities, we see that meanwhile the Catholic positions hold that there is only one true Church the Protestants hold that there is only one true invinsible Church and many visible Churches represent the invinsible one.
Undoubtely the Protestant's view are sounds more friendly rather than the Catholic's one. In case of dialogue holding the Catholic position may change the dialogue into apologetic debates, and sometimes the Catholics adopt the Protestan position for the sake of the dialogue and so the danger occur.
Sorry for my bad english, but hopefully you've got my point.
Sancta et catholica Ecclesia, quae est corpus Christi mysticum
- Konsili Oikumenis Vatikan II Orientalum Ecclesiorum art.2
Posted: Tue, 29-07-2008 6:34 pm Post subject:
It's fairly straighforward.
When you engage in an inter-religious dialogue, let's say, with a Protestant, then the range of issues that divide both sides are: Papal infallibility, sacraments, justification, Tradition, Mary, the sacrifice of the Mass, deuterocanon etc.
Amerio say that "it is assumed that dialogue can and should satisfy all the objections of an opponent." That means that a Catholic should prepare to answer all objections that Protestant can come up with within such a plethora range of issues. Not only that, but the Catholic must answer in such way that the opponent (ie. Protestant) is intelectually satisfied.
Now, for a Catholic to open himself to that many objections would be a sign of a moral failing. What moral failing? Rashness and arrogance.
What makes me wonder tho is where did Amerio get the idea that there's such an assumption (ie. an assumption that dialogue can and should satisfy all the objections of an opponent). He's not being clear on this.
You need a closer look at the paragraph above it. Here's a snippet of the relevant parts:
There is a tendency to confuse dialogue on natural matters with dialogue concerning supernatural faith. ... [I]n dialogue about the faith, the two parties cannot converge towards the truth or put themselves on a par. The non-believer rejects or doubts in a way the believer cannot.
There's a disturbing typo. I wrote "of" instead of "or" after the word "truth" before the word "put." I already corrected it.
As Amerio puts it, "it is no necessary to have previously resolved the 15,000 objections in the Summa Theologica before one can reasonably assent to Catholicism."
Suppose you're dialoguing with a moslem. Let's say you can answer all his questions and objections, would that guarantee his conversion? No. The best you could do is satisfying his intelect which doesn't automaticaly move his will to assent to the true faith.
Faith is a virtue infused by God and it's supernatural. One can not have faith if God doesn't give it. Satisfying the intelect by giving reasonable answers for all objections could only moves obstacles to come to the true faith. It doesn't give faith itself. God must give the person the grace of faith and the person should move his will to accept it (even the movement of the will to accept faith is impossible without the help of God's supernatural grace).
So, the difference between a believer and an unbeliever is not wheter a believer is intelectually satisfied thereby he has faith and an unbeliever is intelectually unsatisfied thereby he has no faith. One can have faith without being intelectually satisfied while another can have no faith while being intelectually satisfied. This is why Amerio wrote, "The non-believer rejects or doubts in a way the believer cannot."
Next, Amerio is aware of an objection to that proposition (ie. "the non-believer rejects or doubts in a way the believer cannot"). The objection says that in order for the believer to rejects or doubts just as an unbeliever the believer should "adopts an unbelieving position only for the purpose of dialogue."
So a Catholic should learn to doubt his faith just as a moslem doubt the faith of the Church. Why? So that both parties can be on a par (tho in truth they can not, because the supernatural and gratious character of faith already explained above).
If the Catholic does learn to doubt his faith and he actually did, then he has lost it. On the other hand, if the Catholic feigned his doubt (ie. he doesn't really doubt his faith) then he's not being honest. When that happens the sincerity that should be the basis of a good dialogue is lost.
Wah seram juga believers bisa lost of faith?
No. Amerio is not saying that we would loose our faith if we dialogue with non-Catholic.
He simply says that we must realize that in dialogue about faith, the two parties cannot put themselves on a par. The believer has faith, the unbeliever doesn't.
Putting them on a par means that either the believer must give up his faith or the unbeliever acquired faith.
Apa yg harus kita lakukan kalau berdialog dgn unbelievers yg keras kepala?
In the end, faith is a gift from God.
BerthaStymn
Location: Polska
Posted: Wed, 02-11-2016 2:19 pm Post subject: Dialogue IOTA UNUM Romano AMERIO
Dialogue animations? Hard? :lol
Theyre easy Well for me anyway, but then again Im strange.
Il try and make it animated to give you an idea of what it should look like.
Polecam zobaczyæ stronê http://erocafe.pl/
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redpajama_set_name: RedPajamaCommonCrawl


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Index > Authors> 华龙网HelloChongqing> Chongqing Luo Zhongli Art Museum opens
Chongqing Luo Zhongli Art Museum opens
Author:华龙网HelloChongqing
The much-anticipated Luo Zhongli Art Museum welcomed its debut on the morning of the 14th, with the 2015 Sichuan Fine Arts Teachers' Works Exhibition on display. The museum is completed and now open to the public.
On the 14th, the 2015 Sichuan Fine Arts Teachers' Works Exhibition was on display at Luo Zhongli Art Museum.
The rich wall colours in Luo Zhongli Art Museum have attracted quite a few citizens to take photos there.
A high-end, classy, and high-grade art museum
Located in the University Town Campus of Sichuan Fine Arts Institute, Luo Zhongli Art Museum, which started construction in the second half of 2012 has a total construction area of 23,000 square metres, and it is also called Sichuan Fine Arts Institute Art Museum. As one of the three major provincial-level art museums in Chongqing, it is the largest art museum in Chongqing.
An art museum for the masses
The first exhibition has attracted quite a few citizens and students from Sichuan Fine Arts Institute to visit.
When walking close to Luo Zhongli Art Museum, the first thing one sees is its colourful exterior walls that dazzle people's eyes but are filled with aesthetic feeling.
The exterior walls of the art museum are formed of numerous pieces of colourful tile fragments assembled one by one, but not oil paint. All these tiles were waste tiles purchased by Sichuan Fine Arts Institute from various factories. The design of the entire art museum has adopted commonly-seen ordinary materials as much as possible. Such an art museum that is entirely covered by colourful patterns is the only one in the world.
A walking art museum
The art museum was built according to the standards of international professional art museums. Taking the lighting in the museum for example, it can adjust the strength of the light and the focus according to the exhibited works to present the best visual effect.
Looking at the art museum from a distance, one can find that its contour structure is well-arranged. In addition to enjoying the exhibits in the art museum, one also can walk outside the museum from low to high altitude, and upon entering, you can feel like walking in a huge painting.
An art museum where one can take photos everywhere
Outside Luo Zhongli Art Museum, the mottled patterns are comparatively eye-catching.
As it has preserved its original ecology, Huxi Campus of Sichuan Fine Arts Institute has always been a "scenic spot" favoured by many citizens and tourists. Now, with the completion of Luo Zhongli Art Museum, not only has a cultural landmark been added to the University Town, but it is also a good place for taking photos.
It is reported that citizens now can visit Luo Zhongli Art Museum opening from 09:00 to 16:30. However, as the art museum is just in trial operation now, only some exhibition halls are open, and the art museum is expected to formally open by next March.
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华龙网HelloChongqing
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Hello Chongqing, the 1st English Wechat channel for expats in Chongqing.
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Cultural ancient towns with history of over 100 years
Pubs in Chongqing
Classic old buildings in Chongqing II
Romantic teahouses in CQ
Authentic Italian restaurants
Galsang flowers in full blossom
Outdoor exciting events in Chongqing
"Forest Oxygen Bars in China"
O-type blood stockpile quantity of Southwest Hospital in short
Past and present buses in Chongqing
German "Touchable Math" World Exhibition Tour
Amazing painting in water
Works of Dali to be on display in CQ


FSB On The Scene: Vixen in Vintage at Levant East and B Bar and Grill | Fashion. Style. Beauty. | Life is short. Live well.
So, this past weekend I hit a couple of parties before heading to the country for some much-needed relaxation time. I started the evening at Levant East, the new event space in the newly converted rooftop penthouse at the Hotel on Rivington. The brainchild of The Eldridge's Matt Levine, this revamped Lower East Side lounge is swank and the view is spectacular (and the hot tub is still there for those who want to get their Studio 54 on). The space will be open Wednesday through Sunday this summer and hosting some very elite gatherings of very pretty people. If this is your scene, I recommend this as a rooftop cocktail option.
Later, I joined some media-savvy friends in the Bowery at B Bar and Grill for some cocktails and catching up. NBC Universal's John Wise throws some of the most fun parties among the media people in NYC and when John decides it's time for a cocktail, you show up, no questions asked. B Bar and Grill is a fun place to gather with friends, from the seasonal cocktails to the fabulous appetizers and gorgeous outdoor patio. Here are some shots from the festivities.
Some of you know (or might not know) that I'm on the downhill slide of losing some weight (61 lbs to be exact) and I'm just now exploring a cuter summer wardrobe. This is a vintage dress of my mom's with a belt I stole from an ex-boyfriend (years ago, ladies – my kleptomania has since been quelled). The cuff is Ted Rossi. You can't see the shoes but they're these gorgeous black leather cage shoes from Aldo. Not bad, eh?
Me with John Wise of NBC-Universal. This is before everyone got a little buzzed. Remember this rule when you're drinking with the boys: one tequila, two tequila, three tequila, floor.
This is me with Arun Das of Fox and the other shot is the ever-fabulous Mr. Wise with his fellow media (read: mad) men. Sometimes a girl just needs a night in a place filled with gorgeous guys who want to buy her drinks, you know?
More fun and frivolity to be reported. This summer is just getting started. Peace and high heels, ladies!


Pomalong 1mg is a Sun Pharmaceuticals product which is endorsed by FDA, containing an active anti-cancer drug called Pomalidomide.
Pomalong 1mg is like thalidomide & Lenalidomide with related to decreased rate of serum aminotransferase elevations during treatment.
Pomalong 1mg is involved in the treatment for regression & unmanageable multiple myeloma.
Pomalong 1mg is used in the patients who are failing to response for Lenalidomide treatment.
Pomalong 1mg is used in combination with dexamethasone.
The major therapeutic indication of Pomalong 1mg is involved in the treatment of multiple myeloma.
This treatment is occurred by combining with dexamethasone for reducing the side effect associated with Pomalong 1mgomide.
Pomalong 1mg is majorly indicated in patients who are not reacts for prior two therapies like Lenalidomide & proteasome inhibitor.
The prescribed dose of Pomalong in multiple myeloma is 4mg should be administered orally as once a day on day 1 to 21 of reciprocated 28-day cycles.
Pomalong 1mg should be concomitant with dexamethasone.
Pomalong 1mg Capsules should be taken with or without food.
ANC more than or equal to 500/mcl: Continue the Pomalong 3mg daily.
Mild to moderate condition, an initial dose of Pomalong is 3mg; in severe condition, the initial dose of Pomalong is 2mg.
There are two major worsening condition may occur during the treatment using with Pomalong 1mg.
Pomalong 1mg Capsules are contraindicated to pregnancy period.
Patient who are receiving Pomalong 1mg Capsules have chance of getting deep vein thrombosis, pulmonary embolism, myocardial infarction & stroke.
In this condition, reduce the dose of Pomalong 1mg and recommended.
Pomalong 1mg should be contraindicated to pregnancy & lactating women. The pregnancy category of Pomalong 1mg is X.


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Daily Lives of Teenagers today and 100 years ago Name Institution Abstract Globalization is a commonly used term in the current societal set-up
Lab Report admin February 3, 2019 January 21, 2019
Daily Lives of Teenagers today and 100 years ago
Globalization is a commonly used term in the current societal set-up. The world is becoming smaller. This explains why various developments have been of great impact to the society. These developments entail the changes in the social, political and technological field. These changes have made it difficult to relate the activities of teenagers today and a hundred years ago. The changes have been significant in the way teenagers behave socially. The youths of today tend to socially behave differently as compared to their colleagues a century ago. How they make use of their free time is also put into great consideration.
The Daily Life of Teenagers today and 100 years ago
Technological advancement has played a major role in the lives of teenagers today. The introduction of devices such as mobile phones (smart phones), tablets and television sets has helped in knowledge advancement as these devices can be used to acquire information through internet. Education of today has revolved in that technology has aided in teaching and learning. This has replaced the role that parents and teachers used to play in the provision of education to their children. Not only do teenagers of today use technology for education purposes but also for communication. June, (2011) explains that the current tools of teenage communication are features of social network sites (SNS) such as Facebook. It is evident that the mainly targeted audience for social media is teenagers.
With increasing advancements in the technological field, teenagers of today have become major contributors to change in the society. Intensive studies involving in-depth research have proved to be of great benefit to the society. Contrary to hundred years ago where teenagers had no access to a vast source of acquiring information and teaching besides their parents and elders, youths of today can get new information on their own so long as they have the devices arising from technology. Traditionally, quest for knowledge was not hugely embraced which significantly held back need for change in the society.
Socio-cultural set-up of a given society also defines the kind of environment suitable for teenage dwelling. There has occurred change in the social upbringing of youths. A century ago, youths were divided along gender lines in that there were various duties assigned to both girls and boys. Males were not allowed to carry out domestic duties as such were allocated to females. On the other hand, girls were not allowed to engage in activities assigned to boys. Today, teenagers are viewed as equal and are treated equally. Female teenagers today are able to compete favourably with their male counterparts.
There has been a milestone in transforming the society politically. Politics forms the backbone of every society and economy. Today, there is universal inclusivity of both female and male youths in the political arena. Many countries have stepped up to ensure the youths are represented in the control of affairs of individual countries. This is contrary to the political situation 100 years ago. Running of the affairs of society was solely carried out by males. The male teenagers were to be equipped with necessary skills as future successors of leadership.
It is evident that there exists a great difference between the present teenagers and their counterparts' a hundred years ago. They are more knowledgeable and skilful due to increased use of technology as compared to their colleagues a century ago. The world systems of today also embrace gender equality and equal opportunities are provided to both males and females contrary to a century ago.
ReferncesAhn, J. (2011). The effect of social network sites on adolescents' social and academic development: Current theories and controversies. Journal of the Association for Information Science and Technology, 62(8), 1435-1445.
Development of Different Control techniques for Shunt Active Power Filter Kranthi Kumar Vanukuru Research Scholar
DISCUSS THE ADVANTAGES AND DISADVANTAGES OF USING COMPUTERS IN THE SECURITY ORGANISATIONS AND ALSO EXPLAIN WAYS TO MITIGATE THE DISADVANTAGES According to Masiiwa C and Dr G Kabanda
Multiculturalism is very difficult how should describe
INTRODUCTION Spina bifida literally means "spine in two parts" or "open spine"
Can Pakistan's Current Educational Policies Create Leaders of Tomorrow
There are an extensive variety of components that have an impact to the weariness of the ozone layer
According to McCuskey


text:
Beholder's Eye
by Kelly Cherry
Kelly Cherry's background in philosophy and classical music are the pillars of her poetry, although she seeks ways to keep them in the background. BEHOLDER'S EYE, her eleventh book of poetry, is a about where she went and what she saw, and that includes the States, Germany, Poland, Russia, Hungary, western Europe, Finland, and elsewhere. Her poems are clear and deftly crafted, and they are sometimes profound, and other times witty. She thinks politics are better dealt with in novels (or courts and conversation), yet she has written some poems about politics. Philosophic dilemmas are grist for her mill. But, like all poets, she is drawn to beauty, or to making beautiful poems out of what may not be, at first glance, beautiful. Her collection The Life and Death of Poetry is about language; her collection The Retreats of Thought is made up of sonnets about philosophy; her collection Rising Venus is about women and feminism. And the book at hand, BEHOLDER'S EYE, is about a significant chunk of our world. Minus, she adds sadly, Asia, China, Africa, and South America.
buy at small press distribution
Preview coming soon
Including BEHOLDER'S EYE: POEMS (Groundhog Poetry Press, 2017), Kelly Cherry is the author of 26 books, 10 chapbooks, 2 translations of classical drama. Most recent: Quartet for J. Robert Oppenheimer (poetry). Cherry is former Poet Laureate of Virginia. She is an Emeritus Member, Poets Corner, Cathedral Church of St. John the Divine, NYC. NEA, USIA (the Philippines), Rockefeller, Bradley Lifetime Award, First recipient of the Hanes Poetry Prize from the Fellowship of Southern Writers, three Wisconsin Arts Board Fellowships, Weinstein Award, publication in four Prize anthologies, Phillabaum Award, Dictionary of Literary Biography Award for the best volume of short stories (The Society of Friends: Stories) published in 1999, Walker Award for Lifetime Achievement in Southern Letters; others. She is also the Eudora Welty Professor Emerita of English and Evjue-Bascom Professor Emerita in the Humanities, University of Wisconsin Madison and an Eminent Scholar, UAH, 2001-2005.
Groundhog Poetry Press LLC
Once a month(ish) we'll send you a few of our favorite poems, a bit of news about the press, and perhaps a poet interview or two!


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Travel within Ireland is: Partially open. See details.
How to get from Connemara to Tullamore by taxi, train, bus or car
Find Transport to Tullamore
Need a hotel room in Tullamore?
There are 4 ways to get from Connemara to Tullamore by taxi, train, bus or car
Taxi, train • 3h 10m
Take a taxi from Connemara to Westport
Take the train from Westport to Tullamore Westport Service
Bus, train via Galway • 3h 48m
Take the bus from Recess to Galway City, Coach Station 923
Take the train from Galway to Tullamore Galway Service
Bus, train • 3h 44m
Take the bus from Recess, stop 533131 to Galway Bus Station, stop 555041 419
Drive • 2h 17m
Drive from Connemara to Tullamore 183.9 km
Is it cheaper to fly, bus, train or ferry from Connemara to Tullamore?
The cheapest way to get from Connemara to Tullamore is to drive which costs €21 - €35 and takes 2h 17m.
What is the fastest way to get from Connemara to Tullamore?
The quickest way to get from Connemara to Tullamore is to drive which costs €21 - €35 and takes 2h 17m.
How far is it from Connemara to Tullamore?
The distance between Connemara and Tullamore is 152 km. The road distance is 183.9 km.
How do I travel from Connemara to Tullamore without a car?
The best way to get from Connemara to Tullamore without a car is to taxi and train which takes 3h 10m and costs €110 - €140.
How long does it take to get from Connemara to Tullamore?
It takes approximately 3h 10m to get from Connemara to Tullamore, including transfers.
Can I drive from Connemara to Tullamore?
Yes, the driving distance between Connemara to Tullamore is 184 km. It takes approximately 2h 17m to drive from Connemara to Tullamore.
Where can I stay near Tullamore?
There are eight+ hotels available in Tullamore. Prices start at €87 per night.
Distance: 151.8 km
Duration: 3h 10m
What companies run services between Connemara, Ireland and Tullamore, IE-OY, Ireland?
There is no direct connection from Connemara to Tullamore. However, you can take the taxi to Westport then take the train to Tullamore. Alternatively, you can take a vehicle from Connemara to Tullamore via Recess, stop 533131, Galway Bus Station, stop 555041, and Galway in around 3h 44m.
digital@irishrail.ie
irishrail.ie
Train from Westport to Tullamore
Semi Flexible
Train from Galway to Tullamore
LWYang
Intercity train
Irish Rail Exterior
Citigold Interior of Irish Rail
Interior of First Plus class
Standard Interior of Irish Rail
Broadsheet
Westport Train Station
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Bus Eireann
Bus and coach operator Bus Éireann operates local bus services throughout Ireland, including city bus services in Cork, Galway, Limerick, and Waterford, as well as commuter and intercity bus services throughout the country. Fares vary by region and distance; purchase tickets with cash on the bus or use a Leap Card.
buseireann.ie
Bus from Recess, stop 533131 to Galway Bus Station, stop 555041
Exterior of a Bus Eireann
Bus Eireann's Expressway
Interior of Bus Eireann
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citylink.ie
Bus from Recess to Galway City, Coach Station
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Taxi from Connemara to Westport
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Connemara Taxi Company
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Connemara → Tullamore
Rules to follow in Ireland
Travel within Ireland
COVID-19 help in Ireland
If you need help, visit the national COVID-19 website or call the COVID-19 Helpline 1850 24 1850
Am I allowed to travel from Connemara to Tullamore?
There are currently travel restrictions within Ireland.
What are the travel restrictions in Tullamore?
There is a social distancing requirement of 2 metres
What is the national COVID-19 helpline number in Tullamore?
The national COVID-19 helpline number in Tullamore is 1850 24 1850.
Do I have to wear a face mask on public transport in Tullamore?
Wearing a face mask on public transport in Tullamore is mandatory.
Is it compulsory to practice social distancing in Tullamore?
The social distance requirement in Tullamore is 2 metres.
What should I do if I have COVID-19 symptoms when I arrive in Tullamore?
Make yourself known to an official member of staff and/or call the national coronavirus helpline number on 1850 24 1850.
Tullamore, Ireland
Discover how to get to attractions and hotels near Tullamore.
Things to do in Tullamore
Charleville Castle
Charleville Castle is a Gothic-style castle located in County Offaly, Ireland, bordering the town of Tullamore, near the River Clodiagh. It is considered one of the finest of its type in the country.
Kilbeggan Distillery
Kilbeggan Distillery (formerly Brusna Distillery and Locke's Distillery) is situated on the River Brosna in Kilbeggan, County Westmeath, Ireland. It is owned by Beam Suntory.
Durrow Abbey
Durrow Abbey is a historic site in Durrow, County Offaly in Ireland. It is located off the N52 some 5 miles from Tullamore. Largely undisturbed, the site is an early medieval monastic complex of ecclesiastical and secular monuments, visible and sub-surface.
Belvedere House and Gardens
Belvedere House and Gardens (Irish: Teach Belvedere agus Gairdiní) is a country house located approximately 8 km from Mullingar, County Westmeath in Ireland on the north-east shore of Lough Ennell. It was built in 1740 as a hunting lodge for Robert Rochfort, 1st Earl of Belvedere by architect Richard Cassels, one of Ireland's foremost Palladian architects. Belvedere House, although not very large, is architecturally significant because of its Diocletian windows and dramatic nineteenth-century terracing. When Robert Rochfort decided to use Belvedere as his principal residence, he employed Barthelemij Cramillion who was a French Stuccadore, to execute the Rococo plasterwork ceilings which are among the most exquisite in the country. The landscaped demesne boasts the largest and most spectacular folly in the country, The Jealous Wall, built to block off the view of his estranged brother's house nearby. There is also Victorian walled garden and many hectares of forest. The house has been fully restored and the grounds are well maintained, attracting some 160,000 visitors annually.
Places to stay in Tullamore
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Rome2rio is a door-to-door travel information and booking engine, helping you get to and from any location in the world. Find all the transport options for your trip from Connemara to Tullamore right here. Rome2rio displays up to date schedules, route maps, journey times and estimated fares from relevant transport operators, ensuring you can make an informed decision about which option will suit you best. Rome2rio also offers online bookings for selected operators, making reservations easy and straightforward.
Tullamore to Athlone Tullamore to Waterford Ireland
Trips from Connemara
Connemara to Cliffs of Moher Connemara to Galway Connemara to Sligo Connemara to Westport Ireland Connemara to Dingle Ireland Connemara to Cork Connemara to Londonderry Connemara to Killarney Connemara to Loughrea Connemara to The Burren
Trips to Tullamore
Dublin to Tullamore Cork to Tullamore Galway to Tullamore Birr Ireland to Tullamore Naas to Tullamore An Muileann gCearr to Tullamore Nenagh to Tullamore Shannon Airport SNN to Tullamore Rosslare Harbour to Tullamore Bray to Tullamore Castlebar to Tullamore Tallaght to Tullamore Castlepollard to Tullamore Tuam to Tullamore Claremorris to Tullamore Wicklow to Tullamore Knock to Tullamore Fermoy to Tullamore Kingscourt to Tullamore St James s Hospital to Tullamore Isle Of Man Airport IOM to Tullamore Rosslare Strand to Tullamore Westport to Tullamore County Cavan to Tullamore Shannon Harbour to Tullamore Ardee to Tullamore Giant s Causeway to Tullamore Lisdoonvarna to Tullamore Enfield to Tullamore Mountshannon to Tullamore


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HomeWORLDWIDETRAVELWorldwide AttractionsBottleRock 2019 – Mumford and Sons, Santana, Jeff Goldblum and More Provide Explosive Sets on Day 3
BottleRock 2019 – Mumford and Sons, Santana, Jeff Goldblum and More Provide Explosive Sets on Day 3
May 28, 2019 Meagan Sargent Worldwide Attractions 0
Marcus Mumford of Mumford & Sons performs at BottleRock Napa Valley. Photo Credit: Amy Harris, Associated Press
The sold out 2019 BottleRock Napa Valley, presented by JaM Cellars, has drawn to a close having entertained more than 120,000 attendees over the Memorial Day Weekend in historic downtown Napa.
In addition to headliners Imagine Dragons and Logic on Friday, Neil Young + Promise of the Real and Pharrell Williams on Saturday, and Mumford & Sons and Santana on Sunday, the festival featured over 75 additional musical acts on 6 stages over the weekend, plus star chefs paired with musicians and celebrities on the Williams Sonoma Culinary Stage. The weekend brought together hundreds of musicians, chefs, vintners, brewers and distillers for a three-day blend of music, wine, food, craft brews, spirits and hospitality that can only be experienced in the renowned Napa Valley.
Photo Credit: Nisha Gulati (Latitude 38 Team)
Although day three brought significantly darker skies and rain, that didn't limit the number of attendees! As a new resident to Napa, it's only right that Skylar Gray performed during the famed music festival. Gray is a fairly new artist, some concert goers discussed their concern regarding her performance for "lack of material," however her set was well worth the visit. It was simply beautiful. Attendees were treated to stripped-down versions of P. Diddy's "Coming Home," Zedd's "Clarity," and a show-stopping rendition of Rihanna's "Love the Way You Lie," and more during her BottleRock performance. "Love brought me to Napa. I met my husband here at BottleRock back in 2016," Grey said, referencing her significant other a handful of times through her set.
Later in the day on the Firefox stage, Bishop Briggs delivered a high energy set packed with her big hits. The artist, who recently shaved her head in support of her friend Arax a beauty and makeup guru on Instagram who just started chemo, had a thrilling hourlong performance. The upbeat set consisted of her running back and forth on the stage, which got the crowd hyped. All of this, yet, there is still a bit of shyness that seeps out.
Bishop Bridge brought out a choir during her high-energy performance! A crowd favorite and a stand alone move for the trendsetting performer. Photo Credit: Nisha Gulati (Latitude 38 Team)
"Hello, I'm Bishop Briggs, and there's a lot of you out there," Briggs said after finishing the opening song of her set. Of course she performed her hits, "Baby," "River," "White Flag," "Hallowed Ground" and "Hi Lo (Hollow)," while also mixing in some new material.
Shaed has been in the music industry for about 3 years they reached major success with the release of their latest single, "Trampoline." The trio easily brought the biggest crowd to the BAI stage. "We are playing so many festivals right now," and working on an album from the Fall," vocalist Chelsea Lee stated in an interview with DK of Alt 105.3. Their set provided an earnest and emotional performance with bandmates (and brothers) Max and Spencer Earnest. If this is any inclination as to what they are capable of, we are all in for a ride!
Let's be honest, how could you not adore Jeff Goldblum! He's more than an actor, he is also a very talented musician (and semi-decent comedian!) He opened hit set early, only to tell silly jokes to get the crowd involved. Throughout the performance the Jeff Goldblum and the Mildred Snitzer Orchestra performed a mix of jazz standards from its recently released album, The Capital Studio Sessions, like Charles Mingus' "Nostalgia in Times Square" and Herbie Hancock's "Cantaloupe Island." Later in the performance he surprised attendees by bringing Haley Reinhart to the stage to perform several songs, including "My Baby Just Cares," "Can't Help Falling In Love" and Horace Silver's "Song For My Father." Seeing Goldblum was a surprise well accepted!
As the evening drew to a close, guests headed to The Jam Cellars stage to close the evening for Mumford & Sons! "We came to have a f—ing party with you," stated frontman Marcus Mumford at the top of the band's headlining set.
The British folk-rock quartet, on tour in support of its latest album, "Delta," had the sold-out crowd of 40,000 jumping and singing along en masse with its banjo-wielding hits "Little Lion Man," "Believe" and "I Will Wait." The intense energy as the end of the set grew near was undeniable. While it wasn't a high energy performance to like Bruno Mars, there is something to say about Mumford & Sons – pure FEELS.
"We couldn't be happier with this year's festival, all three days proved to be amazing," said Dave Graham, of BottleRock Presents. "We were keeping our fingers crossed for Sunday's weather, the cool and drizzly start to Sunday didn't dampen any spirits and the afternoon and evening was pure magic. We are lucky to have the best audiences in the business!"
At the end of the final performance on Sunday evening, festival organizers announced that BottleRock Napa Valley will return May 22 – 24, 2020. If you missed our recap of day one, click HERE or our top bites from the fest, click HERE.
BottleRock Napa Valley Review – Truly a Foodie Paradise
ROOH Chicago Review – Now in Chicago
Destination Palm Springs: Review – A Romantic and Purely Luxurious Mini Getaway in the Desert
November 25, 2017 Tracie May-Wagner U.S. Hotels & Resorts 0
As a journalist and online magazine editor, one of the many perks of my job is that I am privy to some pretty fantastic, and rather exclusive, event invitations. Recently, I was presented with the […]
The Panorama Ship Review – A New Super Star of Cruise Ships is Born
December 15, 2019 Ron Irwin Cruises & Tours 0
Anyone who has ever enjoyed a cruise knows well the sheer delight the experience brings. One of the largest, Carnival Cruise Lines, is devoted to FUN and their newest ship in the fleet takes it […]
Poseidonion Grand Hotel Review – At the Greek Cote d'Azur
July 6, 2019 Christina P. Mallaki Worldwide Hotels & Resorts 0
Two of my favourite hotels in Cote d'Azur are the Carlton and the Negresco! And since this summer I decided to spend my holidays in Greece, I felt I would like to try a hotel […]


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Toward a Christian Aesthetics
Novel-writing in an age of COVID.
Tara Isabella Burton
Tara Isabella Burton is the author of the novel Social Creature (Doubleday, 2018) and the nonfiction book Strange Rites: New Religions for a Godless World (Public Affairs, 2020). She is a contributing editor at The American Interest and a columnist for Religion News Service.
I have a lot of free time at the moment. Like many people in lockdown, and particularly among those of us privileged to have jobs that allow us to work from home, I have fewer ways to spend my hours. I don't go to bars or nightclubs. I socialize rarely: on Zoom, at the odd picnic. I don't even go to buy groceries. In the age of coronatide, so much of my daily routine turned digital. I have so many hours in the day.
I spent some of those hours—in March, in April—writing a novel. It was a luxury good, those several indoor hours. My husband and I were able to work remotely. We were fed, and healthy, and inside. I was conscious—all too conscious—of time I spent on my book as a fortuitous and unearned freedom: one predicated on privilege.
I worry—sometimes, often—that what I am doing is useless, that all art is quite useless. I have worried about that, all the more, over the past few months. The world has been ripped apart at the seams. The pandemic has pulled back the curtain on capitalism's failings. The protests following the killing of George Floyd have made ever clearer, too, other structural sins: a country based on vectors of racist oppression, of undue power.
How do we write when the world is falling apart? And—no less vital—should we?
It is impossible—in a capitalist society, and in a broken and fallen world—to separate out the creation of words—such seemingly unbodied things—from the luxury of leisure. The freedom to make imaginary worlds is also the freedom that gives us time to form words, not things, with our fingers. Despite the utopian proclamations of techno-capitalists, human beings cannot create something out of nothing. Free time comes on the backs of other people's labor. Those delivered groceries were picked, and packaged, and brought to my doorstep, by other human beings, with far less free time.
Now, more than ever, as we make public sense of a world in which the powerless are in bondage to the powerful, and in which we are all in bondage to sin, we are called not merely to account for the ways we exercise our freedom. It is a question for aesthetics as much as for politics—insofar as we can separate them, which as good systematic theologians I motion we cannot and must not do.
The questions of whether we should write and the question of what we should write as Christians are inseparable from one another and from this wider question of the theological character of right and wrong freedom—a question that both the COVID-19 pandemic and the George Floyd protests have rendered ever more urgent.
How, in the forming of words on a page, can we exercise good creative freedom, even as we resist in both practice and product the embedded liberal notion that our individual, autonomous liberty to do, to make, to fashion, is the highest good there is?
Storytelling is itself, after all, an exertion of power: one that, like any power, can be wielded well or badly. This is not merely a question of aesthetic technique: seemingly beautifully told stories can convince us of moral ills. Some of my favorite writers, from the Danish philosopher Søren Kierkegaard to the French dandy-fabulist Jules Barbey D'Aurevilly, have explored this precise problem in their work. Often, they compare storytelling to seduction. The Bad (but erotically compelling) Storyteller is a vampire: tantalizing, then infecting, their victims: transforming them—through aesthetic sleight of hand—into miniature versions of themselves. Power engenders Pygmalionism.
One of D'Aurevilly's most unsettling short stories, "The Crimson Curtain," recounts how the mysterious stranger regales the narrator with an incident that happened in his own past: a beautiful, erotically hungry woman's inexplicable death mid-coitus. The stranger's account makes little sense—we are left to wonder, from his abrupt account, whether the sex he had with this woman was consensual; whether he was responsible for it; why he left her house immediately, in the middle of the night. And yet our narrator is spellbound, and aroused, by this tale: so much so that he starts to see ghostly echoes of this woman in the present day.
Power engenders Pygmalionism.
The story is a rather on-the-nose example, of course. But it tells us something about the potential dangers of storytelling: what it means to aestheticize, and eroticize, the horrors of the world: a funhouse-mirror reflection of reality that makes us hunger for the seductively bad, that makes us long for narrative consummation offered up to us in the suffering and death of others.
It tells us, too, about the paradigm of so many storytellers: world-creators ex nihilo who treat language, narrative, story as a form of mastery and control. It is the sort of figure Iris Murdoch writes about, speaking of our conception of man after Kant, in her essay "The Sovereignty of Good": "free, independent, lonely, powerful, rational, responsible, brave, the hero of so many novels and books of moral philosophy."
We cannot divorce the aesthetic question of storytelling from the moral question of freedom, nor the political question of power. The challenge for the storyteller is also the challenge for the human being in God's creation: what do we do with our liberty?
One roughly considered model of making—arguably the one that has saturated contemporary liberal culture (and economics) from the Enlightenment onward—celebrates the freedom of the abstract. It divorces the world of the verbal from the world of the experiential: rendering the former a kind of self-enclosed playground of the imagination. In this schema words are like money: something with an internal cohesiveness, that affects us, and governs our actions, but nevertheless does not demand part of ourselves. We might call this the capitalist novel: the novel that celebrates, in construction, in form, and in content, individualistic human freedom.
The storyteller, in this model, is in essence playing God: expanding his selfhood into the field of signs. As in D'Aurevilly's "Crimson Curtain," the storyteller plays with us in a cat-and-mouse game: stoking our curiosity, arousing our interest, delaying our gratification: all from a position of power and authority. He wields language like a scalpel: slicing into and through reality. His gaze is wry, sardonic, even ironic. He (and sometimes we) know more than the characters, and this is a source of mockery, an inside joke: oh what fools these mortals be. Émile Zola, too, often compared his work as a writer to that of a physician, slicing open the characters he wrote about, diagnosing them with this or that societal condition—alcoholism, poverty, neurasthenia, allowing their psychic diseases to inevitably degenerate for our reading pleasure into a suitably spine-tingling tragic end.
Characters, in this kind of story, exist in service to the plot—or, at most, in service to the role they play in the life of a particular protagonist: love interest, foil, comic relief.
It is the model of freedom we see, for example, in the classical bildungsroman: a story about and for a single individual's journey to maturation and success. Stendhal's The Red and the Black is one paradigmatic example: Stendhal constantly toys with his protagonist, Julien Sorel, even as Julien himself—rising to the highest ranks of French society—does so by instrumentalizing the people around him, with darkly comic results.
We see it in the modern pulp thriller, in which a rugged detective or PI gets to the bottom of the case via the bedsides of beautiful women.
We see it in the cynical gaze of the noir novel: textual worlds in which God, by default, does not exist.
But is another, distinctly Christian, model possible—one that responds not just to Christian understandings of freedom but to Christian understandings of givenness? Is there a way to talk usefully about Christian aesthetics not in the banal sense in which it is often used to connote "family-friendly" inoffensiveness, but rather at the level of structure and word?
In writing this piece, I reached out to a Catholic writer I admire: Phil Klay, whose 2014 book of short stories, Redeployment, won the National Book Award. What, I asked him, made his writing Catholic, in content and form and subject matter?
The best writing, he responded, rejects the idea that the shape of the world can be easily explained away by "reason alone," or understood as a confederacy of "isolated individual consciousness." It takes seriously the understanding "that evil is real, as are sin, redemption, atonement, and the soul. It does not allow itself the cheap comfort of despair, or utter cynicism. It accepts that we are fallen creatures in a world full of suffering, but that there is grace."
Furthermore, he says, it "thinks novelists who write as though the world is intelligible are silly. It thinks novelists who write as though human beings are intelligible are silly. It's more terrifying, disorienting, forgiving, and challenging than either the bland humanism or strident politics than underlie many contemporary novels. It suspects that if you don't have a bloody, beaten body dying in agony at the center of your symbolic system, you're not playing the game right."
I do not claim to propose a fully fledged Christian aesthetics. But, nevertheless, in my own work, I have likewise aimed toward a theology of writing that centers that bloody, beaten body.
Central to that understanding, for me, is the vision that the Christian novel cannot, in plot, in voice, or in tone, envision itself as a product of sui generis creation: the disengaged omniscient narrator surveying, smirking, sub specie aeternitatis the novel's foolish mortals. Nor can it create an alternate, escapist world that exists for pure consumption: a world of moral fantasy (big-bosomed women desperate to sleep with our unassuming hero, say) that seduces us with our worst instincts.
Rather, I believe that the Christian novel—whatever the details of its structure, narration, plot, or subject matter—must be one that embraces both its own givenness and the givenness of language itself: the polyphonic tapestry that is not word-as-theoretical-object but word-as-site-of-incarnation: words always made flesh. It must embrace the fact that language—as a means of human communion, wedded to human history—is not and can never be fully free (let alone fully capable of accurate expression).
… the Christian novel must be one that embraces both its own givenness and the givenness of language itself…. It must embrace the fact that language—as a means of human communion, wedded to human history—is not and can never be fully free…
It would understand language as at once communicative—rather than authoritative—and contingent: rooted in the patterns of our own speech, rooted in our own histories.
Thus, for example, the poetry of Gerard Manley Hopkins, which through uncommon arrangements of language—simple words in surprising combinations—calls our attention to the jagged images of the everyday: "all is seared with trade / bleared, smeared with toil / And wears man's smudge and shares man's smell." Thus, too, the more explicitly communicative language of Joris-Karl Huysmans, who in his quartet of Durtal novels traces the conversion of a neurasthenic aesthete to Catholicism, in part by transforming his use of language. The alienating, lapidary prose style of earlier books gives way to linguistic simplicity: language designed to reflect the plainchant Durtal hears in medieval churches: "a rush, a going forth of the soul, escaping in the passionate voices, breathed forth by the bodies of the monks as they stood and trembled."
It would, likewise, embrace the implicit power in the authorial position by adopting not—as Klay notes—a cynical gaze, that of the disengaged ironist, nor even the more morally palatable fury of the rightly raging prophet, but a distinctly loving one. I think that that the Christian novel can—indeed must—express anger at the world's brokenness, and its injustice, even as it casts its attention on, and loves, the tiny details, the anecdotes, the phrases, the moments, that make each of its characters, in being fully human, fully loved by God. To zero in on a character's foibles, their mistakes, their wickedness, their self-deception—and show us why we should love them anyway—is the greatest task of Christian art. (Thus, for example, the opening of George Eliot's Middlemarch—though not, of course, an explicitly Christian work—where the self-righteousness and moral confusion of our heroine, Dorothea, are presented through a tiff with her sister over whether to wear their inherited jewels: Dorothea is at once an annoying older sister trying to get her sibling's goat, and a woman with a profound and inchoate sense of righteousness; neither cancels the other out.)
And, most importantly of all, the Christian would preserve in every character depicted, however briefly mentioned, the sense that they are made in the imago Dei: that they are fully human, with their own wants, needs, desires, hopes, that each of they could, if only given space to tell it, be the protagonist of their own story as well.
A few years ago I attended a panel on Christian crime writing at the Calvin College Festival of Faith and Writing. The crime novelist Samuel Martin spoke at length about the way the genre treats his dead. He critiqued the conventional noir for its gory and fetishistic depictions of wounds and mutilations (particularly when the corpse was that of a young and beautiful woman). Could a Christian crime novel, he asked, focus instead on the body as the locus of tragedy, not titillation: the life that was (and might have been) lived, those who loved and lost the victim, the marks of personhood rather than its destruction?
"First aim to give your characters weight," he said,
and not just physical weight—dead body weight—but emotional, even spiritual, weight: the kind that when artfully conveyed inspires empathy. Bend your limbs to fit their body print, feel the circumstances and the violation of their death in your own flesh. In your writing, fill that empty "whodunit" space with a real, complex, fully imagined life.
A particular master of this complexity is the Christian existentialist Fyodor Dostoevsky, who exemplifies in his novels the technique the literary critic Mikhail Bakhtin calls polyphony. In The Brothers Karamazov, for example, each of the titular brothers sees himself as the hero of his own life (expressed, by Dostoevsky, in different genres: Dmitri as Romantic folktale, Alyosha as hagiography, Ivan as European novel of ideas), but these different genres constantly meld into one another: showing us that the rich tapestry of life transcends any one attempt to give it narrative structure; that each of the brothers is part of a much wider whole of creation.
I do not claim to know how best to practically implement these demands into writing, nor the differing ways in which these commitments might be manifested in different genres, or different types of stories, except by means of pointing to these successful examples. But, as a novelist, there are some commitments I make in my own work.
One commitment is to presenting textual worlds that escape easy reduction or explanation: avoiding cynical narrative modes that reduce human beings to either reifications of readers' easy assumptions or avatars of My Model of How the World Works. It is a commitment to avoiding ironic disengagement on the part of the narrator, even when it would be funny or biting or chillingly sexy to do so. I hope to preserve my wonder at mystery at the heart of this world by maintaining such mystery, and fullness, in my textual ones: plots that are never fully tied up with a bow, characters whose arcs are never neatly resolved, worlds that never function as narrative machines, according to the "laws" of narrative expectation. A man dying then abruptly rising from the dead, after all, is by one account highly narratively unsatisfying. Grace, like all happy endings, is unearned.
It is a commitment, too, to creating work where all characters, however minor, are treated with the respect of their full humanity, and where the narrative structure of the work reflects the imperfection and insufficiency of any one authorial or authoritative gaze. It is a commitment, too, to treating the world I write about with love—to seeing the incarnate Christ everywhere, even in the most broken or sinful characters; to seeing their God-given capacity to receive grace.
I want the worlds I write about, whether ostensibly set in this world or a fantastical one on another planet, to be worlds in which God still became man, died, and rose again.
If it is true that the best use of freedom is prayer—the loving contemplation of God—then I think that one way to use that freedom, as a writer, is to foster close and loving attentiveness to God's world, to foster a love for creation that does not elide its brokenness, but rather compels us to love all of it in its irreducible particularity, its haecceity, as it is as well as we hope it will one day be. It is the contemplation not just of a remote metaphysical God nor an abstraction but a God who became fully man out of love.
It is to write not as an act of seduction-over but of calling to attention, of loving Christ as we see him in our neighbor, as Hopkins says, "in men's faces." It is not to say listen to me, but rather—as a joyful child exclaims, finding a flower or a puppy or a beam of sunlight—come, over here, look!
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Susannah Black


Nice find (article) by Ray Jay. Now I know where my socks end up.
Another great article which is not only worthy of discussion but it might have profound effects.
First off for those of you who haven't heard of muli-verses, those are an infinite number of parallel universes like ours. Every variation imaginable and they go on forever.
Quantum Physics is the scientific effort to understand reactions at the sub-molecular level. Right now there are interesting things going on that don't seem logical, but yet they occur. For example one particle performs a certain way and if it is 'entangeled' to another particle miles away, any change in particle A instantaneously changes particle B.


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Vegas Backstage Access (VBA)
Nevada Outlaws Get Free Newspaper Fame- for Weeks!
Who says journalism is dead? Pshaw! It's merely focused now on the seedier aspects of life and living, displaying alleged outlaws for all to see!
Mugshot photo galleries are increasingly popular features on newspaper websites, which are on blitzing crusades for ever more page views and the advertising revenue that accompanies additional eyeballs.
Big newspaper dailies still hanging around, like New York's Newsday and the Chicago Tribune, have also quickly caught on to the trend. Mugshot mania is especially prevalent in Florida, where liberal public-records laws make it easier to obtain these photos.
"It's a huge traffic driver for us," says Roger Simmons, digital-news manager for the Orlando Sentinel, where mug shots garner about 2.5 million page views a month, 6% of the site's total. The Palm Beach Post estimates its online police blotter, which streams its own ads, drew half of the site's 45 million page views.
And Las Vegas has long been the home of local weekly tabloid magazines that display page after page of photographs taken of partygoers in the nightclubs and casinos, partying themselves into oblivion. It's worked like magic for them, drawing in readers and advertisers, so why not a theme on a variation?
That's the thought of the new kid on the Nevada block, Max Cannon, another publisher of the bleary-eyed and stupefied mugshots. He's the founder of Florida-based SafeCITY Publishing, which for $1 offers readers a non-traditional newspaper, Local Mugshots, a brazen photo compendium of people arrested in Nevada for all sorts of nefarious and not so dastardly alleged crimes, including drugs, gang activity, DUIs, sexual crimes- or maybe just an expired driver's license, much to the chagrin of many.
After being published in 25 cities across the U.S. – boasting 208 fugitive apprehensions nationwide since 2007 – Cannon has now focused his crosshairs on Nevada, creating the first West Coast version of the publication that has been around for about eight months. About 15,000 to 20,000 copies are distributed to 80 locations throughout Clark and Washoe counties in Nevada every two to three weeks. In Las Vegas, it is available at most 7-Eleven, AM/PM and Fills locations, and the distributor is working on increasing its presence to about 20 more locations.
Canon, who started the publication about nine years ago in Tennessee, can't say for certain why it's been so popular, but conjectures that it's the possibility of recognizing someone. "There's a good likelihood that at some point in time, they're going to see someone that they're going to see someone they went to school with or with, as opposed to watching something on America's Most Wanted," he says.
Stephen Bates, a UNLV journalism professor who teaches media law, begs to differ, feeling it is doing more harm than good. "It seems a little irresponsible to feature people who have been arrested and not been charged with any crime. It's tarnishing people's reputations."
Filed under Las Vegas, news, Uncategorized
Tagged as America's Most Wanted, criminals, drugs, DUIs, fugitives, gangs, Las Vegas, Las Vegas Backstage Access, Las Vegas news, Local Mugshots, Max Cannon, news, newspaper industry, newspapers, outlaws, SafeCITY Publishing, sexual crimes, Stephen Bates
Las Vegas Open Casting Call for "Don't Forget the Lyrics" TV Show
Mark McGrath is hosting auditions this Saturday in Las Vegas, seeking seeking contestants to appear on a hit game show.
On Sat., April 24th an open casting call will be held for the all-new syndicated version of "Don't Forget the Lyrics!" Set to premiere in the Fall, 2010, "Don't Forget the Lyrics!" is a musical game show that tests contestants' knowledge of song lyrics from different genres, decades and artists.
Mark McGrath, a member of the multi-platinum group, Sugar Ray, will host "Don't Forget the Lyrics!" where he brings ordinary people center stage for a chance to win a fortune – just by knowing the words to the biggest hit songs ever recorded.
The auditions will be held on Sat., April 24th from 11a.m. to 4 p.m. at Bonkerz Comedy Club, 2411 West Sahara Ave., in Las Vegas.
A photo ID is required as contestants and their guests must be 21 years or older to audition. Casting is seeking contestants that are fun, outgoing and very knowledgeable of popular song lyrics. Also contestants must be willing to sing the songs on the game show.
Whether your cup of tea is Motown or Country, or anything in between, they're looking for all types of music fans as the songs are hits, from the 50s to present day Top 40.
"Don't Forget the Lyrics!" originally premiered on July 11, 2007, on FOX television and became one of the most popular shows in America, as well as an international phenomenon.
For an application and further details please log on to http://www.dftl.tv.
Filed under entertainment, Las Vegas, news, Performances, Uncategorized
Tagged as Bonkerz Comedy Club, Don't Forget the Lyrics, employment, entertainment, entertainment news, game shows, job auditions, jobs, Las Vegas, Las Vegas Backstage Access, Las Vegas employment, Las Vegas entertainment, Las Vegas jobs, Las Vegas news, Mark McGrath, Music, news, singing, television shows, TV game shows, TV shows
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