text:
"Are Americans free simply because they are
permitted a perfunctory choice on who will
molest their rights and liberties?"
Donald Trump and Abe Lincoln: Two of a Kind?
By Jim on July 3, 2019 0
Mises Institute, July 3, 2019
Lincoln and Trump: Two of a Kind?
by James Bovard
President Trump has outraged legions of political opponents with his plan to give a Fourth of July speech on the steps of the Lincoln Memorial. A Washington Post columnist frets that Trump's speech will leave a "stain" that "won't ever completely wash away." But before any more teeth-gnashing occurs, we should recognize the surprising parallels between Trump and President Lincoln.
Trump sparked an uproar in 2017 by tweeting derisively about the "so-called judge" who blocked his order severely restricting immigration from seven nations. Twitter was not around in the 1860s so Lincoln never took online swipes at the judiciary. However, when Supreme Court Chief Justice Roger Taney ruled in 1861 that Lincoln had no right to suspend habeas corpus along a railroad corridor, Lincoln ignored his decision. The following year, Lincoln greatly expanded the suspension, resulting in the arrest and military trials of people who had done nothing more than insult the president. Up to 15,000 northerners became political prisoners as a result of Lincoln's orders.
Trump mortifies the press corps and millions of non-ink-stained wretches when he denounces that the media is "the enemy of the American people." Lincoln refrained from such rude comments during his four years in the White House. However, on May 18, 1864, Lincoln issued an executive order for "arrest and imprisonment of irresponsible newspaper reporters and editors" after the New York World and Journal of Commerce published an incorrect report on a pending expansion of conscription. Lincoln forcibly shut down 300 newspapers in the North that were insufficiently supportive of military policies and hundreds of editors, publishers, and reporters were tossed into prison without charges.
Trump has been widely condemned for canceling the Obama administration mandate compelling every public school to allow transgender students to use the bathrooms and locker rooms of their choice. Transgender rights were not an issue in the 1860s, but Lincoln's treatment of the most reviled ethnic group of his era was not his finest hour. In 1862, Lincoln approved the largest mass execution in American history — 39 Sioux Indians. In 1863, Lincoln approved brutally expelling Navajos and Apaches from the New Mexico territory. In 1864, John Evans, a personal friend of Lincoln's and his appointee as Colorado territorial governor, launched a military campaign that culminated in the U.S. cavalry slaughtering more than 100 peaceful Indian women and children at Sand Creek, an unprovoked attack that even Congress labeled a "massacre."
Trump was denounced for his "tyrannical and despotic" attempt to withhold federal funds from self-proclaimed "sanctuary cities" that refuse to cooperate with federal immigration authorities. Rather than sanctuary cities, Lincoln dealt with border states that threatened to secede and he did not rely on sweet words alone. In September 1861, Lincoln sent federal troops to arrest pro-southern members of the Maryland legislature. In Kentucky, Union commanders targeted Southern sympathizers with roving "execution squads," as the New York Times noted. Vast swaths of southern Missouri were devastated and depopulated to prevent any support for Confederate forces.
Trump suggested in 2016 that the U.S. government could kill the families of terrorists to dissuade others from launching attacks — and to hell with Geneva Conventions rules protecting non-combatants. Lincoln also relied on a catch-all notion of collective guilt. Shortly before his 1864 march across Georgia, Union Gen. William Sherman telegramed Washington that "there is a class of people — men, women, and children — who must be killed or banished before you can hope for peace and order." Lincoln congratulated Sherman for a ruthless destructive campaign that made "Georgia howl." After Union Gen. Phil Sheridan torched much of Virginia, Lincoln sent him a message declaring "my own personal admiration and gratitude for the month's operation in the Shenandoah Valley." Historians swept Lincoln's brutal tactics under the rug long before his memorial was consecrated in 1922.
Trump and Lincoln are soulmates on today's most contentious economic issue. Trump portrays imports as a pox while his trade wars are ravaging American farmers and many manufacturers. Promising high tariffs helped Lincoln capture the presidency in 1860 and he cheered in February 1861 when congressional Republicans boosted tariffs as high as 216%. The New York Times denounced that bill as a "disastrous measure" that "alienates extensive sections of the country we seek to retain" and will "deal a deadly blow … at the measures now in progress to heal our political differences." That tariff law helped drive Virginia, North Carolina, and Tennessee out of the Union, thereby making the Civil War far more destructive. Protectionism remains as idiotic now as it was 150 years ago but politicians continue to demagogue the issue.
But don't expect Trump to mention any of these Lincoln debacles (except maybe tariffs) in his July 4th spiel. Trump being Trump, his speech will probably have some howlers and the media's fact checkers will lustfully throw plenty of penalty flags. But after it is all over, most Americans will remember only the fireworks they saw, the beer they drank, and maybe the hot dogs they chomped that day.
James Bovard is the author of ten books, including 2012's Public Policy Hooligan, and 2006's Attention Deficit Democracy. He has written for the New York Times, Wall Street Journal, Playboy, Washington Post, and many other publications.
abraham lincoln, Apaches, Civil War, donald trump, Fourth of July, freedom of the press, habeas corpus, Indian massacres, Kentucky, military trials, Missouri, Navajos, Phil Sheridan, Roger Taney, Sand Creek, Shenandoah Valley, Supreme Court, transgender bahtrooms, Washington Post, William Sherman
USA Today: Celebrate Independence Day by Cussing a Politician
Bashing Congress in the New York Times on July 4th 40 Years Ago


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Reach for the skies by climbing into a log cabin on stilts above a river at height of squirrels, sleep underground in a vegetated hut, have a break in our Romanian Caravan next to our orchard or just have a wonderful time in one of our Mongolian yurts and live the most unique experience.
The property is located on a 6 ha estate where each angle of view provides you with different types of landscape with a mixture of luscious meadows but also woodlands, ponds and streams covering the entire estate as well as our farm animals that you will be able to view right from your location (sheep, goats, geese, chickens and Amandine our donkey).


text:
Q: Perl, Seq.pl Script not running This is slightly linked to my last question in that I have no perl experience, but as part of my research paper I have to use this perl script (Which does not belong to me). I am having issues with it in that I can't seem to output anything:
#!/usr/bin/perl -w
#
# seq.pl
# Script to see how random session ID are.
############################################
use Math::BigInt;

@seq = ();
@x = @y = @z = (;
while(<>) {
chomp($val = $_);
push(@seq, $val);

}
for ($i = 3; $i < $#seq; $i++) {
push(@x, $seq[$i]       - $seq[$i - 1]);
push(@y, $seq[$i - 1]   - $seq[$i - 2]);
push(@z, $seq[$i - 2]   - $seq[$i - 3]);
}
for ($i = 0; $i < $#seq; $i++) {
print $x[$i] . " " . $y[$i] . " " . $z[$i] . "\n";
}

I am using this script to output co ordinates for a graph.
my questions are:
1) Where do i input the numbers
2)Do i need to specify an output file or anything? and if so how can i do this?
Sorry if they are stupid questions but I'm beginning to worry.
Thanks,
Alice

A: while(<>) {

It reads from STDIN using the diamond operator. So you can:

*

*Run the program and then start typing

*Pipe some data into it the output of another program (foo | perl yourscript)

*Pipe some data into it from a file (perl yourscript < somefile.txt)

*Pass filenames as arguments (perl yourscript somefile.txt someotherfile.txt)
print $x[$i] . " " . $y[$i] . " " . $z[$i] . "\n";
It outputs to STDOUT, so the output will be displayed.
You can redirect it to a file. perl yourscript somefile.txt > someoutput.txt

redpajama_set_name: RedPajamaStackExchange


text:
Home › Free Essays › History › The Meiji Restoration
The Meiji Restoration
The following essay discusses the Meiji Era and its definitive effect on Japan and its course of history. It seeks to investigate the historical background of the Tokugawa period that precipitated the Meiji restoration. It will also outline the features of the restoration that could place it on the pedestal of 'revolution' and how the restoration retained a traditional element.
The history of Tokugawa depicts a society that was unwittingly responsible for its destruction. Urbanization and proliferate commercialization provided unparalleled amount of wealth for the limited amount of elites. However, in its wake it left a trajectory of increasing corruption. Inevitably, the Tokugawa era faced a horde of setbacks. The abundant gold that fueled the riches dwindled rather swiftly (Lu, 1997). Further, they lacked proper control over their territory and taxation. Frequent peasant uprisings and urban riots compounded social unrest, causing more problems for Tokugawa government. The merchants prospered by taking advantage of the daimyo and the samurai. The samurai sought to disrupt the status quo.
A two-pronged strategy emerged. The strategy encompassed two major reforms: the Kansei reforms (1787-1793) and the Tempo reforms (1841-1843). The Kansei reforms were stifled and could not make it past the tenure of 'roju' Matsudaira Sadanobu. The Tempo reforms were snuffed out by the abrupt eviction of its focal instigator, Mizuno Tadakuni, from office (Lu, 1997). However, they managed to have an effect nevertheless. They inspired the samurai to the pursuit of military arts and austerity for all classes of people. Farmers found themselves quarantined in their villages. Trade associations disbanded arbitrarily. Prices of certain goods were reduced compulsorily. The bakufu endeavored to exhort direct control over commercial activities. Unfortunately for them, their attempts were botched. The concerted power wielded by the Osaka and Edo merchants was an irrepressible force. Also, the efforts to fuse private domains and lands in the Osaka and Edo sphere and place them in the tenryo failed as well. The Tokugawa retainers and peasants objected. They would have been the biggest losers if these measures came in effect. The failure of the Tempo reforms illuminated the intrinsic weakness of the bakufu as the ruling power.
At its tail end, the Tokugawa bakufu was plagued by ineffective leadership at its summit, evidenced in the person of the shogun (Lu, 1997). Inevitable succession clashes divided the daimyo into two belligerent factions. Then Commodore Perry forced a door into Japan, revealing an underbelly the bakufu and the samurai were oblivious to. Japan immediately became stratified into the camps of joi (eject the barbarians) and kaikoku (open the country). External and internal problems gave the avenue for the opportunistic tozama han to contest the sovereignty of the bakufu. They contested and later supplanted the power of the bakufu (Lu, 1997). They were able to achieve this by employing the samurai as their 'shibboleth' Sonno Joi (Respect the Emperor and Eject the Barbarians). The point was not to revolt against the feudal system but to revitalize the old systems and institutions.
The samurai was the cement that held the Tokugawa society together. Ironically, two and a half centuries of peace made the samurai somewhat soft. They had become accustomed to lavish lifestyles in castles and grown attached to the finer things in life. They ignored their military prerogative and sunk deeper into their comfort zones. Inadvertently, this triggered a whirlpool of corruption (Lu, 1997). Economic conditions in the daimyo deteriorated and increased unbearable taxes on the peasants went unabated. This, in turn, has triggered some social uprisings, leaving Japan even more vulnerable. Japan's vulnerability was soon underscored by the arrival of Commodore Matthew Perry at Edo Bay.
The West proceeded to demonstrate their Navy superiority to Japan. Japan could not protect itself. It could neither defend its coast, nor its maritime food supply that fed a million people in Edo (Lu, 1997). The Japanese people had to wake up to the reality. They had to focus on the external enemy, regardless of their internal turmoils. Japan renewed her vintage samurai warrior spirit and formed an unforgettable mantra (sonno joi) (Lu, 1997). As a consequence of Perry's arrival, the Choshu and the Satsuma allied to exile the Tokugawa shogunate. Moreover, administrative power was handed to the Emperor Meiji. Thus, the Meiji era was born. Its ripple effect was a chain of events that history calls the 'Meiji Restoration.'
The Meiji government discovered that if Japan were to stand a chance in guaranteeing its sovereignty, it needed to abandon feudalism and embrace a central government. Further, Japan would have to mimic its political, military and economic structures from those of the West. Moreover, Japan would have to learn Western technologies (Lu, 1997). Perry, with his show of Western power, inadvertently drove Japan into the turning point of modernization. Under the slogan fukoku kyohei (National Wealth and Military Strength) and flourishing industries and start-up businesses, Japan rose to become a military power by 1905 (Lewis, 1996). The country needed to industrialize their economy if they were to modernize their military. Japan started by improving its infrastructure. Telegraph lines, railways, as well as new shipping routes to domestic port cities began slowly emerging. Additionally, Japan created and established some crucial industries such as coal, mining, textiles, steel, and cement plants. From a political perspective, members of the government traveled abroad on an ambitious mission. They were to learn everything about the Western governments, technologies, customs and their economies. The government also hired experts from the Western countries and sent young samurai to study overseas. The idea was to amplify their knowledge of Western industrial techniques and processes. As a direct result, new political and economic structures got their attention from the Iwakura mission. The German model stood out among others. (Lewis, 1996). In 1889, the Meiji Constitution was formulated. Like the example that is was based on, the German system, the constitution decreed autocratic power to the Emperor. Voting rights were severely limited. However, a very Western-style bureaucratic system was created and crafted to supervise the navy, army, and education system. Western technologies were favored in the modernization of the military, effectively making the samurai obsolete.
The Meiji restoration is a revolution in every sense of the word. In a three year period (1866-1869) the Tokugawa shogunate was completely replaced by the Meiji Era. The established feudal system was disposed in favor of a central government, resulting in a complete transformation of Japan's political, economic and social structures. The endorsement of the Meiji Constitution made provisions for a bicameral parliament. The constitution legally destroyed the classes or the caste system (Lu, 1997). However, Japan's political arena retained its air of tradition by mixing the Western ideals and its institutions with local philosophy and mentality. Their modernized military may have replaced the samurai customs, but the ideals of military prowess had their roots in very traditional samurai, warriors who had won their country for Tokugawa Ieyasu. The newly created military had a similar mission. They were to win their country back from the influence of the West (Lu, 1997). Furthermore, the class system persisted in the background of the society.
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Despite the reforms that the constitution had striven to instigate, there was still a sharp distinction between the elite and the laymen. Literacy increased and many women in Japan could finally enjoy what was before exclusive to men (Lewis, 1996). However, women still occupied primarily secondary roles in the society. In an austere case in 1898, Japanese women were prohibited from political involvement and were legally considered minors.
From the economic point of view, milestones were achieved in the efforts of industrialization. New industries were created. Transportation and communication sectors received a new breath of life, with new railways being built and telegraph lines created. Industrialization was apparent on all fronts. However, even from the economic viewpoint, traditionalism was still present. The economy remained largely dependent on the agriculture (Lu, 1997).Traditional Japanese values were also conveyed in the new system of education. Despite the fact that it was influenced by the Western practices and theory, the education system stressed on the values of samurai loyalty and benefits of social harmony. Art and literature at first tried to imitate the Western style, but later a blend of Western and the traditional Japanese styles was actualized.
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The Meiji restoration rightfully deserves a status of a 'revolution', solely based on the significance of change that it stimulated. The economic and military development of Japan allowed it to become a victorious power in the Sino-Japanese and Russo-Japanese wars (Lewis, 1996). These wars cemented Japan's place as an island nation with imperialistic ambitions and military power to reckon with. Japan developed into an eastern imperial power, with the ability to lay claim to territories of China and Korea.
The Meiji Restoration remains one of the most significant turning points in all of Japan's history. It raised Japan to the most powerful nation in Asia. In 1894, it could negate the unequal treaties that granted the foreign powers certain benefits. These excesses were primarily judicial powers and economic privileges. The West was forced to renegotiate (Lu, 1997). Thus, the Meiji restoration achieved its primary purpose. Japan was well on its way to forcing the western influence out of its territories. As a result, Japan gathered a lot of respect from the Western world and appeared for the first time as a major world power.
Related Free History Essays
Historical Immigration into the United States
Pacific Islanders' Health History

redpajama_set_name: RedPajamaCommonCrawl


The season begins with band retreat on September 22nd, stay tuned for new band members, concert dates, and pics!
Bandmaster James Anderson is widely recognized as a master of the art of the march, perhaps the finest Salvationist march-writer of the past few decades. During his six-year term as Divisional Music Director for the National Capital and Virginia Division, Bandmaster Anderson spent many days at Camp Happyland. Although it has been over three years since his untimely death, his spirit and ministry still resonate throughout the camp, particularly on the divisional music and arts weekends, where hundreds of students and staff fill the camp with music.
It is therefore fitting that the National Capital Band should include one of Bandmaster Anderson's final compositions on this recording – a march, of course – entitled Camp Happyland. Although he had already been diagnosed with a terminal illness at the time it was composed, this piece embodies the ebullient and bold spirit that he showed throughout his life.
Over the next two weeks, as the band approaches the recording sessions, an article on one of the items selected for the recording will be posted each day. We begin with the oldest composition, The Call, by Erik Leidzén, who was involved in the formation of the National Capital Band in 1925.
The Call, written in 1923, features the songs "Softly and Tenderly" and "What Will the Answer Be?". Leidzén, even at a young age, had already begun to develop the advanced harmonics, use of chromatics and tone colors which characterize much of his brass band writing. The Call was considered by the Salvation Army music publishers to be too "modern" for use, and the piece was not published until 1952, nearly thirty years after it was composed.
The piece opens with a somewhat turbulent motif, leading into the first statement of "Softly and Tenderly', representing Christ's call to the sinner to "Come home". This is then joined by the question "What will the answer be?", as a response is requested. The two tunes are skilfully woven together as the music builds in intensity and then fades away at the ending with the final question represented by the second tune.
Leidzén's association with the group that became the National Capital Band (then called the Washington Headquarters Band) began at the group's inception in 1925. When Senior-Captain Ernest Holz, who was the commander of the small National Capital Division (at the time, consisting of only five corps), decided to start a divisional band, he turned to the headquarters in New York for assistance. In response, Leidzén was named the "Band Instructor" for the group, traveling from New York to Washington once a month by coastal steamship. For about five years, this was a regular pattern, as Leidzén assisted Bandmaster Walter D. Needham in starting up a tradition of musical excellence in the Washington area.
In the photograph below, taken in 1926 (the earliest known photograph of the band), Leidzén is on the right of the front row, with Bandmaster Needham on the left and Sr.-Captain Holz in the center.


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text:
<!DOCTYPE html>

	<title>Tooltipster - The jQuery Tooltip Plugin</title>
	<meta charset="UTF-8" />
	<meta name="viewport" content="width=device-width, initial-scale=1, maximum-scale=1.0, user-scalable=no">
	<meta name="description" content="Tooltipster is a powerful, flexible jQuery plugin enabling you to easily create clean, HTML5 validated tooltips." />
	<meta property="og:title" content="Tooltipster" />
	<meta property="og:type" content="website" />
	<meta property="og:url" content="index.html" />
	<meta property="og:image" content="images/social.jpg" />
	<meta property="og:site_name" content="Tooltipster - The jQuery Tooltip Plugin" />
	<meta property="og:description" content="Tooltipster is a powerful, flexible jQuery plugin enabling you to easily create clean, HTML5 validated tooltips." />

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	<link rel="icon" type="image/png" href="images/favicon.png" />
	<link rel="image_src" href="images/social.jpg" / >

	<link rel="stylesheet" type="text/css" href="doc/css/reset.css" />
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A powerful, flexible jQuery plugin enabling you to easily create semantic, modern tooltips enhanced with the power of CSS.

				Download & get started ›

Demos

					Hover Default settings

					Hover Fixed width, position, & HTML

					Click Custom show / hide triggers

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					Hover Custom callbacks (AJAX <3)

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					 Attach tooltips to icons

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...& more!

Getting Started

1. Load jQuery and include Tooltipster's plugin files

After you download Tooltipster, move tooltipster.css and jquery.tooltipster.min.js to your root's CSS and JavaScript directories. Next, load jQuery and include Tooltipster's CSS and JavaScript files inside of your  tags:

<head>
...

    <link rel="stylesheet" type="text/css" href="css/tooltipster.css" />

    <script type="text/javascript" src="http://code.jquery.com/jquery-1.7.0.min.js"></script>
    <script type="text/javascript" src="js/jquery.tooltipster.min.js"></script>

...
</head>

2. Set up your HTML

In order for Tooltipster to work, we first need to add the .tooltip class (or whatever class / means of selection you'd like to use) to whatever element we wish to have a tooltip. Next, we'll set the title attribute to whatever we'd like our tooltip to say. Here are a few examples:

Adding a tooltip to an image:

<img src="my-image.png" class="tooltip" title="This is my image's tooltip message!" />

Adding a tooltip to a link that already has a class:

<a href="http://calebjacob.com" class="ketchup tooltip" title="This is my link's tooltip message!">Link</a>

Adding a tooltip to a div:

<div class="tooltip" title="This is my div's tooltip message!">
    This div has a tooltip when you hover over it!
</div>

3. Activate Tooltipster

The last thing we have to do is activate the plugin. To do this, add the following script right before your closing </head> tag (using whatever selector you'd like - in this case we're using the .tooltip class):

<head>

    ...

    <script>
        $(document).ready(function() {
            $('.tooltip').tooltipster();
        });
    </script>
</head>

4. Taking It a Step Further

Using HTML tags inside your tooltips

Tooltipster allows you to use any HTML markup you can think of inside your tooltips. This means you can insert things like images and text formatting tags. To achieve this, the recommended method is a little different : provide your content as a jQuery object in the script rather than in the title attribute :

<head>

    ...

    <script>
        $(document).ready(function() {
            $('#my-tooltip').tooltipster({
                content: $('<span><img src="my-image.png" /> <strong>This text is in bold case !</strong></span>')
            });
        });
    </script>
</head>
<body>

    <div id="my-tooltip">
        This div has a tooltip with HTML when you hover over it!
    </div>

</body>

Another (less recommended) way of achieving this is to put encoded HTML markup directly in your title attribute and set the 'contentAsHTML' option to 'true'. In all cases, make sure you have tight control over the content you wish to display in the tooltip, as unwanted <script> or <iframe> tags for example would be a serious security issue for your website.

<head>

    ...

    <script>
        $(document).ready(function() {
            $('.tooltip').tooltipster({
                contentAsHTML: true
            });
        });
    </script>
</head>
<body>

    <div class="tooltip" title="&lt;img src=&quot;my-image.png&quot; /&gt; &lt;strong&gt; This text is in bold case !&lt;/strong&gt;">
        This div has a tooltip with HTML when you hover over it!
    </div>

</body>

Customizing Your Tooltipster's Style

The style of your Tooltipsters can be easily changed by editing/overriding the default Tooltipster theme, located in the css/tooltipster.css file.

Tooltipster is also packaged with 4 alternative themes to choose from. They are demonstrated at the bottom of this page. To use a theme, just include its css file (located in the css/themes folder) in your page and specify its name in Tooltipster's settings :

$('.tooltip').tooltipster({
    theme: 'tooltipster-noir'
});

And of course, you also have the option to create a brand new theme to suit your needs. To do this, start with the example below and add your flair. When you are done, include and specify your theme just like you would for one of Tooltipster's existing themes.

/* This is how you would create a theme called "my-custom-theme": */

.my-custom-theme {
	border-radius: 5px;
	border: 2px solid #000;
	background: #4c4c4c;
	color: #fff;
}
/* Use this next selector to style things like font-size and line-height: */
.my-custom-theme .tooltipster-content {
	font-family: Arial, sans-serif;
	font-size: 14px;
	line-height: 16px;
	padding: 8px 10px;
}

Customizing Tooltipster's Functionality

Tooltipster's options gives you a wide range of variables to tweak your tooltip to your heart's content. To learn more about all of the options, read the Options section. Here's just a few of the things you can play with:

$('.tooltip').tooltipster({
   animation: 'fade',
   delay: 200,
   theme: 'tooltipster-default',
   touchDevices: false,
   trigger: 'hover'
});

Options

animation

					fade, grow, swing, slide, fall
					Determines how the tooltip will animate in and out. Feel free to modify or create custom transitions in the tooltipster.css file. In IE9 and 8, all animations default to a JavaScript generated, fade animation. Default: 'fade'

arrow

					boolean
					Adds the "speech bubble arrow" to the tooltip. Default: true

arrowColor

					hex code / rgb
					Select a specific color for the "speech bubble arrow". Default: will inherit the tooltip's background color

autoClose

					boolean
					If autoClose is set to false, the tooltip will never close unless you call the 'close' method yourself. Default: true

content

					string, jQuery object
					If set, this will override the content of the tooltip. Default: null

contentAsHTML

					boolean
					If the content of the tooltip is provided as a string, it is displayed as plain text by default. If this content should actually be interpreted as HTML, set this option to true. Default: false

contentCloning

					boolean
					If you provide a jQuery object to the 'content' option, this sets if it is a clone of this object that should actually be used. Default: true

debug

					boolean
					Tooltipster logs notices into the console when you're doing something you ideally shouldn't be doing. Set to false to disable logging. Default: true

delay

					integer
					Delay how long it takes (in milliseconds) for the tooltip to start animating in. Default: 200

minWidth

					integer
					Set a minimum width for the tooltip. Default: 0 (auto width)

maxWidth

					integer
					Set a maximum width for the tooltip. Default: null (no max width)

functionInit

					function
					Create a custom function to be fired only once at instantiation. If the function returns a value, this value will become the content of the tooltip. See the advanced section to learn more. Default: function(origin, content) {}

functionBefore

					function
					Create a custom function to be fired before the tooltip opens. This function may prevent or hold off the opening. See the advanced section to learn more. Default: function(origin, continueTooltip) { continueTooltip(); }

functionReady

					function
					Create a custom function to be fired when the tooltip and its contents have been added to the DOM. Default: function(origin, tooltip) {}

functionAfter

					function
					Create a custom function to be fired once the tooltip has been closed and removed from the DOM. Default: function(origin) {}

icon

					string, jQuery object
					If using the iconDesktop or iconTouch options, this sets the content for your icon. Default: '(?)'

iconCloning

					boolean
					If you provide a jQuery object to the 'icon' option, this sets if it is a clone of this object that should actually be used. Default: true

iconDesktop

					boolean
					Generate an icon next to your content that is responsible for activating the tooltip on non-touch devices. Default: false

iconTheme

					CSS class
					If using the iconDesktop or iconTouch options, this sets the class on the icon (used to style the icon). Default: 'tooltipster-icon'

iconTouch

					boolean
					Generate an icon next to your content that is responsible for activating the tooltip on touch devices (tablets, phones, etc). Default: false

interactive

					boolean
					Give users the possibility to interact with the tooltip. Unless autoClose is set to false, the tooltip will still close if the user moves away from or clicks out of the tooltip. Default: false

interactiveTolerance

					integer
					If the tooltip is interactive and activated by a hover event, set the amount of time (milliseconds) allowed for a user to hover off of the tooltip activator (origin) on to the tooltip itself - keeping the tooltip from closing. Default: 350

multiple

					boolean
					Allows you to put multiple tooltips on a single element. Read further instructions down this page. Default: false

offsetX

					integer
					Offsets the tooltip (in pixels) farther left/right from the origin. Default: 0

offsetY

					integer
					Offsets the tooltip (in pixels) farther up/down from the origin. Default: 0

onlyOne

					boolean
					If true, only one tooltip will be allowed to be active at a time. Non-autoclosing tooltips will not be closed though. Default: false

position

					right, left, top, top-right, top-left, bottom, bottom-right, bottom-left
					Set the position of the tooltip. Default: 'top'

positionTracker

					boolean
					Will reposition the tooltip if the origin moves. As this option may have an impact on performance, we suggest you enable it only if you need to. Default: false

speed

					integer
					Set the speed of the animation. Default: 350

timer

					integer
					How long the tooltip should be allowed to live before closing. Default: 0 (disabled)

theme

					CSS class
					Set the theme used for your tooltip. Default: 'tooltipster-default'

touchDevices

					boolean
					If set to false, tooltips will not show on pure-touch devices, unless you open them yourself with the 'show' method. Touch gestures on devices which also have a mouse will still open the tooltips though. Default: true

trigger

					hover, click, custom
					Set how tooltips should be activated and closed. See the advanced section to learn how to build custom triggers. Default: 'hover'

updateAnimation

					boolean
					If a tooltip is open while its content is updated, play a subtle animation when the content changes. Default: true

Advanced

The awesomesauce Tooltipster API

The Tooltipster API was created to be as flexible and easy to use as possible (thanks to glebtv for the inspiration). The API allows you to create custom triggers, update tooltip content on the fly (whether the tooltip is currently open or not), destroy Tooltipster functionality if needed, and reposition tooltips for unique use cases.

Here is a quick look at all of the API methods:

// set default options for all future tooltip instantiations
$.fn.tooltipster('setDefaults', {
  position: 'bottom'
});

// show a tooltip (the 'callback' argument is optional)
$(...).tooltipster('show', callback);

// hide a tooltip (the 'callback' argument is optional)
$(...).tooltipster('hide', callback);

// temporarily disable a tooltip from being able to open
$(...).tooltipster('disable');

// if a tooltip was disabled from opening, reenable its previous functionality
$(...).tooltipster('enable');

// hide and destroy tooltip functionality
$(...).tooltipster('destroy');

// return a tooltip's current content (if selector contains multiple origins, only the value of the first will be returned)
$(...).tooltipster('content');

// update tooltip content
$(...).tooltipster('content', myNewContent);

// reposition and resize the tooltip
$(...).tooltipster('reposition');

// return the HTML root element of the tooltip
$(...).tooltipster('elementTooltip');

// return the HTML root element of the icon if there is one, 'undefined' otherwise
$(...).tooltipster('elementIcon');

Using AJAX to generate your tooltip content

Tooltipster gives you the ability to fire a custom synchronous or asynchronous function everytime before the tooltip launches (functionBefore) or just once upon instantiation (functionInit). One great use for this is to grab dynamic content for your tooltips via AJAX.

Here is an example of using functionBefore() asynchronously to replace a loading notification with our AJAX call. Once the content has been retrieved and updated, we'll take advantage of setting $.data() to keep our content cached for the next time the tooltip is opened:

$('.tooltip').tooltipster({
    content: 'Loading...',
    functionBefore: function(origin, continueTooltip) {

        // we'll make this function asynchronous and allow the tooltip to go ahead and show the loading notification while fetching our data
        continueTooltip();

        // next, we want to check if our data has already been cached
        if (origin.data('ajax') !== 'cached') {
            $.ajax({
                type: 'POST',
                url: 'example.php',
                success: function(data) {
                    // update our tooltip content with our returned data and cache it
                    origin.tooltipster('content', data).data('ajax', 'cached');
                }
            });
        }
    }
});

However, maybe you just need to make one call and only need it to fire once instead of everytime the tooltip opens. This is where you could use functionInit(). This function will fire only once - right at the beginning of the instantiation process. You'll have the ability to do things like check the current content and set new content. Since the fancy API methods for returning and setting the value aren't instantiated yet, the way we go about this is a little different than functionBefore():

$('.tooltip').tooltipster({
    functionInit: function(origin, content) {

        if (content === 'This is bad content') {

            // when the request has finished loading, we will change the tooltip's content
            $.ajax({
                type: 'POST',
                url: 'example.php',
                success: function(data) {
                    origin.tooltipster('content', 'New content has been loaded : ' + data);
                }
            });

            // this returned string will overwrite the content of the tooltip for the time being
            return 'Wait while we load new content...';
        }
        else {
            // return nothing : the initialization continues normally with its content unchanged.
        }
    }
});

Manually show and hide a tooltip

By default and according to the 'trigger' option, Tooltipster automatically shows tooltips upon users' mouse clicks or mouse hovering (or their touch-gesture equivalents). In addition to this, you may also manually open or close a tooltip at anytime with a simple javascript command.

To achieve this, Tooltipster has the 'show' and 'hide' methods. Both of them may receive an optional 'callback' parameter, which represents a function you'd like to call when the tooltip is done animating.

Here's an example of how you could launch a specific tooltip on page load and close it when any key on your keyboard is pressed. This will still preserve the default hover trigger.

<span class="tooltip" id="example" title="My tooltip content">Example</span>

$(document).ready(function() {

   // first on page load, initiate the Tooltipster plugin
   $('.tooltip').tooltipster();

   // then immediately show the tooltip
   $('#example').tooltipster('show');

   // as soon as a key is pressed on the keyboard, hide the tooltip.
   $(window).keypress(function() {
      $('#example').tooltipster('hide');
   });
});

You may also provide a function as the callback parameter of the show/hide methods. The callback functions are called in the context of the tooltipstered element. If the tooltip is already in the state you are asking for (open/closed), the callback is executed immediately. Please note that if the show/hide action is somehow cancelled before it has completed its animation, the callback function will never be called.

$(document).ready(function() {

   $('.tooltip').tooltipster();

   $('#example').tooltipster('show', function() {
       alert('The tooltip is now fully open. The content is: ' + this.tooltipster('content'));
   });

   $(window).keypress(function() {
      $('#example').tooltipster('hide', function() {
         alert('The tooltip is now fully closed');
      });
   });
});

Updating a tooltip's content

It's easy as pie to update a tooltip's content - whether it's open or closed. Depending on your selector, you can update multiple tooltips at once or just one:

$('#my-special-element').tooltipster('content', 'My new content');

By default, Tooltipster will play a subtle animation when the content changes. To tweak the animation, check out the '.tooltipster-content-changing' class in your tooltipster.css file. It's important to note that only CSS transforms will be animated. To disable this animation, set updateAnimation to false.

Using several tooltips on a single element

Several independant tooltips can be set on a single element, each one having its own triggers and options. Just set the 'multiple' option to true when you initialize your tooltip. This will only change two things that you might want to be aware of.

Firstly, the instantiation call will now return an array of Tooltipster objects generated by the call, instead of the tooltipped jQuery-wrapped elements.

Secondly, you will have to use the Tooltipster object of a tooltip to make any API method calls on it. All methods documented on this page remain available, only the way to call them changes.

// create a first tooltip as usual. The multiple option is actually optional for the first tooltip
$('#my-element').tooltipster({
	content: 'My first tooltip',
	position: 'top'
});

// instantiate a second tooltip and keep the returned Tooltipster objects array for later use of the API
var tooltipsterObjects = $('#my-element').tooltipster({
	// don't forget to provide content here as the 1st tooltip will have deleted the original title attribute of the element
	content: 'My second tooltip',
	multiple: true,
	position: 'bottom'
});

// since the jQuery selector matches only one element, the array will contain only one Tooltipster object.
// Otherwise the array would contain one object for each matched element, in the same order as them
var tooltip2 = tooltipsterObjects[0];

// use this Tooltipster object to make any API method call on the tooltip
tooltip2.content('New content for my second tooltip').show();
// all documented methods can be called that way
var element = tooltip2.elementTooltip();

// calling the API methods in the usual way only affects the first tooltip that was created on the element
$('#my-element').tooltipster('content', 'New content for my first tooltip')

// You may use the 'multiple' option on the first tooltip as well, it will return an array of objects too
var tooltipsterObjects = $('#my-element').tooltipster({
	content: 'My first tooltip',
	multiple: true
});

// this is also a way to call API methods on the first tooltip
var tooltip1 = tooltipsterObjects[0];
tooltip1.content('New content for my first tooltip').show();

Note : if you have multiple tooltips and destroy them, only the last destroyed tooltip will transfer its content back to the title attribute of the tooltipped element.

Make tooltips accessible to persons with disabilities

The W3C issued a recommendation to make websites more accessible to persons with disabilities. This recommendation is known as WAI-ARIA (or simply ARIA), which stands for Web Accessibility Initiative - Accessible Rich Internet Applications.

Accessible tooltips can be powered by Tooltipster. To do this, one solution is to actually manipulate in parallel two tooltips which will share the same content :

				- the ARIA tooltip, which is invisible on the screen but readable by ARIA-compatible software

				- the Tooltipster tooltip, which is visible on the screen but does not appear as an ARIA-compatible element

A basic example : imagine that we want to put a tooltip on a text input field. As for the HTML part, you would write :

<input id="myfield" type="text" aria-describedby="myfield_description" />
<span id="myfield_description" role="tooltip">Please insert your name here</span>

As for the CSS part, write this :

#myfield_description {
	display: none;
}

And finally, you could initiate Tooltipster like this :

$('#myfield').tooltipster({
    functionInit: function(){
        return $('#myfield_description').html();
    },
    functionReady: function(){
        $('#myfield_description').attr('aria-hidden', false);
    },
    functionAfter: function(){
        $('#myfield_description').attr('aria-hidden', true);
    }
});

// if in addition you want the tooltip to be displayed when the field gets focus, add these custom triggers :
$('#myfield')
    .focus(function(){
        $(this).tooltipster('show');
    })
    .blur(function(){
        $(this).tooltipster('hide');
    });

Community submitted use cases

Using Tooltipster alongside jQuery Validate by sparky672

Did you do something awesome with Tooltipster? Tell me and I'll post it up here!

Themes

Tired of the same old? Four other rocking themes are available for your tooltips, and you can always create yours ! Share them with us on GitHub !

				Default
				Light
				Punk
				Noir
				Shadow

Talk

Share thoughts, questions, & bugs!

Head on over to Tooltipster's issue tracker on GitHub: https://github.com/iamceege/tooltipster/issues

Before opening a new issue, please be sure to search through the backlog to see if your question or bug has been / is being resolved. Thank you! :)

			Developed and maintained by Caleb Jacob and Louis Ameline under the MIT license

redpajama_set_name: RedPajamaGithub


are encouraged to assist at Mass by serving as Ushers.
guiding people at communion and welcoming worshipers.
please complete the following form and select the "Submit" button.
Training sessions will be provided.
Mass Preference for Scheduling - Choose One REQUIRED 5:30 p.m. Saturday Evening 9:00 a.m. Sunday Morning 11:00 a.m. Sunday Morning Please fill out this field.


Couldn't resist painting the new Empire State Troops. While painting I have a few comments about the new sculpts.
-Lots of bitz in the sprues.
-Lots of scrolls and parchments, daggers and stuff on the troops making the characterful.
-The frown on the faces seems wierd, most of them look-alike.
-I'm not sure but are the shields that small?
Nevertheless the models are fun to paint. So here's the first row.
The banner was especially tough, as I need to freehand both sides.
Insane Painting! How can you manage to get such thin , sharp strokes of paint like on the axe head , brilliant.
Outstanding, as always (I'm relieved I didn't have time to complete my HQ entry for this month's contest, I would have lost miserably to you).
Very nice some of your best work.
Good work! The white seems a bit flat some times but youve done a terrific job!
Pure genius work. Love the flag work.
but I do spot some moldlines again.. you have to learn to remove 'em all!
Indeed, I have a habit of missing them. Think I'll hire a pet monkey to help me clean mold lines.
Hm? Unless you're talking of commission we can do that on PM.


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text:
The two schools of thought in open source
Open source means a lot of different things to different people. To big companies, it's a way of generating attention and momentum using their internal infrastructure. To smaller companies, it's a cheap and critical asset for getting things done. To developers, open source can either be a hobby project, a free tool to solve their problems at work, or a source of burnout. Naturally, when talking about open source, it will bring out different connotations depending on who you're talking to.
But there is another dimension to open source that is not often acknowledged: monolithic style versus modular style of open sourcing reusable code. I'll explain the many differences between these two, but this is not an article about code, it's an article about people and how they approach programming in different ways.
Monolithic or Modular
Let's assume you want to open source some utilities you built. Do you put them all in one package (like Lodash) or do publish one utility per package (like Sindre's libraries)? The first is a monolithic approach, the second is a modular approach. The thought processes that go about defending one style or the other define a school of thought. There is no right or wrong here, these are simply different ways of doing the same thing.
The choice, either monolithic or modular, will heavily influence what people expect from the library. It affects project funding, how people submit issues, how people send pull requests, and how people expect the project to evolve. If politics have the Left and the Right, open source has Modular and Monolithic: two ways of thinking and working with open software, that have different aspirations. It's not a property of software itself, it is culture built into software.
What monolithic thinking looks like
The monolithic school of thought considers software to be a service that authors build aiming at solving a large problem or a category of problems. Examples are: WordPress, Linux, React Native, Django, Electron, ReactiveX, Webpack, and all kinds of frameworks. These are projects that may have many commits, many lines of code, and may change significantly over time. In fact, large changes are seen as a good thing, often a synonym of evolution as the project better adapts to the goal it aims for. Monolithic thinking takes pride in the depth and breadth of the use cases for the software.
With monolithic open source projects, people's expectations are:
Several and frequent commits indicate project quality
Issues, when several, indicate project popularity
There are official and dedicated maintainers working on issues
The project is named as a brand
Features will continuously be added
The bulk of the work for a monolithic project is done in the long tail of commits.
Commits in the Django framework
Therefore, funding is aimed at constantly reducing bug count, adding features, making large rewrites, supporting community events and conferences. Funding may only begin many months or years after the project was begun.
The monolithic school of thought is rooted in Silicon Valley's large companies with a development culture of monorepos and progress through breaking changes.
What modular thinking looks like
The modular school of thought considers software to be a cogwheel that authors build aiming at solving a specific problem interoperating with other cogwheels. Examples are: Browserify utilities, Callbag, Node.js LevelDB, Pull Stream, Sindre Sorhus' tiny libraries, React community components. These are projects that are typically small in size, solve a very specific problem, and usually do not significantly change after they are published. In fact, its immutability is often seen as a good thing, a synonym that the project is "done". Modular thinking takes pride in the interoperability with other modules and the fact that it can afford to fully solve one specific problem.
With modular open source projects, people's expectations are:
Several modules around a larger category indicate an active community
Source code is readable, small, and easy to fork
Issues, when many, indicate a problem with the module
The project is named by utility, not brand (e.g. stream-to-pull-stream, not Mochaccino)
The module's usage and API is similar to other modules' APIs
The bulk of the work for a modular project is done in the genesis of the repository.
Commits in the pull-ws library
Funding is usually aimed at thanking for existing work that will no longer receive updates, or aimed at specific open source authors known to produce many modules.
The modular school of thought traces back to the Unix philosophy and is now championed by open source hackers, particularly in the Node.js community.
When it gets mixed up
When monolithic adherents look at a modular project, they may think that it's low quality or abandoned simply because commit count is low and rare, new features are not being added, and the project has no funding or community events. Interestingly, these same properties are what modular adherents will perceive as a good thing, likely to indicate that the module is complete. Monolithic adherents don't believe a project could ever be "complete".
On the other side of the wall, when modular adherents look at a monolithic project, they may fear using it for being too large to read its source code, evolving a lot over time, bring too many features when they are only looking for one specific feature. These same properties are what monolithic adherents will perceive as a good thing. Modular adherents don't believe large software can be secure and performant, or that constantly changing software could be reliable.
A lot of topics can divide programmers, like tabs versus spaces, or semicolons versus no semicolons, but the monolithic versus modular debate is not so obvious when it occurs. Often, it's made harder by the fact that some projects are a bit monolithic in some ways, a bit modular in other ways.
I have had experience with three projects of the same type (reactive stream programming in JavaScript) but on different ends of the monolithic-modular spectrum:
RxJS is monolithic
xstream is hybrid monolithic-modular
Callbag is modular
A very interesting case is React. When it was published it was quite monolithic, comprising of many responsibilities, but these are lately being factored out as a modules: react, react-dom, prop-types, react-test-renderer, etc. More clearly, React's main achievement – UI encapsulation and reusability – created a common contract that UI components could use. As a result, the community of React components is a strong example of modular thinking.
What I've learned from observing these projects is that modular thinking requires a small consensus contract which provides the interoperability, and this consensus interop point should not change over time. For example, in Callbag the core is simply a spec, with no usable code to import. Actual code is left to individual libraries that adhere to the small spec, but provide very specific solutions. As another example, old React components written with createClass(obj) should still work with newer versions of React, even though new styles and shapes are more common today, showing that React provides a small core that decentralized community components can utilize to interoperate.
Without aiming for interoperability as a priority, monolithic thinking can afford more breaking changes that allow fundamental shifts in the project. An example would be the transition from Angular 1 to Angular 2. This can give the appearance of progressivism to monolithic projects and conservatism to modular projects.
When we talk about open source in a broad sense, it's important to consider what people mean with it, and what kind of typical project comes to mind. Funding modular open source looks vastly different to funding monolithic open source. "Maintenance" (as a job) may only make sense for monolithic projects. Measurements of quality and maintenance (such as those on npm search results) may be biased toward monolithic projects. The workload that it takes to build a modular project could never cover the necessary effort for a monolithic project.
It's as if there are two completely different ideas out there of what a "good open source project" looks like, and we could be communicating better what we mean with our expectations.


text:
NY Fashion Week 2020: Pared down, and virtually all virtual
FILE – The Christian Siriano collection is modeled during Fashion Week in New York on Feb. 6, 2020. With no celebs in the front row, no paparazzi chasing models down the streets, no stiletto-heeled crowds and no live shows at all, is there even a point to doing Fashion Week in 2020? Well, yes, say organizers: It's about business. And jobs. And survival.
John Minchillo
No celebs packing the front rows. No paparazzi chasing models down the streets. No stiletto-heeled crowds. No crowds at all, actually. Is there even a point to doing New York Fashion Week in 2020?
Well, yes, say organizers: It's about economic survival.
"Ultimately fashion is a business, and Fashion Week is a platform for designers to do business," says Steven Kolb, chief executive of the Council of Fashion Designers of America, which organizes the semi-annual event. "So this is about jobs … it's about people's livelihoods. It''s about moving forward, but cautiously, with safety in mind."
With that key priority in mind — safety — the CFDA has been pushing designers to go digital this Fashion Week, which begins Sunday evening and lasts through Wednesday. It's going to be virtually all virtual: Fewer than a handful of labels have decided to show in person. They include Jason Wu, Rebecca Minkoff and Christian Siriano, the latter showing in far-off Connecticut. There will be heavy restrictions in place, from distancing to masks to in some cases, required COVID tests.
For the 70-odd designers offering so-called "digital activations," there's a new platform from CFDA, Runway 360, where people can watch the shows and designers can connect in various ways with buyers and consumers — what Kolb describes as a modern version of the old tents in Manhattan where the industry once gathered during Fashion Week.
The "week" will even include a version of the annual CFDA Awards — usually presented with fanfare at a glitzy June gala, but canceled this year. The winners will be announced by video on Monday.
A number of top designers, though, have opted out entirely. Among them is Marc Jacobs, the great showman of the industry, who traditionally closes out Fashion Week with his wildly creative runway shows.
"To be honest, I don't know what we'll be doing or when we'll be starting, but to design a collection I need my team," Jacobs explained at a Vogue event in April. "And my team needs to look at fabrics. And those fabrics come from Italy. And we travel, and there's a lot of things that go on. Until we discover a new way to work … or a new end goal to work towards, we really have nothing to do."
Other major labels not participating: Oscar de la Renta, Ralph Lauren, Michael Kors, Prabal Gurung, Proenza Schouler, Tory Burch. Many have decided to show later in the year, or in a different format.
Designer Anna Sui will be presenting a video of her new fall collection, partly inspired by a documentary she saw on the French female Impressionist painter Berthe Morisot, and by a variety of influences Sui was thinking about during those long stretches of time at home — including beautiful home-baked pies.
Sui says at first, she couldn't even imagine putting together a collection, given what was happening in the world and its ripple effect on the industry.
"I've never seen anything like it," the designer said in an interview. "I've been in business a really long time, through 9/11 and then (the financial crisis of) 2008. But this is really, really seismic. It's kind of broken our whole system."
"We're just all wondering, who IS going to be buying?" she added. "Who is going to be wanting new merchandise? And will we ever see orders like we used to? Not only have the stores changed, but the consumer has changed."
Like everyone, Sui was caught totally off guard when the world essentially shut down in March. Her company had orders to fill from her spring collection and struggled to even complete them; most of the orders were either refused or canceled or buyers asked for a huge discount.
"And I thought, well, how can you continue?" she said. "I couldn't bring my team back."
But then, she said, she started thinking about fabrics, and watching a lot of movies.
"So I kind of did it in my head for a while. And then I would sneak into the office and start working on it. And I put together a story. And that's what my spring collection is, is all those influences that were going on during that period of being at home for so long."
When will there be a "normal" Fashion Week? Tom Ford, the influential designer and new chairman of the CFDA, has already said he doesn't think things will be back to normal by February, when designers present their spring collections, and won't do his own show. (This season, he's presenting images of his fall collection in his own slot on Wednesday.)
"When trying to simply pay as many employees as I can and not have to make further cuts or furloughs, to spend several million dollars on a show makes no sense," he told Women's Wear Daily. "I would rather pay our staff. Also, to have an audience gather right now I feel is dangerous and irresponsible and not something to encourage."
Kolb says February remains an open question, but is convinced live runway shows will return. "We all can agree that nothing can replace a live show," he says.
Kolb likes to quote Ford when asked if the fashion industry will ultimately recover: After the Spanish flu pandemic of 1918 came the prosperity of the Roaring Twenties. "There's a pendulum," he says. "We are going to be ready at some point to get out of sweatpants and T-shirts."
One thing Kolb, Ford and Sui all agree on is the hope that the current crisis leads to a reset for an industry that had plenty of excess.
"There were way too many seasons, way too much merchandise," Sui says. "So I think this (gives) everybody a chance to put themselves on pause and kind of rethink how they were doing it."
"I know it's been a struggle for not just our industry, but so many industries," the designer adds. "And it's going to be a while before things get normal, if they even get normal again. "
business weeklyFashion Pared Virtual virtually Week
Number of the week in Hampton Roads business
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Recordings made Monday, April 5, 1920
Edison 7265 10-in. 4/5/1920 Waltz in C sharp minor Lucile Collette Violin solo, with piano
Edison 7264 10-in. 4/5/1920 Sous bois Lucile Collette Violin solo, with piano
Edison 7267 10-in. 4/5/1920 Fingida José Mojica Male vocal solo, with orchestra
Edison 7268 10-in. 4/5/1920 Chanson bachique Torcom Bézazian Male vocal solo, with orchestra
Columbia 79100 10-in. 4/5/1920 Ashes of dreams Hulda Lashanska Soprano vocal solo, with orchestra
Edison 7266 10-in. 4/5/1920 Agua que va rio abajo José Mojica Male vocal solo, with orchestra
Discography of American Historical Recordings, s.v. "Recordings made on Monday, April 5, 1920," accessed January 31, 2023, https://adp.library.ucsb.edu/index.php/date/browse?date=1920-04-05.
Recordings made on Monday, April 5, 1920. (2023). In Discography of American Historical Recordings. Retrieved January 31, 2023, from https://adp.library.ucsb.edu/index.php/date/browse?date=1920-04-05.
Recordings made on Monday, April 5, 1920." Discography of American Historical Recordings. UC Santa Barbara Library, 2023. Web. 31 January 2023.
Company Edison (5) Columbia (1)


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Posts Tagged 'FS Investors'
An Update on the Update of SDSU West
Tags: Chris Cate, FS Investors, Kevin Acee, PCI Consultatnts, Populous, Roger Showley, San Diego City Counci, SDSU, SDSU West, Soccer City, UT
Since early October, 2017 a month's worth of information has accumulated, thus I must respond.
Certainly, San Diego State University's decision to become a competitor of FS Investors (Soccer City) changes the San Diego community view and prompts the choosing of sides, which is not unfortunate, rather necessary. Are you a supporter of a university educating 30,000+ students or do you pine for retail and office space?
Once SDSU decided to employ Populous to develop and present the site design, any hint of amateurism or lack of commitment on SDSU's behalf disappeared. Any CSU campus committing $100,000 for stadium/site renderings is rare air. Populous also brings familiarity given their development of Petco Park, to say nothing of several other football and soccer stadiums worldwide.
Populous hinting at the inclusion of soccer stadium design elements is strictly fodder for San Diego soccer fans, who are uncomfortable with FS Investors soccer/retail vision, to support SDSU West in hope of one day attending an MLS game. I doubt SDSU will chase any MLS opportunity given the dicey financial nature of most MLS franchises. The funding challenges facing SDSU are significant. Adding a tenant who may (implying may not) make the lease payments on time is risky and unnecessary. Inviting the Chargers, Rams and another NFL team to play August exhibition games is a guaranteed full stadium and tidy rental fee with no long-term commitment or presence of a tenant.
After partnering with Populous, the university hired PCI Consultants to launch and secure a signature drive to place SDSU West either on a ballot (6/18 or 11/18) or in front of the San Diego City Council for approval. What could have been an unorganized gaggle of SDSU alumni and students sprinkled throughout the city and county without any signature gathering experience is now a well-coordinated army of signature gatherers stationed in front of mega-shopping centers, grocery stores and malls as of October 21, 2017 through the next ten weeks (ending just prior to January 1, 2018). Oh, yes, do include the Aztec home games during that time frame. To say nothing of campus. Tens of thousands of Aztec alumni and students is the ultimate captive audience. The required 71,646 signatures for the ballot initiative will be easily eclipsed by 25,000 to 30,000 at the end of the year. I find intriguing the City Council option of approving SDSU West without the necessity of a ballot measure (this possibility was implied in Roger Showley's UT article dated 10/19/17). Why have a messy election if we can receive a stamp of approval instead?
Speaking of the San Diego City Council, council member Chris Cate's illegal delivery of city documents pertaining to Soccer City to FS Investors will develop into a festering wound that drains away some public support for Soccer City. I do not propose that Mr. Cate's entry into UPS/Fed Ex competition makes for a complete collapse of Soccer City, but his foolish action and unapologetic response will irk San Diego citizens who have no patience for politics as usual. If Mr. Cate's illegal activity blossoms into charges filed by the Attorney General of California, Soccer City will find itself unwittingly, but deservingly, attached to Mr. Cates legal woes. Expect SDSU supporters to emphasize that connection without mercy.
The San Diego City Council and Mayor Faulconer must acknowledge that SDSU West provides something more than a retail opportunity (stressed by FS Investors) and the associated minimum wage/low paying jobs. Does San Diego want or need another Fashion Valley? SDSU West is an investment in not only SDSU's ability to absorb a student population increase of 50% by 2030, but also employment opportunity for professors, researchers, university administration and support as well as the continued education of what becomes a legion of California taxpayers. Nothing beats a solid base of taxpayers in maintaining not only a city or region, but also the financial vitality of a state. Would San Diego citizens rather enjoy the benefit of university based jobs paying between $40,000 to $125,000+ annually or the thrill of minimum wage moans of young adults stuck in the vortex of low paying jobs? Kevin Acee's 11/3/17 UT article sums the choice nicely: "My sole desire is to see whatever is done on the property be the best for San Diego's economic and cultural advancement . . ." Indeed.
As for the money to develop the area and football stadium, SDSU currently sits on $150 million, an amount of money that needs to increase. The university recently completed a ten-year fund-raising effort that resulted in $815 million for all things Aztecs. SDSU administration and alumni have substantial fund raising skills. The school can issue construction bonds to cover some costs. Stadium and field (always separate the two) naming rights will generate significant sums of money for the school to payoff said bonds. In addition to generous current and, no doubt, future donors, SDSU can use funds from the Campanile Foundation to assist in developing SDSU West. Too many San Diego citizens forget that SDSU continues to undergo impressive physical change on campus. Money is found for priority campus projects. Money will be found for SDSU West.
The next time you drive past SDCCU (I prefer the Murph), would you rather see a university or a retail outlet in its place?
Soccer City and San Diego State Football
Tags: FS Investors, Jack McGrory, John David Wicker, Kevin Acee, Mark Zeigler, Mayor Faulconer, Roger Showley, San Diego Union Tribune, Tom Krasovic
The San Diego Union Tribune has published seven articles on the relationship between FS Investors and SDSU during the month of March (or as of this writing 3/26/17). Much has been reported and debated in the articles written by Kevin Acee, Mark Zeigler, Roger Showley and Tom Krasovic. Less, Acee's 3/24 piece, the reporting has been fair and balanced.
As an Aztec alumnus (oh, alliteration!), I begin and end my decision making with "What works best for SDSU?" as applies to all things Soccer City. Soccer City and FS Investors is plan B for the university. I want to discuss plan A.
Plan A is the idea proposed by the university via athletic director, John David Wicker, and Campanile Foundation chair, Jack McGrory, that centers on SDSU buying or leasing approximately 47 acres of the Qualcomm site to build SDSU West and a football stadium.
The seven point plan presented by the university is admittedly thin on particulars, especially financial considerations, but at the very least the general idea of what SDSU wants to do with the acreage is easy to understand. 12 of the 47 acres (that's 25% of the total land purchase/lease) is devoted to the long treasured Aztec football stadium. The other 75% of the land is dedicated to SDSU West. I find fair to assume that SDSU will develop the 35 acres along the model of current College Avenue campus expansion meaning the inclusion of retail space accompanying lab and classroom construction.
Mr. McGrory stated that SDSU's student population will grow from the current figure of 35,000 to 50,000 within three decades. That is an eye-popping increase of 43%. An additional 15,000 students (to say nothing of the bevy of university employees to teach the newcomers) will not fit along the border of Montezuma Avenue, College Avenue and the multitude of two lane streets to the west, east and south of the school. Physical expansion of the campus is required if residents of San Diego do not wish to see Friday night death fights between local homeowners and students. Said physical expansion cannot happen within the current confines of the university. Building in ravines is unwise. Thus, the solution found in 47 acres of mostly ugly, cracked parking lot.
Mayor Faulconer and the city council will enjoy the benefit of pointing to present and future job creation by approving this land purchase as SDSU continues to educate and graduate thousands of students who will earn above average salaries and pay above average taxes that will fund the city and county of San Diego now and in the future. This is the purest form of non-polluting job creation imaginable. Mayor Faulconer is an Aztec alumnus. Pushing hard for his school is expected. He is believed to hold desire for higher political office. About 300,000 of his fellow alums live in the city and county of San Diego. I believe most vote. That's a sizable base for future campaign efforts.
Mr. Wicker and Mr. McGrory state that the university can finance $150 million towards the football stadium. The quote from the 3/22 article from Mr. Wicker, "We're comfortable that we can go out and build that stadium and finance it." indicates confidence that public assistance is not to be considered. Rightfully so.
To State's advantage, the city has agreed to a lease extension of the Q through 2018. Ron Fowler and the Padres have offered Petco Park as insurance for the 2019 and 2020 seasons if necessary. Mr. Fowler stated "We're not going to let division one football disappear." A firm declaration supported by his kind offer of Petco Park.
The usual headache of infrastructure development is a non-issue given east and west entrance to the Q from Friars Road and from the north via Mission Village Drive as well as the trolley stop to the south of the stadium. No other piece of property in the city or county comes with ready and functional infrastructure, thus the cost savings is dramatic.
Finally, Mr. McGrory is a former San Diego city manager. Mr. McGrory's political acumen will guide the university through the political ritual of approval for SDSU West. He knows when to turn right or left, avoid a dead-end and hammer home the message of campus expansion.
Regarding plan B featuring SDSU as a partner more so than a public sympathy character, works to a limited degree on behalf of the school. MLS does not approve of stadiums in excess of 30,000 seats. Granted, SDSU football crowds are generally in the vicinity of 25,000, but what would be lost is the annual crowd of 45,000 seated for the KGB fireworks show in September. Perhaps some would protest by pointing to the initial seating capacity of 35,000 of the SDSU football-only stadium, but that's 5,000 more tickets than will be seen at the MLS facility. Additionally, with Mr. Wicker securing contracts with PAC-12 schools for non-conference games, crowds of 40,000 (last year's Cal game at the Q) would be non-existent. The lost revenue for the school would be substantial.
FS Investors is a business. They want profit as they well should. I do not anticipate the question of "Does this work for SDSU?" to be at the forefront of decisions, alterations and reconsideration as Soccer City moves forward. This reality creates a disadvantage for the university. Disadvantage should not be near SDSU West. FS Investors can easily work with SDSU as both developments move forward. This is the best form of partnership for SDSU.


Management Concepts is currently seeking an experienced Account Manager to work in our Open Enrollment Sales Department located in Tysons Corner, Virginia. We are seeking motivated telesales professionals with a solid track record of B2G/B2B success to join our Open Enrollment sales team. This is an exciting opportunity to become part of a forward-thinking sales organization that is focused on aggressively driving new business and establishing solid relationships. This position will be responsible for sales of Management Concepts course offerings. The goal is to increase Management Concepts revenues, market share, and brand awareness within all markets.
Ability to demonstrate telesales skills, time management, and knowledge of Management Concepts courses and services. Goal oriented individual with excellent verbal and written communications skills. Ability to complete individual goals as well as work in a team environment. Desire for a long-term career in sales preferred. 2 years relevant business experience preferred.
Employ a consultative selling approach and target new and existing customers via the telephone to sell the full range of Management Concepts course offerings within the Open Enrollment department.
Manage, maintain and grow an assigned territory and/or account list.
Develop and cultivate sales leads from new and existing contacts using the telephone and email communications.
Coordinate sales efforts with other sales teams.
Achieve 100% of assigned quota.
Provide customer service and support to accounts that reside within assigned territory.
Create call and email marketing campaigns.
Develop full understanding of Management Concepts course offerings.
Successful candidates must be goal oriented, self-motivated and have a desire to be a part of a growing team, which is energetic, talented and competitive.
Will need to have a hunter mentality and be comfortable selling at all levels of an organization.
They must have strong closing skills and be able to sustain a high level of activity and thrive in an environment where accountability is required and individual contribution is the key to financial reward.
Our Account Managers are charged with consistently exceeding monthly sales goals, attaining daily productivity metrics and developing pipeline.
Would consider remote working arrangements.
Management Concepts focuses on an individual approach to organizational achievement through high impact training courses…custom learning and development…professional services… and publications. For over 36 years, we have successfully worked with every major agency in the federal government, dozens of state and local government offices, numerous associations and non-profit organizations, and hundreds of large and mid-sized corporations throughout the country.


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Досенко — українське прізвище.

 Досенко Віктор Євгенович (1970, Львів , УРСР) — український патофізіолог, генетик.
 Досенко Євген Іванович (1945) — український композитор, диригент.
 Досенко-Журба Олександр Васильович (10 липня 1892 — 14 квітня 1959) — український співак-бандурист.

Українські прізвища
Прізвища на -енко

redpajama_set_name: RedPajamaWikipedia


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"It's the #1 off-season coaching clinic in America."
Who's Presenting At Pitch-a-Palooza 2018?
When & Where Does Pitch-a-Palooza Take Place This Year?
*Friday - Sunday The entire 3-days will be hosted by Battle Ground Academy. There will be no designtated hotel for the event.
What Is The Core Velocity Belt Bonus Night On Thursday All About?
How Do I Sign Up For Palooza Before It Sells Out?
Pitch-a-Palooza has sold out every single year since it's inception back in 2013.
Why Were 23 MLB Organizations and Over 300 Coaches, & Instructors In Attendance LastYear?
Last week, for instance, the Jays sent a large contingent of staff from the baseball, high performance and scouting departments to Nashville for the annual baseball think tank Pitch-A-Palooza which is not just one of many amateur-baseball coaching clinics. In fact, it might just be the best amateur-baseball coaching clinic, and one that has caught the eye of several major-league organizations over the last few years.
Toronto probably had the largest MLB contingent there. No less than Atkins, Pete Walker (pitching coach), Dane Johnson (bullpen coach), special assistants Paul Quantrill and Pat Hentgen, Rick Langford (senior pitching advisor), Gil Kim (player development director), Ben Cherington (VP Baseball Operations), Joe Sheehan (assistant GM), Jeremy Trach (minor league strength and conditioning coordinator) and Jeff Ware (pitching coordinator) travelled to Nashville for the gathering.
Pitch-A-Palooza, which is held just outside Nashville, Tenn., in Franklin, is the brainchild of Baseball Think Tank's Lantz Wheeler.
Who Are This Year's Presenters I Will Be Learning From?
I'm the founder of Pitch-a-Palooza and the only reason I created Palooza was out of selfish reasons... true.
After each college baseball I would reach out to what I felt were the top pitching coaches in the country and fly out to visit them. After retiring from the college game, I thought... "Why not bring the top pitching minds to Nashville for 3 days?"
And that's how Pitch-a-Palooza was born.
Meet "The Godfather" of new-age pitching mechanics. Paul's work has influenced an entire generation of pitchers and pitching coaches.
His work has served as the foundation of many of the coaches and speakers at Pitch-a-Palooza. Paul was the first to coin the phrase of "intent to throw hard" and his work has been featured in countless publications.
Over the past few years at Palooza, his work and research in the fields of motor learning and skill acquisition has forced many coaches to re-think what they'd been teaching.
His list of former players and current players in which he trains reads like a "Who's Who" list.
*Remember: You don't have to make the entire investment today, you can start watching and applying the lessons you learned today by breaking up the payments into two monthly installments!
I'll refund you every single dime and allow you to keep the one video of your choice!
In other words, you've got absolutely nothing to lose and everything to gain!
There's a reason why Pitch-a-Palooza has grown from 48 coaches back in 2013 to over 400 this past year, which included 23 MLB teams, coaches and executives in the crowd.
P.S: Listen to what this year's attendees had to say about Pitch-a-Palooza 17.


Yes, they are. Apprenticeships are as important as degrees. I repeat, apprenticeships are as important as degrees. Not everyone will agree with that statement but I believe they should.
Job hunting can be quite daunting, especially if you're trying to get a foot in the door without a degree. Having read through the job description and moved onto the experience requirements, the first bullet point is very often "Educated to degree level" and only if you're lucky they may have added "or equivalent" in parentheses. Is an apprenticeship a valid "equivalent"?
University isn't for everyone and it's not because they're not smart enough or lack the determination; some people just don't want to go and shouldn't feel like they have to. Academic achievement isn't the only way to measure a person's intelligence or their ability to positively contribute to the workforce, but the stigma of "you can't get a good job without a degree" means that some young people feel that if they don't attend university they won't achieve success.
There's no denying that a degree will make the path to employment a lot smoother, but I believe that the experience you gain from an apprenticeship is just as valuable, especially within the arts. Again, I'm sure there's a number of you shaking your head in disagreement.
Some great companies offer apprenticeships, which gives those without a degree the otherwise unavailable opportunity to be a part of that workforce. I did an apprenticeship at an arts organisation for just over a year and it was there that I finally discovered what I wanted to do as a career and which of the many arts industries I wanted to work in. Whilst the training aspect is important, (you can't pass the apprenticeship without completing all your units), for me, the work experience I gained and the increase in my confidence was of a much higher value. I'm currently working in my second job within the arts as a communications assistant, which I really enjoy and I wouldn't have had this opportunity had it not been for my apprenticeship.
Earning £3.30 an hour certainly doesn't add to the appeal of doing an apprenticeship but whilst some employers can and do offer more (such as mine), others aren't in the position to do so and are therefore unable to attract candidates. It's a tricky one. Even though you're earning money as opposed to spending money as you would for a degree, such a low income adds to the already negative perception some have about apprenticeships. For a 16-year-old living at home with no bills to pay it could possibly work, but for someone who's trying to gain their independence and start a career £100 or so a week just isn't feasible.
So there is still work to be done. Providers need to ensure that the apprentices receive high quality training and support, and showing the value of having apprentices might help to increase the wage. That is, by diversifying the workforce, they contribute new ideas and perspectives and are a better representation of society. It's a bit boring if every foot that's trying to get into the door is wearing the same shoe, right?
Of course, employers need the right people with the right skills, but maybe they should consider the "equivalents" more. They could be the CEOs and Executive Directors of the future.
Maya completed her apprenticeship in Creative and Digital Media in 2015 and is currently working at a contemporary dance organisation as a communications assistant. You can find her creative writing, photography and occasional sarcasm at mayanotmya.com or follow her on Twitter @maya_notmya for light-hearted rants and heavy uses of GIFs.


Sabrina Albee of the Eagles drives toward the bucket during her team's 49-30 loss to Crane on March 2 in their final game in the 1A state basketball championships in Baker City.
Anyone watching the Joseph Charter School girls basketball team is familiar with the distinctive play of Sabrina Albee, no. 21. Albee's presence is unavoidable, sinking shot after shot to help propel an already talented squad toward the state 1A basketball championship series. JCS sophomore Albee wears the number 21 for the Eagles. Albee's hard work and dedication to the sport earned her the distinction of unanimous choice for the Old Oregon League's "Player of the Year" award.
Albee, 16, doesn't remember when she first started shooting hoops. She does remember when she started realizing she has a talent for the sport: "When I was in fifth or six grade playing on the junior high "A" team." She started on the vaunted Eagles varsity team as a freshman, where she plays shooting guard or point guard. Her family all plays the game with one aunt even playing for the University of Oregon squad.
"She inspired my sister (Satori Albee) and me as well," Albee said.
A three-sport athlete, including volleyball and track, basketball is her first love.
Perhaps not surprisingly, Albee doesn't have a problem balancing her academic work and her athletic life.
"I get as much done as I can during school, and I have a lot of late nights doing homework," she said with a laugh. She is a constant presence in the upper reaches of the honor roll, undoubtedly helping the Eagles girls earn a cumulative GPA of 3.74.
The young star hopes to play college basketball. She hasn't decided on where, although she has a keen interest in interior design. Her family is helping her put together a video resume of her court play when the colleges come calling.
Players don't get as good as Albee by confining practice to school. The sophomore spends her spare time picking out court spots and shooting until she makes it and then shooting some more. She also practices moves for attacking the basket and has a basket on the side of her home where she practices daily in the summer time. In eighth grade she played for La Grande's AAU team and last year went to Sunday Clinics in the Tri-Cities, Washington area. She also chalks up her skills to her desire to succeed for both herself and the team.
On occasion, Coach Lance Homan works with Albee after practice on a routine of different shots.
"He's been my coach since like, fourth grade," Albee said.
Coach Lance Homan said he enjoys coaching Albee because of her dedication to the game. Albee, with her high level of skills, understands the game so well that her intuition will often tell her what's going to happen next. He also appreciates her humility.
As good as she is, Albee has things she says she needs to improve on as a player.
"I need to work on my mid-range for sure," she said. "I work on that a lot. I think I need to work on offensive rebounds." She added that team box-out drills and playing against her much taller dad helps as well.
Albee does have her occasional single digit point nights, which she expects because she's often double-teamed, and other coaches don't mind letting everyone know they consider her a threat.
Despite all of the natural talent Albee possesses along with the unanimous all-league selection and the multiple 20-plus point games under her belt, she doesn't have a problem stating she's motivated to do better.
Although Albee sets goals, those goals are not stats-oriented, but rather, mental goals she sets for herself. She said that when shots don't fall she can get frustrated, so she works on keeping her head at such times. She recognizes that as she is one of the team leaders, so she tries to fulfill that role by example.
"I'm not a big talker," she said.
Albee had advice for younger players coming up who are serious about their game.


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