text:
The Beatles song Ringo Starr called "a thrilling moment"
Tyler Golsen
@TylerGolsen
Sat 15th Jan 2022 09.00 GMT
Who doesn't love Ringo Starr? For almost 60 years, Starr has been the everyman of The Beatles: goofy, amicable, and just as amazed at the material that was being put in front of his as the audience was. But a strange narrative began to form around Starr – that he was just lucky to be there, or that The Beatles could have succeeded no matter who was behind the drum kit.
That's just flat out wrong. Starr is easily one of the most inventive and influential drummers of all time, perfecting the rock and roll backbeat for all stickhandlers that followed. Starr's understated style was the bedrock that allowed the band to expand their sound, keeping songs grounded when they very easily could have gotten lost within their own psychedelic swirl. And when it was called upon, Starr could also hammer out some legendarily complex parts, like the fills that colour 'Rain' and 'A Day in the Life'. Any decent drummer can replicate him, but nobody has the swing and style that Ringo does. He's one of one: completely unique and essential.
Even his most maligned contributions to the band hold up well these days. It's true that Starr wasn't on the same songwriting or singing level as his bandmates, but for someone who had never written a song before joining the group, Starr has handled himself well within The Beatles' catalogue. There's 'What Goes On', the delightfully jaunty and slightly sinister cut from Rubber Soul, and of course the underwater wonderland of 'Octopus's Garden'. But for his first solo writing credit, Starr turned to country music for inspiration.
"I wrote 'Don't Pass Me By' when I was sitting round at home," Starr says in the Anthology series. "I only play three chords on the guitar and three on the piano. I was fiddling with the piano – I just bang away – and then if a melody comes and some words, I just have to keep going. That's how it happened: I was just sitting at home alone and 'Don't Pass Me By' arrived. We played it with a country attitude."
Rearranging The Beatles 'White Album' to create one single, perfect record
As he continued to flesh it out, Starr realised that he had a full song on his hands. With all four members competing for individual artistic expression on The Beatles, Starr mustered up the courage to bring his new composition into the sessions. He even pulled a trick that Paul McCartney favoured: he recorded most of the song himself. With some help from McCartney on piano and bass, Starr recorded a large number of percussion overdubs, vocals, and even some piano parts himself.
"It was great to get my first song down, one that I had written," Starr continues. "It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment."
That violin came courtesy of session player Jack Fallon, whose day job was as a jazz bassist and concert booker. He had booked occasional gigs for The Beatles in their early days, and it was through this connection that Fallon came in with his fiddle ready to play during the sessions for 'Don't Pass Me By'.
"George Martin had jotted down a 12-bar blues for me," Fallon recalls in Mark Lewisohn's The Complete Beatles Recording Sessions. "A lot of country fiddle playing is double-stop [two notes played simultaneously] but Paul and George Martin – they were doing the arranging – suggested I play it single note. So it wasn't really the country sound they originally wanted. But they seemed pleased. Ringo was around too, keeping an eye on his song."
According to Fallon, it was after he thought that the tape had stopped rolling that he began to mess around. Unbeknownst to him, Martin was still recording, and some of his improvisations ended up at the end of the song. "I thought that they had had enough so I just busked around a bit. When I heard it played back at the end of the session I was hoping they'd scrub that bit out, but they didn't, so there I am on record, scraping away! I was very surprised they kept it in, it was pretty dreadful."
Even though Fallon could have done without the ending, 'Don't Pass Me By' represented a major step forward for Ringo in terms of autonomy. During a time where he could have easily sunk into the background, Starr made a stand and picked out his best sonic attributes to contribute to a song of his own. Despite its simple nature, 'Don't Pass Me By' likely laid the groundwork for Starr's future solo career, establishing himself as a singer and songwriter in his own right.


text:
Das Postzeitungsamt war eine dem Reichspostamt unmittelbar unterstellte, von einem Postdirektor geleitete Behörde. Das Amt war betraut mit der Wahrnehmung der Geschäfte einer Verlagspostanstalt für sämtliche in Berlin erschienenen und zum Inlandsvertrieb angemeldeten Zeitungen und Zeitschriften sowie für die vom Gesetzsammlungsamt (später Reichsverlagsamt) verlegten Blätter (Reichsgesetzblatt, Preußische Gesetzsammlung, vier  Verordnungsblätter des Reichsfinanzministeriums). Es war zugleich Zentral- und Auskunftsstelle für die das ganze Reichspostgebiet berührenden Angelegenheiten des in- und ausländischen Zeitungsvertriebs.

Geschichte
Am 1. Januar 1822 wurde das  "Königliche Zeitungs-Komtoir" gegründet,  das 1825 mit  dem preußischen "Gesetzsammlungs-Debits-Komtoir"  vereinigt wurde. Nach der Reichsgründung wurde es zum "Kaiserlichen Post-Zeitungsamt", das anfänglich seinen Sitz in der Leipziger Straße Nr. 16 hatte. Wegen der fehlenden Fläche zur Erweiterung konnte bereits 1892/93 Mittel zum Ankauf geeigneter Fläche an der Dessauer Straße/Königgrätzer Straße von 5026 m² bewilligt und ein Neubau in der Nähe zweier Hauptbahnhöfe, dem Anhalter- und dem Potsdamer Bahnhof, geplant werden.

Gebäude
Das Hauptgebäude bestand aus Vorderhaus, Mittelbau und Hinterhaus. Das dreigeschossige Vorderhaus mit einem Vorhof an der Dessauer Straße hatte im Erdgeschoß einen Verkaufsraum für die Gesetzblätter, einen Erfrischungsraum sowie den Annahmeraum mit Vorhalle zu dem im Mittelbau anschließenden Versendungssaal. Daran anschließend befand sich im Hinterhaus der etwa 200 m² große Packraum (Paketsammel- und Verladestelle). Im 2. Geschoß des Vorderhauses befanden sich das Direktoren-Zimmer, die Registratur, das Amtszimmer und die Kanzlei. Im Mittelbau befand sich ein ebensogroßer Versendungssaal wie darunter. Diese waren durch Aufzüge und Gleitbahnen mit den darunterliegenden Betriebsräumen verbunden. Das 3. Geschoß diente zur Unterbringung der übrigen Büros, der Kasse und der Buchhalterei. Das Dachgeschoß hatte unter anderem auch zwei Wohnungen für Unterbeamte.

Am 16. März 1895 bezog das Postzeitungsamt einen nach Entwurf des Geheimen Postrats Ernst Hake und der Bauleitung des Postbaurats Heinrich Techow errichteten Neubau  in der Dessauer Straße 4–5. 1907 bis 1913 erfolgten Erweiterungen in der Königgrätzer Straße 20 (heute Stresemannstraße 121).

Im Zweiten Weltkrieg wurde das Postzeitungsamt, bis auf einige Nebengebäude, zerstört. Heute befindet sich auf dem Gelände die University of Europe for Applied Sciences.

Literatur
 Wilhelm Küsgen, Paul Gerbeth, Heinrich Herzog, Laurenz Schneider, Gerhard Raabe: Handwörterbuch des Postwesens, Verlag von Julius Springer, Berlin 1927, S. 515f
 Meyers Großes Konversations-Lexikon, Band 16. Leipzig 1908, S. 227
 W. Kick: Moderne Neubauten. 2. Jg., 1895ff, Berlin

Siehe auch
 Berliner Postbezirke zwischen 1862 und 1920
 Zeichnung des Post Zeitungs-Amt Architekturmuseum TU Berlin

Weblinks
 Ernst Hake Architekt auf glass-portal.

Einzelnachweise

Abgegangenes Bauwerk in Berlin
Reichsamt (Deutsches Reich)
Reichspost
Postgebäude in Berlin
Berliner Postgeschichte
Gegründet 1822
Erbaut in den 1890er Jahren
Pressegeschichte (Deutschland)

redpajama_set_name: RedPajamaWikipedia


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A fresh look at the day's "fake news" and other worthless stuff from the interwebs!
Welcome back for another refreshing episode guys and girls and all those in between! This one talks about some movies, some sports, and other random stuff that I found on the internet! Thanks for coming back, and enjoy the show!
Episode 6: The Long One About Sports and Stuff.
Episode 4: The Late one About New Year's!


text:
McDonough Shows Off Student Art
Arts & Entertainment April 2, 2015 / 11:05 AM
Photo by Gabrielle Fellows/ The Jambar.
By Gabrielle Fellows
Beautiful pieces of art ranging from paintings to sculptures to photographs line the halls of the McDonough Museum of Art. Normally, the artwork displayed is of traveling exhibits or regional artists, but from now until April 10 the museum will house work from Youngstown State University students.
The 79th Juried Student Art and Design Exhibition, sponsored by YSU's Student Art Association, is a chance for students to show off their hard work in a museum setting. For the students' art to be accepted into the exhibit, they must enter pieces and have them chosen by a juror, who is different each year.
The judges are chosen upon their knowledge of art, experience and ability to judge multiple art forms. This year, William Busta of the William Busta Gallery in Cleveland, was chosen to be the judge of all the pieces.
Busta boasts a 26-year career in the Northeast Ohio art scene. He is the recipient of the 2014 Cleveland Arts Prize and has promoted multiple artists careers that have gone on to achieve great success.
Daisy Corso, the president of the Student Art Association, said although the event is hosted by the SAA and features a lot of work from art students, anyone can participate.
"Any student can enter work to be judged by the curator for the show," Corso said. "Even if you aren't an art student and you do art on the side, you can still submit — it's all open."
LeeAnn Lewis, an interdisciplinary studio art major and graphic design minor, said that she believes that displaying student's art in a gallery is as exciting as it is helpful.
"It's a really good learning experience. We're going to school to be artists and it gives us hands-on experience," Lewis said. "Even if you don't get accepted, it's something to learn from. If you take it seriously, it will really help you. … It helps put your foot into the scene."
Lewis said she is mainly a painter, but got multiple pieces into the show and is equally excited about all of them.
"It definitely excites me to see my art in there," Lewis said. "Even though it is a student show, the museum states that all the shows they host are equally important. It gives you a new perspective seeing your art somewhere other than your studio."

redpajama_set_name: RedPajamaCommonCrawl


Hofer, M., Böhm, C., Pribyl, W., Bucci, M., Luzzi, R., & Bock, H. (Accepted/In press). A Two-Stage PUF. In Austrochip 2012 ..
A Two-Stage PUF. / Hofer, Maximilian; Böhm, Christoph; Pribyl, Wolfgang; Bucci, Marco; Luzzi, Raimondo; Bock, Holger.
Hofer, M, Böhm, C, Pribyl, W, Bucci, M, Luzzi, R & Bock, H 2012, A Two-Stage PUF. in Austrochip 2012. .
Hofer M, Böhm C, Pribyl W, Bucci M, Luzzi R, Bock H. A Two-Stage PUF. In Austrochip 2012. .2012.
Hofer, Maximilian ; Böhm, Christoph ; Pribyl, Wolfgang ; Bucci, Marco ; Luzzi, Raimondo ; Bock, Holger. / A Two-Stage PUF. Austrochip 2012. ., 2012.


text:
Q: How set null on field using symfony form I'm using Symfony 2.7.39 and FOSRestBundle to build a simple REST api.
In this case I have this entity:

    class DocumentacionMaquina extends Documentacion
    {
      /**
       * @ORM\ManyToOne(targetEntity="PDCA\RestBundle\Entity\Archivo", cascade={"all"})
       * @ORM\JoinColumn(name="declaracion_conformidad_id", referencedColumnName="id", nullable=true, onDelete="CASCADE")
       *
       * @Serializer\Groups({"details"})
       */
      private $declaracion_conformidad;
        // ...
    }

ArchivoType:

    class ArchivoType extends AbstractType
    {
      /**
       * @param FormBuilderInterface $builder
       * @param array $options
       */
      public function buildForm(FormBuilderInterface $builder, array $options)
      {
        $builder->add('nombre');
      }

      public function configureOptions(OptionsResolver $resolver) {
        $resolver->setDefaults(array(
          'data_class' => 'PDCA\RestBundle\Entity\Archivo',
          'csrf_protection' => false,
          'cascade_validation' => true
        ));
      }
    }

DocumentacionMaquinaType:

    class DocumentacionMaquinaType extends DocumentacionType
    {
      /**
       * @param FormBuilderInterface $builder
       * @param array $options
       */
      public function buildForm(FormBuilderInterface $builder, array $options)
      {
        parent::buildForm($builder, $options);

    $builder
      ->add('maquina', 'entity', array(
        'class' => 'PDCA\RestBundle\Entity\Maquina'
      ))
      ->add('declaracion_conformidad', new ArchivoType(),
        array('required'=>false)
      )
    ;
  }

  public function configureOptions(OptionsResolver $resolver) {
    $resolver->setDefaults(array(
      'data_class' => 'PDCA\RestBundle\Entity\DocumentacionMaquina',
      'csrf_protection' => false,
      'cascade_validation' => true
    ));
    }
}

When I create a new DocumentacionMaquina entity launching a POST it works as expected:

    {
    "pdca_restbundle_documentacion":
      {
        "maquina": 752,
        "declaracion_conformidad": {
        "nombre": "fichero10"
      }
    }

But I would like to send a null (edit entity and create new entities with optional Archivo):

    {
    "pdca_restbundle_documentacion":
      {
        "maquina": 752,
        "declaracion_conformidad": null
    }

This is the validation error when I send a null value:

This value is not valid.

In my controller:

    $entity = new DocumentacionMaquina();
    $form = $this->createForm(new DocumentacionMaquinaType(), $entity, array('method' => $request->getMethod()));

    $form->submit($request->get($form->getName()), false);

    if !($form->isValid()) {
        return $this->view(array('form' => $form), Codes::HTTP_BAD_REQUEST);
    }

Any help will be appreciated.

EDIT #1
I created a simple entities with no inheritance for test but with equal result.
Entity Prueba:
namespace PDCA\RestBundle\Entity;
use Doctrine\ORM\Mapping AS ORM;
use JMS\Serializer\Annotation as Serializer;
use Symfony\Component\Validator\Constraints as Assert;
/**
 * @ORM\Entity
 */
class Prueba
{
    /**
     * @ORM\Id
     * @ORM\Column(type="integer")
     * @ORM\GeneratedValue(strategy="AUTO")
     *
     * @Serializer\Groups({"list", "details"})
     */
    private $id;
    /**
     * @ORM\ManyToOne(targetEntity="PDCA\RestBundle\Entity\Hijo", cascade={"all"})
     * @ORM\JoinColumn(name="marcado_ce_id", referencedColumnName="id", nullable=true, onDelete="CASCADE")
     *
     * @Serializer\Groups({"list", "details"})
     */
    private $marcado_ce;
    /**
     * @ORM\Column(type="string", unique=false, length=255, nullable=false)
     *
     * @Serializer\Groups({"list", "details"})
     *
     * @Assert\NotBlank()
     * @Assert\Length(max=255)
     */
    private $nombre;
    /**
     * Get id
     *
     * @return integer
     */
    public function getId()
    {
        return $this->id;
    }
    /**
     * Set marcado_ce
     *
     * @param \DateTime $marcado_ce
     * @return Prueba
     */
    public function setMarcadoCe(Hijo $marcado_ce = null)
    {
        $this->marcado_ce = $marcado_ce;

        return $this;
    }
    /**
     * Get marcado_ce
     *
     * @return \DateTime
     */
    public function getMarcadoCe()
    {
        return $this->marcado_ce;
    }
    /**
     * Set nombre
     *
     * @param string $nombre
     * @return Prueba
     */
    public function setNombre($nombre)
    {
        $this->nombre = $nombre;

        return $this;
    }
    /**
     * Get nombre
     *
     * @return string
     */
    public function getNombre()
    {
        return $this->nombre;
    }
}

Entity Hijo
namespace PDCA\RestBundle\Entity;
use Doctrine\ORM\Mapping AS ORM;
use JMS\Serializer\Annotation as Serializer;
use Symfony\Component\Validator\Constraints as Assert;
/**
 * @ORM\Entity
 *
 */
class Hijo
{
    /**
     * @ORM\Id
     * @ORM\Column(type="integer")
     * @ORM\GeneratedValue(strategy="AUTO")
     *
     * @Serializer\Groups({"list", "details", "backend_creacion"})
     */
    private $id;
        /**
     * @ORM\Column(type="string", unique=false, length=255, nullable=false)
     *
     * @Serializer\Groups({"list", "details"})
     *
     * @Assert\NotBlank()
     * @Assert\Length(max=255)
     */
    private $nombre;
    /**
     * Get id
     *
     * @return integer
     */
    public function getId()
    {
        return $this->id;
    }
    /**
     * Set nombre
     *
     * @param string $nombre
     * @return Artchivo
     */
    public function setNombre($nombre)
    {
        $this->nombre = $nombre;

        return $this;
    }
    /**
     * Get nombre
     *
     * @return string
     */
    public function getNombre()
    {
        return $this->nombre;
    }
}

PruebaType and HijoType:
namespace PDCA\RestBundle\Form;
use Symfony\Component\Form\AbstractType;
use Symfony\Component\Form\FormBuilderInterface;
use Symfony\Component\OptionsResolver\OptionsResolverInterface;
use Symfony\Component\OptionsResolver\OptionsResolver;
use PDCA\RestBundle\Entity\Prueba;
class PruebaType extends AbstractType
{
    /**
     * @param FormBuilderInterface $builder
     * @param array $options
     */
    public function buildForm(FormBuilderInterface $builder, array $options)
    {
        $builder
        ->add('nombre')
        ->add('marcado_ce', new HijoType(), array('required'=>false))
        ;
    }
    /**
     * @param OptionsResolverInterface $resolver
     */
    public function setDefaultOptions(OptionsResolverInterface $resolver) {
        /** @var OptionResolver $resolver */
        $this->configureOptions($resolver);
    }

    public function configureOptions(OptionsResolver $resolver) {
        $resolver->setDefaults(array(
                'data_class' => 'PDCA\RestBundle\Entity\Prueba',
                'csrf_protection' => false
        ));
    }
    /**
     * @return string
     */
    public function getName()
    {
        return 'pdca_restbundle_prueba';
    }
}

Type Hijo
namespace PDCA\RestBundle\Form;
use Symfony\Component\Form\AbstractType;
use Symfony\Component\Form\FormBuilderInterface;
use Symfony\Component\OptionsResolver\OptionsResolverInterface;
use Symfony\Component\OptionsResolver\OptionsResolver;

class HijoType extends AbstractType
{
    /**
     * @param FormBuilderInterface $builder
     * @param array $options
     */
    public function buildForm(FormBuilderInterface $builder, array $options)
    {
        $builder
        ->add('nombre')
        ;
    }
    /**
     * @param OptionsResolverInterface $resolver
     */
    public function setDefaultOptions(OptionsResolverInterface $resolver) {
        /** @var OptionResolver $resolver */
        $this->configureOptions($resolver);
    }
    public function configureOptions(OptionsResolver $resolver) {
        $resolver->setDefaults(array(
                'data_class' => 'PDCA\RestBundle\Entity\Hijo',
                'csrf_protection' => false
        ));
    }
    /**
     * @return string
     */
    public function getName()
    {
        return null;
    }
}

Controller:
$entity = new Prueba();
$form = $this->createForm(new PruebaType(), $entity, array('method' => $request->getMethod()));

$form->submit($request->get($form->getName()), false);

if ($form->isValid()) {
    //Persist $entity
}
return $this->view(array('form' => $form), Codes::HTTP_BAD_REQUEST);

When I do a POST with subentity, entities Prueba and Hija are persisted sucesfully:
{
    "pdca_restbundle_prueba": {
         "nombre": "nombre prueba",
          "marcado_ce":
              {
                "nombre": "fichero4"
              }
     }
}

But when I use "marcado_ce": null:
{
    "pdca_restbundle_prueba": {
         "nombre": "nombre prueba2",
          "marcado_ce": null
     }
}

This fail with this message:
{
    "code": 400,
    "message": "Validation Failed",
    "errors": {
        "errors": [
            "Este valor no es valido."
        ],
        "children": {
            "nombre": {},
            "marcado_ce": {
                "children": {
                    "nombre": {}
                }
            }
        }
    }
}

Debugging this problem, here is where code launch an exception resulting in validation failed:
File Form.php, line 570:
  if ($this->config->getCompound()) {
      if (null === $submittedData) {
          $submittedData = array();
      }

      if (!is_array($submittedData)) {
          **throw new TransformationFailedException('Compound forms expect an array or NULL on submission.');**
      }

I uploaded a image with stack trace here:
https://i.stack.imgur.com/QzPDc.png
I edited Form.php code replacing Exception code with this (line 750). But this isn't a solution. I will try to understand what is the root cause, maybe I miss something with symfony-forms.
if (!is_array($submittedData)) {
  $submittedData = array();
}

redpajama_set_name: RedPajamaStackExchange


text:
In enzymology, a flavonol-3-O-beta-glucoside O-malonyltransferase () is an enzyme that catalyzes the chemical reaction

malonyl-CoA + flavonol 3-O-beta-D-glucoside  CoA + flavonol 3-O-(6-O-malonyl-beta-D-glucoside)

Thus, the two substrates of this enzyme are malonyl-CoA and flavonol 3-O-beta-D-glucoside, whereas its two products are CoA and flavonol 3-O-(6-O-malonyl-beta-D-glucoside).

This enzyme belongs to the family of transferases, specifically those acyltransferases transferring groups other than aminoacyl groups.  The systematic name of this enzyme class is malonyl-CoA:flavonol-3-O-beta-D-glucoside 6"-O-malonyltransferase. Other names in common use include flavonol 3-O-glucoside malonyltransferase, MAT-3, and malonyl-coenzyme A:flavonol-3-O-glucoside malonyltransferase.

References

EC 2.3.1
Enzymes of unknown structure


I was privileged to watch an incredible documentary yesterday. PJ Kellog, a young marine, heard the story of a fallen soldier who left a grieving young wife and baby boy behind. Impassioned by the story, PJ decided to raise scholarship money for the young child by undertaking a 50-mile charity run. Yes, that's 50 miles, not kilometers. Roughly equivalent to two marathon runs.
You can learn more about the story and see a trailer for the documentary movie here.
As I watched the story of PJ's arduous and painful journey, I was reminded of two things.
First, that we live in an imperfect world, a broken creation, through which we trek – often in struggle.
Second, I was reminded of Jesus Christ's arduous & painful struggle on the cross.
Sure, life can be very hard. But looking back, I am thankful for the trials. I am thankful for the hard lessons. I am thankful that God runs with me. I am thankful for what He did in me.
I may not always be ready to say this, but at this moment, I am thankful for the hills ahead and the transformation God will accomplish through them.
Looking back I am glad for the trials (hills) that God has brought me through. I know there is bound to be more…and there will be times when I forget to be thankful for them…but in the end, I hope that is glorified every day as I struggle up hills and coast down the backside.
yes, I am sure I'll grip when the hills come – in the film, there was a moment when PJ seemed ready to quit – but the "cause" propelled him. The "Cause" can propel us too.
That's an awesome story! May my heart be this large for the Kingdom and for my King!
That just gave me chills. I can't help but think how much sweeter the top of the hills are knowing that He runs with us.
Amen! I will have to check out this movie.
It's a local film, not nationally distributed (yet LOL) – but very soon they are going to put DVD's on order (I think for $10) proceeds going to the Izzy's child's college fund.
There are certainly times of trials and struggles and I thank God that I do not go through any of it alone.
I love reading about things like this. There is only so much theory you can read/talk about. We need to see it put into action!


text:
Antoine Johannot, dit Tony Johannot, né le  à Offenbach-sur-le-Main en Allemagne et mort le  à Paris, est un graveur, illustrateur et peintre français.

Biographie
Le père de Tony Johannot, François Johannot (né vers 1760, mort en 1838), dirigeait une manufacture de soieries en Allemagne, où la famille, originaire du Vivarais, était venue s'établir après la révocation de l'édit de Nantes. Il était aussi peintre, et participa au développement de la lithographie en France. Les deux frères aînés de Tony, Charles et Alfred, étaient des graveurs, et Alfred fut également peintre et dessinateur. Tony apprit la gravure avec ses frères et exécuta avec Alfred des gravures sur acier pour des œuvres de James Fenimore Cooper et de Walter Scott. Par la suite, Tony Johannot se tourna vers la gravure sur bois, pour revenir à l'eau-forte à partir de 1845.

Il fut un illustrateur des plus recherchés, du fait de l'élégance, de la diversité, du caractère vivant de ses dessins, qui furent gravés par lui-même ou par des graveurs tels que Jacques Adrien Lavieille, Émile Montigneul, Auguste II Blanchard, Augustin Burdet, Amédée Maulet, Jean-François Pourvoyeur et Alfred Revel. Théophile Gautier lui a rendu cet hommage :

En tant que peintre d'histoire, il exposa pour la première fois au Salon de 1831.

Œuvres

Seul ou avec d'autres, Tony Johannot a illustré de nombreux textes, tant pour des revues que pour des livres :
 Revues : Revue des deux Mondes, L'Artiste, L'Illustration, Le Magasin pittoresque
Illustrations Le dernier des Mohicans et les Puritains de l'Amérique - 1826
Mohican tenant une femme sur son épaule  (musée du Nouveau Monde, La Rochelle)
Huron qui se fait passer par traitrise pour un Mohawk (musée du Nouveau Monde, La Rochelle)
Femme tenant un jeune enfant sur ses genoux (musée du Nouveau Monde, La Rochelle)
Un soldat pointe son fusil sur un Mohican (musée du Nouveau Monde, La Rochelle)

Livres

 1830 : Histoire du Roi de Bohême et de ses sept châteaux de Charles Nodier ;
 1832 : Les Consultations du Docteur-Noir. Première consultation : Stello ou les Diables bleus (Blue Devils) d'Alfred de Vigny.
 1834 : Théâtre complet de M. Eugène Scribe en 1834 - 2de édition, chez Aimé André
 1835-1836 : Œuvres illustrées de Molière
 1836-1837 : Don Quichotte de Cervantes
 1837 : Scènes de la vie adolescente, de Stéphen de la Madelaine, dédiées à S.A.R. le Duc d'Aumale, avec des gravures d'après des dessins de Tony Johannot (Paris : Lehuby, 1837).
 1838 : Paul et Virginie de Bernardin de Saint-Pierre
 1839 : Manon Lescaut de l'Abbé Prévost
Le Sage " Le diable boiteux " illustré par Tony Johannot précédé d'une notice sur Le Sage par M. Jules Janin, Ernest Bourdin et Cie, Éditeurs, Paris, 1840
 1840-1842 : Les Français peints par eux-mêmes
1841: Voyage sentimental  de Laurence Sterne traduction Jules Janin
 1842 : L'Âne mort de Jules Janin
 1843 : Voyage où il vous plaira de Musset et Stahl chez Hetzel
 1842-1852 : La Comédie humaine de Balzac dans l'édition Furne
 1845 : La Bretagne ancienne et moderne de Pitre-Chevalier
 1847 : Faust de Goethe
 1849-1850 : Raphaêl de Lamartine, Perrotin ed.
 1852-1856 : Œuvres illustrées de George Sand
 1853 :
 Contes de Charles Nodier (Hetzel, sans date) : Trilby, Inès de la Sierras, Smarra, La Neuvaine de la Chandeleur, Baptiste Montauban. (gravures sur acier)

Élèves

 Charles Carey

Notes et références

Annexes

Bibliographie

 .
 .

 . Tony Johannot raconté par Alexandre Dumas dans ses Mémoires.

 Alexandre Dumas, « Chapitre CCXXVII », Mes mémoires, 1830 -1833, Paris, Robert Laffont, 1989, pages 676-680.

 Marcus Osterwalder (dir.), Dictionnaire des illustrateurs, 1800-1914, Éditions Ides et Calendes, 1989, .

Liens externes

 Notice biographique, sur paris-france.org.
 Série d'illustrations de T. Johannot pour les Fables de La Fontaine, publiée dans une édition de 1875.

Graveur français du XIXe siècle
Graveur sur bois
Lithographe français du XIXe siècle
Illustrateur français du XIXe siècle
Illustrateur de livres d'enfance et de jeunesse
Peintre français du XIXe siècle
Naissance en novembre 1803
Naissance à Offenbach-sur-le-Main
Décès en août 1852
Décès à 48 ans


text:
On History: Billy Graham
By Sean Kleefeld | Tuesday, February 06, 2018 Leave a Comment
When talking about creators who've worked on Black Panther recently, it of course makes sense that Jack Kirby (and Stan Lee) get called up as creating the character in the first place. Christopher Priest comes up regularly as much of the approach that is used in the movie stems from his take on the character, and Ta-Nehisi Coates certainly comes up as a well-known and very recent author of Panther's exploits. Don McGregor occasionally comes up, but his artistic partner on the first real series to flesh out Black Panther's world is often glossed over. While Billy Graham wasn't the initial artist on the Panther stories in Jungle Action, he was the one who provided the most long-lasting and compelling visuals for the run.
Graham was born in 1935 and went to New York City's Music & Art High School. His earliest comics work was in the late 1960s for Warren's horror comics, including Vampirella #1. Publisher James Warren promoted him to art director soon after...
I sensed Billy had the ability to handle it; certain artists and writers are great but they can't shift out of their specialty and do something else. Billy could. So I said, 'Billy, you are now art director! Whether you like it or not.' Now you have to understand that all Billy wanted to do his whole life was just be Jack Kirby. I said, ' You'll be the Black Jack Kirby, but not today! Today you are art director of Warren Publishing.'
Graham wasn't in that position very long, however, heading over to Marvel to work as inker on the debut issue of Luke Cage, Hero for Hire. He took over as penciller with #4 and writer Steve Englehart noted that he did a lot of the story work as well, even getting a co-writer credit for the final two issues.
Graham began working on Jungle Action with #10 and continuing through #22. His work included showing the death of Erik Killmonger and an extended story that pit T'Challa against the Ku Klux Klan. A lot of work was put into fleshing out Wakanda, and showcasing different villages within the country.
He gravitated away from superheroes in the 1980s, working on the early issues of Eclipse, and teaming up again with McGregor on Sabre after Paul Gulacy left after only two issues. That team-up continued as McGregor filmed a low-budget movie version of Detectives Inc. in 1985, casting Graham as one of the leads. (McGregor actually had some prior acting experience, doing some commercial work at least as far back as 1974.)
By the 1990s, he was largely out of comics and seemed to focus more on commercial illustration work, even doing some of the courtroom sketch artist pieces for Law & Order. One of the last things he was working on before he passed away in 1999 was a novel and screenplay called Lucky Ace which he described...
A tongue-in-cheek action comedy screenplay about a high-living, BLACK Vietnam vet, now an eccentric limousine driver who has EPISODIC ADVENTURES after he's drafted into the C.I.A.
For as short a run as Graham had working on the Black Panther, it remains incredibly powerful and many comic artists today cite his as their definitive version of the character. The work has been reprinted in Marvel Masterworks, Essentials, and Epic Collection formats, any one of them worth picking up!
(Also, I should point out that Graham's immediate family recently started Twitter and Facebook accounts in his name, and have been sharing art and rare photos. The image I'm using here comes from them.)
Related Items On History
Weekly Black Panther Links
On History: Whither Jungle Action Redux
On Business: "Ahead of our Modeling"
On Strips: Editorial Panthers
On -isms: Listen during the Panther Discussions
On History: 1966 Black Panther Letters
On Business: Movie Sales and Review Notes
On Strips: Panther in Candorville
On -isms: SHHH!!! Movie!
On History: Astonishing Tales
On Business: Pay Scale
On Strips: Pre-Panther Biographics
On -isms: Black Leopard Redux
On Business: The Black Panther Credit Card
On Strips: BP #20 Review
On -isms: It's Black Panther Month


text:
The President George Bush Turnpike (PGBT) is a  toll road running through the northern, northeastern and western suburbs, forming a partial loop around Dallas, Texas, United States. It is named for the late George H. W. Bush, the 41st president of the United States. At its west end near Belt Line Road in Irving, State Highway 161 (SH 161) continues southwest to Interstate 20 (I-20) in Grand Prairie. The discontinuous free frontage roads along the turnpike from I-35E in Carrollton east to its end at I-30 in Garland are assigned the State Highway 190 (SH 190) designation. SH 190 signage appears only along the Rowlett, Garland, Richardson, Plano, and Carrollton sections of the frontage road with the undersign "frontage road only". At intersections with city streets, only the Bush Turnpike signs are displayed, not the SH 190 signage. Prior to the construction of the main lanes as a tollway, SH 190 was used as the name of the planned main lanes too. Similarly, the part west of I-35E was planned as part of SH 161. Bush Turnpike is signed as a north–south road from I-20 to I-35E (the "Western Extension"), an east–west road from I-35E to the Merritt Main Lane Gantry (the original sections) and as a north–south road from the Merritt Main Lane Gantry to I-30 (the "Eastern Extension"), as Bush Turnpike makes a nearly 90-degree curve in both places.

The turnpike is operated by the North Texas Tollway Authority (NTTA). Currently, all maintenance is done under a five-year total routine maintenance (TRM) contract with Roy Jorgensen Associates, Inc. based in Buckeystown, Maryland, that started in November 2011.

The turnpike passes through three Texas counties (Dallas, Collin and Denton) and nine Dallas suburbs (Rowlett, Sachse, Garland, Richardson, Plano, Carrollton, Farmers Branch, Irving, and Grand Prairie).

Originally the PGBT was equipped with traditional toll plazas for cash payment as well as RFID-based TollTag express lanes. However, on July 1, 2009, the cash plazas were closed and replaced with "ZipCash", an OCR-based camera system which reads the license plate and bills the owner by mail. This made the turnpike the first in the United States to transition to all-electronic toll collection. The ZipCash rates, however, come at a premium being significantly higher than both the TollTag rate and the earlier cash prices.

History
The corridor of SH 161 and the Turnpike was first proposed as an outer loop within Dallas County in 1957. The 1964 plan was the first to designate it as a freeway, and in 1969 the full loop was added to the state highway system as Loop 9. The loop would begin at Interstate 20 just east of the Tarrant County line and head north (along a corridor still planned as an extension of SH 161). From State Highway 183 it would run roughly along present SH 161, turning north on Belt Line Road and east just south of the Denton County line, crossing Interstate 35E near the present junction. Rather than cross into Denton and Tarrant Counties, the loop would stay in Dallas County, running roughly where Campbell Road is now. It would rejoin the present Turnpike alignment and head southeast to Interstate 30 west of Lake Ray Hubbard. The south part of the loop would continue in a roughly circular route to end at the junction of Interstate 20 and Spur 408, several miles east of the beginning of the loop. The short Spur 484, designated in 1970, would run from Loop 9 at Belt Line Road northeast along the present Turnpike alignment to Interstate 635.

Some of the opposition to the loop came from the city of Richardson, which was already divided by the Central Expressway. In conjunction with Plano, the city acquired empty right-of-way about two miles (3 km) to the north, where the Turnpike now runs, and set the centerline of the right-of-way to the border between Richardson and Plano.

Loop 9 was cancelled on October 1, 1977, and the western and northern section was split between two new designations: State Highway 161 from Interstate 20 to State Highway 114 (at Belt Line Road) and State Highway 190 from Interstate 35E to State Highway 78. (The piece between SH 114 and IH 35E was removed from the state highway system.) Spur 484 was absorbed into SH 161 on October 31, 1979, making its northern terminus Interstate 635 (at Valley View Lane). The connection between I-635 and I-35E was added to SH 161 on August 30, 1988.

Construction on service roads began in late 1988 in north Garland and Richardson.  A stack interchange was constructed in 1990 at U.S. Highway 75 in Richardson, which quickly became a white elephant as the structure remained abandoned for several years. On January 29, 1991, SH 190 was extended to I-20. In 1995 following a revision in federal laws, authorities agreed to shift to a toll financing scheme, providing an infusion of cash and new construction. The SH 190 designation was removed from the plans for the not-yet-constructed main lanes on October 26, 1995, and SH 190 was truncated to SH 78. and on April 30, 1998, SH 161 was removed from the piece between Belt Line Road and I-635 (Segment V). On April 26, 2007, SH 190 extended to I-30.

SH 161 was also the name of a route designated on March 19, 1930, from Clairemont southeastward to SH 70 near Rotan as a renumbering of SH 84A. That route was transferred to SH 70 on December 1, 1930, but was not cancelled until January 22, 1931.

SH 190 was also the name of a route designated on November 30, 1932, from Cuero southwestward to SH 119. That route was transferred to SH 29 on March 13, 1934.

At Dallas North Tollway, the interchange had been built in 1994 ready for the turnpike to be built in 1998.

In late December 2015, the PGBT and the I-30 interchange was directly hit by a large, EF4 tornado with winds of up to 180 mph while at peak strength at around 6:52pm CDT. The tornado lofted several cars driving on the interchange bridges and threw them several hundred yards, with some of the cars being found in Lake Ray Hubbard in the following weeks. Multiple cars were mangled beyond recognition and several fatalities occurred on the interchange.

Description

Since the initial construction began in 1988, the turnpike was completed in a number of phases, as described here:

Segment I (North Dallas).  Extends from Campbell Road to Midway Road, and includes the Dallas North Tollway and U.S. Highway 75 (Central Expressway) interchanges. Opened in December 1998 (Midway Road to Preston Road) and December 1999 (Preston Road to Campbell Road).

Segment II (Garland/Richardson). Extends from Campbell Road to State Highway 78. Opened in 2000.

Segment III (Carrollton). Extends from Midway Road in north Dallas to Interstate 35E. Opened July 2001.

Segment IV ("PGBT Superconnector"). Connects I-35E to the I-635 airport extension. It covers  and was built at the cost of $339 million. Much of the expense is because the segment is built within the Trinity River wetland and comprises many miles of bridges. Construction began in January 2003 and was completed in October 2005.

Segment V (Irving). A  segment connecting the I-635 airport extension to the SH 161 freeway near Belt Line Road. It opened in December 2001. Unstable clay soil was a significant problem in this segment, requiring contractors to use concentrated liquid stabilizers and geosynthetic reinforcement. A part of President George Bush Turnpike was extended from SH 183 to Conflans Road in 2006.

Segment VI ("Western Extension", Irving/Grand Prairie). A  extension south from SH-183 in Irving to I-30 in Grand Prairie.  A portion of the Western Extension, from SH-183 to I-30 in Grand Prairie, opened in August 2009.  The remaining  of the Western Extension, from I-30 to I-20 in Grand Prairie, opened in October 2012.

Segment VII ("Eastern Extension", Garland/Sachse/Rowlett). A  extension from SH-78 in Garland, through Rowlett and Sachse, and back into Garland at I-30.  The project, with a price tag of $1.04 billion, included construction of a 1-mile bridge at Lake Ray Hubbard.  Construction began in October 2008, and the Eastern Extension opened to traffic on December 21, 2011.

Segment VIII ("East Branch", Garland/Mesquite). A proposed extension from I-30 in Garland to I-20 in Mesquite, with an estimated cost of $730 million.  In December 2015 an Environmental Impact Statement for the East Branch had been prepared but the review process was restarted in 2017. Construction is not expected until 2026.

Expansion plans
The next PGBT segment, the East Branch extension, is planned to begin at the PGBT Lake Ray Hubbard Interchange at I-30, extending south-southeast to near Duck Creek Way, then southward near Mesquite Metro Airport, terminating at I-20 near Rory Galloway Day Camp.  The project is well into the planning stages, and an Environmental Impact Statement was under preparation . In May 2017 at a Dallas city council meeting it was stated TxDOT had restarted the environmental impact statement review process.  Construction is not expected until 2026.

In the longer term, the North Central Texas Council of Governments is studying a very broad outer loop around the entire Dallas–Fort Worth metroplex.  Assuming it receives environmental clearance, funding, and political support, much of it would be completed in the 2020s or 2030s.  The PGBT is not part of this outer loop, but the PGBT East Branch alignment was closely coordinated with the loop's master plan.  The segment of the proposed outer loop through southern Dallas County would be known as Loop 9 and would likely be the first segment to be built.

Exit list

References

External links

North Texas Tollway Authority
Texas Department of Transportation - SH 161 (southern extension)
Texas Freeways: State Highway 190
Section 32 Web site | Before and after images of SH 190 Eastern Extension construction

Bush
Toll roads in Texas
Transportation in Dallas County, Texas
Transportation in Denton County, Texas
Transportation in Collin County, Texas


My father gets migraines almost ever day of the month and has Chronic migraines he has been living with them for about 4 Years now and he is 42. He doesn't have any medicine that helps him and he's been to so many doctors it's hard to count now. He had 3 children but he usually is in bed for 18 Hours a day because of how bad the migraines have been. There almost daily and it is rare if he doesn't have one. Sometimes I hear him saying things like "I can't keep living like this" Or "My life is meaningless". He usually can't go places with his family or even go out to get medicine because of his migraines. Sometimes going to the Gas station to get a soda is a challenge for him and he can't do it. If you have any advice on how to prevent or make migraines less frequent I would be very grateful all the "Specialist" he goes too can't help him and just give him useless medicine that doesn't help him. He doesn't deserve it and has always tried to help his family, and I can't remember the last time my dad could go through a week without a migraine.
Thank you for reaching out to us in regards to your father. I'm sorry he is having such a difficult time. Let's see what information I can provide you that may be helpful.
First let me say that all "specialists" are not created equal . What I mean by that is many doctors claim to be "headache specialists" but in fact are not. A true migraine/headache expert is a doctor, who may or may not be a neurologist, who is board certified in headache medicine. Having this certification is different from being certified in neurology. And it's not that neurologists aren't good doctors, its that they have a hard time being experts in one area because they treat so many different conditions such a multiple sclerosis, stroke, epilepsy, Parkinson's and others. A true migraine/headache expert treats one condition all day, every day – migraine and headache. Does that make sense? Let me share these articles with you about how these doctors are so different and how to find one: http://migraine.com/blog/how-are-migraine-specialists-different/ and https://migraine.com/blog/really-find-headache-specialist/.
Just as important as having a doctor who will be a partner in our health care, is to identify and manage our migraine triggers. Some we can avoid, some we can't like the weather. The best way to figure out what our triggers are is to keep a detailed migraine diary for at least three months. Here is information on how to keep a migraine diary and migraine triggers; https://migraine.com/blog/keeping-migraine-diary-basics/ and https://migraine.com/blog/migraine-management-essential-trigger-management/.


text:
To: Minister for the Cabinet Office, David Lidington
Champion fair pay for civil servants
Tony Wallace
Thanks for your support on this petition. Tony and FDA colleagues handed it in to David Lidington MP, calling on him to step up for the public servants he represents. The campaign is continuing for fairer pay for civil servants, and for an independent pay review body for the civil service. You can read more at https://www.fda.org.uk/home/Newsandmedia/News/More-than-5600-sign-FDA-fair-pay-petition.aspx
My name is Tony Wallace and I am a tax professional from Glasgow, currently working in Nottingham. Like thousands of other civil servants, I work to ensure the country has what we need to educate and protect the welfare of working people.
For almost ten years my pay has stagnated and I am now in real terms much worse off than I was in 2010. Ministers are making political capital out of the end of austerity but the reality for me and my civil service colleagues is that we continue to grow poorer.
This is why I am calling on David Lidington, Minister for the Cabinet Office, to be our champion.
Ministers across the government are fighting for their public sector workers. It's time for the civil service to have its own champion.
The Government has officially lifted the public sector 1% pay cap, yet FDA members have been left barely better off.
In other areas, we have seen action and results. Ministers have fought for better departmental staff pay rises, and won. However, civil servants have been left behind with employers adopting civil service pay remit guidelines and awarding below-inflation 1.5% raises.
Cabinet Secretary Mark Sedwill has described the civil service as "brilliant." But what is this brilliance worth?
Recent discoveries show that the SCS's pay gap is widening. When can these employees expect fair and equal reward?
Join our call, and ask David Lidington to speak up for hardworking civil servants.
of 6,000 signatures
This petition is no longer accepting new signatures
Share on Facebook Twitter Email WhatsApp
Economic Justice Public Services Workers' Rights
Ministers champion other public servants like fire-fighters and nurses? Civil servants also deserve a champion.
David C. 2019-05-29 13:54:12 +0100
Unfair treatment of civil servants must stop. Our pensions and salaries eroded. Only fair that civil servants standard of living should equal what it was pre austerity measures.
Sharon D. 2019-05-31 19:12:42 +0100
I want to be paid fairly
Rachel W. 2019-05-29 14:30:36 +0100
Read more about this issue here: https://www.fda.org.uk/home/Newsandmedia/Features/What-is-the-value-of-brilliance.aspx


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Windows needs to be reinstalled on an HP Mini computer without an external disk-drive.


text:
St. Margaret ist die römisch-katholische Pfarrkirche des Marktes Markt Schwaben im bayerischen Landkreis Ebersberg. Das Patrozinium ist am 20. Juli.

Baugeschichte

Im Jahre 1315 gab es in Schwaben eine aus Ziegeln gebaute romanische Kirche. 1474 wurde eine kleine gotische Kirche eingeweiht, welche sich nach Osten ausgerichtet an der Stelle des heutigen Maibaums befand. Sie war den beiden Aposteln Philippus und Jakobus geweiht.

1671 wurde, 20 Meter südöstlich der vorigen, mit dem Bau der neuen Pfarrkirche begonnen, die der heiligen Margareta geweiht wurde. Als Baumeister wurde der berühmte Miesbacher Georg Zwerger verpflichtet. Die Wahl der heiligen Margareta, der Patronin der Gerichtsbarkeit, als Schutzheilige der Kirche, verwies auf das damals im Schloss Schwaben ansässige Landgericht. Der Bau der Kirche dauerte zehn Jahre. 1704 stiftete die Rosenkranzbruderschaft den Marienaltar. 1718 wurden der Jungfrauenaltar (mit den Heiligen Agathe, Barbara und Katharina), der Josefialtar und der Antoniusaltar geschaffen. Der Bierbrauer Trappentreu ließ 1723 den Hochaltar mit einem neuen Aufsatz und Tabernakel versehen und reich vergolden. 1862 wurde die Kirche renoviert, wobei das ursprüngliche Hochaltarbild gegen das heutige der Nazarenerschule ausgetauscht wurde und bis zum heutigen Tage unauffindbar geblieben ist. 1873 bekam die Kirche eine neue Orgel. 1975 erfolgte eine erneute, aufwändige Restaurierung, wobei die Kirche an der Südseite (Erdinger Straße) wegen der Erschütterungen des Autoverkehrs tief unterfangen werden musste. Ebenso wurde in dieser Zeit der Altarraum mit Volksaltar und Ambo umgestaltet. Mitte der 1990er Jahre drohte der Kirchturm vom Kirchenschiff abzureißen. 1999 wurde erfolgreich dem Holzwurm zu Leibe gerückt, 2003 die gesamte Elektronik auf den neuesten Stand gebracht und eine Funkuhr für die Turmuhr installiert. 2009/2010 wurden Reparaturen ausgeführt wie die Sanierung der Empore, des Kirchendachs mitsamt Deckengewölbe und Turm.

Glocken

Das erste Geläute bestand aus drei neuen, nicht näher bekannten, 1684 von Paul Kopp in München gegossenen und einer aus der alten Kirche (1585) übernommenen Bronzeglocke (cis2). 1911 stiftete das Landwirtsehepaar Hundseder ein vierstimmiges Bronzegeläute, gegossen von der Glockengießerei in Erding als Salve-Regina-Motiv in der Schlagtonfolge d1 - fis1 - a1 - h1. Mit dem Grundton d1 war dies für damalige ländliche Verhältnisse und eine Einwohnerzahl von gerade einmal 1.800 ein stattliches Geläute, das in einem massiven Holzglockenstuhl an geraden Holzjochen aufgehängt war.

Während man im Ersten Weltkrieg die Glocken bewahren konnte, wurden sie 1942 im Zweiten Weltkrieg für den Waffenbau eingeschmolzen. Man opferte sogar die alte Zügenglocke (cis2) von 1585.

1948 erhielt die Pfarrkirche ein bis heute genutztes "Ersatzgeläute" in gewohnter Tonfolge aus Gussstahl, gegossen vom Bochumer Verein, das an gekröpften Stahljochen in einem Stahlglockenstuhl aufgehängt ist. Der damalige Kirchenpfleger Barmbichler setzte sich laut Erzählungen vehement gegen ein Stahl- und für ein erneutes Bronzegeläute ein; ohne Erfolg. Das so genannte "Nachkriegsgeläute" aus Stahl erwies sich schon seit den 1980er-Jahren durch Jochbrüche, ausgebrochene Schwengel, locker gewordene Glocken und die generelle Struktur des Nachkriegsstahls als kritisch und kostenintensiv, auch mit Blick auf die Statik und Belastbarkeit des Turms.

Heutiges Geläut
Christusglocke des1 (Stundenschlag der Turmuhr) – St.-Maria-Glocke f1 (Viertelstundenschlag/Angelusglocke) – Margaretenglocke as1 – Friedensglocke b1

Die Gussstahlglocken erklingen je einen Halbton tiefer.

Die Läuteordnung ist wie folgt:
 Angelus: 07:00, 12:00, 18:00 Uhr, Glocke f1 (abends Nachläuten mit Glocke b1)
 Werktagsmessen, Maiandachten, Rosenkranz: Glocken f1+as1
 Requiem: Glocken des1+f1
 Sonntageinläuten: Samstag, 15:00 Uhr, Glocken des1+f1+as1
 Vorabendmesse/Familiengottesdienst: Samstag, Sonntag, Glocken f1+as1+b1
 Pfarramt Jahreskreis: Sonntag, 09:00 Uhr, Glocken des1+f1+as1
 Pfarramt Advent/Fastenzeit: Sonntag, 09:00 Uhr, Glocken des1+as1+b1
 Allerseelen/Volkstrauertag: Glocken des1+f1+b1
 Hochfeste/besondere Anlässe: Vollgeläute

Kirchliche Einrichtungen

Der große Pfarrhof von St. Margaret weist einen quadratischen Grundriss auf. Er steht relativ frei inmitten des Pfarrgartens und wird entlang der Zinngießergasse (Postanschrift) vom katholischen Pfarrheim und dem Kindergarten St. Nikolaus eingerahmt. Die Pfarrei unterhält noch einen weiteren Kindergarten St. Elisabeth im Norden des Marktes.

Literatur
 Willi Kneißl: Markt Schwaben. Pfarrkirche St. Margaret (= Kleine Kunstführer Nr. 1325). Verlag Schnell und Steiner, Regensburg 1981, ISBN 978-3-7954-5034-2.

Weblinks

 Homepage der Pfarrei St. Margaret Markt Schwaben

Kirchengebäude im Landkreis Ebersberg
Pfarrkirche des Erzbistums München und Freising
Barocke Kirche
Barockbauwerk in Bayern
StMargaret
Margareta-von-Antiochia-Kirche
Kirchengebäude in Europa


Wisp of a Thing, by Alex Bledsoe, Tor Books, 2013, $25.99.
I LOVE WHAT Alex Beldsoe is doing with his Tufa books, of which Wisp of a Thing is the second and latest. I see a thematic lineage between it and Manly Wade Wellman's Silver John (also known as John the Balladeer) stories.
There are plenty of differences. Wellman's character wandered North Carolina mountain country, while Bledsoe's books are set in the Smoky Mountains. Silver John was born in the early days of The Magazine of Fantasy & Science Fiction, when short stories were still a mainstay of our field; these days it's the novel. Silver John's background was the last century; the Tufa books are very much set in the here and now. Because of all of this, there are differences in tone, as one might well expect.
But the themes of music and the mountains—and the magic in both—forms a thread that ties the two series together, at least in my mind. I get the same pleasure reading Bledsoe as I did Wellman, that heady sense of wonder that doesn't grow out of far-off lands and made-up worlds, but has its earthy roots in the real world in which we all live.
Perhaps it's because I've had a love affair with music all through my life that it's not a stretch for me to attribute magical properties to melodies and songs, and to those who bring them to life. It's certainly what drew me to both series. Great stories, as well as sympathetic and believable characters, are what kept me reading them.
Wisp of a Thing is that perfect sequel (or part of a series) that stands entirely on its own. The setting of the mountains and the existence of the Tufa are the connection between the books, although we do meet characters from the first book, The Hum and the Shiver. Their appearance is fully realized for the new reader while being a little gift to those of us who have read the previous novel.
Another thing I really like about Bledsoe's Tufa books is the sense of these stories embracing a true North American mythology. Although they're made up, they feel as though they're been part of the folkloric lexicon forever.
Wisp of a Thing opens with musician Rob Quillen arriving in Tennessee. He just lost his fiancée in a plane crash, which has him wracked with guilt. He was a contestant on a musical reality show and the producers basically browbeat the pair into having her fly out for the big finale. The reason he's come to the Smoky Mountains is that a mysterious musician he met told him about the Tufa, and that they have a song that will mend his broken heart.
But the Tufa are a secretive people, and looking for someone who can help him leads to Quillen finding out more about himself and the way he thought the world worked than he would ever have thought possible.
Vampires, werewolves, and witches might rule the bookshelves, and increasingly, our TV sets, but for me, books like Wisp of a Thing or Doyce Testerman's Hidden Things (reviewed in a previous column) are the real deal when it comes to North American fantasy, or as I like to call it, mythic fiction. They're originals, rather than presenting variations on old themes. Both are valid approaches, and neither is better than the other. I read and enjoy both, but I remember the originals like this book while the current crop of what we call "urban fantasy" all blurs together in the end.
Possession, by Kat Richardson, Roc, 2013, $25.95.
I thought I'd read at least one of Kat Richardson's Greywalker novels before I started Possession, the eighth entry in the series, but it only took me a few pages to realize that wasn't the case. There was a lot of past history alluded to as the story progressed, but it's to Richardson's credit that I never felt lost. Whether the way she kept me up to date with past books would be too much already known information for long-time readers, I obviously can't tell.
Harper Blaine is a Seattle PI. She's also a Greywalker—a person who can walk between this world and that of the spirits. This skill comes in handy in her line of work, such as the case explored in Possession where comatose patients are suddenly sitting up and communicating—albeit in ways they never could before, and some that one would put down as patently impossible.
A woman with no gift for art paints scenes she's never seen, with a talent she never had.
A man writes in languages he doesn't know.
Another man has words appear on his skin, sentences that travel across his body.
Harper knows they're possessed, but she can't figure out by what. She also knows that something bad is coming to Seattle because of the sudden increase in ghosts, especially by the waterfront.
And if that's not enough, her boyfriend's father, who runs a clandestine government op investigating the paranormal in hope of using what he finds as weapons, appears to be nearing his endgame.
Surprisingly, with so much going on, Possession's pace is a little slow, and I found myself picking up other books and reading them at the same time. I continued with Possession because I liked the character and the writing was good, but most of the time there was no urgency to my finding out what happened next. Just a mild curiosity.
But if Richardson hasn't jumped to the top of my must-read pile with this book, I did appreciate that she's doing something different—even if vampires do eventually show up.
Fortunately, the Milk, by Neil Gaiman, HarperCollins Childrens, 2013, $14.99.
If Gaiman's recent The Ocean at the End of the Lane was the sublime, then this entertaining little tale is the ridiculous. While it's aimed at children, I'm sure many adults will get a chuckle from Fortunately, the Milk.
Which is okay by me. I like the idea of a silly little illustrated kid's book selling like gangbusters because in a world that sometimes takes itself too seriously—often for very good reasons—it's therapeutic to take an hour or so off and have a laugh at the antics of this father who goes out to get a bottle of milk for his children's breakfast and ends up having adventures worthy of what happened to the characters in The Hitchhiker's Guide to the Galaxy, spiced up with a few touches of The Goon Show and Monty Python's Flying Circus.
The Brits do this sort of humor so well, and Gaiman's proved in the past that he also has a flair for it. The illustrations by Skottie Young are amusing and at times frantic, but always fit the story. His penwork reminds me a bit of a more controlled Ralph Steadman or Bill Sienkiewicz, lively and just a little mad.
You won't come away with the deep sense of awe and wonder that might have washed over you at the end of The Ocean at the End of the Lane (or at least it certainly did for me), but you'll have exercised your smile muscles, and I've heard that's a very good thing for us indeed.
Love You Like Suicide, by Jo Treggiari, CometBus Issue 55 1/2, 2013, $3.
Something that's bugged me for a while with this current fixation the publishing field has with dystopias is how dystopias get glamorized. Sure, the world is pretty much in ruins, but, hey, isn't it cool? Wouldn't it be great to live after civilization has collapsed?
But getting back to dystopias—I think this glamorization started with how street and punk culture has been depicted in genre fiction. The trouble is, with many of those books and stories, nothing convinces me that the author really understands what it would be like living on the street, or being a punk, or scrabbling to stay alive in a ruined world.
If they did, they wouldn't romanticize it the way they do.
All those authors would do well to read this novella from Jo Treggiari (the author of Ashes, Ashes—yes, another dystopian novel, but I haven't read it yet, so my jury's out on it). Love You Like Suicide isn't a piece of genre writing. Turns out it's not even fiction. But it is one of the most raw, honestly told, harrowing things I've read in a long time.
Set in San Francisco's punk scene in the 1980s, it tells the story of the author's nihilistic life as an addict, living in squats, making art, all the while living and breathing music.
It's not pretty. It's not happy. The author herself isn't sure why she's part of that scene. She just knows she doesn't fit anywhere else.
And that's why she, and those like her, are there. They don't fit anywhere. They're wired differently—and that's what so many of those other authors I mentioned above don't get. They have the trappings in their writing, sometimes they even get a bit of the tone, but they don't understand the raw pain that underlies being so disaffected.
Except it's not only pain. There's tenderness there as well. A desire to create…something. Of themselves, or maybe through some form of art. But the poverty, the drugs, the darkness, grinds them down until they walk around like junkie ghosts.
It's a real-world dystopia and it's not glamorous.
Love You Like Suicide is easily one of the best things I've read all year, and I hope to hell that Ashes, Ashes is even remotely as good.
Alien Hunter, by Whitley Streiber, Tor Books, 2013, $25.99.
I've retained a soft spot for Whitley Streiber over the years, though I can't recall the last time I read one of his books. But he's kept my goodwill by having written what I consider the best werewolf novel to date. I'm referring, of course, to Wolfen.
I wasn't sure what to expect with this book, but it certainly opens with an intriguing premise.
Police Detective Flynn Cramer awakes in the middle of the night to find that his wife has disappeared from the bed beside him. The house alarms weren't tripped and it looks to all intents and purposes as though she simply walked out, never to return.
Cramer knows she'd never do it. Her disappearance gets relegated to the cold case files, but he never gives up looking into it, even as his career path continues to rise. Over the years he finds numerous other cases similar to his own, and he becomes something of an expert in this particular form of disappearance, even though he has no answers. But the more he studies the cases, the more certain he is that they're connected.
Which is probably why he's approached by Special Agent Diana Glass, who runs the most secret police force on the planet.
The novel starts out intriguing, then moves into high gear and the momentum just doesn't stop. In retrospect, while I certainly wanted to find out what happened next as I was reading, the earlier part of the story with its tantalizing mysteries was my favorite part.
Grimoire of the Lamb, by Kevin Hearne, Del Rey, 2013, $3.33.
Unlike Hearne's 2012 ebook-only novella, Two Ravens and One Crow, which was basically a bridge between his novels Tricked and Trapped, Grimoire of the Lamb is a standalone story, featuring Atticus the druid and his Irish wolfhound, Oberon.
It's a bit different from the rest of the series in that the supporting cast isn't present and Hearne takes on Egyptian mythology as the main focus for the first time. (Previous books delved into mythologies ranging from Celtic and Native American to Norse and Far Eastern).
The story is fairly straightforward. An Egyptian man who's relearning the old magics of Egypt steals a book from Atticus. Atticus and Oberon follow him back to Egypt to retrieve it. Mayhem ensues.
If you've been following this series, this is a fun episode. I wouldn't, however, recommend it as an entry point. Not because it's bad, but because it won't give you a proper taste for the rest of the series. The support cast is half the entertainment, even as it shifts from book to book, and there's a bit more fun as Atticus reacts with the world we all live in and know.
Trail of Dead, by Melissa F. Olson, 47North, 2013, $14.95.
Spirit and Dust, by Rosemary Clement-Moore, Delacorte Press, 2013, $17.99.
well, null. Werewolves become human, vampires are alive again, and witches' spells don't work.
One of the two main viewpoint characters, Scarlett Bernard, is that null. In the first book she teamed up with LAPD Detective Jesse Cruz to solve a murder case on the orders of her own boss, the head vampire of LA. The two are thrown together again with a case that relates to Scarlett's past, in particular the woman Olivia, who trained her. Olivia, once a null, is now a vampire, and she has all sorts of nefarious plans in mind as she follows her goal to rule the supernatural community in LA.
I enjoyed Trail of Dead while reading it—and I still like how Olson works Scarlett's ability as a null into the plot—but I have to admit that a couple of months later as I write this I can't think of any memorable element except for that bit about the null.
This doesn't by any means make it a bad book. If that had been the case, I would have stopped reading it long before the end. It's just a result of there being too many of this sort of book around. Soon after you're done reading one, they all tend to gather in one's memory and blur into a mishmash of similarity.
Pretty much the same thing happened to me with Rosemary Clement-Moore's Spirit and Dust. The setup is different.
The way it seems to work in urban fantasy these days, if your character isn't a vampire, witch, or werewolf, or in a relationship with one of them, then she can talk to the dead. Daisy Goodnight falls into the latter category.
She's the cousin of Amy and Phin Goodnight from Texas Gothic, which I haven't read, and didn't need to read for this story since the connections don't appear to be deep between the two books.
Daisy's still a teenager, and the book opens with the FBI coming to take her out of school to help them with a murder/kidnapping case. It's something she's done before, but this time she can't get a handle on the dead spirit.
The kidnap victim, she discovers, is the daughter of a mobster who—while she's at the crime scene—has one of his men kidnap her in turn. Even though she assures the mobster that she's doing everything she can to help find his daughter, he still has a witch put a spell on her so that she can only search for his daughter. Then he sends her off with Carson, one of his men, to do just that.
From there the book turns into a kind of scavenger hunt/chase as a bickering Daisy and Carson try to stay ahead of the police and the kidnappers to acquire various artifacts needed to rescue the kidnapped daughter.
I don't mean to denigrate either of these authors or their books, because I know how much hard work goes into writing a novel. But the way books—by their subject matter—blur into one another really seems to be a trend these days. Or at least it hits me that way.
I liken it to a TV show that I happened upon while flipping stations. It passed the time and did its job of entertaining me, but I'm not necessarily compelled to tune in next week.
Dead Set, by Richard Kadrey, Harper Voyager, 2013, $22.99.
I always enjoy it when a writer who normally does a series breaks away from it for a standalone book.
I fall behind on series books—in Kadrey's case I have yet to read something like the last two or three of his Sandman Slim series—and the farther you fall behind, the more intimidating it gets to catch up. I don't know how it happens. All it takes is missing one volume and before you know it, there are just too many. You have to set aside some time to binge-read the series. The more you fall behind, the less likely that is to happen. Finally, you give up and just start the most recent one and hope you can figure out what's happened in the previous books, knowing that you're going to miss all sorts of nuances—and let's face it, probably some great stories, too.
But if you like the author's work—as I do Kadrey's—it's great to be able to have something like Dead Set, where there's no catching up to do at all. You just crack open the book and jump right into the story. It's also a great way to try a writer you've heard good things about, but you're not ready to invest in a series.
Dead Set is an excellent introduction to Kadrey's work. It hits all the notes that define his work. Fascinating characters populate a story that's dark and individual, leavened with moments of humor, heart, and pure strangeness. Best of all, he does the two things every author should aspire to pull off: (1) write a story that only they could have written, and (2) write a story in which you're never quite sure what's going to happen next.
Now the viewpoint character Zoe is a far cry from Sandman Slim. She's still in school, trying to deal with the recent death of her father and to stop cutting herself to ease the pain. Because of problems with the insurance company, she and her mother have had to leave a great home in the suburbs and all of Zoe's friends in exchange for a depressing apartment in the big city. Her mother's trying to find a job without a lot of success. Zoe's trying to deal with being in a new school.
The only respite comes when she sleeps. In her dreams she visits with the ghost of her long-dead brother Valentine. But then, in the waking world, she comes upon a used record shop with a special room in the back. In there are bins of vinyl that don't hold music but actual lost souls in their grooves—including that of her father. When they're played on a special turntable, one can experience the memories of the departed.
I have to say, as a lifelong vinyl junkie, I loved that idea.
I don't want to give too much away. Let me just say that Kadrey's underworld city where Zoe eventually ends up—a waystation between life and death, if you will—is a fascinating and dangerous place, described with rich and sometimes disturbing detail. But Kadrey's just as adept at painting the world in which we all live, capturing its shades of light and dark with equal veracity. And sometimes ferocity.
The first two-thirds or so of the book is the best with its paced unfolding of mystery and menace. The last third isn't so much predictable as a series of chases building up to the climax. Still good, but it would be hard to match the sense of wonder created in the setup.


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One Track Mind: Al Di Meola, "Strawberry Fields" (2011)
SOURCE: SOMETHING ELSE!
By Nick DeRiso
Jazz guitarist Al Di Meola, the former teen prodigy in Return to Forever, accomplishes an uncommon thing here, making something out of a cover attempt at the Beatles' "Strawberry Fields Forever."
The song has such an interior nature, thanks in no small way to John Lennon's brilliant Lewis Carroll-inspired word-play, but also because of its of-the-moment doob-rock pastiche. Sure, the Beatles had done many of these tricks before—strange chord progressions, the use of non-rock instrumentation (four trumpets, three cellos), a false fade out, tape-speed variations, backwards shit—but never in such close quarters. It's almost a puzzle of a record.
So, to the surprise of no one perhaps, most attempts at updating this wackadoo single from 1967 have ended up as empty mimicry or—worse, really—pedantic praise exercises. So, we tick off the list of largely failed tries by everyone from Peter Gabriel to Ben Harper, from Richie Havens to Todd Rundgren, from Vanilla Fudge to Gwen Stefani. Even the brilliantly quirky XTC couldn't get traction on this perplexing psychedelic curio, though there was a more appropriately paranoid feel to the stripped-down Andy Partridge demo released as part of the the Fuzzy Warbles series.
Fact is, though, more often than not, Lennon has it right—even at this late date. There's still no one, I don't think, in his tree.
Di Meola gets there by playing it straight in the jazz sense, unfurling a solo marked by sharp-edged rhythmic syncopations, fresh-take melodies and hipster-sophisticate harmonies. Yet, he's never showy. Di Meola, and this is notable 40 years into a remarkable career, hasn't traded in his instrument's lasting lyrical joys for something so trite as expert complexity. Instead, he's intelligently deconstructing the tune, tearing it down to its emotional foundation, reimaging Lennon's dirgy mellotron-driven lines as sweetly swinging asides. There are, maybe for the first time, these angular sun shards bursting through.
Di Meola hasn't solved the puzzle, so much as shined a new light on its melodic underpinnings.
"Strawberry Fields" is included on Di Meola's new project, Pursuit of Radical Rhapsody. Charlie Haden is at the acoustic bass, in one of his two appearances on this recommended Telarc Records release. Cuban-born Grammy-winner Gonzalo Rubalcaba is on piano, with Mino Cinelu (Miles Davis, Weather Report) on percussion.
This story appears courtesy of Something Else!.
Recording Something Else! AAJ Staff
Sergio Pereira
guitar, acoustic


text:
Het Beleg van Bommenede was de belegering van het tot Holland behorende Bommenede door de in Spaanse dienst staande stadhouder Mondragón in oktober 1575, tijdens de Tachtigjarige Oorlog. Het beleg duurde tot 25 oktober, waarna Bommenede werd ingenomen door de koningsgezinden, die hierna met het Beleg van Zierikzee begonnen.

Bestormingen
Na drie dagen van bresschieten wilden de belegerden onderhandelen over een overgave toen zij inzagen dat de plaats niet langer te verdedigen was. Maar de Spaanse belegeraars riepen terug dat de enige manier van overgave "ongewapend van de wallen springen" was, onder het roepen van allerlei beledigingen. Desalniettemin volgden onderhandelingen tot overgave om een gunstige voorwaarde te bedingen tussen Mondragon en d'Avila. Tijdens die onderhandelingen probeerde een Spaanse soldaat op eigen houtje via een zwakke plek in de wal de plaats binnen te dringen. Gouverneur van Bommenede De Neufville verloor hierdoor het vertrouwen en brak onmiddellijk de onderhandelingen af, en bereidde de inwoners voor dat er tot de laatste man zou worden gestreden.

De volgende dag bestormden de koningsgezinden met 800 man de wallen, waarna gedurende twee uren felle man op man gevechten volgden. De bezetting in Bommenede vocht zo verbeten dat de Spaansen onder zware verliezen van enkele honderden genoodzaakt waren zich weer terug te trekken. Na enkele dagen werd een tweede bestorming ondernomen die vijf uren duurde. De geslagen bres was inmiddels haastig door de burgers gerepareerd, maar bleek de tweede bestorming niet aan te kunnen. Na de inname door de koningsgezinden werd alles en iedereen binnen de wallen doodgeslagen. Slechts 15 inwoners hebben de inname overleefd.

Nasleep
De inname van Bommenede heeft drie weken in beslag genomen. Voor een belegering en inname van een plaats is dat relatief gezien niet veel tijd, maar achteraf bleken deze drie weken een onherstelbaar verlies van tijd voor de koningsgezinden. De drie weken van bloedige strijd in Bommenede waren voor de inwoners van Zierikzee van onschatbaar belang om hun vestingwerken te versterken voor het beleg waarmee zij werden bedreigd.

Bommenede
Militaire operatie in de 16e eeuw
Bommenede
1575
Geschiedenis van Holland
Geschiedenis van Zeeland
Geschiedenis van Schouwen-Duiveland


Response to claim: "Joseph Smith used this....stone in the hat....to produce the Book of Mormon"
Response to claim: "this same stone in the hat....from his folk magic days"
Response to claim: "this 'translation' process did not involve the golden plates"
Response to claim: "which begs the question as to why the plates were needed at all?"
In fact, both the seer stone and the Nephite interpreters were used, depending upon the phase of translation. One is no stranger than the other.
How was Joseph to learn to be a prophet from scratch? God allowed Joseph to develop confidence via a method in which he and others already believed he had skill.
Joseph Smith used the same "rock in hat" seer stone for translating that he used for "money digging"
Gospel Topics: "As Joseph grew to understand his prophetic calling, he learned that he could use this stone for the higher purpose of translating scripture"
Question: Why would Joseph Smith use the same stone for translating the Book of Mormon that he used for "money digging"?
Question: What role did Joseph fill in the community as a youth?
Question: Didn't Joseph's 1826 Bainbridge appearance before a judge prove that he had previously been using his stone for nefarious purposes?
Question: Why would Joseph Smith not continue to use the sacred interpreters provided with the Nephite record?
Question: Did Joseph use his seer stone to view the location of the gold plates in the Hill Cumorah?
Brant A. Gardner, "Joseph the Seer—or Why Did He Translate With a Rock in His Hat?"
Joseph and the Church have always said that the translation was conducted by "the gift and power of God." This means that of course Joseph would not use the plates in precisely the same way as an academic translator would use a source document. He did use the plates initially as he struggled to learn to translate.
(25 June 2014 revision): which begs the question as to why the plates were needed at all?
The question has a simple answer, even if the author refuses to acknowledge it. If there were no plates, it would be easy—as many cultural Mormons and critics have tried to do anyway—to claim that the Book of Mormon was an "inspired fiction." The existence of real, literal plates seen and handled by witnesses is evidence that the Nephites really existed. The Book of Mormon story is not a mere allegory or fiction—it is real history, about real people, who meet a real, genuine, living Christ.
The plates also probably helped reassure Joseph and those close to him that he was not crazy, or delusional, or lying—he had genuine, tangible artifacts.
Some witness accounts suggest that Joseph was able to translate while the plates were covered, or when they were not even in the same room with him.  Therefore, if the plates themselves were not being used during the translation process, why was it necessary to have plates at all?
Joseph did not need the plates physically present to translate, since the translation was done by revelation. The existence of the plates was vital, however, to demonstrate that the story he was translating was literally true.
If there had been no plates, and Joseph had simply received the entire Book of Mormon through revelation, there would have been no Anthon visit, nor would there have been any witnesses. The very fact that plates existed served a greater purpose, even if they were not directly viewed during all of the translation process.
The plates served a variety of purposes.
They were viewed by witnesses as solid evidence that Joseph did indeed have an ancient record.
Joseph's efforts to protect and preserve them helped build his character. If Joseph were perpetrating a fraud, it would have been much simpler to claim direct revelation from God and forgo the physical plates.
Joseph copied characters off the plates to give to Martin Harris, which he subsequently showed to Charles Anthon. This was enough to convince Martin to assist with the production of the Book of Mormon.
The plates' existence as material artifacts eliminated the possibility that Joseph was simply honestly mistaken. Either Joseph was knowingly perpetuating a fraud, or he was a genuine prophet.
Furthermore, the existence of actual plates eliminates the idea that the Book of Mormon was "spiritually true," but fictional. There is a great difference between an allegorical or moral fiction about Nephites, and real, literal Nephites who saw a literal Christ who was literally resurrected.
Question: How do Church members assume that Joseph would have "used the plates" during translation?
The manner of translation was as wonderful as the discovery. By putting his finger on one of the characters and imploring divine aid, then looking through the Urim and Thummim, he would see the import written in plain English on a screen placed before him.
What are these "spectacles" supposed to be doing during this process? Are they somehow converting characters on the plates into English text? What is the difference between this and deducing the English text from a seer stone?
By placing the spectacles in a hat and looking into it, Smith interprets the characters into the English language.
an angel gave him a pair of spectacles which he put in a hat and thus read and translated, while one of the witnesses wrote it down from his mouth.
Smith pretended that he had found some golden or brass plates, like the leaves of a book, hid in a box in the earth, to which he was directed by an Angel, in 1827,—that the writing on them was in the "Reformed Egyptian language,"—that he was inspired to interpret the writing, or engraving, by putting a plate in his hat, putting two smooth flat stones, which he found in the box, in the hat, and putting his face therein—that he could not write, but as he translated, one Oliver Cowdery wrote it down.
Question: How did Joseph Smith actually use the gold plates?
Joseph initially did copy characters from the plates and then translated those characters using the Nephite Interpreters. It appears this was done more than once in the beginning. It also appears that Joseph quickly learned to translate without copying the characters and later without having the plates nearby. The translation process seems to have progressed through several stages with the Nephite interpreters until Joseph discovered his seer stone worked better for him than the Interpreters.
Remembering Nauvoo and Impressions of a Prophet, by John Luke. From the LDS Media Library.
Peterson (2005): The plates "are an indigestible lump in the throats of people...who contend that there were no Nephites but that Joseph Smith was nonetheless an inspired prophet"
↑ Interview of Emma Smith by her son Joseph Smith III, "Interview with Joseph Smith III, 1879," in Dan Vogel (editor), Early Mormon Documents (Salt Lake City, Signature Books, 1996–2003), 5 vols, 1:539.
↑ Orsamus Turner, History of the Pioneer Settlement of Phelps and Gorham's Purchase and Morris' Reserve (1852) 215.
↑ "Truman Coe Account, 1836," in Early Mormon Documents, 1:47. Originally printed in Ohio Observer (Hudson, Ohio), 11 August 1836.
↑ "Golden Bible," The Gem: A Semi-Monthly Literary and Miscellaneous Journal (Rochester, New York: 5 September 1829), 70.
↑ Morning Star VII/45, March 7, 1833.
↑ "Mormonism," New York Weekly Messenger and Young Men's Advocate (29 April 1835). Reprinted from The Pioneer (Rock Springs, IL), March 1835.


FUNKONG ICONPACK Stylish icons for launchers !!
Compatible stock launchers: LG Home (Marshmallow and earlier), Sony Xperia, Asus Zen UI.
1. Work perfect on: Nova, Apex, Solo, Zen UI, ADW.
2. Limited, only applied 1 kind, instead (originally) 9 ones: Evie, Lucid, Aviate, Nougat, Smart.
3. Doesn't work at all: GO, Zero, ABC, Mini, M, V, Next launcher–> disable "Icon Base" to easily fix it on launcher setting.
1. It's hard worked icons. Update or icon addition might be a bit longer or fewer to maintain quality of the goods.
2. Join my G+ community for faster request (read community description before requesting), better you write down the best reason why is your request deserve to be done.
3. I recommend you to request app with at least 5M (free) or 1 M (paid) download. Because for now I give priority to draw app with those numbers.
1. 700+ icons. If you're fans of big size number, please don't make bad review, however it's similar to thousands 'regular' icons work hours.
This entry was posted in Android Launcher and tagged Android:4.0.3 and up, Free APK Downloads, FUNKONG ICONPACK Apk, personalization, premium, Themes . Bookmark the permalink.


We love big ideas and as a team of experienced entrepreneurs and CEOs, we work with ambitious people to make them happen.
Whether it's disrupting an existing market or creating a new one, UKSI Group are in the business of building brands that challenge the status quo. Dedicated to transforming great ideas into world class businesses, we'd love to hear from you, whether you're interested in any of our brands or if you believe we should be interested in yours.


Minister Dr Stephen Farry with Brian Doran, Principal and Chief Executive of Southern Regional College and Margaret Tinsley, Chair of Strategy and Community Planning at Armagh City, Banbridge and Craigavon Council.
A £1.9m design contract has been signed for the new £44m Southern Regional College Campus in Craigavon.
A site close to the Watersports Centre has been earmarked for the new build which will merge the Lurgan and Portadown campuses.
Employment and Learning Minister Dr Stephen Farry this week attended the site of the new Craigavon campus development - which is close to Craigavon Civic Centre and Rushmere Shopping Centre.
The Minister signed the design contract for the development of three new campuses at Armagh, Banbridge and Craigavon. The Armagh and Banbridge projects will see new campuses on the existing sites.
He said: "I am delighted to reach this critical stage in the development of these further education projects which will realise a capital investment of £90m in SRC over the next five years.


text:
Q: How does one smooth an image used as a control skin? I'm embedding an image like this:
[Embed(source="/tool_deleteUp.png")]
private static const c_deleteButton_styleUp:Class;

I'm using it like this:
_removeButton = new Button();
_removeButton.setStyle('upSkin', c_deleteButton_styleUp);

When I rotate the button, the image doesn't scale smoothly. I know the tricks one uses to scale an image loaded in an Image control, but I'm banging my head against a wall trying to figure out how to do it here.
Help!

A: a hacky way would be to traverse the children/grandchildren of the button, to find the corresponding Bitmap that is of type c_deleteButton_styleUp, and set its smoothing to true ... it is a big flaw of flex, that sometimes it requires classes for styling although some IDisplayObjectFactory would completely suffice for that purpose and would make your life a lot easier ... but life is life ...
don't know of a clean flex only way ... the only possibility i could think of, is to create an SWF, that contains your asset as a symbol, with smoothing turned on, and embed this symbol from that SWF ...
hope that helps ...
greetz
back2dos

A: A better, more general solution. Not only does it handle the above case, but it does it

*

*Without subclasses

*It works with any UIComponent, including IRawChildContainers (like Container), which hide skin children in rawChildren

*It only smooths newly added items, instead of running every time the control updates.

public static function smoothChildBitmaps(object:UIComponent):void{

    // Define a nested smooth method
    function smoothChildren(val:UIComponent):void{
        var childList:IChildList;
        if(val is IRawChildrenContainer){
            childList = (val as IRawChildrenContainer).rawChildren;
        }
        else{
            childList = object;
        }

        for(var i:int = 0; i < childList.numChildren; i++){
            var child:Bitmap = childList.getChildAt(i) as Bitmap;
            if(child != null){
                child.smoothing = true;
            }
        }
    };

    // Call the nested method on the object right away
    smoothChildren(object);

    // Set up an event handler to re-call the method when a child is added
    object.addEventListener(
        Event.ADDED,
        function(args:Event):void{
            smoothChildren(object);
        }
    );
}

A: Silly, but it works.
import flash.display.Bitmap;
import mx.controls.Button;

public class SmoothButton extends Button{
    protected override function updateDisplayList(unscaledWidth:Number, unscaledHeight:Number):void{
        for(var i:int = 0; i < this.numChildren; i++){
            var child:Bitmap = this.getChildAt(i) as Bitmap;
            if(child != null){
                child.smoothing = true;
            }
        }
    }

}

A: I do not know what you folks banged your head on no offense, just joking. I had a desk :-P
Anyway, those scripts presented are totally useless! For one thing you cannot cast a uicomponent to bitmap! The other thing is, that the seconds script with rawchildren ist more ore less the same. rawchildren gets your the children and the chrome of the container - that's it. If you have a button in a container you can try to smooth the chrome of the container - the rest stays the same since all casts to bitmap will fail.
So, did anyon rdfm?
On the other hand. One could try out stage.quality to stagequality.best. If you check the adobe forums http://forums.adobe.com/thread/427899 you will see that flex runs well - just air kind of ignores this :-(
If those two scripts ever worked - esp. the part with button as bitmap - I'll go and smash my head somewhere :-). I see NO WAY in the class hierarchy that this could work. After all, numChildren only gives you uicomponents or displayobjects but nothing more!


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