text:
Q: How to specify if a field is optional or required in OpenAPI/Swagger? How to I define in OpenAPI/Swagger if a field is optional or required and what is the default?

A: Fields are optional unless marked as required.
You list required fields like this:
SomeObject:
    type: object
    required:
      - name
      - fartingPower
    properties:
      name:
        type: string
      fartingPower:
        type: integer

A: An alternative syntax:
Response:
  type: object
  required: [id, title]
  properties:
    id:
      type: string
    title:
      type: string

A: By default, fields in a model are optional unless you put them in the required list. Below is an example - id, category are optional fields, name is required. Note that required is not an attribute of fields, but an attribute of the object itself - it's a list of required properties.
type: object
required:  # List the required properties here
  - name
properties:
  id:
    type: integer
    format: int64
  category:
    $ref: '#/definitions/Category'
  name:
    type: string
    example: doggie

Ref: https://github.com/swagger-api/swagger-codegen/blob/master/modules/swagger-codegen/src/test/resources/2_0/petstore.yaml#L658
If this is the model for the request body, you'll probably also need to mark the body itself as required:
# swagger: '2.0'

parameters:
  - in: body
    name: body
    required: true  # <----
    schema:
      $ref: '#/definitions/Pet'

# openapi: 3.x.x

requestBody:
  required: true  # <----
  content:
    ...

To specify the default value of optional fields, you can use the default attribute. Here is an example:
type: object
properties:
  huntingSkill:
    type: string
    description: The measured skill for hunting
    default: lazy


New York is a city that never sleeps, and when the sun goes down, you will have something to do. The only challenge is the best hottest spots bars and nightclubs are located outside the town. These cities may not be exactly the city that never sleeps, but they are cities where the party never ends. In case you happen to visit New York you don't have a reason to scratch your head. Just check out some of the hottest spots to spend your evenings.
Charleston is one of the variegated cities in New York which gives you another opportunity to enjoy your night in style. The night clubs and bars keeps you entertained as you enjoy your beers and cocktails on their rooftop bars. This gives you a sensational view of the city as you enjoy drinking and dancing with famous artists. Whether you love vintage wines, bud light, cheap hook, craft beer or fancy cocktail Charleston nightlife clubs and bars have everything for everyone.
If you are a holiday maker, then Barmuda triangle Hilton head may be a perfect place for you. The bars and nightclubs offer a variety of activities for you to choose from. This ranges from sports, live music, trivia, bar crawls and comedy among other.
When the night falls, Miami night clubs and bars open their doors for nightlife lovers to spice up their day. The moment you set your foot in any of the bars or nightclubs, you get to enjoy a variety of sizzling musical flair with distinct Latino flavor fusing Cuban rhythms and electro pop rumba with fresh classical waves. Live music Miami is what makes the night live and kicking. Whatever kind of style you wish to spend your night, Miami city has it all.


Beautifully presented three bedroom mid terrace Town House situated on the Harold's Cross Road end of Mount Tallant Avenue, a few minutes walk from Terenure Village. This is a bright and airy house with masses of natural light in thelounge. The kitchen is newly fitted and comes with built in fridge freezer, diswasher, washing machine and ceramic hob & oven. The windows have been replaced with PVC double glazed units and the heating is gas fired. All carpets curtains, floor coverings, light fittings and kitchen whites are included with the sale.


text:
HomeMarch 20
March 20, 2016 March 19, 2016 Carl Robert Keyes Daily Advert Update, Guest ContributionBooks, Elizabeth Curley, Harvard College, Harvard College Library, Massachusetts-Gazette
GUEST CURATOR: Elizabeth Curley
What was advertised in a colonial newspaper 250 years ago today?
Massachusetts Gazette (March 20, 1766).
"All such Gentlemen as have generously offered to give Books to the Library of said COLLEGE, would be pleased to send them."
In this advertisement a well-known university asked students and others to both return and donate books to the College Library. This was 128 years after the college was founded. When I think of Harvard University this advertisement asking for books is not what I usually think of.
Shortly after Harvard was founded and the Great and General Court ordered that it would be established in Newetowne (later renamed Cambridge). In 1638, John Harvard willed his library of approximately 400 books and his estate to the college, making him the first Harvard College benefactor.
My question when I saw this advertisement was: why would a 128 year old well respected college library ask their students in a very public way to return those books they promised or borrowed? The answer to that question: because they didn't have many books any more. On January 24, 1764, there was a fire in the original Harvard Hall, which burned around 4,500 volumes, and left only one of their original benefactor's books. The collection went from approximately 5,000 to 500 due to about 400 books being out on loan to students and faculty. An additional 100 new books had yet to be unpacked and were being stored in a different location.
The fire is suspected to have started in the library hearth, where the floor quickly caught fire. Due to the fact that the Massachusetts General Court was there when the fire started they claimed responsibility. Through funds supplied by the Court and numerous generous donations of funds and books, by the end of 1766 a new Harvard Hall had been built and the Harvard library had more books than it did on that cold night in January two years previously.
Beyond my curious nature this advertisement caught my eye because throughout my childhood I loved wandering throughout Boston and Cambridge. From since I can remember I have gone to the Harvard –Yale game every other year, tailgating before and eating pastrami with my family. It's an honored and loved tradition, and one I can not wait to continue this fall. I might even take detour and stop by Harvard Hall. Go Crimson!
I appreciate the way that Elizabeth's personal experiences enrich her appreciation of this advertisement and the story of the Harvard College library that she discovered in the process of asking questions about why this particular advertisement appeared at that particular time. As I have noted several times, the advertisements featured here often hint at hidden stories. In some instances the full details of those stories will likely never be recovered because we simply lack the necessary documents, but in this case the advertisement turned out to be just one of the many pieces of evidence that contribute to reconstructing the events of a particular event that continued to unfold in 1766.
I also like the way that this advertisement helps us to imagine the movement of goods after their initial purchase, in this case the use of books by students at Harvard College. The guest curators and I focus primarily on advertisements for consumer goods that were newly crafted or imported (along with occasional notices for used goods at vendue sales), which allows us to suggest how sellers envisioned that their wares would be used. In examining assorted appeals, we note the reasons that advertisers expected potential customers to visit their shops or engage their services.
This advertisement, however, illuminates the motivations of those who purchased books, whether they bought new ones to pass along to the library immediately, donated volumes that had been in their personal collections for some time, or gave funds for the purpose of acquiring books for the new library. A spirit of generosity animated the exchange of goods – specifically books – in the story this advertisement helps to tell.
← Announcement: Guest Curators Return
March 21 →

redpajama_set_name: RedPajamaCommonCrawl


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1. I can please only one person per day. Today is not your day. Tomorrow's not looking good either.
2. I love deadlines. I especially love the swooshing sound they make as they go flying by.
3. Tell me what you need, and I'll tell you how to get along without it.
4. Accept that some days you're the pigeon, and some days you're the statue.
5. Needing someone is like needing a parachute: if he isn't there the first time you need him, chances are you won't be needing him again.
6. I don't have an attitude problem. You have a perception problem.
7. My reality check bounced.
8. On the keyboard of life, always keep one finger on the escape key.
10. You're slower than a herd of turtles stampeding through peanut butter!
12. Never argue with an idiot. They drag you down to their level then beat you with experience.


Gideon Hausner Jewish Day School, founded in 1989, is an independent community day school providing an outstanding education for close to 400 students in grades K-8 in Palo Alto, California in the heart of Silicon Valley. Laura and Gary's two children are alumni of the school.
The extended Lauder family has contributed nearly $5.2 million in gifts to the school. In 2010, Hausner launched the L'Dor VaDor (generation to generation) Campaign to expand and strengthen the school by constructing a new building and playing field, modifying existing facilities, and increasing its endowment fund. In May 2014, Laura proposed a "capstone challenge" to the school. If Hauser raised $14.8 million by April 2015, she would donate an additional $1 million to the school's endowment fund.
Laura has served in numerous leadership roles at Hausner and in the larger Jewish education community both regionally and nationally. She is past chair of the Hausner's Endowment Fund Committee, past chair of the San Francisco Regional Day School Scholarship Fund Committee, past chair of the Diller Jewish Teaching Award Committee, and served on the board of directors of Jewish Education Service of North America.


Where to stay in Venice? Planning your vacation in Venice, certainly you will be asked.
Visit Venice will help you find the best solution for your needs: there is a wide choice of accommodation in Venice. For your visit to the city you can choose between hotels of all categories, from the Extra Luxury, to the Pensions, from the romantic hotels of Venice, to the design hotels, from the B & B, to the hostels, to the Apartments. You can choose those in the heart of the historic centre, while if you are a young traveller you will probably look for a cheaper solution to stay in Venice. There are many possibilities in the historic centre and as many in the metropolitan area of Venice.
Whatever type of trip you are planning, on our list you will find the best places to stay in Venice divided by categories.


text:
Ryan Michael Madson (né le  à Long Beach, Californie, États-Unis) est un lanceur de relève droitier des Nationals de Washington de la Ligue majeure de baseball.

Il évolue de 2003 à 2011 les Phillies de Philadelphie, faisant partie de l'équipe championne de la Série mondiale 2008. Absent du baseball majeur du  au , il effectue un retour avec les Royals de Kansas City et participe à la conquête d'un nouveau titre en Série mondiale 2015.

Biographie

Phillies de Philadelphie
Ryan Madson est réclamé par les Phillies de Philadelphie au  (245e au total) du repêchage de 1998. Il fait sa première apparition avec l'équipe en  et devient un régulier de l'enclos de relève de l'équipe en 2004. Sa fiche à sa première saison complète est de 9-3 en 52 matchs, dont un départ et 51 présences comme releveur.

En 2006, les Phillies décident de donner une chance à Madson comme lanceur partant, un rôle qu'il occupait dans les rangs mineurs. Il remporte 11 victoires en 17 départs durant la saison mais sa moyenne de points mérités est élevée, à 5,69. Dès la saison suivante, il reprend son rôle de releveur. Le lanceur droitier est ensuite utilisé pour préparer la table pour le stoppeur de l'équipe, Brad Lidge. On voit donc surtout Madson en 7e ou .

Madson remporte sa première décision en séries éliminatoires en 2008 lors de la Série de championnat alors qu'il est crédité de la victoire lors du match # 4 entre les Phillies et les Dodgers de Los Angeles.

Après la saison 2008, qui a vu Madson et les Phillies remporter la Série mondiale, le lanceur signe un nouveau contrat de 3 ans pour 12 millions de dollars avec Philadelphie.

Madson est très utilisé par Philadelphie en 2009 : 79 présences au monticule et 77 manches et un tiers de travail. Sa moyenne de points mérités (3,26) est légèrement supérieure à celle de la saison précédente (3,05). Il remporte une victoire, contre aucune défaite, dans les séries éliminatoires de 2009, un gain au premier tour sur les Rockies du Colorado.

En 2010, il compte 53 manches lancées en 55 sorties pour Philadelphie. En plus de remporter six de ses huit décisions, il affiche une excellente moyenne de points mérités de 2,55. Malgré 10 retraits sur des prises en seulement 6,2 manches au monticule dans la Série de championnat de la Ligue nationale, il est le lanceur perdant du sixième match entre les Phillies et les Giants de San Francisco lorsqu'il accorde un coup de circuit à Juan Uribe qui permet à l'adversaire de l'emporter 3-2 et de gagner la série.

En 2011, il se voit confier le rôle de stoppeur des Phillies en remplacement de Brad Lidge, souvent blessé. Madson réussit 32 sauvetages au cours de la saison et maintient une excellente moyenne de points mérités de 2,37 en 60 manches et deux tiers lancées. Madson, en quête d'un contrat de plusieurs saisons après cette campagne, semble destiné à être stoppeur des Phillies pour l'année suivante, mais Philadelphie décide de mettre sous contrat l'agent libre Jonathan Papelbon, anciennement de Boston, pour 4 ans.

Reds de Cincinnati
Le , Madson rejoint officiellement les Reds de Cincinnati, de qui il accepte un contrat d'une saison pour 6 millions de dollars. Durant l'entraînement de printemps des Reds, il ressent des douleurs aux coudes. Il doit subir une opération de type Tommy John qui le met à l'écart du jeu pour toute la saison 2012.

Angels de Los Angeles
Le , Madson signe un contrat d'un an avec les Angels de Los Angeles. Il n'évolue cependant pas pour les Angels et passe l'année 2013 avec l'un de leurs clubs affiliés en ligues mineures.

Royals de Kansas City
Il ne joue pas en 2014 et le  signe un contrat des ligues mineures avec les Royals de Kansas City. Madson est alors père à la maison, s'occupant de ses 5 enfants. Son retour imprévu au baseball professionnel est provoqué à l'été 2014 par un appel de Jim Fregosi Jr., un employé des Royals de Kansas City qui avait mis Madson sous contrat pour Philadelphie, son employeur de l'époque, en 1998. Fregosi demande à Madson de servir de mentor pour un adolescent joueur de baseball du nom de Johnny Morell. L'hiver suivant, Fregosi insiste pour que Madson tente un retour au jeu.

Madson, qui n'avait pas participé à un match des majeures depuis le , effectue son retour avec Kansas City le  face aux White Sox de Chicago. Il relance sa carrière de belle façon grâce à une moyenne de points mérités d'à peine 2,13 en 63 manches et lancées lors de 68 matchs joués en 2015 pour Kansas City. Il est un membre important du dominant trio de releveurs des Royals, remplaçant aux côtés des étoiles Wade Davis et Kelvin Herrera une autre vedette, Greg Holland, mis à l'écart du jeu par une opération Tommy John. Madson blanchit les Mets de New York en 3 manches lancées lors de 3 apparitions au monticule dans la Série mondiale 2015, remportée par les Royals.

Athletics d'Oakland
Le , Ryan Madson, 35 ans, signe un contrat de 22 millions de dollars pour 3 saisons avec les Athletics d'Oakland.

Nationals de Washington
Le , les Athletics d'Oakland échangent Madson et le lanceur de relève gaucher Sean Doolittle aux Nationals de Washington en retour du lanceur gaucher Blake Treinen et de deux joueurs de ligues mineures, le lanceur gaucher Jesus Luzardo et le joueur de troisième but Sheldon Neuse.

Notes

Liens externes
  Statistiques de Ryan Madson sur Baseball Almanac
 Statistiques de Ryan Madson sur Baseball-Reference
 Fiche de Ryan Madson sur le site des Ligues majeures de baseball

Naissance à Long Beach (Californie)
Naissance en août 1980
Joueur des Phillies de Philadelphie
Joueur des Royals de Kansas City
Joueur des Athletics d'Oakland
Joueur des Nationals de Washington
Lanceur des ligues majeures de baseball
Joueur américain de baseball

redpajama_set_name: RedPajamaWikipedia


A Venice native and Venice High School alumni. Chris started with the agency in late 2013, just before the Affordable Care Act was in force. Bringing Chris on board as the "health insurance guru" has helped the agency keep up with the ever changing industry.
He has helped hundreds of individuals and families enroll in a health plan through the health insurance marketplace. Chris has also worked with numerous employers to bring strong employee benefits to their company.
He is currently attending classes at USF Sarasota to obtain his bachelor's degree in finance. With this continuing education he will bring more knowledge and a better understanding of the financial world to our clients.
Jim's career choice in his younger years was with John Deere in the Northeast region of the U.S. After a long 20 years in the corporate world he decided to work for himself and his clients. He then moved to the Venice area and established Medallion Financial Resources and James Ball Insurance.
Now, with over 20 years experience in the financial industry, Jim has helped hundreds of clients reach their retirement goals. He specializes in moving assets to a safer product and avoiding the risk of loss and the burden of taxes. One of his famous sayings is, "it's not how much money we get in retirement, it's how much we get to keep."


Frankie has been a Therapy Dog for over 4 years now, and she is my Quiet Hero. She and I visit the city hospital to see people from every walk of life, and she is always happy on our visiting days. We go every Saturday, and people love to see her with her Terrier face and sweet perky ears. Many times, people will react to Frankie more than any other stimulus, and it brings them joy and a break from the reason they are in the hospital. She's a special little girl, with a gift of love that comes from her heart. Frankie is a Good Dog.


FleishmanHillard's UK managing director Richard Kanareck has resigned and will leave the world's third-biggest PR network at the end of the year. He is understood not to have another role lined up.
He was hired to lead the London office in October 2010 when he was European comms director at eBay.
John Saunders, FH's regional president for EMEA, said the firm had been working on plans to restructure the managing director role in London and the organisation that would "set it up for the next stage of growth".
"This restructure presented Richard with the opportunity to consider other roles within our organisation. After a transformative four years at the helm of FleishmanHillard in London he has decided, however, that this is a natural point to leave and pursue his next career step," said Saunders.
In the interim, the London office will be run by the remainder of the management team, reporting to Saunders, but the firm said it would be shortly "making further announcements regarding exciting plans for 2015".
Globally, FH is estimated to generate fee income exceeding $550m. In PRWeek's Top 150 UK PR Consultancies report, the UK operation was estimated to generate £17m in fees.
There is a sense in the industry that the UK arm has underperformed the wider global network over the past decade.
Saunders added: "Richard has brought great insight and passion, both to his role in London and as a member of the wider leadership team within the EMEA region. Richard is enormously talented and he leaves us both with our heartfelt thanks for his great efforts and our warmest best wishes for the future."
Kanareck told PRWeek: "I've achieved what I set out to do in my four years at FH – the business, clients and culture of the London office have been transformed. It was lovely to see the progress recognised with the recent PRWeek win [International Agency of the Year] – that marked a very natural moment to look to the next challenge.
"I'm privileged to have enjoyed senior client-side, agency and management roles within some first-class organisations, and am taking a well-earned break before finalising my next move.
"Fleishman's in great shape and will continue to develop and grow in London. It's a talented team at all levels, and I wish them all the best as they embark on the next stage."


text:
The next deficit deal: There's a rough road ahead
The special panel's goal is lofty: concoct a deal both parties will embrace to slash federal deficits by a mammoth $1.5 trillion or more over the next decade.
WASHINGTON – The special panel's goal is lofty: concoct a deal both parties will embrace to slash federal deficits by a mammoth $1.5 trillion or more over the next decade.
Yet from the moment House and Senate leaders appoint the 12 members until the 2012 elections, hurricane-force political pressures are going to make it tough to produce anything substantial.
All sides will fiercely defend core priorities, Republicans opposing tax increases and defense cuts and Democrats protecting benefits for Medicare, Social Security and Medicaid recipients. Those happen to be exactly where nonpartisan analysts say savings must occur for any serious deficit-cutting package to emerge.
The decisions — at least the next big ones — rest with the committee set up by the agreement that defused the debt-limit crisis this week.
Every choice will have implications for President Barack Obama's re-election, for Republican hopefuls jockeying to unseat him and for Democrats and Republicans struggling for control of the House and Senate.
If the special committee of lawmakers fails to produce a savings plan by Thanksgiving or if Congress rejects it by Christmas, this week's compromise debt limit accord between Obama and Congress will automatically trigger cuts of $1.2 trillion from much of the budget, with half from the military.
That would mean "dangerous across-the-board defense cuts that would do real damage to our security, our troops and their families and our ability to protect the nation," Defense Secretary Leon Panetta declared Wednesday.
Here's a map of the road ahead, based on interviews with two dozen lawmakers, aides and lobbyists:
APPOINTING COMMITTEE MEMBERS
Within two weeks, Democratic and GOP leaders of the House and Senate will each name three lawmakers to form the new 12-member committee.
House Speaker John Boehner, R-Ohio, House Minority Leader Nancy Pelosi, D-Calif., Senate Majority Leader Harry Reid, D-Nev., and Senate Minority Leader Mitch McConnell, R-Ky., are sure to name members who will be unquestionably loyal to them and their party's interests.
The special committee will need approval by just seven members to send a package to Congress for a vote with no changes allowed. No leader can afford to appoint a wild card who might stray.
The leaders have another incentive to name loyalists who follow party orthodoxy: self-preservation. None wants to lose seats in the next election, or risk a rebellion by rank-and-file lawmakers that might cost them their leadership posts because a committee agreement abandons party priorities.
"People's political survivability might be at stake here, both for members and control of each chamber," said Robert Reischauer, president of the nonpartisan Urban Institute.
Appointees will probably have budget expertise. It could be risky to name legislators who were members of the Simpson-Bowles commission or the Senate's "Gang of Six," bipartisan groups that proposed budget plans that included higher taxes and benefit cuts, because they might embrace a compromise that party leaders oppose.
So far, names floated as possible Republican members include Sens. Jon Kyl of Arizona, the No. 2 GOP leader who is retiring after this term; Rob Portman of Ohio, White House budget chief under President George W. Bush; and Mike Johanns of Nebraska, a first-termer and former governor.
Other GOP possibilities include House Majority Leader Eric Cantor, R-Va., and House Budget Committee Chairman Paul Ryan, R-Wis.
Possibilities from the other party include Senate No. 2 Democratic leader Richard Durbin of Illinois and Senate Budget Committee Chairman Kent Conrad, D-N.D., who is not seeking re-election.
For fear of a committee populated by 12 white men, Pelosi seems likely to name appointees who reflect gender or racial diversity, Democrats say. Boehner might feel a need to appoint a member of the Republican Study Committee, an organization of House conservatives, or one of the 87 GOP freshmen.
THE COMMITTEE'S WORK
No one contests that it will be hard to produce a package that is due a month before the start of a presidential and congressional election year and just two months before Iowa caucus voters have a say on the Republican presidential nominee.
Party leaders are already laying down markers.
On Tuesday, McConnell said on Fox News that the odds of the committee endorsing tax increases were "pretty low," adding, "I'm comfortable we aren't going to raise taxes coming out of this joint committee."
Reid expressed a different view.
"We will have no legislation that will come out of that joint committee unless revenues are part of the mix," he said on National Public Radio. "It's a fact of life."
A big bipartisan deal would doubtless be greeted with popular approval and both parties could claim credit for it. It would also be touted by Obama months before he faces voters for a second term.
But other incentives could complicate efforts to reach an agreement.
With the weak economy, the anti-incumbent mood of voters and Democrats defending 23 of the 33 Senate seats up for election next year, Republicans have an excellent chance of winning control of that chamber. A deal that lets Senate Democrats boast of an accomplishment might not help McConnell's chances of becoming majority leader.
Pelosi and Reid may not be helped by a deal in which Democrats agree to Medicare benefit cuts in exchange for tax increases. Many Democrats think the House-passed Republican budget, which completely reshapes Medicare, is a winning political issue for them that they don't want to surrender.
Boehner, whose command of the House is both fueled and threatened by anti-tax tea party lawmakers, has little incentive to bless a deal that raises taxes. But if an agreement includes Medicare cuts, he could be tempted to embrace it because it might neutralize that issue for Republicans.
Pushing the committee to produce an agreement are the $1.2 trillion in automatic budget cuts that will be triggered if the panel deadlocks or Congress rejects its work. Obama and congressional leaders made the automatic cuts truly unappealing to both parties, with half of the $1.2 trillion hitting the military — anathema to Republicans — and the other half slamming domestic programs popular with Democrats.
"I understand the nuclear option. It cuts both ways," said freshman Rep. Allen West, R-Fla., a tea partier, retired Army lieutenant colonel and member of the House Armed Services Committee.
Democrats hope the prospect of steep defense cuts will give them leverage in the special committee, forcing the GOP to consider what they have soundly rejected — revenue from taxes.
"It puts us in a much better position than we were using the debt ceiling debates to get taxes into the equation," said Sen. Ben Cardin, D-Md.
Even so, many freshmen and tea party-backed lawmakers are less protective of the Pentagon than some of the more senior lawmakers in Congress.
OUTSIDE PRESSURE
Outside groups are trying to influence the composition of the committee and its end product. Health care providers, labor unions, conservative and liberal groups and others are sure to intensify pressure on panel members as their work proceeds.
In one warning shot, a would-be tea party challenger to Sen. Olympia Snowe, R-Maine, sent an email to supporters chastising her for voting for the debt limit bill on Tuesday.
"Snowe betrayed us," wrote Scott D'Amboise.
The Aerospace Industries Association was already pressing for appointment of members of the congressional committees that oversee the military to serve on the special bipartisan panel.
Marion C. Blakey, president and CEO of the association, said spending cuts "would weaken the defense industrial base that is responsible for thousands of high-paying jobs and billions of dollars in exports."
Panetta, in a message to Defense Department employees, said the automatic cuts are "designed to be unpalatable to spur responsible, balanced deficit reduction and avoid misguided cuts to our security."
THE END GAME
Should the special committee's work prove unsuccessful, the two parties will have all of 2012 to continue their battle.
The $1.2 trillion in automatically triggered budget cuts don't take effect until January 2013. That is exactly when broad tax cuts worth trillions of dollars, enacted under President George W. Bush, expire. Those two events could push lawmakers to strike a deal that marries spending reductions with the renewal of some of those tax cuts.
A complete deadlock that leaves the spending cuts in place and fails to renew Bush's tax cuts would save the government huge sums.
"If everybody does nothing, it could have a very good result for the budget," said Robert Bixby, executive director of the nonpartisan Concord Coalition, which advocates a balanced budget.
Another possibility for 2012: If the automatic spending cuts have been triggered, Congress could restore the money in an irresistible election-year vote to beef up Pentagon spending.
GOP presidential candidates stand ready to criticize Obama should a deal fall through and automatic budget cuts whack Pentagon spending.
That would give the hopefuls at least one issue for 2012 — Obama as commander in chief oversaw steep cuts in defense spending while waging war in Afghanistan and possibly keeping troops in Iraq.
Meanwhile, both parties will be focused on influencing the November elections.
"All this is going to be litigated in the next election, and that's where I think the final verdict will be rendered," said Sen. John Cornyn, R-Texas.
Jerry Brown Pardons 5 Ex-Convicts Facing Deportation, Provoking Trump
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Student at California School Grazed by Nearby Gunfire
We Asked Women in Blue-Collar Workplaces About Harassment. Here Are Their Stories.
Jury ends 1st day without verdict on Casey Anthony


text:
Kyle Chalmers has condemned the coverage of Cody Simpson's election drama for the world
Olympic champion Kyle Chalmers has hit the media coverage of the election drama between himself and Cody Simpson, which surpassed the Australian Swimming Championships in Adelaide.
After the pair finished second and third in the 100-meter butterfly, Chalmars was cast as a bad boy for not giving Simpson a place in next month's World Championships in Budapest.
The top two opted for the World Cup, but Chalmars had previously flagged that he would not compete in Hungary, opening the door for Simpson to get a place in his first national team.
Read more: Aussie Olympic champion holds epic world record
Mole: Why wouldn't a cowboy gun win a prestigious award?
Read more: Red bull excitement erupts in the call of 'injustice'
But a backflip from Chalmers means Simpson has been dropped, dismissing the Olympic champion as "sad" and claiming that Simpson had decided to date his ex-girlfriend Emma McKeown.
Chalmers said the call was based on the fact that he started out as a butterfly swimmer and only his body prevented him from representing Australia in that event.
Kyle Chalmar finished second in the national title 100m butterfly. (Getty)
Although not in the World Cup squad, Simpson has been named in the Dolphins squad for the Birmingham Commonwealth Games in July.
Chalmar was particularly absent from the team announcement.
"The last few days have been really challenging for me emotionally and emotionally and it has had a huge impact on me. As I prepare for a huge year in the pool I have to take care of my mental health and fix myself," Chalmers wrote on Instagram.
"I can't handle the media's negative attention to my decision to compete in the world and the lines of story that surround my personal life. Shame to see the line unfold.
"The best thing for me at the moment is to rest in a house surrounded by my friends and family in Port Lincoln.
"I (sic) am also grateful for the opportunity to represent my country again, who knows how many more opportunities I (sic) will have to do so … so I am taking full advantage of this opportunity and keeping my dreams alive before it's all over I hope you I can make everyone proud. "
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Ješa Denegri, The Reason for 'The Other Line' [ENGLISH]
The Reason for 'The Other Line'
Published in: Exhibition Catalogue Jugoslovenska dokumenta, Sarajevo, 1989
The concept of 'The Other Line', which is conditional and ungrounded in art theory, anticipated and suggested the grasping of one particular set of events in contemporary Yugoslav art. These events were in contrast to, or consciously distinct from, certain dominant streams in art; they formed a specific area, which basically aspired towards radicalisation of the notion of 'art' and, therefore, towards the radicalisation of artistic behaviour. 'The Other Line' was not an artistic expression that could be recognised or set in advance, but rather a mentality, and a reaction of certain artists and artists' groups to the existing cultural and social circumstances. It was, in fact, a way of shrinking back from being integrated into those very circumstances and, thus, of searching for an independent artistic attitude. 'The Other Line' was not in ideological opposition to the alleged 'official' status of some ineradicable streams in modern Yugoslav art, nor was it a local version of the epochal conflict between the 'avant-garde' and 'tradition' – a conflict which is, in the present circumstances, groundless. 'The Other Line' could indeed be conceived as an alternative to some different artistic expressions and behaviour, but it would be more accurate, more moderate, and certainly more realistic, to regard it as a set of phenomena which were interconnected by a certain language, psychological similarities and spiritual affinities, making for a potential art historical whole.
The beginnings of 'The Other Line' in Yugoslavia's culture can be found in occasional, but In terms of the local environment, very valuable, inclusions in those streams of European art known as the 'historical avant-garde'. In the early 1920's, some artists and groups were associated with particular art magazines and followed the trend: Ljubomir Micić's magazine, Zenit, and Dragan Aleksić's Dada Tank and Dada Jazz. Another member of this group was August Černigoj, who attended the Bauhaus in Weimar in the summer of 1924, and, having become familiar with the ideas of the Russian Constructivism, assembled a group of sympathizers in Trieste, who worked in line with the ideology of that movement. It was not, of course, an entirely uniform group – there were uncompromising fundamental and personal conflicts inside the membership (such as a Zenithism-vs-Dada conflict between Micić and Aleksić) – but, on the whole, that no longer posed an obstacle to seeing them all as part of one and the same movement, characterised by the aim of radicalising ideas about art and artistic behaviour.
That radicalization was undertaken through manifestos, proclamations and theoretical texts written entirely in the spirit of the ideology of the historical avant-garde. It could also be observed in works of art – collages, photo-montages, prints, spatial constructions, drawings and, occasionally, the paintings of Bijelić, Klek, Petrov, Černigoj, Stepančić and others. Although few in number and short-lived, these artistic events, directly related to similar European processes, were a heroic chapter in contemporary Yugoslav art. Its linguistic particularities, behaviour, understanding of the artist's vocation and the art objects themselves founded a cultural heritage and example to all later events, hereafter referred to as 'The Other Line'.
In the postwar social and cultural circumstances, the notion of the avant-garde, established in the first decades of the century, could not survive any longer, although there were certain trends which claimed to mark a break with the existing and inherited spiritual climate of their milieu, or at least some kind of fundamental shift. In the early 'fifties, the art group, EXAT 51, appeared, demanding respect for the new medium of of Abstract Art, and introducing astyle whichh was regarded at the time as Iedologically dubious. Theyfought for a reconstrution of their surroundings through a synthesis of the artistic and architectural design of space. They regarded the role of the artist, not as a producer of aesthetic objects, but as an active participant in the modification of the everyday milieu. Although these aims could not be achieved at the time of EXAT's existence, the mere expression of such needs was enough to place this group and its members among the pioneers of new developments in in various artistic comains: abstract painting, architecture and town-planning, graphic and industrial design, stage design, cartoons and art education.plastic-arts pedagogy. The members of EXAT 51 were well aware of the theoretical and practical principles of their activity, as well as of the cultural inheritance of which they were part, within their own milieu. The statement of one of EXAT's members, Ivan Picelj, testifies to that awareness:
"To just create a piece of art wasn't enough. It had to be defended. It was a confrontation... Among all the plausible and implausible arguments against our painting, the most repeated one was that we didn't belong here. The fact that Aleksić (Dada), Micić (Zenit), Šumanović (post-Cubism) and Seissel (Bauhaus) worked in this city was overlooked".
The assumption on which EXAT 51 acted was based on an ideology rooted in structure, design and a constructive approach to problems of form - likewise, the behaviour of the group's members. A decade later, in the early 'sixties, similar attitudes were once again expressed through the affiliation of most of the former members of EXAT-51 to the international movement, New Tendencies, which made Zagreb their centre, on account - in part, at least - of their earlier activities. New Tendencies bore all the traits of a typical postwar neo-avant-garde; its sole and final aim was not the linguistic dimension of the artistic work in itself, but rather an analysis and criticism of the conditions that affected the work. The movement aspired to redefine certain fundamental assumptions of artistic practice, and, therefore, to redefine the social determinants and the social status of art, in general. Apart from the artists, critics and organisers also took part in these events and became integral components of them. One of the leading theoreticians at the time, Matko Meštrović, best expressed the essence of the New Tendencies:
'The "New Tendencies" appeared spontaneously in the climate the old Europe was first to feel. A positive attitude towards scientific achievements is the tradition of the pioneers of modern architecture, neoplasticism and members of Bauhaus, which remained alive. Also alive was the confidence in the potential transforming power of technology and industrialisation. The deep-rooted Marxist thought made the approach to social change and problems constructive. Those were the reasons that made the first criticism possible in Europe, and with it came the first opposition to corruption and alienation. A resolute demand was made for the demystification of art and artistic creation, and for the unmasking of the dominant influence of the art market, which speculated in art, treating it in a contradictory way – as both myth and commodity. The tendency towards the suppression of individualism and towards promoting the spirit of collective work also became possible. A progressive political orientation was clearly expressed, and art was concentrated on the problem of plastic and visual research, endeavouring to establish objective psycho-physical principles of the plastic phenomenon and visual perception...'
However, the social and psychological tensions of the time did not allow the radicalisation of artistic expression and behaviour to be introduced solely through a design-led, constructive approach. Furthermore, there was a tendency towards the idea of 'artistic negativity' or 'negative artistry', which, instead of creating forms and works, was inclined towards the destruction or, at least, the reduction of material and sulptural elements.
When an artist fails to see the possibilities and reasons for his social integration, when he loses faith in collective efforts and the commonly accepted view of the way society should develop, he unavoidably turns to his own inner world and concerns. But in so doing, he also turns to some general questions about the survival of art itself. This creates a climate which results in an exceptional and conscious defence of the uncommunicative nature of modern painting. Painting is a gesture of the artist's will and, undoubtedly, there are authentic reasons for its creation. But it is no longer the author's link with the world. Painting then becomes an amputated, independent organism, living on the verge of proud self-sufficiency. Such were the positions of a non-iconic and anti-artistic, extremely radical art stream in Art informel of the late 'fifties and early 'sixties – the informel of Ivo Gattin, Eugen Feller, Vlado Kristl, Djuro Seder and Marijan Jevšovar. This stream was separated linguistically, spiritually and psychologically from other streams in the same climate and artistic environment. It had nothing in common with those subgroups which turned away from the subversive attitude typical of the mentality of this 'Art of Another Kind' (Un Art autre, as Michel Tapié named it) to the production of paintings, as aesthetic objects. Some members of the radical Art informel movement were at the same time members or close associates of Gorgona, an informal group of artists and intellectuals who were active in the early sixties and contemporaneous with New Tendencies. Gorgona aspired to dislodge established notions of art and to focus instead on behaviour, as a medium of artistic and spiritual existence, generally. Gorgona was said to exist, rather than work, since the activity of this group was not public, although its members were all well-known public personalities – mostly artists and critics. Nonetheless, because of its dual position – one of which was public, the other underground and cryptic – this artistic behaviour, for the first time in Yugoslavia's culture, stressed its acceptance of a feeling of existential unease and alienation, as a force driving the artistic impulse. Thus, it exposed the belief that creating art was not a matter of professional education or social status, but, to the contrary, it was a matter of not having any other choice. In other words, being an artist meant being condemned to the only means of expressing oneself in the apparently shielded, but completely limited and, to others, inaccessible field of art.
It was no accident that a re-examination of Gorgona and Radical Art informel occurred more than a decade after themergence of these two tendencies. It happened in a spiritual climate which could be seen as a result of another 'cut' in postwar art – in the social and ideological turmoil at the end of the sixties and beginning of the seventies. Today, the prediction of Renato Barilli may seem exaggerated. He claimed that, in the future historiography of modern art, the year 1968 would be taken as a turning-point, but he distanced himself from the idea that this 'cut' could be directly connected with the political circumstances around that date, and attached greater importance to cultural processes and psychological moods. The art produced at that time throughout the world, including Yugoslavia, was not limited to the production of completed aesthetic objects, such as paintings and sculpture, but was transferred to the artist's actual behaviour, his personality, his body and his 'first person speaking'. It was only natural that such historical circumstances led to an explosion of emotional outbursts, which created the mood of the 'new sensibility'. This spread throughout the the mass media and alternative culture, fields which should not be equated with those forms of artistic expressions formed between 1966 and 1969 (Arte Povera, Conceptual Art, Land Art, Body Art, and others). A succession of artists' groups (OHO, Bosch-Bosch, Kôd, (Ǝ, etc.) and individuals (Radomir Damnjan, Ilija Šoškić, Tomislav Gotovac, Braco Dimitrijević, Goran Trbuljak, Marina Abramović, Neša Paripović, Zoran Popović, Raša Todosijević, Sanja Iveković, Dalibor Martinis, Mladen Stilinović and others) were part of this new trend. The sidelining of this trend from the dominant stream in artistic milieux gave rise to a wider recognition of the phenomenon, 'The Other Line' , in contemporary Yugoslav art. The phenomenon was characterised by breaks in conceptual links and discontinuity from many central streams within that art, but, at the same time, that led to a different continuity, one with the heritage of the historical avant-garde (Zenit, Aleksić, and Černigoj and his circle), as well as postwar neo-avant-garde trends (EXAT-51, New Tendencies, the Radical Art Informel and Gorgona). Despite considerable differences between these different forms of artistic expression, it is possible to establish certain traits they all had in common. They aspired towards extreme means of artistic articulation, and endeavoured to think art and do art without being obliged to realize it in a completed artwork. Even when classical methods and techniques were used, it was evident that the means used could be subjected to aesthetic and artistic evaluation in terms of a final result. On the other hand, artistic expression was either completely depersonalised or completely personalised, whereby a different mental language and different metalinguistic processes were employed. The orientation was one of a radical asceticism of visual form and a conscious turn to the field of 'silence'. Susan Sontag convincingly demonstrated that this stratagem of art behaviour was not a question of denouncing the work of art, but an extremely responsible approach to reflecting upon the sense of creating art according to the usual practices. It was those many characteristics of the art that could, according to every standard and conventional artistic criteria, be regarded as inartistic, or as outside the realm of art, although they were most significant, from an artistic point of view. They were that, by virtue of the seriousness of dilemma they gave rise to, and were referred to in Argan's well-known, and only seemingly paradoxical statement, that 'everyone can do art, but only a true artist can do no-art'.
In the spiritual climate of the last decade, the proposition of 'The Other Line', strongly marked by the ideas of Postmodernism, may seem burdened with exclusivity which is characteristic of the experience based on the culture of the historical avant-garde, the neo-avant-garde and Modernism. There is little doubt that, in view of the character of art in the last decade [up to 1989], many of the earlier categorisations have ceased to be valid. Artists and art groups no longer suffer from the former ideological polarisation, and the idea of pluralism, although exhausted by incorrect usage, remains one of the basic traits of art orientations in the current historical moment. Therefore, it is not difficult to agree with Gilles Lipovetsky's statement:
"In general, the sudden breaks are becoming less frequent, and the impression of déjà vu is stronger than that of novelty... We no longer feel that we live in a revolutionary period. The constant decline of the level of the avant-garde's creative power coincides with the difficulty of behaving in an avant-garde manner... The weariness of the avant-garde does nor mean that art is dead, that artists no longer have imagination, but that the most interesting works have gone in another direction and no longer strive for expression without traits. They are, to an even greater degree, subjective and often obsessional. The search for purity has replaced the search for novelty".
The basic truth of this statement should not obstruct the need for selectivity, for differences in type and value, and an open display of artistic expressions which qualify art as an ethical vocation, rather than art as a mere profession, a source of material commodities, or as a lever for gaining social status. There is a great need today for a safe orientation in critical attitudes, positions, choices and decisions, which does not, of course, entail dominance and indoctrination by this orientation. As Tomaž Brejc rightly said:
"Perhaps it is a consequence of the desire to find some regulating mechanism, a model of awareness in the chaos of modern art production".
In the art of the last decade, such a mechanism could not be found at the level of formal expression and technique, but could be detected, at least generally, at the level of emotions, similarities of outlook and individual psychology. In other words, this mechanism could be noticed at the level of that certain instinct with which the authenticity and originality of an artistic statement can be recognized, quite apart from all theoretical criteria. The art of the last decade, created in an atmosphere of fiery arguments about the nature of Postmodernism, has different features from those of the previous period, and different, too, from the traits of 'The Other Line'. Nonetheless, it is possible to feel, claim and even demonstrate that, in some individual cases in Yugoslavia's contemporary art, a mentality akin to that of 'The Other Line' has been inherited and continued, and a psychological and spiritual unity established. It is true that this art, as was the case with the historical avant-gardes and the postwar neo-avant-gardes, no longer cultivated utopian projections, no longer sought deeper changes in the evaluation of tradition, and no longer radicalised the means and form of artistic creation. But, despite that, it still shares with the former experiences a consciousness of the critical and independent behaviour of the artist, and believes in the defence of his moral integrity. An artist is an independent intellectual who stands apart from ruling ideologies with which he is forever confronted. Thus, rather than merely by expression, technique, tendencies and style, individual artists participate on equal terms in establishing mentality, behaviour and attitude, similar to the phenomenon of 'The Other Line'.
JEŠA DENEGRI


text:
The Baltimore County Courthouses are located in  Towson, the county seat. The older, original Baltimore County Courthouse ("Historic Courthouse") of 1854-1856 (and three additions that eventually formed an 'H' shape) houses many of the offices of the County government, including both the executive branch (county executive and their departments/agencies/boards/commissions, etc.) and the legislative branch (County Council). The County Courts Building (known as the "new" courthouse) lies to the west, separated by a plaza. Built in 1970-1971, it houses the civil, criminal, family and juvenile divisions of the Circuit Court of Maryland for Baltimore County, as well as the Baltimore County Sheriff's Office. The latter office protects the Courthouse and its judicial personnel, as well as having countywide law enforcement functions.

Historic courthouses

The historic Baltimore County Courthouse is an edifice of limestone and marble, two stories in height and nine bays in length, surrounded by a modest park and square on the east (and north/south) sides; this is landscaped with a variety of flowers and shrubs and small trees, with winding paths and benches. Several small memorials and historical objects are displayed. The east original facade of 1855-1856 is of Greek Revival-styled architecture, with a portico/porte-cochère that has a pediment supported by fluted Doric columns. The structure is one hundred and twelve feet in length in front, by fifty-six feet in depth. A shallow A-frame roof of the main block is crowned with a centered, eight-windowed, pilastered, frame cupola bearing a domed copper roof.

Originally constructed in 1854–55, at a cost then of thirty thousand dollars ($30,000), the building is one of the few H-plan buildings, public or private, remaining in the State. All of the original exterior treatments are preserved intact.

The Towsontown Courthouse was begun in 1854. It replaced the earlier City/County Courthouses that had been shared since 1768 by both Baltimore Town (and later City) and the surrounding County. The first one was located in old "Courthouse Square", now in downtown. Construction began in the port town of Baltimore in 1768, a year after it was newly designated as the county seat. This had formerly been at old Joppa, a village near the mouth of the Gunpowder River at Chesapeake Bay along the mid-eastern boundaries of the County. Without the court functions, the village declined. Baltimore is located on the Northwest Branch of the Patapsco River and had been founded in 1730.

This second City/County Courthouse was constructed in 1768 across the street from the old public square in downtown Baltimore. It is to the west at the northwestern corner facing East Lexington Street and North Calvert Street. For several years, it faced the empty square of the recently razed earlier colonial-era courthouse. This center city site was considered for the proposed first monument to honor George Washington, commanding General of the Continental Army in the American Revolutionary War and first President of the United States.

The town lay a cornerstone for the new planned Washington column on "Independence Day", July 4, 1814, 15 years after the president's death and during the War of 1812. This was a few months before the massive military attack by British sea and land forces later that September, when they burned the Capitol in Washington, DC. Local home owners feared that the unusually tall column proposed might threaten their houses, and the proposed Washington memorial was moved north of the town to "Howard's Woods" on land donated by Col. John Eager Howard, to the west of his mansion on his estate of "Belvidere". It is now at the center of Baltimore's Washington Square.

The old Courthouse Square had always been a gathering place for news, gossip and protests, along with mass meetings and assemblies of the citizenry. It became the site of a memorial for the soldiers and officers in the Battle of North Point with the British Army, which took place southeast of the city on the Patapsco Neck, as well as honoring those in the bombardment at Fort McHenry during the recent Battle of Baltimore. It was renamed as Battle Monument Square. The second courthouse was built during 1815 to 1822, and its east side faced this square. the east side of the second courthouse faced the new adjoining

Across from the City/County Courthouse was the Battle Monument which replaced the previous first County and Town Courts, later known as the "Courthouse on Stilts" as the 1768 building was temporarily saved from razing when it became necessary to extend Calvert Street further north, so later in 1784, local town builder Leonard Harbaugh erected a new brick/stone foundation under the building resting on arches supporting the building and cut away ground around it enabling the street passage beneath, in the Square at the edge of the cliffs then overlooking the bend of the Jones Falls flowing south to the harbor. This first courthouse in the square, was razed around 1804-1805. It was also here on July 29, 1776, that the recently adopted Declaration of Independence proclaimed three weeks earlier by the Second Continental Congress at the old Pennsylvania State House (now renamed Independence Hall) in Philadelphia, was read to the townfolk along the Patapsco River

The second courthouse of Georgian style was constructed on the southwest corner of then North Calvert and East Lexington streets, opposite the old "Courthouse Square" in which the Battle Monument was erected. The latter was designed by French architect Maximilian Godefroy, (1765–1838), to commemorate "Defenders' Day" (a city, county, and state official holiday) of the British attack on Baltimore. The "rockets red glare, the bombs bursting in air" were lines of a poem, titled "The Defence of Fort McHenry", that soon appeared on printed broadsheets and handbills (from the offices of the Baltimore American) all around town and was soon published in the Baltimore Patriot. It was written by the noted poet and lawyer Francis Scott Key (1779–1843), of Frederick and Georgetown, who had witnessed the bombardment of Fort McHenry from the truce ship Minden anchored downriver on the Patapsco River (probably off Sparrows Point on the north side near the river entrance or the Royal Navy's invasion fleet's landing site at North Point). Key had been invited by officials and neighbors to try to negotiate the release of doctor William Beanes of Prince George's County, who had been captured by the British. Key's poem was set to music in a few days at a local well-known Baltimore theatre and neighboring tavern on Holliday Street. It quickly became known as the "Star-Spangled Banner" and in 1931 was designated by Congress as the National Anthem.

After considerable discussion and agitation for several decades, going back as far as 1835, prompted by a fire of several arsons that year during the economic recession and panic begun with the "Baltimore bank riot" which damaged the downtown second Baltimore County/City Courthouse (then only 20 years old, at the southwest corner of North Calvert and East Lexington Streets). After more recent debates, and votes, with the adoption by statewide referendum of the new second Maryland Constitution of 1851, it contained the provisions for elevating the City of Baltimore to the status of an "independent city" on the same status of all of the other counties of the state and increasing its representation and number of votes/members in each chamber of the state legislature—in the House of Delegates and the State Senate in the General Assembly of Maryland. With the positive vote, the City of Baltimore (which had also functioned as the "county seat" of Baltimore County since 1767, an 84-year tenure) was separated and established as an "independent city" (with the status of one of the twenty-three counties of the State of Maryland) as of July 4, 1851.  A subsequent series of votes and referendums by the citizens of the remaining reduced territory of new Baltimore County, voted to move the new county seat to what was then called then "Towsontown", as of February 13, 1854.

Named for the Towson family of early colonial settlers, brothers William and Thomas Towson, who had moved to the area from Pennsylvania in the early 1750s. Their homestead was located near the current "traffic circle" at Joppa, York and Dulaney Valley Roads, and had begun farming at Sater's Hill, just to the northeast. Later, Thomas' son Ezekiel built a log tavern where the modern-day Towson Tavern and the old Towson Theatre building for movies (and currently Recher Theatre for rock music concerts). Ezekiel's tavern soon became a regular stopping place for travelers and farmers heading north out of the city or south with their crops towards Baltimore, beginning the small cross-roads community's place as a commercial place for doing business. Several hundred yards to the northwest at the current 617 York Road, is the wood-frame house of Solomon Schmuck (now a bridal boutique store), which is said by local historians to be Towson's oldest house.  He married Catharine Towson, (1767–1834), one of hotelier Ezekiel's 12 children, (and granddaughter to Thomas), so uniting the Schmuck and Towson families.  Ezekiel became an important leader in the County and in the local response to the American Revolution. Her carved tombstone, the last upright stone remaining in a small family plot, surrounded by several other unmarked relatives' graves, including the connected Shealey family, was recently surrounded in 2014 by the construction of the "Towson Square" shopping and entertainment development of four acres, costing $85 million, facing East Joppa Road.  In addition, a later member of the family attained a nationally known military career who was General Nathan Towson, (1784–1854), veteran of the War of 1812, whose reputation made the small town famous in the early 19th century.

The cornerstone of the new County Courthouse was laid with elaborate ceremonies and a procession, on October 19, 1854, in front of a "numerous assemblage" in what was still  then known as "Towsontown". Coleman Yellott, (1821–1870), a local respected  attorney delivered the official address and "oratory" for the occasion saying:
The ceremony which you had assembled to witness, has now been performed.  The Corner Stone of the building has been laid; and soon the edifice itself will rise towards the Heavens, attracting, by the beauty of its proportions and the simple grandeur of its walls, the admiring gaze of every traveler along yonder highway.  May it stand for ages, in sunshine and in storm, firm and unshaken as the hill in which its foundations are planted; and may it ever be pointed to as a temple of Justice!"

Designed by noted local city architects of Dixon, Bilbirnie & Dixon and the famous firm of Baldwin & Pennington (composed of Ephraim Francis Baldwin (1896–1916) and Josias Pennington (1854–1929)). The building was completed in 1855 by the builder, William H. Allen, but the first session of the Court was held here on Monday, January 5, 1857 after a long battle about the land title for the site from Dr. Grafton M. Bosley who owned a large portion of the western side of the town, who had presented it to the county with a "right-of-way" to it from the Baltimore and York Turnpike, and was finally resolved from the nearby turnpike company in December 1856. On the succeeding May 15, 1857, the new courthouse and the jail (two blocks south) were declared finished and formally handed over to the county commissioners. Six years later, the building was the object of an arson attack. According to an article in The New York Times, on Saturday, August 14, 1861, the building was "fired by incendiary". The account goes on to say that the fire was contained to the records office and the rest of the building escaped damage. The building was enlarged in 1910, again in 1925, and a third time in 1958. The building was listed on the National Register of Historic Places in 1972.

County Courts Building

The Baltimore County Courts Building is located on Bosley Avenue in Towson, Maryland. It faces the same public square as does the first, historic Baltimore County Courthouse. (The latter faces east). Sometimes referred to as the "New Courthouse" in the context of these two buildings, it was designed in the modernist style and constructed about 1970. It has white stone panels that match the older building.

It houses the 17 judges of the Circuit Court of Maryland for Baltimore County, the Offices of the Baltimore County State's Attorney, juvenile and equity masters, four retired judges, and nearly 100 support personnel. Courtrooms, judges bailiffs, and staff for the District Courts of Maryland, dealing with lower-level legal matters, are located in several "district courthouses" in various sections of the County, to the east and the west.

References

External links

, including photo from 1989, at Maryland Historical Trust

County courthouses in Maryland
Greek Revival architecture in Maryland
Government buildings completed in 1855
Buildings and structures in Baltimore County, Maryland
Courthouses on the National Register of Historic Places in Maryland
Historic American Buildings Survey in Maryland
National Register of Historic Places in Baltimore County, Maryland
Brutalist architecture in Maryland


I am a newbie at tarot reading.
I will be doing a 3 cards past present future spread.
I am not able to elaborate, and thus my interpretations will be in short sentences.
Go on, ask your questions! And provide feedbacks when I read for you,.


The Houston Astros made national news yesterday, and not just for their 3-2 loss to the Dodgers last night and George Springer's thumb injury.
The big news came before the game, when Astros General Manager Jeff Luhnow released a statement about the club's quote "difficult decision" to add closer Roberto Osuna to its roster last week – even though he was still under a 75-game suspension for violating the league's domestic violence policy.
Osuna is facing criminal charges in Canada for allegedly assaulting his domestic partner; but the Candadian court system hasn't fully released details of the charges.
His court date has been reset to early September – yesterday, he joined the Astros' active roster.
According to a column in The Toronto Sun published over the weekend, The Astros had been interested in Osuna for more than a year; last year, The Blue Jays rejected their offer for the star closing pitcher.
This year's offer from the Houston Astros for the 23-year-old facing criminal charges was for about half of last year's offer, according to the Toronto Sun.
Today, I took part in a surprise "Home for the Holidays" celebration event where the Texas Sentinels Foundation handed over the keys to a refurbished home to a wounded Afghanistan veteran.
As the event's official photographer for the nonprofit organization, I feel honored to be able to help capture this moment in the Jesse Medina family's life.
The Foundation alerted their family and close friends – and everyone kept the secret.
Marine Lance Corporal Jesse Medina and his family were surprised today by Bank of America and the Texas Sentinels Foundation with the keys to a debt-free, mortgage-free home in the Northcrest Village subdivision in Spring, Texas.
They thought they were going to a Texas Sentinels Foundation Christmas luncheon. They were — lunch was served — but they didn't know friends, family and local media would be there to congratulate them on their new home.
The Marine and his wife, Megan, and son, Aidan, received the keys to their new 2,348-square foot, 3-bedroom, 2-1/2-bath home and saw it for the first time after a brief key presentation ceremony.
I wrote the press release about a new RE/MAX office that opened in Galveston.
I then sent the press release to media contacts in the greater Houston region.
The article, "RE/MAX Leading Edge now open in Galveston," also contains autobiographies of each of the office's owners that were submitted by them.
The press release was also submitted to RE/MAX media relations and marketing professionals in Denver.
RE/MAX Leading Edge in Galveston opened its doors today for business and is owned by four successful local Galveston resident Realtors. RE/MAX franchise Broker/Owners Kelly Kelley, Nicki Huprich and Sales Associate/Owners Ryan Moody and Frank Burgy are prepared to meet all of the real estate needs on the Island.
Located at 3616 7 Mile Road on the edge of the West End of Galveston, the office is highly visible to full time Galveston residents as well as the second home and resort market.
Today, I published an article I wrote about RE/MAX DFW Associates REALTOR Cindy Bogle to the RE/MAX of Texas News Online website.
Cindy Bogle – an award-winning Realtor at RE/MAX DFW Associates in Plano – didn't think it could happen to her. At 41, she was young, she exercised regularly, she watched her weight, didn't smoke, didn't drink.
Today, I wrote and published an article titled "Send potential clients a listing presentation video e-mail" on the RE/MAX of Texas News Online website that instructs RE/MAX agents how to use the powerful LeadStreet platform to send a video listing presentation to prospective clients.
I created the e-mail message in the LeadStreet system (RelianceNetworks). When the prospective client receives the message, it links to a page that I developed that includes art designed by Brian Miller and that contains an embedded video produced by Mike Sumerlin.
I'm proud of this story because it communicates the value to its audience of the content we create for RE/MAX Realtors in Texas to use to increase their business.
The story was one of the most popular ones I wrote and posted on the RE/MAX of Texas News Online website.
Today, I published a story I wrote about a group of communication students and alumni who are working on a special film project to educate local youth about HIV and AIDS.
I wrote this story about UH communication students, took all of the photos and designed the page for the web.
The questions come from a concerned aunt, standing between her niece and the door, arms crossed and defiant. It's a scene from a new series of videos called Caught Off Guard that 17 students from the Jack J. Valenti School of Communication are working on to promote HIV education and STD awareness to high school students in Houston.
The "Aunt Tamika" character is played by Ameka Jackson, a UH-Downtown psychology student. The character's name is a play off of the name of Caught Off Guard writer and director Tamecia Henderson, a media production major and business management minor who is gaining real-world experience in the film industry between classes and coursework.
Today, a story I wrote about Psychology professor Julia Babcock was published to the College of Liberal Arts and Social Sciences website.
The story is part of the ongoing Faculty Spotlight series. I also took the photo of Dr. Babcock that accompanies the story.
A faculty spotlight article I wrote about Dr. Julia Babcock.
Psychology professor Dr. Julia Babcock said she wishes she knew how to end domestic violence; for the past 13 years she has researched and instructed courses about the subject at UH. As co-director of The Center for Couples Therapy, she guides graduate students in the process of assessing couples who may be at risk, and Babcock believes that what lawmakers are currently doing is not working.


Try not to be so quick to erase your default applications! Many default iPhone applications have a tendency to go unused, and this makes a great deal of them be erased genuinely right off the bat. Be that as it may, a portion of these Apple applications are really worth keeping, and are unfathomably valuable contrasted with comparative applications. Here are a portion of the default applications that merit utilizing and why. Obviously, this is excluding the applications that can't be erased, for example, Messages, Photos, Camera, Clock, Wallet, Health, Settings, Find My iPhone, and App Store. Each of these applications, other than Health, has a natural use for your telephone, and wouldn't bode well to be deletable.
Apple's iBooks application is really a standout amongst other tablets out there. It has broad abilities while being totally free. It is straightforward and simple to utilize contrasted with comparative applications, while holding an expansive library of decisions. It even has book recording abilities that other tablets are less inclined to have.
Obviously, there are some stunning number cruncher applications in the application store, yet the one that comes pre-worked with your Apple items is entirely proficient as you would require in your regular daily existence.
On the off chance that you've at any point had a go at altering a video before then you've presumably known about iMovie. Regardless of being a free default application accessible on all Apple items, iMovie is a standout amongst the most prevalent and valuable video editors out there. Regardless of whether you're simply endeavoring to trim a short clasp from a video of your children, or you're attempting to deliver superb commercials, iMovie can alter more than you would anticipate.
Like iMovie, GarageBand is a well known music creation application that is intensely valuable. Apple has created top notch applications for both these kinds of media, and the applications have kept on advancing as the organization has. GarageBand gives you a chance to make, alter, and remix music easily. While not every person will discover this a fundamental application, the individuals who get a kick out of the chance to try different things with music will all value this free and helpful default application.
Presumably the most neglected iPhone application, Apple News is extraordinary for individuals all things considered and political foundations. It gives you a chance to pursue different news outlets in subjects that you care about, so you can remain in the know regarding all the news you need to hear. In case you're occupied with computer games, you can pursue their news outlets like Game Informer. Then again, on the off chance that you are into governmental issues, you can pursue whatever news site you want to tune in to, regardless of whether it be CNN, FOX, MSNBC, and so on.
Not at all like alternate applications on this rundown, Tips is certifiably not an especially helpful application. Notwithstanding, there are no different applications that capacity a similar way, so it's vital to remember on the off chance that you make the most of its motivation. The Tips application exists to give you more understanding into Apple items and application improvement. It very well may be a fascinating application to check at times, particularly if another iOS has recently been reported and you're interested concerning what the progressions will be.
While there are other valuable default iPhone applications, for example, Keynote and Pages, these applications have a tendency to have substitutions in the application store that are likewise free and unrivaled in many ways. The main special case being the Apple TV, Home, and Watch applications, which are helpful, however require extra assistants to be useful.


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text:
Rhopalomenia is een geslacht van wormmollusken uit de  familie van de Rhopalomeniidae.

Soorten
 Rhopalomenia aglaopheniae (Kowalewsky & Marion, 1887)
 Rhopalomenia glandulosa Eisenhut & Salvini-Plawen, 2006

Rhopalomeniidae


text:
Aliénations est un documentaire français réalisé en 2003 par Malek Bensmaïl et sorti en 2004.

Le sujet du film est l'hôpital psychiatrique de Constantine en Algérie.

Synopsis

Fiche technique
 Réalisation et directeur de la photographie: Malek Bensmaïl
 Assistant-réalisateur : Farid Sbahi
 Production : Institut national de l'audiovisuel (Ina), en association avec France 5 Unité Documentaires (Paris), O3 Productions (Dubaï), avec la participation de Télévision suisse romande (TSR)
 Distribution Eurozoom (2004)
 Musique : Phil Marboeuf
 Montage : Matthieu Bretaud

Liens externes

Film français sorti en 2004
Film documentaire français
Film tourné en Algérie
Film documentaire sur la psychiatrie


text:
[SPECIAL] Interview with Crying Nut, March 2014
March 9, 2014 · by Relawan Konser	· in English, Interview, Korea.	·
Korea's indie music scene is something worth paying attention to. From garage rock to electronic, they have everything on their menu. But one thing for sure is, you can't talk about the scene without mentioning Crying Nut, the top-selling Korean indie act of all time. Formed in 1993, this punk band officially started their music career in 1996 when they released a split album entitled Our Nation Vol. 1 with Yellow Kitchen. In 1998, Yoonsik Park (guitar and vocals), Kyungrok Han a.k.a. "Captain Rock" (bass and vocals), and twin brothers Sangmyun Lee (guitar) and Sanghyuk Lee (drums) released their first full-length album Speed Up Losers. The album suprisingly sold more than 100,000 copies. A year later they added Insoo Kim (accordion and keyboard) to the formation and the successful sophomore album Circus Magic Clown was released.
Their latest album Flaming Nuts (2013) has been highly appraised by critics and fans. Blending ska, heavy metal and polka with their punk sound, Crying Nut proves once again that they're still going on strong and showing no sign of stopping. We feel honoured to be able to talk with these veterans about themselves, their music and the Korean punk scene.
How do you guys feel about returning to SXSW this year? Is there anything special you are preparing for American audiences?
Yoonsik Park: We're super excited about playing at SXSW again. It's a massive music festival with bands, music industry staff, and music fans from all over the world. We don't have anything special prepared for the American audiences. We're just going to play hard and with a lot of energy like we always do. Hopefully people will enjoy our music and want to get wild and crazy with us!
Sangmyun Lee: We can't wait to share our music with new audiences at the fest. SXSW is an amazing festival. There's music everywhere. When we were there in 2012, I wish I had 10 bodies so that I could watch every band that I wanted to see.
Kyungrok Han: I'm planning on showing American audiences my drunken face! I'm going to be drunk on all the great music at SXSW… and by all the Lone Star beer and other alcohol we're going to drink in Austin!
Insoo Kim: Just like everyone else, I'm really happy to be performing at SXSW 2014. But I hope we get to play on some bigger stages this time around. In 2012, the stage was too small and I had to play beside the stage!
After more than 15 years in the Korean indie music scene, have there been any significant changes that you guys have observed?
Kyungrok Han: In the old days, it was illegal to sell alcohol in Korea at live clubs. We changed that stupid law by performing lots and starting a signature campaign. And back when we started there wasn't a distribution network for indie labels either. But Crying Nut helped establish that.
Insoo Kim: There are a lot more rock bands now and the skill level of bands is a lot higher. One thing that has stayed the same, though, is that Crying Nut are still the best drinkers!
Many people (especially outside Korea) are still not aware of 'Chosun punk'. As pioneers of this genre/scene, how would you describe Chosun punk to new listeners?
Sangmyun Lee: There was no punk culture back when we started performing in 1995. We started learning about overseas punk music and were very moved by it. We wanted to make a Korean version of it, so we called it Chosun punk. We could have just called it Korean punk, but that sounds boring so we chose Chosun punk instead. Chosun punk is punk music played with Korean emotion.
What one Crying Nut song would you recommend new fans to listen to? Why?
Yoonsik Park: Circus Magic Clowns is a good song for new listeners to start with.
Sangmyun Lee: I'd recommend Summer from our latest album, Flaming Nuts. I think the song is a good representation of our recent musical mindsets.
What was the craziest thing you've ever done on stage? Can we still expect you to do similar things now?
Kyungrok Han: Once I fell asleep on stage because I was too drunk. But we're supposed to wait until after the gig to go to sleep!
Sangmyun Lee: I think we've done a fair amount of crazy stuff over the years. We've all taken off our pants on stage. One time we played horribly because we were too drunk. Some audience members asked for refunds after that show. I've had to stop shows to go pee because I drank too much beer before and during the gig. Another time we cut open the stomach of a beautiful doll and scattered cow organs and blood side of the doll for Valentine's Day. We've done lots of other things too. I think the only thing we've never done is take a crap on stage. I don't think anyone would want to do that! We're older and a bit more mature now. We still play loud, jump around, and get drunk and wild. But we manage to play well at the same time and try to ensure that everyone has fun!
Some of you have started your own families. How has this affected your lives as musicians and as a band that has to tour in faraway places?
Yoonsik Park: It's hard to leave family members to go away on tour. But our families understand our situation.
Sangmyun Lee: It's also challenging because we don't make much money from touring abroad. We need to work harder to make money after tours.
Which punk/rock musician, dead or alive, would Crying Nut love to collaborate with, if given the chance? Why?
Kyungrok Han: We'd all love the chance to collaborate with Dead Kennedys. Their music contained humor, rebellion, drama, and action.
Insoo Kim: I'd love to work with Joe Strummer from the Clash and Sun Ra as well.
You've been having fun since the early 1990s. We've seen comments from people saying that you guys don't ever seem to get older! Do you think there will be a time when you guys think "OK, we've had enough fun, we're too old for this"?
Sangmyun Lee: I think that as long as there is beer for us to drink, there is no way we ever think like that!
Insoo Kim: I can't see us saying anything like that anytime soon.
We're sure this interview can make you imagine how awesome Crying Nut is on stage. They have conquered various music festivals in several countries with their high-spirited live set and this March, the quintet will bring their energy, fun and passion to stages in America (you can check the schedule below).
March 11 Austin, TX @ (10:30 pm) Elysium (Official SXSW Showcase)
March 13 Austin, TX @ (5:15 pm) Spider House Cafe and Ballroom (The Texas Rock N Roll Massacre 2)
March 14 Austin, TX @ (4:30 pm) The Dog & Duck Pub (Exchange Entertainment presents)
March 15 Austin, TX @ (6 pm) Antone's Records (Freddie Steady's 14th Annual Frontier a Go Go Rock & Roll Hootenanny)
March 16 San Antonio, TX @ Limelight
March 18 Los Angeles, CA @ Cafe Nela
Crying Nut [website] [facebook]
Special thanks to Shawn for giving us the chance to interview this exciting band.
Tags: Crying Nut, interview, K-indie, Korean indie, punk
← Flumpool's 1st live performance in Indonesia at WakuWaku Japan Music Festival 15022014
[SPECIAL] Interview with Jambinai, March 2014 →


Located in the East Village, "The Saint Mark" is at the heart of New York City's best. Residence 9F is a bright and spacious two bedroom, two bath with a private terrace. The apartment feautures wall-to-wall Eastern facing Citiquiet windows, hardwood floors, stainless steel appliances, central air-conditioning and ample closet space.
Whole Foods, Westside Market and Trader Joe's are right around the corner. For entertainment the AMC Village 7, Regal Union Square, Village East Cinema and Cinema Village movie theaters and a great assortment of restaurants and shops are right at your disposal--Shake Shack, Joe's Pub and Public Theater to name a few. For quick errands and essentials there are CVS, Walgreens, Duane Reade, UPS and USPS stores across the street.
"The Saint Mark" is a terrific place to live, occupying a vestige of NYC's artistic charm along with all the modern luxuries of a full service building: 24 Hour Doorman, Garage, Laundry Room, Bike Room, Storage, and a Play Room.
In just a matter of minutes, you are a step away from Cooper Union, Astor Place, SoHo, NoHo, Union Square, Washington Sqaure Park and Tompkins Square Park. Within one block's distance you have access to the 6, N, R trains and the M1, M2, M3, M8, M101, M102, M103 buses. Union Square additionally provides access to the 4, 5, L, Q, W trains.
This apartment is a gem of prime real-estate!
P. S. Feel free to schedule private showings during the week.
"The Saint Mark" occupies a vestige of NYC's artistic charm along with all the modern luxuries of a full service building: 24 Hour Doorman, Garage, Laundry Room, Bike Room, Storage, and a Play Room.


text:
red carpet Mar. 23, 2018
The Cannes Film Festival Just Banned Selfies
By Emilia Petrarca@emiliapetrarca
Steven Spielberg at Cannes. Photo: Antonio de Moraes Barros Filho/FilmMagic
What is a red-carpet moment without celebrity selfies?
At this point, the photographic genre has almost rendered moot the traditional step-and-repeat. But the Cannes Film Festival, which takes place every year in May and attracts selfie-loving celebrities like Kendall Jenner and Bella Hadid, is hellbent on ruining everyone's fun.
On Friday, Cannes chief Thierry Frémaux announced that the festival will be officially banning selfies on the red carpet this year. "At the top of the red carpet the triviality and slowdown of flow provoked by the disorder of selfies ruins the quality of the red carpet," he explained. "And thus the festival entirely."
In other words, selfies are being framed as a logistical roadblock at the festival, but we have a hunch that the Frenchmen in charge have philosophical qualms with the act as well.
This is not the first time Cannes has decided to punish its attendees. In 2015, the festival tried to ban ballet flats on the red carpet, causing immediate backlash from celebrities and women around the globe.
Much like the taboo against smoking in the bathroom at the Met Gala, it's safe to say that a selfie ban won't stop most celebrities. (Looking at you, Susan Sarandon.) In fact, it just made the act so much more fun.
This Major Celebrity Event Just Banned Selfies


Oracle Portal 11g offers a complete portal framework for building, deploying, and managing portals that are tightly integrated with Oracle WebLogic Server. Oracle Portal 11g provides a rich, declarative environment for creating a portal Web interface and accessing dynamic data with an extensible framework for J2EE-based enterprise application access. The release of Oracle Portal 11g is in line with Oracle's plans to fully support Oracle Portal with ongoing major and minor releases that will provide significant enhancements to product functionality.


This was a letter written for a room drop at the end of the first, Christmas themed evening at the end of Mass Discounters annual sales conference. The letter was left as a humorous message from Santa for each of the delegates.
On behalf of myself and Mrs. Claus I'd like to extend an enormous welcome to this year's Mass Discounter's Conference. I'm sure the elves would also send their regards if they weren't busy picketing outside the toy workshop.
Anyway, while you might think that all I've been doing is watching the rest of the civilized world deal with a global recession from my very cozy hearth – and it is very cozy, make no mistake- I have also felt the economic pinch lately, and it's something that we are all going to have to work very hard to overcome in the year ahead.
It's true that you can't get much more isolated than living in a magical hideaway at the end of the world 364 days a year and having the same conversation with the same woman day in and day out every day for fifteen hundred years… but I try to stay in touch. I understand the challenges facing us as well as you do. Last year alone, consumer expenditure in the United States over the Christmas period was halved, a financial trend that's going to give us hell until a predicted turnaround at the beginning of 2010.
Up at the North Pole, we have had to make some major changes to the way we have been doing business for centuries. For one thing, even the nice boys and girls have been asking for a big hunk of coal in their stockings, and for another I've had to cut back on the elves' bar allowance, and I think we all know how much those little people like to drink. As for the under-performing reindeer, I have only one word for you- venison.
Suddenly, being given 'the sack' has all kinds of negative implications.
In this difficult consumer climate, the only thing we cannot sacrifice is the experience that our customers get from visiting our stores. The price of a product is only part of the value for money that we offer our customers. In addition to great deals on excellent quality, we need to make sure that the Massmart experience is one characterised by unrivaled customer satisfaction in a superb environment. You can't buy a smiling face… I mean, you can, but it sort of defeats the purpose.
In any case, I know that you'll find it in you to create a unique and unforgettable Christmas experience of your own after seeing the great offers on display. This year's event promises to be Santastic!
Ho ho ho… I sleigh myself.
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text:
Fermanagh native suspended from council for drink driving
Fermanagh native Thomas Hogg has been suspended from Council for drink driving
A Fermanagh native and former DUP Mayor for Antrim and Newtownabbey has been given a five month council suspension after he was convicted of drink driving.
Thomas Hogg, who is a current councillor admitted to drink driving in court in May 2018.
He was banned from driving for 12 months and fined £250 and was later suspended from the DUP. That suspension has now been lifted although he faces five months out of the Council chambers.
Mr. Hogg, 30, is a former pupil of Portora Royal school and was involved in some controversy in Fermanagh when the DUP attempted to co-opt him to the Fermanagh District Council when he was still a student in 2009. A by election was held with Arlene Foster winning the seat.
Speaking on Monday of this week Mr. Hogg said:
"My conduct let down my constituents and party. It was wrong and will not happen again".
The DUP said: "We suspended Councillor Hogg for eight months. That suspension has now been lifted".
Adding: "We note the sanction, Councillor Hogg's fulsome apology and his commitment to ensure this behaviour is never repeated".
In 2016 Mr. Hogg was awarded an MBE and at the time told the Impartial Reporter:
"This is not something I ever contemplated or imagined, but I am nonetheless very honoured and humbled."