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Oracle for Developers with PL/SQL
- Recommended Duration:
- 5 Days
- Version
- Oracle 12c or 11g.
(earlier course versions available).
- Benefits
- Introduces participants to Oracle and its most commonly used tools. Numerous hands-on exercises provide practice using SQL, PL/SQL, and SQL*Plus or SQL Developer.
- Audience
- Application developers who will design, code, and support systems using the Oracle Data Base and its various programming tools.
- Prerequisites
- No prior knowledge of SQL or Oracle is required. Some programming experience is helpful for the embedded SQL portion of class
- Major Topics
- Relational database concepts
- SQL syntax and usage
- SELECT statement
- Functions
- Group functions, GROUP BY, HAVING
- SELECT, INSERT, UPDATE, DELETE, TRUNCATE, GRANT, REVOKE statements
- Joins and outer joins (both Oracle and ANSI syntax)
- Subqueries
- Table / View / Synonym creation (DROP, CREATE, ALTER)
- Referential Integrity features
- SQL*Plus reporting
- PL/SQL coding and syntax
- Exception Handling
- PL/SQL and Cursors
- Stored PL/SQL Procedures, Functions, and Packages
- Database Triggers
- Exercises
- There are eighteen machine exercises (using SQL*Plus, SQL Developer, or the locally available tool).


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A Chef's Life on PBS
The Mast Farm Inn is honored to be an Official Sponsor of "A Chef's Life" on PBS, currently the top rated food series on PBS.
Sponsors of A Chef's Life on PBS
Much more dynamic than a typical cooking show, A Chef's Life is a character-driven documentary and cooking series, broadcasting nationally on PBS stations. The Mast Farm Inn is honored to be an Official Sponsor of "A Chef's Life" on PBS.
The Southern Documentary Fund
Based in Durham, North Carolina, the Southern Documentary Fund was founded in 2002 by two independent filmmakers with a vision: to create a home for Southern documentary artists.
Chef & The Farmer
Chef and Farmer, like its name, blends the old and the new, seamlessly, comfortably and unforgettably. A place that celebrates the culture and cuisine of Eastern North Carolina
Boiler Room Oyster Bar
Boiler Room Oyster Bar. Chef & the Farmer owners Vivian Howard and Ben Knight have teamed up with Stephen Hill, a founder of Mother Earth Brewing, to open an oyster bar in Kinston, North Carolina
2012 Restaurant & Chef Awards Semifinalists
The James Beard Foundation announced the semifinalists in the 2012 Restaurant and Chef Awards and several outstanding North Carolina Chefs and Restaurants figure prominently.

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GOP represents more than 1 percent
This is in response to the letter "The new Whigs?" (April 18). Contrary to liberal belief, the GOP does not represent only 1 percent of the population. Protecting society, the sanctity of marriage and constitutional rights are things in which more than 1 percent of the population believes.
The party does not say "no" to everything, only the things being taken away that are important to most Americans. Liberals propose restrictions on guns in the name of Newtown. But what will such legislation actually achieve? They limit the number of bullets, but not the number of clips one can carry. And those who don't buy guns legally — will they abide by these new restrictions?
The writer harps on Reagan and the Bushes for economic downturns. But he forgot the '70s under Carter — long lines for gas, our "national malaise" — and the inflated growth of the '90s with Clinton. The Democrats control the White House and the U.S. Senate and we have high unemployment and a record number of people receiving federal aid.
You can blame Republicans for any number of things. Just don't blame them for wanting a country that supports itself and trying to do everything they can to rebuild that dream most of us have for our kids' future.
Keith Brancato
Lower Burrell


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Published: August 20, 2013 - 06:28 PM
Pigs make regular kitchen appearances as knickknacks, cutting boards and serving pieces. So imagine serving salumi or chopping vegetables on this slate-colored critter from Epicurean, a Minnesota-based maker of eco-friendly cutting boards.
Made from a wood-based product and food-safe resin, this porcine creation (roughly 11 by 16 inches) is dishwasher safe, knife friendly and certified by the National Sanitary Foundation and the Forest Stewardship Council. It's $34.95 at Crate & Barrel, www.crateandbarrel.com.
— Judy Hevrdejs
Chicago Tribune


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Mariners lose in 12 Innings
Oakland, CA (SportsNetwork.com) - Coco Crisp led off the bottom of the 12th inning with a game-winning home run, as the Oakland Athletics edged the Seattle Mariners, 3-2, in the opener of a four-game series Thursday at O.co Coliseum.
After fouling off the first pitch of the frame, Crisp scorched a high fastball from Hector Noesi (0-1) over the out-of-town scoreboard in right-center field.
The umpires briefly reviewed the play before ruling Crisp's blast cleared the wall to give the A's their second win of the season.
Crisp also scored on Yoenis Cespedes' game-tying triple in the eighth, while Sam Fuld knocked in Oakland's other run with a triple in the fifth.
Drew Pomeranz (1-0) picked up the win after spinning a perfect top of the 12th.
Abraham Almonte went 2-for-4 with an RBI and a run scored for Seattle, which suffered its first setback of the season.


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Snapshot | In Chinatown, Rent Is Too Damn High Candidate Greets Passers By
The one-time gubernatorial candidate Jimmy McMillan — who once shared a stage with then gubernatorial candidate Andrew Cuomo — ran on a simple rent-reduction platform, and frequently shouted/sang his campaign slogan/mantra: "The rent is too damn high."
These days, McMillan is still greeted by well wishers who agree with his assessment of the cost of rent in the city. As the creatively bearded musician drives through the boroughs, just the site of his campaign car/office is met with shouts and fist pumps to which he happily replies with a honk or fist pump of his own. On Wednesday, he was spotted in Chinatown.


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Nutrition News: The Truth About Pretzels, Mindless Diet Busters and Activated Charcoal Is a Trendby Amy Reiter in Food News & Trends, August 7, 2015
Take a Pass on Pretzels
Pretzels may be better than some fatty chips, but four out of five nutrition experts surveyed by Time say if you're trying to eat healthy, pretzels shouldn't be your go-to snack. Although pretzels are low-fat, they are also pretty paltry on the protein and fiber front, and they can be quite high in sodium and carbs. What's more, they rank high on the glycemic index, meaning they can quickly spike blood sugar levels. "Pretzels are a snack food made from enriched flour, which provides very little fiber and overall very little nutritional benefit," registered dietitian Kate Patton told the magazine. Patton recommends that those in search of a healthier alternative choose nuts, seeds, roasted edamame or popcorn. Read more


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Remove assumptions that not-equals operators cannot be in any opclass. get_op_btree_interpretation assumed this in order to save some duplication of code, but it's not true in general anymore because we added <> support to btree_gist. (We still assume it for btree opclasses, though.) Also, essentially the same logic was baked into predtest.c. Get rid of that duplication by generalizing get_op_btree_interpretation so that it can be used by predtest.c. Per bug report from Denis de Bernardy and investigation by Jeff Davis, though I didn't use Jeff's patch exactly as-is. Back-patch to 9.1; we do not support this usage before that. Branch ------ REL9_1_STABLE Details ------- http://git.postgresql.org/pg/commitdiff/cb1cc305bc349338f75a549c36041b4c91cf779f Modified Files -------------- src/backend/optimizer/util/predtest.c | 191 +++++++++++---------------------- src/backend/parser/parse_expr.c | 26 +++--- src/backend/utils/cache/lsyscache.c | 97 ++++++++++------- src/include/utils/lsyscache.h | 12 ++- 4 files changed, 145 insertions(+), 181 deletions(-)
Next: From: Andrew Dunstan Date: 2011-07-06 22:54:06 Subject: pgsql: Reimplement pgbison and pgflex as perl scripts instead of batfi Previous: From: Tom Lane Date: 2011-07-06 18:53:54 Subject: pgsql: Remove assumptions that not-equals operators cannot be in anyop


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For example, add one tablespoon of our Hearty Spaghetti Sauce Seasoning to a 28 ounce can of crushed tomatoes and heat. The sauce is great and does not contain any undesirable additives. You can also use your own garden fresh tomatoes. Add mushrooms, onions, a little Grapeseed oil or anything else to personalize the sauce. Cost? about $1.50 for 28 ounces – not $2.49 for 10 ounces.
I have been on a salsa and chip kick lately. It's like I just can't get enough. I must go through at least a whole bag of chips and a container of salsa every week. I crave it like I'm pregnant–only I'm not pregnant! I keep trying all these new brands to find the best and I was excited when Khristine from Wildtree offered to send me some of their Fiesta Salsa Mix to try out. It's really easy to fix. You just need a can of diced tomatoes, and then you mix in 1/4 cup of the salsa mix.
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Coors Field playing like old self
MILWAUKEE — Coors Field is playing more like a bandbox again. It will be interesting to see how that plays out for the Pirates, who on Monday open a three-game road series against the Colorado Rockies.
With a runs rating of 1.522, according to ESPN.com, Coors is the most hitter-friendly park in the majors, well ahead of runners-up Chase Field in Phoenix (1.392) and Miller Park in Milwaukee (1.390). With a rating of 0.691, PNC Park ranks third on the list of pitcher-friendly ballyards.
Manager Clint Hurdle recently spoke with Rockies pitching coach Bob Apodaca, who said Coors Field is yielding homers the way it did before a humidor was installed to negate the altitude effect and "normalize" balls.
"Nobody can say why," Hurdle said. "Whether it's the summer, the (wildfires), the humidity. Whatever it is, it's playing hot, and it has spiked the run totals dramatically and provided more challenges (for pitchers)."
That could be good news for the Pirates, who have boosted their team batting average by 21 points since June 15. They also are scoring nearly a full run per game more than a month ago.
• Right-hander A.J. Burnett (10-3) had his nine-decision win streak snapped Sunday. Burnett nursed a one-run lead until the sixth, when the Brewers came up with four runs. "That's probably the best stuff I've had in a long time," said Burnett, who gave up eight hits and struck out seven in seven innings. "They found some holes. ... Things happen."
• Second baseman Neil Walker was shaken up in the sixth when he collided with Aramis Ramirez. Ramirez slid into Walker's ankle, and his upper torso smashed into Walker's left forearm. "I tried to get around him, but I couldn't do it," Walker said. "Fortunately I didn't jam my wrist." Walker was checked out on the field by the team trainer and stayed in the game.
• Casey McGehee's natural position is third base, but Hurdle considers him "our best defensive player" at first. McGehee ranks fourth among National League first basemen with a .996 fielding percentage. Overall, Pirates first basemen have a .995 fielding percentage, putting them second in the NL and ninth-best in the majors.
• Shortstop Jordy Mercer made his third career start and went 1 for 3. It was his first start since June 1 (also in Milwaukee) and his first since being recalled July 5 from Triple-A. "Jordy is our defensive (backup)," Hurdle said. "Josh Harrison would be more of our offensive (backup)."
— Rob Biertempfel


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Universal Pictures have announced that the full trailer of the film inspired from ABBA's song will be premiered on ABC during 'Dancing With the Stars' airing.
A full trailer of the romantic comedy musical "Mamma Mia!" will be making its debut screening on Tuesday, March 18. According to ComingSoon, Universal Pictures have announced that the sneak peak to the Phyllida Lloyd-directed movie has been set to air on ABC during the second night of "Dancing With the Stars" two-night season premiere which is broadcast from 9:00 P.M. EDT to 10:30 P.M. EDT.
The reports of the exclusive broadcast to the trailer came months after the released of the domestic and international teaser trailers, which hit the web back on December 14, 2007. Earlier, the teasers have been claimed to be the trailers of the film starring Meryl Streep, Pierce Brosnan and Colin Firth. However, following the announcement of the trailer release date, it turns out that the two video footages were merely teasers.
Adapted from the West End musical, the film tells the story of a single mother whose only daughter is getting married. Unknown to her, her daughter invited three guests of her own, one of whom she believes may be her father. "Mamma" will open in theaters on July 18.


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Warner Bros. Pick Up Hiding In Time
Sci-fi thriller based on a comic book
The success of Wanted – which grossed over $50 million in the States this weekend, despite (or possibly because) being ultra-ultra-ultra-violent – has clued movie studios into the fact that comic book adaptations can be money-spinners, even if there's not a superhero in sight.
Accordingly, Warner Bros. has snapped up the rights to Hiding In Time, a comic book mini-series which debuted last year, about a unique evolution for the Witness Protection Program: instead of changing witnesses' identities and moving them to a cul-de-sac somewhere in the sticks, the WPP develops the ability to time travel, placing its witnesses far out of reach in different time periods.
However, no prizes for guessing that it all goes wrong – and when it's compromised, it's up to a government scientist to stop a master thief from being creamed by a group of vengeful assassins. And to do so, the duo go on the run through some of the greatest moments in history.
To say that it's high-concept is an understatement. Empire hasn't read the Christopher Long/Ryan Winn-created Image Shadowline comic in question – we can't read everything, folks – but this sounds like it could be a heap of fun, if done right. Not sure about the title, though.
Warners has set writer Beau Thorne – who scribbled the script for John Moore's Max Payne - to adapt the comic, with Dan Lin producing.


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Matt Lewis (Writer/Director/Producer)
Matthew has worked in the studio system for 10 years, starting in Features Marketing at Universal Pictures in 1999, then moving to Warner Bros. before forming Angel Valley Media in 2003 to provide production and technology consulting services. Matthew has also served as an instructor for the Kodak Cinematography Workshop program, teaching up-and-coming cinematographers the technical side of 35mm motion picture filmmaking.
Aaron Sherry (Producer)
Aaron is an entertainment industry veteran, having held practically every role imaginable from production assistant to producer, as well as an extensive stage and television acting career. Aaron worked tirelessly for 8 weeks to co-produce September 12th with Matthew, and was the logistics hub of the entire operation.
Tim Donahue (Executive Producer)
Tim Donahue is a graduate of the NYFA program in Los Angeles. Over the past several years, Tim has shot Angel Valley projects in countries as diverse as The Netherlands, Switzerland, and the UK, and is currently working on an Iraq documentary with people on the ground in Baghdad. Besides being a member of the Angel Valley staff, Tim has also worked with Heath Ledger's organization "The Masses".
Scroll down for a production diary for 'September 12th'
from director Matthew Lewis
The script for September 12th was written more than four years prior to production.
In 2003, I'd become quite frustrated about the state of religious affairs in the West, especially in the wake of 9/11. In short, I'd felt for quite some time that faith, specifically as applied to religious concepts, is a dangerous function of the human mind, one that has led to an incredible amount of death and destruction over the course of history.
Discussing religion with people was difficult and mostly pointless - you can't make logical arguments in matters of faith, the two are antithical in nature. Having been religious for about ten years when I was younger, I'd heard it all already, and I wasn't really interested in entering into a debate. I was interested, however, in communicating the frustration I was feeling about the impact faith has on humanity, and in showcasing some of the terrible things I feel faith enables people to do.
I was specifically frustrated with the 'backlash' murders that occured after 9/11. In the months following the attacks, there were scores of racially and religiously motivated murders across the United States. Literally, people were murdered with absolutely no provocation, simply because their skin was the wrong color, or because they 'looked like terrorists.' In the most well-known incident, Balbir Singh Sodhi, a completely innocent Sikh man in Arizona was shot and killed while planting flowers outside of his gas station.
So, I began writing a story about Ahmed, a teenage boy of Middle Eastern descent, but American and wealthy, going to school in the days after 9/11 and essentially getting into an argument with his classmates. It would never be clear whether he was religious or not, but the debate would become quite heated. Ultimately, he would suffer a violent beating at the hands of racist individuals.
After the script was done, I knew that I wasn't going to produce it until I could do it right. We'd been producing other content, on contract with other companies, but I wasn't going to do this one until I had the money and time to really do it well . It would take months to prepare, tens of thousands of dollars, and a large crew to acheive that goal.
Years went by. The script was updated from time to time, but mostly sat on a shelf, staring up at me. In 2007, I decided that it was time to shoot it, the time and money was there. I promised myself that before year's end, I would at least get the ball rolling and commit to pre-production. However, the script felt like it was missing something, and that had to be addressed before we could move forward.
During the off years I'd come up with a possible alternative setting for the film, a desert scene with military involvement. It was a quick decision to intertwine these stories, and I added in the desert storyline to the script. This was what the script was missing, and finally I was happy with a draft.
As the end of 2007 approached, I was running up against my own self-made deadline. Not willing to break my own promise, I called Aaron Sherry, and quite literally said to him, "Quit your job and come do this movie with me." He accepted immediately and came on board, just beating my 2007 deadline to get the ball rolling. On January 3rd, 2008, we officially started pre-production.
Pre-production began on January 3rd, 2008 at the Angel Valley offices in Pasadena. Aaron Sherry and I began breaking down the script and defining our logistic requirements. We made our master task list, and we opened an extranet online to allow for task tracking, scheduling, file management, and general interaction between production staff. The website would serve as the online logistics hub for the operation. Casting notices went out, and thousands of submissions were received. The Screen Actor's Guild, or SAG, was engaged, insurance was secured, and paperwork started. With the show clocking in at about 20 minutes and involving four distinct locations, we decided on a 3 day shoot, and set March 1st, 2nd, and 3rd as our shoot dates.
At this time, the part of the script that occurs in America had a male lead character, Ahmed, and a supporting character, Amy.
Almost immediately we began auditions. During the first round, we met Caker Folley, who was auditioning for Amy. We liked her right away, and put her at the top of our list.
Auditions continued over the following weeks, during which time we met an actor named Rane Jameson. Rane was reading for the role of Ahmed, and he was delivering the subtle, quiet nature the character called for. But, it wasn't until nearly the end of auditions that Einat Tubi came in and read for Amy.
Einat's audition put a doubt in my mind. When I'd originally written the script, the lead role was a teenage boy. After the addition of the alternate storyline (which has a male lead, and intertwines with the original America-based storyline), it started to make sense to rewrite the role of Ahmed as a female character. I hadn't put a lot of thought into it until Einat's audition. Her performance was understated and subtle, just as I'd envisioned the Ahmed character. I also liked the idea of the relationship between the two storylines involving a girl, and the ending of the film would be even more shocking with a female character.
Aaron and I discussed this at length, and I spent a lot of time thinking about it as we continued to organize the production. Knowing our location needs were going to require a substantial time investment, we hired Clay Dodder as a location scout, and Clay began the lengthy process of driving out into the desert to find us a usable location for the military scenes. We hired Blain Brown as cinematographer, and he brought along gaffer David Cheung and his talented grip and electric team.
Soon, we were doing on-site location scouting. A soundstage in downtown Los Angeles had two sets we could use - a house set, and a law library set. If we redressed both sets, they could meet our needs. We hired Matthew Trotter, production designer extraordinaire, to handle this task.
The desert location and the convenience store location turned out to be a bit more difficult. Several of the desert locations were on land that was regularly used by people recreationally. This meant we'd have to deal with people riding ATVs and Motorbikes off in the distance. The problem is, we needed a location that was quite desolate, with no other human activity nearby.
Ultimately, we found federal land outside of Apple Valley, CA, that we could acquire within our budget and was remote enough to avoid most recreational use at this time of year. We also found a convenience store about 30 miles away that was willing to allow us to shut it down for about 6 hours to shoot.
We were faced with a decision - the budget was expanding, and in order to make the film under $50,000 (a restriction of our contract with the Screen Actor's Guild), we needed to cut the production down from three days to two. This meant that our production schedule would be very hectic, and we'd be moving at an insanely rapid pace during both days in order to get all of the coverage that we needed. Financially, we didn't have a lot of options, and ultimately the decision was made to switch to a two-day shoot. Day one would be on the soundstage in Los Angeles, where we would shoot all of the scenes in Amy's house and all of the classroom scenes. We would then drive out to the desert, put the cast and crew up in a hotel, and day two would be all of the desert scenes as well as all of the convenience store.
We locked in this schedule, and continued scheduling and booking of equipment rentals, permits, and so on. There was a tremendous amount of things that had to happen to support the film's needs. We needed everything from functional military vehicles and weapons to catering and portable bathrooms, and everything in between. Three weeks away from shooting, we still had a key task in front of us - finalizing casting. Costumes, Hair, Makeup - none of these things can be finalized until casting is complete.
We finalized our support characters quickly, but we had a few outstanding issues. First and foremost was the casting of the Daniel character, the ranting student on the America side of the film. We had not met a single actor that we wanted to cast for Daniel. We had however received a DVD from the East Coast from an actor named Brendan Bradley.
We put in the DVD, and Brendan popped up on our screen. He introduced himself, and then went into his self-shot audition. It was excellent. We knew right away that we liked him, but he wasn't available for an in-person audition. He did however have a laptop with a camera.
Soon, we were having a video conference with Brendan from the edit suite at Angel Valley. We discussed the role, and we felt that it was a great match. We cast Brendan as Daniel.
This left one major outstanding issue - what do we do about Ahmed? Do we cast Rane Jameson as Ahmed and Einat Tubi as Amy? Or do we rewrite the role of Ahmed as a female, and cast Einat? There was only one way to tell, we needed to get everyone in a room together and run the scene.
We called back Einat, Rane, Caker, and several other actors. We sat each actor down with a counterpart, and had everyone play their roles against another, looking for chemistry. Soon, Einat sat down and read for Amy across from Rane reading as Ahmed. I pulled Einat out into the hallway, and said to her, "This might sound a little odd, but how would you feel about reading for Ahmed?"
Einat replied that she had thought the same thing, and was happy to read the role. Einat proceeded to sit down and give an excellent read for Ahmed. I looked at Aaron, and he was thinking the same thing I was - Einat was in, and we were rewriting the role.
That night, the role was rewritten as a female, and the character Ahmed was renamed to Amy. The previous Amy character was renamed to Samantha, and a new role of Michael was created for Rane. The key scene involving these characters was completely re-written, and we formally offered the roles to each actor, who accepted.
We now had a locked script, a full cast, and we were just weeks away from filming. It was time for the department heads to really get started. Jenny Green, our costume department head, assembled all of the costumes for the actors. Dan Crawley, our SFX department head, began creating components needed for the gunshot effect in the military scene. David Cheung, Aaron Sherry, and myself went down to the soundstage to build a lighting plan.
For fight scene choreography, Aaron created a 3D virtualization of the convenience store, accurately measured, so we could plan the scene without driving all the way back to the desert. David Dragun was brought in as stunt coordinator to work with the actors and teach them some on-camera fighting techniques, and to manage safety.
Aaron began finalizing vendor relationships and securing the many, many pieces of equipment we would need during the show. Everything from lights and grip equipment to generators and cables to cameras and lenses, vendors needed to be contracted in and schedules needed to be set. Rehearsals were held with the actors, knowing full well that the amount of time we would have on-set to work out details would be minimal.
As March 2nd approached, Aaron's production staff began moving into overdrive to handle the large amount of paperwork, phone calls, and general scheduling that occurs in the days leading up to a production. With more than fifty people across cast and crew to coordinate, feed, house, and pay, there was much to be done.
All in all, the production had been exceptionally well planned. I slept like a baby the night before the show.
Production - Day One
Call time on the first production day was at 7am. I arrived on set at about 6:30, and the production was just moving into the parking lot. The catering truck was there preparing breakfast, the production trailer with hair, makeup, and wardrobe was there. The grip truck, the generator, all was in place.
Aaron, his 2nd AD Jenni Powell, and production coordinator Christina Reynolds were organzing people as they arrived, and I stepped onto the stage to begin planning the day's first shot with Blain, David, and Michael Bratowski, the camera operator.
We would be shooting 3-perf Super35mm (Kodak 5218 for interiors, and 5245 for exteriors) on an Arricam LT camera, using Zeiss Ultraprime lenses. The unit was configured for remote control focus/iris, as well as remote video. The shoot would be exclusively handheld, which meant our camera operator would spend a lot of time with the camera on his shoulder.
The first shot of the day would be Amy sitting on the foot of her bed. This had been pre-planned, and David's crew was already configuring a 20 foot by 20 foot silk outside the bedroom window, which would be lit to look like a bright sunny day. We quickly walked through the shot details, such as how tall Einat was, where exactly she'd be looking, and what exactly was in frame. While this was occuring, a lot of things were happening at the same time. The art department and production designer were further configuring the room, supplementing the prep work they had done the night before the shoot. Sound was being set up, a hazer was running to add some haze to the room, and Einat was in hair and makeup.
Around 8:45am we shot the first shot of the day, and quickly moved on to finish the rest of the shots of Amy in her bedroom. We moved on immediately to the living room set, and this is where we began to set the pace for the rest of the day.
We had about an hour to get from setup to completion on the shots of Amy and her mother talking. This meant everyone had to work very quickly, and in concert, in order to make every single thing necessary to shoot the scene happen in a very short period of time. The entire crew quickly got into a groove, and the scene was configured in no time flat. As we shot the scene, shooting multiple takes from multiple angles, we maintained a rapid pace, and this set the tone for the remainder of the day. We were going to be moving fast as hell, and everyone needed to be on top of their job.
We moved into the classroom set, where Blain, David, Michael and I began walking through the rest of the day's shots, all of which would happen in this set. David's crew was simultaneously building the lighting configuration needed for the scene, which Blain and David would refine throughout the day as we moved from scene to scene. For the rest of the day, David's grip and electric crew would be transparently keeping the set ready to go, while Aaron and Tina managed the rest of the crew, making sure talent was always ready to go, and generally enabling the production to move quickly. Each department head stepped up and did their jobs magnificently.
The rest of the day is a blur. We shot the entirety of the classroom content in less than 6 hours. We generated more than sixty minutes of recorded footage in that six hour period, meaning that we ran the camera more than 15% of the time we were on set. Considering that each scene required not only blocking rehearsal for talent and camera, but at least a handful of changes to the lighting configuration, this is absolutely breakneck speed, and is an incredible testament to the talents of the cast and crew.
We began to wrap around 7pm, and the cast and crew made their way to Apple Valley, CA, to sleep the night at a hotel prior to tomorrow morning's 6am call time.
Production - Day Two
After such a fantastic production day, I slept like a baby again. I woke up around 5:15AM and was in the lobby of the hotel by 5:45. We caravaned out to the desert location, about 30 miles away.
We arrived on location before 7am. At this point, the weather was beautiful. Not too windy, not too cold. Of course, this good fortune would not last.
As we began the day's shoot, the weather turned a bit against us. In the scheme of things, it wasn't rain and the sky wasn't dark, so from a production perspective, one really can't complain. However, it did become exceptionally windy and cold, which made the actor's jobs much more difficult. Of course, our actors for this scene were pros - James C. Burns and Christopher Maleki, with literally hundreds of hours of television and film credits to their names. They both delivered great performances under quite uncomfortable circumstances.
Blain and I discussed shooting with a 120 degree shutter angle, something I'd been pondering for days leading up to the shoot. The effect you see as a viewer is that the desert footage seems to be a little sharper, and the motion is a little less fluid. This is a technique often used in action sequences in order to introduce chaos. In our situation, it was a creative decision to give the desert scene a different feel than the rest of the film.
As we wrapped up the desert shoot, our last shot was the gunshot scene. Dan Crawley prepared a custom-built harness for the actor being shot, and we all prepared for the shot. All of the pressure was on Dan for timing the gag with the weapon firing. Dan sat just offscreen, with a small hose running to the actor. The gag was powered by a fire extinguisher, which drove high-pressure gas through a hose, ejecting the blood through a custom-built apparatus that causes it to mist into the air, but in a very controlled manner.
We rolled camera, and I called action. The gun is raised to the actor, and fired. Much to everyone's surprise - mostly Dan's - the effect doesn't go off. He'd left the safety pin in the fire extinguisher. Everyone got a good laugh, and Dan was incredulous, which just made it even funnier. Of course, it was a non-issue, as on take two the effect fired perfectly, and was exactly what we wanted. This is the take you see in the film.
We wrapped the desert scene, and made a company move to the convenience store. Production Design had already began prepping the store for the shoot, which included hiding most of the brand names on the products on the shelves, turning liquor bottles around, and removing shelves and displays that were in the way.
Lighting the convenience store involved blocking out all of the windows and creating artificial light for the entire store. Because the lights in the ceiling were florescent, and we were shooting on film, there was an issue of color. The light cast by florsecent light fixtures does not appear white on film. This means you need to either put a colored gel over all of the lights in the room, or alternatively, "time out" the unwanted color in post production.
Due to time constraints, we decided not to gel the lights and to time out the unwanted color in post production. Ultimately, this worked out well, and saved us more than 45 minutes of time on set.
We had lunch, and then began walking through the scenes. The grip and electric crew began their work in tandem, and soon the set was ready. Again, actors were already in costume and ready to go, and shooting began promptly.
The first shot in the convenience store was of Amy picking out milk. We stuck the poor camera team in a freezer and shot through from the back. Fortunately, we got the shot quickly, and brought them back into a much warmer convenience store.
For the next several hours, we shot various angles of the discussion between Amy and Samael, and of the fight scene. Towards the end of the day, we started to bleed into overtime, and picking up the last couple of scenes was done at a frenetic pace. Ultimately, we got all of the shots we needed, and wrapped production sometime after 7pm.
All in all, we shot and processed almost two miles of film over the course of two days. When calculated out, the camera was running on average between 12% and 13% of the day during each production day. More than fifty people contributed to the film during production.
Of course - this was just the beginning. After eight weeks of active pre-production, and two frenetic days of production, we still had weeks of post production in front of us.
Post Production
Post production began at Fotokem, a film lab in Burbank, CA. Our film was processed and prepared for transfer.
We brought the film to our friends at Universal Studios Digital Services, where we performed a 2K scan of the entire show. Colorists and telecine operators John Heitmann and Michael Karlman ran the transfer, which was supervised by myself and Aaron Sherry. We transferred full-frame super35mm to 2K DPX files, as well as doing a simultaneous HD-D5 transfer for backup.
Our post production process would be unusual. Instead of following a traditional workflow, we decided to go directly to a 2K scan, and utilize a tapeless workflow. The Angel Valley facility in Pasadena was built with this in mind.
Traditionally, films are first scanned to videotape, then edited at low resolution. Once this is done, the editors return to the original film, and assemble the movie. In our case, we scanned the film directly into the computer at an extremely high resolution. Then, we are able to work directly on our source content, without ever working with tapes or low resolution files. We do however keep a tape copy of original transfers - just in case.
This requires relatively high end computers. The Angel Valley facility was built to allow editing of feature-length projects at 2K, using commodity hardware from Apple. Our editing software is Final Cut Pro, but it is running on a system specifically designed to allow for the extreme bandwidth requirements of uncompressed 2K footage. We utilize the Apple XServe RAID storage solution, with multiple RAID arrays connected to a very high end Mac Pro over a fibre channel network. This allows us to access our data at nearly 800MB/sec, or about 15 times faster than a typical home computer.
Once we had scanned the film at Universal, we transferred the files to our facility in Pasadena. The film in its unedited, uncompressed form required more than 1.7 Terabytes of storage. Fortunately, our facility has nearly 20 Terabytes of onilne storage available, and this was easily managed.
The footage was then brought into Final Cut Pro, and editing began. At this point, we had to leave for Europe for another shoot. In order to allow for mobile editing, we created copies of the movie in Apple's ProRes format, and we were able to fit the entire film onto a Macbook laptop, which we brought with us to Europe. This allowed us to continue editing while traveling.
Upon our return to the states, editing continued for several weeks, and ultimately we locked picture (finished editing) on May 5th, 2008. The film was then turned over to the audio editor Rick Santizo, who will create the final audio mix for the project.
The final step in post production is the color correction of the film, and addition of credits and subtitles. At the time of this writing, these are the final steps left before the film is complete.
This film is the product of work performed by a very talented crew under tight deadlines. Everyone from the actors to the production assistants really brought their best game to the table, working with limited budgets, resources, and time, to make September 12th happen.
My thanks to the entire cast and crew, and we hope you enjoy the film as much as we enjoyed making it.
The Day After.
24 hours after the events of September 11th, a young American girl of Middle Eastern descent engages in a heated debate on faith and religion, leading to a physical confrontation that will cost someone their life.
Meanwhile, halfway around the world, a special forces soldier holding a potential terrorist captive must decide whether he lives or dies, with the weight of September 11th on his shoulders.
September 12th is a no-holds-barred commentary on the state of faith and religion in the 21st century.
The film conains brutal violence, adult language, and is not suitable for children.
or, download one of the following versions
(1080p HD MPEG4 optimized for Playstation 3)
(720p HD MPEG4 optimized for Xbox 360)
(optimized for iPhone playback)
(720p HD x264 for MKV-compatible devices)
(720p HD OGG Theora)
Press Kit [ Online Press Kit (PDF) ]
Posters [ small | med | large ]
High Resolution Images [ 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 ]


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Announcement welcome to trees4thewood + I hope you have time to take a look around + please let me know if I can help with anything
welcome to trees4thewood + I hope you have time to take a look around + please let me know if I can help with anything
Em Jaen on Jul 16, 2017
So cute and compliments my vintage wardrobe to a tee. Love her!
phinocoffee on Jul 4, 2017
I love it! I have decided to call her Milly-Molly-Mandy. Thank you so much!
jaimitaflorez on Jun 27, 2017
I love this brooch. It's so delicate and elegant. It's a happy edition to a growing brooch obsession! Thanks also for the personalised note. It's a very warm touch.
I run trees4thewood from my home on our flower farm in rural Tasmania, Australia. I have 5 kids and lots of responsibilities around the farm, but the creative impulse is strong and has always found a way to emerge, no matter how busy my life has been. My current love for linocut printing began as an idea to make some special, handmade cards for friends and family in 2011. I wanted something to send that was meaningful, and that was a gift in itself, not just a piece of cardboard to throw away. I found that I enjoyed the process so much I wanted to make more, so my etsy shop was born.
I soon went on to create linocuts that depicted familiar scenes around my home. I live in an inspiring environment and the need to express how I see it has been given an outlet with linocuts. I love the carving process, the printing and the hand colouring, watching the image come to life. I am inspired to create designs that resonate with people who may never see what I see, and yet can "feel" it through the image. I just love being able to share the designs of my little corner of the world with an audience right across the globe.
Twig pencils are an idea I had as another way to share the unique place where I live. I make my twig pencils from twigs we collect here on our farm. I love that a common object, when repurposed, brings its unique beauty into focus and makes you appreciate it when you may otherwise have not even noticed it.
Trees4thewood is an authentic expression of the simplicity of country life and the beauty that being in touch with the land reveals. I hope that in some small way, you can breathe the fresh air and feel the sun on your skin as you wander through my store!
Shop members
Grace Gladdish
Owner, Maker, Designer
Grace Gladdish is a mother of 5 with 4 years at art college and a long but often interrupted history of exhibiting her artwork. She runs trees4thewood from her studio on her flower farm in Southern Tasmania
Shop policies
If you are interested in seeing more of my work, you can have a look at my website
www.gracegladdish.com or
gracegladdish [!at] blogspot.com
My youngest child was born with a severe heart condition in 2011 and we nearly lost her. After many months in hospital, we returned home full of creative energy! It really is worth putting your heart and soul into the things you love to do. I started up an etsy shop to give me a focus for my art-making and to provide some mental health for myself!
I love materials that are aged and have a history. I collect vintage women's magazines and old medical books, especially the ones with the beautiful fold-out sections. I am also inspired by the beauty that surround me on the flower farm. All of these things can be seen in the things I create. I really hope you find something to inspire you at trees4thewood.
Accepted payment methods
- Accepts Etsy Gift Cards and Etsy Credits
Only fully paid items will be shipped.
International shipping times vary but 2 weeks is around average.
Within Australia, shipping times can vary from 3 days up to 2 weeks, depending on the destination. If you would like to add domestic tracking, convo me and it can be arranged for a small fee.
Tracking for international orders is not available. It is rare for parcels to go missing, but it does happen. Let me know if your parcel does not arrive within the generally allowed shipping time. In most cases missing parcels do turn up, but please let me know if you are concerned and I will do what I can.
I am fussy about your item arriving in top condition - after all, its my artwork and I'd hate to see it ruined. The packaging products I use are designed to get your order to you in perfect condition and are made from recycled materials wherever possible. Please let me know if your item is damaged in transit, and I will do what I can to resolve the issue.
Refunds and Exchanges
Additional policies and FAQs
RESERVING ITEMS - I will reserve items if requested. I retain the right not to hold an item if it is a one-off, or is in short supply. A message will be sent via etsy conversations when the item is reserved. Reserved items will only be held for a period of 24hours from the time the message is sent.


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Breed wise, I know that Cavalier King Charles Spaniels are supposed to be great family dogs. The problem lies in finding a good breeder, then the cost of the pup (1-2k) or having to wait A LONG time to find one through rescue.
Hi Mamas,
Thank you all for the suggestions. I've also heard great things about Cavaliers. However, I think they are rarely up at rescues and we do not want to pay for a dog.
If you do not want to pay for a dog, don't get a dog. Rescues have a lower adoption price versus purchase price, but that is IT. You should be prepared to more than make up for that in vet bills, training costs, etc. I'm not discouraging anyone from rescue, but I do think that expecting a rescue dog to be a cheap dog is really incorrect.
Wife to DH (06/09/01), Mother to DS (04/10/06) and rescuer of dachshunds ~ and that our arrived (06/10/11) safe and sound. Love our little one ~ and
Book-lovin', relaxed homeschoolin', dog snugglin' mom of the best kid EVER! AND...waiting for baby #2, due 5/9/14!
I'm really confused at the sentiment here that it's really hard to find a good dog in rescue. Yes, you have to be cautious and realize what you are getting into with a rescue dog, sure, but it's not like most dogs in rescue are horrible untrainable beasts or anything. I'd trust the majority of my foster dogs to be great pets in many situations (there are definitely exceptions that needed to be in certain types of homes, but that's what I am for as a rescuer--to help match the dog and the family). Yes, there is going to be adjustment, and the new people have to commit to working with the dog, but that's true with breeder dogs too.
Anyway, I think the attitude that it's hard or unlikely to find a good dog in rescue is ridiculous, and I don't see where it's coming from.
I have a medium sized black lab mix (50 pounds) and she is the most wonderful dog. So tolerant and she loves kids. We're considering a beagle or beagle mix for a second dog. So here's another vote for beagles and beagle mixes. What about a pug or pug mix?
How happy you're going to be with a beagle depends on whether you can meet its needs and not be driven crazy by the normal breed characteristics. Beagles are LOUD--often hysterically loud--they dig a ton, they can never be trusted off-leash, and if they ever get loose they're GONE. They tend to be friendly, charming dogs, but they are rabbit hunters. They've been bred for centuries to go all day after rabbits, and they've got just as much hunting drive as their large hound cousins. So they need a lot of exercise and stimulation (I would say a minimum of an hour a day of running would be appropriate), and the ideal beagle home would be one that would at least investigate getting involved in field trials where the genius of their dog can shine through. Beagles are smart dogs, but they're stubborn and they housebreak slowly. MANY of the poorly bred ones are neurotic and shy, which is totally unlike the way the beagle temperament should be, so screening them carefully for suitability to kids is absolutely vital.
We got an American Staffordshire Terrier through a local rescue and she is the best dog we have ever had. She is highly trainable, very eager to please, great with the kids and almost never barks.
Wife to DH (06/09/01), Mother to DS (04/10/06) and rescuer of dachshunds ~ and that our arrived (06/10/11) safe and sound. Love our little one ~ and
Book-lovin', relaxed homeschoolin', dog snugglin' mom of the best kid EVER! AND...waiting for baby #2, due 5/9/14!
If the chips are down, the buffalo is empty.
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I suspect you're measuring "similar to" in a much different way I am. I don't consider the under the hood mechanism all that important: only the impact on user and developer freedom.
And so do I. The problem with freedom is the infamous Your right to swing your arms ends just where the other man's nose begins.
Some people become upset when they are not given freedom to do something even if there are no reason to perceive that they are indeed entitled for such freedom. "YOU APPEAR TO BE INSTALLING A NEW OPERATING SYSTEM. IF THIS IS WHAT YOU WANTED SAY YES" approach with manual bypass made sense fifty years ago when only trained professionals had access to the big iron systems in a conditioned room. In fact they had no need for such protection because the very fact that they have physical access to the body of the device meant they are privileged enough to do whatever they want with it.
In today's world where computers are used everywhere there are huge number of system where the person which actually has physical access to the system does not have the legal right to alter it - and technical solutions must reflect this fact.
Secureboot unmodified except for a super easy semi-automatic key enrollment process for new OS installs would be a perfectly reasonable thing in my book.
And will be perfectly unreasonable in my book because it'll rob the real owner of the device (the company which paid for it) from the valuable and much-requested capability.
SUSE and Secure Boot: The Details (SUSE Blog)
Posted Aug 16, 2012 17:09 UTC (Thu) by gmaxwell (guest, #30048) [Link]
I don't see how that has anything to do with how systems shipped by OEMs to end consumers works by default. Secureboot, as its described today, doesn't solve that owner's choice issue itself— it's solved by locking down the system and denying access to the firmware, something that can be done independently of secureboot.
Copyright © 2017, Eklektix, Inc.
Comments and public postings are copyrighted by their creators.
Linux is a registered trademark of Linus Torvalds


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When sporting my own style uniforms, I feel like I can run the world! But wearing black shorts and a white T-shirt everyday can be boring. Jill Stuart's resort 2015 collection sets a great example of adding a sophisticated attitude to my favorite tomboy look. Comparing to her symbolic, ultra-girly wardrobes, the latest collection is full of breezy fabrics and cool silhouettes. Pairing boxy tops with matching cuffed shorts is right up my alley. But the faded indigo fabric and bow-tie belt differentiate these tomboy looks from others. They have just the right amount of attitude.
So I decided to add something new to my favorite go-to look. Inspired by Jill Stuart's collection, I paired a washed denim jacket with a white T-shirt and loose leather shorts. Denim jacket is structured but still has the laid-back vibe. Another perk of wearing denim is adding my minimalist look a brush of color.
I'm obsessed with leather shorts. A black leather short goes with anything. It automatically gives any outfit a cool touch. I can't stress the significance of a white T-shirt. A well-cut one with soft fabric gives you an effortless sleek and chic touch.
Finally, I'm always thinking of putting the right accessory on to lighten up my entire look. A good accessory is like the icing on the cake. I'm not good at mixing and matching jewelry, so my hat is my lifesaver. This time, I went with a classic bowler hat to add a preppy fun touch. A light knit beanie or cap also provides the right amount of attitude without being a try hard.
Get My Look: 1. A washed denim jacket. 2. Boxy leather shorts. 3. An ultra cool hat.


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The Most Important People on The Internet: Volume 41
she does't hold a candle to Pam Anderson. Or Farrah when she did the famous red swimsuit photo.
No but she can hold a candle then masturbate with it to entertain her 50 yr old husband and his friends at coke fueled parties. But whos counting.
Also shes not FUCKING 16 shes 27.
Who said she's 27? On the marriage license it has her birthdate. August 1994.
Jip, OG baywatch wannabe.
It is disgusting and well even more disturbing… Bet she will be in porn pretty soon because she always makes that "o" friggin face…
16 year olds shouldn't have fake boobs.
wait- shes sixteen what?
sixteen gangbangs?
Well played, sir.
She looks like she is atleast 30 something… And well just argh! and fugly too
ewww. this bitch look 47 at the youngest, not 17. what a joke


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Building Up and Tearing Down
By Paul Goldberger
Architecture always connects to something; it is never a thing onto itself./Paul Goldberger
Paul Goldberger's keen observations and sharp wit have made him one of the most insightful, passionate, and wide-ranging architectural voices of our time. This collection of fifty-seven essays is a comprehensive and intelligent account of the best - and worst - of contemporary architecture around the globe.
Buildings do not just happen; they are the products of a peculiar combination of artistic vision, money, political wherewithal, and engineering skill. To the extend to which it is possible to take note of the process by which buildings happen, I do, not to excuse the results - no critic should ever do that - but to place the building within a context that enhances its meaning./Paul Goldberger
The essays cover a broad range of architectural and urban issues, buildings, architects, and cities and are organized in thematic sections: Buildings that Matter, Places and People, New York, Present and Past, Museums, and Ways of Living. Goldberger profiles places from Havana to Beijing and people from Louis Kahn to Charles and Ray Eames. A considerable portion comes from his tenure as architecture critic of The New Yorker, as well as from his work for the New York Times and Metropolis.
Buildings that Matter: Good Vibrations
The outside of Disney Hall lifts the spirits of those who see it from the sidewalk or, this being Los Angeles, from the windows of their cars, and the inside is equally inspiring. The auditorium is the finest interior Gehry has ever made.
The New Yorker, September 29, 2003
Buildings that Matter: High-Tech Bibliophilia
The Seattle Public Library is the most important new library to be built in generations, and the most exhilarating. Rem Koolhaas has always been a better architect than social critic, the Seattle Public Library conveys a sense of the possibility, even the urgency, of public space in the center of the city.
The New Yorker, May 24, 2004
Buildings that Matter: Seductive Skins
Herzog and de Meuron use their seductive skins to lure us into their architecture. The facade of the de Young Museum in San Francisco is so dazzling that you expect the building to be an empty showpiece; yet it's interior is useful and intelligent.
The New Yorker, March 20, 2006
Places and People: Las Vegas
Las Vegas was built on the premise that the degree to which people loosen their wallets is in direct proportion to the amount of fantasy that is offered to them.
The New Yorker, September 14, 1998
Places and People: Beijing
In Beijing the latest trend is architecture that will force the world to pay attention, and the result is a striking, unmistakably twenty-first-century city, combining explosive, relentless development with a fondness for the avant-garde.
The New Yorker, June 30, 2008
Places and People: The Eames Team
Almost everything the Eameses did broke new ground. Their house overlooking the ocean in pacific palisades in California, which was constructed out of factory-made steel-and-glass parts, anticipated the high-tech fashion in architecture by a quarter of a century.
The New Yorker, May 24, 1999
New York: Busy Buildings
When you try to fix an image in your head of any of the skyscrapers that have just been built or are going up around Times Square, it doesn't hold. There isn't a single clear shape that you can remember.
The New Yorker, September 4, 2000
New York: Dior's New House
The LVMH building has a flat top and a fairly straight forward street floor. The facade itself, however, is anything but flat. Between the straight lines at the bottom and the top, Christian de Portzamparc has crafted an angular, faceted composition of great complexity.
The New Yorker, January 31, 2000
New York: Triangulation
As with all Norman Foster designs, the Hearst Tower is sleek, refined, and filled with new technology. It looks nothing like the Jazz Age confection on which it sits. The addition is sheathed in glass and stainless steel - a shiny missile shooting out of Urban's stone launching pad.
The New Yorker, December 19, 2005
Present and Past: Requiem
Great memorials use abstraction to engender feelings of peace and awe. The Oklahoma City memorial is most effective, I find, when it is viewed as a series of abstract shapes - the monumental gateways, the glowing cubes at night - although for a lot of people it is the very chair-ness of the chairs that is powerful.
The New Yorker, March 2, 1998
Among the 14 essays included in Museums are The People's Getty, Baubourg Grows up, Bowery Dreams, Molto Piano and Art Houses.
The last section, Ways of Living, includes essays on Cell Phone Life, Design and the Mass Market, and New Residential Architecture.
Publisher: The Monacelli Press
Last updated: December 19, 2013
See also
Renzo Piano: The Architect's Studio
Humlebæk, Denmark
Situ Studio reOrder: An Architectural Environment
New York, New York, USA
Rewarding Lives - The Moderns Exhibition installation
West Hollywood, California, USA
The New York Times Building
New York, New York, USA
Luis Barragán: The Quiet Revolution
Valencia, Spain
Thomas Demand Model Studies
Nottingham, United Kingdom


text:
Research and Markets: 2012 Report on the $290 Billion US Oil & Gas Exploration & Production Industry
Research and Markets (http://www.researchandmarkets.com/research/6xfc6z/oil_and_gas) has announced the addition of the "Oil & Gas Exploration & Production" report to their offering.
The US oil and gas exploration and production industry consists of about 5,000 companies with combined annual revenue of about $290 billion. Major companies include Anadarko Petroleum, Apache Corporation, ConocoPhillips, Devon Energy, and Marathon Oil, along with the exploration and production divisions of integrated companies such as Exxon Mobil and Chevron.
The largest oil producing countries are Russia, Saudi Arabia, and the US. The largest natural gas producers are the US, Russia, and Canada. Major oil and gas companies outside the US include LUKOIL and Gazprom (headquartered in Russia); Saudi Aramco (Saudi Arabia); Royal Dutch Shell (The Netherlands); BP (UK); National Iranian Oil Company (Iran); China National Petroleum Corporation (China); and PETROBRAS (Brazil).
Petroleum refining, petroleum wholesale distribution, and retailing (fuel oil and LP gas dealers and gas stations) are covered in separate industry profiles.
Demand is driven by economic activity, population growth, and energy efficiency for residential, industrial, and transportation uses of oil and gas. Profitability of individual companies is driven by the success rate of new wells drilled and the ability to increase production from existing wells. Large companies are advantaged by access to capital, including the ability to buy or merge smaller companies. Small companies compete by focusing on, and developing expertise in, a few geographic areas. The industry is capital-intensive: average annual revenue per employee is nearly $2 million.
Key Topics Covered:
- Industry Overview
- Quarterly Industry Update
- Business Challenges
- Business Trends
- Industry Opportunities
- Call Preparation Questions
- Financial Information
- Industry Forecast
Web Links and Acronyms
For more information visit http://www.researchandmarkets.com/research/6xfc6z/oil_and_gas
Research and Markets
Laura Wood, Senior Manager
U.S. Fax: 646-607-1907
Fax (outside U.S.): +353-1-481-1716
Sector: Oil


text:
News about reggae music, artists, culture and more...
London based collective Reggae Roast are releasing their first single from last year's 'Roots Uprising' compilation.
It's a track called Serious by fellow Londoners The Hempolics featuring Dandelion on vocals and produced by Grippa. It utilises a vintage Clancy Eccles rocksteady production, Stay Loose by Hemsley Morris, to create an old meets new vibe.
Reggae Roast will also be celebrating the release with a Serious Single Release Party Warehouse Dance on Friday April 24th at Number 89 on Shacklewell Lane with special guests Iration Steppas and Dandelion himself.
Serious is out on April 19th on 7-Inch vinyl. You can listen to a sample on this page…
Mr Money Man Riddim
By Angus Taylor
New Albums from Etana and Protoje
By Erik Magni
Paint Jamaica
By Erik Magni
Live My Life Again, Perfect Giddimani final album
By Erik Magni
Sweet You, Sour You by Freddie McKay
By Erik Magni
Jah Sun - Between the Lines
By Erik Magni
Wise & Wild by Patois Brothers
By Erik Magni
Presenting Kingston All-Stars
By Erik Magni
Fought For Dis by Sizzla
By Erik Magni
© 2007-2017 United Reggae. All Rights Reserved. Reproduction in whole or in part is prohibited. Read about copyright
Terms of use | About us | Contact us | Authors | Newsletter | A-Z


text:
O 'tis a lovely thing to see
A man of prudent heart,
Whose thoughts, and lips, and life agree
To act a useful part.
When envy, strife, and wars begin
In little angry souls,
Mark how the sons of peace come in,
And quench the kindling coals.
Their minds are humble, mild, and meek,
Nor let their fury rise;
Nor passion moves their lips to speak,
Nor pride exalts their eyes.
Their frame is prudence mixed with love,
Good works fulfil their day;
They join the serpent with the dove,
But cast the sting away.
Such was the Savior of mankind,
Such pleasures he pursued;
His flesh and blood were all refined,
His soul divinely good.
Lord, can these plants of virtue grow
In such a heart as mine?
Thy grace my nature can renew,
And make my soul like thine.
|Text Information
|First Line:
|O 'tis a lovely thing to see
|Isaac Watts
|Publication Date:
|Matthew 10:16; Psalm 17
|Saints: and Sinners' portion; Sinner: and saint's portion; Portion of saints and sinners(10 more...)


text:
Shoemaker High School was placed on lockdown Tuesday morning after a student may have threatened a teacher.
Officials closed the campus at 9:35 a.m. due to a "perceived threat towards a staff member from a student," according to a statement from a Killeen Independent School District spokesperson.
KISD officials refused to elaborate on the circumstances of the threat. However, KISD spokeswoman Leslie Gilmore said no weapons were involved.
The student was removed from the campus. Any disciplinary action will be determined by the district's code of conduct, Gilmore said.
The lockdown was lifted at 10:30 a.m. after KISD police and campus officials investigated the threat.


text:
For Online Computer Support, Ask a Computer Technician
I did that and no matches come up.,
It worked. I have word on my desktop. I had a second part of my problem however. I have a document which is read only. When I try to delete it, it tells me that it is open in word and it won't let me make any changes to it. I think this has to be releated to my Word program disappearing off my desktop because both things happened about the same time. It seem to me like Word disappeared and took my document as hostage. Even after I shut the compter down completely and then open the doc again, it tells me that it is open in Word and I can't change it.
This is a document that I change all the time, so I am trying to edit it and then save it with the same name, but it won't let me save it with the same name. I have to change the document name every time I make a change on it.


text:
Finally, Amanda Knox was set free today after four years in Italian prison for the murder of her roommate back when Jesus was alive. I'm not trying to take sides here, but I was a "Team Amanda" all the way. The evidence never pointed to her.
But voice your opinion, is Amanda Knox (and her boyfriend) innocent? Why or why not?


text: Over the past 19 years, I have represented clients in all aspects of employment litigation, including race, sex, age, and disability lawsuits, retaliation, breach of employment contract cases, general contract actions, noncompete cases, and wage and hour cases. I have also represented clients in a number of class action discrimination cases and collective actions for violations under the FLSA. I regularly represent clients in the manufacturing, healthcare, and services industry. I also represent a number of governmental agencies.


text:
This topic is for users to discuss eBay, not for advertising eBay items. If you are a small business you can advertise here
Ebay Christmas challenge continuing into the new year!(475 Posts)
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text:
Sprint Is 'Odd Man Out' in AT&T/T-Mobile Deal
What should Sprint do now?
As the jilted lover in the proposed $39 billion merger of AT&T and T-Mobile USA, Sprint would be pushed down to a distant No. 3 wireless carrier in the U.S. if the deal goes through. Sprint also was talking about a merger with T-Mobile for itself, before AT&T swooped in.
Bernstein Research analyst Craig Moffett calls the already wobbly Sprint the "odd man out" after the combination of AT&T and T-Mobile. The combined company would have about 130 million customers. Sprint ended 2010 with about 50 million subscribers.
"T-Mobile has been Sprint's primary source of subscribers. An AT&T/T-Mobile deal can be expected to reduce T-Mobile's churn sharply, drying up Sprint's growth pool," he wrote. Moffett said Sprint will also be left alone to fund Clearwire, the mobile Internet service controlled by Sprint with the investment of other tech and telecommunications companies, including Comcast, Time Warner Cable and Intel.
Sprint shares are sinking, down about 14% in recent trading.
Sprint has a two paths it can take: Bulk up or sell out.
Possible suitors:
- Verizon: Analysts have downplayed this expectation, as Deal Journal colleagues Roger Cheng and Steven Russolillo reported, as Verizon focuses on its fraught relations with Vodafone, the joint-venture partner on Verizon Wireless.
- A cable company: Sprint in the past had agreements with several big cable operators, including Time Warner Cable and Comcast, to offer cellphone service in a package along with cable and Internet service. Those agreements largely have evaporated. Comcast, which appears to be the most likely cable suitor for Sprint on paper, will be busy digesting its recent purchase of NBC Universal from General Electric.
Possible purchases
Smaller, regional carriers: MetroPCS, Leap Wireless and U.S. Cellular Corp. all are reachable for Sprint. On expectations of more consolidation in the wireless sector, Leap shares are 14% higher and MetroPCS shares are up about 5.2%.


text:
In Defense Of John Mayer
John Mayer has a bad rep. Once a soulful crooner with a baby face, he's morphed into a cocky megastar making his way around the proverbial Hollywood block. In 2006, he used his relationship with ex Jennifer Love Hewitt as material for his stand-up and he went on to date (and ditch) Jessica Simpson, Cameron Diaz and Jennifer Aniston. In January, he hit a new low when he appeared to be macking on America's sweetheart, 20-year-old Taylor Swift. A few weeks later, an interview he did with Playboy came out. The quote that reverberated around the interwebs: "Yeah, [Jessica Simpson] is like crack cocaine to me … Sexually it was crazy. It was like napalm, sexual napalm …"
After that, John became persona non grata. Even this video he posted this month, called "A Life In the Day," couldn't redeem him.
But here's the thing. Even after all the bonkers tweets and swarmy quotes,
See, I have spent countless nights falling asleep to John Mayer's voice whispering from my speakers. I was a senior in high school when Room for Squares debuted. Before that, I had no point of reference in music. A good jam could get me dancing, but there was no musical artist who activated my soul and left an ineffaceable mark on it. Mayer unbuckled my musical chastity belt. I felt every song, as his lyrics took on a sweet synchronicity with my life and with my thoughts. Listening to his albums was like finishing a long run. Where at the crest of a hill, short of breath, I look at the view and think, "This is me. At least for now."
I am not the type of fan to paste pictures of him on my wall, but that doesn't mean I don't have an inclination for the schmaltzy. I've never been to one of his concerts because I am holding out for my boyfriend to take me. I don't need a concert, though, to celebrate Mayer's music. It is the places I take his words with me that matter. As a student, with Mayer echoing from my dashboard, I started my five-hour drives between home and school. Despite the long highway, his melodies made me feel like I was home, back in a familiar rhythm. In 2006, when I was living in Paris, I took long walks, tuning out to the song "3×5." It was during one of these strolls, when I was relishing the Belleville neighborhood I now miss, that I realized the name Mayer sounds like meilleur, the French word for "better."
Back in the States, over a year later, I found out how much John Mayer's fame had blown up. I was listening to "Gravity" in the dentist's office while high-speed drills buzzed as if they were singing backup. Or in the grocery store, Mayer played as the intercom interrupted to announce specials on Country Crock margarine. Then, he himself transformed, going from a shaggy fluff hairdo to luscious locks and round cheeks to a chiseled jawbone. Hunky and borderline pretty, he became a bona fide rock star with a proclivity for high-profile relationships and kissing and telling. Maybe he's not bothered by the reaction his behavior begets. Yet, for a man who creates original compositions, it seems like he's stuck on repeat.
Picking up a 2009 magazine interview, I didn't make it to the third paragraph before his Porsche Cayenne and Land Rover Defender got as many mentions as his manager. Mayer, it seemed, was making the transition from a man of music and depth to a man of acquisition and status. This set a glum and insincere tone to his art of melody for me from then on.
The dichotomy of John Mayer's image and his tunes left me a confused fan. I wrestled with this for over a year, feeling silly for taking it too seriously, yet not silly enough to throw him back on my dream-time playlist.
When his latest album, Battle Studies, came out I waited months before buying it. I tiptoed past it in the record store and then would look back, unsure which part of the musician I'd be getting, the contrived rock star or the lyrical wunderkind. In order to avoid last-moment register retreat, I took standing in line out of the equation and bought the album on iTunes by simply pressing "enter." Alone in my room I played the album once, twice, three times, and afterward I kept thinking, Damn John, you did it again. His music peeled away emotional layers that weigh me down, leaving me lucid and light.
I now know that is more than I could ever ask for in a musician. Yes, the fame is there. But the music came first; it always does.


text: Dear torque users, I would like to submit 30 jobs, one right after another. Each job takes up 10GB of RAM. I would like to use torque to run each of these jobs and when each job is executed, claim 10 GB of memory. Since my nodes only have 16 GB of memory, I would only expect one file to be running on each node. I tried using the mem keyword, but it allows all of the jobs to be sent of the same node. Please let me know how to configure the job script for this effort. Thanks, Bryan -------------- next part -------------- An HTML attachment was scrubbed... URL: http://www.supercluster.org/pipermail/torqueusers/attachments/20100906/e0f91edd/attachment.html


text:
Note: Selecting "No" will opt you out of receiving leads for Kids' Birthday Parties. You can always update your settings for this and other event types in the Profile tab by editing Event Type Selections.
Preview opera singers directly from the Gigmasters site. Listen to audio clips, read testimonials from previous clients, request a quote and more. When you're ready, book the performer conveniently from our site. Opera music is an exceptional way to add a distinctive flair to any event.


text:
Mental Health
Have Mental Health Questions? Ask a Psychiatrist Online
Hello, this is Jean, a mental health therapist to assist you.
I'm sorry for this struggle- betrayal
As hard as this is- if you both commit to wanting to work through this - it is possible- hard work- but possible
Welcome! You've been hurt- doesn't sound like it has progressed beyond the texting "sexting".
Do you want to engage in a live chat?
Even if it does not involve actual sex- it can be an emotional affair- making her occupied- less available to you
Has your wife committed to stop this behavior- admit it is wrong?
Do you think you can work through this- if you want to- she must first be very transparent and honest about all of this.
She also admitted that it was just a matter of short time and opportunity to have actual sex with him
You likely have lots of questions- rightly so- she needs to answer those.
Does she want to leave the marriage?
This is very hurtful, and if she is committed to working through this she also needs to validate how she has hurt and betrayed you.
she has stoped her activity and admitted she was wrong. she also contacted him that it's over and deleted his number however they work together
Of course you are confused. That she works with him is worrisome I'm sure.
It sounds like she is taking important steps to make amends to you-
The steps she has taken such as being honest increases the chances you will get through this. You can not control what she does at work- but if she commits to stop and is being honest- she will stop.
I don't know why but is sexting actual cheating?
It's okay for you to continue to ask her questions- she will know you will have many. I think sexting is a dangerous slippery slope to "actual" cheating that involves sex.
It's more about how you are feeling- does it feel like she cheated?
The more questions you ask, the more forthcoming she is, the better able you will heal from this, feel less pain.
yes I feel betrayed because she was actually sending the same pictures to me that were really meant for him
Then it is cheating.
That it did not progress to actual sex- better prognosis you can get through this.
It will make you mistrust, be suspicious, at least for awhile- time will tell if she stops, and or does not do it again.
Know that your feelings about this- whatever they are are justified, okay, and you can express those feelings.
That she works with him she needs to expect you will wonder and worry- she needs to be honest about any contact she has with him- even just chance meetings. What have you considered doing- leaving?
The more she tells you about what is going on at work, and when she interacts with him the more trust it builds.
Support for you is important, you've been hurt and betrayed, do not want to hold in those emotions. Finding someone to talk to such as a trusted friend. If you have trouble getting through this on your own may consider marriage counseling- to assist you in working through this.
Are you still there?
Did you have other questions or comments?
Talk, talk, talk about this- maybe set times to discuss it- vs. it being all consuming. Do try to engage in your normal activities, or spend some more quality time together as a couple.
You must have stepped away from the computer- if you post additional comments or questions I will be notified and respond back as soon as I can. Thank you for your question today. Jean
Please let me know if you had other questions or comments.
Some additional thoughts and information for you to consider in all of this.
If both parties decide that they want to try and save their marriage, the next phase is the most difficult.
To begin with, it requires understanding the motivation underlying the affair and taking steps to change the factors which led the unfaithful partner to cheat.
People often lack insight into their own behavior, and if they do understand why they cheated, they often do not want to disclose this information with a spouse - thinking that doing so will only cause more problems. However, if the real issues are not identified, they are less likely to get resolved.
And by approaching this problem as a couple, it can empower a spouse, who has been cheated on, by providing a sense of control. Working together to fix the problem can bring back a sense of certainty or reassurance, which is important when trying to restore trust.
n addition to identifying the motivation underlying the affair, it is essential to candidly discuss the details of what happened. Again, most cheating spouses attempt to hide the details of the affair, thinking that telling the truth will only lead to more problems.
But, concealing the details of the affair, often leads to lingering questions, which if not addressed, are unlikely to go away on their own. And if questions linger, it can be nearly impossible for a spouse not to dwell on the incident.
Revealing the truth can be painful, but it is necessary when trying to move forward.
Both of these issues, identifying the motivating factors underlying the affair and discussing the details of what happened, are difficult for most couples to manage. These tasks require tremendous insight and effective communication skills. If these two issues are not handled effectively, it can lead to further problems - more anger, resentment and frustration.
Given the difficulty of this couples counseling may be needed.
Please post any comments or questions you may have.
I look forward to your comments or questions- if satisfied with answer, please accept - rating okay or higher for me to get credit.
Thank you for you question!


text:
COLUMBUS -- Ohio school performance declined slightly in 2006-07, due in part to new social studie
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