text:
Words that end in ckabackly
Found 1 words that end in ckabackly. Browse our Scrabble Word Finder, Words With Friends cheat dictionary, and WordHub word solver to find words that end with ckabackly. Or use our Unscramble word solver to find your best possible play! Related: Words containing ckabackly
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text:
Bible believer
From Wikipedia, the free encyclopedia
For the Australian antisemitic website, see Bible Believers.
Bible believer (also Bible-believer, Bible-believing Christian, Bible-believing Church) is a self-description by conservative Christians to differentiate their teachings from others who they see as placing non-biblical or extra-biblical tradition as higher or equal in authority to the Bible.
In normal usage, "Bible believer" means an individual or organization that believes the Bible is true in some significant way. However, this combination of words is given a unique meaning in fundamentalist Protestant circles, where it is equated with the belief that the Christian Bible "contains no theological contradictions, historical discrepancies, or other such 'errors'",[1] otherwise known as biblical inerrancy.
See also[edit]
- Bible Christian Church
- Bible Christian Church (vegetarian)
- Bibliolatry
- Christian fundamentalism
- Christian right
- Evangelicalism
- ^ Hill, Craig C. (2002). In God's Time: The Bible and the Future, p. 12. Michigan: Wm. B. Eerdmans Publishing. ISBN 0-8028-6090-7
Further reading[edit]
- Ammerman, Nancy Tatom (1987). Bible Believers: Fundamentalists in the Modern World. New Jersey: Rutgers University Press. ISBN 0-8135-1231-X
- Boone, Kathleen C. (2002). The Bible Tells Them So: The Discourse of Protestant Fundamentalism. New York: SUNY Press. ISBN 0-88706-894-4
This Christian theology article is a stub. You can help Wikipedia by expanding it. |

subset: commoncrawl


text:
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text:
At 23:50 1/22/99 EST, email@example.com wrote:
>Oh Yea..one more thing......Answer my questions please....or is Satan not with
Translation: You're unable to think of an honest answer to any of my
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fact, your master's programming kicks in.
When you find evidence for these gods of yours, you'll be sure to let
me know, won't you?
Thanks in advance.
Return to The Skeptic Tank's main Index page.
From: "Fredric L. Rice"
Subject: WHY? Degrade a Child of God that has made a mistake?
>you at this minute.....God Love You!!!!
The views and opinions stated within this web page are those of the
author or authors which wrote them and may not reflect the views and
opinions of the ISP or account user which hosts the web page. The
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ISMN Users Manual 2005
- Millicent Boyd
- 1 years ago
- Views:
1 ISMN Users Manual 2005
2 ISBN (print) ISBN (PDF) 2005 by International ISMN Agency Staatsbibliothek zu Berlin Preußischer Kulturbesitz Third, revised edition Printed in Germany
3 Contents Prefaces Background How the International Standard Music Number (ISMN) is constructed Elements Distinguishing element Publisher identifier Item identifier Check digit The number of digits in each element and how to recognize them in an ISMN Scope of the ISMN Principles and procedures to be observed by publishers numbering their own publications Assignment of a publisher identifier Authority Responsibility Register The ISMN as stock or edition number Non-participating publishers Application of the ISMN Facsimile reprints and microform editions Different bindings Different formats Scores and parts Scores available as part of a set Parts available separately Parts available separately and in sets Parts availabe only in sets Some parts available separately, some only in sets Multiple packs... 16
4 6.4 Different versions Multi-volume publications Publications with subsidiary material Anthologies and excerpts Back stock Rights bought from other publishers Collaborative publications Music sold or distributed by agents Publishers with more than one place of publication Prohibition on re-use of an ISMN Printing and publicizing of the ISMN Printing of the ISMN on music publications Position of the ISMN Complete listing of ISMNs belonging to a publication Printing of the ISMN in machine-readable coding Providing the 13-digit bar code. Instructions for makers of film masters Publicizing the ISMN Administration of the ISMN system International administration National or regional administration ISMN and other international standard numbers ISBN ISSN ISRC ISWC ISAN DOI URN... 30
5 Preface The ISMN (International Standard Music Number) has been quite successful during the ten years of its existence. Fourty-six countries and regions are now active members of the system. If something is to be desired it would be more applications in the music business as we see them in the ISBN community. Music publishing and the use of sheet music do not compare so easily with the world of books printed music addresses a select, music literate audience, and the historical structures are different in the major music countries. A certain globalisation is seen nowadays through the growth of internet suppliers who offer large amounts of sheet music and thus bridge the gap between the traditional music countries and the music lovers worldwide. The ISMN would be an ideal identifier for the material on the internet, especially as it is compatible with more specialised identification systems. The present new edition of the ISMN Users Manual eliminates small errors, provides a better presentation of tables and updates information on other standard identifiers in order to foster transparency and cooperation within the network. Users Manuals are not static they are constantly in a process of revision in order to make them as useful as possible and adapt them to the current needs. Therefore also the present edition is by no means the definitive one the most up-to-date version will be found on the website of the International ISMN Agency (http://ismninternational.org). Berlin, Jan. 3, 2005 H. Walravens ISMN Users Manual 5
6 1 BACKGROUND When the ISBN proved to be a comprehensive rationalisation tool for the book trade, the music publishers also advocated a similar standard number for printed music. A retarding element in the discussion was the controversy whether a simple identification number would suffice or a bibliographic code was needed which represented amongst others also the link between the score and the individual parts. When the International Association of Music Librarians, Archives and Documentation Centres (IAML) UK Branch addressed the International ISBN Agency with the proposal of a ten-digit number without bibliographic codes, this scheme was published in the ISBN Review and immediately found wide acclaim. ISO/TC 46 accepted the proposal officially as a work project, and an agreement between European as well as American publishers and specialists was reached at a meeting of European and North American experts in Ottawa after intensive discussions. The main arguments to discard the previous idea of a 13-digit number were the long-standing experience with the ISBN and the option of incorporating a ten-digit number in the 13-digit international bar code system, by simply extending the ISBN system. The ISMN draft was processed by ISO working groups in record time and was officially available as of the end of 1993 when the standard was published in Geneva. The ISMN offers the options of a complete rationalisation of music publishing and the music trade as well as music libraries. In principle, the ISMN may be considered a sub-set of the ISBN. In order to prevent any confusion between the two ten-digit sets of numbers, a few differences to the ISBN were introduced into the ISMN scheme: the first digit is the constant «M», there is no group number on the grounds that music is international, and the check digit is calculated according to modulus 10. While both numbers may be integrated in the 13-digit bar code system, one should keep in mind that they are usually used without any bar code prefix, e.g., for ordering, bibliographic identification and 6 ISMN Users Manual
7 internal processing purposes. Therefore, these differences are necessary in order to avoid confusion. 2 HOW THE INTERNATIONAL STANDARD MUSIC NUMBER (ISMN) IS CONSTRUCTED An International Standard Music Number (ISMN) consists of the letter «M» followed by nine digits. Whenever it is printed or written, the number is preceded by the letters «ISMN». In countries where the Latin alphabet is not used, an abbreviation in the local script may be used in addition to the Latin letters «ISMN». 2.1 Elements The ISMN is divided into four elements, two of which are of variable length. When the ISMN is printed, each element is separated by a hyphen or space. The four elements are as follows: Distinguishing element The letter «M» distinguishes the ISMN from the ISBN Publisher identifier This element identifies a particular publisher. It designates the publisher of a given music publication. Publishers with a large output are assigned short publisher identifiers; publishers with a small output are assigned longer publisher identifiers (see Section 2.2) Item identifier This element identifies an edition of a work and the various items within it, e.g., a full score, a miniature score, a set of wind parts, an oboe part, etc. An item, in the terms of the Standard, is one separately saleable or available or obtainable constituent part of a music publication. ISMN Users Manual 7
8 The item identifier is assigned to a particular item by the publishers from within the range of numbers assigned to them. The length of the item identifier will depend upon the length of the publisher identifier. Item identifiers are normally assigned by the publishers themselves (for non-participating publishers, see Section 5). Publishers who assign their own item identifiers may use them to identify items in the publishing house throughout the planning stages, items they only publish as hire materials, etc Check digit This is a single digit at the end of the ISMN that provides an automatic verification of the correctness of the ISMN. It is computer-calculated. The check digit is calculated on a modulus 10 with alternating weights of 3 and 1 assigned from left to right beginning with the letter «M» prefix. The letter «M» counts as 3. This means that each of the first nine digits of the ISMN (excluding the check digit itself) is multiplied by an alternating sequence of the numbers 3 and 1 from left to right. The sum of the products thus obtained, plus the check digit, must be divisible without remainder by 10. For example: publisher item check identifier identifier digit M (= 3) Weight Products = 65 Total: = 70 --> 5 = check digit As 70 can be divided by 10 without remainder, M is a valid International Standard Music Number. 8 ISMN Users Manual
9 2.2 The number of digits in each element and how to recognize them in an ISMN The number of digits of the publisher and item identifiers is variable, although the total number of digits contained in these elements is always eight. These eight digits together with the check digit and the letter «M» bring the total number of digits in an ISMN to ten. Publishers with an expected large output will get numbers of three or four digits. Publishers with a smaller or small output will get numbers of five, six or seven digits. The table below shows the arrangement of publisher identifiers in relation to the total numbers available for item identification: publisher identifier total numbers available for item identification For ease of reading in print, the four elements of the ISMN are divided by spaces or hyphens. These separators, however, are not retained in the computer which recognizes the elements on the basis of the fixed ranges of numbers. Looking at the ISMN M , it will be seen that while there cannot be a publisher with the identifier 299 or 29910, there can be a publisher with the identifier A glance at the identifier ranges will show that the publisher identifier of this number must be SCOPE OF THE ISMN The ISMN is used to identify publications of printed music, whether available for sale, hire, gratis or for copyright purposes only. The ISMN is not targeted at sound or video recordings (except in the rare case noted below): individual sound recordings are identified by the International Standard Recording Code (ISRC), and audiovisual ISMN Users Manual 9
10 works by the International Standard Audiovisual Number (ISAN). The ISMN is not used for books on music, which receive an International Standard Book Number (ISBN) (see Section 9 for the application of different types of standard numbers). Each constituent part of a publication which is separately available must receive its own ISMN. Items to be numbered include: scores, miniature (study) scores, vocal scores, sets of parts, individual parts, available separately, pop folios, anthologies, other media that are an integral component of a publication of printed music (e.g., a tape recording that is one of the «parts» of a composition), song texts or lyrics published with the printed music (if available separately), commentaries published with the printed music (also available separately), song books (optional)(see Section 9.1), micro-form music publications, braille music publications, and electronic publications of musical notations. The following are not to be given ISMNs: books on music, stand-alone sound or video recordings (including recordings available on computer media), and periodicals and series as a whole, as distinct from individual volumes in series (see Section 9.2). 10 ISMN Users Manual
11 4 PRINCIPLES AND PROCEDURES TO BE OBSERVED BY PUBLISHERS NUMBERING THEIR OWN PUBLICATIONS 4.1 Assignment of a publisher identifier A publisher will be assigned a publisher identifier by the national or regional agency, which will determine the range of item identifiers available to that publisher. The number of item identifiers will depend upon the length of the publisher identifier. The publisher should ensure that the agency has as much information as possible about the backlists of publications still available, as well as present and future publication programmes, in order that a suitable publisher identifier can be assigned. (For publishers with more than one place of publication, see Section 6.12.) 4.2 Authority Publishers are responsible for assigning item identifiers to the single items that they publish. It is recommended that an ISMN be assigned when a production schedule is fixed for the item concerned. 4.3 Responsibility Publishers must designate a person to be in charge of the assignment of ISMNs and the application of the pertinent regulations. 4.4 Register Every publisher must keep a register of ISMNs that have been assigned. The register should include the ISMN, author, title and format (where appropriate). 4.5 The ISMN as stock or edition number Publishers may use or adapt the ISMN as stock or edition numbers. Publishers, who may wish to retain previous stock or edition numbers in addition to the ISMN, will need to be able to translate between the different numbering systems. ISMN Users Manual 11
12 5 NON-PARTICIPATING PUBLISHERS If by choice or for any other reason, a publisher does not accept responsibility for assigning ISMN to his publications, two alternatives are open to the national or regional ISMN agency: (1) The group agency can allocate a block of numbers for miscellaneous publishers and number all titles within that block irrespective of the publisher. In such a case the resulting ISMN will not identify the publisher of a specific title. It is strongly recommended that this procedure should be reserved for publishers who only publish an occasional title and who are never likely to be in a position to assume the responsibility for numbering themselves. (2) The group agency can assume responsibility for assigning a publisher identifier, a block of ISMNs associated with that publisher identifier, assign a number to each publication and inform the publisher before publication of the number assigned. In such a case, if the publisher agrees to do so, the ISMN can be printed in the edition. It is expected that such a publisher will eventually assume full responsibility for assigning his own ISMN. 6 APPLICATION OF THE ISMN A separate ISMN must be assigned to every different edition of an item. Specifically, a new ISMN is required when: there is a change in the musical or literary content of a work, unless these are minor corrections. a literary text that is an integral part of a published musical work is altered. a translation of a literary text is added, removed or altered. A new ISMN must be assigned, even if text and/or music are otherwise unchanged. 12 ISMN Users Manual
13 the physical size of an item is substantially changed in order to produce a new full study or miniature score edition. An unchanged impression or unchanged reprint of the same item in the same format and by the same publisher must not be assigned a new ISMN (unless there is a change in binding as defined in Section 6.2). Similarly, a reproduction supplied on demand from the same origination should not be assigned a new ISMN, even if a new reproduction date is indicated on the reproduction. Price changes do not require the assignment of new ISMNs. 6.1 Facsimile reprints and microform editions A separate ISMN should be assigned to a facsimile reprint produced by a different publisher. A microform edition should always be assigned a separate ISMN. 6.2 Different bindings A separate ISMN must be assigned to each different binding in which a particular title is published, even if the contents are identical. For instance, a hardback edition and a paperback edition should each receive a separate ISMN. Full score (paper-bound) Full score and commentary (boxed) Vocal score (paper-bound) Vocal score (cloth-bound) Playing score (paper-bound) Playing score (without cover) = 4 ISMNs = 2 ISMNs A change of cover design, where the contents of the item are unchanged, a change in colour or other marginal differences between ISMN Users Manual 13
14 the binding of one impression and a subsequent impression do not constitute a change of binding, and no new ISMN should be given. 6.3 Different formats A separate ISMN must be assigned to each separately saleable or obtainable component of a publication. It is strongly recommended that a complete list of the ISMNs assigned to all such components of a publication be displayed on one or more of these components (see Section 7.1) Scores and parts In a publication consisting of scores and parts, the full score, a set of parts as a whole, and each individual part (if available separately) must be assigned its own ISMN: Full score Vocal score Set of chorus parts Individual chorus parts = 4 ISMNs Scores available as part of a set Where a score is available only as an item in a set and not as an individual saleable item, it must be assigned the ISMN of the set: Piano score and two parts available as one set = 1 ISMN However, if the score may eventually be made available as a separate item, it should be assigned its own ISMN. Where a score is available both as a separate item and as part of a set, it must be assigned its own ISMN. 14 ISMN Users Manual
15 Score Score and parts, complete = 2 ISMNs The score will receive one ISMN and the complete set another Parts available separately An ISMN must be assigned to each separately printed part which is available as a separate item: Violin I part Violin II part Viola part Cello part = 4 ISMNs Parts available separately and in sets Where separately printed parts are available as a set as well as being available as separate items, the set must be assigned its own ISMN as should each separately printed part: Violin part Viola part Cello part Set of parts = 4 ISMNs Parts available only in sets Where individual instrumental or vocal parts are not available separately but only as a set, an ISMN must be assigned to the set, and each separately printed part should receive the ISMN assigned to that set: ISMN Users Manual 15
16 Score Set of parts = 2 ISMNs The score will receive its own ISMN; each individual part will receive the ISMN for the set only. Note: Individual parts which are only available in a set should be assigned their own individual ISMNs, if and when they are made available as separate items Some parts available separately, some only in sets Where some of the separately printed parts in a set are available individually and some are only available in a set, each separately available parts should be assigned its own ISMN as an individual item; all other parts receive the ISMN assigned to that set to which they belong: Score Full set of parts Non-string set Violin I part Volin II part Cello/bass part = 6 ISMNs Multiple packs Where a separately available item is also available in a pack that only contains multiple copies of the item, the pack should be assigned its own unique ISMN: Leaflet, single copy Leaflet, pack of 100 copies = 2 ISMNs 16 ISMN Users Manual
17 6.4 Different versions If a publisher issues a title in more than one arrangement or version, each arrangement or version must be assigned its own unique ISMN: Piano solo Piano duet version Organ solo arrangement High voice Medium voice = 3 ISMNs = 2 ISMNs 6.5 Multi-volume publications An ISMN should be assigned to the whole set of volumes of a multivolume publication as well as to each individual volume in the set (see Section 9.2): Volume I III (set) Volume I Volume II Volume III = 4 ISMNs Score and critical commentary (set) Score Critical commentary (available separately) = 3 ISMNs If one of the volumes is printed text, it may also be given an ISBN. 6.6 Publications with subsidiary material Where a printed music publication includes subsidiary material, such as a separately published song text or lyrics, a commentary, or the ISMN Users Manual 17
18 like, and the items are sold only as a package, the subsidiary item should receive the same ISMN as the volume it accompanies: Score Critical commentary, not available separately Voice and keyboard part Lyrics sheet, not available separately = 1 ISMN = 1 ISMN If the subsidiary item(s) is (are) sold separately as well as together, the publication should be treated as a multi-volume publication (see Section 6.5). 6.7 Anthologies and excerpts Anthologies and excerpts must be assigned their own unique ISMNs, whether or not the items in the anthology or the larger work have been previously published or are long out of print. An ISMN given to an individual item in a previous context may be displayed on the new publication, for instance, at the bottom of the first page of music of each piece. Such ISMNs must be clearly distinguished from the ISMN of the new publication. 6.8 Back stock Publishers are urged to number their back stocks and publish the ISMNs in their catalogues. They should also print the ISMN in the first available reprint of an item from their back stock. 6.9 Rights bought from other publishers Where a publisher, including an agent with the sole-selling rights, has bought the rights to a musical work from another publisher and publishes that work under his or her own imprint, the publication must be assigned a new ISMN by the new publisher. If several publishers have bought the rights, each for their own territory, each will assign their own ISMN. 18 ISMN Users Manual
19 6.10 Collaborative publications A publication issued as a co-edition or joint imprint by several publishers may be assigned ISMNs by each participating publisher. The ISMNs of all publishers named in the imprint should be printed in the publication and clearly identified Music sold or distributed by agents According to the principles of the ISMN system, a particular edition, published by a particular publisher, receives only one ISMN. This ISMN must be retained no matter where or by whom the music is distributed or sold. Only in the following exceptional circumstances may a number be assigned by a distributor: where an edition of printed music is imported by an exclusive distributor or sole agent from an area not yet in the ISMN system and to which, therefore, no ISMN has been assigned. In this case, an ISMN may be assigned by the distributor. where an edition of printed music is imported by several distributors from an area not yet in the ISMN system and to which, therefore, no ISMN has been assigned. In this case, an ISMN may be assigned by the national or regional agency with which those distributors are affiliated Publishers with more than one place of publication A publisher operating in a number of places which are listed in the imprint will assign only one ISMN to the item. A publisher operating separate and distinct offices or branches in different places may have a publisher identifier for each office or branch. Nevertheless, each item should be assigned only one ISMN, and this assignment should be made by the office or branch responsible for the publication Prohibition on re-use of an ISMN An ISMN once allocated must under no circumstances be re-used. ISMN Users Manual 19
20 This is of the utmost importance to avoid confusion. If a number is incorrectly assigned, it must be deleted from the list of usable numbers and must not be assigned to another title. Publishers will have sufficient numbers in their ranges for the loss of this number to be insignificant. Publishers should advise the national or regional agency of deleted numbers and of the items to which they were erroneously assigned. 7 PRINTING AND PUBLICIZING OF THE ISMN The ISMN must appear on the item itself. This is essential for the efficient running of the system and should always be printed in easily legible type (9 point or larger). 7.1 Printing of the ISMN on music publications Position of the ISMN The ISMN must be printed on the back of a score or part. If practicable, the ISMN should also be printed with the copyright notice. If it is not possible to print the ISMN in any of these positions, it should be printed in some other prominent position (e.g., at the bottom of the first page of music). When the item is a single sheet, the ISMN should appear in only one place on the item. When the item is an anthology, the ISMN of the anthology must be clearly distinguished from any other ISMNs that may be printed on individual items contained in the anthology Complete listing of ISMNs belonging to a publication It is strongly recommended that a complete list of the ISMNs assigned to all constituent parts of a publication, followed by an appropriate qualification, be displayed on at least one of the items. If possi- 20 ISMN Users Manual
21 ble, the identical list should be displayed on one or more of the other items as well. Examples: ISMN M (score 1 ) ISMN M (vocal score) ISMN M (set of parts) This list should appear at least in the score, preferably also in the vocal score, perhaps also in each part. ISMN M (score, bound) ISMN M (score, pbk.) This list should appear both in the bound and the paperback score. ISMN M (set) ISMN M (vol. 1) ISMN M (vol. 2) ISMN M (vol. 3) This list should appear in all three volumes; at least the ISMNs for the set and the current volume must appear in each volume. For a multi-volume publication see Section 6.5. If a set of parts is distributed in a wrapper, the ISMN for the set must be printed on the wrapper. If the parts are available individually, the ISMNs of all individual parts should also be given on the wrapper. 7.2 Printing of the ISMN in machine-readable coding For OCR (optical character recognition) purposes, the ISMN should be printed in OCR-B format. The rapid, worldwide extension of bar 1 Identifying terms are illustrative, not prescriptive. They will be given in the language of the publication. ISMN Users Manual 21
22 code scanning has made it advisable to use the international 13-digit bar code. All these bar codes start with a national identifier except those on books, periodicals and printed music. Because of the international network of the book trade, the digits 978 for books, 979 for printed music and 977 for periodicals are considered a «bookland». The 979 prefix is followed by the complete ISMN, including the check digit. «M» is assigned the numeric value of zero (0) for bar code purposes only. For the calculation of the check digit, however, «M» has the numerical value 3 (see Section 2.1.4). Example of the conversion of the ISMN to a bookland code: ISMN M M=0 --> Adding bookland flag --> This is an ISMN bookland number. The ISMN printed in bar code symbols looks as shown below: 7.3 Providing the 13-digit bar code. Instructions for makers of film masters To provide ISMN bar code film masters to publishers to print on their product the following procedures should be observed: Validate the ISMN provided by the publisher using the ISMN check digit validation routine to avoid any transcription or transposition errors (see ISMN check digit calculation algorithm). Generate the ISMN bookland number by adding 979 (see above). 22 ISMN Users Manual
23 Print the following: 1. ISMN in human-readable numbers (OCR-B), 2. ISMN bookland in bar code, and 3. ISMN bookland in human-readable numbers. All of these procedures should be accomplished by computer programming. EAN technical requirements for bar code printing should be observed. ISMNs printed in machine-readable form are still subject to the rules laid down in this manual. The considerable number of additional rules and recommendations makes it necessary that those who wish to print the ISMN in a scannable font, ask their local agency for advice and for the names of bar code producers in their area. 7.4 Publicizing the ISMN ISMNs should appear in publishers advertisements, catalogues and stock lists; they should also appear on leaflets, brochures and all other publicity and marketing materials. It is recommended that in such materials the ISMN is printed in a prominent position close to the title and description of the item. The full ISMN should always be given, although it is acceptable to omit the letters «ISMN» as long it is clear that the number is an International Standard Music Number. 8 ADMINISTRATION OF THE ISMN SYSTEM The administration of the ISMN system is carried out at three levels: the international, national or regional and publisher levels. 8.1 International administration The international administration of the system is handled by the International ISMN Agency, which has an Advisory Panel represent- ISMN Users Manual 23
24 ing ISO and the music publishing and music library communities (e.g., the International Association of Music Libraries Archives and Documentation Centres). The address of the International ISMN Agency is: International ISMN Agency Staatsbibliothek zu Berlin Preussischer Kulturbesitz Berlin (Germany) tel.: or 2498 fax: The principal functions of the International ISMN Agency are: to supervise the use of the system; to approve the definition and structure of national and regional agencies; to allocate identifiers to national and regional agencies; to advise national or regional agencies on the allocation of publisher identifiers; to promote the world-wide use of the system; to select an international board of experts to help with problem solving; to promote the exchange of information by means of publications and regional meetings; to publish and update an instruction manual; and to coordinate ISMN bar code applications. In addition, the International ISMN Agency offers the following services. It will provide a national or regional agency with lists of ISMNs (with computer-generated check digits) for the use of publishers in the agency s territory, or with the necessary software for this purpose, respectively; 24 ISMN Users Manual
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Title: The Values of Life
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Publication Date: 1947
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The House Homeland Security Committee passed a bill that would put a manager in place to foster more acquisition innovation at the Department of Homeland Security. 03/22/2017
An oversight study of telework at four federal agencies found that managers can be resistant and tech issues can still inhibit worker performance. 03/22/2017
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User Score
Mixed or average reviews- based on 258 Ratings
User score distribution:
Positive: 138 out of 258
Mixed: 34 out of 258
Negative: 86 out of 258
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Sep 16, 2010
Feb 20, 2011Too much auto-tune and not enough actual talent. Oh and she can't spell. I refuse to call her Ke-sha, and always refer to her as "Ke-dollar-ha". It's how it's spelled...
Oct 5, 2010
May 24, 2011No amount of autotune can turn Ke$ha from glittery train wreck into a bona fide Britney competitor cause lets face it - thats all Ke$has after. Take it off and V.I.P are the only great tracks.
Apr 9, 2011It looks like Kesha and Justin Bieber are trying their hardest to to make mainstream music even worse than it is. This album is disgustingly awful, with terrible lyrics and oh so many stutters. She barely even sings; she just talks the lyrics.
Jul 27, 2011
EnnisMJan 14, 2010
RanelGJan 14, 2010
GrantPJan 16, 2010It really is sad that there are people who enjoy this. It's not even music...it's a product of the music industry for a quick buck.
TurlutteBJan 18, 2010There are only a couple of good songs. There are too many filler songs here. Nothing exciting about this album.
MarkCJan 19, 2010Absolutely awful. Contains some of the worst music I have ever heard and contains some of the dumbest lyrics ever produced. Whoever gave this girl a record label seriously needs to be fired...this scum is stinking up the music world.
JoelG.Jan 5, 2010This is ubber trash .. the sound and the gimmicky of kesha is just unflattering and her style and music underwhelms and leaves you wanting more.
tym.Jan 6, 2010I'm a teenager and i even think this album sucks it sounds like all the other pop albums of the last decade. More people need to start listening to real music
JonathanHJan 7, 2010+1 for being a good looking girl. -10 for the lyric "And now the dudes are lining up cause they hear we got swagger, but we kick em to the curb unless they look like Mick Jagger." Easily the worst combination of words ever set to music.
Dec 29, 2010I hate this album as much as the next guy but please quit crying about how much music has become a commodity because its really embarassing that I constantly see people going up to a tombstone entitled "real music" leaving flowers and crying. Ok i never really saw that but the way you people act, it might as well be. Calm down people sheesh, Its just music, not your life.
Dec 15, 2011A Glittery- Pop- Auto-tune Mess with awful hooks and childish lyrics. She brings absolutely nothing new to the Pop table and appeals primarily to pre-teenage girls who could care less about its terrible lyrics. Granted there is a decent song in there in "Animal" but the record as a whole is beyond awful.
Jun 16, 2011It's perfect for when you want a pulsating migrane. If you respect yourself and love music, just avoid Kesha at all costs. I mean, for the love of God, if she keeps getting money for this "music" she'll never leave.
KirstenR.Jan 10, 2010Listened to this album with a completely open mind, and it was still absolutely horrible.
randyy.Jan 10, 2010Another bad debut album. The lyrics are easily some of the most stupid ever. I'm a teenager and even i think this sounds terrible. Go listen to some real music.
ChrisCJan 10, 2010Lets dissect this album. Lyrics:0 Quality:0 Musical Talent:0 Oh and BTW, everyone look up The Party by Justice ft. Uffie. Then come back to me and ask why Justice doesn't sue the living god out of Kesha.
MikeJan 10, 2010Gutter-trash lyrics over Disney Channel beats... Who is this album even for? If "Ke$ha" is attempting to be a joke, it's working... her problem is that it's just not funny. Luckily, no one will know who she is 6 months from now.
MarcyP.Jan 22, 2010Nothing fun about this album...just some girl who keeps drinking about alcohol. Boring.
Nov 21, 2010God-awful to say the least. Redundant, the inappropriate and ineffective usage of Auto-Tube and the slutty drunk party girl persona. Honestly, sometimes you can even differentiate songs from another and discern when a song ends. You can thank my roommate for this review. Buy: N/A
Download: N/A
Skip: Everything except "Take It Off" which deserves one listen but no download -
steveJan 10, 2010Utter crap. The music biz is already way too diluted with garbage. This is worse than garbage. Let's hope she goes away for good. I saw her on Conan O'Brien. Stupid song, stupid lyrics and lame trashy manufactured MTV persona.
GabrielS.Jan 8, 2010Horrible, just plain horrible. Lyrics, Beats, and the HEAVY use of Auto-tune is disturbing. But I don't know who is worse though, her or Soulja Boy?
StanJJan 12, 2010Absolutely horrible "music" that is more or less a copy of Uffie. How talking over beats with poor lyricism can be be considered music is anyone's guess. Rappers are much more clever than Ke$sha. Maybe the dollar sign in her name signifies how much it's worth?
JackH.Jan 22, 2010If Lady Gaga were a character on Jersey Shore, she'd be Ke$ha. Absolute garbage.
SashaJan 6, 2010utterly stupid. go listen to smashing pumpkins
Nov 27, 2010
Aug 15, 2012This is a great tornado of destruction. The auto-tune is the great emperor in the crisp voice of Ke$ha, creating an eerie echo and thundering. Tracks like "Tik Tok" and "Blah, Blah, Blah" are simply sharp arrows going at high speed directly to your eardrums. Just say, disappointing.
Nov 12, 2013...............................................................The way she presents herself in this album and in public is trash. She is one of the worst Brittney Spears ripoffs.
Sep 10, 2011Many say this album was "the best of 2010" or "the best way to begin the new decade". I beg to differ. Very few of these songs here are actually enjoyable. Actually, I can't think of one that I truly, solidly enjoyed. "Your Love Is My Drug", "TiK ToK", "Blah Blah Blah", and "Take It Off" are all stupid.
Dec 7, 2012If you are a fan of the over-use of auto-tune, bad songwriting, and horrible vocal skills, then this truly is the album for you. However, if u have "ears" like the rest of us do, then it is not.
Awards & Rankings
It's hard to remember the last time an album so flat and vacuous generated such a buzz.
Here he frames her Valley Girl sneer with electro-glam arrangements that make brushing one's teeth ''with a bottle of Jack'' sound like an awesome way to kill the morning-after blues.
Ke$ha's tipsy lilt allows her to effortlessly shift from half-singing to half-talking, a technique that makes her vocals carom like shiny pinballs against the crazy beats and sound effects that make up these tracks. She never gets bogged down or sounds like she's trying too hard.


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March 12, 2009
In 16 communities across Chicago, the Local Initiatives Support Corporation -- with the help of the MacArthur Foundation -- is leading the nation's largest commitment to comprehensive community development: the New Communities Program.
The Foundation supports prevention of youth violence and the use of information technology to enhance governance, the social sector, and quality of life. MacArthur is exploring new ways to understand the challenges faced by cities around the world, and how to plan, manage, and govern to address them.


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Reviews for YoUr LoVe |
Vamptisha chapter 1 . 6/3/2014 I love this story |
KarouUchiha chapter 1 . 12/29/2013 You should do another chapter it's really really good. |
Queen NekoChan chapter 1 . 5/1/2011 Pretty good. |
Midnight Angel of Old chapter 1 . 8/29/2009 Kawii, instant win! |
Kagomekillskikyo chapter 1 . 8/3/2009 that was really good you should write a sequel |
HisokaYukiko chapter 1 . 4/3/2008 OMG! So cuute! Love the end. With Ed getting sick from Roy. LOL! |
HelloDoomsday chapter 1 . 3/31/2008 "HOLY CRAP! MUSTANG YOU'RE FUCKING HOT!" "Thank you…-cough-cough…" "Bastard…" Ednalyn adjusted Roy properly so as not to bring him more discomfort. She wiped the sweat from his forehead with her sleeve. I TOTALLY LOVE THAT PART! BWAHAHAHAH! I LIKE TO HAVE A SEQUEL BUT I DON'T KNOW WITH THE OTHERS OUT THERE... HEHEHEH... |
elskling chapter 1 . 3/29/2008 I loved it. I love female Ed and there should be more of that and you HAVE TO write a sequel and *squees like a true fangirl* |
Senritsu131 chapter 1 . 3/29/2008 Go dae! bwahahhahahha! " your love is like the sun that lights up my whole world i feel the warmth inside your love is like the river that flows down through my veins i feel the chill inside" bwahahhahahhahhaahaha! jodan dayo! anyways... I hate it! no, It's nice! no, I like it! no, I love it! No... LOVIES! AHIHHII! BWAHAHHAHAHAHAHA! SEQUEL! BWAHAHHAHAHAHHAHAHHAHAHHAHAHA! AND DON'T ASK FOR MY HELP! BWAHAHHA! JOKE! CLIFFIE! I HATE CLIFFIEZ! LOVIEZ! MERODI-SAN |


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Tuesday, August 10, 2010
Back to "everything in moderation"
First step: loading the fridge and counter with healthy options.
Second: whipping up some tried and true recipes to have one hand like black bean salad, some roasted zucchini, making a batch of Giada's basil dressing so I can easily top grilled fish, chicken or stir it into quinoa, and sides like this wheatberry one that is hearty enough to be a vegetarian meal. If I plan to keep one or two of these recipes on hand, getting dinner on the table is a snap.
And lastly, the no brainer for most of my svelte friends but one where I seem to fall short: make time to workout. (Here's where I'd love your suggestions...since it's impractical for me to make it to a workout class until school starts I would be thrilled if you would post your favorite workout videos or home workouts in the comment section.) I've plugged it before, but think it's worth mentioning again... if you have a little one and are finding yourself in the same (um, shall we just say it: fat) predicament, then by all means, sign up for a Stroller Strides class in your town. The thought of borrowing someone's baby just to go back to these classes and feel great again has crossed my mind.
4 comments:
LOVE that book. Maybe I'll re-read it. Thanks for that reminder Janet. I'm a tad bit past acceptable portions (see above- ha!) of all of this delicious food. I like food too much not to enjoy a fabulous meal 3x a day, but it's the moderation mantra that's key!
The potato side is Ina Garten's French Potato Salad: http://www.foodnetwork.com/recipes/ina-garten/french-potato-salad-recipe/index.html
I think I make it once a year at a friend's request.- Emily S.August 11, 2010
My gorgeous looking fitness instructor friend recently recommended to me Tracy Anderson's workout video (but not the ballet one) as I was complaining that I have no camp or babysitter this month. Seems a few of us are having the same dilemma! I thought I would pass that along.... of course do we ever stick to the video as close as we do in a class? So tricky.


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We want your stay at Turner Falls Park to be a safe and pleasant one.
- Honey Creek is subject to flooding at any time during a heavy rainfall. A warning system will be activated when there is a danger of flooding. Park officials will make every effort to warn campers to move to high ground when deemed necessary. Please follow instructions and DO NOT cross barricades or attempt to pass through high water.
- Climbing on rocks and cliffs is prohibited.
- Turner Falls is within the municipal limits of the City of Davis and all state and city ordinances will be enforced.
- Maximum speed limit is 20mph inside the park.
- Beer and other alcoholic beverages are permitted in your camp site or picnic area only.
- Firearms are not permitted inside Turner Falls Park (Including Air Rifles, BB guns, or fireworks).
- Off-road vehicles are not allowed inside the park.
- Water and electricity are not available at tent sites.
- When lifeguards are not on duty, swim at your own risk.
- For the convenience of our guests please turn off all radios, TVs, and generators at 10 PM.
- In order to keep our natural beauty, cutting the trees or shrubs is prohibited.
- No pets allowed.
- Please use our footbridges as low water crossings are slick and dangerous.
- Turner Falls Park is NOT responsible for lost or stolen items.


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My Maaco: not set
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Hi there,
I have to go to Cape Town the first week of october, and I'd like to visit Rocklands. So I have the choice to get there the last week of september or the second week of october. And I have several questions :
- Isn't that period of time too late (i.e. too late) in the season?
- Do you think I'll find climbers to climb with at this season? Any of you?
- I am planning to rent a car from Cape. I can share...
Thanks all
Gaby from France
Rocklands end of september or beginning of october
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by Donna Dailey
With a wealth of superb natural produce on their doorstep and a wave of artisan producers supplying everything from handmade butter and oils to goat kid meat, creative chefs are making Northern Ireland the UK's hottest foodie destination. Top establishments are found not only in Belfast but across the region. Here are our picks for ten of the best restaurants in Northern Ireland.
Mourne Seafood Bar in Belfast
All Photos (c) Donna Dailey
Mourne Seafood Bar
Bob McCoubrey was an oyster farmer before starting a small seafood bar a few years ago. Now, as co-owner of Mourne Seafood Bar, he sources the best oysters from Donegal and the freshest, seasonal fish straight off the boats in nearby Kilkeel. Combine this with affordable prices, and it's no wonder this restaurant is always hopping.
A firm favourite is the oysters on the half shell Japanese style, served with shredded cucumber and pickled ginger. The salt and chili squid is also delicious, spicy but not too hot. Main courses include scallop, lobster, whole fish and daily specials. www.facebook.com/MourneSeafoodBar
Deane's Meat Locker
This might possibly be the tastiest steak you've ever eaten. Michael Deane is the doyen of Belfast fine dining, and his latest venture at the Meat Locker features succulent cuts of 35-day Himalayan salt aged beef.
The technique was pioneered by Peter Hannan, Deane's meat supplier, who created the first salt chamber in Europe. According to Hannan, Himalayan salt is 98 per cent pure, with 82 trace elements and minerals not found in any other salt. This method of aging "gives meat the ultimate opportunity to become as good as it can be," Hannan says. A window in the restaurant gives diners a peek at a mini-salt chamber. www.michaeldeane.co.uk/meat-locker
Coppi Italian Restaurant in Belfast
On a sunny day, head for an outdoor table at this trendy Italian restaurant in St Anne's Square. Start with a glass of prosecco and a selection of cichetti, the elegant snacks served in Venetian bacari bars.
For small plates, the spicy pork and fennel sausage is delicious. Or try a pizza topped with braised goat from Tynedale Farm, hazelnut and truffled honey. The innovative menu ranges from freshly made pasta to seafood and beef entrees. www.coppi.co.uk
OX Belfast
OX Belfast
Don't let the minimalist decor fool you. This riverside restaurant with its whitewashed brick walls, bare wood floors and intimate mezzanine is the hottest ticket in town, and it's been scooping awards since its opening in 2013.
With their combined chef/sommelier background at some of Europe's top restaurants, Stephen Toman and Alain Kerloc'h create an exciting gastronomic experience based on a seasonal menu of top-quality local produce and interesting wines. Go for the tasting menu to fully appreciate their talent and flare. The relaxed surroundings make the food all the more memorable. www.oxbelfast.com
James Street South
James Street South
Set in a converted warehouse with a chic, contemporary vibe, this bustling restaurant is one of Belfast's top fine-dining spots. The best locally sourced produce is turned into signature dishes such as Strangford Lough Bouillabaise. Offerings range from set lunch and pre-theatre menus to a la carte to a five-course tasting menu.
Critics' Table on Wednesday nights is a fun experience, where the chefs develop new ideas and diners have the chance to give them feedback on the night's dishes. The four-course menu can be paired with wines. www.jamesstreetsouth.co.uk
At one end of the Cathedral Quarter's lively Commercial Court, this fashionable wine bar and bistro-style restaurant is part of the James Street South stable. Its simpler, mid-priced menu shows the same attention to quality produce and good cooking.
The menu features classic European dishes as well as daily specials based on seasonal fare. You can't go wrong with the delicious rabbit, chicken and pork kebabs. www.hadskis.co.uk
Brunel's Restaurant
Located above the Anchor Bar, the restaurant carries on a nautical theme with pictures of ships on the walls and a relaxed setting of simple wooden tables and chairs. The food at Brunel's is anything but simple, however. Fresh regional fare serves as the canvas for Chef Paul Cunningham to paint his masterpieces of colours, textures and temperatures.
Home cured salmon is surrounded by fennel gazpacho and sprinkled with bee pollen for an earthy, raw-honey flavour. Mourne lamb is crowned with slivers of homemade lamb bacon, cider braised artichokes and a froth of smoked wild garlic seed. Butter poached local lobster is beautifully balanced with lobster blancmange and truffled pea puree, while sweet malted onion, buttermilk froth and crumbled pistachio soil add interesting tastes and textures. www.brunelsrestaurant.co.uk
Brunel's in Newcastle
Brown's Restaurant
A multitude of Irish restaurant awards has made Brown's the top restaurant in the North West. At the original location, Brown's Restaurant and Champagne Lounge in Derry's Waterside district, striped banquettes and black-and-white photos give the dining room a smart, bistro style.
Chef Ian Orr's delicious cuisine is based on fresh seasonal produce from local suppliers. There is a range of menus including a six-course tasting menu with paired wines. Starting with homemade Guinness bread and creative canapés like beetroot macarons with smoked cream cheese, everything is excellent from the ground up. The turf smoked beef, with its smoky, salty flavours, is a highlight. www.brownsrestaurant.com
Brown's in Derry
Watermill Restaurant
On the shores of Upper Lough Erne, this picturesque thatched building with its warm stone walls is a smart but relaxed setting for chef Pascal Brissaud's fine dining restaurant. He serves Irish cuisine with a French twist, from local lobster and scallops to duck and Angus beef.
The chef is a keen fisherman, and the lough's fish species are displayed in a large aquarium. Make time for a stroll through the peaceful water gardens on the banks of the lough, a perfect spot to enjoy the sunset. www.watermillrestaurantfermanagh.com
Watermill Restaurant
Catalina Restaurant
Chef Noel McMeel cooked for the world's top statesmen when Lough Erne Resort hosted the G8 Summit in 2013. You can enjoy his acclaimed classic and contemporary dishes in the same elegant dining room, with its vaulted ceilings and arched windows.
Menus are based on seasonal, locally sourced ingredients and include such offerings as Keenan's whisky cured salmon and fillet of Kettyle Irish beef with parsley root puree.
Read more from Donna Dailey on Northern Ireland's artisan food producers on the FoodTripper website.
Dec 26, 16 03:03 AM
Beyond London Travel visits Floors Castle near Kelso in the Scottish Borders, family home of the Duke of Roxburghe and one of VisitScotland's 5-star visitor attractions, a Scottish Downton Abbey.
Dec 04, 16 12:37 PM
The Beyond London Travel Books page reviews guidebooks, history, mysteries and fiction to help readers enjoy their visits to England, the UK, France, and beyond.
Dec 04, 16 12:20 PM
Beyond London Travel reviews Food Trails, a new guidebook from Lonely Planet for the culinary traveller which helps you plan 52 Perfect Weekends in the world's tastiest destinations.


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Keith Anderson, Outlaw Junkies, 7 p.m., Beaumont Club, 4050 Pennsylvania Ave., Kansas City, Mo.
Mike Roberts, 7 p.m., Bambino's Italian Cafe, 1801 Mass.
"A Kansas Nutcracker," 7:30 p.m., Lawrence Arts Center, 940 N.H.
Holiday Concert: Lawrence Civic Choir, 7:30 p.m., First United Methodist Church, 10th and Vermont.
311, 8 p.m., Liberty Hall, 642 Mass.
Karl Denson's Tiny Universe, 8 p.m., The Granada, 1020 Mass.
Mudvayne (above), Sevendust, 10 Years, 8 p.m., Uptown Theater, 3700 Broadway St., Kansas City, Mo.
Cory Ryan, Chasing 7, 8 p.m., Grand Emporium, 3832 Main, Kansas City, Mo.
"The Eight Reindeer Monologues," by Jeff Goode, 8 p.m., Corinth Dance Center Studio, 4047 Somerset Drive, Prairie
"A Christmas Carol," 8 p.m. Friday, Kansas City Repertory Theatre, 4949 Cherry, Kansas City, Mo.
Billy Ebeling and the Late Dinner Band, 9 p.m., Hotel Phillips, 12th and Baltimore, Kansas City, Mo.
Baliroot, 9:30 p.m., Slow Ride Roadhouse, 1350 N. Third St.
Tri Point Paradox, 10 p.m.,
The Jazzhaus, 926 1/2 Mass.
Ghosty, Ad Astra Per Aspera, 10 p.m., The Bottleneck, 737 N.H.
Aphasia, Marry Me Moses,
10 p.m., The Jackpot Saloon,
943 Mass.
Dead Girls Ruin Everything, Kettlin' Crude, 10 p.m., The Replay Lounge, 946 Mass.
Takin in Vain, Ancient Creation, Apnea, 10 p.m., Davey's Uptown, 3402 Main, Kansas City, Mo.


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Zinovy Zinik
Five short autobiographies in two languages. 2. Russian novelist Zinovy Zinik came from Moscow to London via Jerusalem in 1976. He worked for the BBC World Service and speaks brilliant if cranky English. As he left, the authorities in the Soviet Union took his passport with its hammer and sickle on the cover and cut it in two with a pair of scissors. He was henceforth blacklisted and unable to return to his homeland for fifteen years. Yet throughout that emigration, and ever since, Russian has remained his language. He reflects on his mother tongue and his fatherland and the solace Sidney Bechet's clarinet playing offered a young boy in 1950s red Moscow. Producer: Tim Dee.


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