text:
Wow, what a fun flick!
Even though it was made in 1991, writer/director James Cummins' zombie seige flick The Boneyard plays like a drippy slice of pure 1980s horror-film goodness. With its offbeat comedy, Ancient Chinese Magic folklore, goopy practical effects and rubber-suited monsters, it's got a little something to please everyone who ever loved a Full Moon feature or chuckled in glee at Big Trouble in Little China. Add meaty roles for TV's Mr. Roper Norman Fell and hall-of-fame comedy queen Phyllis Diller, and you get nothing but a big heaping plate-full of Vicar love.
The movie opens with police lieutenant Jersey Callum (Ed Nelson) and his inexperienced partner Gordon Mullen (James Eustermann) visiting the house of retired psychic investigator Alley Cates (Deborah Rose). Scarred by the horrors of her visions and the notoriety of being the PD's Resident Psychic, Cates has become a shut-in at her derelict house, burning her old newspaper clippings in the fireplace and completely rejecting societal pressures to "do the dishes" or "not sleep under a pile of unwashed laundry." She also tries to forget the visions that still haunt her; when Callum asks her to come out of retirement for one last case, she quickly shoots back, "Why? In case I get the urge to help you dig up baby bones again?"
Still, Jersey needs Cate's help--seems the police recently found the bodies of three children locked in the back room at a local mortuary. There was evidence that the Chinese mortician, the seemingly crazed Mr. Chen (Robert Yun Ju Ahn), had been feeding the children pieces of his "clientele" while keeping them captive. Callum wants Cates to use her powers to find out who the kids were, who their parents are, and exactly what (the fuck) was going on down there.
Cates initially refuses, but after a vision of her own decomposing daughter (whose death signaled the onset of her unwanted psychic powers) implores her to help them, she shakily agrees to cooperate.
Down at the station, Cates watches a video of Mr. Chen's investigation, and things go from "yuck" to "what the fuck" in a hurry. Chen claims the dead children are "kuei-shen," Chinese demons that his family has been cursed to keep contained for the good of mankind. "They are becoming restless," Chen explains, "Harder to manage!...If they are not fed, they WILL FEED!" The cops cart Chen off for psychological evaluation, but soon we learn that thanks to a lapse of watchfulness on the part of a guard and an unsecured service revolver, Chen punches his own ticket on the Ancestor Express.
Cates needs physical contact with the remains in order to kick her ESP into gear, so she and the cops take a trip to the city morgue--affectionately known as "THE BONEYARD"--in the middle of the night, naturally. Night porter Mrs. Poopinplatz (Diller, who else?) gives the cops and their charge a hard time, all while stroking and coddling her toy poodle Foosums. When they finally get down to the morgue, coroner-on-duty "Shep" Shepard (Norman Fell, sporting a ponytail and a Wilford Brimley moustache) pulls out the badly decomposed children's bodies and puts them on display. A comic relief corpse-delivery-man shows up to let them know the hydraulic doors on the lower floors (where the bodies are kept) are out of order, and the elevator is the only way in or out. If you think this might become important, go get yourself a cookie.
While Cates fondles a lock of a deceased child's hair for vibrations, Jersey and Gordon watch Shep perform an autopsy on a recent arrival, a young girl assumed a suicide. Turns out there's been a severe clerical error, however, as at the first incision the girl sits up and screams! I kept expecting her to be part of the upcoming zombie plague, but nope--it seems she was just very unlucky and the EMTs uncharacteristically lazy. The girl, Dana (Denise Young) quickly takes a shine to Gordon, forgetting all about the crushing depression and pointlessness of existence that led her to take a bath with her hair dryer on--some guys got it and some guys don't, I guess.
At almost the same time, Cates gets a vision of a black magic ceremony taking place in Ancient China, where a pair of grieving parents hire a sorceror to raise their deceased spawn from the dead. (Presumably one of Chen's transgressive ancestors, bringing the curse into our plane.) After that she flashes forward to the body storage facility, where from the corpse's point of view she can see Jersey, Shep, and the rest through the plate glass window. The three corpses on the slabs begin to rise in a very creepy, atmospheric scene, and Cates snaps out of it, desperate to warn her friends.
After a tussle with Poopinplatz for the elevator key that brings all of them down below (including Foosums), Cates arrives in the bloody aftermath of a zombie rampage, with several of the staff gutted and eviscerated, and the child zombies sitting over them, scooping their guts out like pudding cups! She's found by the survivors--Shep, Jersey, Gordon, and Dana--and they lock themselves in a room and prepare for the seige. Diller gets cornered by one of the ghouls but manages to knock a shelf of acid over, disintegrating it--but not before the undead menace pulls a piece of rotting flesh off its own skull and stuffs it down her gaping pie-hole!
Of course this sets up the us-versus-them climax, with the increasingly battered survivors trying to find their way out of the locked-down building, all the while fending off the hungry and vicious undead children. It plays out almost the way you would expect, but with a couple of WTF-worthy twists and one out-there plot development that I think must have been an inspiration to Ang Lee in one of his more divisive modern projects.
There's a lot to like in this movie, starting with the aforementioned goopy effects. The child zombies are very gross and creepy, and move in a jerky, shambling gait that calls to mind Stuart Gordon's re-animated dead. Cummins doesn't skimp on the squishy sound effects either, which really pays off when the zombies are feasting on the all-you-can-eat buffet in the morgue.
The movie is also a bit of a horror-comedy, as you would expect with people like Fell and Diller in the cast. However, the comedy is never overly broad (except in one instance, about which there will be more to say in a moment), and for the most part it works. The atmospheric lighting and scene composition also add to the movie's substantial creep factor. The dissonant, Danny Elfman-meets-Richard Band score helps as well.
The performances run the full gamut from good to meh. Diller is surprisingly effective in her mostly straight role as a wise-cracking battle axe, toning down her larger-than-life comedy persona to the realm of believability (she even appears without her trademark flamboyant wigs). Nelson as Jersey Callum is a bit TV sit-commy for my tastes, and Eustermann and Young are frankly awful. It's fun to see Norman Fell in an atypical costume if not an atypical role. The real heavy hitting is done by Deborah Rose as the psychic heroine, however. She's not your typical movie-star heroine--she's middle-aged, overweight, and smokes like a chimney--but she brings a simultaneous toughness and vulnerability to her portrayal that is a pleasure to see.
It's in the film's climax that things really get MAD, however. For instance, have you ever wanted to see Phyllis Diller as a gigantic flesh-eating zombie? Well brother, now's your chance:
Once the rubber-suited mayhem starts it just doesn't stop, as Foosums gets a taste of one of the slain zombies' goo and hulks out to mammoth (which is to say, man-sized) proportions and terrorizes the survivor's in the wild and cottony climax. I feel a little bad spoiling the visuals for those who haven't seen the movie, but since the poster and VHS box had the giant zombie poodle plastered all over them as a selling point, I think somehow we'll all survive:
It's not a perfect movie--there are a couple of momentum-killing exposition/soul-baring scenes that strike me as serious directorial missteps--but that's a minor quibble when put up against everything the movie gets right. 2.75 thumbs for this relatively obscure monster romp from the 90s with one foot firmly in the day-glo 80s. Seek it out, parishioners--you'll be glad you did.
A few more images from The Boneyard (1991):
The Fell of Dark, Not Day
Madman 2: The Bride of Marz
Friday, January 15, 2010
The Boneyard (1991): or, All-Out Zombie Poodle ATTACK!
Posted by The Vicar of VHS at 2:53 PM
Labels: '90s, 2-3 thumbs, Killer Kids, Monsters Amok, Zombies
9 comments:
- Jenn said...
Wow, this looks fun as hell. I feel like the horror comedy is something that is very difficult to pull off (even as much as I love Charles Band, I often think his attempt at this is too heavy handed). It takes a certain amount of intelligence and finesse, but with this cast and the subject matter, it might not be so hard. And that zombie poodle was not what I was expecting! Very nice!
- January 15, 2010 at 7:28 PM
Not that I didn't appreciate your review, Vicar, but when the DVD says "Phyllis Diller" and "Norman Fell" on the cover, well... snap that one up and head straight to checkout. This one's been added to my list.
Loved the "Norman Fell/unaired episode" caption, BTW. Are all vicars so witty, I wonder?
- January 15, 2010 at 8:06 PM
- Al Bruno III said...
Wow. Never heard of this one... I have to look for it.
Great blog as always.
- January 17, 2010 at 12:41 AM
- J. Astro said...
Normally, I'm very ANTI-Phyllis Diller... but ok, you talked me into this one.
- January 17, 2010 at 11:12 AM
Thanks for The Boneyard. I've never seen the movie even though parts were filmed in my hometown! They used an old empty hospital for some of the scenes and my buddy was an extra playing a corpse.(Or so he told me.) Anyway, I remember the town was very happy and excited to have the movie filmed here. Unfortunately, the movie went straight to video!! LOL
- January 19, 2010 at 4:46 PM
- Mike said...
WoW!!!! This is a ClassiC!!!! I remember when my brother used to make me watch this movie and i would get freaked the fuck out.lol "i was only 6" now i'm 22 i Love this movie...thanx Bro!
- February 24, 2010 at 11:33 PM
- michaelhaun said...
Fun to see this write up. I met Phyllis on the set at the old Davis hospital in Statesville NC ..we just about froze,such glamour . I learned to walk on 3 foot Sheetrock stilts to play the two creatures. Her creature and the dog. The make up for the dog took a couple hours to be fitted. Jim did an amazing job with the head. Something like 12 radio control servos and then cables running down my back to work jaws and teeth.. I Went into the sfx truck with Ray to test the pipe bomb as that thing was going off close to my head. I still have photos and the fiberglass head piece from Phyllis's creature. Rough way to pay the light bill. I actually climbed the ladder in the scene as the dog..michael
- June 28, 2011 at 7:42 PM
- The Vicar of VHS said...
Wow, Michael, thanks for the comment! That must have been quite the experience, not only to dress up as a monster poodle, but to meet the great Ms. Diller! I would love to see those photos if you're willing to share. :)
- June 29, 2011 at 8:29 AM
I have been I'm that hospital n it's creepy at night :) we Hurd stuff n seen stuff that was crazy...
- January 12, 2013 at 7:17 PM


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Most of the time, Murray never got his wish. The Rose Bowl would be played in brilliant weather and snowbirds from all of North America would order moving vans. It's the same way with Santa Anita, with its traditional season opener, the day after Christmas. The weather gods might frown for a week, but on opening day at Santa Anita, you can bring the suntan lotion and the beach umbrellas. This year appears to be no different. There's been so much rain in these parts lately that there was a wild story about Richard Tedesco, the track superintendent, going into the hospital to have his barnacles removed.
Even though opening day is several days away, it's a likelihood that the first races over the new dirt at Santa Anita will be in the mud. The track got six inches of rain in a 72-hour period recently, and more storms were in the forecast. Hollywood Park was unable to run a full card of races on its final day due to the deluge. But for three days prior to opening day, the forecast called for partly cloudy skies, with no rain. But some weather forecasters I know are a cut below some handicappers; only right about a third of the time.
In honor of flagging business, Santa Anita will raise its prices, something that they couldn't have learned in Business 101. I'm not talking about hotdogs and beer (although they may cost more as well), I'm talking about the tax bite the horseplayer will feel on his bets. With the racing board's approval, because low purses have been driving owners and their horses out of state, takeout for exactas and daily doubles will be almost 23%, and the off-the-top charge for other exotic bets will be close to 24%. In the lending business, rates like that used to be called usury, but not anymore, and Santa Anita must figure that what's good for the credit-card industry is good for its fans. Members of the Horseplayers Association of America are in a tizzy, and there has been widespread talk of a betting boycott, but as the pundit Bill Finley wrote, "Most people who bet the races pay no attention to takeout, which is what the (racing board) is banking on." What 23% means in simplest terms is that when you bet a dollar, you're really only getting a 77-cent bang for your buck. I'm not an economist, and every time I tried to study the subject in college I went to sleep, but I believe that this means in theory that horseplayers go broke faster. Let's hear it for the racing board, if that was their goal.
Steve Davidowitz, another pundit (the woods is full of them), favors an eventual boycott, but he says that Santa Anita should be allowed to get off the ground first. "If clearer heads were to prevail," Davidowitz wrote, "a betting boycott actually would make sense if it were to be initiated a month or so after Santa Anita wagering trends are set in place." It would be then, Davidowitz went on, that "solid points (by the horseplayers) actually might be made--not only on behalf of racing fans in southern California, but for beleaguered bettors throughout America."
Bruno DeJulio, a respected clocker and handicapper, questions whether a boycott will even fly. "Dirt is in," he says, "the track is doing massive marketing on the return to dirt, and do y'll think this is going to deter the player from sending (money) in with both hands on opening day? Some players won't even know of the takeout hike, or won't care. It's Santa Anita, the Great Race Place. That's all they hear, calendar, Santa Anita. This boycott is a delusional cause. It won't happen."
The wall calendar has been an opening-day Santa Anita giveaway since the flood (a timely reference). The 2011 edition may be especially treasured--it features 12 movies that have been shot at Santa Anita. Most everybody knows that "Seabiscut" was filmed there, as well as its unfortunate prequel, but how about "Charlie Chan at the Race Track" and "Goin' to Town," a 1935 Mae West vehicle. Sometimes, even though the locale is Santa Anita, the track might be identified as a track somewhere else. Santa Anita has been a stand-in, for example, for Hialeah, a mythical track in Buenos Aires and Cahokia Downs. OK, so I'm kidding about Cahokia Downs. No track is that good of an actor.


text:
The Études collection for Spring/Summer 2019 evokes a conceit of soft masculinity, where the spirit of a West Coast vagabond traverses early Hip Hop's forgotten glory.
The Études collection for Spring/Summer 2019 evokes a conceit of soft masculinity, where the spirit of a West Coast vagabond traverses early Hip Hop's forgotten glory.
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We recently visited the pop-up University of Westminster showroom in Paris at Espace Commines, ahead of men's fashion week.
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LATIGO unveiled its new collection titled "LATIGO TE AMA" (Latigo loves you). The lookbook was shot by Pablo Alzaga under creative direction from Carlos Mora.
HNTA unveiled its new Spring/Summer 2019 editorial, shot by Mirisola and styled by Daniel Blechman.
SHARKY is the latest model that expands a (constantly) growing family: the design, colors and unusual cuts make it an exclusive object of desire for all over the world fans of the genre.
Dancer Cesar Brodermann stars in this film directed by Jean Toir, in exclusive for Fucking Young!
Immanuel McDonald at Wonderwall Management shot by Giuseppe Morello and styled by Cristian Lorenzoni, in exclusive for Fucking Young! Online.
Los Angeles brand, Skim Milk has teamed up with the legendary and controversial photographer, Bob Mizer for a t-shirt, hoodie and crew sweatshirt that's sure to turn heads.
JERIH presents wearable clothing by taking a modern approach to design with inspiration varying between impressionism and avant-garde.
From June 10 to September 22, 2019, the genre-redefining fashion designer Virgil Abloh will exhibit the NXS2 "skeleton" models at his first museum exhibition entitled "FIGURES OF SPEECH."
"All hail Bran the Broken, First of His Name, King of the Andals and the First Men, Lord of the Six Kingdoms, and Protector of the Realm."
Game of Thrones actor Isaac Hempstead Wright photographed by »
Here is the amazing schedule for the Spring/Summer 2020 shows in Paris.
Victor Gravesen at Le Management photographed by Emilia Staugaard and styled by Sebastian Filsoof, in exclusive for Fucking Young! Online.
Khalil at Uno Models photographed by Genís Mitjans and styled by Pablo Muñoz, in exclusive for Fucking Young! Online.
A collaboration that generates new means of expression with inspirations ranging from Russian avant-garde (including theater and music), to 90s denim trends, to work and utility wear.
Three emerging brands will present their new Spring/Summer 2020 collections in a group catwalk show in June at London Fashion Week Men's.
Neven and Timoteo at Brave Agency Milano photographed by Alberto Pelayo and styled by Damiano Bongiovanni, in exclusive for Fucking Young! Online.
Te pueden parecer muy lejanos. Incluso puedes llegar a creer que nada de lo que sucedió entonces tenga que ver contigo. Pero durante aquella década de los 70, cargada de música disco, liberación sexual y experimentación, comenzaron a asentarse gran… »
All happy families resemble one another, each unhappy family is unhappy in its own way. No family is perfect. This doesn't have to be a bad thing.
Isaac Hempstead Wright (Game of Thrones) graces our fourteenth cover shot by Michiel Meewis and styled by Michael Miller.Spring/Summer 19


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by George Zamora
SOCORRO, N.M., Feb. 9, 2004 – The New Mexico Tech Department of Mechanical Engineering and its associated mechatronics program have been named the recipients of a recent grant provided by the Electronic Data Systems Corporation (EDS) which will allow students at the university to employ some of the latest available design and analysis software.
The grant, which was made possible through the EDS Product Lifecycle Management (PLM) Academic Partnership Program, consists of ten seats of FEMAP and NX Nastran, which are both considered industry standards in finite element analysis and computer-aided design software.
The commercial value of the donated software package is estimated to be worth about $235,000.
New Mexico Tech juniors, seniors, and graduate students enrolled in the research university's mechanical engineering program will use the new software package in their current design and research work.
In addition, new courses will be offered at New Mexico Tech to teach engineering students how to fully implement all the capabilities of the new software.
"This grant will provide the students and faculty of New Mexico Tech with state-of-the-art, high-technology industry software that will allow them to design and engineer projects using the same tools that today's top-flight manufacturing and engineering companies employ," says Richard S. Reilly, chairman of New Mexico Tech's department of mechanical engineering.
"In particular, since NX Nastran is an industry standard in engineering analysis tools, Tech students who learn how to use it in the course of their studies will be better equipped to enter the workforce when they graduate," Reilly adds.
EDS, the world's largest independent information technology services company, provides strategy, implementation, business transformation and operational solutions for clients managing the business and technology complexities of today's "digital economy."


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This couldn't have been a better experience! I booked it online a couple of days in advance and got an email confirmation. The chauffeur arrived exactly on time and jumped right out to help me with my bag. He was so nice and genuinely pleasant. The van was clean and I felt safe.
I used Go Best Express while traveling to St. Louis on a business trip last month. Both chauffeurs (arriving and leaving) were on time, courteous and helpful.
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Track Santa right here on NBC25 & FOX66
| Portions are © Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or distributed.
WSMH Fox 66 Flint offers news, weather and local event coverage for Flint – Saginaw area and central Michigan, including Lansing, Owosso, Chesaning, St Charles, Bay City, Midland, Akron, Caro, Vassar, Lapeer, Auburn Hills, Fenton and Brighton.


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NMT Signs Agreement with Honors Center of Italian Universities, May 12, 2005
by Enrique R. Vivoni, assistant professor of hydrology
ROME, ITALY, May 12, 2005 – In a recent visit to Rome, New Mexico Tech President Dr. Daniel López signed an agreement with the Honors Center of Italian Universities (H2CU) for research and educational exchanges. The agreement opens the door for enhanced collaborations between New Mexico Tech faculty and students and counterparts in a number of Italian research entities. In total, H2CU represents activities in 15 universities and 3 research institutes in the Italian National Research Council (CNR).
A signing ceremony for the international exchange program was held on April 22, 2005 in the University of Rome "La Sapienza", founded in 1303. The Memorandum of Understanding (MOU) between the two institutions was officially established by signatures from Dr. Daniel López, New Mexico Tech President, Professor Lucio Ubertini, H2CU Director and Professor in University of Rome, Dr. Salvatore Grimaldi, H2CU Secretary and CNR Research Scientist, and Assistant Professor Enrique Vivoni in New Mexico Tech's Earth and Environmental Science (EES) Department.
The initial three-year collaboration will focus on research and education in the field of hydrological sciences due to the strong and complementary programs at New Mexico Tech and within the H2CU institutions. Focusing on the theme of "Hydrological Predictions Across Climate Regimes", the collaboration will sponsor student exchanges between the institutions (3-6 months), one-week short courses on advanced topics, and the promotion of collaborative research among participants. Specific topics of interest include remote sensing, modeling and observations in hydrological systems.
Due to mutual interests, an expansion of the current scope of the agreement is already being contemplated into areas such as geophysics, geology, civil and environmental engineering and physics, among others. All together, this effort will increase the international visibility of various top-notch programs at New Mexico Tech and also attract talented students to participate in the cultural, educational and research exchange.
The new international program will provide opportunities to interact with Italian universities known for hydrological science and to host to Italian researchers interested in our research and educational programs. In the longer term, the organizers hope to increase ties between New Mexico and Italy in a number of research fields.


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(Phoenix, Ariz. - May 25, 2005) Attorney General Terry Goddard is joining a friend-of-the-court brief to the U.S. Supreme Court in support of two journalists facing jail sentences for refusing to disclose confidential sources.
The case stems from a grand jury investigation into who revealed the identity of CIA official Valerie Plame two years ago. She was first named by Robert Novak in his syndicated newspaper column. Disclosing an undercover intelligence officer's name can be a federal crime.
During the investigation, Matthew Cooper, a Time magazine correspondent, and Judith Miller, a New York Times reporter, declined to testify about their sources before a grand jury and were held in contempt by a federal judge, who ordered them jailed for up to 18 months.
The brief signed by Goddard asserts that the public interest is better served when journalists can talk with sources confidentially in some situations.
"Confidential sources are vital to a free society and a well-informed public," Goddard said. "Such major stories as the Pentagon papers, Watergate, Enron and Abu Ghraib relied on them. Most states, including Arizona, have recognized the importance of confidentiality in news-gathering and have enacted shield laws that protect some sources from being named. But federal law regarding confidentiality is less clear, and the Supreme Court now has the opportunity to confirm that this protection extends to federal cases."
The brief will be filed later this week by a group of attorneys general representing at least 31 states. It asks the U.S. Supreme Court to take the case and reverse a ruling made by a federal appeals court.


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How to Make Big Batches of Cocktails for a Crowd
All the basics of the bar.
Today I'm revealing my secret to party planning: the easiest way to serve cocktails to a crowd. Batching up cocktails in advance provides you, as the party host, a way to offer guests well-made cocktails, but frees you up to otherwise enjoy the party, and not feel compelled to make drinks to order. It's a win-win.
How and Why to Bottle a Cocktail
The idea is simple: Instead of making cocktails one at a time, I suggest that you make up a bunch of servings of your favorite cocktails (in bottles or pitchers) in advance before your guests arrive. Keep them well chilled, and you can either serve them yourself or allow guests to help themselves.
One option is to decide on a signature cocktail, prepare it in advance, and have it prechilled. As guests arrive, you greet each one with a glass of your signature cocktail, poured straight from the bottle. No fuss, and everyone can move on to having a good time, host included. After the first drink, you can serve more premade cocktails, or move on to wine or beer. Even if you decide to hire a bartender for your party, you may want to ensure the drinks are all good by mixing up the recipe in advance.
Now, let's take note of a couple of things before we begin.
How Far In Advance?
If your batched cocktails will include fruit juice, you need to prepare them the day of the party. Juice is volatile and goes bad quickly. You might get away with batching up your cocktail the night before, but no earlier.
If your drink has no fruit juice or other fresh ingredients, you're fine. You can batch it up days in advance; just be sure to keep it in the refrigerator, especially if it contains vermouth, which is a wine-based ingredient that oxidizes if left at room temperature.
The Role of Water
Water is an essential ingredient in a cocktail. It softens the flavor of the drink and rounds out the rough edges of the spirit. Ordinarily, you add water to a cocktail as you prepare it, in the form of ice: as you stir or shake a drink, the ice melts and both dilutes and chills the cocktail. A well-made cocktail will be about one fifth to one quarter water.
So you can add water to your batched cocktail in two different ways. One option is to mix up the batch and then when it's time to serve the cocktail, stir or shake it over ice just before serving.
But I think it's better to add the right amount of water in advance and then keep the cocktail very well chilled. This makes it easier if guests are serving themselves—all they need do is pour. This also means you can be sure the water in the cocktail is tasty (whether that's straight from your tap or filtered) and you won't taint your drink with off flavors from storebought ice.
Batching requires some simple math in advance, but hey, I'm going to do that for you!
All you'll need to do at party time is chill the batched cocktail very well and serve—or let guests serve themselves.
What You Need
First, get bottles or lidded pitchers. These don't need to be fancy—empty wine or liquor bottles would work—but it's a party, so it's fun to class it up a bit and get a few swing-top glass bottles.
My recipes are based on making 32 ounces in each batch, so each bottle serves 8 four-ounce cocktails. Swing-tops in this capacity can be found in stores and online; in a pinch, you can reuse 1L wine or liquor bottles.
You might want a separate bottle or pitcher for mixing the batch, but it's not necessary—you can mix each batch directly in the bottle that you'll pour the cocktails from.
What you will need, though, is a measuring cup. I'll be providing volumes in ounces, so you might find it helpful to have a clear plastic angled measuring cup, like this one.
Finally, a funnel will certainly make your life easier, so grab one of those while you're at it.
Before we go to the recipes, just a hint of theory first. (Yawning? You can skip ahead to the recipes.)
With regard to martinis, I love a ratio of 3 or 4 parts gin to 1 part vermouth. Here, to make the math easier, I've used a 4:1 ratio. Your batch is going to be 32 ounces, and water will fill up about one fifth of the batch, or 6 ounces. So your gin and vermouth together should fill 26 ounces. Your gin-to-vermouth ratio is up to you, if you want to tinker—just make sure it totals 26 ounces. If you're going with 4 to 1, that's 20 ounces of gin and 6 ounces of vermouth.
Manhattan: I'm assuming a classic ratio of 2 parts rye to 1 part sweet vermouth.
Margarita/Sidecar/Sour: The ratio is 3 parts spirit (tequila, cognac, whiskey) to 2 parts triple sec and 1 part citrus juice.
Proportions are up to you, so long as they equal about 26 ounces before you add the water. The water shouldn't be adjusted much, though—it's necessary in order to mimic the dilution that would happen with stirring or shaking, and to give the cocktail its proper balance and bring out the flavors in the alcohol. Plus, it's just responsible. Though a boozier cocktail might sound fun in theory, but it'll liquor up your guests all the faster, and at some point, they need to find a way home, unless you're very generous and you're hosting them for the night.
Get the Recipes!
Manhattan Cocktails For a Crowd »
Margaritas (or Sidecars or Sours) For a Crowd »
More Party Planning Tips
How to Stock Up for Holiday Cocktail Parties »
This post may contain links to Amazon or other partners; your purchases via these links can benefit Serious Eats. Read more about our affiliate linking policy.


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Small businesses are struggling to stay afloat because they have to compete with super cheap prison labor.
Federal Prison Industries (FPI), a corporation owned by the federal government, employs more than 13,000 inmates at wages from 23 cents to $1.15 an hour, making everything from military apparel to call center and help desk support to solar panels and selling the products to the Pentagon and other federal agencies.
FPI, also known as UNICOR, operates inside 83 federal prisons and made more than $900 million in revenue last year.
In March Tennier Industries, which also makes military clothing, fired more than 100 employees after losing out to FPI on a new $45 million contract from the Defense Department.
In May American Apparel put 175 people out of work when closed an Alabama plant for the same reason. Owner Kurt Wilson expressed his frustration that he pays workers $9 an hour with full benefits and yet "we're competing against a federal program that doesn't pay any of that," according to CNN.
American Power Source will shed about 260 jobs when they close plants in Alabama and Mississippi on Nov. 1 because of competition from FPI, the AP reports.
"There's a federal program tanking our industry," Kurt Courtney, director of government relations at the American Apparel and Footwear Association, told CNN. " The only way for workers to get jobs back is to go to prison. There's got to be a better way."
Last month Kentucky apparel factory Ashland Sales and Service, Co. had to reach out to state Sen. Mitch McConnell to prevent FPI from winning an Air Force contract he needed to keep his Olive Hill factory—the town's biggest largest employer—from being forced to shut down.
Founded in 1934, FPI's operations are patterned after a "mass-production, low-skilled labor economy of the 1930s," according to a report last year from the Congressional Research Service. Dianne Cardwell of the New York Times called the company " inefficient by design" because it employs as many inmates as possible, "which diminishes the advantage of its low wages."
Despite a Small Business Administration ruling in 2005 that FPI cannot win service contracts set aside for small businesses, FPI wins federal contracts over private companies as long as its bid is comparable in price, quantity and delivery.
That's because intricate laws, regulations and policies " requires federal agencies to buy inmate-made items even if they are more expensive than like items made by private companies," AP notes.
"This is a threat to not just established industries; it's a threat to emerging industries," Representative Bill Huizenga (R-Mich.), who has sponsored legislation to overhaul the industry, said. "We know that in the recovery, many new jobs are coming out of small businesses. It makes no sense to strangle them in the cradle."
Chris Reynolds, president of Campbellsville Apparel in Kentucky, told NYT that his employees "just cannot believe the fact that a prisoner who should be paying a debt to society is being promoted through the federal government to take a job from an American taxpaying citizen," he said.


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Snow White and the Huntsman Full Movie Online
Sabtu, 24 Mei 2014 0 komentar
- Status : Released
- Release Date of film : 2012-06-01
- Original title : Snow White and the Huntsman
- Tagline : The Fairytale is Over
- Movie Genre : Adventure, Drama, Fantasy,
- Languages spoken : English
- Film Note : -movie_rating-
- Societies of production : Universal Pictures
- Vote Count : 1007
- Duration of movie : 127
- Average rate : 5.4
- Youtube Id : -youtube_id-
- Kristen Stewart Character (Snow White)
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- Chris Hemsworth Character (The Huntsman)
- Sam Claflin Character (William)
- Ian McShane Character (Beith)
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- Noah Huntley Character (King Magnus)
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- Hattie Gotobed Character (Lily)
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- Mark Wingett Character (Thomas)
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- Dave Legeno Character (Broch)
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Snow White and the Huntsman Synopsis:
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Judul: Snow White and the Huntsman Full Movie OnlineSemoga artikel ini bermanfaat bagi saudara. Jika ingin mengutip, baik itu sebagian atau keseluruhan dari isi artikel ini harap menyertakan link dofollow ke http://leezan-the-bride-to-be.blogspot.com/2014/05/snow-white-and-huntsman-full-movie.html. Terima kasih sudah singgah membaca artikel ini.
Ditulis oleh Unknown
Rating Blog 5 dari 5
Ditulis oleh Unknown
Rating Blog 5 dari 5


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Direct marketing increasingly relies on personalization, but its future is also clouded by the possibility of government-imposed restrictions on Internet data collection for the purposes of target marketing. The Federal Trade Commission has said it is considering recommending such regulation, and numerous Internet privacy bills have been introduced in Congress. The marketing industry has argued for self-regulation.
The simmering conflict was underscored in August when FTC member Julie Brill wrote a column in the Washington Post equating the collection of Internet browsing behavior for advertising purposes with the data-collection practices of the National Security Agency, which have attracted much controversy recently. Brill wrote that companies that collect Internet data for marketing purposes "push legal boundaries."
Last month, Sen. Jay Rockefeller (D-W.Va.) demanded that 12 websites that focus on personal finance and health divulge whether they share consumer data with third parties. Rockefeller charged that data brokers obtain data from websites that collect and pass on personal information they gather from surveys, sweepstakes and questionnaires.
"Americans have fully embraced a data-driven way of life, and the countless economic and social benefits they derive from responsible data use," said Peggy Hudson, DMA's co-senior VP-government affairs, criticizing Rockefeller's move. Hudson was hired by DMA last month to succeed Cerasale, who will retire at the end of the year.
"We as an industry have a responsibility to educate members of Congress about the differences between what marketers collect as data and the NSA," Hudson said. "And it is unfortunate that Rockefeller has chosen to single out a couple of poorly named marketing categories as a reason to demagogue an industry that is the brightest beacon of American innovation.
"We continue to stress that self-regulation is critically important," Hudson said.


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Sale Date Ended
Page Views : 340
Leaders and managers of organizations face coordination issues in understanding business from business process point of view, supply chain point of view, and strategy execution point of view. It shows that the coordination at senior leadership and middle management level becomes vital. In addition to coordination issues, there are challenges in balancing demand and supply and linkage of various levels of planning. Organizations are using sales & operations planning as best practice for eliminating coordination issues and challenges successfully.
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SVG uses styling properties to describe many of its document parameters. Styling properties define how the graphics elements in the SVG content are to be rendered. SVG uses styling properties for the following:
SVG shares many of its styling properties with CSS [CSS21] and XSL [XSL]. Except for any additional SVG-specific rules explicitly mentioned in this specification, the normative definition of properties that are shared with CSS and XSL is the definition of the property from the CSS 2.1 specification [CSS21].
The following properties are shared between CSS 2.1 and SVG. Most of these properties are also defined in XSL:
This list needs to be updated. We should list all the properties we normative require support for, and which specification they are defined in.
clip', only applicable to outermost svg element.
color', used to provide a potential indirect value
(currentColor) for the
flood-color' and
(The SVG properties which support color allow a color
specification which is extended from CSS 2.1 to accommodate
color definitions in arbitrary color spaces. See Color profile
overflow', only applicable to
elements which establish a new viewport.
The following SVG properties are not defined in CSS 2.1. The complete normative definitions for these properties are found in this specification:
A table that lists and summarizes the styling properties can be found in the Property Index.
Does this section add anything?
SVG has many usage scenarios, each with different needs. Here are three common usage scenarios:
SVG content used as an exchange format (style sheet language-independent):
In some usage scenarios, reliable interoperability of SVG content across software tools is the main goal. Since support for a particular style sheet language is not guaranteed across all implementations, it is a requirement that SVG content can be fully specified without the use of a style sheet language.
SVG content generated as the output from XSLT:
XSLT offers the ability to take a stream of arbitrary XML content as input, apply potentially complex transformations, and then generate SVG content as output [XSLT]. XSLT can be used to transform XML data extracted from databases into an SVG graphical representation of that data. It is a requirement that fully specified SVG content can be generated from XSLT.
SVG content styled with CSS:
CSS is a widely implemented declarative language for assigning styling properties to XML content, including SVG [CSS21]. It represents a combination of features, simplicity and compactness that makes it very suitable for many applications of SVG. It is a requirement that CSS styling can be applied to SVG content.
Styling properties can be assigned to SVG elements in the following two ways:
Presentation attributes
Styling properties can be assigned using SVG's presentation attributes. For each styling property defined in this specification, there is a corresponding XML presentation attribute available on all relevant SVG elements. Detailed information on the presentation attributes can be found in Specifying properties using the presentation attributes.
The presentation attributes are style sheet language independent and thus are applicable to usage scenario 1 above (i.e., tool interoperability). Because it is straightforward to assign values to XML attributes from XSLT, the presentation attributes are well-suited to usage scenario 2 above (i.e., SVG generation from XSLT). (See Styling with XSL below.)
Conforming SVG Interpreters and Conforming SVG Viewers are required to support SVG's presentation attributes.
CSS Stylesheets
To support usage scenario 3 above, SVG content can be styled with CSS. For more information, see Styling with CSS.
Conforming SVG Interpreters and Conforming SVG Viewers that support CSS styling of generic (i.e., text-based) XML content are required to also support CSS styling of SVG content.
For each styling property defined in this specification (see
Property Index), there is a
corresponding XML attribute (the presentation attribute) with the same
name that is available on all relevant SVG elements. For
example, SVG has a '
fill' property that defines how
to paint the interior of a shape. There is a corresponding
presentation attribute with the same name (i.e., 'fill') that can be used to specify a
value for the '
fill' property on a given
We should state that for each property defined in this specification, plus for each in a list here for properties in other specifications, there exists a presentation attribute.
Do we plan to grow a presentation attribute for each new CSS property that we support?
The following example shows how the '
fill' and
stroke' properties can be specified on a 'rect' using the
'fill' and
'stroke' presentation attributes. The
rectangle will be filled with red and outlined with blue:
<?xml version="1.0" standalone="no"?> <svg xmlns="http://www.w3.org/2000/svg" version="1.1" width="10cm" height="5cm" viewBox="0 0 1000 500"> <rect x="200" y="100" width="600" height="300" fill="red" stroke="blue" stroke-width="3"/> </svg>
The presentation attributes offer the following advantages:
In some situations, SVG content that uses the presentation attributes has potential limitations versus SVG content that is styled with a style sheet language such as CSS (see Styling with CSS). In other situations, such as when an XSLT style sheet generates SVG content from semantically rich XML source files, the limitations below may not apply. Depending on the situation, some of the following potential limitations may or may not apply to the presentation attributes:
For user agents that support CSS, the presentation attributes must be translated to corresponding CSS style rules according to rules described in Precedence of non-CSS presentational hints ([CSS21], section 6.4.4), with the additional clarification that the presentation attributes are conceptually inserted into a new author style sheet which is the first in the author style sheet collection. The presentation attributes thus will participate in the CSS 2.1 cascade as if they were replaced by corresponding CSS style rules placed at the start of the author style sheet with a specificity of zero. In general, this means that the presentation attributes have lower priority than other CSS style rules specified in author style sheets or 'style' attributes.
User agents that do not support CSS must ignore any CSS style rules defined in CSS style sheets and 'style' attributes. In this case, the CSS cascade does not apply. (Inheritance of properties, however, does apply. See Property inheritance.)
An !important declaration ([CSS21], section 6.4.2) within a presentation attribute definition is an invalid value.
Animation of presentation attributes is equivalent to animating the corresponding property. Thus, the same effect occurs from animating the presentation attribute with attributeType="XML" as occurs with animating the corresponding property with attributeType="CSS" (see 'attributeType').
How much do we really need to mention XSLT?
Probably the only thing worth mentioning is that
can be used in an XML serialized SVG document (not that we
require support for this, though).
XSL style sheets [XSLT] [XSLT2] define how to transform XML content into something else, usually other XML. When XSLT is used in conjunction with SVG, sometimes SVG content will serve as both input and output for XSL style sheets. Other times, XSL style sheets will take non-SVG content as input and generate SVG content as output.
The following example uses an external XSL style sheet to
transform SVG content into modified SVG content (see Referencing
external style sheets). The style sheet sets the
fill' and '
stroke' properties on all
rectangles to red and blue, respectively:
mystyle.xsl <?xml version="1.0" standalone="no"?> <xsl:stylesheet version="1.0" xmlns:xsl="http://www.w3.org/1999/XSL/Transform" xmlns:svg="http://www.w3.org/2000/svg"> <xsl:output method="xml" encoding="utf-8"> <!-- Add version to topmost 'svg' element --> <xsl:template match="/svg:svg"> <xsl:copy> <xsl:copy-of select="@*"/> <xsl:attribute name="version">1.1</xsl:attribute> <xsl:apply-templates/> </xsl:copy> </xsl:template> <!-- Add styling to all 'rect' elements --> <xsl:template match="svg:rect"> <xsl:copy> <xsl:copy-of select="@*"/> <xsl:attribute name="fill">red</xsl:attribute> <xsl:attribute name="stroke">blue</xsl:attribute> <xsl:attribute name="stroke-width">3</xsl:attribute> </xsl:copy> </xsl:template> </xsl:stylesheet> SVG file to be transformed by mystyle.xsl <?xml version="1.0" standalone="no"?> <?xml-stylesheet href="mystyle.xsl" type="application/xml"?> <svg xmlns="http://www.w3.org/2000/svg" width="10cm" height="5cm"> <rect x="2cm" y="1cm" width="6cm" height="3cm"/> </svg> SVG content after applying mystyle.xsl <?xml version="1.0" encoding="utf-8"?> <svg xmlns="http://www.w3.org/2000/svg" width="10cm" height="5cm" version="1.1"> <rect x="2cm" y="1cm" width="6cm" height="3cm" fill="red" stroke="blue" stroke-width="3"/> </svg>
SVG implementations that support CSS are required to support the following:
The following example shows the use of an external CSS style
sheet to set the '
fill' and '
stroke' properties on all
rectangles to red and blue, respectively:
mystyle.css rect { fill: red; stroke: blue; stroke-width: 3 } SVG file referencing mystyle.css <?xml version="1.0" standalone="no"?> <?xml-stylesheet href="mystyle.css" type="text/css"?> <svg xmlns="http://www.w3.org/2000/svg" version="1.1" width="10cm" height="5cm" viewBox="0 0 1000 500"> <rect x="200" y="100" width="600" height="300"/> </svg>
View this
example as SVG (SVG-enabled browsers only)
CSS style sheets can be embedded within SVG content inside of a 'style' element. The following example uses an internal CSS style sheet to achieve the same result as the previous example:
<?xml version="1.0" standalone="no"?> <svg xmlns="http://www.w3.org/2000/svg" version="1.1" width="10cm" height="5cm" viewBox="0 0 1000 500"> <defs> <style type="text/css"><![CDATA[ rect { fill: red; stroke: blue; stroke-width: 3 } ]]></style> </defs> <rect x="200" y="100" width="600" height="300"/> </svg>
Note how the CSS style sheet is placed within a
construct (i.e.,
<![CDATA[ ... ]]>). Placing
internal CSS style sheets within
CDATA blocks is
sometimes necessary since CSS style sheets can include
characters, such as ">", which conflict with XML parsers.
Even if a given style sheet does not use characters that
conflict with XML parsing, it is highly recommended that
internal style sheets be placed inside
Implementations that support CSS are also required to support CSS inline style. Similar to the 'style' attribute in HTML, CSS inline style can be declared within a 'style' attribute in SVG by specifying a semicolon-separated list of property declarations, where each property declaration has the form "name: value". Note that property declarations inside the 'style' attribute must follow CSS style rules, see The 'style' attribute.
The following example shows how the
fill' and '
stroke' properties can be specified
on a 'rect' using the 'style' attribute. Just like the
previous example, the rectangle will be filled with red and
outlined with blue:
<?xml version="1.0" standalone="no"?> <svg xmlns="http://www.w3.org/2000/svg" version="1.1" width="10cm" height="5cm" viewBox="0 0 1000 500"> <rect x="200" y="100" width="600" height="300" style="fill: red; stroke: blue; stroke-width: 3"/> </svg>
In an SVG user agent that supports CSS style sheets, the following facilities from CSS 2.1 must be supported:
SVG defines an @color-profile at-rule ([CSS21], section 4.1.5) for defining color profiles so that ICC color profiles can be applied to CSS-styled SVG content.
Note the following about relative URIs and external CSS style sheets: The CSS 2.1 specification says ([CSS21], section 4.3.4) that relative URIs (as defined in Uniform Resource Identifiers (URI): Generic Syntax [RFC3986]) within style sheets are resolved such that the base URI is that of the style sheet, not that of the referencing document.
Property declarations via presentation attributes are expressed in XML [XML10], which is case-sensitive. CSS property declarations specified either in CSS style sheets or in a 'style' attribute, on the other hand, are generally case-insensitive with some exceptions ([CSS21], section 4.1.3).
Because presentation attributes are expressed as XML
attributes, their names are case-sensitive and must be
given exactly as they are defined.
When using a presentation attribute to specify a value for the
fill' property, the presentation attribute must be
be specified as fill="…" and not
fill="…" or Fill="…". Keyword
values, such as italic in
are also case-sensitive and must be specified using the exact
case used in the specification which defines the given keyword.
For example, the keyword sRGB
must have lowercase "s" and uppercase "RGB".
Property declarations within CSS style sheets or in a 'style' attribute must only conform to CSS rules, which are generally more lenient with regard to case sensitivity. However, to promote consistency across the different ways for expressing styling properties, it is strongly recommended that authors use the exact property names (usually, lowercase letters and hyphens) as defined in the relevant specification and express all keywords using the same case as is required by presentation attributes and not take advantage of CSS's ability to ignore case.
|SVG 2 Requirement:
|Consider relaxing case sensitivity of presentation attribute values.
|We will make property values case insensitivity.
|To align presentation attribute syntax parsing with parsing of the corresponding CSS property.
|Cameron (ACTION-3276)
SVG shares various relevant properties and approaches common to CSS and XSL, plus the semantics of many of the processing rules.
SVG shares the following facilities with CSS and XSL:
External style sheets are referenced using the mechanism documented in Associating Style Sheets with XML documents Version 1.0 [XML-SS].
We should suggest
@import as a means for
referencing external CSS style sheets that will also work in an HTML5
Where is it defined that an HTML 'link' element can cause a style sheet to be loaded and applied to SVG content? Should we allow (an SVG or HTML namespace) 'link' element in an SVG document fragment?
|SVG 2 Requirement:
|Add HTML5 'style' element attributes to SVG's 'style' element.
|SVG 2 'style' element shall be aligned with the HTML5 'style' element.
|To not surprise authors with different behavior for the 'style' element in HTML and SVG content.
|Cameron (ACTION-3277)
The 'style' element allows style sheets to be embedded directly within SVG content. SVG's 'style' element has the same attributes as the corresponding element in HTML (see HTML's 'style' element).
Attribute definitions:
|Lacuna value
This attribute specifies the style sheet language of the element's contents. The style sheet language is specified as a content type (e.g., "text/css"), as per MIME Part Two: Media Types [RFC2046]. If the attribute is not specified, then the style sheet language is assumed to be CSS.
|Lacuna value
This attribute specifies the intended destination medium for style information. It may be a single media descriptor or a comma-separated list. The default value for this attribute is "all". The set of recognized media-descriptors are the list of media types recognized by CSS 2.1 ([CSS21], section 7.3).
|Lacuna value
(For compatibility with HTML 4 [HTML4].) This attribute specifies an advisory title for the 'style' element.
The syntax of style data depends on the style sheet language.
Some style sheet languages might allow a wider variety of rules in the 'style' element than in the 'style'. For example, with CSS, rules can be declared within a 'style' element that cannot be declared within a 'style' attribute.
An example showing the 'style' element is provided above (see example).
Attribute definitions:
The 'class' attribute assigns one or more class names to an element. The element may be said to belong to these classes. A class name may be shared by several element instances. The 'class' attribute has several roles:
In the following example, the 'text' element is used in conjunction with the 'class' attribute to markup document messages. Messages appear in both English and French versions.
<!-- English messages --> <text class="info" lang="en">Variable declared twice</text> <text class="warning" lang="en">Undeclared variable</text> <text class="error" lang="en">Bad syntax for variable name</text> <!-- French messages --> <text class="info" lang="fr">Variable déclarée deux fois</text> <text class="warning" lang="fr">Variable indéfinie</text> <text class="error" lang="fr">Erreur de syntaxe pour variable</text>
In an SVG user agent that supports CSS styling, the following CSS style rules would tell visual user agents to display informational messages in green, warning messages in yellow, and error messages in red:
text.info { color: green } text.warning { color: yellow } text.error { color: red }
The 'style' attribute allows per-element style rules to be specified directly on a given element. When CSS styling is used, CSS inline style is specified by including semicolon-separated property declarations of the form "name : value" within the 'style' attribute. Property declarations must follow CSS style rules thus CSS defined properties (e.g. 'font-size') when having a <length> value must include a unit (for non-zero values). See SVG's styling properties for a list of CSS defined properties.
Attribute definitions:
The style attribute may be used to apply a particular style to an individual SVG element. If the style will be reused for several elements, authors should use the 'style' element to regroup that information. For optimal flexibility, authors should define styles in external style sheets.
An example showing the 'style' attribute is provided above (see example).
Whether or not the user agent supports CSS, property inheritance in SVG follows the property inheritance rules defined in the CSS 2.1 specification. The normative definition for property inheritance is the Inheritance section of the CSS 2.1 specification ([CSS21], section 6.2).
The definition of each property indicates whether the property can inherit the value of its parent.
In SVG, as in CSS 2.1, most elements inherit
computed values
([CSS21], section 6.1.2).
For cases where something other than
computed values are inherited, the property definition will
describe the inheritance rules. For specified values
([CSS21], section 6.1.1)
which are expressed in user units, in
pixels (e.g., 20px) or in absolute values,
the computed value equals the specified
value. For specified values which use certain relative units
(i.e., em, ex and percentages), the computed
value will have the same units as the value to which it is
relative. Thus, if the parent element has a '
font-size' of
10pt and the current
element has a '
font-size' of 120%,
then the computed value for '
font-size' on the current element
will be 12pt. In cases where the referenced value for
relative units is not expressed in any of the standard SVG
units (i.e., CSS units or user units), such as when a
percentage is used relative to the current viewport or an
object bounding box, then the computed value will be in user
Note that SVG has some facilities wherein a property which
is specified on an ancestor element might effect its descendant
element, even if the descendant element has a different
assigned value for that property. For example, if a '
property is specified on an ancestor element, and the current element has a
clip-path' of none, the
ancestor's clipping path
still applies to the current element because the semantics of
SVG state that the clipping path used on a given element is the
intersection of all clipping paths specified on itself and all
ancestor elements. The key concept is that property assignment
(with possible property inheritance) happens first. After
properties values have been assigned to the various elements,
then the user agent applies the semantics of each assigned
property, which might result in the property assignment of an
ancestor element affecting the rendering of its
The following define the scope/range of style sheets:
As part of unifying HTML's and SVG's 'style' element, we should allow and mention scoped style sheets here.
The user agent shall maintain a user agent style sheet ([CSS21], section 6.4) for elements in the SVG namespace for visual media ([CSS21], section 7.3.1). The user agent style sheet below is expressed using CSS syntax; however, user agents are required to support the behavior that corresponds to this default style sheet even if CSS style sheets are not supported in the user agent:
svg, symbol, image, marker, pattern, foreignObject { overflow: hidden } svg { width:attr(width); height:attr(height) }
This needs to be reviewed. It should at least
@namespace to cause the rules to match only
SVG elements.
attr(width) won't do the right
thing if the 'width' attribute does
not use a unit. And what about when the attributes are being
animated? Presumably
attr() doesn't look at animated
The first line of the above user agent style sheet will
cause the initial
clipping path to be established at the bounds of the initial viewport.
Furthermore, it will cause new clipping paths to be established
at the bounds of the listed elements, all of which are elements that
establish a new viewport. (Refer to the description of
SVG's use of the '
overflow' property for more
The second line of the above user agent style sheet will cause the 'width' and 'height' attributes on the 'svg' element to be used as the default values for the 'width' and 'height' properties during layout ([CSS21], chapter 9).
For the purposes of aural media, SVG represents a stylable XML grammar. In user agents that support CSS aural style sheets, aural style properties ([CSS21], chapter 19) can be applied as defined in CSS 2.1.
Aural style properties can be applied to any SVG element that can contain character data content, including 'desc' 'title' 'tspan', 'tref', 'altGlyph' and 'textPath'. On user agents that support aural style sheets, the following CSS 2.1 properties can be applied:
The above list misses 'a', which can be within a 'text' element. Is there a conformance class in CSS we can link to for "user agents that support aural style sheets"? Are aural properties still relevant?
|Aural property
|Definition in [CSS21]
|Section A.8
|Section A.6
|Section A.6
|Section A.6
|Section A.8
|Section A.5
|Section A.5
|Section A.5
|Section A.9
|Section A.9
|Section A.7
|Section A.9
|Section A.4
|Section A.11.1
|Section A.10
|Section A.10
|Section A.9
|Section A.9
|Section A.9
|Section A.3
For user agents that support aural style sheets and also support DOM Level 2 Core, the user agent is required to support the DOM interfaces defined in Document Object Model CSS ([DOM2STYLE], chapter 2) that correspond to aural properties. (See Relationship with DOM2 CSS object model.)
interface SVGStyleElement : SVGElement { attribute DOMString type; attribute DOMString media; attribute DOMString title; };


text:
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text:
Stony Brook University
Provost's Lecture Series on Global Issues
The People Speak: America Debates its Role in the World
October 15, 2003
Learning From Recent History
Panel Contribution by Wolf Schäfer
One cannot learn from historical deeds that have to be executed yet. This means that people are regularly unprepared for new things in history. Take the most recent war. The American people were unprepared for what has been termed "The Bush Revolution in Foreign Policy."(1) This revolution has made preventive war an official policy of the United States. So, if I would have to answer the question, when do we learn from history? My answer would be, after the fact.
Let me introduce a detail — the distinction between preventive and preemptive war. Arthur Schlesinger Jr. has clarified this distinction in a recent article.
We all know that the current administration has presented, and vigorously defends, its new foreign policy doctrine as an emergency measure allowing preemptive war. In the words of Vice President Dick Cheney, "terrorists and tyrants" fail to put "us on notice before they strike." This is the justification for preemptive war. But the ugly fact is, the war against Iraq in 2003 was not a preemptive but a preventive war.
If you ask why, the answer is, the preventive warrior attacks a potential threat, something that could, or could not happen in the future, a threat that some people may know, or may not know about. If this sounds iffy let me quote the F.B.I officer Peter Ahearn who said about the Lackawanna terror investigation: "If we don't know for sure they're going to do something, or not, we need to make sure that we prevent anything they may be planning, whether or not we know or don't know about it." (3)
This is the preventive attitude. It does not fit Webster's requirement of self-defense, a threat that is "instant, overwhelming, leaving no choice of means, and no moment of deliberation." However, before the war, neither the American people nor the world could know for sure that the local and global threats posed by Iraq were that iffy. We, the people, are at a great disadvantage with respect to secret intelligence. So, what is the bottom line here?
The American and British governments could have acted on intelligence that pointed to a clear and imminent danger (remember the 45 minutes argument that both Bush and Blair made). Yet what we are beginning to see now is that Bush and Blair misused secret intelligence to justify a war that was de facto preventive. Both governments mislead us, the people, by selling a preventive as a preemptive war. Now is the time to learn from having waged this preventive war. Some of the lessons are:
As you can see, we can learn from history. Remember the first use of nuclear weapons in 1945. After Hiroshima and Nagasaki, the lesson was learned that nuclear war must be avoided. Now the lesson can be learned that preventive war places too high a burden on accurate intelligence and honest government. Preventive war is unsustainable as a universal principle. It cannot be claimed as a right for the United States only. A legitimate fight against global terrorism must find and use other means.
Finally, the good and the bad news. The United States has become a lone superpower on the verge of global empire, partly by design in the Cold War and partly by chance after the implosion of the Soviet Union. The good news is that the global policy blunders of the current administration are simple and clear; learning from these mistakes should be easy. However, the bad news is that great empires have always set the rules for others and never for themselves.
(1) Ivo H. Daalder and James M. Lindsay, 2003: America Unbound: The Bush Revolution in Foreign Policy. Brookings Institution Press.
(2) "Eyeless in Iraq" in New
York Review of Books, vol. 50, no. 16, Oct. 23, 2003, p.
24. — Professor Neta Crawford, Brown University, has
detailed the historical circumstances of Webster's arguments
against preventive war in an e-mail; Dr. Crawford wrote: Webster
wanted to limit the scope for preemption so that it would not
slide into preventive war. Here is the case and what Webster
(3) "An Unclear Danger: Inside the Lackawanna Terror Investigation" in The New York Times, Oct. 12, 2003, p. 35.


text:
The sprinkle of rain across dusty Southern California this week didn't come close to the biblical deluge needed to play catch-up to a three-year drought — up to a yard of rain over the next month, some meteorologists said.
The skies parted Friday after a quarter inch had drizzled overnight, but with scant rain on the horizon despite a water-heavy storm barreling toward the Bay Area.
"While Northern California is going to get socked full of moisture in the next couple of days, that fire hose of moisture is not going to head south," said Ken Clark, an AccuWeather meteorologist based in Rancho Cucamonga.
Expect lots of clouds, with temperatures in the mid-60s. Maybe a squirt of rain Sunday night across a Southland desperate for moisture, forecasters said.
But not the so-called "pineapple express" of tropical storms streaming in from the Pacific expected to dump buckets of rain from San Francisco to Portland, Oregon. Or to hurl up to six feet of snow across the vastly depleted Sierra Nevada and Cascades, with blinding blizzards expected to rip through eastern Washington.
While up to 10 inches of rain may flood the North Coast, diminishing the effects of the statewide drought, the atmospheric river of moisture will offer no dividend for bone-dry Southern California, forecasters said.
"It's going to be a brush-by," said Carol Smith, a meteorologist at the National Weather Service in Oxnard. "It's sad. I wish we had more.
"We're so dry that the last two (rain) events have been 1/10th to a quarter inch. It helps. But it's a drop in the bucket compared to what we usually have."
Since July 1, downtown Los Angeles has received 1.2 inches of rain — more than 7 inches shy of normal, with last year being the driest on record. Then during its rainiest season, the city suffered 44 days without a drop until two days of sprinkles brought .14 inch last Sunday and .09 inch Thursday.
Across the region, communities seemed to count the drops that added up to mere hundredths of an inch. Torrance got .09, Van Nuys got .16, and Long Beach got .17 inches. Inland cities fared no better, with San Bernardino getting .13 inch.
"I was hoping for some drought relief," said Bill Patzert, climatologist for the Jet Propulsion Laboratory in La Canada Flintridge, "but those ministorms didn't even fill my bird bath."
Residents said they'd take any heavenly baptism in a region where seven of the past 10 years have seen less than normal rainfall. "We had a little rain, that was good," said Barbara Rigg, while making sandwiches, for a customer Friday at German Cold Cuts in Woodland Hills. "We'll take whatever."
Last week, Gov. Jerry Brown declared an official drought had threatened the world's 10th largest economy.
Across California, cities prepared to conserve precious resources, farmers and ranchers hoped to save a $45-billion agriculture industry and residents girded against the threat of wildfires.
The Northern California storm may dampen farms and ranches and reduce the wildfire threat. It may even boost ski resorts, and lock up nearly 6 inches of water inside snowpack.
But according to one Accuweather measure, it could take from 18 to 36 inches of rain to fall in one month along the West Coast to alleviate the current drought. By another measure, it would take up to 18 inches to fall within the next three months — or two to nearly three times above normal — to stymie the water crisis.
It would require what meteorologists dub "Ark storms" of biblical proportion that could cause Noah-like floods across the region.
"That's not going to happen," said Clark, who has four decades of weather watching. "The chances of us getting one with enough rain to eliminate the drought is infinitesimally small."
Even if large storms would suddenly batter the Southland, others said, they would not likely alleviate the drought, which has been building for a decade while slowly depleting reservoirs. With large storms come heavy runoffs into local rivers, which channel their precious bounty out to sea.
In December 2010, a pineapple express-driven storm dumped 10 inches on Los Angeles in 10 days – and most of it ended up in the Los Angeles River, Patzert said.
"It'll all end up in the ocean," Patzert said. "The big storms, they do a lot of damage, but they're not drought busters.
"What we need is slow and steady (rainfall) … because getting out of the drought is not a sprint. It's a marathon."


text:
In a press conference today in Tacoma, Wash., Elyse Umemoto said the photos posted earlier today on TMZ were "stolen electronically" by someone she trusted.
Miss Bad Apple claims the photos were shot over two years ago, while she was Miss Seattle. The Executive Director of the pageant tells us the matter has been referred to authorities for investigation, although when we talked to local cops, they had no idea what we were talking about.
Umemoto -- who gets to keep her crown -- will be on hand this Saturday night to crown her successor.


text:
MIDDLEBURY — Town officials want to know if the Middlebury Fire Department would be willing to receive $72,000 less into its equipment savings account next year as a way of relieving stress on a tight 2013-14 municipal budget.
It was around two decades ago that Middlebury began the process of earmarking two cents on its tax rate each year to raise money for major fire equipment purchases in the future. It is a policy that has allowed Middlebury to forgo floating bond issues for the purchase of fire apparatus such as pumpers and ladder trucks.


text:
Summer is coming to an end, but that's okay because I got an ice cream maker! My wonderful co-worker, Charlotte, gave me this amazing Cuisinart Ice-20 machine. Oh the possibilities of ice cream flavors are endless! And have I mentioned how much I love ice cream! Of course being impatient, I've made a few rookie mistakes like not having pureed my fruit thoroughly, resulting in icy bits of fruit. And for best results, the canister should be completely frozen.
So excited to get started, I purchased the book Jeni's Splendid Ice Creams at Home. I made two desserts from her book and both came out excellent! This mint ice cream has a very strong, fresh herb flavor. It may seem a bit weird being that has an earthy and even grassy taste. However, I find the ice cream to be quite refreshing for the summer. It is best to mix in small bits of chocolate to balance the strong mint. I do really enjoy this mint ice cream and will make it again!
Backyard Mint Ice Cream
Recipe from Jeni's Splendid Ice Creams at Home
2 cups whole milk
1 Tb + 1 tsp cornstarch
3 Tb cream cheese, soften
1/8 tsp fine sea salt
1¼ cups heavy cream
2/3 cup sugar
2 Tb light corn syrup
A large handful of fresh mint
2 trays of ice cubes
Optional: chocolate bits
1. Mix 2 Tb milk with cornstarch to make a slurry.
2. Whisk cream cheese and salt in medium bowl until smooth.
3. In a saucepan, combine the remaining milk, cream, sugar, corn syrup and bring to a rolling boil over med-high heat. Boil for 4 more minutes.
4. Remove from heat and gradually whisk in slurry. Bring mixture back to boil and stir until slightly thicken, about 1 minute. Remove from heat.
5. Gradually whisk the hot mixture into the cream cheese until smooth.
6. Roughly tear the mint leaves into small pieces and add to the mixture.
7. Fill a large bowl with ice and water.
8. Pour the ice cream mixture into a 1-gallon Ziploc freezer bag and submerge into the ice bath. Let stand until cold, about 30 minutes. Refrigerate to steep for 4 to 12 hours.
9. Strain out the mint leaves.
10. Pour ice cream base into the frozen canister and spin until thick and creamy, about 25 minutes. Add chocolate into the mix during the last 5 minutes.
11. Pack ice cream into storage container and put in freezer until firm. Makes about 1 quart.


text:
'The Voice' Season 3 Winner: Who Should Have Won? – Readers Poll
Two members of Team Blake were left standing to find out who would be crowned winner of the third season of 'The Voice' on Tuesday night (Dec. 18). Cassadee Pope and Terry McDermott joined Nicholas David as finalists. Did the right person win?
It was hard not the cheer for David as the tall, hairy vocalist clearly wanted it as bad as he wanted his next breath. But both Pope and McDermott were the most impressive week after week. Pope's encore performance of Miranda Lambert's 'Over You' may have clinched it for her on Monday night. Of course, credit goes to coach Blake Shelton for steering her towards country songs.
Who did you vote for? Who should have been crowned 'The Voice' Season 3 winner? Vote below, then expand on your choice in the comments section.