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[Jan. 1st, 2010|09:38 am] |
You know the method of making cakes that involves a can of soda and a box of cake mix?
I did that last night with champagne (a pink champagne that I found for $7). Basically, mix 1 box cake mix (I used yellow) with 1 1/2 cups champagne. Stir and bake. I made approximately 20 cupcakes, frosted with a simple icing of icing sugar/butter/champagne. The frosting flavor is pretty delicate, but the flavor comes through in the cake. |
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| brought to you by your good friend math |
[Dec. 31st, 2009|11:32 pm] |
| [ | mood |
| | morose | ] | Remember about 10 years ago when there was all the hoopla about 2000 being the start of the new millennium? Well anyone with half a brain was aware that, as there was no year 0 C.E., the new millennium did not technically start until the year 2001. I've been hearing some malarkey about the new decade starting up at midnight tonight. Just like the aforementioned cycle, ten years will not have fully passed until Dec. 31st, 2010. 2011 is the beginning of the next decade. Don't let anyone else tell you otherwise.
Not to mention it's just a goddamn number, and nothing that warrants excessive excitement.
All the digits on my watch will change shortly. Hopefully I'll remember to observe this. |
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| Creamed Chipped Beef on Toast |
[Dec. 31st, 2009|06:25 pm] |
No pictures - nommed it too fast.
Had to use up a half package of dried beef from a cheese ball I made on xmas eve, so I whipped up a batch of creamed chipped beef - sliced the beef into small pieces and added to a simple white sauce with a pinch of cayenne and nutmeg. Served over toast - my 5 year old food snob turned her nose up, but my 19 mo old ate two helpings. That's my girl :D |
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| Arby's Fast Food Review: The Gyro and Patty Melt |
[Dec. 31st, 2009|02:36 pm] |
| [ | mood |
| | full | ] | Relatively new on the fast food menu at Arby's here in St Louis, Mo, at least are the Roast Beef Gyro and Roast Beef Patty melt.
Arby's sent out coupons that I nearly threw away, until I noticed that they were $1 coupons! For $1, try the Gyro. Another $1 coupon for the Patty Melt and another $1 each coupon for the RoastBurger and Chicken Ranch something or other.
I opted to try the Gyro and the Patty Melt. (Lunch for $2.13, can't beat that!)

Arby's describes the sandwich as: Our gyro features Arby’s beef – roasted to perfection and freshly sliced on a warm, soft flatbread, topped with fresh lettuce, tomato, red onions, and traditional gyro sauce.
I found it to be nice and full of roast beefy goodness, and that the red onion, tomato and lettuce very nicely complimented the beef. The gyro sauce was also that nice cucumbery flavor that you expect from a Greek gyro sauce. And the flatbread held the components of the sandwich together very adequately. I have to say I was actually surprised at how good this sandwich was, as I don't hold the highest expectations for Arby's typically!

Next up, I tried the Patty Melt. The cardboard box it comes in promises cheesy crunchy goodness, but I didn't quite find as much of that as I would have hoped, unfortunately! Arby's describes this sandwich as: Our patty melt is made with oven-roasted, freshly sliced beef, piled high on toasted sourdough bread. Melted Swiss cheese and creamy Thousand Island dressing add a tantalizing finish to a great sandwich.
I didn't know what kind of bread the toasted "bun" was supposed to be, and by taste I would have guessed rye or a sourdough rye. Perhaps the Thousand Island dressing threw my taste buds off, but I don't really think so. They also added chopped red onions to this sandwich, which isn't on the corporate description. I could have done without them, frankly, but they weren't too awful. I think I'd just had enough red onion since I'd just eaten the gyro! The swiss cheese, however, seemed to be all on the last half of the sandwich, perhaps it's not a full slice or I didn't get a full slice on my sandwich.
Either way, there you have it--one person's take on trying the newer sandwiches at Arby's on $1 coupons. The Arby's here in St Louis metro let you pair up multiple coupons together, so you can bring home the trashy, filling, and cheap eats from Arby's very easily!
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| New Year's Geekery! |
[Dec. 31st, 2009|03:31 pm] |
From SyFy.com - Sci Fi Wire Doctor Who: The End of Time, Part Two (BBC America), Saturday at 8:30 p.m.David Tennant's final appearance as the Doctor! As the Doctor (Tennant) faces the final moments of his life, you'd think he could finally get some rest. But no ... there are deadly prophecies, sacrifices and the Master's evil plan to stop. Meanwhile, those blasted drums grow louder, as an ancient trap closes round the Earth with only the Doctor and Wilfred (Bernard Cribbins) left to fight alone. Series creator Russell T. Davies wrote the David Tennant finale, which we're guessing ends with the 10th doctor's regeneration into Matt Smith, who plays Doctor #11. Guest stars include John Simm as the Master, Catherine Tate, Timothy Dalton, David Harewood and June Whitfield. Euros Lyn directs.
And if you want even more Tennant, there's the BBC America special Doctor Who: The David Tennant Special, which airs just before The End of Time.
Doctor Who New Year Two Day Marathon (BBC America). Begins Friday, 12 a.m. A whole lot of WhoIf you're not feeling Twilight Zone-ish, BBC America is offering a mega Doctor Who marathon, featuring David Tennant as the 10th Doctor. First up is "The Christmas Invasion," where ninth Doctor Christopher Eccleston regenerates into Tennant. Then it's two full days of Tennant eps (with a little Demons thrown in on Saturday). Look on the bright side. After this week you never have to hear about it being Tennant's last original anything, at least for a really long time.
Demons (BBC America) Saturday, 10 p.m.New Series! Just call him Luke the Vampire Slayer! Seemingly average teen Luke Rutherford (Christian Cooke) discovers he's actually the great-great-grandson of Abraham Van Helsing (you know, the Van Helsing who took down Dracula). Well, his dead dad's best bud, Rupert (Philip Glenister), pops by to tell Luke that the force is with him and that destiny is a bitch. Apparently Luke has to go into the family business, killing inhumans and freaks (aka demons), and still get good grades in school. Talk about life sucking. Luckily, a blind concert pianist named Mina Harker (Zoe Tapper) is around to counsel Luke on humanity's demon problem, along with a spooky priest named Father Simeon (Richard Wilson).
Luke quickly discovers he's up against a bunch of nasties including a Type 12 vamp with Van Helsing issues named Gladiolus Thrip (Mackenzie Crook), a cockroach-munching Type 5 called Redlip (Martin Hancock), a child-snatching demon in angel's clothing named Gilgamel (Rich English) and the half-man/half-rat Mr. Tibbs (Kevin McNally). Since this is a BBC series, there are only six episodes in the first season. Beginning Jan. 9, Demons airs on Saturdays at 9 p.m.
Twilight Zone Marathons (Syfy) Thursday, Dec. 31 at 8 a.m. and all day Friday, Jan. 1New Year's Eve and New Year's Day marathons! It's time for two full days of Rod Serling with Syfy's annual Twilight Zone marathon. This year the focus is on "Twist Endings," featuring uncut episodes and special interstitials (which means something cool in between the commercials).
TV Squad.com Has a great article on the past regenerations by the Doctor of Who - Doctor Who's upcoming regeneration
BBC News has an article up regarding the upcoming changeover on Doctor Who (which is being broadcast on the BBC on New Year's Day and BBC America the day after), in which David Tennant will (presumably) regenerate into Matt Smith. They ask a few of the participating actors (minus the regeneratees, of course) as well as Russell T. Davies about the importance of regeneration in the series.
Regeneration is a brilliant idea, enabling the program to continue while changing the lead actor. This in turn allowed the program to continue on the air for 26 years before being put on hiatus, then restart a couple of times in the same universe without much fuss. The beautiful thing is that it's built into the character that every actor who plays him can be completely different. It doesn't suffer the limitations of, say, the different actors playing James Bond. |
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| Clarion online MSLS program? |
[Dec. 30th, 2009|09:15 pm] |
I recently moved states kind of suddenly, (life, you know) and had to stop the grad program I'd started. In looking for a new one I was looking at online programs so that moving again wouldn't mean switching schools. Clarion in Pennsylvania caught my eye for its reasonable price and for having programs focusing on specific disciplines within library science (I want to do children's/YA). I was just wondering if anyone knows anything about the school and program? It looks like the online program is new within the last couple of years but the library science department has been around for awhile. The online program seems to fill up fast but it's also a very small school, entry for this spring has been full since last spring. Any info would be great. Thanks! |
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| The DJ Code -- another must read |
[Dec. 30th, 2009|07:32 pm] |
............ - Never undercut the competition! As bad as you want to play, the pay scale has been set for a reason, and it took a lot of time and work to get the pay scale to where its at. By undercutting the competition, in a way, you are negating what previous djs had worked so hard to achieve. At the same time, it’s also putting the thought into Club Owner’s heads that anyone can do this and that it’s ok to play for peanuts. It’s not. If the place that you want to play at is booked already, simply leave your demo with the appropriate person and keep searching. We are all in this together, DJ’ing is a culture!....
- DON’T BITE! No one likes a biter, find your style and build on it. Of course you will have your favorite djs and they will inspire you, but in order to keep this art-form progressing, you should always try and be original.....
- Like what you are playing! If you don’t like what you are playing, then it’s going to show. Figure out exactly what you want to do in this scene. If you want to be a club dj, know that you are going to be playing music that you may not necessarily like. If you can’t deal with it, then maybe you should look into being a mixtape dj or radio dj.....
- MIX MIX MIX MIX! Stop and drop only does not make you a dj…it makes you a human jukebox. Get your mixes tight and know the fundamentals behind it.....
- Don’t get stuck in 1 genre! When you play one style of music, it limits you to where you can play. The more styles of music you can play, the wider the audience and the more potential gigs you can get.....
- This is a job treat it like one. Yes djing should be fun, but it’s also a job. When you step into that booth, make sure you are focused and ready. Being lazy at your day job will get you fired, and being lazy in the club will also get you fired.....
- Be patient. You have to learn to walk before you can run, and you definitely have to know how to rock a crowd before you can really start playing out. The best approach is to do house parties, cook-outs, birthday parties, etc for free. Consider this training for the real thing. The club scene can be very hard to work in and without the proper training you can crash and burn. Make sure you are confident in your playing style, your mixing skills and your library before you start booking those bigger club gigs.....
- Be Humble. Just because you rocked one party doesn’t mean you are “NYC’s Finest”. It is difficult to work with a cocky dj, if your good, your skills will speak for themselves. ....
- Know your DJ History! Learn about the djs that have paved the way for you to now step in and become part of the culture. Whether you are trying to be a battle dj, club dj or mixtape dj…RESPECT THE ARCHITECTS! Watch videos, listen to radio shows and mixtapes, and go to their club nights and events. By doing this, you are not only expanding your knowledge, but you are also supporting the art-form.....
- I have 2 ipods and a computer…I’m ready for the club! No your not. If you try and step into a club/lounge with 2 ipods or just a computer, you are contributing to the disrespect of this art-form and culture. It is definitely a starting point, but get yourself some Turntables or CDJs and learn it the right way!....
- I’m trendy and have an insane fashion sense…I can be a dj! Fortunately, you can’t. Again, djing is an art-form and requires time and patience to learn it correctly. Just because you look good behind those decks, doesn’t mean you know how to rock a party. Of course you want to look presentable at your event, but your trendy outfit doesn’t improve your skill level.....
- Taking Requests. This is something that all djs encounter on any given night. Be respectful to the person that is asking for the request and if it’s something you can fit into your set and it makes sense, by all means play it. But if it’s random, then be nice about it and tell them it doesn’t fit. Remember, you have to play all night, so be wise in your song selections at certain times. Requests are entirely up to the dj, remember, you DON’T HAVE to play it.....
- Play hard or don’t play at all! Whether you have 5, 50, 500 or 5000…always play at a top performance level. You never know who is in the crowd and it would be a shame if you lost an opportunity because you slacked on your playing level. ....
- Always be prepared. Before you head out to your gig, double check that you have everything you need to get through your night. Make a list if you have to. Bring back up needles, Serato Records, slip mats, etc. If you are a Serato user, it’s always a good idea to bring a bag of records for those “unexpected” situations (computer crash, drink spilled on computer, etc).....
- Don’t party too hard! It’s ok to have fun while you are playing, but if you start having too much fun, and we all know what that means, it can result in you losing your crowd and potentially your gig. Be responsible. Always.....
- If you can, record your set. This is a great way to monitor your progression and to also have a live demo of your performance. You can always go back and review highlights of your set and things to possibly improve on.....
- Make good with the club staff. You have to remember, you are not only playing for the club patrons, but you are also playing for bartenders, cocktail waitresses, bouncers, etc. Try to get in good with them and sometimes play their requests (if it fits obviously). If you make good with the staff, that just secures your spot even more at the club.....
- Don’t scratch people to death! Be tasteful with your scratching. Never scratch over a verse or scratch too much in general. The club is not the place for it. People want to dance…they don’t want to hear you practice!....
- Keep it moving! If it’s a classic club banger, let it rock! But if you notice your energy level drops, keep it moving! Usually you want to play 2 verses and then switch to your next song (power set) to keep it interesting and the energy level high. ....
- GET “THE DJ” BY KRS-ONE AND DJ REVOLUTION! No need to explain, the song speaks for itself!....
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| TEIT Report: McDonald's Chicken Parmigiana Snack Wrap |
[Dec. 30th, 2009|07:30 pm] |
| [ | mood |
| | impressed | ] | So yesterday I told you guys about a new item at the McDonalds' restaurants across Canada, the Chicken Parmigiana Wrap. I also promised you guys I'd check it out and report back my findings. I've come to fulfill that promise. ^^
Unfortunately, as I grabbed it while waiting for the bus, I have no pictures. But since it was only 20 minutes ago, it's still fresh in my mind, so I hope my inner artist can describe it properly.
( My Opinion ) |
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| Languages for Special Purposes; Translating |
[Dec. 30th, 2009|02:58 pm] |
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http://ddc.typepad.com/025431/2009/12/languages-for-special-purposes-translating.html As noted in a
recent post, over the past several months we have incorporated a number of
changes in Table 4 Subdivisions of Individual Languages and Language Families and
400 Language into WebDewey. This entry
addresses changes announced in the December 2009 New and Changed Entries (in
Word and PDF formats), which focused on new entries for languages for
special purposes, translating materials on specific subjects, translating
literature (belles-lettres) and rhetoric, translating literature from a
specific language, and translating specific forms of literature. The changes are given there only in the
context of Table 4; parallel changes have also been made in the 400s, as can be
seen in WebDewey and Abridged WebDewey.
Table 4 begins
with a set of modifications to standard subdivisions, including (1) several
extensions to the meaning of standard subdivisions (e.g., the addition of an
including note for language acquisition, speech errors, a class-here
note for psycholinguistics, and a scatter class-elsewhere note at –019 Psychological principles), (2) the
displacement of several standard subdivision concepts to other notation
(e.g., the do-not-use note at –03
Encyclopedias and concordances pertaining to dictionaries of standard form
of language, which are to be classed instead in –3 Dictionaries of the standard form of the language), and (3) a
few expansions (e.g., –042
Bilingualism, which does not occur in Table 1). Most of the expansions involve adding further
subdivisions under –014 Language and
communication. The newest of these
is –0147 Languages for special purposes
(also known as LSPs or sublanguages). LSPs
are languages that are used in specific contexts, often restricted by subject
matter and/or level of expertise (e.g., the languages of medicine, law,
advertising, broadcasting).
Note that there
is no expansion for LSPs in Table 1 Standard Subdivisions. Therefore, a work like The language of medicine, its evolution, structure, and dynamics should continue to be classed in 610.14
Language of medicine (built with 61[0] Medicine plus notation 014
Language and communication from Table 1; the placeholder zero at the end of
610 is dropped before the standard subdivision is added), not in 610.147, since Table 4 notation is not used in this
context. Nor is there a need for an equivalent
expansion here: the class number 610.14
already adequately expresses the concept “language of medicine.” The use of T4—0147 is restricted to contexts
where the base notation represents a language or family of languages and a note
specifically authorizing addition of notation from Table 4 or specifically
authorizing use of notation from Table 1 “as modified under” Table 4 exists. An example is Fachsprachen in der Romania. Fachsprachen is the German term for languages for special purposes, while in linguistics, der Romania refers to areas in which
Romance languages are spoken (incidentally, because der Romania has a special meaning in the field of linguistics, this
expression belongs to an LSP). The appropriate
number for this work is 440.0147
Languages for special purposes of Romance languages (built with 44[0]
Romance languages plus 0 (standard subdivisions for Romance languages use two zeros, while standard subdivisions for French use one) plus notation 0147
Languages for special purposes from Table 4 ; the placeholder zero at the
end of 440 is dropped before the expanded standard subdivision is added). The use of notation 0147 from Table 4 is authorized by the note at 440.01–440.03 Standard subdivisions of Romance languages: “Notation from Table 1 as modified under T4—01–T4—03 in Table 4,
e.g., semantics of Romance languages 440.0143.”
Notation T4—0147 is not expected to be used nearly as often as 401.47, its counterpart in the modified
standard subdivisions at 401–409; 401.47
would be used for LSPs generally.
Examples of works that should be classed in 401.47 Languages for special purposes include Sublanguage: Studies of language in restricted semantic domains and Fachsprachen:
ein internationales Handbuch zur Fachsprachenforschung und
Terminologiewissenschaft = Languages for special purposes: An international
handbook of special-language and terminology research.
In the past
there has been only a single class in Table 4 and a single class in the 400s
(T4—802 / 418.02) for translating and interpreting. New entries have now been added for T4—803 / 418.03 Translating materials on
specific subjects, T4—804 / 418.04 Translating literature (belles-lettres) and
rhetoric, T4—80402–T4—80409 Translating literature from a specific language
(there is no 418 equivalent, since a specific language is involved), and T4—8041–T4—8048 / 418.041–418.048
Translating specific forms of literature.
With regard to Table 4, all of these numbers follow a common pattern of
using the base number for the language being translated into if the work is
about translating into a specific language, the base number for the language
being translated from if the work is about translating from a specific language
into many languages, or the base number for the language coming later in
420–490 if the work is about translating in both directions between two
languages. (If the work is about
translating from many languages into many languages, then a subdivision under
418 would be the appropriate choice.)
In the case of
T4—802, notation from Table 6 Languages is added to express the language being
translated from if the work is about translating from one language into one
language or to express the language coming earlier in 420–490 if the work is
about translating in both directions between two languages. Table 6 notation is not added if the work is
about translating from one language into many languages or from many languages
into many languages; under no circumstances would Table 6 notation be added to
418.02. For example, the work Structure of Meaning (SOM): Towards a
three-dimensional perspective on translating between Chinese and English
should be classed in 495.180221
Translating between Chinese and English (built with 495.1 Chinese [between English and Chinese, the language appearing
later in 420–490] plus notation 802
Translating to and from other languages from Table 4 plus notation 21 English from Table 6).
In the case of
T4—803 / 418.03, three-digit notation from 001–999 is added to express the
subject. However, fewer than three
digits would be added if the number includes a zero that is not in initial
position (the instruction reads “but stop before any zero that follows a
non-zero number”). These restrictions (three-digit
notation; zeros only in initial position) are necessary to ensure that a
specific number will not have more than one interpretation, since it is
possible to add further notation from Table 6 to express the language
translated from. By way of example, the work Translation and medicine would be classed in 418.0361 Translating medical materials
(built with 418.03 Translating materials on specific subjects
plus 61 from 610 Medicine).
In the case of
T4—80402–T4—80409, notation from Table 6 is added to express the specific
language the literature is translated from.
For example, the work The Chinese
translation of Russian literature: three studies should be classed in 495.180409171 Translating Russian
literature into Chinese (built with 495.1
Chinese [the literature translated into] plus notation 8040 Translating literature from a specific language from Table 4
plus notation 9171 Russian from
Table 6).
In the case of
T4—8041–T4—8048 / 418.041–418.048, one-digit notation from Table 3B is added to
express the literary form being translated.
For example, the work Advanced
translation from Russian prose, which concerns translating Russian
prose into English, should be classed in 428.04809171
Translating miscellaneous writings from Russian to English (built with 42[0] English plus notation 804 Translating specific forms of literature from Table 4 plus notation 8 Miscellaneous writings, representing notation 808 Prose literature from
Table 3B, plus 0, following the instruction at T4—8041–T4—8048, plus notation 9171 Russian from Table 6). |
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