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Want Tori to Coach You Too? Tori's Health Step by Step coming soon. Win free copies, prizes, access to exclusive behind-the-scenes, free access to Coach Tori, and more. and receive a copy of Tori's Weekly Challenges. We'll also notify you of when Tori's Program becomes available. I've been asked, even criticized, about adding a focus on nutrition to Desert. There's a reason why. I had poor nutritional examples growing up. Being confused on the issue of nutrition cost me a lot. I remember yo-yo'ing a lot. The only time I even came close to being my desired weight was when I did high-intensity workouts daily. At one point, I was exercised about 6 hours a day. I was in multiple dance classes and a karate class, as well as another karate club that met for two hours three days a week. I also rode my bike to campus, and even added a one hour workout when I got home. I was still thirty pounds overweight. I can attest to the coined phrase "You cannot exercise away a bad diet." It was hard to consider diet for me, because I had a genetic heritage that leaned on the heavy side. I felt trapped, having a low metabolism. It seemed if I even looked at what others ate, I was the one who gained weight. Every once in a while, someone would mention diet to me, but it did little to sway me. Why? Bad examples. Brad Pitt in Ocean's Eleven. Every scene he's in, he's eating something unhealthy. In Hollywood and at school, lots of "lean" people were eating the things I loved: pizza, ice cream, hamburgers, fries, bread, cake, cookies, etc. I also knew several "weighed down" people who were eating a healthy diet. It wasn't until I was in college, having just finished my laps in swimming plus a jog, that I stopped by to visit a friend--a slim friend who never seemed hungry. It seemed so unfair as I watched her prepare herself a salad and two small slices of pizza. I knew in that moment that if I ate like her, I would look like her. I also knew that if I prepared a small salad and two small slices of pizza, that by the end of the meal I would end up not eating just one personal pizza, but two or three. I started to believe in nutrition, but I didn't have faith that someone like me could do it. I was right, and I was wrong . . .

Q: Creating a Pivot table in C# In my c# program I have someone input production for the whole day and I calculate machine usage (MU) like so: Date | Part Number | Mold Num | Machine Num | MU 2/12/2016 | 1185-5B8 | 6580 | 12 | .428 2/12/2016 | 2249300 | 7797 | 36 | .271 2/12/2016 | 146865 | 5096789 | 12 | .260 2/16/2016 | 123456 | 7787 | 56 | .354 2/16/2016 | 123456 | 787 | 54 | .45 2/16/2016 | 123456 | 777 | 56 | .799 2/16/2016 | 123456 | 87 | 54 | .611 All of this data is in my SQL server and what I want to do is to make something like a pivot table and it takes all similar dates/Mold Numbers/Machine Numbers and makes an average the MU and display it in any way that the user wants. Example: Date | MU 2/12/2016 | 32.0% 2/16/2016 | 55.4% or Machine Num. | MU 12 | 34.4% 36 | 27.1% 54 | 53.0% 56 | 57.6% etc. Basically I want it to be variable and to show whatever the person that is looking at it needs. I want to keep it in my c# program but I can use LINQ to SQL. Please keep in mind that I am very new to c# and LINQ to SQL. I did try to do this but it was not exactly what I wanted to do. I also could not figure out how I was going to display it on the windows form nor how to change what was in each column. A: It seems you need to build pivot table with row dimension (Date, Machine Num), without column dimension and with average by MU. You can easily do that with help of NReco PivotData library: var pivotData = new PivotData( new string[] {"Date","Machine Num"}, new AverageAggregatorFactory("MU"), new DataTableReader(t) ); // just a sample - you can use DB data reader var pivotTable = new PivotTable( new []{"Date"}, // row dimension(s) new [0], // column dimension(s) pivotData ); // use pivotTable.RowKeys and indexer for accessing pivot table values PivotData library can be used for free (I'm an author), and you can download examples package on the component's page. Also you may check advanced PivotData Toolkit components (for rendering pivot table to HTML/CSV/Excel/PDF, aggregating data on DB level with GROUP BY and many others), but they are not free. A: According to your description, what you want isn't a pivot table, as already mentioned by @juharr. For sqlite, this sould be accomplished with the following statement. (I assume the table name is tmp, and what you want is the sum of MU with each MachineNUm, naming it with SMU). SELECT MachineNum,SUM(MU) AS SMU From tmp GROUP BY MachineNum ORDER BY MachineNum; Hope it helps.

A news release detailing InterVarsity's reaction to today's U.S. Supreme Court ruling in the case of Christian Legal Society v. Martinez, and its anticipated impact on campus ministry will be posted here soon. At issue, whether a public university law school may deny school funding and other benefits to a religious student organization because the group requires its officers and voting members to agree with its core religious viewpoints. By a 5-4 decision, the justices denied the appeal of the Christian Legal Society and remanded the case back to the Ninth Circuit. This is an important ruling because InterVarsity partners with Christian Legal Society in campus ministry on 20 law school campuses across the U.S. In addition, InterVarsity has staff on 560 U.S. campuses, more than any other Christian ministry. For background on this story, see Campus Ministry Threatened and Campus Faith Freedom Alert on our website.

I recently had the opportunity to attend the 2016 Chile Salsa Bachata Festival in Santiago, and had such an amazing time watching the performers throw down on stage. Over the past few months, it's truly been such a pleasure witnessing the artistry of the performers in South America, and seeing how they interpret the music that we all love. *Head on over to my Youtube channel (Mapes24) if you also want to see some workshop and social dancing videos from the festival!

The quality of learning is the most important aspect of the Elland Academy whether in terms of modifying inappropriate behaviour(s) and/or developing in terms of academic progression, and the quality of teaching is one of the most important factors contributing to this. To promote the organisation of appropriate learning situations which will bring about maximum learner involvement. The policies, procedures and plans for the curriculum, learning (objectives, resources, processes, organisation of learning situations) and assessment should complement each other in order to provide a cohesive experience for learners and teachers.

He Walked with a Zombie Geoffrey O'Brien March 9, 2006 issue The Val Lewton Horror Collection 9 films by Val Lewton DVD box set, $59.98 Icons of Grief: Val Lewton's Home Front Pictures by Alexander Nemerov University of California Press, 213 pp., $60.00; $24.95 (paper) The creative career of Val Lewton—the part with a continuing afterlife—lasted just four years, from the spring of 1942, when pre-production work began on his film Cat People, until April 1946, when Bedlam, the last of the eleven films he produced for RKO, was released. Nine of those films—all but the studio-mangled melodrama Youth Runs Wild and the underrated Maupassant adaptation Mademoiselle Fifi—have now been released on DVD as "The Val Lewton Horror Collection," providing a welcome opportunity for reimmersion in a body of work whose power to fascinate seems to have grown over time. Probably unavoidably, the films are being marketed with the same misleading poster art and the promises of "chillers," "shockers," and "tales of terror" that inveigled their original audiences into anticipating something quite different from what they got. What they actually did get remains mysterious enough to keep these movies from becoming comfortably campy artifacts of another era. Like flowers preternaturally slow to unfold, they seem to be still in the process of revealing their final form: odd as it may be that such miraculous freshness should be suggested by movies whose themes are inescapably decay, morbid regret, the temptation to welcome death. Even when we know them well they continue to instill, as in John Ashbery's description of The Seventh Victim, "the feeling that the ground under our feet is unstable." What Lewton's movies are actually about, in the most literal sense, is always open to question; one can watch I Walked with a Zombie or The Seventh Victim or Isle of the Dead many times without being able to give a coherent summary of their plots. On its release, Bosley Crowther in The New York Times thought that The Seventh Victim "might make more sense if it was run backward." (Lewton's most narratively coherent picture, The Body Snatcher, adapted from Robert Louis Stevenson's story, though admirable in many ways, has less of his distinctive poetry than the others.) In American film, the only predecessors that come to mind for such destabilizing effects are Edgar Ulmer's formally rigorous Gothic delirium The Black Cat (1934) and Joseph Cornell's Rose Hobart (1936), in which Cornell took the seventy-six-minute jungle picture East of Borneo (1932) and condensed and recombined its sequences into nineteen minutes of mesmeric suggestiveness, a dream vision of what remains of movies after their stories have gone. Alexander Nemerov's recent critical study of Lewton—Icons of Grief: Val Lewton's Home Front Pictures—demonstrates, with its lyrical, nearly trancelike dedication to defining the elusive essence of these films, the capacity of Lewton's work to draw its commentators ever deeper into the mood of dreamy morbidity that infuses Cat People and The Leopard Man and Isle of the Dead. Lewton is the Ancient Mariner of filmmakers: like the old sailor at the beginning of The Ghost Ship or the ominous calypso singer in I Walked with a Zombie, he hooks you with the beginning of a tale and leads you on through the bewildering paces of a journey whose significance (could it ever be determined) might hinge on fleeting, apparently random encounters with minor characters or with abrupt and inexplicable deviations from the main trail. His films might be described as mood pieces interrupted by discordant apparitions, but that would make them sound flimsier and vaguer than the vigorously graphic compositions that they are: not dreamy but, rather, truly dreamlike, which is to say hauntingly specific, brutally elliptical, wily in their resistance to easy explanation. Prior to his brief flowering, Lewton had been a dabbler in journalism, poetry, and pornography, a writer of pulp novels with titles like Where the Cobra Sings and The Cossack Sword, a publicist at MGM, and for eight doubtless grueling years a writer, story editor, and factotum for David Selznick; afterward, poor health and professional misfortune pretty much sidelined him before he died at forty-six in 1951. From what came before, it would have been impossible to predict the nature and the durability of the work he did at RKO, but the very disparateness of his early career offers some clues to the peculiar qualities of that work. Born as Vladimir Leventon in Yalta in 1904, he and his family had come to America five years later to rejoin his mother's younger sister, who as Alla Nazimova had become a Broadway star—the great exponent of Ibsen—and whose subsequent filmmaking career would clear a way for Lewton in the film business. Lewton's early literary productions veered from the aspirations of Old-World high culture to the imperatives of hard-boiled American brashness, from poems written under the pseudonym Toison d'Or to novels exploring tabloid crime cases (The Fateful Star Murder) and the misadventures of hard-luck girls drifting into prostitution (No Bed of Her Own). A certain neurotic flamboyance seems to have impressed people early on—"Two particular phobias of Lewton's youth," his biographer Edmund G. Bansak notes, "were his fear of cats and his extreme aversion to being touched"—but any artistic ambitions were rapidly subsumed by the demands of commercial work: he was, in his son's words, a kind of hack, but he enjoyed the challenge that came with turning hack work into something special…. There is a sort of pride in being a whore. He saw a certain honesty in being able to make a living.* Whatever mixture of whorish pride, dandyish rebellion, barely suppressed phobia, aesthetic yearning, and nostalgia for the lost world of his birthplace might swirl in Lewton's consciousness (his son described him as "a strange combination of gentleness and authoritarianism"), he had acquired through those eight years with Selznick as thorough a command of the practicalities of grand-scale filmmaking as anyone in Hollywood. He had been responsible, with the director Jacques Tourneur, for the memorable revolutionary scenes in the 1935 A Tale of Two Cities, and took credit for some of the most vivid details—"the harp, the parrot, and the ancestral portraits being taken out of town"—in the evacuation of Atlanta in Gone with the Wind. He had also apparently been pushed to his limits by that most obsessive of moguls: "You can't talk reason," he wrote of Selznick, "to a man who believes that he has made the greatest motion picture of all time, past, present, and future." There is a quality of happy accident to the inception of his career at RKO. Had it not been for the failure of Orson Welles's The Magnificent Ambersons—a debacle that led to executive upheaval at the studio—there might have been no occasion to celebrate Lewton. As it was, the timing was perfect; Lewton wanted to leave Selznick, and RKO's new chief, Charles Koerner, was looking for someone who could help move the studio in a more frankly commercial direction. Universal had just made a huge profit on The Wolf Man, and so Koerner invited Lewton to head up a unit dedicated to turning out short, low-budget horror films. Lewton liked to joke that somebody had said he wrote "horrible novels" and the studio had misconstrued it as "horror novels." An instinctive anti-authoritarian who had learned to play the game had now been entrusted with a good deal of authority, however tightly defined the limits within which it could be exercised. Lewton was still answerable to the studio executives he despised. His budgets were stringent, and the films had to be marketed to an audience assumed by RKO to crave only the most lurid stimulation, in an era whose horror movies were dominated by werewolves, apemen, brain transplants, and old dark houses of the creakiest kind. Even the titles were often imposed: Cat People and I Walked with a Zombie, the first two productions, began in fact as nothing but titles, with Lewton obliged to concoct stories to match. With Cat People Lewton demonstrated that he could give his bosses what they wanted—a movie brought in for under $135,000 which grossed some $4 million worldwide—while altogether subverting their notions of what a horror movie should be. Lewton's most obvious breakthrough was to avoid showing what the audience is supposed to be afraid of, on the grounds that what we don't see is more frightening than what we see—and also cheaper to depict in a movie. This approach has largely defined his popular reputation, as evidenced in the titles of Bansak's biography (Fearing the Dark) and the documentary that accompanies the DVD set (Shadows in the Dark), not to mention the episode of Vincente Minnelli's The Bad and the Beautiful (1952) where producer Kirk Douglas applies the same method to the production of Doom of the Cat Men. Jane Randolph's long walk through Central Park, stalked by an unseen panther, in which the only scary thing that happens in the end is a bus whooshing harmlessly to an abrupt halt, is the classic instance, the blueprint for what became an unavoidable cliché of horror films. In fact, whatever effect it may have had on audiences in 1942, Cat People now seems one of the least frightening of horror films. What it has instead is a sinuously strung out mood of barely suppressed eroticism and gnawing discontent that develops from the opening instants, when Kent Smith as Oliver Reed—the straightest of straight men, "a good plain Americano" in his own words—meets, at the Central Park zoo, the exotic Simone Simon, as the Serbian émigré artist Irena Dubrovna, who fears she may be one of the diabolical "cat people" driven underground in medieval times. They fall in love and get married, but the marriage cannot be consummated because of her fear that sex will unleash her destructive cat-nature; he sends her to a psychiatrist, and then finds consolation with a less troubled girlfriend. The mood created is not of horror so much as the disorientations of exile and the lingering sadness of sexual dissatisfaction. Everything is in the details: Irena turning on a light in a darkened room as she murmurs, "I like the dark, it's friendly"; her encounter with the unknown catlike woman who stares at her and greets her as a sister (an exchange of glances that lasts only a second but flavors the whole film); the beads of water clinging to Irena's naked back as she crouches forward in a tub with clawlike feet (an image of startling erotic potency for 1942 Hollywood); the giant black statue of the Egyptian god Anubis by which she stands on a museum stairway. Even the most genuinely frightening scene—in which Irena, in (unseen) panther form, stalks her rival, Kent Smith's girlfriend, in a deserted swimming pool—lingers in the mind more for the exhilarating patterns of the lights in the water, an explosion of pure abstraction brilliantly realized by the director, Jacques Tourneur, and cinematographer, Nicholas Musuraca. The huge success of Cat People enabled Lewton to keep making, under the guise of B-movie thrillers, movies that are often more like symbolist poems or obscure fetishistic rituals. They are not so much frightening as unnervingly strange and shot through with a palpable melancholy. They are almost too beautiful to be scary, except that the beauty that soothes is finally what most unsettles. As Tom Conway, playing a world-weary plantation owner in I Walked with a Zombie, remarks to the young nurse who is accompanying him to his island home, across a glistening sea evoked with gorgeously blatant cinematographic fakery: "That luminous water—it takes its gleam from millions of dead bodies, the glitter of putrescence. There's no beauty here, only death and decay." The intensely personal quality of these films is not belied by their being thoroughly collective enterprises. If in Hollywood tradition the producer is usually characterized as someone who interferes with other people's work, Lewton was the rare instance of a producer directing the best energies of his collaborators—among them the writers Donald Henderson Clarke and DeWitt Bodeen (abetted by Lewton himself, sometimes under the pseudonym Carlos Keith), the cinematographers Nicholas Musuraca and Robert De Grasse, the omnipresent composer Roy Webb—toward a seamlessly unified effect. Obsessive and controlling he could certainly be, but there is little suggestion that he curtailed or distorted the intentions of those he worked with. In Jacques Tourneur, who directed Cat People, I Walked with a Zombie, and The Leopard Man, he found the perfect partner, a film poet who imparted luminous intensity to every moment of those films; but in the other films, directed by Robert Wise and Mark Robson, both originally editors who had worked with Orson Welles, Lewton achieved results as expressive, if less unfailingly inspired. Quite aside from any question of expressive beauty, one could look at these films purely as instances of extraordinary skill marshaled under the most restrictive circumstances. Their brevity (they range in length from sixty-six to seventy-nine minutes), their slender budgets, their reliance on preexisting production materials (costumes and sets from Gone with the Wind, The Magnificent Ambersons, and The Bells of St. Mary's are worked in as needed), above all the requirement that the end product be acceptable in a precisely defined commercial niche (however puzzled horror audiences may have been to find that Curse of the Cat People was in fact a delicate fantasy of childhood loneliness): to have satisfied all those conditions and still produced work of such careful detail and defiant individuality was a rare feat. It is not hard to understand the impact produced on contemporary critics like Manny Farber ("They are about the only Hollywood movies in which the writing and direction try to keep in front of rather than behind the audience's intelligence") and James Agee ("I esteem them so highly because for all their unevenness their achievements are so consistently alive, limber, poetic, humane, so eager toward the possibilities of the screen, and so resolutely against the grain of all we have learned to expect from the big studios"). Part of what made Lewton's films stand out was their flaunting of cultural sophistication. The Seventh Victim opens with a quote from John Donne ("I run to Death, and Death meets me as fast,/And all my Pleasures are like Yesterday"); Isle of the Dead takes its title and its central image from Arnold Böcklin's painting; The Body Snatcher weaves in a traditional British ballad of the sort that might have been found on a Folkways release; Bedlam, set in eighteenth-century London, reenacts Hogarth's print of Bedlam in the "Rake's Progress" series; I Walked with a Zombie is serious in its effort to incorporate calypso music and Haitian ritual, not to mention the way it makes the legacy of slavery a central theme through the recurring visual motif of "Ti Misery," a slave-ship figurehead of Saint Sebastian. Fashion illustrators, psychoanalysts, and Greenwich Village poets are characteristic denizens of Lewton's world, while hints of homosexual interest (the cat woman who accosts Irena, the intellectual radio officer who flirts openly with the hero of The Ghost Ship) play around its edges. A world is acknowledged in which the exotic—rhumba music, ethnic restaurants, Elizabethan poetry, books on psychology—is normal, while the all-American straightness of the office workers in Cat People or the Christmas carolers in Curse of the Cat People has begun to seem strange. (The backlot New York of Cat People and The Seventh Victim carries a powerful charge of displaced ordinariness which became diffused when Lewton switched to costume pictures like The Body Snatcher and Bedlam.) Finally there is the dialogue, in its day often characterized as surprisingly literate, if not as ponderously literary, but just as important as the images in Lewton's cinematic scheme. Words are important here, and the self-conscious verbal flourishes are there to make sure their importance is not missed. In his essay on The Seventh Victim John Ashbery describes "our sense throughout the film that people are saying anything that comes into their heads," but the sort of thing that comes into their heads often seems a message from beyond the confines of the narrative, a prophetic tip that however solemn or obvious produces a jarring effect by the unexpectedness with which it is dropped in. "The poor don't cheat one another. We're all poor together." "Caged animals are unpredictable—they're like frustrated human beings." "Authority cannot be questioned." "The people who live only by the law are both wrong and cruel." "The horseman on the pale horse is pestilence; it follows the wars." "Amy, listen to me. Death isn't such a terrible thing." "—What was the matter with him?—I don't know, sir. He didn't want to die." Yet after we have remarked on their influence on subsequent filmmakers, their technical inventiveness, and the heterogeneity of an allusive range that gives them a collage-like quality, there remains the heart of Lewton's films to be accounted for: the emotional force that makes them a great deal more than the sum of their very diverting parts. In Icons of Grief, Alexander Nemerov links that force directly to the war which was raging at a distance when the films were made; the persistent sadness, the inescapable presence of death are an acknowledgment of a grief that the American public would rather avoid facing but to which Lewton, more Russian than American at heart, responds with imagery that reflects the religious icons of his cultural past, imagery that he smuggles into films which are marketed as quickie thrillers. Nemerov develops his thesis forcefully and with a rich complement of period detail ranging from Norman Rockwell magazine covers to photographs of dead soldiers in Life; he discerns historical necessity in every detail of the way things happen to fall out, so that, for example, the mad boy in Bedlam, painted gold for the amusement of courtiers and who dies of asphyxia in consequence, becomes an emblem of the bomb that had fallen on Hiroshima five days before the scene was shot: The close-up of the boy's face…is a post-Hiroshima editing choice that seems, all unknowing, to give some imaginative expression to radiation sickness, flash burns, and the bomb's other terrible effects. Whatever one makes of the farther reaches of this associative logic, Icons of Grief is a superbly original (and intricately researched) attempt to define the singularity of this work. Nemerov identifies two crucial and related aspects of Lewton's aesthetic: the unusual importance he allows minor characters and his penchant for figures of iconic immobility "standing statuesque and alone…." "This figure," he writes, would…arrest the flow of the film, suspend the plot, and for just those moments produce the melancholy and all-but-sculptural frozenness of a world that has stopped. To linger on the icons Nemerov singles out—Simone Simon as the ghostly Irena standing in the snow in Curse of the Cat People and singing an old French song to a troubled child; Skelton Knaggs as the mute Finnish sailor in The Ghost Ship, sharpening his knife aboard the ill-omened Altair as we hear his thoughts in voice-over ("I am cut off from other men, but in my own silence I can hear things they cannot hear"); Darby Jones as the catatonic zombie Carre-Four who guards with staring eyes the path to the houmfort in I Walked with a Zombie; and Glenn Vernon as Bedlam's Gilded Boy—is to confirm how elegantly he has moved into the core of Lewton's parallel cinematic world, finding out the privileged sacred recesses and translating the oracular pronouncements. He makes overt what one might have sensed all along, that Lewton's stories are contrived so as to provide a way out of the story, to be liberated beyond plot into a commemorative domain of stillness and silence, grounded in "a prerational, magical conception of the image." Writing of the somnambulistic gait of two key figures in I Walked with a Zombie, he describes how Lewton "tried to slow movement down enough so that, almost impossibly, it too might take on the quality of stillness." Throughout Nemerov captures with exactness the qualities of cadence and composition that draw one back to these movies, and underscores how deliberately those effects evade the spectator's expectations. He emphasizes finally the "minor mode" of Lewton's films, their deliberate offhandedness and underplaying of what might otherwise be grandiloquent moments. The penitential procession at the end of The Leopard Man—a march across the desert to commemorate a massacre of Indians by conquistadors—is powerful precisely because of the extreme concision of the images that record it, so far from big-scale Hollywood bombast. In Lewton's films the unexpected erupts, then vanishes as rapidly—vanishes from sight but not from memory. Here digressions are central, fleeting characters are dominant, and moments of stasis and silence are the heart of the action. Prolonged contemplation of this toy theater, with its artificial sets and lighting, its densely furnished frames in which small figures are crowded together in artful tableaux, its bric-a-brac of songs, statues, poetic mottoes, and obscure rituals, prompts questions about what audience this performance is really intended for. The odd blankness of many of the principal players, offset by the vividness and grotesquerie of characters who may emerge only for a moment, might be standing in for the spectator: it's as if the leading characters, those naive intruders, were themselves watching a film, and found themselves constantly bewildered by the narrative's gaps and rapid changes of focus. In this world you never know where to look or whom to trust. The cleaning woman on her hands and knees in the lobby of the office building in Cat People is somehow as important—the image's composition tells us so—as the panther-threatened leads, and when the police chief in The Leopard Man describes an otherwise insignificant shoeshine man as "a genius in his own line," the piece of dialogue dangles like an Ariadnean thread to lead out of the labyrinth, as if the whole world were hanging on a shoestring. More by Geoffrey O'Brien Keep Your Eye on the Kid Buster Keaton made his own kind of sense out of the perplexities of existence in ways baffling to those among whom he found himself. Schemes Gone Awry Richard Wilbur's translations of Molière, now in the Library of America, have a fluency that goes beyond meter and rhyme to encompass textures of speech and movements of thought. Verdi's Decentered Epic The six principal characters of Don Carlos grasp at separate ends, but nothing is finally to be attained. Geoffrey O'Brien's latest books are Where Did Poetry Come From and the poetry collection Who Goes There. (October 2022) Edmund G. Bansak, Fearing the Dark: The Val Lewton Career (McFarland, 1995), p. 24. ↩ Preston Sturges From 'The Lady Eve' Veronica Geng The Current Cinema The Young Pretender June 8, 1995 issue Brother, Can You Spare a Dime? Diane Johnson Stanley Kubrick (1928–1999) The Charms of Terror January 30, 1992 issue Hugh Eakin Marathon Madness

By now, fans may have heard Slaughterhouse's stadium anthem track and next single, "My Life," featuring Cee Lo Green on the hook. Well, XXL recently asked the four-man contingent, consisting of Crooked I, Joell Ortiz, Joe Budden and Royce Da 5'9" how the Cee Lo assist came out for the second single off their Shady Records debut LP, Welcome To: Our House, due June 12. "Yeah man, Cee Lo owed me a favor from way back," Joe Budden joked and laughed. Goodie Mob probably feels the same. Cee Lo, a permanent vocal coach on the NBC reality show, The Voice, reunited with Goodie Mob, his longtime crew, for a performance on the mainstream American show last month. That performance came months after he shared the worldwide Super Bowl XLVI halftime stage with Madonna in February. Of course, Cee Lo isn't the only big assist that Slaughterhouse is getting on Welcome to: Our House. Eminem has taken a very hands-on approach for this project, the group's second overall album, but Shady Records debut.

Q: Passing additional iteration-dependent inputs to ode45 I'm trying to solve differential equation using the ode45 function. Consider the following code, [t1,X2] = ode45(@(t,x)fun(t,x,C1,C2,C3,C4),t0,X01); where parameters C1, C2, C3 and C4 are column vectors, which should be available to the function that ode45 is referring to (fun.m). I want the values to change after every iteration, so for example, at the beginning the entry of C1 I want in is C1(1), in the next iteration it's C1(2), etc. How can I implement that? A: You may have noticed that the official docs are not too helpful in this scenario (as they pretty much force you to use global variables - which is doable, but discouraged). Instead, I'll show you how this can be done with classes and function handles. Consider the following: classdef SimpleQueue < handle %SIMPLEQUEUE A simple FIFO data structure. properties (Access = private) data position end methods (Access = public) function obj = SimpleQueue(inputData) %SIMPLEQUEUE Construct an instance of this class obj.data = inputData; rewind(obj); end % constructor function out = pop(obj, howMany) %POP return the next howMany elements. if nargin < 2 howMany = 1; % default amount of values to return end finalPosition = obj.position + howMany; if finalPosition > numel(obj.data) error('Too many elements requested!'); end out = obj.data(obj.position + 1 : obj.position + howMany); obj.position = finalPosition; end % pop function [] = rewind(obj) %REWIND restarts the element tracking % Subsequent calls to pop() shall return elements from the beginning. obj.position = 0; end % rewind end % methods end % classdef How to use this? Simple: C1q = SimpleQueue(C1); C2q = SimpleQueue(C2); C3q = SimpleQueue(C3); C4q = SimpleQueue(C4); [t1,X2] = ode45(@(t,x)fun(t,x,@C1q.pop,@C2q.pop,@C3q.pop,@C4q.pop),t0,X01); As you can see, inside fun we use C1q() instead of C1.

Arabian Automobiles Company has revealed Rohit Dwivedi as the lucky winner of the Renault Enrich Millionaire competition starting from Jan 2018. This unique campaign for current and new Renault owners aimed to bolster and sustain Renault's customer loyalty. Rohit, a 32-year-old Indian national who works as a Regional Safety Manager for the MENA region at the Energy Services Department of the NALCO Champion and Ecolab staying in Dubai for the past 3 years wanted to own set of wheels. His choice of vehicle being an SUV needed to have safety as first priority, and when conducted research the Renault Koleos 4×4 came out as a clear winner. He was surprised and delighted to learn that it went beyond satisfying his requirements not only was it a safe car, it was also a beautiful and smooth ride.

How David Sedaris became a Christmas writer — and how he started writing stories about the holiday that are so dark that sometimes it seems that he's trying to single handedly destroy Christmas. We hear from members of David's own family, and from David, all of whom insist that David loves Christmas. How an audience of children derailed Late Night with Conan O'Brien. Act Three: How Bad Is This Relationship? The people of Chicago speak out.

Why Hire A Trial Attorney? Ohio Supreme Court: Warrantless search of student backpack was OK On behalf of The Law Offices of Saia & Piatt, Inc. | May 18, 2017 | Criminal Defense If a high school student leaves his backpack on the bus, would it be fair for him or her to expect it to be left unopened? Would it put anyone in danger? What if there was a rumor the student was a gang member? These are the questions the Ohio Supreme Court recently answered in the case of a Columbus high school student who was charged with possession of a deadly weapon after leaving his bag unattended on a bus. A little background: The U.S. Supreme Court had already found in the 1991 case of Florida v. Bostick that bag searches on buses are constitutionally doubtful in the best of circumstances. However, that differs somewhat from the one heard by the Ohio Supreme Court. Moreover, students have less privacy rights than adults. Couldn't any unattended bag contain a bomb? According to the Courthouse News Service, on one February morning in 2013, a student left his backpack on a bus. A school security guard found it and opened it only enough to identify its probable owner. Based on a rumor that the student was a gang member, however, he brought the backpack to the school principal instead of returning it to the student. The school principal felt free to empty the bag, and inside they found bullets. The pair then contacted a police officer. The principal, the security guard and the police officer confronted the student in a hallway, where the police officer executed a take-down and incapacitated the student. They then searched another bag the student had on his person. Inside there was a gun. The student was charged with possession of a deadly weapon, and argued that these searches were unreasonable — and therefore illegal under the Fourth Amendment to the U.S. Constitution. He asked for the evidence to be suppressed, and both the trial court and the Franklin County Appeals Court agreed. The Ohio Supreme Court disagreed and sent his case back to trial. First, the court reaffirmed that schools are "special needs" settings that allow more warrantless searches than would be allowed for adults. Next, they reasoned that at each step, the child's right to privacy was outweighed by the "In compelling governmental interest in protecting public-school students from physical harm." After all, they reasoned, any unattended bag could contain a tiny explosive device fashioned out of carbon dioxide cartridges called a 'cricket bomb' like those attempted by the Columbine High School shooters. Such a bomb might not be noticed in a cursory search meant merely to identify the owner of the bag. Under circumstances like those — however unlikely they might seem — surely the search was reasonable? Liquor Laws (3) OVI (77) OVI Defense (8) Traffic Law (4) Why new parents need an estate plan Easing the financial stress of co-parenting after a divorce When should an estate plan be updated? Creating an estate plan amidst a major crisis in life Ohio's Administrative License Suspension may sound unjust A Nationally Recognized Law Firm Start Fighting Today 98 North Union Street Mt. Gilead Office 19 East High Street Mt. Gilead, OH 43338 New Lexington Office 111 West Brown Street New Lexington, OH 43764 Call Today For A Free Case Evaluation : 614-444-3036 or 888-684-6446 (888OVIOHIO) © 2019 The Law Offices of Saia & Piatt, Inc.. All Rights Reserved.

May 23 "Sweep The Shed" - How Team Culture Made New Zealand A Global Superpower competitive advantage, superpowers New Zealand's All Blacks are the country's national rugby team. Despite the fact that NZ is a small, remote island nation, with a population of only 4.5 million, they have found a way to be a consistently feared superpower in the sport. The All Blacks are a truly global brand. Their iconic black uniform is recognized worldwide as quickly as a FC Barcelona, AC Milan, New York Yankees, Boston Celtics or Los Angeles Lakers jersey, and the pre-game Haka that the team performs has intimidated countless opponents. And the All Blacks have won the Rugby World Cup three times and hold a lifetime winning percentage of 77% - the highest of any professional sports team in the world. How do they do this against larger countries with more resources and people? How do they sustain this elite level of success? Team culture is the Superpower that makes it all possible. James Kerr studied the All Blacks' culture in his book Legacy, What The All Blacks Can Teach Us About The Business Of Life - in which he talks about the team's cultural mantra of "Sweeping the Shed", a tradition that says that no individual is bigger than the team and its ancestors. Everyone is responsible for the smallest details - including cleaning out the locker room after training or a match. "Sweeping the shed" is your job, no matter who you are. This video is a great overview of Kerr's book and the All Blacks' ethos. What is your team's mantra that creates a championship culture? Do you sweep the shed? company culture, new zealand all blacks, sweep the shed, james kerr legacy, Superpower Jul 5 "We work in marketing - we're not curing cancer" - My PMC 2017 Ride May 10 Interview with Candice Peak / A Superpowered Career in Finance + Fitness

loudlatinlaughing – Euge! Euge! And How Are You, Dr. Sacks?: A Biographical Memoir of Oliver Sacks If you don't come away from this book with adoration for this lovable weirdo, something's wrong with you. I didn't want to stop reading this, seriously considering throwing off all plans until the very last page reached. The Paris Review had a lovely excerpt from the book detailing Thom Gunn's admiration of how Sacks had changed from the daredevil drug-chugging motorcycle leather daddy whose prose could be quite cruel into a more centered and empathetic writer. Weschler reveals that in the early 80s he planned to write a profile of Sacks for the New Yorker and spent several years gathering material before Sacks asked him not to publish it because he was deeply closeted and had been celibate for several years, not wanting his sexuality raked about in public. Sacks had a change of heart on his deathbed in 2015, and thus we get this delightful tome. During WW2, most London parents sent their children to the countryside and the Sacks were no exception. It was here that Oliver experienced abuse that scarred him for life, perhaps seeping into all his relations and his manic personality. He goes on to become a doctor, then flees England before he's drafted, landing in Canada then SF and LA before settling in NYC. Despite claiming that women's anatomy was a complete scotoma (one of Sacks's favorite words, a pathological hole in your visual field), at the age of 20 he ghostwrote a book with his mother about menopause, Women of Forty: The Menopausal Syndrome by Muriel Elsie Landau. This was before, I think, he came out as gay to his parents, whereupon his mother released an hours-long Deuteronomy-driven harangue before lapsing into the silent treatment for days and then never mentioning it again. Sacks's drug use: his slogan was "Every dose an overdose" and was known for being greedy, sucking down as much LSD and amphetamines that he could find. He was also addicted to acceleration and speed, zooming to the Grand Canyon through the night on his motorcycle at more than 100mph. "For all my failures and the suicide which will probably end it all, I do have a feeling of developing, though, of being different at fifty than I was at forty, at forty than at thirty. I don't know how people who don't develop bear it." What types of books captivated him as a child? "Moby-Dick. What can you say about Moby-Dick? There's Shakespeare and there's Moby-Dick and that's that." Also: "Early on an editor told me I was too florid, to be more spare, to be like Hemingway, which among other things prevented me from liking Hemingway." And: "Dickens wasn't Dickens: He was life." Describing his first year at Oxford: "something bizarre must have been going on in terms of reading and searching: I was insatiable. I read Western philosophy with a sort of desperation. It didn't work. I didn't get anything, I didn't retain anything, the only value in retrospect having been that 20 years later, I knew where to look… I became learning-voracious, swallowing up enormous obsessive amounts… If one could dig out the record of the library from that year, one would see what kind of strange, futile frenzy it was." On one phone call, Oliver excitedly relates that after swimming he returned to shore only to find that the rock beneath his foot moved, the whole field of rocks a horde of horseshoe crabs beached for mating. "My people have come!" Oliver crowed. His relationship with the truth was something he struggled with all the time: "its not that I invent the truth. Rather I intuit or imagine it." He begins to be recognized in the 1980s; one turning point seems to be the 1984 lecture he gave at the NYPL, introduced by Susan Sontag who cooed about his writing style. Weschler mentions being there in the audience: "Jasper Johns is seated behind me: it's that sort of crowd." Author lzPosted on August 31, 2019 Categories Reading ArchiveTags YES! The Happiness Myth: The Historical Antidote To What Isn't Working Today I sneak up on this book and take little sips, hoping to prolong my pleasure. Hecht's method is "happiness by historical perspective" and she looks at four issues as topics seen through the lens of history: drugs, money, bodies, celebration. There are three distinct kinds of happiness, not unrelated but not in harmony with each other: A Good Day: filled with lots of mild pleasures, repeatable, forgettable, a tiny bit of rewarding effort Euphoria: intense, memorable, involves risk or vulnerability A Happy Life: lots of difficult work (studying, striving, nurturing, maintaining, negotiating, mourning) sometimes seriously cutting into time for a good day or euphoria. Taking thousands of years of writing and thinking on the subject, there are four things in all happiness theory from wisdom literature, philosophy, psychology, and self-help: Know yourself. Control your desires. Take what's yours. Remember death. Carpe diem quam minimum credula postero more accurately translated as "Pluck the day, never trust the next." Everyone is forgotten. Hecht uses a brutal example, asking readers to list the names of your grandparents' mothers. From her quick survey only a tiny minority could name even two of their four great-grandmothers. Everything has to be learned twice. "In childhood we have ignorant happiness, and we must lose this happiness if we are ever to get beyond it. Repression is not the same as transcendence. Between these states of calm ignorance and calm knowing, there has to be some half-wise screaming. Some few people actually grow wise by acting wise, but most grow wise by acting foolish, by accruing a variety of experiences, by taking chances, and by making errors." Your worst barrier against happiness is you: "You cannot see yourself or much about the world you live in. You are ruled by desire and emotion. You will not take your place or rise to your role. You are alternately oblivious to death and terrified of it." If you master these issues, you can be happy, but it's not easy; it must be constantly worked at and never completely works. Car culture makes us prize clearheadedness. "What makes opium a bad drug and Zoloft a good one has a lot to do with fogginess." The degree of gauzelike inebriation is the difference between a bad drug and a good one. Car culture is also bananas because "if we rejected cars, we would have to walk, and our exercise problem would be over" (along with our fuel problem and pollution problem). Drugs like cocaine and opium were actually useful in the 19th century for their medicinal properties. "While cocaine is great for allergies and toothaches, opium has a more important medicinal punch: it stops coughs and diarrhea." Which in the era of epidemics of tuberculosis and dysentery was a blessing: heath AND happiness in a bottle. Happiness maintenance work is "creating things to look forward to on a daily basis; arranging some peak experiences for yourself occasionally; and making sure the overall story of your life has some feeling of progress and growth." Money has stolen away our sense of community, "consumerism has become the central opportunity for public performance; for being someone; and for eating and feeding, rather than being eaten." We shop to have good interactions and get stuff, we watch TV to bond with others. Exercise is something that we've invented because machines have made life easy. "The only labor available is purposeless." And also a drain on resources because you have to plug that treadmill in. When we fill our town centers with gyms, we're combining 2 American traditions: the pride of the upper class not having to do work so doing sport instead, and religious identity distinguishing virtue through self-limitation. Hecht says we'd be better off if we only did unproductive exercise for pleasure…. walk somewhere you have to go anyway, take the stairs, chop some wood. "Forget the gym unless you love it or need a change of habit." She recommends creating a list of things we do that contribute to all 3 prongs of happiness: Good-Day Happiness (what makes a good day for you?), Euphoria (How do you get euphoria), A Happy Life (What do you need to have or be working toward, in order to like your life) Author lzPosted on August 31, 2019 September 1, 2019 Categories Reading ArchiveTags YES! The only entertainment gained from reading this "classic" from Dashiell Hammett is following along the SF streets as he zips around Sutter, Kearny, Post, Geary, 9th Avenue. He's credited with inventing the whole genre of hard-boiled detective fiction, by which I guess means tough guys who snarl at ladies who are swooningly in love with them. One particularly laughable moment in the Falcon comes when all the characters are penned up in Sam Spade's apartment and he nonchalantly gets the woman, Brigid, to rustle up some coffee and food for his "guests." I'm obviously not a fan of Hammett's writing, preferring the higher skills of Raymond Chandler any day of the week. However, after living in SF for 20 years, I felt obligated to knock this off my list. Author lzPosted on August 30, 2019 Categories Reading Archive Meditations in an Emergency Frankie soothes me with his 1957 book of poems. Gems include For Grace, After a Party (Grace Hartigan) and the eponymous Meditations in an Emergency. For Grace: You do not always know what I am feeling. Last night in the warm spring air while I was blazing my tirade against someone who doesn't interest / me, it was love for you that set me / afire, / and isn't it odd? for in rooms full of / strangers my most tender feelings / writhe and / bear the fruit of screaming. Put out your hand, / isn't there an ashtray, suddenly, there? beside / the bed? And someone you love enters the room / and says wouldn't / you like the eggs a little / different today? / And when they arrive they are / just plain scrambled eggs and the warm weather / is holding. Author lzPosted on August 29, 2019 August 29, 2019 Categories Reading ArchiveTags poetry Whew– I'd been beginning to think there was something wrong with me, that I had become allergic to books for some reason, rejecting most of the ones I've been reading lately. But this gem from Penelope Fitzgerald has restored my senses, cleansed my palate. A widowed 40-something-year-old woman (Florence Green) determines to open a bookstore in her village, proceeding against the powers that be (Mrs. Gamart) who want to use the ancient dilapidated building she's taken over as an Arts Center instead. She isn't greatly invested in the books themselves, preferring to get recommendations from other people as to what to stock, but she gambles correctly on 250 copies of Lolita after securing the recommendation from the village recluse, Mr. Brundish. At that meeting he wonders why she asked for his opinion, not a woman's. "I don't know that men are better judges than women," said Florence, " but they spend much less time regretting their decisions." In the end, the evil Mrs. Gamart has her nephew pass a bill in Parliament that allows her to take over the building. Brundish struggles through the fog to Gamart's doorstep to protest, dying on his way back home. Florence is evicted, ending up defeated on a train to London. Trick Mirror: Reflections on Self-Delusion I'm fed up with the swirl of publicity for the books churned out of the NYC publishing elite (see also: Taffy Brodesser-Akner). The circus of praise surrounding them leads you to expect a quality that turns out to be lacking. Tolentino's book is no exception, a baggy, wordy, bloated exploration of thoughts that are better written about elsewhere. Her essay Pure Heroines reads like a book report and a poorly Xeroxed copy of Kate Zambreno's sublime book, Heroines. Cult of the Difficult Woman reads like a poor-woman's Trainwreck (by Sady Doyle). Most egregious of all is the reliance of Wikipedia-esque research to create filler for the book ("In 1844, 'optimize' was used as a verb for the first time…"); that's one of my personal pet peeves, exploring word history in a desultory way that implies you've done real research but most likely not. The only worthwhile part was her essay detailing her teenage participation in a reality show, Girls v Boys: Puerto Rico, mostly interesting because it was the only content in the book that couldn't have been written by anyone else (or looked like a gussied up version of what someone else has written about). I love this movie so finally broke down and read the original book by James Cain, only to have Joan Crawford's and Ann Blyth's faces loom up at me from the pages. Veda is as horrible in the book as in the movie, and it was interesting to see what bits were moved and mangled and mashed up to create the screenplay. Things that needed to be visually appealing were inflated by the film, obviously (like Veda's lounge singing was very visual in the film but simply a radio show in the book). Cain taps into pure gold with the friction between mother and daughter. The Sugar House I think I've choked down the last of these Laura Lippman mysteries. She's a decent writer but this Tess Monaghan series is so formulaic and bland that they become a chore to read. In this one, a dead girl turns out to be the daughter of a billionaire who had been recuperating at an eating disorder clinic. There's some weird connection to a local politician that I couldn't be bothered to pay attention to. Her usual gang surrounds her, Crow, Whitney, the wheelchair lawyer, her family. At the end, she's evicted from her aunt's building and buys a home. Yawn. Author lzPosted on August 27, 2019 August 27, 2019 Categories Reading Archive I thought this was a sort of parody of detective stories by the excellent writer Kate Atkinson, but after finishing I see that Jackson Brodie is actually a recurring character for her. She milks her audience well, with a chaotic first few pages pulling you into the story of a sex trafficking ring run on the coast of England by three old pals. Coincidences pile on top of coincidences, which is why I thought this was extreme parody, but it ends up an entertaining read. Unfortunately, the wrapping up phase at the end is too tidy and monotonous. Endings are hard to get right. Four Friends: Promising Lives Cut Short Mostly I'm in awe that people have been recommending this book. How is it possible to bungle first-person reporting so much? The author, Cohan, looks around and sees that 4 guys from his years at Phillips Academy (premiere prep school for the elites) are dead from various horrendous circumstances, decides to write a tediously boring book about it thinking that just by including JFK Jr. as one of the 4 that people will be interested? Dull dull dull. I hung around to skim through the blather due to curiosity around how they died. One guy was killed in the 101 California mass shooting in 1993 (SF's worst mass shooting still remains unmemorialized on the building), one guy was hit by a cab, one guy mysteriously found drowned with two of his daughters, and JFK Jr piloted his plane into the Atlantic. Another book that did not need to be written or published. Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee There were 3 distinct sections of this book: the strange murders swirling around Reverend Miller, who seemed to take out life insurance policies on everyone in his family and they ended up dead; the subsequent trial of the man who murdered Reverend Miller at the funeral home mourning his latest victim; Harper Lee's involvement as a last gasp effort to produce a book in the 1970s and 80s. The first and last sections were the most interesting, with delving into Lee's life providing the most meat for the story. Lee grew up next door to Truman Capote who whisked away to NYC where she eventually migrated. She had put the finishing touches on Mockingbird (after being granted a year off to write by the largess of friends) and was wondering what to do when Capote asked for her help researching the killings that became In Cold Blood. Her help in Kansas was enormous, detailed notes that later propped up his book, plus people much more likely to speak to a pleasant polite Southern woman than flamboyant Capote who met some people at his hotel door wearing pink lingerie. Then Mockingbird came out and was successful beyond anyone's wildest dreams, making Capote jealous, making Lee fearful of earning any extra money since her income bracket was already being taxed at 70%. This immediate success made it possible for her never to work again and some say that it cursed her from future writing projects. The author of this book does float the idea that it was possible that Lee "had decided to write for her own satisfaction or for posterity, not her peers, and the feelings of incompletion and failure were incongruous with her own experience." I say, why not? If she got pleasure out of writing for herself (and her many letters seem to be delightful), then why not leave it at that? Overall the book was strangely sewn together, stitches large and unwieldy. The editors of which Cep writes so lovingly as having positively influenced Lee's writing were sorely lacking here. But alas, this is the current state of publishing. Side note to myself that Melville is buried in Woodlawn Cemetery in the Bronx, a place Lee made a pilgrimage to. The 57 Bus: A True Story of Two Teenagers and the Crime That Changed Their Lives One of my favorite librarians pressed this into my hands today after we were discussing how teenagers today can be absolutely obliterated by their dumb mistakes unlike what we experienced growing up. This book tracks the devastating impact of a few moments on an Oakland bus in November 2013 when Richard, a 16-year-old, was showing off and goofing around with his friends and lit the skirt that Sasha, a genderqueer teen, was wearing on fire. The fire burned Sasha severely, another passenger threw them to the ground to put out the flames but they had to have skin grafts and live with the fear of infection for months after. Which seems actually tame compared to what happened to Richard, the young black male captured on bus video and later telling the police that he was homophobic (after ignoring the right to remain silent). Richard gets tried as an adult (yikes) and sentenced to 7 years, later reduced to 5 years. As Sasha heads off to MIT and the wonders of Boston, Richard shuffles behind bars. Not too much of a stretch to wonder what would have happened if Richard had not been a young black male. Ball Four: The Final Pitch What began as a quaint insider look at the 1969 season of the short-lived Seattle Pilots turned into a bloated windbag filled with Bouton's ramblings. Unfortunately I recommended this one to my dear old dad before I got too far in and realized how much misogynistic shit is spackled all over the book. The ballplayers go "beaver shooting" which means they try to look up ladies' skirts or into lit windows at night or spy on their roommates in the hotel room. Lots and lots of erection talk and about broads. If you can get past that, there is a thin layer of interesting talk about the craft of pitching, but pray to god you're reading one of the earlier versions which doesn't tack on an additional 100+ pages of old windbag blathering into his tape recorder about what happened next (spoiler: he divorced his wife as did many of the other ballplayers, ended up marrying some other "magical" woman). This came highly praised but the only value I see is that it was the first tell-all book that laid it all out about how much players made and negotiated and were docked for being late, etc. I'm stunned by some of these sentences. I had to take a break, only a handful of pages in, to float over here and capture the essence before I end up dogearing every page. This is a non-fiction book that contains bursts of perfect prose. "It's not as if the prosecutors have your back. They have your shadow, is more like it." "Hoy also asks about a site that he doesn't even know how to spell. You go, What's that, and he goes, I don't know, but have you ever been on it, and you go, No, I don't know what it is. And you are thinking, Neither do you, you prick. But his formality makes you afraid to contradict him. You bet his wife and children have learned to lie to him regularly, to escape the kind of needling criticism that can wreck a soul." "They get the drunk munchies and drive out to Perkins, which looks like a soup kitchen. It's wan and the customers have red faces and the waitresses have cigarette coughs but when you're young and buzzed it's good for a late-night snack. When you're young you can do almost anything and it won't be sad." The book captures layers of a taboo subject—female desire—in the stories of three women. Lina, raped by 3 boys as a young girl, eventually leaves her stable husband because she wants to be carried away by the fantasy of the affair she's having with her teenage crush, hurried sex in trucks and motels, thankful for 30 minutes she gets with him occasionally. Maggie is a twenty-something recovering from an inappropriate relationship she had with her teacher her senior year of high school. Sloane is a successful restaurant owner whose husband makes her have sex with other men while he watches. In Big Trouble Another of Laura Lippman's mysteries, this one sends Tess to Austin and San Antonio to find her ex-boyfriend Crow, who's mixed up in a double murder with more bodies ready to fall on the sidelines. A bit of a yawn but still entertaining. I read a lot. Too much, maybe. Here's a list of books I've tagged YES! since 2015. This is a catalogue of reading, posted to aid my memory. The name comes from Joyce's Ulysses, Episode 3, line 194. Alright, Alright, Alright: The Oral History of Richard Linklater's Dazed and Confused Top Picks of 2020 Books I'm too lazy to write about that I read in 2020 Three Guineas Parakeet: A Novel Selected Letters of Vanessa Bell In Love with the World: A Monk's Journey Through the Bardos of Living and Dying loudlatinlaughing – Euge! Euge! Proudly powered by WordPress

package frclibj; import edu.wpi.first.wpilibj.Timer; public class TrcDbgTrace { public static final String ESC_PREFIX = "\u001b["; public static final String ESC_SUFFIX = "m"; public static final String ESC_SEP = ";"; public static final String SGR_RESET = "0"; public static final String SGR_BRIGHT = "1"; public static final String SGR_DIM = "2"; public static final String SGR_ITALIC = "3"; public static final String SGR_UNDERLINE = "4"; public static final String SGR_BLINKSLOW = "5"; public static final String SGR_BLINKFAST = "6"; public static final String SGR_REVERSE = "7"; public static final String SGR_HIDDEN = "8"; public static final String SGR_CROSSEDOUT = "9"; public static final String SGR_FG_BLACK = "30"; public static final String SGR_FG_RED = "31"; public static final String SGR_FG_GREEN = "32"; public static final String SGR_FG_YELLOW = "33"; public static final String SGR_FG_BLUE = "34"; public static final String SGR_FG_MAGENTA = "35"; public static final String SGR_FG_CYAN = "36"; public static final String SGR_FG_WHITE = "37"; public static final String SGR_BG_BLACK = "40"; public static final String SGR_BG_RED = "41"; public static final String SGR_BG_GREEN = "42"; public static final String SGR_BG_YELLOW = "43"; public static final String SGR_BG_BLUE = "44"; public static final String SGR_BG_MAGENTA = "45"; public static final String SGR_BG_CYAN = "46"; public static final String SGR_BG_WHITE = "47"; public static final String ESC_NORMAL = ESC_PREFIX + ESC_SUFFIX; public static final String ESC_BLINKSLOW = ESC_PREFIX + SGR_BLINKSLOW + ESC_SUFFIX; public static final String ESC_BLINKFAST = ESC_PREFIX + SGR_BLINKFAST + ESC_SUFFIX; public static final String ESC_FG_BLACK = ESC_PREFIX + SGR_FG_BLACK + ESC_SUFFIX; public static final String ESC_FG_RED = ESC_PREFIX + SGR_FG_RED + ESC_SUFFIX; public static final String ESC_FG_GREEN = ESC_PREFIX + SGR_FG_GREEN + ESC_SUFFIX; public static final String ESC_FG_YELLOW = ESC_PREFIX + SGR_FG_YELLOW + ESC_SUFFIX; public static final String ESC_FG_BLUE = ESC_PREFIX + SGR_FG_BLUE + ESC_SUFFIX; public static final String ESC_FG_MAGENTA = ESC_PREFIX + SGR_FG_MAGENTA + ESC_SUFFIX; public static final String ESC_FG_CYAN = ESC_PREFIX + SGR_FG_CYAN + ESC_SUFFIX; public static final String ESC_FG_WHITE = ESC_PREFIX + SGR_FG_WHITE + ESC_SUFFIX; public static final String ESC_BG_BLACK = ESC_PREFIX + SGR_BG_BLACK + ESC_SUFFIX; public static final String ESC_BG_RED = ESC_PREFIX + SGR_BG_RED + ESC_SUFFIX; public static final String ESC_BG_GREEN = ESC_PREFIX + SGR_BG_GREEN + ESC_SUFFIX; public static final String ESC_BG_YELLOW = ESC_PREFIX + SGR_BG_YELLOW + ESC_SUFFIX; public static final String ESC_BG_BLUE = ESC_PREFIX + SGR_BG_BLUE + ESC_SUFFIX; public static final String ESC_BG_MAGENTA = ESC_PREFIX + SGR_BG_MAGENTA + ESC_SUFFIX; public static final String ESC_BG_CYAN = ESC_PREFIX + SGR_BG_CYAN + ESC_SUFFIX; public static final String ESC_BG_WHITE = ESC_PREFIX + SGR_BG_WHITE + ESC_SUFFIX; public static final String ESC_FGB_BLACK = ESC_PREFIX + SGR_FG_BLACK + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_RED = ESC_PREFIX + SGR_FG_RED + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_GREEN = ESC_PREFIX + SGR_FG_GREEN + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_YELLOW = ESC_PREFIX + SGR_FG_YELLOW + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_BLUE = ESC_PREFIX + SGR_FG_BLUE + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_MAGENTA = ESC_PREFIX + SGR_FG_MAGENTA + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_CYAN = ESC_PREFIX + SGR_FG_CYAN + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_FGB_WHITE = ESC_PREFIX + SGR_FG_WHITE + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_BLACK = ESC_PREFIX + SGR_BG_BLACK + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_RED = ESC_PREFIX + SGR_BG_RED + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_GREEN = ESC_PREFIX + SGR_BG_GREEN + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_YELLOW = ESC_PREFIX + SGR_BG_YELLOW + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_BLUE = ESC_PREFIX + SGR_BG_BLUE + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_MAGENTA = ESC_PREFIX + SGR_BG_MAGENTA + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_CYAN = ESC_PREFIX + SGR_BG_CYAN + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static final String ESC_BGB_WHITE = ESC_PREFIX + SGR_BG_WHITE + ESC_SEP + SGR_BRIGHT + ESC_SUFFIX; public static enum TraceLevel { QUIET(0), INIT(1), API(2), CALLBK(3), EVENT(4), FUNC(5), TASK(6), UTIL(7), HIFREQ(8); private int value; TraceLevel(int value) { this.value = value; } //TraceLevel public int getValue() { return this.value; } //getValue } //enum TraceLevel public static enum MsgLevel { FATAL(1), ERR(2), WARN(3), INFO(4), VERBOSE(5); private int value; MsgLevel(int value) { this.value = value; } //MsgLevel public int getValue() { return this.value; } //getValue } //enum MsgLevel private static int indentLevel = 0; private String instanceName; private boolean traceEnabled; private TraceLevel traceLevel; private MsgLevel msgLevel; private double nextTraceTime; public void setDbgTraceConfig( boolean traceEnabled, TraceLevel traceLevel, MsgLevel msgLevel) { this.traceEnabled = traceEnabled; this.traceLevel = traceLevel; this.msgLevel = msgLevel; } //setDbgTraceConfig public TrcDbgTrace( final String instanceName, boolean traceEnabled, TraceLevel traceLevel, MsgLevel msgLevel) { this.instanceName = instanceName; setDbgTraceConfig(traceEnabled, traceLevel, msgLevel); this.nextTraceTime = Timer.getFPGATimestamp(); } //TrcDbgTrace public void traceEnter( final String funcName, final TraceLevel funcLevel, final String format, Object... args) { if (traceEnabled && funcLevel.getValue() <= traceLevel.getValue()) { printTracePrefix(funcName, true, false); System.out.printf(format, args); System.out.print(")\n" + ESC_NORMAL); } } //traceEnter public void traceEnter( final String funcName, final TraceLevel funcLevel) { if (traceEnabled && funcLevel.getValue() <= traceLevel.getValue()) { printTracePrefix(funcName, true, true); } } //traceEnter public void traceExit( final String funcName, final TraceLevel funcLevel, final String format, Object... args) { if (traceEnabled && funcLevel.getValue() <= traceLevel.getValue()) { printTracePrefix(funcName, false, false); System.out.printf(format, args); System.out.print("\n" + ESC_NORMAL); } } //traceExitMsg public void traceExit( final String funcName, final TraceLevel funcLevel) { if (traceEnabled && funcLevel.getValue() <= traceLevel.getValue()) { printTracePrefix(funcName, false, true); } } //traceExit public void traceFatal( final String funcName, final String format, Object... args) { traceMsg(funcName, MsgLevel.FATAL, 0.0, format, args); } //traceFatal public void traceErr( final String funcName, final String format, Object... args) { traceMsg(funcName, MsgLevel.ERR, 0.0, format, args); } //traceErr public void traceWarn( final String funcName, final String format, Object... args) { traceMsg(funcName, MsgLevel.WARN, 0.0, format, args); } //traceWarn public void traceInfo( final String funcName, final String format, Object... args) { traceMsg(funcName, MsgLevel.INFO, 0.0, format, args); } //traceInfo public void traceVerbose( final String funcName, final String format, Object... args) { traceMsg(funcName, MsgLevel.VERBOSE, 0.0, format, args); } //traceVerbose public void tracePeriodic( final String funcName, double traceInterval, final String format, Object... args) { traceMsg(funcName, MsgLevel.INFO, traceInterval, format, args); } //tracePeriodic private void traceMsg( final String funcName, MsgLevel level, double traceInterval, final String format, Object... args) { if (level.getValue() <= msgLevel.getValue()) { double currTime = Timer.getFPGATimestamp(); if (currTime >= nextTraceTime) { nextTraceTime = currTime + traceInterval; printMsgPrefix(funcName, level); System.out.printf(format, args); System.out.print("\n" + ESC_NORMAL); } } } //traceMsg private void printTracePrefix( final String funcName, boolean enter, boolean newline) { if (enter) { indentLevel++; } System.out.print(ESC_FGB_MAGENTA); for (int i = 0; i < indentLevel; i++) { System.out.print("| "); } System.out.print(instanceName + "." + funcName); if (enter) { System.out.print(newline? "()\n": "("); } else { System.out.print(newline? "!\n" + ESC_NORMAL: ""); indentLevel--; } } //printTracePrefix private void printMsgPrefix( final String funcName, MsgLevel level) { String prefix; String color; switch (level) { case FATAL: prefix = "_Fatal: "; color = ESC_PREFIX + SGR_FG_YELLOW + ESC_SEP + SGR_BRIGHT + ESC_SEP + SGR_BG_RED + ESC_SUFFIX; break; case ERR: prefix = "_Err: "; color = ESC_FGB_RED; break; case WARN: prefix = "_Warn: "; color = ESC_FGB_YELLOW; break; case INFO: prefix = "_Info: "; color = ESC_FGB_GREEN; break; case VERBOSE: prefix = "_Verbose: "; color = ESC_FGB_WHITE; break; default: prefix = "_Unk: "; color = ESC_NORMAL; break; } System.out.print(color + instanceName + "." + funcName + prefix); } //printMsgPrefix } //class TrcDbgTrace

We LOVE overnight oatmeal at our house! My older kiddos love to mix up their own the night before and then they have their perfect breakfast ready for them in the morning. You can eat them hot or cold so they are PERFECT! Here's one of our favorite recipes. These make ahead breakfasts are a staple at our house! In a large jar, layer your ingredients starting with about a 1/2 a cup of old fashioned rolled oats. Your favorite nuts. We like pecans at our house. Then we top with some fruit that is full of antioxidants. Blueberries and raspberries are perfect. Next add a spoonful of either Cinnamon or Maple Jif® flavored Peanut Butter Spreads. I also like to add a few chia seeds as well. Doesn't it already look divine? Now cover with your favorite kind of milk. You can use cow's milk or your favorite almond, coconut or soy milks. I also top with a little honey and vanilla extract. Gently stir your ingredients, top with a lid and place in the fridge overnight. In the morning, you'll have a lovely jar full of yummy oatmeal ready and waiting for you. I LOVE to eat it cold, but you can pop it into the microwave for a minute or so to warm it up if you like yours hot. Either way tastes great!

February – March 2021 | Comment K.R. Ravindran – Trustee Chair's Column K.R Ravindran reflects on how we are the only species that bears the responsibility of protecting the environment for future generations. By K.R. Ravindran Published Date: February 1, 2021 Comment News Features People of Action Advertorial View All Having grown up amid lush green forests in the mountainous landscape of Sri Lanka, I always recall the words of the great poet Rabindranath Tagore: "Trees are the earth's endless effort to speak to the listening heaven." How sad that so often we humans insist on interrupting this conversation. Just like every other living thing, we are a part of nature. But we are also the only species that bears the responsibility of protecting the environment for future generations. The coronavirus pandemic has shed light as nothing has before on the relationship between environmental degradation and threats to public health. A few years ago, the government-owned electricity company in my country planned to build a second coal power plant, in eastern Sri Lanka. It would suck 93 million litres of water per hour from a bay where fragile ecosystems meet the deep sea, the site of one of the largest spawning grounds for sperm whales in the world. After processing, those 93 million litres per hour would be dumped into the ocean, now loaded with toxic chemicals that put that marine life at great risk. Learning from the lessons of the damage caused by the first plant, a coalition formed, made up of many public advocates, including Rotarians. They ran a campaign that alerted the media, the public, and the local community to the potential dangers, in addition to taking legal action. The government eventually abandoned its coal plant idea after the resulting public outcry. We can truly move mountains when we come together. When some of us moved to add the environment as Rotary's newest cause, we did so because of the urgency of the problem. In 1990-91, Rotary International President, Paulo V.C. Costa, set forth a vision, and today we will take this work to the next level. We live in a time of great stress on our environment, of rapidly rising sea levels, massive storms, disappearing rain forests and wildlife, and destructive forest fires. Climate change touches us all, rich and poor. We will face the challenge strategically, as with the other areas of focus. In fact, the six other areas of focus depend on this one. For what good is it to fight disease if our polluted environment causes us to become sick again? The Rotary Foundation will be central to this work. More than $18 million has gone towards environment-related global grants in the past five years. Building upon this work to protect the environment, we will give yet another Rotary gift to future generations. And you can be a part of it today. Recycled laptops help isolated students February – March 2021 We need to solve the plastics problem by 2050 You can count on the cadres

According to blink-182, Age Clearly Doesn't Matter This past Sunday, blink-182 brought their Enema of The State 20th Anniversary tour to Toronto's Budweiser Stage. It was a perfect night along the water for a full show of nostalgia, blow up aliens and Travis Barker in a hamster ball. Enema of the State, 1999 For support, blink-182 brought along Neck Deep from the UK and Canada's own Simple Plan. The boys from Montreal were given a full hour, and had fans so into the set, they probably could have done more. All the hits from your angsty childhood were on display, including Shut Up, Addicted and I'd Do Anything. From there, they dove into the pop-rock world they explored in the later 2000's with Jet Lag and Your Love Is A Lie. To conclude, the boys lead by front man Pierre Bouvier, ended with the smash hits I'm Just A Kid, and Perfect. And perfect the set was... Once all the former punk canucks were warmed up, blink hit the stage and began performing their 1999, multi-platinum selling album Enema of the State. The album was played in full, and at first I thought this would be a little off setting. How could you possibly not have All The Small Things, as your encore? Their biggest hit was about 25 minutes into their set, but it worked. After the full run through of Enema, the boys did an acoustic portion on the lawns, followed by a Travis Barker drum solo worthy of a Cirque du Soleil performance. The legendary drummer, was strapped into a giant hamster ball, where his kit did everything from rotations, turns and flips. His drumming perfection was paired with a Skrillex style backing track, which left fans both stunned, surprised and satisfied. To conclude to band pulled out hits, I Miss You and First Date. Fans from all levels were jumping around as if they were a teenager back in 1999, and judging by the young age of some of the fans (including myself), it seems like blink have brought around a new generation of fans too. Having not been to a blink show during their prime, I can't compare back to their older days, however, the amount of energy and enthusiasm brought by the band was parallel to a modern day rock band filled with kids in their 20's. You could tell by the looks on their faces, that everything was left on stage. It's obvious these, now family men, are still loving what they do 20 years later. blink-182 at Toronto's Budweiser Stage Despite the recent health issues from Travis Barker, or ongoing rumours of reunions with original guitarist Tom DeLong, none of that seemed to show on stage. Blink brought their eh-game to Toronto on Sunday, and proved that not remembering your age, clearly doesn't matter. Wait, The Guess Who Still Isn't in the Rock & Roll Hall of Fame? BEST IN ROCK 2020 Green Child O' Mine: When Baby Yoda Took on Guns N' Roses © 2023 by Shutter Zone. Proudly created with Wix.com

require 'spec_helper' describe Catarse::OmniauthCallbacksController do before do @request.env["devise.mapping"] = Devise.mappings[:user] end let(:return_to){ nil } let(:user){ FactoryGirl.create(:user, authorizations: [ FactoryGirl.create(:authorization, uid: oauth_data[:uid], oauth_provider: facebook_provider ) ]) } let(:facebook_provider){ FactoryGirl.create :oauth_provider, name: 'facebook' } let(:oauth_data){ Hashie::Mash.new({ credentials: { expires: true, expires_at: 1366644101, token: "AAAHuZCwF61OkBAOmLTwrhv52pZCriPnTGIasdasdasdascNhZCZApsZCSg6POZCQqolxYjnqLSVH67TaRDONx72fXXXB7N7ZBByLZCV7ldvagm" }, extra: { raw_info: { bio: "I, simply am not there", email: "[email protected]", first_name: "Diogo", gender: "male", id: "547955110", last_name: "Biazus", link: "http://www.facebook.com/diogo.biazus", locale: "pt_BR", name: "Diogo, Biazus", timezone: -3, updated_time: "2012-08-01T18:22:50+0000", username: "diogo.biazus", verified: true }, }, info: { description: "I, simply am not there", email: "[email protected]", first_name: "Diogo", image: "http://graph.facebook.com/547955110/picture?type:, square", last_name: "Biazus", name: "Diogo, Biazus", nickname: "diogo.biazus", urls: { Facebook: "http://www.facebook.com/diogo.biazus" }, verified: true }, provider: "facebook", uid: "547955110" }) } subject{ response } describe "GET facebook" do before do user session[:return_to] = return_to request.env['omniauth.auth'] = oauth_data get :facebook end context "when there is no such user and we do not have an email address" do let(:oauth_data){ Hashie::Mash.new({ info: { image: "http://graph.facebook.com/547955110/picture?type:, square", name: "Diogo, Biazus", nickname: "diogo.biazus", urls: { Facebook: "http://www.facebook.com/diogo.biazus" }, verified: true }, provider: "facebook", uid: "547955110" }) } let(:user){ nil } describe "assigned user" do subject{ assigns(:user) } its(:email){ should be_nil } its(:name){ should == "Diogo, Biazus" } end it{ should render_template 'users/set_email' } end context "when there is no such user but we retrieve the email from omniauth" do let(:user){ nil } describe "assigned user" do subject{ assigns(:user) } its(:email){ should == "[email protected]" } its(:name){ should == "Diogo, Biazus" } end it{ should redirect_to root_path } end context "when there is a valid user with this provider and uid and session return_to is /foo" do let(:return_to){ '/foo' } it{ assigns(:user).should == user } it{ should redirect_to '/foo' } end context "when there is a valid user with this provider and uid and session return_to is nil" do it{ assigns(:user).should == user } it{ should redirect_to root_path } end end end

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Април и детективи је југословенски филм из 1958. године. Режирала га је Мирјана Самарџић, а сценарио је писала Душица Манојловић. Улоге |- |Душан Антонијевић || |- |Северин Бијелић || |- |Бранивој Ђорђевић || |- |Бранко Ђорђевић || |- |Стеван Миња || |- |Љубица Секулић || |- |Милан Срдоч || |- | Иво Вентурин || Дечак |} Спољашње везе Југословенски филмови Српски филмови Филмови 1958. Телевизијски филмови Српски телевизијски филмови Српске телевизијске комедије Филмске комедије

ORG PowerShift Ventures Title BIO Steve Papermaster is the Chairman of Powershift Ventures LP, an Austin, Texas-based technology venture development company focused on building software and technology companies. He currently serves on the boards of directors for several public and private companies. In 2001 President George W. Bush appointed Mr. Papermaster a member of the President's Council of Advisors in Science and Technology (PCAST). In this capacity, Steve serves as Chairman of the Energy Committee, as well as being a member of the Technology for Combating Terrorism Committee. He is also the founder and chairman of Technology Network Texas (TechNet), a national high-technology advocacy group for policy issues and is a member of the National Executive Committee. Prior to founding Powershift Ventures, Mr. Papermaster was the founder, chairman and CEO of BSG Corporation, a global software and systems integration company. He began his career as a consultant with Andersen Consulting. Mr. Papermaster received the 1996 Ernst & Young Entrepreneur of the Year Award in Austin and has served as a national and world judge for the Entrepreneur of the Year awards since 1997. In 2001 he served as the United States' judge for the World Entrepreneur of the Year award. Steve is active as a community leader with organizations such as the American Cancer Society, the Juvenile Diabetes Research Foundation, the Jewish Community Center, and the 360 Summit. Mr. Papermaster received a Bachelor of Business Administration in Finance with highest honors from the University of Texas at Austin.

HCC Estimates Katrina Loss at $160M HCC Insurance Holdings Inc. announced that anticipated claims from Hurricane Katrina are expected to result in the company's largest gross loss in its history, estimated at $160 million arising from aviation, onshore and offshore energy, property, marine and other specialty lines of business. This loss is estimated to be $50 million net of reinsurance including reinsurance reinstatement costs, $32.5 million after tax, and will reduce third quarter earnings of the company by approximately $0.30 per diluted share. Stephen L. Way, chairman and chief executive officer, said, "Our exposure is predominantly to energy and large commercial property accounts and is substantially protected by catastrophe reinsurance." Way added, "From an industry standpoint, premium rates will need to rise significantly in these lines of business to reflect both the increased frequency and severity of catastrophic events that have occurred over the past five years." HCC is an international insurance holding company and a leading specialty insurance group since 1974, based in Houston, Texas, with offices across the U.S. and in Bermuda, England, and Spain. Hot Again: 2020 Sets Yet Another Global Temperature Record Policyholders With Endorsements for Diseases Survive Motions to Dismiss COVID-19 Claims

using System; using System.Collections; using System.Collections.Generic; using System.Configuration; using System.Data; using System.Threading; using Oracle.DataAccess.Client; namespace AspNet.Identity.Oracle { /// <summary> /// Class that encapsulates a Oracle Database connections /// and CRUD operations /// </summary> public class OracleDatabase : IDisposable { private OracleConnection connection; /// <summary> /// Default constructor which uses the "DefaultConnection" connectionString /// </summary> public OracleDatabase() : this("DefaultConnection") { } /// <summary> /// Constructor which takes the connection string name /// </summary> /// <param name="connectionStringName"></param> public OracleDatabase(string connectionStringName) { var connectionString = ConfigurationManager.ConnectionStrings[connectionStringName].ConnectionString; connection = new OracleConnection(connectionString); } /// <summary> /// Executes a non-query Oracle statement /// </summary> /// <param name="commandText">The Oracle query to execute</param> /// <param name="parameters">Optional parameters to pass to the query</param> /// <returns>The count of records affected by the Oracle statement</returns> public int Execute(string commandText, IEnumerable parameters) { int result; if (String.IsNullOrEmpty(commandText)) { throw new ArgumentException("Command text cannot be null or empty."); } try { ensureConnectionOpen(); var command = createCommand(commandText, parameters); result = command.ExecuteNonQuery(); } finally { connection.Close(); } return result; } /// <summary> /// Executes a Oracle query that returns a single scalar value as the result. /// </summary> /// <param name="commandText">The Oracle query to execute</param> /// <param name="parameters">Optional parameters to pass to the query</param> /// <returns></returns> public object QueryValue(string commandText, IEnumerable parameters) { object result; if (String.IsNullOrEmpty(commandText)) { throw new ArgumentException("Command text cannot be null or empty."); } try { ensureConnectionOpen(); var command = createCommand(commandText, parameters); result = command.ExecuteScalar(); } finally { ensureConnectionClosed(); } return result; } /// <summary> /// Executes a SQL query that returns a list of rows as the result. /// </summary> /// <param name="commandText">The Oracle query to execute</param> /// <param name="parameters">Parameters to pass to the Oracle query</param> /// <returns>A list of a Dictionary of Key, values pairs representing the /// ColumnName and corresponding value</returns> public List<Dictionary<string, string>> Query(string commandText, IEnumerable parameters) { List<Dictionary<string, string>> rows; if (String.IsNullOrEmpty(commandText)) { throw new ArgumentException("Command text cannot be null or empty."); } try { ensureConnectionOpen(); var command = createCommand(commandText, parameters); using (var reader = command.ExecuteReader()) { rows = new List<Dictionary<string, string>>(); while (reader.Read()) { var row = new Dictionary<string, string>(); for (var i = 0; i < reader.FieldCount; i++) { var columnName = reader.GetName(i); var columnValue = reader.IsDBNull(i) ? null : reader.GetValue(i).ToString(); row.Add(columnName, columnValue); } rows.Add(row); } } } finally { ensureConnectionClosed(); } return rows; } /// <summary> /// Opens a connection if not open /// </summary> private void ensureConnectionOpen() { var retries = 3; if (connection.State == ConnectionState.Open) { return; } while (retries >= 0 && connection.State != ConnectionState.Open) { connection.Open(); retries--; Thread.Sleep(30); } } /// <summary> /// Closes a connection if open /// </summary> private void ensureConnectionClosed() { if (connection.State == ConnectionState.Open) { connection.Close(); } } /// <summary> /// Creates a OracleCommand with the given parameters /// </summary> /// <param name="commandText">The Oracle query to execute</param> /// <param name="parameters">Parameters to pass to the Oracle query</param> /// <returns></returns> private OracleCommand createCommand(string commandText, IEnumerable parameters) { var command = connection.CreateCommand(); command.BindByName = true; command.CommandText = commandText; addParameters(command, parameters); return command; } /// <summary> /// Adds the parameters to a Oracle command /// </summary> /// <param name="command">The Oracle query to execute</param> /// <param name="parameters">Parameters to pass to the Oracle query</param> private static void addParameters(OracleCommand command, IEnumerable parameters) { if (parameters == null) return; foreach (var parameter in parameters) { command.Parameters.Add(parameter); } } /// <summary> /// Helper method to return query a string value /// </summary> /// <param name="commandText">The Oracle query to execute</param> /// <param name="parameters">Parameters to pass to the Oracle query</param> /// <returns>The string value resulting from the query</returns> public string GetStrValue(string commandText, IEnumerable parameters) { var value = QueryValue(commandText, parameters) as string; return value; } public void Dispose() { if (connection == null) return; connection.Dispose(); connection = null; } } }

A Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) című dal az amerikai Chic nevű R&B - diszkó csapat debütáló dala, mely az amerikai slágerlistán a 6. helyig jutott. A csapatnak abban az időben Luther Vandross, mint háttér énekes dolgozott. Az album a Chic című debütáló albumon kapott helyet. A címben szereplő "yowsah, yowsah, yowsah", ami a dal közepén hallható, eredetileg az amerikai jazz-hegedűs és rádiós személyiség, Ben Bernie-től ered, aki az 1920-as években tette népszerűvé a kifejezést. Megjelenések 12" US Atlantic – DK 4600, ATCO Records – DK 4600 A Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) 8:21 B Sao Paulo 4:45 Slágerlista Heti összesítések Külső hivatkozások Hallgasd meg a dalt a YouTubeon Források 1977 kislemezei Chic-kislemezek

ACCEPTED #### According to The Catalogue of Life, 3rd January 2011 #### Published in New Zealand J. Bot. 25:166. 1987 #### Original name Atropis pumila Kirk ### Remarks null

Q: PayPal IPN $_POST['txn_id'] not set I'm using the PayPal sandbox to do a subscribe button and then when I get the IPN response for a subscription or a subscription cancelation $_POST['txn_id'] is never set. So I don't know how to identify transactions to only accept unique ones Thanks! EDIT: for example all the info that I have in POST for a subscr_cancel are : amount1, amount3 , address_status, subscr_date, payer_id, address_street, mc_amount1, mc_amount3, charset, address_zip, first_name, reattempt, address_country_code, address_name, otify_version subscr_id custom payer_status business address_country address_city verify_sign payer_email btn_id last_name address_state receiver_email recurring txn_type item_name mc_currency residence_country test_ipn period1 period3 correlation_id A: According to Table 2. Summary of subscription variables: For subscription variables, the transaction ID (txn_id) is only available for USD Payment and Multi-Currency Payment transaction types (txn_type). As expected, PayPal will not send the txn_id to your IPN for the transaction type, subscr_cancel, and will only send txn_id if the transaction type is subscr_payment. For further explanation on which variables are sent to your IPN URL based on your transaction, please check out IPN and PDT Variables. A: Have you checked $_REQUEST['txn_id'] as this may be sent to your server via GET.

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Biografia Nacque a Faenza il 20 settembre 1830 da una famiglia di umili condizioni. Compì i primi studi presso il Ginnasio, poi presso la Scuola di Disegno sotto la guida dell'incisore G. Marri, dell'architetto Pietro Tomba e del pittore Achille Farina scoprendo la propria inclinazione verso la pittura. Nel 1852 si trasferì a Firenze grazie all'aiuto di benefattori faentini e completò gli studi presso l'Accademia di Belle Arti con l'insegnamento di Antonio Ciseri ed Enrico Pollastrini. Durante questo periodo strinse amicizia con Odoardo Borrani e Luigi Bechi avendo così modo di frequentare il gruppo di macchiaioli che riconobbero le sue capacità. Lo stesso Stefano Ussi nel 1854 lo volle come collaboratore nella stesura dell'abbozzo a chiaroscuro La cacciata del duca d'Atene. A causa nel 1857 della morte del padre, dovette rientrare a Faenza per difficoltà finanziarie, svolgendo svariati lavori. Nel 1864 vinse il concorso della Cattedra di Disegno ornamentale e figurato presso la Scuola di Disegno succedendo a Farina. Con la trasformazione della Scuola di Disegno in Scuola d'Arte e Mestieri, Antonio Berti ne divenne il direttore fino al 1906. Durante questo periodo diede un preciso indirizzo per una formazione rigorosa ai giovani nei quali intuiva il talento, sollecitando il loro interesse ma lasciando allo stesso tempo spazio all'espressione individuale. Alcuni tra i suoi più celebri studenti furono Francesco Rava, Antonio Argnani, Domenico Baccarini, Orazio Toschi; gli scultori Ercole Drei e Domenico Rambelli; i ceramisti Pietro Melandri, Anselmo Bucci, Riccardo Gatti. Lasciata la scuola per l'anzianità, Antonio Berti che aveva da sempre condotto una vita solitaria, si ritirò presso la famiglia A. Mazzotti che lo assistette fino alla morte avvenuta nel 1912 curando inoltre la destinazione delle sue opere alle appropriate raccolte pubbliche. Giudizio critico Il temperamento artistico e la sensibilità del Berti emergono nelle sue rappresentazioni delle nature morte, dei fiori, delle vedute dei busti, ma in modo particolare nei ritratti ad olio. Le sue conoscenze tecniche gli permisero di praticare anche il genere dell'affresco, realizzato all'interno dei soffitti di alcuni palazzi faentini e nell'atrio del Teatro Comunale. Eseguì anche restauri di affreschi nella Cappella della Madonna del popolo in Cattedrale e dell'affresco di Gerolamo da Treviso nella chiesa della Commenda. Dal 1867 Antonio Berti si dedicò alla ceramica lavorando presso la fabbrica Ferniani e realizzando opere con le diverse tecniche: dipinti a sanguigna, ad impasto policromo, a mezza macchia monocroma. La rivalutazione critica del Berti risale a pochi anni fa. Inizialmente i suoi quadri, i suoi disegni furono considerati degli "schizzi" "di qualcosa che avrebbe potuto più ampiamente affermarsi grazie alle risorse di un temperamento pittorico felicemente quotato" (Catal.della mostra…,1926). Solo nel 1955, in occasione della mostra degli artisti romagnoli dell'Ottocento, la critica lo rivalutò riconoscendo nelle sue opere la personalità artistica che servì da formazione a numerosi artisti faentini dei primi decenni del novecento. Opere Faenza, Pinacoteca Comunale:, olio su tela. Faenza, Pinacoteca Comunale:, olio su tela Faenza, Pinacoteca Comunale:, olio su tela. Faenza, Pinacoteca Comunale:, olio su tela. Faenza, Pinacoteca Comunale:, olio su tela. Faenza, Pinacoteca Comunale:, olio su tela. Faenza, Museo del Risorgimento:, olio su tela. Faenza, Museo del Risorgimento:, olio su tela. Note Bibliografia Elio Jacchia, Antonio Berti illustre maestro e geniale artista faentino, in La piè, gennaio 1963, pp.14-15. Marcella Vitali, Bice Montuschi Simboli, Berti Antonio, pittore (20.9.1830 Faenza, † 14.07.1912 Faenza) in Manfrediana. Bollettino della biblioteca comunale di Faenza, XIXX, 1995, n. 1, Faenza, pp. 36-8. Luigi Zauli Naldi, Antonio Berti e la sua opera ceramica, in Faenza. Bollettino del Museo Internazionale delle Ceramiche in Faenza, XLVII, 1960, n. 3, pp. 65-69. Voci correlate Pinacoteca Comunale di Faenza Altri progetti Collegamenti esterni

While Jesus would not be crowned an earthly king, Jesus' entrance into Jerusalem has many parallels to the Messianic expectations of the Hebrew people. Before entering, Jesus requisitions a donkey from its owner. In the ancient world, kings had this right. Yet the animal that Jesus requests is rare -- a colt upon which no one else has sat yet. Yet, it's a donkey. This is no great war-charger, no magnificent animal. Jesus acts with all the authority of an earthly king, yet his kingdom is one of simplicity and peace. As the disciples throw cloaks over the donkey, the crowd spreads theirs on the road. This ancient gesture dates back to the line of kings descended from David. Not only are these physical kingly gestures, but the crowd of followers cries out in jubilation and praise. The Messiah has come to Jerusalem! on the parish website, and at the parish office.

1987 Toyota HJ75 LandCruiser Ute. Fitted with Garret aftermarket turbo Long ranger long range fuel tank (180L capacity)Safari snorkel. High output 80AMP alternator RCV axles and CV's. Dual battery's, second battery an AGM 92A. HSecondary fuel filter Dominator 12000lb winch Front and rear diff breathers BF Goodrich KM2 x5, about 50%Old man emu suspension Saas boost and egt gauges3" exhaust from turbo.

Added on September 15, 2015 by Spencer Wright. Yesterday I went up to visit Rich, Dave, and Cesar at Addaero, and came home with a few new EBM prints. These are an iteration on the parts they printed me a few months back, and should be easier to post-process (and are lighter to boot :).

Farmer Health/Safety Eggs – Breeders Eggs – Layers Meat – Broilers Meat – Turkeys Bird Management Manure Application/Handling Compost Equipment Poultry Jobs Poultry Events Poultry Videos Poultry Producer Home Equipment Marel celebrates 75 years of business in Gainesville Marel celebrates 75 years of business in Gainesville A long history of machine manufacturing On September 26, 2019, Marel celebrated 75 years of operations at its location in Gainesville, Georgia. To mark the occasion, the company celebrated with a luncheon where Georgia Agricultural Commissioner Gary Black and Georgia State Senator Butch Miller along with Executive Management from Marel spoke to the audience. Over 370 people attended the celebration, which opened with remarks by Folkert Bölger and Roger Claessens, both Executive Vice Presidents (EVP) of Marel, who took the opportunity to thank past and present employees for their dedication and hard work carried out in partnership with our customers to transform food processing. Claessens touched on the many innovations that have changed the landscape of the poultry industry. Following that, Commissioner Black addressed the crowd thanking Marel employees for their dedication and charging us to remember the importance we play in Georgia agricultural and helping the family farm on a daily bases. Senator Miller continued the celebration by thanking Marel for the affects we have had on the Gainesville community and poultry industry on a global level. From Gainesville Machine Company to Marel In 1944, Gainesville Machine Company was established as a metal working job shop, specializing in welding fabrication and machining. A major milestone for the company was in 1960 with the development of the first non-reverse defeathering machine. This development allowed processors to increase line speeds from 200 birds per hour to 12,000. By 1973, the company needed more space, so Marel moved operations to the current location at Airport Parkway. In 1975, Stork Acquisitions Corporation acquired the company and in 2008, Marel Food Systems acquired Stork Food Systems. Key facility Today, Gainesville is Marel's key manufacturing facility operating in North America and part of Marel's global supply chain, which spans 13 manufacturing sites in total. There are 380 full-time employees based out of Gainesville who work in a diverse range of functions including specialized and technical manufacturing jobs, marketing and sales, service, engineering, finance and more. Not only do we manufacture advanced food processing solutions, we also store and ship all spare parts orders from this location to our customers in North and South America. The poultry industry remains the largest focus of our business in Gainesville; however, we also manufacture and service equipment for the meat industry. High-tech innovations In the US, Marel is active in poultry, meat, fish and further processing. There are over 800 employees throughout North America and we have operations in four locations: Kansas City, Kansas; Des Moines, Iowa; Gainesville, Georgia and Seattle, Washington. We not only sell new equipment to processors, we also help service equipment and keep it running at the highest standards possible and we also develop new equipment. In the early days, primary processing equipment was designed and developed. More recently, we have expanded our offering to include secondary and further processing solutions. With Georgia being the largest producer of poultry meat in the US, the Gainesville location works with many top poultry processors to continually develop new high-tech innovations that help processors increase yields and efficiency as well as product quality and food safety. Previous articleArkansas co-leads $10 million multi-university grant to transform water use and nutrition in poultry production Next articleWestern Fair Association, PIC Sign Long Term Agreement The omnia px180 ml loader Efficiency and hygienic design Calibrating Poultry Litter Spreading Equipment Poultry Processing Equipment Market Size Expanding with Flourishing Animal Farming Industry Equipment Sponsors USA: Copyright © 2019 Poultryproducer.com . All rights reserved. Translate Web in Your Language »

Interpretive products for your Museum, Nature Centre, Park or Arboretum. Find help with your next great interpretive project in our online catalogue. Click the button below to browse. Contact us for more information, to get an estimate, or to place your order. Download our new catalogue of aluminum and cedar frames, and sign panels here. Page Graphics is your supplier of non-personal interpretive media from print products (like field guides and trailguides) to interactive exhibits and outdoor signage. Browse our online store or contact us for a custom quote on your next job. We are a full service company offering interpretive planning and research through design and fabrication to final installation. Our process is visitor focused - designed with the end user in mind.

Once upon a time Vahine Moea, a young girl of an incomparable beauty lived in the valley of Araau in Raiatea. She met a fisherman called Ariifaite – from Taha'a. They got married and had a girl whom they called Tiaitau. One day Ariifaite heard some good news, a missionary had arrived on the island and he was teaching the alphabet and how to write. Ariifaite hastened to inform his wife who was happy to learn that. They decided to go and live in Opoa, the district where the missionary lived, so that their daughter, who had become a beautiful young girl, could learn the alphabet and writing. Tiaitau followed her lessons and when she became a young woman, she met King Tamatoa and became his lover. Some time later, the King Tamatoa left Raiatea to join King Pomare of Tahiti for the battle of Fei Pi. The King, accompanied by his warriors, left his island and lover. He asked Tiaitau to wait for him at home. However, the young woman told her lover that she felt like she was saying goodbye for the last time and she would never see him again. King Tamatoa tried to reassure her by saying that he was surrounded by his best warriors. Then Tiaitau took a coconut and told him she would go on the Mount Temehani and watch out for his return, and possibly see him leave to Tahiti. On these words, they parted. Then she continued to Vaiumete where she took a bath and quenched her thirst. Then, she looked at the hole of Apoo hihi ura and let herself fall inside to die as her sorrow was so huge and she could not bear to learn the death of her King whom she adored so much.

We came across an interesting observation while designing surge volume calculations in flotools that I thought was worth sharing and inviting comments from the flow assurance community. For those that are not 100% sure what surge volume is exactly, let me first explain. Calculating surge volumes is a routine part of a flow assurance engineer's work. Operational scenarios like slugging, pigging, production ramp-up in multiphase production systems can all result in large volumes of liquids being swept out of the pipeline and into the first vessel on the receiving facility. Often, these liquid surges come in at rates that far exceed the receiving facility's capacity to process liquids. Therefore the vessel, typically a slug catcher, acts as a buffer where the surge of liquid can be collected and processed over time. One of the objectives of performing flow assurance studies is to quantify the maximum surge of liquid that can be seen across various operations in order to size the slug catcher appropriately. The maximum volume that a slug catcher will have to hold for a given operation is called the surge volume. OLGA provides a way to calculate surge volumes whenever at least one of ACCLIQ, ACCOIQ, and ACCWAQ is included in the list of trended outputs. The calculation assumes that the slug catcher is present just downstream of the location where these variables are trended and that the vessel can be drained at a fixed maximum drain rate during the operation. Why were the accumulation variables (ACC*) used instead of the instantaneous rate variables (QL*)? Why is there a operation in equation (2)? OLGA's calculation of surge volume uses the accumulated variables as the basis of the surge volume calculation instead of the instantaneous liquid volume rate variables (QLT, QLTHL, QLTWT). To understand why, let's look at the instantaneous rate form of the surge volume equation. You can see that the average QLT (from ACCLIQ) does not show the flowrate spikes that the QLT variable shows. These spikes, while they probably do occur in a flowing system, typically occur in very short time windows smaller than the output interval of the simulation. The larger the output interval, the worse the assumption. The following chart shows an example of the error in accumulation by comparing the calculated accumulation using the rate variable and subtracting the OLGA calculated ACC variable from it. While the maximum error in this example (~25 barrels) is not significant, the magnitude of the error entirely depends on the nature of the simulation and may be significant in some cases. In our view, OLGA has taken the correct approach and used the accumulated variables as the basis for the surge volume calculation. Equation (2) features a operation. This ensures that the calculated volume in the slug catcher never goes below zero. But what happens when the quantity becomes negative? It is perfectly normal and valid for a numerical simulator to predict negative rates at an outlet boundary. When OLGA predicts negative rates at the outlet of the pipeline, the ACC variable may reduce in value from one time step to the next. When this happens, equation (2) will result in a reduction in the calculated slug catcher volume at a rate faster than the assumed drain rate. Effectively, the calculation does not prevent the possibility that liquid can leave via liquid drain as well as the inlet of the slug catcher. When you look at a schematic of a typical slug catcher, like the one shown below, it becomes apparent that this may not be such a sound assumption. The slug catchers are designed for gravity separation of phases and hence the inlet nozzles are at or near the top of the vessel. Once the liquids go in, they quickly settle to the bottom. Any negative flow is likely to be mostly gas with very little liquid carried as droplets in the gas phase. In equation (7), we added another max function that bounds the quantity , which is the average flow rate into the slug catcher for a given time interval, to zero. If the calculation is being done at the outlet of a pipeline that is connected to a pressure node, set the parameter GASFRACTION to 1.0 in your NODE specification. This will ensure that whenever there is negative flow at the outlet boundary, the negative flow is all gas. That said, we still think equation (7) is a better way to perform the surge volume calculation because it works well regardless of the boundary specification. The plot above shows a comparison of surge volumes calculated according to equations (2) and (7), labeled "OLGA Method" and "Proposed Method" respectively. We can see that filtering out the negative values results in larger surge volumes at lower drain rates. At large enough drain rates, the differences eventually disappear. Given surge volume calculations are performed in order to size the slug catcher, we believe that equation (2) is not conservative and therefore should not be used. Instead, our modified version represented in equation (7), which gives a more conservative estimate of surge volume, should be used. As always, your comments and feedback would be much appreciated.

After one wound up lodged in the airway of a five-year-old boy. Angela Henderson shared the post on the Finlee and Me Facebook page, reminding parents to "cut the damn grapes" after one wound up lodged in the airway of a five-year-old boy. "Attention Parents," the post begins. The grape became lodged in the boy's airway last week and his mother gave Angela permission to share their story. "This sweet soul had to be operated on, under general anaesthetic to remove the grape" the post continues. "He is VERY lucky that part of his airway was open or else this could have ended badly. Since posting, the X-ray has been shared over 25,000 times with many people warning their friends. "As a former paramedic - grapes and hot dogs are the worst for lodging in throats, but anything soft and circular can be deadly. I always encourage anyone I see feeding young kids soft, circular items, to cut the food in half."

Business events are very much beneficial for the growth of every business. It is the fresh and updated way to provide the business with a positive jump in the market where almost every client is present for the promotion of their brands respectively. It was a time when companies use to promote their businesses through TV ads and newspaper headlines were the strongest platform to provide every business a positive jump in the market respectively. Now, the trend has changed and it has adopted all those essential requirements of the modern world which are really very important for the growth of the business respectively. It is very much impressive to provide a positive boost to the entrepreneurs to boost their business related tasks in the market through these types of events. You will definitely get the whole business community in these events. This could be the best chance to make new contacts which are very much important for the growth of every business. This is why business events have gathered much appreciation from the business community and it has successfully provided its better services to provide the best chances to different business holders to meet under the same roof. Here we will discuss some important points which are compulsory for the positive growth of the business respectively. If you are going to organize the event, you need to send an invitation to all of your contacts. Make sure to mention the exact time, date and place in the invitation. Do you have to mention that what type of event you are going to organize? If you are supporting some specific industry, mention in the invitation so interested people may take part in the event respectively. Take much care of the event which you are going to organize for the promotion of the business in the market. Your updated image will worth in the respective event and you have to maintain it nicely in front of the attendees of the event. You have to plan nicely and get prepare for the respective event. It is also very much important to update your knowledge according to the modern tactics and get ready for the question which you will be asked by the attendees. Try to deal with the clients and attendees humbly and also provide useful information according to their query. The main thing which you actually have to follow is to use the useful gadgets in the respective event. Furthermore, you should prefer to use an iPad in the business event which will create an impressive look all over the event. If you need some extra iPad for the business event, you can frequently utilize the iPad hire facility which will provide you a lot more benefits. It will also save much of your amount to get spend on the purchasing of a new iPad respectively. Multiple companies prefer this option to make their events successful and meaningful by all means. Feedback section is the most important part of every company in the business events. Through feedback, a company can get a better idea about the weak sections of their strategies. It will also help them out to get the updated information which is really useful for the company by all means. You can easily maintain the feedback section in the iPad to get know about the customer's review on the following presentation which you have given in the business event. You can get yourself prepare better through quality feedback.

Listed below are County meetings open to the public, unless noted as a closed meeting. Click on a meeting in the calendar below to view more information about that meeting. This calendar and meeting agendas are updated frequently. The County recommends checking back for cancellations and other changes. Also, in some circumstances, meeting times are estimated start times, with meetings beginning after a previous meeting ends. If you have any questions or would like more information about a meeting, please contact County Administration at 507 328-6500.