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Palazzo Abatellis (anche detto Palazzo Patella) è un antico palazzo nobiliare situato a Palermo in via Alloro, arteria principale del quartiere della Kalsa. È sede dal 1954 della Galleria Regionale della Sicilia.

Storia

Il palazzo del 1495, opera di Matteo Carnilivari all'epoca attivo a Palermo in cui attendeva ai lavori di palazzo Ajutamicristo, e splendido esempio d'architettura gotico-catalana, era la residenza di Francesco Abatellis (Patella o Albatelli o Abbatelli, corrotto in Abatellis), maestro Portolano del Regno.

Monastero

Epoca aragonese

Di origini lucchesi l'Abatellis, al servizio di Ferdinando II d'Aragona, fu nominato Prode Capitano indi trasferito a Palermo ove ricoprì la carica di Gran Siniscalco e di Pretore per tre successivi incarichi nel periodo a cavallo il 1486 e il 1495. In città, coi proventi accumulati in terra iberica, edificò un palazzo vicino al convento di Santa Maria degli Angeli detto la Gancia. Vedovo di una nobile spagnola, sposò una cittadina palermitana, ma nessuna delle due consorti diede alla luce un erede, pertanto l'Abatellis, dispose che il palazzo rimanesse alla seconda moglie, e che alla morte di essa, le strutture ospitassero un monastero di donne, transitato dapprima alle religiose di San Girolamo, poscia a quelle di San Domenico, infine nel 1509 intitolato a «Santa Maria della Pietà» e amministrato secondo la regola dell'Ordine benedettino.

Epoca spagnola

Delle disposizioni testamentarie fu disattesa la tipologia dell'ordine atto a governare l'istituzione: infatti il 19 maggio 1526 un gruppo di religiose dell'Ordine domenicano, provenienti dal monastero di Santa Caterina, si trasferì nel palazzo. Furono necessari numerosi adattamenti per renderlo adeguato alle esigenze della vita monastica, e come si può vedere da una pianta pubblicata dal Filippo Meli in Matteo Carnelivari e l'architettura del quattro e cinquecento in Palermo, le diverse ali furono frazionate per realizzare celle e corridoi. All'esterno le finestre furono modificate e furono tolte le colonnine intermedie e, a volte, anche alcuni elementi decorativi. Nel 1553 il palazzo fu denominato monastero del Portolano.

Primitiva chiesa di Santa Maria della Pietà

Per le esigenze della comunità religiosa fu necessaria l'edificazione di una cappella costruita sul lato sinistro del palazzo occultando uno dei prospetti. Questa cappella fu eretta negli anni 1535 - 1541 dall'architetto Antonio Belguardo e prese il nome di chiesa di Santa Maria della Pietà. Il luogo di culto presentava il prospetto rivolto a settentrione e l'altare a mezzogiorno, in un'area adiacente alla porta antica del Palazzo.

Nel XVII secolo con la costruzione di una chiesa più grande (l'odierna chiesa di Santa Maria della Pietà) con ingresso principale su via Butera, la cappella fu abolita e suddivisa in diversi vani, la parte anteriore con l'ingresso su via Alloro fu adibita a parlatorio mentre nella parte retrostante fu realizzata una porta di accesso nel muro dell'abside, tolto l'altare e tramutata in magazzini. Con l'emanazione delle leggi eversive il monastero fu tuttavia mantenuto, in via straordinaria, alle religiose domenicane.

Epoca contemporanea

Durante la notte tra il 16 e il 17 aprile 1943, il palazzo fu colpito durante un bombardamento aereo del secondo conflitto mondiale, evento che determinò il crollo parziale dell'ala sud - occidentale e della parete della torre ovest.

Museo

Finita la guerra si decise di provvedere al suo restauro e di trasformare il palazzo in "Galleria d'Arte per le collezioni d'arte medievale". Prima di questa sede le opere facevano parte della Pinacoteca della Regia Università e, dal 1866 in poi, delle collezioni del museo archeologico regionale «Antonio Salinas».

La Soprintendenza ai Monumenti affidò quindi all'architetto Mario Guiotto e successivamente all'architetto Armando Dillon i lavori di consolidamento e di restauro. Furono tolte le superfetazioni e furono ricostruiti il portico, la loggia e il salone centrale di cui era crollato il soffitto.
Questi lavori furono ultimati a metà 1953 e fu allora chiamato Carlo Scarpa per curare l'allestimento e l'arredamento della Galleria che venne aperta al pubblico il 23 giugno del 1954. Scarpa realizzò anche diversi adattamenti di questi restauri per le necessità dell'allestimento.

Nel 1977 le competenze dei beni culturali passarono alla Regione Siciliana e la Galleria divenne regionale.

Il 4 febbraio 2008 il museo è stato temporaneamente chiuso per effettuare lavori di restauro cofinanziati dal fondo FESR dell'Unione Europea, e il 12 novembre 2009 è stato riaperto. Conservando il lavoro di Scarpa, sono state riviste e create nuove ali (le nuove sale verdi e rosse) ai piani superiori compresa una terrazza sul tetto.

Esterno

Edificio a pianta rettangolare con cortile interno, costruito con pietre d'intaglio e torre angolare, si sviluppa su due livelli raccordato da due scale scoperte che si fronteggiano e da un magnifico loggiato a due ordini con archi a sesto ribassato al piano terra e archi a tutto sesto al piano superiore.

Il portale d'ingresso, sebbene maestoso e lineare, incastonato tra le due torri merlate che spiccano dalla rigorosa costruzione, è delimitato da una cornice in pietra sormontata al centro da stemmi recanti le armi della famiglia Patella - Abatellis. Il prospetto principale al piano nobile è decorato da raffinate trifore. Il cortile originariamente era lavorato in tufo così come l'ingresso e la torre, ad oggi tuttavia il palazzo rimane fortunatamente uno dei palazzi tardo-medievali meglio conservati dell'Italia meridionale e fortunatamente non rimaneggiato in epoca barocca come spesso è avvenuto tra XVII e XVIII secolo, tale stato di conservazione permette di capirne bene le forme e la struttura e di avere un grado di approssimazione minimo per ricostruirne la storia e lo stile

Le sale espositive

Nelle sale della galleria hanno trovato posto le opere provenienti da acquisizioni, donazioni e anche degli incameramenti dei beni degli enti religiosi soppressi nel 1866.

Al piano terra si trovano, fra i tanti manufatti tutti d'altissimo livello qualitativo: le opere lignee ad intaglio del XII secolo e le sculture del Trecento e del Quattrocento fra cui alcune di Antonello Gagini come l'Annunciazione e Ritratto di giovinetto, di Domenico Gagini come la Madonna del latte, le maioliche dipinte a lustro metallico dei secoli XIV e XVII, il Busto di gentildonna di Francesco Laurana (XV secolo) conosciuta come Eleonora d'Aragona, di forme elette e di plastica sodezza e le tavole dipinte di soffitti lignei.

Nella sala II, si trova lo straordinario grande affresco del Trionfo della Morte (databile con ogni probabilità agli anni 1445 e seguenti), proveniente da Palazzo Sclafani è esposto nella ex-cappella con una illuminazione dall'alto di grande impatto visivo. La morte, su un cavallo scheletrico, irrompe in un giardino e semina scompiglio con frecce letali tra giovani gaudenti e nobili donzelle, dopo aver seminato le gerarchie terrene, laici e religiosi, papi e imperatori, i cui corpi ormai giacciono esanimi, risparmiando quasi per beffa il gruppo di miserabili e derelitti che pure la invoca.

Al primo piano l'opera di maggior rilievo è, senza dubbio, lAnnunziata di Antonello da Messina (XV secolo). Opera di assolutezza formale, considerata un'autentica "icona" del rinascimento italiano, è collocata nella sala X conosciuta come sala dell'Antonello. La Vergine è colta nell'istante supremo dell'Annunciazione (l'angelo le sta di fronte ma è invisibile). Il gesto della mano, il trapezio del manto, la politezza delle forme e lo sguardo magnetico, esaltano la figura restituendole una astratta bellezza. Nella stessa sala, a fianco ad essa sono collocate altre opere di Antonello: le tavole con le immagini di tre Dottori della Chiesa che costituivano le cuspidi di un polittico andato disperso.

Prima di accedere alla sala dedicata ad Antonello, nel percorso espositivo del piano nobile della Galleria Regionale si possono ammirare l'"Ultima Cena" del pittore catalano Jaume Serra, il "Salone delle croci", dove trovano posto la croce dipinta da Pietro Ruzzolone e quella del Maestro di Galatina e la collezione della pinacoteca di provenienza per la maggior parte da chiese e dai conventi della città, con opere quali la Madonna dell'Umiltà di Bartolomeo Camulio (sala VII) lIncoronazione della Vergine di Riccardo Quartararo (sala XI) e i dipinti cinquecenteschi di Antonello Crescenzio.

La Sala XIII accoglie una serie pregevolissima di dipinti fiamminghi databili fra il XV e XVI secolo, la perla della raccolta è sicuramente il Trittico Malvagna di Jan Gossaert. Si tratta di un'opera miniaturista dove sono rappresentate una Madonna col bambino tra angeli, Santa Caterina d'Alessandria e Santa Dorotea, mentre sul retro del pannello si trova lo stemma della famiglia dei Lanza. Altro capolavoro della sala fiamminga è la Deposizione di Jan Provost.

Nelle ultime sale (XV, XVI e XVII) di questo piano sono esposti dipinti di Vincenzo da Pavia, Jacopo Palma il vecchio, le tele a carattere mitologico quali Andromeda liberata da Perseo del Cavalier d'Arpino e Venere ed Adone di Francesco Albani e le opere più significative del Manierismo di marca Michelangiolesca, con dipinti di Giorgio Vasari (La caduta della manna, in due parti), Girolamo Muziano e Marco Pino.

I nuovi spazi museali (sala verde e sala rossa) si snodano su due piani, presentano una significativa raccolta del tardo manierismo siciliano, della pittura seicentesca e del realismo. La sala verde illustra opere del tardo manierismo di impronta controriformista, attraverso la produzione di artisti siciliani attivi a cavallo fra il cinquecento e il seicento: Giuseppe d'Alvino, Gaspare Bazzano e Pietro D'Asaro. Fra le altre opere più significative vanno citate San Francesco e lEstasi di Santa Caterina di Filippo Paladini.

A concludere il percorso espositivo della sala verde, un capolavoro dell'oreficeria Palermitana del '600, la Sfera d'Oro, grande ostensorio in oro, argento dorato, smalti e diamanti, proveniente dalla Casa dei padri Filippini all'Olivella.

Nella sala rossa, al termine del percorso museale, assume grande rilevanza la componente Caravaggesca, con il francese Simon Vouet autore di Sant'Agata in carcere visitata da san Pietro, e con Amore dormiente del napoletano Battistello Caracciolo, ma anche una buona copia di ignoto, autore della Cena in Emmaus del Caravaggio, versione National Gallery di Londra.

Le opere principali di questa sala sono le tele di Antoon van Dyck: "Santa Rosalia incoronata dagli angeli", la "Madonna col bambino" e il "Compianto" a lui attribuito. Il pittore fiammingo che trovandosi a Palermo nei giorni terribili della pestilenza del 1624, propose una nuova iconografia e sicuramente influenzò nei decenni successivi l'opera di Pietro Novelli di cui citiamo i pregevolissimi Mosè, lI ncoronazione di San Casimiro, San Pietro liberato dal carcere e la splendida pala d'altare denominata Comunione di Santa Maria Maddalena.

A seguire nella stessa sala, gli sviluppi della cultura figurativa del Seicento, fra le opere più importanti annoveriamo: tra gli stranieri, le tele del fiammingo Mathias Stomer e dello spagnolo Josepe Ribera detto lo "Spagnoletto", mentre fra gli italiani tele di rara bellezza sono La Maddalena di Andrea Vaccaro, il Tormento di Tycius di Cesare Fracanzano. La chiusura del percorso espositivo, è dedicata alla linea più marcatamente barocca che si dipana attraverso i dipinti di Mattia Preti, Agostino Scilla e Luca Giordano.

Galleria d'immagini

Opere principali

Annunziata, Antonello da Messina
Sant'Agostino, Antonello da Messina
San Gregorio Magno, Antonello da Messina
San Girolamo, Antonello da Messina
Trionfo della morte , autore ignoto, conosciuto come il maestro del trionfo della morte
Madonna col Bambino tra i santi Vito e Castrense, autore ignoto
Madonna col Bambino e san Giovannino, Agnolo Bronzino
Annunciazione, Pietro Novelli
Madonna delle Grazie con i santi Rosalia e Giovanni Battista, Pietro Novelli
Comunione di santa Maria Maddalena, Pietro Novelli
Mosè, Pietro Novelli
Incoronazione di San Casimiro, Pietro Novelli
San Pietro liberato dal carcere, Pietro Novelli
Busto di gentildonna detto di Eleonora d'Aragona, scultura di Francesco Laurana
Sant'Andrea, Girolamo Muziano
Trasfigurazione, Marco Pino
Incoronazione della Vergine, Riccardo Quartararo
Assunta fra i Cherubini ed angeli musicanti, Antonello Crescenzio
Santa Rosalia incoronata dagli angeli, Antoon van Dyck
Madonna con il Bambino, copia attribuita ad Antoon van Dyck
Madonna del Rosario, Antoon van Dyck
Cristo e la cananea, dono di Francesco I, Mattia Preti
Cristo e l'adultera, Mattia Preti
I quattro evangelisti, Mattia Preti
Ratto di Deianira, Luca Giordano
Strage degli Innocenti, olio su tela, cm 198 x 264, Luca Giordano
San Paolo Eremita, Jusepe Ribera
Sant'Agostino che sfoglia un libro, Jusepe Ribera
Madonna del latte, scultura di Domenico Gagini
Madonna coL Bambino, scultura di Antonello Gagini
Annunciazione, gruppo scultoreo di Antonello Gagini
Sant'Agata visitata in carcere da San Pietro, Simon Vouet
Ultima Cena, Jaume Serra
Deposizione, Jan Provoost
Madonna dell'umiltà, Bartolomeo Camulio
Trittico Malvagna, Jan Gossaert, conosciuto anche come Mabuse
Il tormento di Tycius, Cesare Fracanzano
Compianto del Cristo morto, Vincenzo degli Azani detto Vincenzo da Pavia
Fuga in Egitto, Vincenzo degli Azani detto Vincenzo da Pavia
Madonna del riposo, scultura di Antonello Gagini
Maddalena, Andrea Vaccaro
Andromeda liberata da Perseo, Giuseppe Cesari detto Cavalier d'Arpino
Uomo che soffia su un tizzone, Matthias Stomer
San Francesco, Filippo Paladini
Estasi di santa Caterina, Filippo Paladini
San Michele Arcangelo, Filippo Paladini
Venere ed Adone, Francesco Albani
Trinità, Vito D'Anna

Altre opere

 XVII secolo, Giacomo Serpotta, ritratto, olio su tela, opera realizzata da Gaspare Serenari.
 Pietro D'Asaro
 1609, Natività di Gesù con Santa Chiara, San Francesco d'Assisi e San Giovanni Battista, opera documentata per la chiesa di San Vito di Chiusa Sclafani oggi nei depositi.
 1611, Ultima Cena, opera proveniente dal convento di Santa Maria di Gesù.
 1613c., Adorazione dei Magi, due bozzetti di pale d'altare, di ottima fattura.
 XVII secolo, San Francesco abbraccia il Crocifisso.
 XVII secolo, Orfeo suona il violino.
 XVII secolo, Maddalena penitente, tavoletta firmata, opera proveniente dal convento dell'Ordine dei frati minori cappuccini di Castronovo di Sicilia, custodita nei depositi.
 XVII secolo, Lapidazione di Santo Stefano, tavoletta firmata, custodita nei depositi.
 Il Paradiso terrestre, olio su tela, cm. 139 x 190, Leandro Bassano.
 La Madonna consegna a San Bonaventura il Gonfalone del Santo Sepolcro o Madonna della Vittoria, olio su tela, cm. 101,5 x 76, Francesco Solimena.
 Festa del Bucintoro, olio su tela, cm 143 x 216, Joseph Heintz il Giovane.
 XV secolo, Polittico di Corleone raffigurante lIncoronazione di Maria Vergine ritratta tra San Michele Arcangelo, San Giovanni Battista, San Giovanni Evangelista, San Leoluca, la Trasfigurazione, Santa Maria Maddalena, Angelo Annunciante, Maria Vergine Annunciata, Santa Lucia, Cristo in pietà e apostoli, Santi. Opera proveniente dalla sacrestia della chiesa del monastero del Santissimo Salvatore di Corleone.

Modelli e disegni

 1699, Carità, Bozzetto in terracotta, opera di Giacomo Serpotta.
 1711 - 1718, Disegno dell'oculo della controfacciata della chiesa di Sant'Agostino, matita nera, penna e inchiostro bruni, acquarello grigio su carta bianca ingiallita, opera di Giacomo Serpotta.
 1713 - 1719, Putti insieme di tre gruppi, manufatti in stucco, opere provenienti dall'Oratorio di Santa Maria delle Grazie al Ponticello di Giacomo Serpotta.
 1729, Disegno raffigurante il portale interno della chiesa di San Matteo al Cassaro, matita nera, inchiostro bruno e acquarello grigio su carta bianca ingiallita, opera attribuita a Francesco Ferrigno e Giacomo Serpotta.
 1730c., Il battesimo di Costantino, penna e inchiostro bruno su carta bianca, documentato nell'Oratorio dei Santi Elena e Costantino, opera realizzata da Guglielmo Borremans.
 XVII secolo fine, Mensola, bozzetto con raffigurazioni di Satiri, terracotta, opera di Giacomo Serpotta.
 XVII secolo fine, Disegno di cornice, penna e inchiostro bruni su carta bianca ingiallita, opera di Giacomo Serpotta.
 XVIII secolo inizio, Disegno raffigurante un arco di cappella, matita nera, penna e inchiostro bruni, acquarello grigio su carta bianca ingiallita, opera di Giacomo Serpotta.
 1677, Frontespizio in Galeriae farnesianae icones Romae Io Iacobus de Rubeis formis Romae, opera di Pietro Aquila.
 1685 - 1686, Rebecca al pozzo, olio su tela, opera di Pietro Aquila.
 1685 - 1686, Giacobbe inganna il padre Isacco, olio su tela, opera Pietro Aquila.
 1692, Alzato dell'altare della Cappella di San Fausto per la chiesa della Natività di Nostra Signora a Mejorada del Campo, penna e inchiostro bruno, inchiostro bruno, acquerellature colorate, matita nera, opera realizzata con la collaborazione di Giacomo Amato e di Pietro Aquila.
 1687, Prospetto del fronte a mare della chiesa di San Mattia e noviziato dei Padri Crociferi, penna e inchiostro bruno su tracce di matita nera, acquerellature in toni di grigio, fori di compasso, opera di Giacomo Amato.
 1689, Prospetto definitivo della facciata della chiesa di Santa Maria della Pietà, matita nera e acquerellature in toni di bruno, fori di compasso, opera di Giacomo Amato.
 1692 - 1728, Progetto della nuova facciata del palazzo Branciforte nella strada di San Nicolò alla Kalsa, matita nera, inchiostro bruno, acquerellature in toni di grigio, fori di compasso, opera di Giacomo Amato.
 1698, Alzato di porta laterale della chiesa di Santa Maria della Pietà, penna e inchiostro bruno, acquerellature in toni di grigio, matita nera, fori di compasso, opera di Giacomo Amato.
 1704c., Prospetto di loggia nel cortile di palazzo Tarallo, matita nera, penna e acquerellature in toni di bruno, fori di compasso, opera di Giacomo Amato.
 1704c., Prospetto delle logge nel cortile di palazzo Tarallo, matita nera, penna e acquerellature in toni di bruno, fori di compasso, opera di Giacomo Amato.
 1714 ante, Prospetto della nuova facciata del palazzo Spaccaforno, matita nera, acquerellature in toni di grigio, fori di compasso, opera di Giacomo Amato.
 XVIII secolo inizi, Studio per cornice, penna e inchiostro bruno, acquarellature brune e gialle, su matita nera, fori di compasso, opera di Giacomo Amato e bottega.
 XVII secolo fine, Santa Rosalia in veste d'Aurora sparge fiori su Palermo, tempera nera a pennello, acquerellature a toni grigio/bruni, matita nera, opera di Antonio Grano.
 XVIII secolo inizi, Studio di decorazione con aquila, delfini, tritoni e telamoni, penna e inchiostro bruno, acquerello grigio e azzurro su carta bianca, opera di Antonio Grano.
 XVIII secolo inizi, Allegoria della Pace, penna e acquerello bruno e grigio su carta bianca ingiallita, opera di Antonio Grano.
 XVII secolo fine, Disegno di ostensorio per un apparato delle Quarantore, matita nera, inchiostro bruno e acquerellature in toni di bruno, opera frutto della collaborazione di Paolo Amato e Antonio Grano.
 XVII secolo fine, Disegno di credenza di sacrestia per un monastero, inchiostro bruno su tracce di matita nera, acquerellature in toni di grigio e di amaranto su carta bianca fine, opera frutto della collaborazione di Paolo Amato e Antonio Grano.
 1687, Apparato per il Santissimo Sacramento nell'oratorio delle Anime Derelitte nel chiostro di San Domenico, penna e inchiostro bruno, acquerellature colorate su tracce di matita nera, fori di compasso, opera opera frutto della collaborazione di Giacomo Amato e Antonio Grano.
 1689, Disegno per l'incisione raffigurante il Gioco di Fuoco celebrato a Palermo in onore del matrimonio di Carlo II d'Asburgo e Maria Anna di Neuburg, commissionato dal duca di Uzeda, matita nera, penna e inchiostro bruno, fori di compasso, opera opera frutto della collaborazione di Giacomo Amato e Antonio Grano.
 1692 ante, Disegno per reliquiario di Santa Rosalia, inchiostro e acquerello bruno su carta bianca, opera opera frutto della collaborazione di Giacomo Amato e Antonio Grano.
 1693c., Disegno raffigurante l'altare del Santissimo Sacramento nell'Oratorio della Compagnia della Carità di San Bartolomeo degli Incurabili, penna e inchiostro bruni, acquarello grigio su matita nera su carta bianca ingiallita, opera frutto della collaborazione di Giacomo Amato e Antonio Grano.
 1701, attribuzione, Alzato del catafalco per le esequie del Re Carlo II di Spagna eretto a Palermo, matita nera, acquarellature in toni di grigio, fori di compasso, opera opera frutto della collaborazione di Giacomo Amato e Antonio Grano.

Note

Bibliografia

Sull'edificio
Meli F., Matteo Carnilivari e l'architettura del quattro e cinquecento in Palermo, Fratelli Palombi Editori, Roma 1958
Morello P., Palazzo Abatellis. Il maragna del maestro Portulano da Matteo Carnilivari a Carlo Scarpa, Grafiche Vianello, Ponzano/Treviso 1989
Sergio Polano, Carlo Scarpa: Palazzo Abatellis, Electa, Milano, 1989
Andrea Sciascia, Architettura contemporanea a Palermo, L'Epos, Palermo, 1998, pp. 35–42
Matteo Iannello, Glenda Scolaro, Palermo. Guida all'architettura del '900, Palermo, 2009
Lucia Pierro e Marco Scarpinato, "Palazzo Abatellis", in "Il Giornale dell'Architettura", dicembre 2009
 Gioacchino Barbera (a cura di), 1954-2014: Sessanta anni della Galleria e delle sue collezioni a Palazzo Abatellis, Magika, Messina 2015

Sulle opere esposte
Gioacchino Barbera, Evelina De Castro (a cura di), Prima idea. Bozzetti e modelli del Settecento e del primo Ottocento dalle collezioni di Palazzo Abatellis, Edizioni Caracol, 2015
Conny Catalano, Agata, Oliva, Cristina e Ninfa. Le sante patrone di Palermo nei dipinti della Galleria Regionale di Palazzo Abatellis, Edizioni Kalós, 2015
Salvatore Lentini, Il giallo dell'Annunziata. Antonello seppe mai di averla dipinta?, Edizioni Leima, 2015, ISBN 978-88-98395-35-4

Voci correlate
 Monumenti di Palermo
 Musei di Palermo

Altri progetti

Collegamenti esterni

Architetture gotiche di Palermo
Carlo Scarpa
Abatellis
Musei di Palermo
Pinacoteche della Sicilia

redpajama_set_name: RedPajamaWikipedia


As we know I hate snow it just keeps on coming. We got at least 4 more inches on top of the 6-9 inches of ice that formed because the weekend temp was in the negative numbers. The pot holes in some areas are so huge, I almost expect to have my tire stuck in some Chinese's family's living room!
-Gators freak me out, I know you should run in a zig zag fashion but that would require me to run but on the pro side it will get me in shape...the running that is not the gators.
-I have no patience driving behind a person who has their turn signal blinking for over 3 blocks.
Don't forget, when it's inhumanly hot out your brain begins to sizzle. That's why they eat things down south like grits and crawdads.
Here's a con. The warmer the weather, the bigger the bugs. Ugh!
The idea of crawdads make me ill.


As I write this article it has been exactly 48 days since I got home from my one-year trip around Central America. I'm lying here, on my bed, with a million thoughts running through my mind.
I did none of the above. It turned out to be a horrible week. One of the worst. My mind was turned off. I was cheerless. I didn't want to talk to anybody. I wandered aimlessly back and forth through the 7th Avenue in Bogotá, passing by churches and buildings which didn't have any meaning to me. I was waiting for something to happen. Like a miracle. Guess what, it didn't happen. My life's not a movie. I only had to accept my fate, and it had a name: flight LH543.
So like a cow calmly heading towards the slaughterhouse, I boarded the plane. I wasn't actually sad, I just didn't realize what was happening. Or rather I pretended it wasn't happening. My brain was on autopilot the whole journey home. No thoughts, no feelings, nothing. The autopilot guided me through gates and signs, until I saw my family.
That's when it struck me. I was home. And I started to have feelings again. It was happiness. My family, my house, my friends, my dog, they were all there. At the same place, doing the same thing, looking the same way, just like in my imagination when I felt homesick while traveling. It felt home, it felt easy.
But then, suddenly, it felt terrifying. I mean, I still loved my family, my house, my friends, my dog. But I didn't fit anymore. Home felt small and sort of unrelatable. Whenever someone asked me about my trip, I had this flame in me that I couldn't express to anyone. I wanted them to know about the thousand feelings and thoughts I experienced during the trip, but I couldn't; I tried, but words made the stories seem lame. And it frustrated me.
After some days the hugs were hugged, the stories were shared, the beers were drunk. I wondered what was next. I noticed I had the same little habits as before the trip, I was going to the same bars, I was sitting in the same position on my couch, I was discussing the same old topics with my friends because they didn't want to hear how I hitched a boat across the Caribbean sea. I was back to routine.
And again, it felt terrifying. Terrifying how easily I got back to routine. The "normal life" absorbed me in less than a week. I was back to exactly the spot I left. I wasn't the traveling Amaury anymore. I became the normal Amaury once again. My year of life-changing experiences, my new lifestyle, my plan to learn macramé and juggling, all these ideas seemed like past. Like a memory. Like a dream. 2 months ago it was my life, my everything, and I believed in it; today, it all seems so far and insignificant.
And this is really depressing.
I began to ask questions, to question who I am. Filling my LinkedIn profile for job finding seemed so useless some months ago, but then it sounds like a great idea as soon as I got back. One month I am a diehard party animal, the next night clubs bore me and I have no idea why. Yesterday the traveling Amaury with his unconventional ideas was totally convincing; today the normal Amaury's arguments seem wiser. Which one is the true Amaury anyway?
Questions like these pop up 24 hours a day. And the result is that I'm entering into a form of subtle, long-term meditation. Permanent questions, non-existent answers. I can only accept whatever is happening to my life, because I don't know. I don't know if I like Eastern European culture. I don't know if my career path is the best for me or not. I don't know if I really miss my friends or I like the idea of missing my friends.
That's why at some point, I just stopped asking questions. I started letting it be.
Cover photo credits go to Pedro Ribeiro Simões.


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Call our Snow Phone at 269.244.8016 or visit our Web site at www.SkiSwissValley.com for more information and the latest conditions.


The Profiling Counters provide information about bus activity over a much longer time span than the AHBMONITOR[32:29] port. Each counter is 32 bits wide and records the number of occurrences of a particular event, since a software or hardware reset. The count values can be read back through the AHB slave interface. Control registers can be written to the AHB interface to enable, disable, reset the counters, and in some cases, modify the manner in which they count. The counters are used for statistical profiling of software and system setups, for example the number of cache line fills and/or evictions during a particular algorithm. This permits some assessment of how well the bus fabric is managing competition for slave bandwidth.
As each monitor layer registers the target bus signals to minimize the loading effects, the control and configuration of the counters is required to be synchronized to match the pipelined effect. This ensures that the activity monitored coincides with the correct configuration settings. The best example to explain this synchronization is the write to reset the counters; the write that caused the reset does not cause the respective profile counters to increment, but any transfers directly after do.
The profiling counters of each layer are accessed through an AHB slave port. They are only connected to the ARM-D and EXPansion bus layers at a base address of 0x101D0000. The control and configuration registers for the profiling counter are also accessible through this base address. Each register in the AHB monitor is word aligned.
The enabling and clearing of the profiling counters is synchronized to the registered operation of the associated layers to ensure that the data collected is correct.
for the DMA peripheral layer (DMA0) the transfers to each of the built-in slaves are counted independently as an easy means of determining which component was using the most DMA bandwidth.
There are counters to help determine the mean latency experienced by each bus master in the form of wait states. Latency caused by bus infrastructure or arbitration is typically seen only on the first transfer of a burst. By differentiating between the two causes of wait states for nonsequential transfers, and knowing the number of bursts, you get an indication of the stalling effect of the bus infrastructure.
no increments occur with any other response.
It stops the current burst by issuing a bus idle and enters an error state that issues an interrupt signal. Once the interrupt is cleared the controller begins the frame again.
Halts the current burst then halts further bus activity and optionally raises an interrupt.
Passes errors back to the source master.
The burst transaction is always completed before an ABORT exception is raised. Following the completion of the ABORT exception handler, the ARM executes a specific instruction to execute the instruction that caused the data abort.
If it occurs on a SWAP instruction, the write is always attempted. For all other cases the BUI, always completes the burst transaction before raising an ABORT exception. Following the completion of the ABORT exception handler the ARM executes a specific instruction to execute the instruction that caused the data abort.
Similarly to the AHB layers, statistical information is also collected for the GXI, such as number of complete read and write transfers and stall trends.
The ARM926EJ-S ARM-I BIU performs only a small subset of AHB transfer types. It performs no writes at all. All reads are word-sized, even when not in ARM state. For example, two half-word Thumb instructions are fetched by one word transfer. It performs only burst types SINGLE, INCR4, WRAP8 (I-cache line fills).There are no BUSY transfers on this layer.
Table 4.6 shows all the events that are recorded on the ARM-I layer. These counters are enabled through the counter enable bit in the AHBMONCtrlReg register and are further controlled by the DBGACK and when the track DBGACK is asserted. The track DBGACK, when set, disables the counters during cycles that the DBGACK is asserted. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
the unspecified length bursts are used to implement single transfers by the CLCDC.
There are no BUSY transfers on this layer, because the FIFO in this particular implementation is synthesized from flip-flops rather than using a compiled RAM block. However, the RTL does contain busy activity that could affect other configurations.
Table 4.7 shows all the events that are recorded on the CLCDC layer. These counters are enabled through the counter enable bit in the AHBMONCtrlReg register. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
The PrimeCell PL080 DMAC BIU can perform all active AHB transfer types, that is, reads and writes of size 8, 16, and 32-bits. It performs only burst types INCR, INCR4, INCR8, and INCR16. DMA master number 0 is used to access the three DMA-capable peripherals within the ARM926PXP development chip (UART, SCI, SSP) or external slaves accessed through the off-chip bridges.
Table 4.8 shows all the events that are recorded on the DMA-0 layer. These counters are enabled through the counter enable bit in the AHBMONCtrlReg. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
The PrimeCell PL080 DMAC BIU can perform all active AHB transfer types, that is, reads and writes of size 8, 16, and 32-bits. It performs only burst types INCR, INCR4, INCR8, and INCR16. DMA master number 1 is used to access memory either through the memory controllers within the ARM926PXP development chip (SMC, MPMC) or external slaves accessed through the off-chip bridges.
Table 4.9 shows all the events that are recorded on the DMA-1 layer. These counters are enabled through the counter enable bit in the AHBMONCtrlReg register. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
The expansion layer is connected to an AHB-AHB bridge to enable external AHB components to be interfaced to the ARM926PXP development chip. The AHB-AHB bridge passes all AHB signals between AHB domains, with exception of SPLIT and RETRY responses, which are substituted with stall-cycles with the response signals.
The ARM926EJ-S ARM-D BIU can perform all active AHB transfer types, that is reads and writes of size 8-, 16- and 32-bits. It performs only burst types SING, INCR, INCR4, INCR8, WRAP8 (Rd). Normal data transfers, cache operations and page table walks can be differentiated by using a combination of transfer direction, burst type and protection signal values.
There are no BUSY transfers on this layer.
Table 4.11 shows all the events that are recorded on the ARM-D layer. These counters are enabled through the counter enable bit in the AHBMONCtrlReg register (see AHBMONCtrlReg) and are further controlled by the DBGACK and when the track DBGACK is asserted. The track DBGACK, when set, disables the counters during cycles that the DBGACK is asserted. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
CtArmdLineFill Number of D-cache linefills, that is, CtArmdRdBurstWrap8 - number of 8-word wrapping read bursts.
CtArmdCastOut8 Number of full line cache writebacks, that is, CtArmdWrBurstIncr8ProtCBPD - number of 8-word incrementing write bursts with particular HPROT.
CtArmdPageWalkD Number of read transfers for D-side page table walks, that is, CtArmdRdBurstSingProtCBPD - number of single word reads with particular HPROT.
CtArmdPageWalkI Number of read transfers for I-side page table walk reads ,that is, CtArmdRdBurstSingProtCBPI - number of single word reads with particular HPROT.
The MBX connects to the MPMC through a dedicated interconnect. The connection performs single unit read and write transfers over logically disjoint data buses. Further details of the interconnect are contained with the MBX TRM.
Table 4.12 shows all the events that are recorded on the MBX GXI bus. These counters are enabled through the counter enable bit in the AHBMONCtrlReg. All counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.
CtGxiWr Number of completed write transfers.
CtGxiRd Number of completed read requests.
CtGxiWrAddrWait Number of wait cycles suffered by write requests.
CtGxiRdAddrWait Number of wait cycles suffered by read requests.
CtGxiRdDataWait Number of wait cycles suffered by pending read transfers.
CtGxiRdAWaitThresholdHit Number of occurrences that a read request wait-state exceeded a configurable threshold, not a count of how many messages suffer the threshold latency.
CtGxiRdDWaitThresholdHit Number of occurrences that a read transfer wait-state exceeded a configurable threshold.
CtGxiWrAWaitThresholdHit Number of occurrences that a write wait-state exceeded a configurable threshold.
CtGxiPageChange Number of times the transfer crossed a page boundary. The page boundary size can be configured to 2k, 4k, 8k or 16k.
GxiPageSize Defines the page size that the CtGxiPageChange counter uses to monitor page boundary changes. 2'b00 = 2k, 2'b01 = 4k, 2'b10 = 8k, & 2'b11 = 16k.
Table 4.13 presents three additional counters included to enable the further evaluation of the system based on the number of cycles elapsed dependent on certain operating conditions. With exception of the CtTotalCycles, these counters are enabled through the counter enable bit in the AHBMONCtrlReg register (see AHBMONCtrlReg). The CtTotalCyclesNonDebug counter is controlled also by the DBGACK and when the track DBGACK is asserted. The track DBGACK, when set, disables the counter during cycles that the DBGACK is asserted. The latter two counters can be reset by writing to the AHBMONRstCntrs register, and preset to their absolute address by writing to the AHBMONPrstCntrs register.


Our "What To Expect" page contains what you can expect to see and experience at our church pertaining to our order and form of public worship. We lovingly encourage and invite you to visit us and "come and see"!
Click here to navigate to our "What To Expect" page.
Our "Articles of Faith" page contains our basic and foundational statements of belief, pertaining to both doctrine and practice, that define and identify us as a true New Testament Church of the Lord Jesus Christ. We believe these are the essential points of doctrine and practice that determine true worship of the Lord and fellowship with one another.
Click here to navigate to our "Articles of Faith" page.
The "Questions & Answers" page is under construction and coming soon!
We hope to have this page up very soon!


text:
MLS LIVE & MLS Direct Kick Return For 2018
March 2, 201811:45AM EST
MLS Communications
Follow@ mls_pr
Fans will have free streaming access to all MLS LIVE games
until MLS LIVE moves to ESPN+ later this spring
NEW YORK (March 2, 2018) – Ahead of the 23rd season of Major League Soccer, which kicks off tomorrow, Saturday, March 3, MLS has announced details for watching out-of-market games for 2018.
MLS LIVE, MLS' direct-to-consumer streaming service, and MLS Direct Kick, MLS' cable and satellite out-of-market package, will return for 2018. These services are the perfect companion to every MLS fan's pay TV subscription, providing access to hundreds of live out-of-market, regionally televised matches not available through a local TV subscription package.
MLS fans in the U.S. will enjoy free access to MLS out-of-market streaming games via MLS LIVE until the launch this spring of ESPN+, the direct-to-consumer streaming product from ESPN and BAMTECH Media. Following the spring launch, MLS LIVE will be available to fans exclusively on ESPN+ as part of the $4.99 monthly subscription.
During the free access period prior to the launch of ESPN+, MLS LIVE is available for fans at LIVE.MLSsoccer.com and on the MLS Mobile App, Apple TV and Roku and will provide fans the opportunity to stream up to eight (8) out-of-market matches each week.
In addition, MLS Direct Kick is back for 2018 and is available for $89.00 on DIRECTV and iN DEMAND.
For more information, go to www.directv.com/sports or www.indemand.com or contact your local cable provider.
In Canada, MLS LIVE is moving to the DAZN platform. More details can be found at www.dazn.com.
On MLS LIVE and MLS Direct Kick platforms all nationally-televised matches are blacked out. Local broadcast blackout policies also apply.
Media Resources: Press Releases & TWIM

redpajama_set_name: RedPajamaCommonCrawl


I can give all the accounts for nCore invite.
Right now only donators can send invites, so i guess it would be hard to find one.
Added SCC account with mail.Buffer 100GB.This only for invite.
Last edited by marcius8LL; 09-02-2011 at 11:51 AM.


We started our journey back in 1999 when visiting some friends in sunny Bahrain. We were both seduced by the place and just felt that after running restaurants in Canada we could give it a go and try opening one here. It was a big move but the adventure seemed so exciting!
A few months later we landed back here with one luggage each and a book full of our own tried and tested recipes. We set our hopes on a small spot on Budaiya highway and worked morning to night to set-up our business. The success was immediate and most of our early customers still visit regularly. In June 2011 our restaurant was completely demolished by an accidental fire, the blow was hard. As you probably know, we decided to rebuild and we are now in Saar, in Nakheel Center and we are very proud of our brand new restaurant.
We added a delivery service that allows you bring Luigi's home. Buon appetito!


text:
Q: How to transpose background image Is there a way to transpose a background image with CSS? (By "transpose" I mean that every pixel x,y in the source image ends up as pixel y,x in the background.)
Example
Source image:

Transposed image:

A: The result image can in fact be achieved after scaling it around Y axis with factor of -1 and then applying rotate transform of -90deg. Try this:
div.transposed {
  -webkit-transform-origin:left top;
  -webkit-transform:scaleY(-1) rotate3d(0,0,1,-90deg);
}

Demo
Note that we have to rotate -90deg instead of 90deg because we use scaleY before, it will turn the positive direction of Y axis from top-to-bottom (downwards) to bottom-to-top (upwards). In fact scaleY(-1) is equal to rotateX(180deg), in 3D, that means the positive direction of Z axis will be inverted (instead of outwards from screen, it will be inwards to the screen), hence the rotating angle should be -90deg instead of 90deg as we might think.
Please test the demo on webkit-based browsers.

A: If I understand your question you want to rotate the image 90 degrees. pixels along x become pixels along y. In CSS3 this is a transform.
#myParentElement
{
    -webkit-transform: rotate(90deg) scaleX(-1) /* updated to add flip */;
    -ms-transform: rotate(90deg) scaleX(-1);
    transform: rotate(90deg) scaleX(-1);
    filter: FlipH;
    -ms-filter: "FlipH";
}

to do this to a background image you would need to apply the CSS transform to the parent of the element that has the background image. Apply another transform to the element so that its contents are not transformed.
#myParentElement
{
    -webkit-transform: rotate(90deg) scaleX(-1);
    -ms-transform: rotate(90deg) scaleX(-1);
    transform: rotate(90deg) scaleX(-1);
    filter: FlipH;
    -ms-filter: "FlipH";
}
#myElement
{
    -webkit-transform: rotate(-90deg) scaleX(-1);
    -ms-transform: rotate(-90deg) scaleX(-1);
    transform: rotate(-90deg);
    filter: FlipH;
    -ms-filter: "FlipH";
}

A: If by "transpose" you mean this, it's similar with "rotate 270 deg and reflect vertically" or "rotate 90 deg and reflect horizontally".
There you can find full solution to "rotate background" problem: http://thewebthought.blogspot.com/2013/04/css-rotate-background-images.html
After rotating you can reflect image by transform:scaleY(-1) or transform:scaleX(-1).

A: use this code to rotate the background 90 degrees on an element without affecting the element itself:
#myelement {
  height: 164px;
  overflow: hidden;
  position: relative;
  width: 79px;
}
#myelement:before {
  background: url("http://i.stack.imgur.com/gMRiV.png") no-repeat;
  content: "";
  height: 79px;
  left: -42px;
  position: absolute;
  top: 42px;
    -webkit-transform: rotate(90deg);
    -moz-transform: rotate(90deg);
    -ms-transform: rotate(90deg);
    -o-transform: rotate(90deg);
    transform: rotate(90deg);
  width: 164px;
  z-index: -1;
}

and the html code:

test

example:
http://jsfiddle.net/fs4Dz/

redpajama_set_name: RedPajamaStackExchange


Maumelle offers apartment renters a chance to enjoy a small town in a beautiful setting. Known locally as the "New Home Town Coming True," the area offers extensive bike trails and picnic areas. Specialty shopping is available in a number of malls in the area, including Pleasant Ridge Town Center. With Little Rock not far away from the neighborhood, the conveniences of a big city are easily within reach. You can also enjoy spending weekends at Lake Willastein.
Although settlers were present in the area as early as the 1700s, the town was officially formed as part of a state legislative effort to create new communities in the 1970s. Today, the area has approximately 17,000 residents.
If you are going to rent property in the area with your family, you will appreciate the comforts and attractions that a small town can offer. Children will be delighted to visit the Dowell Naylor Aquatic Center for a fun day of sliding and swimming. Energetic children will also enjoy playing soccer at the Rolling Oaks Soccer Complex or riding the carousel at the nearby Little Rock Zoo.
You will also likely be impressed with the amenities at the Maumelle Country Club. In this small town, your neighborhood will be close to the Little Rock River Market, which offers live music, local artists and a farmers' market. If you want to explore the history of the area, you will enjoy a visit to the Arkansas Governor's Mansion and the neighboring museums.
While most Maumelle apartment renters use their own cars for transportation, public transit is available in Little Rock. You can take a trolley or a bus during your adventures exploring Little Rock neighborhoods.
If you would like to pursue a college education while renting an apartment in the area, you will have plenty of options to choose from. Maumelle residents are in close proximity to the University of Central Arkansas, Hendrix College and the University of Arkansas at Little Rock. The University of Arkansas for Medical Sciences is also nearby, and the campus offers several health care programs.
Customer service centers provide employment opportunities to those who rent or own homes in Maumelle. Top employers include Ace Hardware Retail Support Center, Cintas Corporation and Dillard's Internet Fulfillment Center. Customer service, health care and government services are the major employment sectors in the immediate area, and many apartment renters work in the same industries in Little Rock.


Program License Agreement YOU SHOULD CAREFULLY READ THE FOLLOWING TERMS AND CONDITIONS BEFORE YOU USE THIS SOFTWARE. IF YOU DO NOT AGREE WITH THEM, YOU SHOULD PROMPTLY RETURN THE PACKAGE OR IN THE CASE OF SHAREWARE SOFTWARE DESTROY ALL COPIES OF THE SOFTWARE. Cambridge Computer provides this program and licenses its use in the United States and Puerto Rico. You assume responsibility for the selection of the program to achieve your intended results, and for the installation, use and results obtained from the program. LICENSE You may: a. use the program on a single machine: b. copy the program into machine readable or printed form for backup or modification purposes in support of your use of the program on the single machine. c. modify the program and/or merge it into another program for your use on the single machine (Any portion of this program merged into another program will continue to be subject to the terms and conditions of this Agreement.): and. d. transfer the program and license to another party if the other party agrees to accept the terms and conditions of this Agreement. If you transfer the program, you must at the same time either transfer all copies whether in printed or machine-readable form to the same party or destroy any copies not transferred: this includes all modifications and portions of the program contained or merged into other programs. You must reproduce and include the copyright notice on any copy, modification or portion merged into another program. YOU MAY NOT USE, COPY, MODIFY OR TRANSFER THE PROGRAM OR ANY COPY, MODIFICATION OR MERGED PORTION, IN WHOLE OR IN PART, EXCEPT AS EXPRESSLY PROVIDED FOR IN THIS LICENSE. IF YOU TRANSFER POSSESSION OF ANY COPY MODIFICATION OR MERGED PORTION OF THE PROGRAM TO ANOTHER PARTY, YOUR LICENSE IS AUTOMATICALLY TERMINATED. TERM The license if effective until terminated. You may terminate it at any other time by destroying the program together with all copies, modifications and merged portions in any form. It will also terminate upon conditions set forth elsewhere in this Agreement or if you fail to comply with any term or condition of this Agreement. You agree upon such termination to destroy the program together with all copies, modifications and merged portions in any form. LIMITED WARRANTY THE PROGRAM IS PROVIDED "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANT ABILITY AND FITNESS FOR A PARTICULAR PURPOSE. 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LIMITATIONS OF REMEDIES Cambridge Computer's entire liability and your exclusive remedy shall be: 1. the replacement of any diskette not meeting Cambridge Computer's "Limited Warranty" and which is returned to Cambridge Computer or an authorized dealer with a copy of your receipt. or 2. if Cambridge Computer or the dealer is unable to deliver a replacement diskette which is free of defects in materials or workmanship, you may terminate this Agreement by returning the program and your money will be refunded. IN NO EVENT WILL CAMBRIDGE COMPUTER BE LIABLE TO YOU FOR ANY DAMAGES, INCLUDING LOST PROFITS, LOST SAVINGS OR OTHER INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE SUCH PROGRAM EVEN IF CAMBRIDGE COMPUTER OR AN AUTHORIZED DEALER HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES, OR FOR ANY CLAIM BY ANY OTHER PARTY. SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSIVE OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE LIMITATION OR EXCLUSIVE MAY NOT APPLY TO YOU. RESTRICTED RIGHTS This computer software and documentation are provided with RESTRICTED RIGHTS. Use, duplications or disclosure by the Government is subject to restrictions as set forth in the governing Rights in Technical Data and Computer Software clause - subdivision (b) (3) (B) of DAR 7-104.9 (a) (May 1981) or subdivision (b) (3) (ii) of DOD FAR Supp 252.227-7013 (May 1981). GENERAL You may not sublicense, assign or transfer the license or the program except as expressly provided in this Agreement. Any attempt otherwise to sublicense, assign or transfer any of the rights, duties or obligations hereunder is void. Should you have any questions concerning the Agreement, contact Cambridge Computer, Mount Carmel, CT. YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS. YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE STATEMENT OF THE AGREEMENT BETWEEN US WHICH SUPERSEDES ANY PROPOSAL OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN US RELATING TO THE SUBJECT MATTER OF THIS AGREEMENT.


David and Brody Ingram were in a spaceship since they had been separated from Rockybado and their other friends. Their plan was to go back to Texamilio to reunite with them. This spaceship took off from Benjamilio and flew to random places. An automated voice boomed out of nowhere.


text:
Q: Find matching predicate and using iterable.tryFind return the element from the list in java I have a list and I want an element from the list which matches a predicate. I am finding an element from the list which matches the first predicate, if the first predicate does not return true, it matches with the second predicate.
Here is an example:
Case1:
result = iterable.tryFind(List, Predicates.or(predicate1, predicate2)).orNull();

The issue with this piece of code is it finds the first element which matches any of those predicates. Even if the second element in the list is matching the first predicate, which in my case should be given higher priority.In this case, I am expecting the result here as a second element, but getting first element (as it is the first element which is matching one of those predicates).
Case2:
result = iterable.tryFind(List, Predicates.and(predicate1, predicate2)).orNull();

This will obviously not work, if the first predicate returns false.
Case 3:
result = iterable.tryFind(List, predicate1).orNull();

if(result == null)
result = iterable.tryFind(List, predicate2).orNull();

This will work for me, but it looks messy and defeats the purpose of functional programming.
Is there any other way to fetch an element from a list that will work for my scenario ?

A: You can use Optional.or instead of Predicate.or to get what you want:
result = Iterables.tryFind(list, predicate1)
         .or(Iterables.tryFind(list, predicate2))
         .orNull();


Boddhi Satva Comes Through With A New Wave Called Don't You ForDownload Featuring Zano.
The legendary artiste Boddhi Satva who is affectionately known as the father of Ancestral Soul has grown to become an icon on the continent of Africa and across the world himself. The Central African Republic-born DJ/Producer releases a new song which he titled Don't ForDownload featuring Zano.


text:
The Billboard charts tabulate the relative weekly popularity of songs and albums in the United States and elsewhere.  The results are published in Billboard magazine. Billboard biz, the online extension of the Billboard charts, provides additional weekly charts, as well as year-end charts.  The two most important charts are the Billboard Hot 100 for songs and Billboard 200 for albums, and other charts may be dedicated to a specific genre such as R&B, country, or rock, or they may cover all genres. The charts can be ranked according to sales, streams, or airplay, and for main song charts such as the Hot 100 song chart, all three data are used to compile the charts.  For the Billboard 200 album chart, streams and track sales are included in addition to album sales.

The weekly sales and streams charts are monitored on a Friday-to-Thursday cycle since July 2015; previously it was on a Monday-to-Sunday cycle.  Radio airplay song charts, however, follow the Monday-to-Sunday cycle (previously Wednesday-to-Tuesday). The charts are released each Tuesday with an issue date the following Saturday.

History
The first chart published by Billboard was "Last Week's Ten Best Sellers Among The Popular Songs", a list of best-selling sheet music, in July 1913. Other early charts listed popular song performances in theatres and recitals in different cities. In 1928, "Popular Numbers Featured by Famous Singers and Leaders" appeared, which added radio performances to in-person performances. On January 4, 1936, Billboard magazine published its first pop chart based on record sales. Titled "Ten Best Records for Week Ending", it listed the 10 top-selling records of three leading record companies as reported by the companies themselves. In March 1937, the "Songs with the Most Radio Plugs" chart debuted with data from a separate company. In October 1938, a review list "The Week's Best Records" was retitled "The Billboard Record Buying Guide" by incorporating airplay and sheet music sales, which would eventually become the first trade survey of record popularity.

In the July 27, 1940, issue, the first "Billboard Music Popularity Chart" was published for week ending July 20, with separate listings covering retail sales, sheet music sales, jukebox song selection and radio play. Among the lists were the 10 songs of the "Best Selling Retail Records", which is the fore-runner of today's pop chart, with "I'll Never Smile Again" by Tommy Dorsey its first number one.  The final accolade of a successful song was a position on the "Honor Roll of Hits", introduced in  March 24, 1945, initially as a 10-song list, later expanded to 30 songs, which ranked the most popular songs by combining record and sheet sales, disk jockey, and jukebox performances as determined by Billboard's weekly nationwide survey. This chart amalgamated different records of the same song by different performers as one, and topping the first chart was "Ac-Cent-Tchu-Ate the Positive".  In 1955, a composite standing chart that combined retail sales, jukebox and disk jockeys play charts but counted individual record separately was created as "The Top 100" chart, with "Love Is a Many-Splendored Thing" by The Four Aces its first No. 1. This chart is the direct predecessor to the current Hot 100 chart.  The jukebox chart ceased publication after the June 17, 1957, issue, the disk jockey chart after July 28, 1958, the best-seller chart after October 13, 1958, and the Honor Roll of Hits after  November 16, 1963. After July 28, 1958, the composite chart the "Top 100" chart was also discontinued; and  the "Hot 100" began the following week on August 4, 1958, listing "Poor Little Fool" by Ricky Nelson as its first No. 1. The Hot 100 currently combines singles sales, radio airplay, digital downloads, and streaming activity (including data from YouTube and other video sites). Many Billboard charts use this basic formula apart from charts dedicated to the three data sources: sales (both physical and digital), airplay and streaming.

Billboard also publishes various music genre charts. "Harlem Hit Parade" was created in 1943 which became "Best-Selling Race Records" in 1948 and "Best-selling Rhythm & Blues Records" in 1949, and then "Soul Singles" in 1969 (currently Hot R&B/Hip-Hop Songs). "Best-selling Folk Records" was published in 1948, and this morphed into "Best-Selling Country & Western Records" in 1949, "Best-Selling C&W Records" in 1956 and "Hot Country Singles" in 1963 (now Hot Country Songs). MOR charts has been published since 1961, variously called "Easy Listening", "Middle-Road Singles" and "Pop-Standard Singles" and now Adult Contemporary. Billboard charts now cover these music genres: rock, pop, country, dance, bluegrass, jazz, classical, R&B, rap, electronic,  Latin, Christian, world and holiday music, and even ringtones for mobile (cell) phones.

An album chart, the "Best Selling Popular Record Albums", was first published on March 24, 1945, with The King Cole Trio its first No. 1. The first chart had 10 albums, before reducing to 5 in the following weeks, and increasing again to 10 in 1948. The album chart was split into 33-8 and 45 rpm lists in 1950 before they recombined in 1954, then divided into mono and stereo classifications in 1959 before they merged into a 150-item pop album chart in 1963. It was eventually expanded into a 200 album list on May 13, 1967. Various genre album charts were also published: Country LP chart in January 1964, R&B chart in 1965, jazz in 1969, Latin in 1973, Gospel 1974, and Rock in 1981. Other charts include Classical albums, Comedy Albums, Holiday Albums, Soundtracks, Independent Albums, Catalog Album and many others besides.

At the end of each year, Billboard tallies the results of all of its charts, and the results are published in a year-end issue and heard on year-end editions of its American Top 40 and American Country Countdown radio broadcasts. The first such annual charts released were for the year 1946, published on the January 4, 1947, issue, although annual listing of songs had been published irregularly some years prior, such as the undifferentiated annual chart based on "Honor Roll of Hits" for 1945. Between 1991 and 2006, the top single/album/artist(s) in each of those charts was/were awarded in the form of the annual Billboard Music Awards, which were held in December until the awards went dormant in 2007. The awards returned in May 2011.

Chart compilation methodology
For many years, a song had to be commercially available as a single to be considered for any of the Billboard charts. At the time, instead of using Nielsen SoundScan or Nielsen Broadcast Data Systems (BDS), Billboard obtained its data from manual reports filled out by radio stations and stores. For different musical genres, which stations and stores are used separates the charts; each musical genre has a core audience or retail group. Each genre's department at Billboard is headed up by a chart manager, who makes these determinations. According to the 50th-anniversary issue of Billboard, prior to the official implementation of SoundScan tracking in November 1991, many radio stations and retail stores removed songs from their manual reports after the associated record labels stopped promoting a particular single. Thus, songs fell quickly after peaking and had shorter chart lives.  In 1990, the country singles chart was the first chart to use SoundScan and BDS. They were followed by the Hot 100 and the R&B chart in 1991. Today, all of the Billboard charts use this technology.

Before September 1995, singles were allowed to chart in the week they first went on sale based on airplay points alone. The policy was changed in September 1995, to only allow a single to debut after a full week of sales on combined sales and airplay points. This allowed several tracks to debut at number one.

In December 1998, the policy was further modified to allow tracks to chart on the basis of airplay alone without a commercial release.  This change was made to reflect the changing realities of the music business. Previous to this, several substantial radio and MTV hits had not appeared on the Billboard chart at all, because many major labels chose not to release them as standalone singles, hoping their unavailability would spur greater album sales. Not offering a popular song to the public as a single was unheard of before the 1970s. The genres that suffered most at the time were those that increasingly impacted pop culture, including new genres such as trip hop and grunge. Among the many pre-1999 songs that had ended up in this Hot 100 limbo were The Cardigans' "Lovefool", Natalie Imbruglia's "Torn" (which peaked at 42), Goo Goo Dolls' "Iris" (which hit number 9), OMC's "How Bizarre", Sugar Ray's "Fly", and No Doubt's "Don't Speak".

On June 25, 2015, Billboard made changes in its chart requirements. The official street date for all new album releases was moved from Tuesday to Friday in the United States.  For all sales-based charts (ranking both albums and tracks), Billboard and Nielsen changed the chart reporting period to cover the first seven days of an album's release. As a result of the changes, The Billboard 200, top albums sales, genre-based albums, digital songs, genre-based downloads, streaming songs, and genre-focused streaming surveys ran on a Friday-to-Thursday cycle.  Radio Songs, which informs the Hot 100, synced to the Monday-to-Sunday period after formerly covering Wednesday to Tuesday. All other radio charts and genre tallies followed the Monday-to-Sunday cycle. The move was made to coincide with the IFPI's move to have all singles and albums released globally on Fridays.

Incorporation of digital platforms
Starting on February 12, 2005, Billboard changed its methodology to include paid digital downloads from digital music retailers such as Rhapsody, AmazonMP3, and iTunes. This change also allowed songs to chart with or without the help of radio airplay. This meant that a song did not need radio airplay to be eligible to chart on the Billboard Hot 100. With this policy change, a song could chart based on digital downloads alone.

On July 31, 2007, Billboard changed its methodology for the Hot 100 chart to include digital streams. The digital information at the time was obtained from Yahoo and AOL's streaming platforms. This change was made exclusively to the Billboard Hot 100 chart. The effect of this chart change was minuscule at the time because it was estimated to account for 5% of the chart's total points.

In October 2012, Billboard significantly changed the methodology for their country, rock, Latin, and rap charts, when it incorporated sales of digital downloads and streaming plays into what had been airplay-only charts. Another change was that rather than measuring airplay only from radio stations of the particular genre, the new methodology measures airplay from all radio formats. This methodology was extended to their Christian and gospel charts in late 2013. These methodology changes resulted in higher positions on the genre charts for songs with crossover appeal to other genres and radio formats (especially pop) at the expense of songs that appeal almost exclusively to core fans of the given genre, which was controversial with those devotees.

On February 20, 2013, Billboard announced another change in the methodology for its charts that incorporated YouTube video streaming data into the determination of ranking positions on streaming charts. The incorporation of YouTube streaming data enhanced a formula that includes on-demand audio streaming and online radio streaming. The YouTube video streams that used in this methodology are official video streams, Vevo on YouTube streams, and user-generated clips that use authorized audio. Billboard said this change was made to further reflect the divergent platforms of music consumption in today's world.

Songs

All-genre

Adult/Pop

Christian

Country

Dance/Electronic

Holiday

Internet charts

Jazz

Latin

R&B/Hip-Hop

Rock/Alternative

World music

International charts

Canadian charts

Other international charts

Albums

Video

Discontinued charts

Notes

Other charts
In December 2010, Billboard announced a new chart titled Social 50, which ranks the most active artists on the world's leading social networking sites. The Social 50 chart tallies artists' popularity using their weekly additions of friends/fans/followers, along with weekly artist page views and weekly song plays on Myspace, YouTube, Facebook, Twitter and iLike.

In January 2011, Billboard introduced another chart called Uncharted, which lists new and developing artists, who are yet to appear on any major Billboard chart, "...regardless of their country of origin." The ranking is based on the views and fans on social networking websites like Myspace and Facebook. It has since been discontinued.

In May 2014, after the Korea K-Pop Hot 100 chart was discontinued in the U.S., the Billboard K-Town column continued to provide chart information for K-pop artists on all Billboard charts.

The Artist 100 debuted in July 2014.

In June 2019, Billboard launched the Top Songwriters Chart and the Top Producers Chart, based on weekly activity on the Hot 100 and other "Hot" genre charts.

In October 2021, Billboard launched the Hot Trending Songs charts, utilising real-time music-related trends and conversations on Twitter.

See also
Official Singles Chart
List of record charts

Further reading
 Durkee, Rob. "American Top 40: The Countdown of the Century." Schriner Books, New York City, 1999.
 Battistini, Pete. "American Top 40 with Casey Kasem The 1970s." Authorhouse.com, January 31, 2005.

References

External links
Billboard popular charts (subscription only except Hot 100, Billboard 200 and Artist 100)
Billboard complete artist/chart search (subscription only)
Billboard current boxscore (lists one week only)
Billboard charts archive  (archive of number ones for select charts)

Billboard charts


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Tourism-Needy Greece Eager to See EU's COVID-19 Lockdown Lift Plan
AP People enjoy a beach of Kavouri suburb, southwest of Athens, on Sunday, May 10, 2020. Greece has begun gradually lifting its restrictive measures after a 42-day lockdown to stop the spread of the coronavirus. Due to the COVID-19 all bars and restaurants in Greece are still closed. (AP Photo/Yorgos Karahalis) coronavirus;COVID-19
Desperately needing tourism in the wake of the COVID-19 Coronavirus pandemic, Greece is awaiting the anticipated May 13 release of a plan by the European Union to allow travel within the 27-member bloc.
Greece had already requested a lifting of restrictions "where possible" so that travel could resume by June 15, when hotels in the country are set to reopen and hopes are that tourists will come in bigger numbers in July.
The New Democracy government has assured visitors that hotels and other areas will be safe and that businesses will have to meet strict hygiene protocols and meet social distancing requirements to keep people apart.
Greece also recommended that travelers be tested in their countries at least 72 hours before departure and be able to prove they don't have the virus before they get on plans although it wasn't said how those driving into the country would be checked.
Greek officials said tests could be lifted for travelers from member-states which have "demonstrated clear and persistent evidence" that the pandemic is under control, such as Greece, which held down the numbers of cases and deaths with an early lockdown.
Greece said tourism needs to restart but in a way that avoids any "nationality bias" in travel protocols, said Kathimerini.
Uniform travel requirements should also include air travelers and staff to wear masks and Greece said all means of transport by road, air, train or sea must restart at the same time and with proportionate protocols.
The European Commission is reportedly expected to propose the complete lifting of restrictions between member-states where the pandemic has been brought under control, which would aid Greece especially.
According to a draft cited by Politico, restrictions and border controls may be phased out across Europe if epidemiological data across the bloc continue to be positive and as long as there's no resurgence of the virus.
Travel within the European Union may be permitted subject to health checks of individuals wishing to travel, and the lifting of restrictions may first be permitted "for certain forms of transport and for certain types of tourist activity," the report said.
Part of the Commission's plan for a controlled launch of the tourist season also entails an interactive map that will record epidemiological data regarding tourist destinations, health infrastructure and security measures taken in restaurants and hotels.
Greek Public Debt at 357.295 Billion Euros in Q3 2021
ATHENS - Greek public debt totaled 357,295 billion euros at the end of the third quarter of 2021, from 337,666 billion in the corresponding period in 2020, Hellenic Statistical Authority said on Friday.
Hospitality Enterprises' Turnover Up 166.9% in November 2021
Turkey's Central Bank Ends String of Interest Rate Cuts


text:
Apple iPhone 7 full, in-depth review: Value depend...
Apple iPhone 7 full, in-depth review: Value depends on your relationship with Apple
Innovative smartphone but with issues
@NickRossTech
Jet Black version is epic
Solidly-built
Compatible with Apple ecosystem and accessories
Taptic feedback is nice touch
Few stand-out features
Larger 7 Plus is better value
No VR strategy
It's a decent phone that's very well made but represents poor value in the phone market on its own. However, buyer's relationships with Apple and its ecosystem will dramatically affect value.
$ 1,079.00 (AUD)
It's iPhone time again and whether you're a fan or not the whole tech industry gets a lift and the general, less-techie populace gets a lesson on the latest technology.
Having reviewed almost a different phone a week for the past few months, we've been looking forward to seeing which features are genuinely great and innovative and which ones are marketing spin for what's been on the market for ages already.
So far, the most exciting technology comes from Apple's partner products that sit adjacent to the iPhone itself: the new Apple Watch Series 2 and the wireless AirPod earbuds, both of which we'll be reviewing soon. The former elevates itself above every smartwatch and fitness tracker on the market by a long way and though we were sceptical about the AirPods, our brief time with them showed us enough to be amazed at the technology behind. What they're like to live with is another story that we'll cover when we get them.
[Related:
Google Pixel XL full, in-depth smartphone review: The new best Android phone
Google Daydream VR full, in-depth review]
This is all relevant because you can only access these "accessories" by buying into the Apple ecosystem with one of its expensive phones and that's incredibly relevant when you're reviewing a $1000-plus smartphone that has a small, 4.7-inch screen. If none of these accessories existed and neither did Apple's software, I'd tell you right now to go out and buy a Samsung Galaxy S7 or a Huawei P9 and spend the hundreds of dollars left over on something else nice.
So in reviewing an iPhone we're looking at more than just a phone. If the phone is all you care about then paying this much is just silly. Check out our Android phone reviews. For everyone that's left, here we go…
4.7in, 750 x 1,334, 326ppi LCD display; 32/128/256,2GB RAM; Apple A10 Fusion chipset with quad-core CPU and Hexa-core GPU, 12/7-megapixel cameras, Fingerprint reader, NFC (Apple Pay only), 1,960mAh battery, iOS10, IP67 dust and water resistant, NanoSIM, 137 x 67 x 7mm, 138g. Full specs here.
Handling and design
Read more Top 10 best Android and Apple smartphones for under $600
The iPhone 7 is carved out of a solid chunk of high-quality aluminium and as such is incredibly tough and rigid. We're not going to try bending it but we'd be stunned if it did. It comes in many flowery colours (gold, silver, rose gold and black) but for a bunch of reasons we suggest hanging out for the Jet Black variant.
When you're paying a premium for a device, you want it to feel special and the Jet Black version delivers that in spades. It doesn't just look different to virtually everything else on the market, it costs the same and feels different. There are visual similarities to Samsung's very-pretty Galaxy Note 7 with it's glossy black finish. But whereas the Note 7 was finished in an incredibly-slippery and potentially-brittle glass, Apple has gone absolutely bonkers in how it's achieved its finish which isn't just very glossy but sticks to your fingers like Spiderman (ok that's an exaggeration, but here's a picture).
The Jet Black version is both the glossiest and stickiest phone we've seen. Looks great. Feels great. Very solid. Fingerprint magnet.
The process for achieving this finish involves a ridonculously-elaborate multi-stage anodising, polishing and painting process. There's an impressive video of it here which we've set to start at a minute in so you don't have to listen to legendary designer, Sir Jony Ive, go Full-Apple and risk you losing all respect for him. We suspect multi-coloured variants of this finish will adorn future iPhones but for now it's all Henry Ford.
Read more Moto X Force review: Leading features from a mid-range phone
The phone is slightly thinner than the previous iPhone 6 and should be comfortable to hold even for those with very small hands. We felt confident in using it without using a case.
In terms of speed, the only real delay to app launches and comes from Apple's snazzy, screen-wipe animations. We've seen faster opening times elsewhere but with less eye candy. The new A10 chipset is very fast and powers everything along neatly including the latest, graphics-intensive games.
The new stereo speakers get very loud and crisp for both conference calls and music. Here's a quick speaker comparison with the Google Pixel XL.
Read more Samsung Galaxy S7 Edge Review
Apple doesn't disclose which glass the screen uses but assures us that it's tougher than ever. It's LCD-based which will disappoint some people: despite Apple assuring us that it gets 25 per cent brighter than ever before and has a full cinema colour gamut, it's not particularly different to the LCD screens we've seen on many other mid-range phones. Samsung's OLED screens and even the OLED screen on the $599 Alcatel Idol 4S are noticeably more vibrant.
The resolution of 750 x 1,334 is rather low but caused few issues on a screen this small, it's some way below Samsung's 1,440 x 2,560 on the 5.1-inch S7 though. The pixel density of 326 pixels per inch isn't the highest but we only really noticed a screen-door effect when using a VR headset. All in all, it's a decent screen for most people but we expect more from a top-end phone.
With thinness comes a small 1,960mAh battery. While Apple's software is impressive at getting the most out of it and has all kinds of stats on how long it lasts, we comfortably got a full 24 hours out of it but no more. That included a substantial amount of internet browsing plus a bit of navigation, photography and Pokemon Go.
Read more: Sony Xperia X Performance review: Sony's most disappointing product in years
Your mileage will vary.
The case of the button and the missing headphone jack
The button is now a false button but in a good way. The haptic feedback afforded by the "Taptic Engine" we've known from the Apple Watch is now a feature and we like it. When scrolling through settings you get a very-real analogue clicking feel that whizzes fast when the dial is fast and slows down in time with what you're seeing on the screen. In games that make use of it you get a nice feel of when you, say, launch a rocket and later when it explodes.
The amount of travel is less than a regular button which is an immediate boon as it's easier to press from all angles - especially for double clicking. You can also tailor the amount of feedback from low through medium to soft depending on your preference. We've experienced similar in other phones which use their vibrate feature (and also from the $399 Moto G4 Plus which uses a more Taptic-like system but to a lesser degree) but this is much more refined. The rate of tapping is more precise and controllable and the potential is for the phone to communicate with you intricately via tapping. There's no killer app for this yet, but we see the potential and we like it. But there's a price to pay. A big one.
Read more Alcatel Idol 4S review: King of the mid-range?
The cost of a thinner phone and the Taptic feedback is the loss of the standard 3.5mm headphone jack. You get an adapter in the box, but four days in and we're not sure where ours went . The included earbuds use the lightning jack but you may not like them and you can't charge the phone while listening to them without spending yet more money on an adaptor. It's an unusual design compromise from Apple and the level of annoyance will vary depending on your own use.
The button is also used as a fingerprint reader and it's (thankfully) noticeably quicker than the previous generation of iPhones. However, unlocking is not instantaneous as we see elsewhere with the likes of the Huawei P9. It's not too tortuous but it could be faster.
One of the most important facets of any smartphone is the camera and the standard within the market is very high. The 12-megapixel rear camera now has Optical Image Stabilisation and this immediately pays off with video which can be captured at 4K (2160p at 30 frames per second). Video taken while walking is among the smoothest we've seen. Ducking into a dark room saw a smooth transition into low-light graininess that was impressively-detailed. It struggled when light areas, dark areas and motion were present all at once with some image tearing and processing wobbles but overall it was very usable and audio was good too.
Read more Apple Maps tunnel navigation can be dangerous
Indoors in moderate low-light, human subjects can take on a slight cartoon-like effect with a lack of sharpness caused by significant image smoothing. But exposure is good.
In decent light, detail can be impressive and exposure is generally very natural.
Exterior shots tend to be very well exposed most of the time thanks to the automatic HDR feature.
The selfie camera isn't the sharpest we've seen but it's perfectly usable for most people.
Read more Review: HP Elite x3 Windows phone
The rear camera isn't the highest resolution but it's still a reasonable performer. There's nothing to make it really stand out from the crowd in general use but it's low-light performance is worth commenting on. It's noticeably better than previous iPhones but not at Samsung's level. Moderately-lit indoor shots showed off some patchy image enhancement aberrations which made things look a smidge unnatural but we'd rather that than just extreme grain or darkness.
It's not the quickest to focus and shoot and we missed more shots than we've got used to with recent cameras but all in all the output was good (with neutral colours) if not head-turning.
Next: Other features, price and conclusion
Read more on these topics: smartphones, Apple, phone, ios, mobile phones, smartphone, iPhone, Phones, iPhone 7
Emoji are getting more inclusive on your iPhone and Android phone—even if you're a vampire


Every board in the Arbor line is built with an ultra thin protective top foil made using 30% caster bean based bio-plastic. This top sheet protects the board from damage caused by loose bindings, out-of-control skiers, or other unforeseen impacts. Its natural glossy nature also eliminates the need for environmentally harmful clear coats.


text:
package newrelic

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)

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// Server ID, optionally filtering by MetricsOptions.
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			"servers/%d/metrics.json",
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// GetServerMetricData will return all metric data for a particular Server and
// slice of metric names, optionally filtered by MetricDataOptions.
func (c *Client) GetServerMetricData(id int, names []string, options *MetricDataOptions) (*MetricDataResponse, error) {
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redpajama_set_name: RedPajamaGithub


Kolkata: Good news for employees of State government aided organization In Bengal. Mamata Banerjee government has taken a decision to extend service benefits of govt aided bodies staffs on yesterday.
A budgetary allocation is likely to be made in the state budget which will hold on 24th June. Government aided bodies means transport corporation, civic bodies and three tyre panchayat bodies. They will also get the pension like govt staffs.


FAYETTEVILLE (KFSM) — A section of Rupple Road will shut down Monday and Tuesday nights (Oct. 29 and 30) in Fayetteville.
Rupple Road between Best Friend Lane and West Mount Comfort Road will be closed to all traffic from 7 p.m. Monday night until 6 a.m. Tuesday morning. It will close again Tuesday at 7 p.m. and reopen at 6 a.m. Wednesday.
The road is being closed so water utility work can be conducted. part of that section of Rupple Road is being rerouted to connect to an existing stoplight and the section of Rupple Road on the north side of Mount Comfort Road.
The project is part of the Rupple Road Improvement Project that aims to make the road into a north-south corridor on the western side of the city.


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	</select>


text:
All posts by Dilkush Khan
Most talked about single
FRANK OCEAN MAKES THE TRACK Every once in a while, a song will take over the radio, Spotify, and Youtube and become the biggest new hit. This year, that track was "Slide" by Calvin Harris, featuring Frank Ocean and Migos. The single, released in February
Dec 06, 2017 by Dilkush Khan in Best/Worst
Cringiest beauty trends
WAVY EYEBROWS AND NOSE HAIR EXTENSIONS As a new year begins, people start experimenting with style in ways that haven't been done before, or bring back crazes from the past. From "revolutionary" fashion choices to the color of the year, 2017 was no exception to
Most effective hashtag
#METOO SPARKS AN ONGOING MOVEMENT This year has been quite the tumultuous year; with Donald Trump as president, several domestic and oversea terrorist attacks occurring, and natural disasters that have devastated so many lives, it seems like nothing good came out of this year. 2017
The Little Prince finds itself on campus
THE BELOVED TALE PERFORMED AT THE KING CENTER The Little Prince is a beloved French tale about a pilot who's stranded in the desert after his plane crashes, and he meets a young prince, whom he later befriends. While the pilot tries to fix his
Nov 29, 2017 by Dilkush Khan in What to Do
Nirvana Polonyi is the model student
FROM PUBLICATIONS TO THE CLASSROOM CU Denver student Nirvana Polonyi, who is occupied by school and work, may seem like she is like the rest of the student body. However, Polonyi is a part time model, and has been featured in online and print publications
Nov 01, 2017 by Dilkush Khan in CU Personality
Dua Lipa | New Rules: Music Video Review
By now, many have seen the thumbnail for Dua Lipa's music video, "New Rules," filmed by Henry Schofield in Miami's Confidante Hotel. During the video, Lipa learns to heal from a negative relationship by surrounding herself with her group of girlfriends. Lipa, who's been vocal
Oct 25, 2017 by Dilkush Khan in Music Review
Max DeVincenzo addresses mental illness in new album
MUSICIAN HOPES TO REACH LARGER AUDIENCES Max DeVincenzo was having the time of his life in Boston, Massachusetts, studying Film Scoring at the Berklee College of Music, a prestigious University with an impressive list of alums such as John Mayer and Ben Mckee. Everything was
Oct 25, 2017 by Dilkush Khan in Noise Feature
Gun control in the US
POLICIES SURROUNDING GUNS UNLIKELY TO CHANGE After the largest mass shooting took place in Las Vegas on Oct. 1, gun control, and lack thereof, has come back as a major topic of discussion. People are worried, more and more are Americans venting their frustrations over
Oct 25, 2017 by Dilkush Khan in News
Elitch's annual Fright Fest fun for all
THRILLS AND CHILLS FOR ALL AGES At the beginning of every October, the Halloween season begins to musk the air. People start seeking out different thrills and pumpkin-related activities to try out, and Elitch Garden's annual Fright Fest is right on the top of the
Oct 18, 2017 by Dilkush Khan in Leisure
Echosmith | Inside A Dream: Album Review
Artist: Echosmith Album: Inside A Dream Release date: Sept 29th, 2017 Echosmith, known for their catchy and relatable tunes, debuted a new sound for their latest EP Inside a Dream on Sept. 29. While the change was subtle, it wasn't welcomed. These musicians have matured


text:
Q: Quick subject question Sorry for the dumb question, but can someone please explain the subject and verb in this sentence?
"There is a house in new orleans whose veranda is lined with satin"

A: It is not such a simple question.
"There" is the subject, and "is" is the verb.
I believe those are correct answers, but some will disagree, because there are problems.  The "is" is a form of "be" that agrees with a singular subject, and to get "are" here, we'd have to change "a house" to a plural form:

There is a house in New Orleans whose veranda is lined with satin.
   There are houses in New Orleans whose verandas are lined with satin.

So "is" apparently agrees in number with "a house", and since number agreement of a verb is with its subject, that argues that "a house" is its subject, rather than "there".  Nonetheless, the most popular position among syntacticians is that "there" is the subject of such sentences, for two reasons: (1) subjects come at the beginning of normal declarative sentences, and that is where "there" is -- at the beginning.
And (2), if you compare

There seems to be a house there.
   There seem to be houses there.

it becomes obvious that number agreement between "seems" and "house" cannot be due to "house" being the subject of "seems" (since it is not the subject of "seems" in the last examples).  So apparently "there" has singular and plural forms, even though the difference is not overt (sort of like "sheep").  Thus, "seems" in your example sentence has singular "there" as subject.
A problem with calling "is" the verb is that it is actually an auxiliary, or auxiliary verb, and in some respects it does not behave like most real verbs.  For instance, it is inverted with the subject to form a yes-no question,

Is there a house in New Orleans?

But in current English, this is not allowed for most verbs:

*Built they a house in New Orleans?

A: Short answer

There is a house in New Orleans whose veranda is lined with satin.

The Subject of this sentence as a whole is the word there. The sentence includes a relative clause:

*

*whose veranda is lined with satin.

The Subject of this relative clause is the noun phrase whose veranda.

Full answer
The full answer answer addresses the question of whether and why we should consider the word there the Subject in existential constructions, or if perhaps the noun phrase to the right of the verb BE is the Subject.
Determining Subjects
Now, there are a family of behaviours and attributes that Subjects have that other  phrases that make up sentences do not share. We can analyse how closely a particular phrase or word matches these, how similar or dissimilar the behaviour of that phrase is.
When it comes to existential constructions, there are two main theories. By far the most common amongst linguists is that the Subject of existential constructions is the word there. The part of speech of this word is very contentious even amongst linguists, but the fact that it is the Subject of such sentences is not. The word there is unusual because it is usually taken to have no meaning at all. It functions as a dummy Subject in the sentence. It just plugs a gap in the architecture of the sentence by occupying the Subject slot.
The second theory is that the noun phrase to the right of the verb BE in such constructions is actually the Subject. This view is not popular amongst linguists.
The arguments in favour of there
Lets us kick off this investigation by looking at whether the data outside of Subject-verb agreement favours there or the right-hand-side noun phrase as Subject. We'll look at agreement later on. Let's choose two example sentences to begin our investigation:

*

*There is a banana.

*There are two bananas.

First of all, if we look in the canonical Subject position - just to the left of the verb, we can see that this position is occupied by the word there in each case. This would suggest that the word there might be the Subject.
Now, fully formed declarative sentences in English must have an overtly expressed Subject and an overtly expressed Predicate. These are the two basic building blocks of sentences. We can usually reduce the overt Predicate phrase to a single auxiliary verb. The rest of the material which was in the predicate will be ellipted but will be reconstructable by the listener given the right context:

*

*My mother can play the guitar whilst spinning plates on her nose.

*No! I don't believe you!

*My mother can!

Here we understand this last sentence like this:

*

*My mother can [ play the guitar whilst spinning plates on her nose ]!

However, in the shortened sentence in the example, all of those words in brackets are replaced by the small single word Predicate, the auxiliary verb can. This shows that all of these words were in the Predicate in the original sentence and not in the Subject. The Subject in each case is the noun phrase My mother.
Now, let's consider our banana examples:

*

*There is a banana. There is!

*There are two bananas. There are!

Both of the examples above seem to show that a banana and two bananas are in the Predicate phrases of these sentences, not the Subject phrases. They have both been ellipted in the shorter versions of the sentences. In contrast, we still see the word there in each case. Because every declarative sentence must have both a Subject and a Predicate, by a process of elimination, we can tell that the Subject of each of these sentences is the word there. This confirms the data from the position of there in each sentence.
Another test for Subjects is to see what phrase inverts with the auxiliary verb when we turn the sentence into a yes/no question. Let's see what happens in this case:

*

*Is there a banana?

So in this case as well, the word there has inverted with the auxiliary is, showing that there is the Subject.
We can also do the question-tag test. The question-tag test involves appending a question tag to the end of the sentence. We can see from the features of the word used in the tag, which phrase in the main clause is the Subject:

*

*Mary hit Bob, didn't she?

Here she has the gender and number properties we expect in order to reflect the Subject of the main clause Mary. Notice this excludes Bob from being the Subject. If the Subject of the main clause is a pronoun, we expect to see that pronoun in the tag:

*

*She hit Bob, didn't she?

Let's see what happens if we use a tag with our banana sentences:

*

*There is a banana, isn't there?

*There are two bananas, aren't there?

Here we see the word there appearing in the tag which shows that it is the Subject in the main clause.
Now, let's look at the "case test". When Subjects have case they are nominative case, not accusative. Now the meaningless word there has no case and neither do the noun phrases a banana or two bananas. But we can use a sentence where the phrase to the right of the verb BE is a pronoun. If that pronoun is accusative, this shows that it is not a Subject. Notice that we cannot use a coordination of pronouns here, because coordinated pronouns often behave strangely in terms of inflection. Ok, let's do the test:

*

*A: Who is there who can help with the wedding arrangements?

*B: Well, there's me.

Here we see that the pronoun to the right of the verb BE is in accusative case. This seems to show that it isn't the Subject. So by a process of elimination, we are again led to surmise that the Subject is the word there.
All of this evidence shows unequivocally that there is the Subject of these sentences. However, we have not yet considered the data from Subject-verb agreement. This is often taken to support the right-hand-side account.
Subject-verb agreement
The simple data from Subject-verb agreement seems to show the verb agreeing with the right-hand-side noun phrase, which would seem superficially to argue in favour of the right-hand-side noun phrase being the Subject:

*

*There is a problem.

*There are two problems.

Here we see the verb seemingly inflecting to agree with singular a problem  and plural two problems. However, there is also a lot of data which calls this assumption into question. For example, the right-hand-side argument cannot explain data like the followings:

*

*There's many times I've wanted to box his ears. (plural noun phrase, singular verb)

*There is a bed and a minibar in the room. (plural coordinated noun phrase, singular verb)

*a: Who is there who could help him? b: Well, there is always you. (is does not agree with you)

There is no argument here from the supporters of the right-hand-side account to explain this behaviour of the verb. This kind of data would only seem to be explicable by the there account.
There accounts, such as those given by The Cambridge Grammar of the English Language, argue that because there has no features in terms of being singular or plural, it can inherit number features from the right-hand side noun phrase. This is similar to how relative pronouns can, but don't always, inherit number and person features from nouns outside their clauses. In other instances, the verb just defaults to a third person singular value. This is similar to how when clauses or uncountable nouns function as the Subjects of sentences, the verb defaults to third person singular agreement. This would account for each of the three examples above.

A: I agree with Rob_Ster. You can turn "house" and "there" around: A house  is there whose veranda is lined with silk.  The subject is house. But the discussion whether "there" is the subject or not is so old that it becomes boring.
In my view the "there" only indicates that the subject is in postposition after the verb. The beginning of a fairy tale is "There was once a king whose daughter was as beautiful as the sun".
This is much better than "A king was there ... ". With postponing the subject the suspension is heightened. In version 2 the sentence sounds flat and is without stylistic effect because you blurt the subject and the topic straight out.
I don't use the vague term "expletive there". For me it is a marker for subject inversion in a special sentence type, and, of course, it is the normal adverb of place and not a pronoun.

A: The subject is house, and the verb is is. The dependent clause introduced by whose modifies house.
There is the confusing element.  It looks like it wants to be some kind of pronoun - which it isn't - and in other circumstances it really is an adverb (The stuffed wombat is over there.)
Here, there is something else: it's an expletive.  For an explanation in detail, check out the web site Grammar Revolution.  Here's how they present a famous "there is..." sentence in a Reed Kellogg diagram:

Thanks in part to the Nixon tapes and their infamous [deletions], the term expletive enjoys an unsavory reputation.  However, in. grammatical usage, it's something else entirely.