text:
The Black Cat And The Tell Tale Heart
Edgar Allan Poe suffered through many unpleasant emotions through his life, the manner in which he expressed these emotions was his brilliantly horrifying short stories. In the two short stories "The Black Cat" and "The Tell Tale Heart" Poe uses characterization to portray the guilt of the narrator. "The Black Cat" short story's writing has a morbid effect on readers and describes the torments of guilt. In "The Tell-Tale Heart" Poe explores the effects of the subconscious mind, the suppressing of guilt and the narrator's guilt forcing him to confess."
"The Black Cat" is written with violent language to create a grotesque effect on the reader, in an effort to portray the narrator's horrified thoughts against his own actions. "I took from my waistcoat pocket a penknife, opened it, grasped the poor beast by the throat, and deliberately cut one of its eyes from the socket!" The narrator was under the influence of alcohol when this act was committed. The narrator describes the event very graphically, as if he too could not believe that such an event took place. The narrators vivid description shows us how repelled he is at his own actions, it gives the reader a hint of the guilt he has over this specific incident.
Edgar Allan Poe implies the idea that the narrators guilt lingers and affects his thoughts and emotions in "The Black Cat". "By slow degrees, these feelings of disgust and annoyance rose into the bitterness of hatred. I avoided the creature; a certain sense of shame,
The Tell Tale Heart And The Black Cat
differences in his works. In two of his works, "The Tell-Tale Heart" and "The Black Cat", he uses the fatalities of his mother and wife to write two great stories. Although "The Tell-Tale Heart" and "The Black Cat" by Edgar Allen Poe seem similar on the surface because of the happiness in the beginning of the stories and the murders by the end, whereas they both represent the pain Poe dealt with in their own way. In both "The Tell-Tale Heart" and "The Black Cat", both main characters murder innocent people
his works, "The Tell-Tale Heart" and "The Black Cat", he uses the fatalities of his mother and wife to write two great stories. Although "The Tell-Tale Heart" and "The Black Cat" by Edgar Allen Poe seem similar on the surface
"The Tell-Tale Heart" and "The Black Cat" are two short stories written by Edgar Allan Poe. Both stories share the elements of death and outrageousness; both have frightening night time scenes as well. In both of the short stories the protagonists of both stories seem to have very little or nothing in common. Their marital status, living conditions, and responsibilities are very different. If the reader looks more closely, the two men appear alike in many ways: both share their criminal history
The Black Cat And Tell Tale Heart
narrative." I agree with what Lovecraft has to say about Poe's protagonist. In each of his stories like "The Black Cat" and "Tell Tale Heart" both of these stories have such an amazing horror into them but when you start reading more about the main characters you realize that all his main characters always do make the same decisions including "The Raven". Starting off With Tell Tale Heart, in the beginning, the narrator of the story is shown as a caring person who allowed the old man to leave with
The Tell Tale Heart Vs The Black Cat
In "The Tell-Tale heart" and "The Black Cat" there are many similarities from the murder and the motive of the killer. The man in "The Black Cat" is irritated and cannot stand to look at the cat or animals, he feels compelled to harm them much like the man in "The Tell Tale Heart" feels towards the man's grey eye. These things is what the murderers claim drove them to commit the crime. Neither of the cat or old man had hurt the perpetrators in anyway, in fact both the men in "The Black Cat" and "The
Comparing The Black Cat And The Tell-Tale Heart
Both "The Black Cat" and "The Tell-Tale Heart" by Edgar Allan Poe has a dark side that arises from each narrator. Both short stories start with the reassurance of the narrator's sanity. This is especially ironic because both turn out to be completely mad. In the short stories both narrators have some sort of trigger that sets them off and exposes there mad man tendencies. In "The Tell-Tale Heart" Poe's narrator has an obsession with the old man's vulture of an eye. He speaks of it like a person
Comparing The Tell-Tale Heart And The Black Cat
are dark, suspenseful, and murderous such as The Tell- Tale Heart and The Black Cat. His works tend to resemble one another in style, mood, theme, and plot. The ways in which these elements are displayed show contrast between the two. The Tell- Tale Heart and The Black Cat are two brutal tales with similar themes about being insane. Both stories are told from the first person point of view with a maniacal narrator. The narrator in The Tell- Tale Heart claims to have "acute senses"causing him to pay
The Narrators In The Tell Tale Heart And The Black Cat
of "The Tell Tale Heart" and "The Black Cat" were insane for many reasons. One reason is that in both stories the narrator is annoyed with something and decides to just kill the person/cat. This shows insanity. In the story "The Tell Tale Heart" the narrator is very annoyed by this one man. He goes to the man's house every night and watches him determining how to kill him because the man's eye annoys the narrator. One night the man hears the narrator moving and wakes up. The man's heart is beating
Theme Of The Black Cat And The Tell Tale Heart
psychologically unstable characters in his literal works. Two of Poe's well-known literary works, "The Black Cat" and "The Tell-Tale Heart," both engage with narrators who are in an unhealthy state of mind. Both narrators successfully commit and conceal atrocious murders, but eventually, are exposed for their heinous crimes due to their own insanity. With "The Black cat" and "The Tell-Tale Heart," Poe gives us two great examples of the human mind's capacity to deceive itself, and its ability to speculate
The Tell Tale Heart And The Black Cat Analysis
The narrator of "The Tell Tale Heart" and "The Black Cat" were, obsessed because the definition of obsessed is "the domination of one's thoughts or feelings by a persistent idea, image, desire, etc." In both stories, the narrators were obsessed with something. In The Tell Tale Heart, the narrator is a caregiver of an old man. The old man has a glass eye which bothers the narrator. The narrator soon gets obsessed with it and kill the old man so the eye won't bother him anymore. The narrator hid the
More about The Black Cat And The Tell Tale Heart
My Writing For Academic Success
Student Motivation Is Important, Not Only For Academic Success
Where Is Your Writing?
Addiction Responding Task Of The Theatrical Style
The Cold War On The World War II
The Fundamental Knowledge Of Knowledge


It looked the kind of code that could be improved, but I couldn't find a more elegant solution for such a trivial and common conditional statement.
I'm looking for a better answer for this problem when we must return a value for one, other or both.
This can be further prettified in many ways, but you get the idea.
Java: Is this.foo() and super.foo() the same when foo() is in the super class?
Why isn't this random number generator thread-safe?


As a motorsports reporter and press officer, I helped drivers, teams, series and events with press releases and newsletter articles to attract attention they deserve. My portfolio also includes published background stories in Formula1.nl Magazine and AutoWeek and clients like racing series Toerwagen Diesel Cup and Burando Production Open (Circuit Park Zandvoort). Activities have been terminated when I moved to Berlin to work for City Challenge GmbH.


f his name were to be associated today with the music of the 20th century, it would be associated with the names of Wagner, Ravel and Boulez, the trilogy of artists who opened his eyes to the enthusiasm and styles which are embraced by Daniel Kawka: the German Romanticism, the Grand Opera of Wagner and Strauss, the universe of Mahler, the French Berlioz of our days, the music of our time. Kawka has regularly been invited to conduct the greatest European ensembles. Notably he has conducted the Saint Petersburg Philharmonic Orchestra, the Russian National Orchestra, Seoul National Symphony Orchestra, Iceland Symphony Orchestra, London Sinfonietta, French National Orchestra, Radio France Philharmonic Orchestra, RAI National Symphony Orchestra, Orchestra dell'Accademia Nazionale di Santa Cecilia, the Ensemble InterContemporain, among others. Throughout his career and his development, these are the works which have guided Daniel Kawka, steered his path and have led him to conduct works in the past few years such as: Tristan and Isolde (Wagner), directed by Olivier Py, Tannhäuser (Wagner), directed by Filippo Crivelli at the Rome Opera House, Dialogues of the Carmelites (Poulenc) in a staging by Stanislas Nordey at the National Theater of Seoul, Cosi fan tutte (Mozart), directed by Pier Luigi Pizzi, Turandot (Puccini), directed by Cisco Aznar, Rodrigue et Chimène (Debussy), in a concert version at the Saint Petersburg, Julie (Boesmans), directed by Matthew Jocelyn, Ariane et Barbe-Bleue (Dukas) directed by Lilo Baur, the grand repertoire of the French symphonies from Berlioz to Messiaen over the course of two great Russian tours. Another example is the Tetralogy (Wagner) directed by Laurent Joyeux. Daniel Kawka, the musical director of the Ensemble Orchestral Contemporain and the Ose Orchestra, and the main conductor invited by the ORT Orchestra of Firenze and the Saint Petersburg Philharmonic, approaches and deepens his understanding of a type of repertoire, be it contemporary, classical, romantic or modern, with each of these ensembles. Today his work is paid tribute to through a wide ranging and exceptional discography.


text:
var URL_PARAMS = {};
var PAGE_TYPE = "pokemon";
var POKEMON_MOVES = [];
var POKEDEXTEXT = null;
var DEXTER_STATE = 0;
var FLAMEBODY = "off"
var BREEDING_CYCLES = 1;
var BREEDING_STEPS_PER_CYCLE = 257;
var BREEDING_MOD_CYCLES = 1;
var BREEDING_MOD_STEPS = 257;
var VERSION_GEN1 = ["blue","red", "yellow"];
var VERSION_GEN2 = ["gold","silver","crystal"];
var VERSION_GEN3 = ["ruby","sapphire", "emerald", "firered","leafgreen"];
var VERSION_GEN4 = ["diamond","pearl","platinum","heartgold","soulsilver"];
var VERSION_GEN5 = ["black","white","black-2","white-2"];
var VERSION_GEN6 = ["x","y","omega-ruby","alpha-sapphire"];
var MODIFIER_ABILITIES = ['dry-skin', 'filter', 'flash-fire', 'heatproof', 'levitate', 'sap-sipper', 'solid-rock', 'thick-fat', 'volt-absorb', 'water-absorb'];
var Utilities = new Utilities();

$(document).ready(function(){

	Utilities.getQS(URL_PARAMS);

	BREEDING_CYCLES = responsePokemonSpecies.hatch_counter + 1;
	BREEDING_MOD_CYCLES = responsePokemonSpecies.hatch_counter + 1;

	//auto complete for pokemon search
	Utilities.setAutoComplete(responsePokemonNames.results, 'pokemonSearchBox');
	//set POKEDEXTEXT
	getDexterText();

	//Gets ability information from abilities.js object
	getAbilityDetail(responsePokemon.abilities);

	//type chart scripts
	damageChartSetStats(DAMAGE_TO_TYPE,responsePokemon);

	//check for abilities that may update damage chart
	checkAbilityDamageModifier(responsePokemon);

	//breeding scripts
	determineGenderAndBreeding(responsePokemonSpecies);

	//calculating base egg steps
	calculateEggSteps(BREEDING_CYCLES,BREEDING_STEPS_PER_CYCLE);

  //build css chart
  buildStatsChart();

  //pokemon moves, store all the move name in a single array
  getMoveList();

  //page bindings
  setPokemonPageBindings();

});

$(window).on('beforeunload', function(){
	if(responsiveVoice.isPlaying()){
		responsiveVoice.cancel();
	}
});

redpajama_set_name: RedPajamaGithub


text:
COP22: Securing equal rights for women on paper is not enough
by: Bindu Bhandari
An estimated 1.2 billion people live in extreme poverty and 750 million work in agriculture as smallholder family members. Women farmers not only produce food, they are responsible for raising their children, caring for the sick, cooking, cleaning, and collecting water and firewood. Climate change increases the burden of women at all levels. Yet they are the least equipped to adapt their farming practices to climate change.
The reason? Rural women have less access and control than men over key assets, such as capital, agricultural information and training, lands and resources related to agricultural production. While they are disproportionately exposed to climate risks, social norms restrict the entitlements of women to participate in decision-making regarding climate change. Often because of poverty and dogmas, there are huge gaps between male and female educational access and literacy levels which affect later the participation of women. Because of longstanding gender discrimination, women do not have access to land in developing countries. Most of the time, they live and work on land that is owned by their fathers or husbands and have no legal claim to it
Last November, world leaders gathered in Marrakesh at COP22 to participate in the climate talks. As human rights advocates, we think it is imperative that negotiators turn their attention to rural women and focus on policies that increase their ability to cope with climate change. But are they on track to meet women's needs? Significant progress has been made at the international level with negotiations and constituencies to address the gender equity and support the agricultural sector and the associated elements of finance, technology transfer and capacity building. But what matters is the efficacy and effectiveness of such decisions and interventions.
The challenge lies in meeting the growing demand while offsetting the emissions from the agricultural value chain. Acknowledging the contribution of women in agriculture and recognizing their role in ensuring the food security, it is urgent that our plans, programs, and policies in agriculture be gender- responsive and climate- adaptive. Investing in, empowering and including women of least developed and vulnerable countries actively in all levels of decision making would boost up their access to resources and services, thus consequently accelerating our long term goal of sustainability. It is thus, crucial that no one is left behind in this common but differentiated responsibility, also a common but differentiated opportunity.
Full article: https://studentclimates.wordpress.com/2017/01/18/cop22-securing-equal-rights-for-women-on-paper-is-not-enough/
Posted in ReflexionsTagged Climate Change & Gender, COP22Leave a comment
← WMO confirms 2016 as hottest year on record, about 1.1°C above pre-industrial era
A Indonésia construiu o maior muro marinho do mundo para salvar Jacarta →

redpajama_set_name: RedPajamaCommonCrawl


text:
Fałszywe zwierzenia (fr. Les Fausses Confidences) – komedia w trzech aktach Pierre'a de Marivaux wystawiona w 1737.

Data powstania utworu
Utwór został napisany w 1737 roku i miał swą premierę 16 marca 1737 w l'Hôtel de Bourgogne. Został wystawiony przez aktorów Comédie-Italienne. komedia nie odniosła początkowo takiego sukcesu, na jaki zasługiwała. Mimo sprzyjających okoliczności do jej ponownego wystawienia, trafiła na deski teatru ponownie dopiero w 1793.

Osoby

Treść
Akcja sztuki rozgrywa się u pani Arganty.

Młody człowiek z dobrze znanej rodziny zostaje zrujnowany i zmuszony do zostania rządcą. Jego były lokaj Dubois, który teraz służy młodej wdowie, bogatej, dobrej i skromnej, widząc go zakochanego w tej damie, postanawia doprowadzić go go do poślubienia jej. Nalega, aby Dorant został wprowadzony do domu przez pana Remiego, jego wuja, który jest adwokatem tej pani. Araminta od samego początku jest mu przychylna, uznaje go za osobę dystyngowaną, dobrze ułożoną, polecaną i zatrzymuje go. Wdowa ma proces z hrabią, który chętnie by ją poślubił, aby zakończyć proces, który obawia się przegrać. Jeśli chodzi o nią, nie czuje żadnej ochoty, by poślubić hrabiego i zleca Dorantowi, by przejrzał jej dokumenty i poinformował ją, czy ma jakieś widoki na wygraną.

Dubois, który jest świadkiem tej rozmowy, udaje zdziwienie na widok Doranta. Chlebodawczyni, gdy zostaje sama z Dubois, prosi go o informacje na temat jej nowego rządcy. - Jest najbardziej uczciwym człowiekiem na świecie, wykształcony, uczciwy, dobrze wychowany, ale ogarnięty szaleństwem, jest zakochany. Zaproponowano mu kilka bardzo korzystnych małżeństw, odmówił ze względu na swoją szaloną miłość. Kobiety mają słabość do zakochanych. Araminta pyta więc Dubois, czy zna osobę, która wzbudziła w nim tą namiętność. - To pani, madame. Araminta jest zaskoczona, ale i dotknięta. Nie powinna zatrzymywać swojego rządcy, ale jak przeprowadzić jego natychmiastowe zwolnienie? Powinna przynajmniej trochę zaczekać. Matka Araminty jest odmiennego zdania, ale z innego powodu. Nakazała Dorantowi, aby powiedział córce, że przegra ten proces. Dorant ma wątpliwości czy ma do tego prawo - Oto człowiek, który niczego nie rozumie. Nie każe ci się zastanawiać, czy masz rację, czy nie, ale powiedzieć jej, że się myli, słyszysz?.

Dorant radzi Aramincie, by się dalej procesowała. Pan Remi, który nie jest uczestnikiem spisku przerywa rozmowę, by oznajmić Dorantowi, że proponuje się mu bardzo korzystne małżeństwo; dama jest młoda, bogata, zna go. Dorant odmawia, jego serce jest zajęte, nie chce o niczym słyszeć. Pojawia się ponadto portret w pudełku, który z powodu niezręczności Arlekina staje się źródłem poważnych nieporozumień. Służąca Marta, wyobraża sobie, że jest to jej portret i dochodzi do wniosku, że Dorant jest w niej zakochany. Araminta bierze od niej portret i nakazuje przywołać Doranta. Dorant rozpoznaje swoje dzieło, które wykonał z pamięci i prosi o jego zwrot. Araminta otwiera jednak pudełko i przekonuje się, że jest to jej portret. Dorant pada na kolana i błaga o wybaczenie. Otrzymuje je. Gdy młodzieniec się oddala, Dubois, który widział całą scenę, dopytuje się swej pani czy Dorant się zdeklarował. Araminta odpowiada, że niczego nie powiedział.

Serce wdowy jest już bardzo poruszone. Nie ma jednak czasu na refleksję. Wszyscy skarżą się jej na Doranta, a te skargi są świadectwem jej uczuć. Dodatkowo, dzięki serii rykoszetów, zostaje przechwycony list Doranta, w którym wyznaje on, że jest szaleńczo zakochany w Aramincie i że z tego powodu musi wymówić jej służbę i wyjechać. List zostaje przekazany Aramincie. Kiedy młoda kobieta kończy go czytać, zjawia się Dorant, by się pożegnać. Rozmawiają, są poruszeni, a Araminta wyznaje swemu rządcy, że go kocha. On wyjaśnia, że większość informacji, które krążą po domu to fałszywe zwierzenia, które rozsiewał jej służący Dubois, ale jedno jest prawdziweː głęboka miłość, jaka zrodziła się w nim do Araminty. Ona przebacza mu wszystko w imię tej miłości i jego szczerości i postanawia go poślubić.

Omówienie
Pomysł sprowokowania miłości poprzez fałszywe zwierzenia był często wprowadzany na scenę zarówno przed Marivaux jak i po nim. Jest to, między innymi, tło małej komedii wierszem Lafonta L'Amour avengé, granej w 1712 roku. Młodzieniec i młoda kobieta zostają skłonieni do miłości w ten sposób, że każdemu z osobna mówi się, że jest kochane przez drugie z nich. Każdy z nich zaczyna grać z drugim w komedię, najpierw dla zabawy, ale grając w miłość, ostatecznie zaczynają ją odczuwać i pobierają się. W Roman d'un jeune homme pauvre nie ma fałszywych zwierzeń, jest natomiast, tak jak w komedii Marivaux, zrujnowany młody człowiek, który przyjmuje posadę rządcy i zdobywa powoli miłość szlachetnej dziewczyny, która długo się broni, by w końcu ulec.

Sztuka została napisana dla szczęśliwego stulecia, który uśmiechało się do teraźniejszości i widziało przyszłość w różowych barwach. Wszyscy bohaterowie są przystojni, spokojni, sympatyczni, dają się bez obawy nieść nurtowi życia. Araminta pozostaje łagodna i spokojna nawet w najbardziej gwałtownych poruszeniach czułości czy gniewu. Urodziła się pośród elegancji jasnego i radosnego czasu, w którym życie było dobre, gdzie można było znaleźć czas na radość i zadowolenie. W tej komedii, gdzie mimo wszystko chodzi w równym stopniu o pieniądze, co o miłość, słowo "pieniądze" jest  jednak rzadko wymawiane. Araminta jest wdową po finansiście, a Dorant prawnikiem. Oboje należą do burżuazji. Marivaux podjął ten sam temat w Przesądzie przezwyciężonym, pozwolił tam jednak stanąć do walki również szlachcie.

Spośród współczesnych autora Desboulmiers chwalił dobrze poprowadzoną, mądrze opracowaną intrygę, przyjemne, dobrze zarysowane postaci, komiczne i ciekawe sytuacje. Planche stwierdzał, że ta sztuka streszcza całego Marivaux, choć faktycznie nie znał całego Marivaux i w ten sposób utrwalał jedynie krzywdzącą dla autora opinię o jego twórczości.

Przypisy

Bibliografia

Linki zewnętrzne
 Fałszywe zwierzenia (wyd. 1784) w bibliotece Polona

Twórczość Pierre'a de Marivaux

redpajama_set_name: RedPajamaWikipedia


Poster in Art Deco style, depicting a simplified figure of a goalkeeper making a save in its upper half. The lower half contains writing in a heavily stylised font: "1er Campeonato Mundial de Futbol" in black, and "Uruguay 1930 Montevideo 15 Julio Agosto 15" in white and orange.
Thirteen teams (seven from South America, four from Europe, and two from North America) entered the tournament. Few European teams chose to participate because of the difficulty of travelling to South America. The teams were divided into four groups, with the winner of each group progressing to the semi-finals. The first two World Cup matches took place simultaneously, and were won by France and the United States, who defeated Mexico 4–1 and Belgium 3–0, respectively. Lucien Laurent of France scored the first goal in World Cup history, while American goalkeeper Jimmy Douglas posted the first official "clean sheet" in the tournament.
Argentina, Uruguay, the United States and Yugoslavia each won their respective groups to qualify for the semi-finals. In the final, hosts and pre-tournament favourites Uruguay defeated Argentina 4–2 in front of a crowd of 93,000 people, and became the first nation to win the World Cup.
The first World Cup was the only one without qualification. Every country affiliated with FIFA was invited to compete, and given a deadline of 28 February 1930 to accept. Plenty of interest was shown by nations in the Americas; Argentina, Brazil, Bolivia, Chile, Mexico, Paraguay, Peru and the United States all entered. A total of seven South American teams participated, more than in any subsequent World Cup Finals. However, because of the long and costly trip by ship across the Atlantic Ocean, and the length of absence required for players, very few European teams were inclined to take part. Some refused to countenance travel to South America in any circumstances, and no European entries were received before the February deadline. In an attempt to gain some European participation, the Uruguayan Football Association sent a letter of invitation to The Football Association, even though the British Home Nations were not members of FIFA at the time. This was rejected by the FA Committee on 18 November 1929. Two months before the start of the tournament, no team from Europe had officially entered.
FIFA president Jules Rimet intervened, and eventually four European teams made the trip by sea: Belgium, France, Romania, and Yugoslavia. The Romanians, managed by Constantin Rădulescu and coached by their captain Rudolf Wetzer and Octav Luchide, entered the competition following the intervention of newly crowned King Carol II. He selected the squad personally, and negotiated with employers to ensure that the players would still have jobs upon their return. The French entered at the personal intervention of Rimet, but neither France's star defender Manuel Anatol nor the team's regular coach Gaston Barreau could be persuaded to make the trip. The Belgians participated at the instigation of German-Belgian FIFA vice-president Rodolphe Seeldrayers.
The Romanians boarded the SS Conte Verde at Genoa, the French were picked up at Villefranche-sur-Mer on 21 June 1930; and the Belgians embarked at Barcelona. The Conte Verde carried Rimet, the trophy and the three designated European referees: the Belgians Jean Langenus and Henri Christophe, along with Thomas Balway, a Parisian who may have been English. The Brazilian team were picked up when the boat docked in Rio de Janeiro on 29 June before arriving in Uruguay on 4 July. Yugoslavia travelled via the mail steamship Florida from Marseille.
In the Kingdom of Yugoslavia there were doubts about their participation at first. Since the Croatians decided to boycott the national team, King Alexander I did not want to finance the whole idea, but in the end they found a solution. Belgrade football association officials decided to round up only domestic (Serbian) star players, mainly from two rival Belgrade clubs, BSK and SK Jugoslavija, with an additional three Serbs who played for French clubs (Ivan Bek among them). Therefore, the Yugoslavia team was exclusively made up of Serbian players; and with the two biggest stars of the team, Blagoje Marjanović ("Moša") and Aleksandar Tirnanić ("Tirke"), both from BSK, they were ready for a trip to South America to represent Yugoslavia in the World Cup. The Yugoslavians were the youngest team in the World Cup; with an average age of 21 years and 258 days. After their first match, against Brazil, they received a new nickname "The Ich-es" or "Ichachos" (in Spanish) by the Uruguayan press; referring to most of the player's surnames that ended up with the "-ić" or "-vić" suffix, which is quite common for Serbian last names. They achieved the biggest success in both Yugoslav and Serbian subsequent World Cup footballing history, by earning third place (according to their sources).
Lua error in Module:Coordinates at line 668: callParserFunction: function "#coordinates" was not found. Lua error in Module:Coordinates at line 668: callParserFunction: function "#coordinates" was not found. Lua error in Module:Coordinates at line 668: callParserFunction: function "#coordinates" was not found.
For a list of all squads that appeared in the final tournament, see 1930 FIFA World Cup squads.
Fifteen referees participated in the tournament: four Europeans – two Belgians (Henri Christophe and John Langenus), a Frenchman, and a Romanian (Constantin Rădulescu being the Romanian coach), and eleven from the Americas – among them six Uruguayans. In order to eliminate differences in the application of the Laws of the Game, the referees were invited to one short meeting in which to iron out the most conflicting issues arising from the game.
Of all the refereeing appointments, the two that attracted most attention was that of Gilberto de Almeida Rêgo in the match between Argentina and France, in which the Brazilian referee blew for full-time six minutes early, and that of the Bolivian Ulises Saucedo's in the Argentina and Mexico encounter, which Argentina won 6–3. During the game Saucedo, who was also the coach of Bolivia, awarded three penalties.
The following is the list of officials to serve as referees and linesmen. Officials in italics were only used as linesmen during the tournament.
The 13 teams were drawn into four groups, with Group 1 containing four teams, and the others containing only three. Each group played a round-robin format, with two points awarded for a win and one point for a draw. If two teams had tied on points to win a group, a play-off would have been used to decide the group winner; however, this was not necessary. The four group winners progressed to the knockout semi-final stage. Extra time was available in the knockout matches if the two teams were level after ninety minutes, but it was not required.
The first group was the only one to contain four teams: Argentina, Chile, France and Mexico. Two days after France's victory over Mexico, they faced group favourites Argentina. Injuries hindered France; goalkeeper Alex Thépot had to leave the field after 20 minutes, and Laurent, after a fierce tackle by Luis Monti, spent most of the match limping. However, they held out for most of the match, only succumbing to an 81st-minute goal scored from a Monti free kick. The game featured an officiating controversy when referee Almeida Rêgo erroneously blew the final whistle six minutes early, with Frenchman Marcel Langiller clear on goal; play only resumed after protests from the French players. Though France had played twice in 48 hours, Chile had yet to play their first match. They faced Mexico the following day, gaining a comfortable 3–0 win.
France's final match, against Chile, featured the first penalty kick of the tournament and World Cup history. The first goalkeeper to save a penalty was Alex Thépot of France on 19 July 1930, saving from Chile's Carlos Vidal in the 30th minute of the match. In Argentina's second match, against Mexico, three penalty kicks were awarded. During the same match on 19 July 1930 Mexico's Oscar Bonfiglio Martínez saved another penalty at the 23rd minute of the match against Argentina's Fernando Paternoster. Guillermo Stábile scored a hat-trick in his international debut as Argentina won 6–3, despite the absence of their captain Manuel Ferreira, who had returned to Buenos Aires to take a law exam. Qualification was decided by the group's final match, contested by Argentina and Chile, who had beaten France and Mexico, respectively. The game was marred by a brawl sparked by a foul on Arturo Torres by Monti. Argentina won 3–1 against their neighbours and advanced to the semi-finals.
The United States dominated the fourth group. The American team, which contained a significant number of new caps, were reputedly nicknamed "the shot-putters" by an unnamed source in the French contingent. They beat their first opponents, Belgium, 3–0. The ease of the victory was unexpected; Uruguayan newspaper Imparcial wrote that "the large score of the American victory has really surprised the experts". Belgian reports bemoaned the state of the pitch and refereeing decisions, claiming that the second goal was offside. The group's second match, played in windy conditions, witnessed the first tournament hat-trick, scored by Bert Patenaude of the United States against Paraguay. Until 10 November 2006, the first hat-trick that FIFA acknowledged had been scored by Guillermo Stábile of Argentina, two days after Patenaude; however, in 2006 FIFA announced that Patenaude's claim to being the first hat-trick scorer was valid, as a goal previously assigned to teammate Tom Florie was reattributed to Patenaude. With the United States having secured qualification, the final match in the group was a dead rubber. Paraguay beat Belgium by a 1–0 margin.
The four group winners, Argentina, Yugoslavia, Uruguay and the United States, moved to the semi-finals. The two semi-final matches saw identical scores. The first semi-final was played between the USA and Argentina on a rain-drenched pitch. The United States team, which featured six British-born players, lost midfielder Raphael Tracy after ten minutes to a broken leg as the match became violent. A Monti goal halfway through the first half gave Argentina a 1–0 half-time lead. In the second half, the strength of the United States team was overwhelmed by the pace of the Argentinian attacks, the match finishing 6–1 to Argentina.
At the end of the championship, the captains of the United States team (Tom Florie) and Yugoslavia (Milutin Ivković) both received bronze medals. Yet a FIFA technical committee report on the 1986 World Cup included full retrospective rankings of all teams at all previous World Cup finals; this report ranked the United States third and Yugoslavia fourth, a practice since continued by FIFA. In 2010, the son of Kosta Hadži, the chief of Yugoslav delegation at the 1930 World Cup and the vice-president of the Football Association of Yugoslavia at the time, claimed that Yugoslavia, as a team, has been awarded one bronze medal, which has been kept by Hadži himself and his family for the following 80 years. According to this source, Yugoslavia was placed third because of the semi-finals loss to the eventual champions, Uruguay.
With eight goals, Guillermo Stábile was the top scorer in the tournament. In total, 70 goals were scored by 37 different players, with only one of them credited as own goal.
The last surviving player from Uruguay's World Cup-winning side was Ernesto Mascheroni, who died on 3 July 1984 at the age of 76. He was outlived by reserve defender Emilio Recoba who died on 12 September 1992 (aged 87), but did not play any matches in the tournament. However, many other players who participated in the tournament were still alive by this stage and the last surviving player from the tournament was Argentina's Francisco Varallo, who died on 30 August 2010 at the age of 100 – eighty years after the tournament.
↑ 40.0 40.1 40.2 Crouch, p. 11.
↑ 54.0 54.1 54.2 Freddi, p. 12.
This page was last modified on 9 January 2016, at 18:38.


text:
Photo Illustration. Source: @willnotwilly
The YouTuber Turning Black Men's Hair Care into Video Gold
Tirhakah Love May 18, 2020 8 min read
William Humphrey isn't just entertaining his hundreds of thousands of subscribers — he's showing that hair care can be self-care
Less than two minutes into the video, William Humphrey is doing his best Whitney Houston impression. Well, his tub of Wet Line Xtreme hair gel is doing its best Whitney Houston impression, it just happens to be in Humphrey's voice. Humphrey himself is doing his best Brandy impression — the Cinderella to the gel's Fairy Godmother, as per the 1997 TV-movie version of Cinderella. And it goes a little something like this:
Wet Line Xtreme Gel: I'm yo' fairy godmother, whatchu want? And hurry up, 'cause I clock out at 12.
Will: I'd like a wash 'n' go.
Wet Line Xtreme Gel: [singing] Imposssssibllllle!
Will: What?
Wet Line Xtreme Gel: Oh, nothing, just keep going.
Will: Well, a wash 'n' go, I suppose. One that's so poppin' that everyone is staring at me at the ball.
Wet Line Xtreme Gel: Girl, you know you ain't goin' to that ball. And most people would wish to be rich and famous, but okay, sis. Fah de la, fa da lee dee…
It's hard to imagine someone having more fun talking about natural hair care than Will Humphrey. As WillOnAWhim, the ebullient 26-year-old has garnered more than 300,000 YouTube subscribers, millions of likes, and the rare feat of a comment section that's both lively and generous. ("That wash 'n' go better be a wash 'n' stay because ms. rona ain't playing in these streets," quipped one commenter on a recent video about conditioning.) His editing and earnestness infuses hair education with ridiculous voice-overs, a quick wit — "winter took you, read you for filth, dragged you by exactly seven hair follicles" — and an undying, endearing sweetness.
WillOnAWhim has become a beloved creator by leaning into the most joyful aspects of the hair struggle — and in doing so, he has helped carve out a space for a generation of Black men to talk about their hair in an entirely new way.
Despite shooting all his videos in his bedroom, the Angeleno-turned-Phoenix resident has become a pillar of a burgeoning nationwide community: men talking about natural hair. That conversation is nothing new to Black women; when hair discussion found its way to YouTube in the early 2010s, they were the ones to lead the charge. But over time Black men built their own thriving ecosystem on the video-streaming platform. While their success stories are fewer than their naturalista counterparts, they still enjoy some of the perks that prominent creatorship can bring, from ad revenue to sponsorships to consulting gigs.
Numbers are only part of the story, however. The fuller one is that WillOnAWhim has become a consistent, beloved YouTube creator by leaning into the most joyful aspects of the hair struggle — and that, in doing so, he has helped carve out a space for a generation of Black men to talk about their hair in an entirely new way.
There weren't many Black men talking about their hair on YouTube in 2016, and the few who were there were young. "The guys who were there were high schoolers and college freshmen," Humphrey says, "and they all wanted the exact same look: the blonde hair and the shaved sides with the curly top. It wasn't about health, but about getting a particular aesthetic."
Instead of jumping on the Odell Beckham Jr. content train, Humphrey thought about his classmates and friends at Brown University — especially the women, who were going natural and becoming autodidacts in the process. "They didn't know what they were doing either," he says now, laughing. "We were all learning together."
That summer, Humphrey alternated between personal videos — his very first upload was about struggling with close friends moving away — and hair tutorials. Almost immediately, he realized that the hair content had an audience. That first hair tutorial had precisely zero frills. No quick-cut edits, no visual allusions to Black culture or memes, just Will in what looked like a brand-new apartment, helping Black men with protective styles. Yet, his personality couldn't help but shine through: Just as he described the weather in that video, his ebullience was "hotter than Keyshia Cole's breath tryna hit a high note."
Much like his new home, the Black men's hair movement on YouTube was still relatively untouched soil then. But out of that confusion, a community began to form. Take that video about Wet Line Xtreme. See, hair gels are hard sells for Black folks, because they're usually aimed at finer, straighter hair. On us, shit goes on gunky and congeals into a hard, unnatural slick, then flakes up and leaves our hair looking like a Pusha T verse. It's not that gel can't work; it's just a matter of finding one that does its job and still leaves your hair feeling moisturized. So when Natural Hair YouTube became embroiled in debate over Wet Line Xtreme and Eco-Styler, Humphrey waded into the fray to explain the difference between the two — but also to give voice to the exhaustion Black people feel with hair products that aren't necessarily made for them.
He calls it "hair care as self-care," something that goes beyond a mere tutorial. Over time, he's developed an arsenal of tools: snappy comedy bits, hard cuts incorporating found sound effects, reaction videos, voiceover, even costumes. The result tells viewers what to know and do in order to maintain a healthy hair routine — but also, he says, "the tools to explore who they are as black people. Their own community, their own identity."
The existential question when he started was whether Black men could form community through hair. Not just people making videos, but cultivating a spirit of belonging, of together.
In the early days of natural hair vlogging, this was the gender gap. Men just seemed much more interested in looks rather than the intrinsic satisfaction of self-discovery. "With women," Humphrey says, "it was more about taking care of your hair, transitioning out of not just permed hair, but an era where eurocentric standards were chaining everybody to a certain look or experience."
Natural hair vlogging was a Black woman's game from the very beginning, though "beginning" in this case means about 15 years ago on Tumblr. That's where users like Patrice "Afrobella" Grell Yursik, Tamara Floyd, and Francheska Medina ushered in a renaissance of Black hair care, questioning existing taxonomies of hair texture and reviewing products specifically for how they worked with Black hair. In the process, they ended up monetizing their passion from sponsorships and management deals, helped to establish a playbook that would spawn a larger influencer culture. By 2018, Nielsen assessed the Black hair industry to be well over $2 billion — and that's not counting accessories, wigs, or electric clippers. Those women found their niche, cultivated it, and cashed out.
Humphrey watched those women work and thought about the void that existed for men looking to actually care for their scalps. Growing up in South Carolina with long hair in the 1990s, he found himself an object of curiosity, if not derision. Friends and strangers would tell him to "do something with that nappy hair." His family took it a step further, pressuring Humphrey's mother to cut his hair every few weeks, until the rhythm of the barbershop treks had been set in stone. "It was a pushback on not wanting me to be feminine," he says. "Every guy in my family had to be hyper masculine."
That perceived necessity, of course, remains one of the biggest hindrances to building relationships between Black men, even in the simple act of teaching one another about one another. Many Black male hair vloggers, even now, make it a point to highlight their straightness, either by addressing women directly — telling the girls watching their videos to put a heart in the comments — or shooting videos with their girlfriends just to make their sexuality abundantly clear.
Yet, Black Men's Hair YouTube has blossomed into a truly robust experience with a breadth of voices. There's the cool savoir faire of Sheldon "kxdsheldy" Dennis, whose curl tutorials are some of the most trafficked on the platform; Chase "Gunther da Great" Eatmon, whose recent chop has had his fans kinda confused about his new direction. Barbers have established themselves as well, with cats like 360Jeezy creating everything from fly cut designs to product reviews to talk shows where scalp foibles from across the nation are put under the microscope. All of it amounts to a bustling space for education and entertainment — a brand-new way to get into the age-old process of wig talk.
With this digital revolution came the opportunity for Black men to really learn from one another, affecting not just how we experience the world but in how we experience our own bodies. This kind of education is what scholars call "collective learning" — and its study has exploded in the last 10 years.
Where it differs from other facets of creator culture like Twitch game-streaming or "Beauty YouTube" is that collective learning pursues self-worth much more than it does fame. "The tendency is to interpret side hustles only as about economics," says S. Craig Watkins, a communications professor at the University of Texas-Austin. As founding director of the Institute for Media Innovation, Watkins has studied collective learning and digital cultures for over a decade; his 2019 book Don't Knock the Hustle examined the economic impact of such online communities. "The economic return on a lot of these activities is often minimal at best," he says, "and yet that doesn't deter people from investing significant emotional energy into these enterprises. A primary motivator is this pursuit of dignity and opportunity."
Everyone south of boomer age has figured out that a day job doesn't always equal enrichment — and for millennials, their prospects further burned by the 2008 recession, that translates to a trade-off: We're prepared to get paid a relatively lower wage to do something that teaches us about ourselves, builds us up, and extends that education outward. For Black people whose culture is routinely stolen, attacked, or destroyed, the need for self-understanding and dignity are almost spiritual callings.
But as most YouTube creators will tell you, that kind of existence is difficult to sustain. "One of the things I heard over and over again," Watkins says of reporting his book, "was, 'there's nothing glamorous about it. This is hard. There is a toll that we have to pay.'" A modicum of platform celebrity doesn't allay the stress of producing content weekly, as Will does; there are some things that sponsorships and a bustling inbox simply cannot solve.
And companies like YouTube have no obligation, and seemingly little interest, in caring for the creators who make it the multibillion dollar company it is. "One of the things that struck me from people who do this work was the need to actively support their mental health," Watkins says, "due to the stress and anxiety of the side hustle economy."
Still, Humphrey has seen some encouraging growth in his personal corner of YouTube — something he attributes to a combination of ever-evolving creator culture and YouTube itself giving creators more control over their comments sections (Humphrey demurred when asked about what exactly made these changes more comfortable). "There's a horizontal community that you can build just by reaching out," he says. Like, Terrell McDonald and CurlyGuy…I've been able to reach out to people who are like-minded and we've been able to share our communities with one another." It doesn't necessarily make the actual job of creating videos more emotionally sustainable but it's remarkably improved their relationship with their friends. Regardless, the shit is still really hard.
"YouTube started off being a hobby for everybody," Humphrey says. "But we have this opportunity to turn a hobby into a profession — and it's freelance work. It depends on your viewership, how you're engaging with people, and requires churning out content that could be hit or miss." Between work and school and all the other things that take up bandwidth in folks' lives and when you have to be your own writer, producer, editor and tech person, "you end up being a whole team in one. And life gets in the way."
That original YouTube-as-hobby ethic — just sharing your life with other people — still pulses through Humphrey's videography, from his recent video addressing the fungus growing on his scalp, to his befuddled reaction to beard weaves. It's still about how he lives in a world where despite doing your damndest to take care of yourself and stay afloat, you can still get a fucking fungus.
Luckily, for those creating and expanding the natural black hair community, no matter what they experience, there's someone else out there who's been through it too — and he's just a click away.
Culture, Hair, Guide To Black Mens Hair, Beauty, The Best of Level, Life, Media, Social Media


You've probably been trying to master cooking longer than disc golf, how long have you been playing disc golf?
My first round in September 1999 at South Park of Wood County parks next to Lake Wazeecha in Wisconsin Rapids. I was a freshman in Stevens Point, WI and met a guy in my songwriting class and he asked me to go with him. It was fun!
Your tournament career has slowed down from your early years in disc golf, but we know there are a few tournaments you play each year. How do you determine which disc golf tournaments you will play each year?
It's not about the game anymore, it's reconnecting with people from a sport that I made great friendships with.
I try to play Silver Cup (Manitowoc, WI), Prairie Open (Kenosha, WI), and MXG (Milwaukee, WI).
Since being on MasterChef has tested your skills and taught you to perform under pressure, have you been able to translate this to making difficult shots, or risky putts in disc golf tournaments?
The biggest struggle with my game and with cooking under pressure, is my head. When I know I am "on" and not overthinking everything, I perform much better. I have been trying to let things go and not be so hard on myself. I just think that is life too.
What is your favorite tool for the kitchen and what is your favorite tool for the disc golf course?
My favorite tool is a spoon. People forget to taste their food while you are making it. If you following a recipe, taste what you making. There needs to be a balance in your food. It might need more salt, acid, heat, sweetness, spice etc… My favorite disc is a Bright Green Surge Flex ESP, 167 g, with Mickey holding a Mickey on it!
Pictured is a different but also amazing Mickey Disc drawn by Katrina's friend Barrett White.
What kind of breakfast meal would you prepare for someone on the first day of a large disc golf event, like a Major or National tour?
First I would ask my client. Are you a big breakfast type of person or small? But, for me and if I'd have enough time, (which usually isn't the case) I would like maple sausage patties with over medium eggs and American fries. But, if I am short on time (which usually is the case) I really just love yogurt, fruit and homemade granola with flax seeds.
What ingredients are needed for a top notch round of disc golf?
We know you were pretty much occupied with Master Chef when you were in California filming, did you get a chance to play any disc golf?
I wasn't able to play any disc golf, but I did meet someone who plays and on a regular and has been in the California Disc Golf Scene for a long time!
What advice do you have for a disc golfer that may want to try something new like a tournament or league, but aren't sure if they can stack up to the competition?
First off, don't worry about the competition have fun, meet new friends and don't worry if you are a new at the sport, because there is a lot of support out in the disc golf world.
Moon Man No Coast Ale brewed by New Glarus Brewing in New Glarus, WI or Fantasy Factory IPA, Karben 4 in Madison, WI!!
How can we try the delicious food you cook?
I will also be preparing and serving lunch for the Disc On! Ladies League Double 9'r on November 7th, 2015 at Heritage Trails in Slinger, WI. Stop out and visit with me there, or find a partner and sign up.


text:
H is for Happy
Who is Ian 'H' Watkins? Dancing on Ice 2020 star and Steps frontman
Joanne Kavanagh
Updated: 11:48, 5 Jan 2020
IAN "H" Watkins became a household name in the 90s when he became part of pop band Steps.
Now, he's going to be the talk of the town once again as he puts on his skates and takes to the rink for Dancing on Ice 2020. Here's all you need to know about the popstar...
When will Ian 'H' Watkins be on Dancing on Ice?
Ian will be performing live on the show for the first time tonight on ITV at 6pm.
The series will air on the channel at the same time every Sunday until the grand finale.
The first elimination is expect to take place in week two on Sunday January 12.
What has Ian 'H' Watkins said about Dancing on Ice?
On September 26, 2019, Ian 'H' Watkins revealed he was so desperate to do Dancing on Ice he auditioned THREE times.
Speaking to GMB hosts Susanna Reid and Ben Shephard, H joked he revealed it was a case of third times a charm for getting on the show.
He said: "I've actually auditioned twice before, so third time lucky."
The singer also revealed how he had been watching videos of former contestants in the hope he won't be a Tragedy on the dance floor.
He said: "I have frantically been You Tubing James Jordan and Ray Quinn.
"If I end up somewhere between James Jordan and Joe Pasquale I'll be happy."
The hosts asked why H had repeatedly pursued the show and why he wanted to put himself such a gruelling, dangerous process.
He said: "The game has changed now because I have kids, it's a skill I can learn and then take my kids skating."
But the star was under no illusions about what he would be up against, admitting: "It's brutal I know.
"I have insurance. I know that I'm going to be put through my paces and that's the name of the game.
"I'm up for a challenge."
H will be competing in the ITV reality show alongside 11 other celebrities - Michael Barrymore, Maura Higgins, Kevin Kilbane, Lucrezia Millarini, Caprice, Lisa George, Perri Kiely, Libby Clegg MBE, Joe Swash, Ben Hanlin and Trisha Goddard.
Ian "H" Watkins is a member of StepsCredit: Splash News
How did Ian 'H' Watkins become famous?
Ian 'H' Watkins was born May 8, 1976 and raised in the Rhondda Valley, South Wales
He is a Welsh singer, dancer and stage actor, known for being in Steps.
Ian says that the nickname "H" stands for "hyperactive", describing his character.
After leaving Art college, Ian's big break came when he answered an ad for a pop band – that turned out to be Steps.
The band enjoyed international success in the 90sCredit: Redferns
When did Ian 'H' Watkins join Steps? And are Steps still together?
Ian became part of the band Steps in 1997.
Steps are a British dance-pop group consisting of Lee, Claire Richards, Faye Tozer, Lisa Scott-Lee and Lee Latchford-Evans.
They were formed in May 1997 and released four albums and seventeen singles.
Steps had many hits between 1997 and 2001 including two number-one singles, two number-one albums, 14 consecutive top 5 singles and a string of hits throughout Europe.
The group has sold over 20 million records worldwide.
Fans hearts were left broken when they broke up on Boxing Day in 2001, after Lee and H left the band.
Steps got back together in May 2011 for a four-part documentary series on Sky Living titled Steps: Reunion.
The series started airing on 28 September, following an announcement of a second Greatest Hits album, The Ultimate Collection, that was released on 10 October 2011.
The album entered the charts at number 1, becoming the band's third UK number 1 album.
And the band have been together ever since reuniting in 2011.
Series 2 of Steps Reunion titled "Steps: On the Road Again" aired on Sky Living in April 2012 and the series followed the band as they embarked on their sellout 22-date UK tour.
On 24 September 2012, the group confirmed they would release their fourth studio album Light Up The World on 12 November 2012, alongside a six-date Christmas tour.
Steps hit the road for a nationwide arena tour from May-July 2018 where they were supported by another legendary pop act, Blue.
Steps have reunited to mark their 20th anniversary
What else has Ian 'H' Watkins besides Steps?
After Steps split on Boxing Day 2001 Ian formed a duo, H & Claire, with fellow ex-Steps member Claire Richards.
They released three singles and an album.
He has also appeared in pantomimes across the UK.
He also starred in West End show Joseph and his Technicolor Dreamcoat
Ian also did well when he appeared on Celebrity Big Brother in 2007, and came fourth on the show.
He has also appeared on shows like The Chase.
And now he'll be showing off his moves in the upcoming Dancing on Ice 2020.
DANCING ON ICE LATEST
NOT N-ICE
CHAOS as Rachel Stevens to miss Dancing on Ice live show after horror accident
HOLLY & FLIP
Holly Willoughby forgets DOI drama by performing upside-down yoga move
thin ice
Ben Foden calls Rachel Stevens 'world's sexiest woman' - after wife's cheat claim
RINK'S JINXED
Dancing On Ice fans all saying the same thing after Rachel Stevens injury
Is Ian 'H' Watkins married? Does he have children?
On 3 January 2007, Ian came out publicly as gay in an interview with The Sun.
During his early years with Steps, Ian was involved in a relationship with the group's manager, Tim Byrne.
Ian has been in a relationship with Craig Ryder since 2007.
On March 6 2016, they welcomed twin sons, Macsen and Cybi Ryder-Watkins, via a surrogate.
Emotional moment Steps bring their kids on stage for 20th anniversary performance
Dancing on Ice 2022


text:
Chiropractic in Massachusetts
How to become a Chiropractor in Massachusetts
Salaries in Massachusetts
Chiropractic Schools by State
Schools in Massachusetts
Chiropractic School in Massachusetts - MA
Education is the most essential element in starting and sustaining a fulfilling career as a chiropractor. Students can begin learning the fundamentals of chiropractic medicine by taking high school elective courses in business, anatomy and physiology, first-aid and safety, and health education. After graduating from high school or earning a GED, students should then enroll in a four-year college or university that offers degrees in liberal arts, science, and pre-medical majors. In Massachusetts, students have access to a wide-range of educational programs that will lead to degrees such as a Bachelor of Science in Premedical and Health Studies, Master of Science in Biomedical Science, Bachelor of Science in Medical Laboratory Science, Master of Arts in Medical Sciences, and Bachelor of Science in Biology. Courses like Behavioral Science, Endocrinology, Abnormal Psychology, Medical Microbiology, Pharmacology, and Medical Literature and Ethics are among the required curriculum for these programs.
The next step in education is to complete a chiropractic-specific program that will result in a Doctorate in Chiropractic degree that is accredited by an agency like the Council on Chiropractic Education (CCE). Currently there is not a chiropractic school in Massachusetts therefore students are encouraged to check out accredited programs in neighboring states like New York and Connecticut.
Our Partner Listings
Home | About Us | FAQs | Privacy Notice | Terms of Service | Sitemap | RSS Feeds | Contact Us | California - Do Not Sell My Info
Copyright © 2020 Alliedhealthworld.com. All Rights Reserved.


This isnt old news, they signed ages ago. Anyway they are good depth signings, hope Jacks gets a start sometime next year, if Slater isnt fit.
Very curious to see what Benji Marshall can do at this club but his ego needs to go, "I'm too good a player to be playing for $300,000".
I hate benji but I'm very curious so see how Bellyache can transform him.


text:
Q: How to make Ubuntu 13.04 open .py with IDLE for Python 2.7 automatically? I'm using Ubuntu 13.04 and python 2.7. When I click a .py file, it opens it in gedit. I want it to open in IDLE. When I right-click and choose "open with", IDLE is not in the list. I have tried several things I've read online but none have worked.
Edit: I've fixed it. I needed to add a -python2.7 when opening idle.desktop, which allowed me to open the proper file and edit the proper line.

redpajama_set_name: RedPajamaStackExchange


A good example of the Cafe Wall Illusion.
The explanation is given in an online paper (reprinted from Perception ) by Richard Gregory and Priscilla Heard. It involves the luminescence of the squares, the width and luminescence of the separating "mortar" lines, and the degree of offset of the squares.
← VAM is not behaviorist.


Writer/musician Alan Semerdjian's poems and essays have appeared in several print and online publications and anthologies including Chain, The Lyric Review, Adbusters, Arson, Ararat, and Diagram. He released a chapbook of poems called An Improvised Device (Lock n Load Press) in 2005 and his first full-length book In the Architecture of Bone (GenPop Books) in 2009. His songs have appeared in television and film and charted on CMJ. Alan has performed and read all over North America. He currently teaches English at Herricks High School in New Hyde Park, NY, writes a monthly column for the LI Pulse, and resides in New York City's East Village. You can visit him digitally at alanarts.com, alansemerdjian.com, or Google away.


text:
Mittelbare Bundesverwaltung steht für:

 Mittelbare Bundesverwaltung (Deutschland)
 Mittelbare Bundesverwaltung (Österreich)