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JUL-AUG 2014
SIR NORMAN ROSENTHAL with David Carrier and Joachim Pissarro
together with Darren Jones, Gaby Collins-Fernandez, and Alyona Valerie Dybunova
DAVID LEVI STRAUSS with Jarrett Earnest
TERESITA FERNÁNDEZ with Sara Roffino
TSIBI GEVA with Phong Bui and Jonathan T.D. Neil
ERIC FISCHL with Robert Berlind
THE HELD ESSAYS ON VISUAL ART Beyond the Relic Cult of Art
By Alexander Nagel
AARON BOBROW with Alex Bacon
The Nature of Carl Andre
By Barbara Rose
JUDITH SHEA
By Robert Kushner
JEAN-BAPTISTE BERNADET Fugue
By Alex Bacon
MIKA ROTTENBERG Bowls Balls Souls Holes
By Sara Christoph
JEFF KOONS A Retrospective
By Kara L. Rooney
JO NIGOGHOSSIAN New Work
By Ed Schad
LARRY CLARK they thought i were but i aren't anymore...
CAMILLE HENROT The Restless Earth
By Becky Brown
BRIDGET RILEY The Stripe Paintings 1961 – 2014
By Jurriaan Benschop
This is what sculpture looks like
By Anne Sherwood Pundyk
GABRIEL KURI
By Terry R. Myers
RYAN CONRAD SAWYER
JUTTA KOETHER Champrovent
By Craig Stockwell
CHRISTOPH SCHLINGENSIEF Now and Then
By Alana Shilling-Janoff
GREG SMITH Breakdown Lane
By Sarah Goffstein
DEREK LERNER Convenient Gratification
Streets That Tell Stories
By Adele Tutter
BRADLEY EROS eau de cinema: constellations & contradictions
By Maya Harakawa
MANA CONTEMPORARY All the Best Artists Are My Friends
By Jeremy Butman
Railing Opinion
By Joseph Masheck
JOAN MITCHELL Trees
LUCAS SAMARAS Offerings From a Restless Soul
By Valery Oisteanu
ADRIAN SCHIESS Peinture
CLAUDIA HART Welcome to Alice's Gift Shop!
Life in Death: Still Lifes and Select Masterworks of Chaim Soutine
By Anna Tome
FLUX TIME: Moving-Image Art and the Ends of Cinema
Guest Critic: Leo Goldsmith and Rachael Rakes
Suggestion for an Audiovisual Device
By Anja Dornieden and Juan David González Monroy
On the "Status and Position of Moving Image Art Today"
By Berta Sichel
ON AND ON: Thoughts on Artists' Cinema
By Elle Burchill
THE SKIN I LIVE IN: Notes on Vimeo
By James N. Kienitz Wilkins
On "Artists' Cinema" and "Moving-Image Art"
By Roger Beebe
Art + Cinema
By Rebecca Cleman
From a Conversation at the 2014 Flaherty Seminar
By Eric Baudelaire
Move It All Around
By Jesse McLean
Questions for the Frozen Sea
By Chris Stults
A Future to Want
By Colin Beckett
The Thing Is No More
By Lynne Sachs
Black Box in White Cube
By Bettina Steinbrügge
Cheap Seats
By Christy Lemaster
After Anthropocinema
By Mohammad Salemy
Cinematic Arts' Attack on Actuality
By Nicole Brenez
Past Possible Futures
By Nuno Lisboa
REDEMPTION SONG SEAN MADIGAN HOEN with Stephen O'Connor
The Life-Long Sentence MARY RUEFLE with Tony Leuzzi
Picking Over The Crumbs
Drifting Away
Betting Big
By Christopher Michel
In a Waters World
By Katharina Smundak
Queerly Familiar
By T Clutch Fleischmann
A General Strangeness
By Anne Margaret Daniel
By Brian Gresko
Grieving the Lost And The Found
By Patricia Park
THE SKEWED WORLD OF THE BOOK: JOSH WEIL with Matt Bell
By Matt Bell
Looking for (Mrs) Laura (Riding) Jackson, the anti-social people's poet, from Jamaica (Queens) to Woodruff Avenue (Brooklyn)
By Benjamin Hollander
DAVID GREILSAMMER with Alessandro Cassin
DOWNTOWN INTERNATIONAL Suoni Per Il Popolo, Part 1
GOING ON A SONIC VACATION TIM PRESLEY of White Fence with Donald Breckenridge
BOY Carla Bozulich's Foray Into Pop
By Allyson Polsky McCabe
Downtown International Nostalgia in Tompkins Square and Suoni per il Popolo, Part II
DANCE AND PROCESS Kim Brandt, Alan Calpe, Rebecca Patek, and Gillian Walsh, curated by Sarah Michelson
By Leslie Allison
STEPHEN PETRONIO with Nancy Dalva
The Ghost in You, She Don't Fade
By Risa Shoup
On the Runway with Cedar Lake
By Brian Schaefer
LIFE IN THE NO-GO ZONE Two Views of Husbandry and Decline at Japan Cuts
By Benjamin Schultz-Figueroa
ANCESTREE An excerpt from The George Kuchar Reader
by George Kucher, edited by Andrew Lampert
The Complexities of Robert Darroll
By Huckleberry Lain
Unfolding Form: Daredevil, Gary Winter with Ariel Stess
By Ariel Stess
Polybe + Seats Comes to Bay Ridge Sarah Sakaan's Anna Asli Suriyah (I Come from Syria)
By Libby Emmons
Let's Talk about The Weather Project Making Theater of Community in the Catskills
By Jordan G. Teicher
Sex, Blogs, and eBooks Laura Eason's Sex With Strangers
By Kathryn Walat
Moment of Return
by Luisa Valenzuela, translated from the Spanish by Marguerite Feitlowitz
At The Glass Exposition In Peking
by Paul Scheerbart, translated from the German by Alex Verdolini
from Miransù
by Monica Sarsini, translated from the Italian by Maryann De Julio
What Girl Built
By Rita Bullwinkel
The Selected Correspondence of Louis-Ferdinand Céline
translated from the French by Mitch Abidor
Tastemakers
By M. M. De Voe
Elevator Jenny
By Keren Katz
New Totalities
By Aaron Cockle
from Agon of the City, Ahoy of the City
By Matt Reeck
By Daniel Bouchard
By Ed Coletti
By Barbara Henning
By Chris Martin
Circling the Square: Maidan and Cultural Insurgency in Ukraine
By Olga Kopenkina
By Gregory Sholette
Walker Evans: The Magazine Work
By Adam Bell
Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West
Both Visible and Invisible, Object and Interface: Site proposition and completion in painting, sculpture, and participation
By Greg Lindquist
Walter Benjamin: Recent Writings
By Clancy Martin
By Paul Mattick
EDUCATION REFORM Beneath the Surface Part III: Paving the Roads to Inequality
By John Garvey
By Phil A. Neel
PORTUGAL: Forty Years of Democracy
By Charles Reeve
JUL-AUG 2014 Issue
Books In Conversation
Josh Weil
The Great Glass Sea
(Grove Atlantic, 2014)
Josh Weil is the author of the novel The Great Glass Sea and the novella collection The New Valley (Grove Atlantic, 2009). A New York Times Editors' Choice, The New Valley won the Sue Kaufman Prize for First Fiction from The American Academy of Arts and Letters, the New Writers Award from the Great Lakes Colleges Assocation, and a "5 Under 35" Award from the National Book Foundation. Weil's other fiction has appeared in Granta, Esquire, Agni, and One Story, and he has written non-fiction for the New York Times, the Sun, Oxford American, and Poets & Writers. In The Great Glass Sea, Weil builds a Russia that could have been from the Russia that was, reshaping the post-Soviet landscape with scientific advances that have divorced the novel's characters from the land they once inhabited. The tension between this alternate Russia and the Russian folktales that infuse the narrative helps drive the fable-like story, but it's the relationship between brothers Yarik and Dima that gives the novel its beating heart. The Great Glass Sea is an ambitious and accomplished debut novel, one that reshapes the world even as it reflects our own reality back to us, now more brightly lit than ever before.
Matt Bell (Rail): The Great Glass Sea takes place in an alternate-present Russia, where the titular sea of glass—called the Oranzheria—has been built over a large expanse of farmable land, then lit by space mirrors to create an unending source of daylight. Twin brothers Yarik and Dima work this enormous greenhouse in alternating shifts, and as the novel opens they each inhabit a different half of this perpetual day. There's so much impressive worldbuilding in the novel, and it seems like the book can take very little for granted: The reader has to be introduced to the Oranzheria and the way that it's changed the course of your Russia, but they also have to be led through the historical events that have led to this moment, events that at a certain point broke from whatever Russian history we might already know. Could you talk about your approach to worldbuilding for this novel? With it being necessary to convey so much setting and background, how did you determine the priority for what the reader needed to know first?
Josh Weil: You're right, the world of this novel took more preparatory building than anything I've written before. It was one of the hardest parts—especially in the editing process—to get right. And yet, in the beginning, in the earlier drafts, I didn't think of it as worldbuilding. I didn't even know the term (maybe it was just off my radar; I hear it a lot lately). All that stuff—the space mirrors, the Oranzheria, the way that the Russia of this novel is skewed differently from the actual Russia of today—was, honestly, guided simply by storytelling: what the story needed at what point, what was necessary for the reader to know to empathize, to comprehend the complexities of a relationship, to be sucked into the story. A lot of that comes down to getting why a character is doing or feeling something in a given moment. For example, if one of the twins, Dima, is going to be driven by a desperation to keep the pressures of the world he lives in from ripping apart his bond with his brother, then we have to understand those pressures in order to go along with him. Since the world of this novel is pretty different from that of our own, there's a lot to put in place in order to move the story forward in a way that will allow the reader to feel fully for the characters and, hopefully, empathize with the choices they make. That's what guides me with worldbuilding. But balancing that with other narrative demands is where it gets complicated. A certain amount has to be done early on, but if too much is done right at the front then it can delay the narrative too much. Yet, if it's dribbled out too far into the story, then we're going to lose patience with it. Getting that balance right was tough. I worked on the first hundred or so pages more than any other part of the book, trying to figure out how much I could crank down on the worldbuilding, how much could be woven into later scenes, and, vitally, how I could make it do double-duty, bringing in elements of the world in ways that revealed character or ramped up the story so that it didn't feel like worldbuilding. Every time I felt like the worldbuilding was starting to go on too long I'd try to bring it back to the heart of the book—the brothers—and their more personal story, to make sure that didn't get swamped in the wider work. It's like anything in building a narrative: you want to make sure the reader is asking the right questions at the right time, so you want to answer enough to keep the reader from focusing wholly on questions about the strangeness of the world, but also raise enough of those questions to make a reader wonder, cock his or her head, think, "What's that about?" and, hopefully, read on to find out.
Rail: Did setting the book in an alternate-present Russia present any additional wrinkles to the task of writing outside your culture of origin? Does the responsibility to the culture you're writing about morph as you're rearranging the current circumstances in that culture?
Weil: I don't know about added wrinkles; if anything, I think it smoothed things out a little. If I had set this story in present-day Russia and tried not only to make it an accurate portrayal of that country, but also attempted to capture the perspectives of Russian characters—essentially get inside the character of the country, inside the storied Russian soul—I would have failed.
First of all, of course, I wouldn't have been telling the story I wanted to tell (which was born of both the Russian experiments with space mirrors in the '90s and my personal relationship to Russia), but also I wouldn't have been able to take the story places that I wanted to take it to explore some of the themes. The fact that I could create a world of unfettered capitalism—that took the tone of Moscow in the early '90s as a starting point but then expanded that into an alternate present where Putin's authoritarian rule hadn't exerted some control—allowed me to wrestle with ideas of perpetual growth, the need for dissatisfaction in a capitalist system, nostalgia for socialism, etc., in a way that would have been complicated and constrained by the realities of Putin's Russia today.
Secondly, if I hadn't rearranged the circumstances of contemporary Russia I would have faced an expectation that I represent that country in some way. I strongly disagree with the concept that a writer of fiction has a responsibility to represent any culture in any way. When I wrote about Appalachia I wasn't representing Southwestern Virginia; I was writing about particular characters (and very unusual ones) whose lives play out in a particular place. The specifics of place alter the way the world works around those characters, help create the circumstances that make the characters who they are, but my focus is always on the individual, not some representation of some community. I don't believe any one person can truly speak for a community. And I think it's downright dangerous for a writer to try. But that doesn't mean the expectation—coming from readers, critics, even the communities themselves—isn't there. It is. And is there more strongly when a writer makes a claim to utter realism.
I don't with this book, and that is partly why. Any writer who sets his story in a different culture from his own needs to be sensitive to that culture, and sensitive to the fact that he or she is not going to get it totally right. So it helps to have some way of stepping back, of claiming some space within which to work creatively. Often that space is created by writing from the perspective of an outsider (for instance an American protagonist, though the story is set in a different culture). Sometimes it's done by dipping back into history (there's nobody alive now who lived in Russia in, say, 1600, so nobody's going to step forward—except, perhaps, a few unsympathetic historians—to contest the details; a story set then is going to have more leeway for imagination). I chose to do it by tilting The Great Glass Sea away from hard-nosed realism. The fact that it's so clearly an alternate Russia, and, even more so, one that is sprung from fables, gives me (I hope) that space. I'm careful to say, this isn't Russian, this is a fable set in a Russia that is much like the one today but that, in fact, doesn't exist.
Rail: You mention in the book's acknowledgments that the path to writing this novel began when you were an exchange student in Soviet Union, and that you returned to Russia two decades later, presumably while actively working on The Great Glass Sea. What was your approach to research for this book, and how beholden did you feel to the realities of contemporary Russia, given that you were writing an alternate present?
Weil: Russia's been buried inside me for as long as I can remember. Maybe because, on my mother's side, my ancestors were all Russian Jews (my mother would put on folk song records, we'd dance around the living room to music from Eastern Europe). When I was 12 I started studying Russian language; Russian class and Russian club and the friends I made through it became one of the anchors in my life throughout my teenage years. Then, as you said, I lived in the Soviet Union for a bit as an exchange student. It was my first time abroad without my family. The world I witnessed was so deeply different from my own—and yet it felt familiar the way that, in the best fiction, we recognize aspects of ourselves we might not have known before, find corners of our own interiors revealed in the reflections of other lives, other stories. Something like that sticks with you, and my time in the Soviet Union stuck with me. Still, I'd only lived there for a little while. I wasn't Russian. I'm not Russian. So, though I always imagined I'd set a story there, I never imagined it would be this: a big book that takes place entirely in Russia, told entirely through the eyes of Russian characters. I mean, when the idea for this novel came to me it frankly scared the crap out of me. I thought: Really? You're going to do that? But one of the things I believe most strongly is that we, as writers, should always, on some level, be scared of what we're writing. It should feel dangerous. This did. It also felt crazy and I didn't feel ready for it, so I set it aside. But it wouldn't let me go. And that's another thing that I believe: when a story gets a hold of you, when it won't let you not write it, then it's probably the thing you oughta be writing.
In this case, that meant I also had to face the issue of research. Though, really, with most things I've written I've faced that question: for the novellas in my first book I had to learn a hell of a lot about, say, tractor repair or raising beef cattle. I had to get far enough along into imagining the story to know what I needed to know, and then I had to research enough to feel that I had a solid grasp of the world in which the story would be set, could pull from that world the things upon which certain scenes would turn. Once I understood enough, I stopped researching and wrote (leaving many blank spaces that I'd go back and fill in later). Although the world of this book was more drastically unfamiliar, the process was similar. Except that by the time I started I'd learned a vital lesson: too much research can swamp a story, stifle creativity, and bury the life in a novel. That happened to me with another novel, one that I tried (and failed) to write before this, one for which I'd done a tremendous amount of research, and one that, in the end, I found I couldn't write because I was trying to write to the research instead of using the research in service of the story. Some writers thrive on digging into research as they're writing, some on doing extensive research before they start in on the process of creation, but I know that, for me, I have to be careful to do just enough to feel that I'm grounded in the world of the story—and then let the story loose before I go any further.
So for The Great Glass Sea I relied almost entirely on my own memories from my time in Russia as a teenager and the learning I'd done in high school. That was important for the reason I just mentioned, but for another reason, too, particular to this book: memory feels like a fable to me. The Russia of my childhood was still magical to me, and I didn't want to dilute, or even correct, that. So I wrote the first draft without doing much research at all. This is something else that I believe: If I feel beholden to anything as a writer it's always first and foremost the story itself, the world of the book, whether I'm writing about rural Appalachia or the far north of Russia. That's why I'm writing fiction and not non-fiction. The whole thing is a pack of lies, right? Still for a lie to be effective, people have to buy into it. That's the baseline. And that's part of why I went back to Russia before writing the second draft. The other thing is this: I felt a responsibility to figure out just what Russia was speaking to me about, what made it the only place that I could set this story, to understand the country well enough to make it truly integral to the book. When I went back, I did find that. And I found so much that I didn't expect, so much that had changed (of course) about the place. That was vital to what the book became. The second draft (which added, oh, 400 pages, wholly new characters, and entire plot-lines) was an amalgamation of the Russia of my memory and the country that I came across when I went back; the tension between those things became central to what I wanted to say, what the story would, in the end, be about.
Rail: I've had a similar experience with the second drafts of both my novels, including the hundreds of new pages, to the point that both books doubled in the second draft, then got cut in half during later drafts. It's not very efficient, but so far it's been necessary. I also found that the second draft has been the place where the best work got done, in part by literally retyping both books from scratch.
Weil: My God, Matt, that's terrifying. Typing them over from scratch! That would make me want to lie down and shut my eyes and beg the creator—or just a big asteroid—for death.
Rail: I'm not saying it hasn't ever made me beg for similar ends. Figuring out how to make that turn from the first draft to the second was one of the bigger challenges I'd faced, in part because I'd never had to rewrite something so big before. I don't want to suggest that the novella has been practice for the novel, because obviously they're their own thing, but you've written the three novellas in The New Valley plus at least another novella that appeared later in American Short Fiction, which seems to be a lot more novella-length work than most writers your age have done.
Weil: I'm sure my agent loves that about me. (Actually he's amazingly unfazed by my insistence on writing novellas—or my handing him a 600-page first novel manuscript to try to sell).
Rail: Did working at the novella scale help prepare you for novel-writing?
Weil: Not really. I've always been a long-form guy. I wrote my first novel-length thing when I was 17, then a second one a year later. My first attempt at a serious literary novel was 1,300 pages. I was 22. I didn't write my first real short story until after that, and even then I didn't start to really focus on the short form until I was in grad school, when I also started writing novellas. In a way, then, it was the opposite: writing novellas helped me grasp what it was that made a short story work, how to focus more tightly than was my inclination, helped me hone my short form craft to the point where I now feel I've got work worthy of a collection (I'm closing in on a book of stories that Grove's set to publish before too long).
But, mostly, I do think that the novella is it's own thing. You're right, I've written a lot more of them than most writers have—at this point, seven of them, including one that I tried to turn into a novel (and still might), and three that will form a second collection once I've got them whipped into shape (they're still a ways off). I just love the length, the demands, the pressures, and the freedoms of the form. Maybe that's because I wrote a lot of screenplays and plays in college—I grew into a writer as much through study of theater and film as of literature—and I think novellas are the most analogous form of prose. Whatever it is, it just works for me. In fact, that 1,300 page novel was really a slew of different novellas intertwined into a whole; I just didn't know it. Knowing it now, having cut my teeth on the novella, helped me in my novel writing mostly in that it's allowed me to think about what makes a story worth three or four or five hundred pages, what kinds of stories demand that, and it allowed me to think about the way that scenes work when they have room to breathe, the way that past and present can be played with when you have the space that's not there in a short story, the ways in which spandrels and secondary story arcs can support and enlarge the main story's thrust—all of which I think is important to the way novels work.
The thing that really helped me finally write a novel that did work, though (at least I hope this one does), was writing other novels. Those first three that I mentioned, which I don't even really count (I was too young; they were more me finding my feet than really going anywhere), and then two more after that; one which I wrote in graduate school, another that I wrote after. Of those, I hope I might still be able to make one work. But, in essence, they all went into the writing of this novel, as much, or more, than any of the novellas did.
Rail: What were the challenges of the second draft of The Great Glass Sea, and how did you overcome them?
Weil: It was a huge challenge going from the first draft to the second. From what you said earlier I suspect that you and I might write pretty differently. For me, the first draft is usually the heart of the book; its where I think I do my most vital writing and, if it's not alive and working in the big ways by the time I'm done, I rarely make it to a second draft. Usually, then, the second draft doesn't alter the overarching shape of the thing too substantially; it's about filling holes, fixing problems, re-seeing stuff that's not working, but all in the service of letting the fresh and newborn first draft reach its potential. Sometimes that takes many, many drafts. It's very laborious and difficult and extremely important work—don't get me wrong—but it's usually not what I consider the heart of thing.
This book was different. The first draft was just as important as always for me—I just came to understand that in order for it to do what it wanted, to be what it truly could, I'd have to do a much more extensive second draft than I had before. That's because I had, believe it or not, first conceived of this as a short story. I quickly realized it was longer than that, but wrote most of the first draft thinking it would be a novella. Then it clocked in at about 200 pages and I had to decide whether the story wanted compression or to be blown open. And, though the idea terrified me, my gut told me it was worth a bigger book. Mostly that's because the journey the characters took through the course of the first draft didn't work without more support being built beneath them. I had, essentially, written the full arc of character development that a novel makes possible, but I'd left out a lot of the plot that would move the characters towards their transformation. So the second draft was largely about unearthing that plot. Bazarov didn't exist in the first draft. Nor did Vika, or the Leisurists, or Dima's recitation of Pushkin's poem, or all that unravels now from that. The other big shift also had to do with supporting the place at which the brothers arrive at the end. I realized that if I was going to get there and make it fully felt, I needed both brothers' perspectives. Initially there was just Dima's. Now, much of the book is told through Yarik's eyes. All that work was done in the second draft. And then there was the third, the fourth, the fifth … etc.
Rail: And now each chapter title is ornamented by a drawing that you did yourself, which you've been sharing one by one online as the book comes closer to publication as a sort of teaser.
Weil: I know! A teaser! Oh, what an age we live in. Sometimes I'm embarrassed by what it means today to be a writer.
Rail: The opening chapter begins with Yarik and Dima out in a rowboat on a lake, farther from shore than ever before, remembering the tale of the Chudo-Yudo, a creature out of Russian folklore. I'm curious when the drawings became a part of the project: Were you creating them alongside the book, or was it something that came after? In other words, was the art part of the project generative or was it part of the finishing work?
Weil: So much of this book sprang from Russian folklore and it always felt vital to me that the story be sheened with a sense of fable. So, from the start, I was trying to find ways to help the reader feel that without hitting them too hard over the head with it. I've always been enchanted by the work of Ivan Bilibin, a Russian illustrator who worked around the turn of the 20th century. His illustrations of folktales are iconic; in many ways they are the world of Russian fairy tales, now. And so I realized that, if I could somehow impart the feeling of his illustrations, it might be the most powerful tool I had to prepare the reader, set him or her in the feeling I wanted for the book. Still, I didn't start drawing until the final draft was done (I had to know just what was going to be behind each illustration). Once I did I draw—no joke—for about six weeks straight. It was as grueling as it was invigorating and it drained me and I loved it. I'm not nearly the artist that Bilibin was—I never thought I could come close to matching his work—and so I didn't try to ape his style so much as imagine how the master would have approached each chapter and then channel the feeling of his illustrations into my own.
Rail: It's interesting how you mention that the illustrations "are the world of Russian fairy tales now," because I thought I didn't know Bilibin's work, but upon Googling him it was immediately obvious that of course I did. Which particular Russian folktales had a special influence on you?
Weil: Though many fables no doubt worked their way into my imagination, I don't know that I'd say any particular one had an overall influence on me (I think the depictions in Bilibin's illustrations were as powerfully formative for me as the actual stories), though, of course, the feeling of those folktales—woods where a witch might whiz by in a mortar, wielding a pestle; where huts moved on their own feet; the yearning contained in a couple who would pretend a snowball was their baby; the belief in miracles that allowed that snowball to turn to flesh and breathe; the lives of peasants so sharply captured in the description of a mentally slow son sleeping around the stove so long he was wholly buried in ash; the brutality of Baba Yaga cutting off hands, of townspeople tying her by her hair to a horse's tail until her body was torn from her head—the feeling of all that went into the world of the novel. And, of course, a number of fables influenced the particulars of The Great Glass Sea: the story of the Chudo-Yudo swallowing the sun, the birds of prey that turn into princes and back into birds, the role of Ivan the Fool in so many of the folktales.
Rail: How do you translate the qualities of the folktale—which don't trade in realism, among other things—to the more grounded and psychologically rounded world of The Great Glass Sea?
Weil: I think through selection. I chose to use some aspects of the folktales—the importance of bonds between characters, the use of allegory and symbols, the way that the story unrolls from a set of circumstances that is established, almost entirely, right at the start—but not others: no neat moral wrap-up at the end, no magic loopholes that let the plot off the hook, no breaking of the rule of cause-and-effect that makes what characters do feel real. But I think you alluded to the most important way I tried to translate the qualities of the folktale into this novel: through the psychology of the characters. Dima, in particular. His character is formed by his childhood, which was defined by folktales, and his view of the world is trapped in that. He is utterly unpractical, unrealistic in his expectations and needs. His psychology is as skewed from reality as fables are from the real world. And yet he lives in a world where others don't operate that way. Much of the narrative tension comes from that. And that's largely what makes me love him, what makes his story, for me at least, tragic.
Matt Bell
MATT BELL's debut novel In the House upon the Dirt between the Lake and the Woods was published in 2013 by Soho Press. He teaches in the M.F.A. program at Northern Michigan University.


In this guide we'll go through the basics of performing a percolation test. which is a necessity if you're going to install a septic tank or soakaway crates system.
So basically, there are different soil types, and obviously a sandy fine soil is going to drain water away much faster than a dense thick blue clay will. Blue clay is common in the UK and was actually used over thousands of years as water-proofing for different types of structures. I was watching a documentary recently about the mystery of Oak Island (highly recommended if you like documentary series) and they uncovered a dam system where the installers during the 1700's had used blue clay to keep sea water out of the construction site.
So obviously, how large your soakaway will need to be, or if you can even install one at all, will depend on which type of soil you're installing into, and a percolation test is the way to determine this.
When Should I Perform a Percolation Test?
You should perform percolation tests before installing any soakaway crate system or septic tank / treatment plant, but only after you've performed a Groundwater Source Protection Zone search and a Trial Site Assessment Hole first (we will explain those in further guides) to assess the water table in the area fully.
Please note that the test will differ depending on whether the soakaway will be for foul water or surface water drainage. In this guide we'll outline how to perform a percolation test for foul water. For a soakaway crate system which will have to handle a large volume of water in a very short period of time then larger pits are usually required. Typically 1x1m wide and 2m deep.
Okay, so now we know what and why, here's the how.
A percolation test will consist of digging hole (or several holes) in the ground around the proposed area of your soakaway system to a specified depth. Then the hole(s) will need to be pre-soaked so that the soil is saturated, then the test will be ran by filling the hole(s) to a specific level and timing how quickly the water level drops as the water percolates into the surrounding ground. Depending on the results you will then be able to calculate the size of the soakaway or drainage field required. Please note that you must not perform a percolation test in any severe or abnormal weather conditions as heavy rain or frozen ground or a draught will obviously lead to inaccurate results due to the changed water table.
Dig the hole to 300mm wide by 300mm deep below the required invert level of the drainage pipe. This could be anywhere up to one metre below the surface, so you may need to dig a hole large enough to stand in before excavating your percolation test hole.
You'll then need to repeat this exercise several more times with a total of three being the minimum. Each time calculating the average time taken for each hole.
If the test results show and average VP value of between 15 and 100 then the ground is suitable for a soakaway. This ensures that the water cannot percolate too quickly into the ground water, and that you don't have the opposite problem where the soakaway simply doesn't soak away at all and the system is ineffective.
V = The amount of time in seconds for the water in the test hole to drop by 1mm.
The resulting calculation will give you the area in m2 required for the soakaway system. The installer will then likely perform further calculations to find out the length of pipes required. Which depends on the width of the trench.
Hopefully the information in this guide will give you a rough idea of what a percolation test is and how you should perform one to calculate the area in m2 required for a soakaway system (drainage field), but please do not rely on this guide for your sole source of information. Always check with your local authority first as there are often different regulations in different areas. There are also several other factors to be considered and by no means is a percolation test result the only concern. For example soakaway systems are not to be installed under driveways, parking areas, buildings or near trees, dwellings, boundaries, rivers, streams etc. Also Soakaway systems cannot be installed unless the Site Assessment and Soil Profile deep test hole show that there is a minimum of 1.2m between the bottom of the drain and the water table or bedrock. Any less than this, and the water will not have enough soil to drain away effectively.
Most importantly soakaway crate systems MUST NOT under any circumstance be installed for use with foul water. They do not conform to building regulations for this purpose and are not suitable for the job. Soakaway crates are for rain or surface water only, and must never be used for foul water drainage. Unbelievably there are "companies" out there that use them for this purpose and it is neither safe nor effective. If a company tried to sell this to you, please report them immediately to trading standards.
As always we thank you for reading our guides here at EasyMerchant. If you require any further help please feel free to give us a call and we'll try to answer the question or find out for you. At the very least we'll be able to point you in the right direction! For further information on how to install soakaway crates then please read our Soakaway Crates Installation Guide Here.
Thanks for the great info, this really helped me.
Thanks so much for this guide, made my life a lot easier when it came to installing my soakaway system!


The Èkètè Spring/Summer 2018 Basket Bag Collection was presented at last month's Kampala Fashion Week held in Kampala, Uganda.
The collection is the work of Èkètè, a Ugandan fashion brand, shopping and retail store. The Èkètè Spring/Summer 2018 Collection is a showcase of the brand's handcrafted, basket woven bags. Each bag from the collection has a unique, individualistic style with a mix of modern and traditional African aesthetics.
From the Chii bag, Hamsu bag, Nnunu bag, Jamal bag to the Iman bags, each bag is carefully designed for a chic, comfortable and stylish look. Some pieces from the collection feature colorful leather straps and flaps.
There's a shoulder bag, handbag, crossbody bag and waist bag, all making a chic, perfect and practical fashion accessory for everyday use.
The beautiful and colorful knitted dresses worn for this presentation are by Uganda designer Nina Mire @nina_mire_official and they were photographed by @inspirefilmz.


text:
Listkogonka czerwonoczapkowa (Prioniturus verticalis) – gatunek średniej wielkości ptaka z rodziny papug wschodnich (Psittaculidae). Znany z 6 wysp Archipelagu Sulu (Filipiny), z czego na niektórych wymarły. Krytycznie zagrożony wyginięciem.

Taksonomia
Po raz pierwszy gatunek opisał Richard Bowdler Sharpe w 1893 na łamach Bulletin of the British Ornithologists' Club. Nie wskazał dokładnej lokalizacji pozyskania holotypu; mógł pochodzić z Tawi-Tawi, Sibutu lub Bongao. Autor nadał nowemu gatunkowi nazwę Prioniturus verticalis. Jest ona obecnie (2020) podtrzymywana przez Międzynarodowy Komitet Ornitologiczny (IOC), uznaje on gatunek za monotypowy. W 1966 Muzeum Historii Naturalnej w Londynie (wówczas Muzeum Brytyjskie) było w posiadaniu dwóch syntypów – dorosłego samca, pozyskanego w czerwcu 1893 na Sibutu oraz jednej samicy. Epitet gatunkowy verticalis oznacza z łaciny mający koronę.

Morfologia
Długość ciała, nie licząc dekoracyjnych końców sterówek (5–6 cm), wynosi 28–30 cm. Upierzenie w większości zielone. Dziób jasnoszary. Głowa jaskrawozielona. Ciemię wyróżnia się jaskrawoniebieską barwą, dodatkowo u samca widnieje na nim duża, czerwona plama. Pozostała część upierzenia żółtozielona, najciemniejsze są skrzydła; zewnętrzne chorągiewki wszystkich lotek mają niebieskawy nalot. Zewnętrzne sterówki wyróżniają się czarnymi końcówkami. Występuje para ozdobnych, wydłużonych piór, w części chorągiewki pozbawionych promieni, zaś na końcu zakończonych płaską, czarną strukturą.

Zasięg, ekologia i zachowanie
Listkogonki czerwonoczapkowe odnotowano łącznie na sześciu spośród wysp Archipelagu Sulu (Filipiny) – Tumindao, Manuk Manka, Bongao, Sanga-Sanga, Sibutu oraz Tawi-Tawi; na części być może już wymarły. Środowiskiem życia tych papug są lasy, w tym namorzyny oraz skraje lasów przyległe do obszarów wycinki lub terenów rolniczych. Obserwowano ptaki żerujące na owocujących drzewkach. Okres lęgowy trwa od września do stycznia; jedno gniazdo odnotowano w złamanej palmie.

Status
IUCN uznaje listkogonkę czerwonoczapkową za gatunek krytycznie zagrożony wyginięciem (CR, Critically Endangered) nieprzerwanie od 2012 (stan: 2020); wcześniej, od 1994 miała ona status gatunku zagrożonego (EN, Endangered). Liczebność populacji szacuje się na 50–249 dorosłych osobników. Na Tumindao i Manuk Manka nie zaobserwowano tych papug przez blisko 80 lat (stan: 2011). Prawdopodobnie wymarły na Bongao i Sanga-Sanga, być może przetrwał na Sibutu. Na początku lat 90. XX wieku niewielką liczbę osobników odnotowano na Tawi-Tawi (w 1891 był to na tej wyspie gatunek dość pospolity). W 2008 na tej wyspie próbowano zwabić listkogonki czerwonoczapkowe odtwarzając ich głos, jednak bez rezultatu. Zagrożeniem dla tych ptaków jest wycinka dziewiczych lasów, ponadto w przeszłości stanowiły łatwy cel dla myśliwych ze względu na swoją łagodność. Z powodu swojego upierzenia trudno dostrzec ptaki tego gatunku, przez co ich liczebność może być niedoszacowana.

Przypisy

Linki zewnętrzne

Papugi wschodnie
Ptaki Azji
Gatunki i podgatunki zwierząt nazwane w 1893 roku

redpajama_set_name: RedPajamaWikipedia


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    <string name="instructions">Зробіть свайп для переміщення плиток. 2 + 2 = 4. Зберіть 2048.</string>
    <string name="you_win">Ви перемогли!</string>
    <string name="game_over">Гра закінчена!</string>
    <string name="go_on">Торкніться для продовження</string>
    <string name="for_now">А поки…</string>
    <string name="endless">"Нескінченний" режим</string>

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    <string name="reset">Скидання</string>
    <string name="continue_game">Відміна</string>
    <string name="reset_dialog_title">Скинути гру?</string>
    <string name="reset_dialog_message">Ви впевнені, що хочете почати спочатку?</string>
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redpajama_set_name: RedPajamaGithub


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http://tvtropes.org/pmwiki/pmwiki.php/Main/RageWithinTheMachine
Rage Within the Machine
Create New - Create New - Analysis Characters FanficRecs FanWorks Fridge Haiku Headscratchers ImageLinks Laconic PlayingWith Quotes Recap ReferencedBy Synopsis Timeline Trivia WMG YMMV
Xavier March: What do you do if you devote your life to discovering criminals, and it gradually occurs to you that the real criminals are the people you work for? What do you do when everyone tells you not to worry, you can't do anything about it, it was a long time ago?
Charlie Maguire: I suppose you go crazy.
March: Or worse. Sane.
— Fatherland
When a main character is loyally part of a party or division linked to the government but is beginning to doubt if said party/division is right about their beliefs and policies, or, in extreme, rebels. Often used in dystopian fiction. In older works, especially Orwellian styled fiction, it was common that at the end the rebel's faith would be restored, or they would be killed. This was an unfortunate side effect of the mildly Anvilicious aesops the writers would work into their stories. In newer works, however, the fate of the rebellious character is often different, although death or brainwashing are still completely possible.
Compare to Big Brother Is Employing You, My Country, Right or Wrong, My Master, Right or Wrong, Internal Reformist, Just Following Orders, and mostly Heel Realization and Defector from Decadence. These characters may Resign in Protest when they are finally pushed too far.
Not to be confused with Man in the Machine... unless, of course, it's a cyborg rebelling against those that made him/her/it abduct and robotisize others. Also, not to be confused with Rage Against the Machine. Or this article, from which the title was derived.
In Bleach, right after Ichigo stops the Sokyoku from executing Rukia, Captains Ukitake and Kyoraku work in tandem to activate an artifact specifically designed to destroy it, having felt that the entire execution had veered too far into Disproportionate Retribution territory and become highly suspicious of the circumstances leading to it. While Captain Commander Yamamoto decides to personally punish his former students for their actions, Aizen would prove that they were entirely justified in their suspicions.
Happens at some point to every judge in Judge Dredd when they recognize the faults in the plainly dictatorial system. Dredd himself notably lost faith and resigned from his post just before the events of "Necropolis".
In Origin Story, Tony Stark was the instigator of the Superhuman Registration Act. By the end of this story, he's one of Act's most vocal critics within the government and is actively campaigning to have it repealed.
Films — Live-Action
Preston from Equilibrium. Unlike many of these, he succeeds in taking down the local tyranny.
Sgt. Hugo Stiglitz from Inglourious Basterds. As an enlisted man, he killed 13 Gestapo officers, plus he has the honor of dying while doing what he loved best — stabbing an already dead Nazi in the back of the head with a large knife.
John Anderton from Minority Report starts to doubt the justice of his mission around the time he gets framed.
The two protagonists in Cube Zero are a division of a vaguely theocratic government responsible for monitoring the declared enemies of the state who are thrown in the Cube to be experimented on. They're both resigned to their horrifying jobs at first, but one eventually realizes what he is part of and tries to rescue the people inside, only for the scary men from upstairs to come down and track him down.
This is the plot of The Lives of Others, in which a member of The Stasi (the Secret Police of East Germany) develops a sympathy for the people he is surveilling, which causes him to doubt the righteousness of what he does in his job.
Amen: Kurt Gerstein unwittingly becomes one of the chief organizers of the Holocaust when his chemical supplies start to be used for killing people instead of typhus. He subtly tries to undermine the actions of his colleagues by delaying shipments of Zyklon-B, but it's entirely too little to make much of a dent.
Winston Smith in 1984 has to be one of the most famous examples who secretly rebels against Big Brother and is psychologically crushed for it. The last line is "He loved Big Brother".
D-503 in Yevgeny Zamyatin's We — but at first he cannot grasp the fact that he feels the urge to rebel...and considers it a sickness.
Bernard Marx and Helmholtz Watson from Brave New World. Unlike his fellow citizens, Bernard wishes for more solitude and dislikes taking soma. Helmholtz wants to create True Art.
Guy Montag in Fahrenheit 451 is curious about the books he is paid to burn and takes one home.
Paul Proteus from Kurt Vonnegut's Player Piano.
Equality 7-2521 from Anthem by Ayn Rand.
The City Watch in general and Vimes in particular in the Discworld novel Night Watch. Jingo is an arguable case, since they never had any loyalty to Rust, but to the ruler he deposed.
Inspector (later Watch Commander) Carmichael of Jo Walton's Alternate History Small Change trilogy has been blackmailed into becoming Da Chief of what is effectively a British gestapo. Although publicly feared and hated, he uses the resources and privileges he now has to his advantage to secretly move as many innocents as he can safely out of the country.
The Star Wars Expanded Universe novel Death Star has a loyal Imperial agent assigned to firing the planet-destroying superlaser begin to question his faith in The Empire after the destruction of Alderaan. Eventually, this leads him to a crucial moment of indecision when he is ordered to fire on the rebels on one of Yavin IV's moons which gives the rebels time to fire the fatal shot which destroys the eponymous station. This also serves to explain why the laser fires more quickly on Alderaan than during the climax of the movie.
Fatherland: Xavier March is Nazi policeman living in a victorious Nazi Reich. By the beginning of the story, he has become increasingly dis-enamored with the Nazi regime he serves, refusing to become a hardcore Party supporter. Things only get worse when he learns of the fate of Jews who were "sent East"...
Arc of Fire: Some of the Atma Knights have grown to oppose the ruthless and manipulative tactics that their order uses, forming dissident groups. These range from ones who just want reforms, to those intent on a revolt and taking the order's ruling High Council down. Mohender Ghosh, the leader of a reform-minded group, gets arrested and put on trial for treason (which is a sham) after he publicly criticizes them. While he escapes, we don't see how the dissent within the Atma Knights ends up overall.
Live-Action TV
Juliet from Lost is an example of this... particularly in the episode "I Do".
Deep Throat of The X-Files fed Mulder information from his position in authority.
In Nikita Nikita rebels right away when Division kills her boyfriend. Michael on the other hand stays loyal even though he had doubts for a long time.
He refuses to participate in Percy's private operation and even helps Nikita from time to time. In the end he rebels when he finds out that Percy had his family killed. He remains loyal to the ideas behind Division but hates what Percy is doing as its head.
This is a frequent problem for Division deep cover agents. They start to have doubts about what Division is doing and some end up Going Native. Even Percy's elite Guardians are not immune from this.
The Barrier: Several characters who are initially part of the government take this path. Luis creeps closer and closer towards this between a tendency for people who try to warn him that the government is trying to get rid of him dying soon after and an orphan his family took in turning out to not actually be an orphan. Later, another character's son turns out to have been taken away from him by means similar to those by which Luis' adoptive son was taken away from his biological parents and would hence have every reason to walk the same path as Luis, but doesn't. Luis explains to Emilia that those who are part of the system are the most confused when they discover its dark sides.
In Chernobyl, Legasov and Shcherbina are both high-ranking individuals within their spheres of the Soviet system and did not get there by being nice and above-board. Legasov quickly realizes how much a hindrance Soviet thinking is when he's the only one in the room who can spot that the Kremlin is being lied to about the extent of the disaster and begins pushing back more and more on decisions that are clearly being made to protect the USSR's public image rather than its people. Shcherbina takes longer to get there, as an experienced navigator of the high circles of politics, but he reaches his Rage-Breaking Point when he realizes that the Kremlin has spent months using a false figure to negotiate for a radiation-proof robot from West Germany, resulting in the robot frying as soon as it's put into action. His subsequent phone conversation with Moscow is so loud it can be heard outside the trailer, he screams at the listening KGB agents for good measure, and then he bashes the phone to bits in the process of hanging up.
Myths & Religion
The Bible:
Judas started to doubt Jesus and, in the end, betrayed him, leading to the crucifixion. It is debatable whether it counts, though.
According to quite a few religious (and some secular but metaphysically inclined) philosophers, this is the default state of humanity: being in opposition to a larger cosmic purpose and instinctively driven to Screw Destiny regardless of the outcome. There is as much disagreement on whether this is a good thing or a bad thing as there is on what said cosmic purpose actually is (or if it's there at all).
Kyle Katarn of the Dark Forces Saga started out as an Imperial officer and rebelled.
Cecil Harvey from Final Fantasy IV doubts the King of Baron's intentions when he's ordered to attack Mysidia and steal their crystal, and finally leaves his service after being unwittingly used to burn the Village of the Mist to the ground.
Devil Survivor. Izuna knows that the government is planning to eliminate Tokyo to get rid of all the demons, but will follow through with the plan "for the good of the country". Of course, she'd rather not resort to this option, and as a result, will help the main characters in some of the endings.
Deus Ex. JC Denton starts out as a UNATCO (United Nations Anti-Terrorist Coalition) Agent, but he rebels after a few missions when his brother shows him proof that his bosses are corrupt and serving a Corrupt Corporate Executive.
The player has the option to become one of these in certain class quests in Star Wars: The Old Republic, either trying to reform the Sith Empire as a Light Side Sith Inquisitor or Imperial Agent, or rejecting the corruption of the Republic as a Dark Side Jedi Knight or Trooper. Several companions, including Jaesa Willsaam, Ashara Zavros, and Lord Scourge ( the ex-Emperor's Wrath) also have elements of this in their storylines.
In Dreamfall: The Longest Journey, Kian Alvane is sent to Marcuria by the occupying Azadi to kill the rebel leader. While there, especially after meeting April Ryan, he starts realizing that what the Azadi are doing may not be the will of the Goddess. At the end, when he realizes that April is actually the rebel leader, he refuses to kill her. In the next game, he joins the resistance.
Alluded to in The Other's backstory in Girl Genius.
In Gunnerkrigg Court, Kat Donlan was raised in the Court and is a very strong supporter of its scientific worldview... until she discovers a conspiracy that the Court's founders pulled off. She loses all respect for the Court's organization and current leadership, even though she remains a firm believer in the power of science.
Western Animation
General Crozier and Cardinal Ravenwood from Metalocalypse. After Mr. Selatcia repeatedly overrules the Tribunal into not interfering with Dethklok, Crozier and Ravenwood decide to take matters into their own hands. When they try to have Dethklok killed behind Mr. Selatcia's back, however, he forces Ravenwood to vomit his own intestines and destroys his eyes while Crozier, who's still considered useful, is put to sleep and has his memories wiped.
Rabble Rouser
Civil Unrest Tropes
Quiet Cry for Help
Help! Help! This Index Is Being Repressed!
Rape, Pillage, and Burn
Rage Against the Heavens
Rags to Royalty
Point of Divergence
QuoteSource/Literature

redpajama_set_name: RedPajamaCommonCrawl


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Giant Food parent to provide $10 million coronavirus relief package
by David Goodman | Apr 2, 2020 | Supermarket News
Alhold Delhaize USA, the parent company of East Coast supermarkets Giant Food, Stop & Shop, Food Lion and Hannaford, announced this week that it plans to donate $10 million in the form of a relief package to address critical needs in the wake of the coronavirus pandemic. The company plans to distribute the funds in a variety of ways, including the following.
$3.5 million to feed and care for communities on the East Coast
$2 million for associate care funds that support employees and their families in times of need
$1.5 million in funding to support medical research to create a vaccine and cure for COVID-19
Stop & Shop: $1 million divided among 13 regional food bank partners
Giant Food: $550,000 to Feeding America regional food banks, along with food product donations to area food banks
Food Lion: $500,000 towards the donation of 5 million meals to community food bank partners to feed students and seniors, and $100,000 to Feeding America and other local food organizations
The GIANT Company: $500,000 to support local hunger relief organizations, as well as COVID-19 testing and mitigation efforts at five children's hospitals
Hannaford: $250,000 to regional food banks in critically impacted areas in five states
Ahold Delhaize USA is also providing support in the form of 20,000 employment opportunities. The company, a division of Netherlands-based Ahold Delhaize, operates more than 2,000 stores on the East Coast.


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Home Lifestyle 6 Similarities Between Ted Bundy and Your Average Fuckboy!
6 Similarities Between Ted Bundy and Your Average Fuckboy!
Aya Aboshady
You guys definitely heard the name Ted Bundy at least a million times over the last couple of weeks. So many controversies are already surrounding the new movie where Zac Efron is portraying the serial killer.
But that's not quite what we're here to talk about. We're here to address the fact that so many people are already finding it ill and offensive that Bundy is being portrayed by a 'hot and attractive' Hollywood actor.
While the other majority is actually deliberately, romanticizing him. Which is already VERY problematic. And both ends are also VERY wrong. Why?
Well, haven't you guys stopped and asked yourselves how Bundy was able to trick all these women? It's actually obvious but if you don't think so, we brought you a list of similarities between Ted Bundy and 'the average' fuckboy:
1. The Charm
Ted Bundy was charming. Almost everything he said or did when he was picking up women, was indeed, charming and very attractive.
So many guys, nowadays, who turn out to be players or heartbreakers under the famous title of "Fuckboys", are also very charming at the beginning.
2. The Lies
Bundy was full of lies. The serial killer lied about his crimes for over a decade straight, covering his tracks and never stopping.
For our modern fuckboys, they could even make you crazy believing you're the one who is thinking the worst of them. When the truth is that they're simply lying about cheating for example. Or maybe sometimes, who they are.
3. The Nerve / Confidence
The serial killer had the nerve to have so much confidence in himself, denying his crimes and even laughing during his trials.
His extremely confident attitude around the women he ended up murdering is just the same as those who trick you into sleeping with them, for instance, and then leave you like that's what was supposed to happen. They see no wrong in what they do. It's like they're not even aware.
4. The Unfortunate 'Good Looking' Quality
Let's ask ourselves and not lie for once. Why do some girls just get attracted to fuckboys and sometimes even stay after realizing they're toxic for them?
Yes, personality traits, attitudes and also memories are important aspects in these so-called relationship. But mainly, the first attraction is the looks. That's also EXACTLY what Ted Bundy had. And why the film creators chose to cast Zac Efron.
Some people just don't really get that for some reason.
5. The Friendliness
According to psychologists, Ted Bundy had a very friendly attitude. Part of why he wasn't so easily caught or targeted was because of how normal and friendly he seemed. Mainly to the women he murdered.
Sometimes when you develop feelings for a guy you're originally friends with, you fall in love with your friendship first, then turn it into a relationship. That's what Bundy did and that's why girls don't discover the fuckboy characteristic in most guys so easily.
6. The Controlling Trait
Serial killers are all about control, sexually or in different aspects of the relationship. Again, that's part of Ted Bundy's personality. That's also how we find so many fuckboys. They like to have the upper hand, do whatever they want, no questions asked.
While all those characteristics are very common in guys, especially the 'fuckboys' as some girls would like to call them, they also seem VERY normal and even attractive. But, what they turn out to be -sometimes- of course, is not at all pretty.
Even psychologists agreed on the common traits of this type of serial killers, like Bundy.
Moving to another angle, the fact that Zac Efron is playing the character is actually incredibly justified. It makes so much sense. Why? Because simply, that's who he is, that's who Ted Bundy is, and that's why so many women were extremely attracted to him. Whether it's the looks or the charming personality.
But that still does NOT mean that romanticizing him is okay. It's totally wrong and unacceptable!
With all of that being said, we're not -by any means- saying that ALL fuckboys are serial killers. This is SO not the point. The thing is that so many guys who consider themselves players and whatnot, with many toxic traits that attract girls, could turn out to be the worst.
Fuckboy
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January-March 2016
Online since Wednesday, March 16, 2016
Clinical efficacy of tranexamic acid administration via different routes during total hip arthroplasty: study protocol for a prospective randomized controlled trial p. 1
Kai-di Zhou, Hong-yi Wang, Yu-fei Yan, Wei-xiang Hong, Jian-min Feng
DOI:10.4103/2468-5674.178819
Background: Intravenous injection or topical application of tranexamic acid during total hip arthroplasty has been shown to effectively reduce blood loss. There is no consensus on differences in clinical efficacy and safety between these two administration methods. To determine the optimal clinical efficacy of tranexamic acid during hip replacement, we will compare differences between these two administration methods during total hip arthroplasty. Methods/Design: The study protocol is a prospective, paired (1:1:1), double-blind, randomized controlled clinical trial. A total of 174 patients who will receive hip replacement at Ruijin Hospital, Shanghai Jiao Tong University, China will be randomly divided into three groups, with 58 patients per group. Before the end of surgery, in the placebo group, 60 mL of physiological saline will be used to soak the articular cavity for at least 3 minutes and then be sucked away; in the topical tranexamic acid group, 60 mL of physiological saline containing 3 g tranexamic acid will be used and then sucked away; in the intravenous tranexamic acid group, 100 mL of physiological saline containing 10 mg/kg tranexamic acid will be intravenously administered 15 minutes before surgery and then again 3 hours later. The primary outcome is total blood loss on postoperative day 3, which is calculated using Nadler's and Gross's formula. Secondary outcomes include blood transfusion rates, drainage output within 2 days postoperation, amount of human serum albumin used during hospitalization, postoperative blood coagulation indices, and incidences of deep venous thrombosis and other thromboembolic events during postoperative day 1-week 6. Discussion: This protocol is powered to provide reference information for the rational use of tranexamic acid by comparing clinical efficacy of the drug between intravenous and topical administration routes. Trial registration: ClinicalTrials.gov identifier: NCT02312440; registered on 28 November 2014. Ethical approval: This study protocol was approved by the Ethics Committee of Ruijin Hospital, Shanghai Jiao Tong University, China (permission No. (2014)-47-2) and will be performed in accordance with the Declaration of Helsinki.
Femoral nerve block prevents deep venous thrombosis of the lower extremity after knee arthroplasty: a single-center randomized controlled trial p. 8
Yi Chen, Shen Qu, Gang Ma, Jin-hai Meng, Xin-li Ni
Background: The use of tourniquets in knee arthroplasty can promote the release of abundant neutrophil elastase from neutrophils, which increases the risk of deep venous thrombosis of the lower extremity. Advanced femoral nerve blocks can decrease the risk of deep venous thrombosis of the lower extremity after knee arthroplasty, but their mechanism of action remains unclear. We assume that the femoral nerve block can effectively suppress the inflammatory reaction and prevent deep venous thrombosis of the lower extremity after knee arthroplasty. Methods/Design: A total of 120 patients undergoing total knee arthroplasty under general anesthesia in the General Hospital of Ningxia Medical University of China will be enrolled in this single-center randomized controlled trial. These patients will be equally and randomly assigned to three groups. In the advanced femoral nerve block group, ultrasound-guided femoral nerve block will be conducted 30 minutes before surgery. In the conventional femoral nerve block group, ultrasound-guided femoral nerve block will be carried out at consciousness after surgery. In the intravenous analgesia group, an analgesia pump will be used to relieve pain after surgery. The primary outcomes will be the changes in the levels of serum thrombosis-related inflammatory factors (neutrophil elastase, thrombin-antithrombin III complex, D-dimers, C-reactive protein, tumor necrosis factor-α, interleukin-1, interleukin-6, and interleukin-8) immediately after entering the operating room; 30 and 60 minutes after application of the tourniquet; 30 minutes after removal of the tourniquet; and 12, 24 and 48 hours after surgery. The secondary outcomes measures will be the Ramsay Sedation Scale score, visual analogue scale score, times until initial and complete effect of the block, muscle strength rating, blood loss, and color Doppler ultrasound examination results of the lower extremity veins. Discussion: We hope to identify the clinical advantages of advanced femoral nerve block for total knee arthroplasty and determine whether deep venous thrombosis of the lower extremity after knee arthroplasty can be prevented by inhibiting the release of abundant neutrophil elastase and suppressing the inflammatory reaction. Trial registration: ClinicalTrial.gov identifier: NCT02411097; registered on 20 March 2015. Ethical approval: Written approval for this project was obtained from the Ethics Committee of the General Hospital of Ningxia Medical University of China. All patients or their family members will be informed of the protocols and will provide written informed consent. Our study is in accordance with the guidelines of the Declaration of Helsinki, formulated by the World Medical Association.
Cubital tunnel syndrome treated with ulnar nerve simple decompression, anterior intramuscular or subcutaneous transposition: a parallel randomized controlled clinical trial p. 15
Qian-qian Liu, Rui Li
Background: Simple decompression and anterior transposition of the ulnar nerve are surgical methods commonly used for treating moderate and severe cubital tunnel syndrome. It is generally thought that anterior transposition effectively eliminates ulnar nerve compression, but simple decompression cannot improve symptoms. However, studies have also shown that the therapeutic effects of the two procedures are identical. The advantages and disadvantages of the two surgical methods have been described in a small number of cases. Thus, we will conduct a parallel-group randomized controlled clinical trial to determine the optimal surgical intervention. Methods/Design: The trial will be conducted at the Center for Hand and Foot Surgery and Reparative and Reconstructive Surgery, Orthopedics Hospital, the Second Hospital, Jilin University, China. Moderate and severe cubital tunnel syndrome patients will be equally and randomly divided into simple decompression, anterior intramuscular transposition, and anterior subcutaneous transposition groups. In the simple decompression group, adhesions will be completely removed around the ulnar nerve. In the anterior intramuscular transposition group, the ulnar nerve and its accompanying nutrient vessels will be removed in the tunnel of the forearm flexor, pronator teres muscle membrane, and a small portion of muscle fibers below it. In the anterior subcutaneous transposition group, the ulnar nerve in the cubital tunnel will be dissociated and placed in the subcutaneous tissue of the forearm flexor and pronator teres. Two primary outcomes will be determined, sensory disturbance, tested with Semmes-Weinstein filaments, and muscle strength, evaluated using the Medical Research Council's grading system. The secondary outcomes of pain will be assessed with the Visual Analogue Scale and the function of the ulnar nerve with electromyography. Discussion: Trial results will provide a reference for selecting an effective surgical method for treating moderate and severe cubital tunnel syndrome. Trial registration: ClinicalTrial.gov identifier: NCT01893164; registered on 2 July 2013. Ethical approval: Written approval for this project was obtained from the Ethics Committee of the Orthopedics Hospital, the Second Hospital, Jilin University of China. Our study is in accordance with the guidelines of the Declaration of Helsinki, formulated by the World Medical Association.
Local application of mitomycin C for prevention of epidural fibrosis: study protocol for a prospective randomized controlled double-blinded trial p. 22
Tao Sui, Lei Liu, Xiao-tao Wu, Xiao-jian Cao
Background: Interventions including lumbar discectomy are a primary treatment method for degenerative disc disease. However, after surgery, scar adhesion often forms at the spinal dura mater or adventitial nerves in the defective vertebral plate region and affects recovery. Our previous animal experiments showed that mitomycin C applied topically could safely protect against epidural fibrosis at an optimal dose of 0.5 mg/mL. However, randomized controlled clinical studies have shown that 1 mg/mL mitomycin C does not show obvious therapeutic effects on epidural fibrosis in patients after lumbar discectomy. Methods/Design: This prospective, randomized, controlled, double-blinded, single-center clinical trial will be performed at the Affiliated Zhongda Hospital of Southeast University in China. Seventy-five patients with single-level lumbar disc protrusion will be included in this study and undergo microendoscopic discectomy. The site of discectomy will be topically treated with cotton wool impregnated with 0.5 mg/mL mitomycin C (treatment group) or 0.9% physiological saline (control group) for 5 minutes. Contrast-enhanced MRI score of the lumbar spine will be the primary outcome measure used to evaluate epidural scar proliferation and adhesion, and Lumbar Spine Outcomes Questionnaire score will be the secondary outcome used to evaluate epidural fibrosis-related clinical symptoms. Discussion: This study protocol will try to establish an imaging method to precisely grade epidural fibrosis data acquired after microendoscopic discectomy via a prospective, randomized, controlled, double-blinded trial. A safe and effective mitomycin C dose, 0.5 mg/mL, will be topically applied, and the efficacy and safety of mitomycin C for the prevention of epidural fibrosis will be investigated to provide evidence for the clinical use of mitomycin C. Trial registration: This protocol was registered at Chinese Clinical Trial Registry (identifier: ChiCTR-TRC-10001079) on 6 September 2010. Ethical approval: The study protocol has acquired written approval from Ethics Committee of the First Affiliated Hospital (Jiangsu Province Hospital), Nanjing Medical University, China (approval No. 2010-SR-088) and will be performed in accordance with the guidelines of the Declaration of Helsinki, formulated by the World Medical Association.
Safety and efficacy of WeChat combined with Yi Jin Jing exercise for the treatment of cervical spondylosis in white-collar workers: study protocol for a prospective open label randomized controlled trial p. 31
Guang-hui An, Xiao-ting Tang, Guo-miao Zhu
Background: Yi Jin Jing (changing tendon exercise) is a traditional Chinese exercise. Yi Jin Jing can reportedly prevent cervical spondylosis in financial professionals. In the absence of effective supervision and follow-up training, Yi Jin Jing self-exercise does not become habitual, reducing the efficacy of the technique. WeChat is an online text and voice messaging communication service developed by Tencent in China, and can be used as an interactive platform for doctors and patients. We hypothesized that WeChat could be used to guide Yi Jin Jing exercise, potentially enhancing the preventative and therapeutic benefits for cervical spondylosis in white-collar workers. Methods/Design: 120 financial professionals with cervical spondylosis working at the Bank Card Industrial Park in Pudong New Area, Shanghai, China will be enrolled in this prospective, open label, randomized controlled trial. Participants will be equally and randomly divided into two groups. In the intervention group, participants will undertake conventional Yi Jin Jing training followed by a group chat using WeChat to provide interactive guidance. In the control group, participants will undertake conventional Yi Jin Jing training alone. The primary ontcome will be the Cervical Spondylosis Symptoms scale measured 1, 3, 6 and 12 months after training. The secondary outcomes will be the 36-item Short Form Health Survey score, Visual Analog Scale score for pain intensity, medical expenses and the number of days absent from work. Discussion: This study will examine whether on-going interactive Yi Jin Jing exercise using the WeChat platform will improve outcomes in participants with cervical spondylosis. Trial registration: This trial was registered with the Chinese Clinical Trial Registry (identifier: ChiCTR-OCH-13003426) on 6 August 2013. Ethical approval: Written approval for this project was obtained from the Ethics Committee of Wanggang Community Health Center, Shanghai Pudong New Area, Shanghai, China (approval number WG2013 0709001). All patients will be informed of the protocols and will provide written informed consent.
Iodophor-impregnated versus iodophor-free adhesive drapes for prevention and healing of wound infections after total hip arthroplasty: study protocol for a randomized controlled trial p. 38
Zhuo Wu, Zhi Wang, Zeng-bing Xia
Background: Surgical adhesive drapes can be used to create an aseptic area around the operative wound to reduce bacterial infection. However, the efficacy of such drapes in preventing wound infection remains unclear. Few studies have examined the effects of iodophor-impregnated and iodophor-free adhesive drapes on bacteria in the deeper layers of the epidermis. We therefore plan to compare the effects of 3M iodophor-impregnated antibacterial adhesive drapes and 3M aseptic iodophor-free adhesive drapes on the incidence of wound infection and wound healing after total hip arthroplasty. Methods/Design: We will perform a single-center, randomized, double-blinded, parallel-cohort controlled trial at the Hospital of Bone Injury, Guangzhou University of Traditional Chinese Medicine, China. A total of 120 patients scheduled for total hip arthroplasty will be numbered according to their sequence of admission to the operating room and sex, in a single-blinded manner: men, nos. 1-60 and women, nos. 1-60. Odd-numbered patients will be operated on using iodophor-impregnated adhesive drapes, and even-numbered with iodophor-free adhesive drapes at the surgical site. Peri-articular tissue will be harvested for bacterial culture after disinfection and again between the end of surgery and prior to skin suturing. The primary outcomes will be Bacterial culture results, wound healing time and grade, The secondary outcomes will be pain score (Visual Analog Scale), Harris score, and X-ray results. Discussion: The trial outcomes will support the rational use of iodophor-impregnated surgical adhesive drapes for preventing wound infections after total hip arthroplasty. Trial registration: ClinicalTrial.gov identifier: NCT02707302. Ethical approval: This study protocol acquired written approval from Ethics Committee of Hospital of Bone Injury, Guangzhou University of Traditional Chinese Medicine, China (approval No. 2016-001-01), and will be performed in accordance with the Declaration of Helsinki developed by the World Medical Association.
[FOOTER]


CRAZY DISCOUNT! Was: $649.95 Now: $239.98!
Rewarded as the top seller and most economical landscaping grass, 2M x10M Artificial Grass Synthetic Turf 27mm is going to achieve your dream of having a perfect lawn all the year round as well as saving maintenance cost! We offer four colors of flat grasses while there is no difference between every type of grass in the market, and thus our product is more natural and genuine. It is well suited to decorate domestic and commercial landscaping, such as gardens, courtyards, roofs, playground, shops and swimming pools, balcony, kindergarten, stadium and so on. High-density materials and anti-fading yarns mean that our fake lawn has good weather resistance and UV stability. Its bottom is composed of three layers of base cloth with composite grids, ensuring the high draining capability. In addition, after successfully passing UV 3000 hours aging test - simulating whether can keep evergreen in 7-8 years at high sun exposure areas, the lawn is proved to protect against UV degradation to the maximum level. Obviously, our unique artificial grass with oval shape is more durable and long-lasting than similar product on the market.
Absolutely impressed with the quality of this grass. Its hardy and looks just like the real deal. Very soft to walk on and easy to lay. Will be ordering more when we can highly recommend this to everyone you wont be disappointed Needed an area for the kids to play that was prickle free and needed no water so this is perfect for what we needed.


Super quailty custom posters for your upcoming events! No one will miss seeing these fantastic posters! We will print them in color and can include pictures and logos as seen in the sample poster. You will need to provide 300dpi photos/logos to insure high quality printing.
Price is discounted for larger orders.
Outstanding! Couldnt have asked for a better job.


Come out to the farm to pick out a beautiful bouquet of Sunflowers, Zinnias and Cosmos. A bouquet is only $5.00 with each sunflower stem and additional $0.50.
This can be an all day family activity. Children will spend the day on the playground and enjoying all the animals on the farm. The best time to visit is during the fall Festival including a giant 24 acre maze, paintball shooting gallery, pumpkin blasters, jumping pillow & much more!
The children can spend the day on the playground and walking around the farm visiting the animals. The best time to visit is during the fall festival including a giant 24 acre maze, paintball shooting gallery, pumpkin blasters, jumping pillow.
There is amble spots to picnic however dogs are not allowed on the property. The farm is free to visit.


Following their popular 99 Classics headphone in 2015, Meze Audio's highly anticipated new headphone, the 99 Neo, is due for release. The Romanian based brand was launched in 2009 in London by Antonio Meze and later moved their headquarters to Baia Mare, Romania. They are renowned for blending timeless, stylish designs with superior sound quality. Although the construction of their products is classic, they still look up-to-date.
The 99 Neo features cast zinc alloy hardware and black earcups. Audiophiles are sure to love the smooth, authentic sound quality and the comfort these headphones deliver while remaining durable and fully serviceable. Meze Audio promise that they can be worn for hours with ease, something that is a top priority for many.
Meze Audio stockists around the world will sell the 99 Neo from later this month. If you would like to know more about the 99 Neo or the brand you can do so here.
What features are most important to you when purchasing headphones?


text:
Q: save Array of strings to core data and retrieve it. iOS, Swift Is it possible to save an attribute of an array of strings into core data and then retrieve array?
I am saving data to core data and retrieving some of it shown in the prints below.
Here is my save data function..
func saveToCoreData(completion: (_ finished: Bool) -> ()) {
    guard let managedContext = appDelegate?.persistentContainer.viewContext else { return }
    let saveTrip = SavedTrips(context: managedContext)

    saveTrip.desc = tripDescription
    saveTrip.name = tripName
    saveTrip.data = ["12345"]
    let time = Time()
    time.date = Date()
    saveTrip.date = time.date

    do {
    try managedContext.save()
        completion(true)

        print("Successfuly Saved to core Data")
    }catch {
        debugPrint("Tony: Could not save \(error.localizedDescription)")
        completion(false)
    }
}

And my tripCell where I am calling the data.
class TripsCell: UITableViewCell {

@IBOutlet weak var dateLabel: UILabel!
@IBOutlet weak var tripName: UILabel!
@IBOutlet weak var tripDescription: UILabel!

func configureCell(savedTrip: SavedTrips) {
    let dateFormatter = DateFormatter()
    dateFormatter.timeStyle = .medium
    self.tripName.text = savedTrip.name
    self.tripDescription.text = savedTrip.desc
    print("Tony: trip name: \(savedTrip.name!)")
    print("Tony: trip description: \(savedTrip.desc!)")
    if let tripData = savedTrip.data {
        print("Tony Calling Plates: \(tripData)")

    }else {
        print("Tony: There is no trip Data")
    }
    if let date = savedTrip.date {
        let dateFormater = DateFormatter()
        dateFormater.dateFormat = "h:mm a"
        dateLabel.text = dateFormater.string(from: date)
    }
}
}

My core Data Model...

and my printout.Showing nothing in the array.

redpajama_set_name: RedPajamaStackExchange


Are the old freeware MZ-Tools 3.0 versions still available for download?
No, MZ-Tools 3.0 has been replaced by MZ-Tools 8.0 and it is no longer available for download. You can read the Moving from MZ-Tools 3.0 to 8.0 series to learn about the new features and enhancements introduced by MZ-Tools 8.0 for VBA/VB6/VB5.
Can MZ-Tools 8.0 coexist side by side with older versions of MZ-Tools?
Yes, MZ-Tools 8.0 can coexist with MZ-Tools 6.0 or 7.0 in Visual Studio and with MZ-Tools 3.0 in VB6, VB5 or VBA.
Does MZ-Tools support the Visual Studio 2019 / 2017 / 2015 / 2013 Community Editions?
Yes, Visual Studio 2019 / 2017 / 2015 / 2013 Community Editions are supported.
Does MZ-Tools support the former Express editions of Visual Studio?
No, the former Express editions of Visual Studio don't support extensions. However, the Community Edition of Visual Studio 2013 and higher support extensions.
Why does MZ-Tools 8.0 for VB6/VB5 take some seconds to load?
MZ-Tools 8.0 for VB6/VB5 takes less than one second to load on modern hardware. If it takes several seconds, likely it is because it is running on Windows 7 or higher with compatibility mode for Windows XP. While this configuration solves the slow dragging of controls on form designers, it causes a delay loading any add-in that creates many buttons on the commandbars (this also happened with MZ-Tools 3.0). If this delay is unacceptable for you, turn off compatibility mode for Windows XP as explained in the help file.
Why do I get the error 'MZ Tools 8.0 for VBA could not be loaded'?
The short answer is that likely you are running the Office application somehow with admin rights (privileges), while your administrator user account would allow you to run it without admin rights. If you really need to use the Office application with admin rights, then uninstall MZ-Tools 8.0 for VBA (which was installed without admin rights), download the latest version of MZ-Tools 8.0 for VBA, right-click the MZTools8VBASetup.exe file and click "Run as administrator" context menu entry to install it again, but this time with admin rights.
Standard User Account, with no chance of getting admin rights.
Without admin rights, as if it was a standard user account. This is the default if UAC is activated. In other words, the administrator user account doesn't have admin rights most of the time.
With admin rights ("elevated" mode). This is not the default mode and requires some action to use it, such as using the "Run as administrator" context menu entry or going to the properties window of the application shortcut or executable, Compatibility tab, and checking the "Run this program as an administrator" checkbox. You get a "consent prompt" to enter this "elevated" mode and get the admin rights.
The setup of MZ-Tools 8.0 for VBA, on the contrary to most setups, doesn't require admin rights to install. Any user account, standard or administrator, can install it. In fact, if your user account is administrator user account, the setup should not be executed with admin rights in "elevated" mode (do not right-click "Run as Administrator" to run it).
The Office applications must be executed without admin rights. This is the default configuration after the Office setup has run. Unless you change it, Office applications run without admin rights, which is safer.
Both requirements (to run the setup and the Office applications without admin rights) are very easy to meet, because they are the default. The technical reason for them is that MZ-Tools 8.0 for VBA uses per-user COM-registration (instead of machine-wide COM-registration, which would require admin rights to install). But using per-user COM-registration implies that the Office application of the VBA editor must run without admin rigths (not "elevated"), because a process running with admin rights cannot use per-user COM-registration (it can use only machine-wide COM-registration).
The setup has been installed without admin rights, which is correct.
The Office application is running somehow with admin rights, in "elevated" mode, which is not required in most cases. Do not use the "Run as administrator" context menu and ensure that the "Run this program as an administrator" checkbox of the Compatibility tab of the properties window of the application shortcut or executable is not checked. If you know what you are doing and really need to use the Office application with admin rights, then uninstall MZ-Tools 8.0 for VBA (which was installed without admin rights), download the latest version of MZ-Tools 8.0 for VBA, right-click the MZTools8VBASetup.exe file and click "Run as administrator" context menu entry to install it again, but this time with admin rights. That will use machine-wide COM-registration instead of per-user COM-registration and will solve the problem.
Any problem not addressed here? Don't hesitate to ask.


The team at Fera would like to offer a complimentary welcome glass of cava when booking a table for lunch or dinner. Just pop "MallorcanTonic – Free cava " in the subject box.
Palma´s restaurant scene is going from strength to strength and one of the newest to open in the capital is Fera Restaurante, a second venture by couple Sheela and Ivan Leevy following the huge success of their restaurant ` The Kitchen´.
Headed up by the hugely talented Austrian chef Simon Petutschnig, previously of the award winning Hotel Sant Francesc, Fera Restaurant is guaranteed to be a hit.
Situated just moments from the classy colonaded shopping street of Jaime III in one of Palma´s old palaces, I guarantee you will be wowed as you enter the expansive arched entrance. The interior design is sumptuously modern offering a welcoming bar area, with just a couple of steps up to the dining area which is flooded with light.
But its the food that you will have come for and you will not be disappointed. Offering Mediterranean- Asian flavours and textures, the menu devised by chef Simon and his team will delight whether you are stopping for a relaxing lunch or an evening tasting journey.
The set lunch (which changes bi weekly) is a steal at just €22.90. On the day I visited I selected the beetroot carpaccio with honey and walnut vinaigrette and, for my main, the duck ravioli with sweet potatoes, balsamic spring onions, ruccula and lemon. Both were exquisite and my mouth is watering just remembering!
In the evenings you can choose from the a la carté menu offering a wide selection of choices including several traditional Mallorcan recipes, each with a twist, or from one of the tasting menus, one of which is vegetarian at just €49.00.
In addition to lunch and dinner, the chic bar area is open all afternoon and into the evening offering drinks and a good selection of tapas if your feet are weary and you are in need of a sit down and a snack.
Whether you need a cool dining room on a hot summer´s day or fancy a seat in their private garden terrace (weather permitting) or are looking for a warming winter meal, then make sure to seek out this new treasure of Palma´s culinary scene.


text:
Share this Story: SIU probe results in five charges laid against Kingston, Ont., police officer
PMN News
PMN Canada
SIU probe results in five charges laid against Kingston, Ont., police officer
Mar 04, 2019 • March 4, 2019 • 1 minute read • Join the conversation
MISSISSAUGA, Ont. — Ontario's Special Investigations Unit says a Kingston, Ont., police officer is facing five criminal charges after injuries to a cyclist last year.
The SIU says the incident happened in September 2018 when the officer pulled up next to the cyclist in a police cruiser and asked him to stop.
SIU probe results in five charges laid against Kingston, Ont., police officer Back to video
When the cyclist refused to do so, the SIU alleges the officer hit him with the cruiser, throwing him off the bike.
The SIU says the 39-year-old man suffered unspecified, serious injuries.
Kinston Police Service Const. Daniel Attwood is facing one count each of dangerous driving causing bodily harm, criminal negligence causing bodily harm, assault with a weapon, attempting to obstruct justice and breach of trust.
The SIU is an oversight body that investigates incidents involving police in which someone is killed, injured or accused of sexual assault.


He can keep us! There's truly no reason to live life full of regrets when we give Him our lives early in childhood. We can stay close to Him, and He will honor us! When we choose Him, our lives can be so very full, from beginning to end.
Some think you have to go "work on your testimony" — get out and try the things of the world in order to be able to come back to God's people and tell them all the bad stuff you did. That's sick, and it's a distorted view of what Jesus came to do. He came to keep us from all of it! Sure, there are those with powerful stories of deliverance and freedom. Thank God! But should those love Him more? No, those who've known His goodness and love every day of their lives… who've walked with Him and seen His beautiful hand of protection over them every moment (because somebody prayed) have just as much reason to give thanks.
He wants to keep us all our days. Let Him.


text:
Q: SQL Query to get only those rows with only 1 value in another column I have a table like this:

I need a query to return only those ProjectID's that have only State=21.
i.e I want only ProjectID 2 & 5.
I do not want those records with ProjectID 1, 3, 4 & 6, because in those case, the state is also equal to other numbers

A: Reasoning goes like

*

*In a subselect, select all ProjectID's that have a state = 21

*In the outer select, retain only those ProjectID's that only have a state = 21 using a HAVING clause

SQL Statement
SELECT  ProjectID
FROM    table t1
        INNER JOIN (
          SELECT  ProjectID
          FROM    table
          WHERE   state = 21
        ) t2 ON t2.ProjectID = t1.ProjectID
GROUP BY
        ProjectID
HAVING  COUNT(*) = 1

A: Select all the projects with a single state value, which ('the value') is, by the way, equal to the specified one:
SELECT   ProjectID
FROM     atable
GROUP BY ProjectID
HAVING   COUNT(*) = 1
   AND   MAX(State) = @State

You can also use MIN, SUM, or AVG to check the value of State with the same effect (because it should be the only value).

A: select ProjectID,count(State) from table group by ProjectID having count(state)=1;


Well, you could have banned me, yeah? Not gonna turn this to a flame thread. Just stating the fact though not relatively aligned with the topic. Just sayin. Btw, I did said "great effort" and I agree with your opinion about what's being suggested.
perhaps, add an additional card which can also boost/amplify magical damage same goes with the set effect.
Great efforts but... Let's just face it, the glory days of PVP era ended since 2015 and will never be the same.


text:
<?php

namespace backend\modules\worlds\rate\models;

use Yii;
use yii\base\Model;
use yii\data\ActiveDataProvider;
use backend\modules\worlds\rate\models\Rate;

/**
 * RateSearch represents the model behind the search form about `backend\modules\worlds\rate\models\Rate`.
 */
class RateSearch extends Rate
{
    /**
     * @inheritdoc
     */
    public function rules()
    {
        return [
            [['id'], 'integer'],
            [['rate_name', 'description'], 'safe'],
        ];
    }

    /**
     * @inheritdoc
     */
    public function scenarios()
    {
        // bypass scenarios() implementation in the parent class
        return Model::scenarios();
    }

    /**
     * Creates data provider instance with search query applied
     *
     * @param array $params
     *
     * @return ActiveDataProvider
     */
    public function search($params)
    {
        $query = Rate::find();

        // add conditions that should always apply here

        $dataProvider = new ActiveDataProvider([
            'query' => $query,
        ]);

        $this->load($params);

        if (!$this->validate()) {
            // uncomment the following line if you do not want to return any records when validation fails
            // $query->where('0=1');
            return $dataProvider;
        }

        // grid filtering conditions
        $query->andFilterWhere([
            'id' => $this->id,
        ]);

        $query->andFilterWhere(['like', 'rate_name', $this->rate_name])
            ->andFilterWhere(['like', 'description', $this->description]);

        return $dataProvider;
    }
}


Rally driver Gugu Zulu died on Monday after experiencing breathing problems while climbing Mount Kilimanjaro.
Gugu, who was 38 years old, was one of the Trek4Mandela climbers ascending the mountain to raise awareness for the Caring4Girls sanitary pads programme. He is survived by his wife, Letshego, who was also participating in the event, and their daughter.
His death was confirmed by his family and the Nelson Mandela Foundation.
"It is with a heavy heart that we announce that one of the climbers on the Trek4Mandela, Gugu Zulu, lost his life early this morning in his attempt to summit Kilimanjaro.
"On behalf of the Board and staff of the Nelson Mandela Foundation, we extend our sincere condolences to his wife, Letshego Zulu, their daughter, Lelethu, and the Zulu family on this tragic loss," a statement from the Nelson Mandela Foundation says.
In an interview with Run Ride in 2012, Gugu said his love for motorsport started at the age of six. He loved the sport so much that he enrolled at the Isondo Racing academy.
In 1999, he graduated from the academy. In 2000, he won the Vodacom Isondo Sports 2000 national championship, winning 13 out of 16 races with two second places.
In 2001, former racer Sarel van der Merwe took Gugu under his wing when he was given second seat in the inaugural Sasol Steam Team.
The Soweto-born and raised motorsport champion won the Guinness Achievement, Wesbank and Goodyear Star of Tomorrow awards.
He was later offered a drive in the rallying world. In 2004, he competed overseas against the likes of Mario Andretti's grandson, Marco, in the Skip Barber Dodge Racing Series. He was also an advanced driving instructor for Volkswagen, Audi and BMW.
Apart from burning rubber on the racing track, Zulu also presented motoring shows. He joined Car Torque on 17 July 2005.
In 2007, he was appointed as the commercial manager for A1 Team South Africa, which competes in (and hosts a race for) the A1GP, "The World Cup of Motorsport".
Gugu tied the knot with his longtime sweetheart, Letshego, in 2014 in a beautiful ceremony attended by their friends and family.
They were blessed with a daughter in June 2015.


Experiences allow us to share stories, retell history, weave tapestries, and define ourselves as artists and people; they create our culture. Humans thrive on these kinds of environments; in fact, we need to belong in order to survive.
Our aim, to connect people with experiences, depends on these facts of human psychology. We believe that creativity is not simply adjunct to life, but rather, is integral to happiness in creating a sense of belonging. We operate knowing that research has proven the value of arts in everyday life, and the importance of making communities liveable. It's a tough ask to make the world a better place, but we feel that our role – fostering these endeavours and conceptualising new ways of integrating creativity into everyday life does just that – one community, one story, one experience at a time.


Scooping out french fries and flipping burgers behind the grill, Chef Neil Perry is the unlikely face behind takeaway joint Burger Project. His Wagyu burger has garnered cult status at Rockpool Bar and Grill but now he's delivering old school burgers, fried chicken and salted caramel thickshakes. Beetroot's my Achilles heel so, holding on with two hands, the "Aussie" burger fits the bill with a still-pink grass fed patty, a slice of cheese, pickles, some greenery (lettuce, tomato, onion) and slices of my favourite red veggie. Get the old school diner experience, wear your stretchy pants and order a strawberry shake, too.


text:
Harrison Ford in a scene from the movie Bladerunner. Contributed - Warner Bros.
Harrison Ford approached for Blade Runner sequel
HARRISON Ford has been approached to appear in a sequel to 1982 sci-fi classic 'Blade Runner', in which he originally played bounty hunter Rick Deckhard.
The 71-year-old action movie star is being sought to reprise his role as bounty hunter Rick Deckhard in a sequel to the sci-fi classic, originally released in 1982.
Already on board with the project are Ridley Scott, who directed the original movie, and Hampton Fancher, who adapted the screenplay from Philip K. Dick's book 'Do Androids Dream of Electric Sheep?'
Broderick Johnson and Andrew Kosove, founders of Alcon Entertainment, who are developing the movie, told The Hollywood Reporter: "We believe that Hampton Fancher and Michael Green have crafted with Ridley Scott an extraordinary sequel to one of the greatest films of all time. We would be honoured, and we are hopeful, that Harrison will be part of our project."
Harrison is already re-living his glory days with his current project, reprising his role as Han Solo for the upcoming 'Star Wars: Episode VII'.
In April Director J.J. Abrams hosted a bonding session at upmarket London restaurant 34 where original cast members Harrison Ford, Carrie Fisher and Peter Mayhew were joined by new stars Adam Driver and Andy Serkis for the first time, ahead of a planned script read-through for the highly anticipated new movie.
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