text:
Uni Watch DIY Project: Hand-Painted Table Hockey Players
By Paul Lukas, on February 11th, 2014
[Editor's Note: Today we have a great DIY project from John Hixon. Enjoy. "" PL]
By John Hixon
In the '90s I lived in Chicago, and while I was there I lost my favorite hockey team, the Minnesota North Stars. I also had a table hockey game and did not care for the generic, painted-on red and blue uniforms the players came with. So I decided to do some painting.
It was a challenge to paint such small detail, especially with no experience other than painting model cars. I made the game Blackhawks vs. North Stars, using then-current Blackhawks (Ed Belfour, Cam Russel, Chris Chelios, Steve Larmer, Jeremy Roenick, Joe Murphy) and what amounts to a Minnesota all-star team from over the years (Jon Casey, Mark Tinordi, Curt Giles, Dino Ciccarelli, Dave Gagner, Mike Modano). And although a professional could probably be constructively critical of the results, I was pretty happy with how it all came out.
The table and its rods eventually fell apart, but I still have all the players and they sit on a long countertop next to my bathroom sink with some old beer and soda cans and a sign that sort of make a little rink area [for all of these, you can click to enlarge]:
Great stuff. Big thanks to John for sharing these images with us.
By Brinke Guthrie
This Thursday, Feb. 13, will make 14 years since the last "Peanuts" strip ran, so we'll honor that anniversary with two items: This terrific 1970s Snoopy "Joe Cool" Broncos sweatshirt and this California Golden Seals T-shirt. The mascot on that shirt, named Sparky, was drawn by Schulz (a Seals season ticket holder) and was also named after him — Schulz's nickname was Sparky.
Here are the rest of this week's vintage finds:
• Great 1970s Damac posters here. We've got the Saints, Niners, and Iggles.
• Reader Brad Eck found this pin on Amazon. Man, the NFL plus the Masons — that's quite a mix!
• As we know, the Red Sox have updated their road jersey. Hopefully, this design will never take the field at home or on the road. (With thanks to reader Stephen Rains.)
• Take a look at this 1960s L.A. Rams bobblehead from Japan. It supposedly depicts Bob Reinhard, who didn't seem to have have a huge career in the league, but by golly he had himself a bobble!
• You know, this little Expos mini-helmet even bugged me way back when. I thought, "Why is the Expos' helmet solid blue? That's not what the hats look like!" (And of course, I had no idea what their logo stood for.)
• This 1970s St. Louis Cardinals long-sleeved baseball shirt looks to be in good shape.
• Remember these? Slim Jim NFL trading cards from the 1970s! Whenever we made the spring break trip down to Florida, our Ford LTD wagon was always packed with Slim Jims.
Seen something on eBay or Etsy that you think would make good Collector's Corner fodder? Send your submissions here.
Uni design contest reminder: In case you missed it on Sunday, Phil announced a new baseball uni design contest — and this one is for uniforms that will actually get worn on the field, not just featured in an article. Get the full scoop here.
Tick-Tock: Today's Ticker was compiled and written by Garrett McGrath.
Baseball News: According to the Twitter account of Dave St. Peter — the President of Baseball Operations for the Minnesota Twins — the team is getting rid of the home blue alternate but keeping the away version for the 2014 season (from Luke H.). …Take a look at the logo the Phillies will be using for their ballpark's tenth anniversary. "¦ New softball helmets for Marshall (thanks, Phil).
NFL News: Sports Illustrated ran this interesting version of the NFL logo in their article about the league's marijuana policy (from Coleman Mullins). … At a local Goodwill Douglas Ford spotted this homemade Rams helmet. … Do you speak Harbaugh? If not, here is a guide to the 49ers coach's way with the English language (thanks, Brinke).
Basketball News: The signage at the newly named Smoothie King Center will include this three-story-high cup. "¦ The arena is not the only Pelicans-related thing getting a facelift, as Pierre — the team's mascot — is having reconstructive surgery for a broken beak suffered during a game with other mascots. This is all in attempt to make him less scary-looking. … According to some website on the internet, here are the top 25 college basketball uniforms ever (from Chris Mahr).
Olympics News: The Olympic curling teams from Norway and Russia wear some great pants. … The Guardian suggests that the figure skating trend of wearing tights over skates is for competitive advantage (from David Pealing). … "The Olympic Japanese ski jumper's flag decal looks like it was applied by a five year old," Chris Perrenot says. "Step up your game, Japan." … Oli Jokinen, a hockey player from the Winnipeg Jets, was spotted wearing his native Finnish colors in Sochi but paired it with a counterfeit Miami Marlins cap (from Daren Landers).
Grab Bag: The New Chevrolet Manchester United kits have been leaked. … Lance Smith sent in this cool article on people and their backyard hockey rinks in Minnesota.
DIY Projects, NHL
65 comments to Uni Watch DIY Project: Hand-Painted Table Hockey Players
Scott | February 11, 2014 at 7:49 am |
As I said on twitter already – I will get this out of the way now, the Phils CBP anniversary logo is correct in saying 2004-2013. 2014 will be the 11th season, so that would not be correct. The whole deal is that the team is going to have a fan vote for the 10 best moments at the park in the first 10 years, and then throughout this season players involved in those 10 plays will make visits to the park, etc.
Steve D | February 11, 2014 at 4:39 pm |
If it says 2004-2013, it is a 10th Season patch and should have been worn last year. Since it will be worn next year, it is a 10th Anniversary patch and should say 2004-2014. Anything else is incorrect.
No, you're incorrect. Like I said, the patch is correlating with a year-long look back at the first ten years of the park. Events from 2004-2013 are going to be part of the deal.
2004-2013 is correct. End of story.
Steve D | February 12, 2014 at 8:08 am |
Ok, I didn't really understand what your point was. I just think it is silly to wear a 10th SEASON patch during the 11th season. They could have all the same events and call it a 10th ANNIVERSARY patch labeled 2004-2014…most teams do it that way now.
The Jeff | February 11, 2014 at 7:52 am |
Oli Jokinen, a hockey player from the Winnipeg Jets, was spotted wearing his native Finnish colors in Sochi but paired it with a counterfeit Miami Marlins cap
How do we have any idea if that's a counterfeit cap or just a fashion cap? They make the damn things in every color combination imaginable.
…and I fudged the italic tag. Ugh.
Also, bad link for yesterday's uniform contest post.
Daren L | February 11, 2014 at 11:03 am |
The 'counterfeit' comment was mine. I just figured a fashion cap should be, you know, fashionable.
DenverGregg | February 11, 2014 at 7:53 am |
Uni contest for L&C league and Marshall softball helmet links are malformed
Chris | February 11, 2014 at 7:55 am |
Nice work John. I paid someone on eBay $120 to customize by Chexx Bubble hockey guys to recreate the 1993 Adams Division Semifinals between the Buffalo Sabres (home whites) and the Boston Bruins (road blacks). The Sabres swept the Bruins 4-0 to advance in the playoffs for the first time in twelve years, as memorialized by this famous call by Sabres' announcer Rick Jaenerrat.
http://www.youtube.com/watch?v=Z0xxSsEqjIk
Sadly, I never asked the gentleman who did the work to include the awesome '93 Stanley Cup playoffs patch.
RyanB | February 11, 2014 at 8:19 am |
"As we know, the Red Sox have updated their road jersey. Hopefully, this design will never take the field at home or on the road. (With thanks to reader Stephen Rains.)"
DUDE!!
That's the never-worn TATC jersey!
If I only had $249 to drop on it!
Alec | February 11, 2014 at 8:46 am |
Possibly the best thing about the ManUre kit is that GM is paying for the privilege to promote a brand they no longer will sell in Western Europe by the time the shirts are available.
Rick H | February 11, 2014 at 9:01 am |
If you want to see more table hockey customizations of many different types, check out this forum:
http://tablehockeyheaven.com/forums/viewforum.php?f=9&sid=675f31d5b2a6fd60d5cde07f9a816d40
Bud | February 11, 2014 at 9:03 am |
Guthrie isn't the first person that's mentioned being baffled by the Expos' logo as a kid. Am I the only one that had no problem immediately recognizing it as an M for Montreal?
Clarybird | February 11, 2014 at 9:45 am |
The original Expos batting helmet was solid blue, though – I still have my replica blue helmet with a cloth patch.
timmy b | February 11, 2014 at 9:46 am |
You might be.
As a kid everyone I knew couldn't figure out what that blob was on the front of their cap. It wasn't until 1971 or 1972 when one of my friends figured out that the whole thing was a "M." I thought it was an "EL", then "EB" with the open area enclosed. But then, why was there a blue outline over nothing for a portion of the logo.
After he (Joe) told me it was an "M", I spent days trying to see the M. It took me maybe a couple of weeks to see it.
If your wondering why I didn't ask my dad about this, he had zero interest in sports, so I didn't bother.
The Jeff | February 11, 2014 at 10:21 am |
I always saw it as an "elb" and it never made any sense. It's rather terrible as an "M".
Scott | February 11, 2014 at 10:27 am |
Yep, I always saw 'elb' as well. If it was two-toned, instead of that red that clearly forms an 'e', maybe it would have been more passable as an 'M'.
brinke | February 11, 2014 at 10:49 am |
I always saw it as ELB, but I believe it means Montreal Expos Baseball.
arrScott | February 11, 2014 at 12:05 pm |
Yep. The Montreal M is a very fun design. One of my favorite caps in MLB history. But it's not a very good design.
Aside from the ambiguity of the shapes and the suggestion of letters that may or may not be intended to be seen, one portion of the logo always seems to disappear into the background of the cap itself.
Mark in Shiga | February 11, 2014 at 12:11 pm |
I too could see nothing but "elb". There's just no M there no matter how you look at it.
But I forgive the Expos, because Montreal is cool, their number font is extra cool, and their powder blue road uniforms were cool. Especially the lighter shade of blue that they had in the '70s.
timmy b | February 11, 2014 at 12:40 pm |
I agree with the Expos a free pass on the M logo. Those caps were incredible. For most of 1969, I had seen nothing but black & white pics and our TV was b/w, so I had assumed the caps were red with the white front and a blue visor. Late in the season, I happened to see a game on a neighbor's color TV and was blown away when I saw that the cap had blue back panels. Wow. Blue backs, red sides, white fronts and a blue visor with a psychedelic logo. Far out!!
DenverGregg | February 11, 2014 at 12:19 pm |
Yep. "elb" it seemed to be for many moons. I was happy with myself when I figured out it was also an M. One of those pivotal uni-geek moments of the seventies.
Judy A | February 11, 2014 at 1:19 pm |
I always saw "elb" also. I was really happy when they moved to DC mostly because it meant my hometown had a team again, but also because that mysterious "elb" was replaced by the beautiful – and legible – curly W.
Sully | February 11, 2014 at 1:25 pm |
http://toddradom.com/sports-logo-case-study-1-montreal-expos/
walter | February 11, 2014 at 1:34 pm |
I understand it takes a leap of faith to see the Expos' blob as an "M". I sussed it out by drawing the Mets' "M", drawing an outline around it, and then drawing another outline around that.
pflava | February 11, 2014 at 4:11 pm |
I actually always saw the Expos logo as an M made up of the smaller letters elb.
Shane | February 11, 2014 at 9:28 am |
Another week, another supposed "new Manchester United jersey leak".
François Vallerand | February 11, 2014 at 10:13 am |
I am pretty sure it is not a counterfeit hat but a legit fashion hat.
David | February 11, 2014 at 10:20 am |
Interesting response from the Washington Redskins PR guy to the tax-exempt status piece on ESPN. I didn't realize that "Oklahoma" means "Red People" in Choctaw.
http://www.statesymbolsusa.org/Oklahoma/Oklahomanameorigin.html
IS it time to change the name of Oklahoma as well?
Lee | February 11, 2014 at 11:11 am |
hmich176 | February 11, 2014 at 11:50 am |
The state should be called Sequoyah. Because history, because it's better.
Anyway, that aside, since the name of the state isn't going to change, here's why it's called Oklahoma (per Wikipedia, which has three different citations for what I'm quoting):
"The name Oklahoma comes from the Choctaw phrase okla humma, literally meaning red people. Choctaw Chief Allen Wright suggested the name in 1866 during treaty negotiations with the federal government regarding the use of Indian Territory, in which he envisioned an all-Indian state controlled by the United States Superintendent of Indian Affairs. Equivalent to the English word Indian, okla humma was a phrase in the Choctaw language used to describe the Native American race as a whole."
The comparison "Redskins" to "Oklahoma" is false; the Oklahoma name is being used appropriately. It's honoring the suggestion of Chief Wright.
Travis | February 11, 2014 at 10:43 am |
Bonus points to the marketing team at Smoothie King Center for making the ducts a straw.
Newt | February 11, 2014 at 10:46 am |
Why do college basketball teams get new uniforms every other season? IU seems like the only team to have the same unis. Alot of those teams in the college basketball slide should go back to those uniforms
In football you have OSU, Auburn, Alabama, FSU, UGA. there's a core group of teams that keep their primary uniform
Tim M | February 11, 2014 at 10:56 am |
For the Twins retiring the navy home alternate, I'd say that's addition by subtraction!
arrScott | February 11, 2014 at 3:52 pm |
And boy, could the Twins stand to do even more of that sort of addition.
Joe | February 11, 2014 at 11:02 am |
My daughters have always worn their skate tights over their boots for years for competitions (they have to wear two sets of tights in that case… one that goes into the boot and a thin one that goes over the boot. They do look better, considering skate boots tend to get scuffed up, plus having a cover over the boot reduces the risk of your skate blade getting caught up in the laces when doing a crossover.
KT | February 11, 2014 at 11:13 am |
I'm still calling it JELD-WEN:
http://www.oregonlive.com/timbers/index.ssf/2014/02/portland_timbers_make_an_annou.html
RyanB | February 11, 2014 at 12:47 pm |
I still call it Civic Stadium.
mike 2 | February 11, 2014 at 2:06 pm |
I still call it Multnomah Field
Daniel | February 11, 2014 at 11:33 am |
http://www.panopticongallery.com/artist/david_levinthal/#01_PC_BB_50.jpg
stan gable | February 11, 2014 at 11:58 am |
Those players are fantastic! Eddie the eagle's mask looks like quite an undertaking. But the beer cans are interesting also. Hamm's & Billy beer… but when is that iron city can from, and who is on it?
Agreed – what a great job John did making those players, and how lucky we all are that he's held on to them to show us his work! Plus the can-display in the background: Also a treat to see.
Coleman | February 11, 2014 at 12:10 pm |
I'm so glad to see all these uni-knowledgeable folks confused the Expos hat too. I didnt see an M until I was in my early 20's.
Daniel | February 11, 2014 at 12:14 pm |
My earlier comment didn't go through. But the link I posted is for the work of photographer David Levinthal, whose images of small figurines came to mind when I saw the hockey players. What I didn't know when I went looking for a link was that Levinthal had already done a baseball set! I love the Mays catch, the DiMaggio back swing, and Rollie Fingers follow through.
I'm impressed with the DIY table hockey, but as someone who had a fairly extensive beer can collection when I was a kid, I got a laugh out of seeing the Olde Frothingslosh can. The pale stale ale with the foam on the bottom!
Curling update:
I mentioned in the Saturday piece that an eight-ender was rare. This is especially true for curlers at this level – Everything has to go wrong to give up 8.
Great Britain dropped seven on the US earlier today (see the clip below). The focus of the clip is obviously on the US skip's last rock rubbing the guard, but a lot must have gone wrong earlier in the end for the US skip to be forced to draw against six GB rocks at all.
http://deadspin.com/great-britain-demolished-the-u-s-with-an-olympic-curli-1520655621
urbanleftbehind | February 11, 2014 at 2:53 pm |
Way late to the Broncos uniform history, but since the Snoopy sweatshirt was posted I'm going to ask a question about the Broncos and Mets – did the Mets use the same "red-orange" as the 1962-67 Broncos during the bad Joe Torre/Lee Mazzilli mid 70s to early 80s period? I recall seeing Cub-Met games where I thought the Mets had the exact same color scheme as the Cubs.
I don't think so…Met blue has varied over the years…kind of purplish in 1969…more royal in the late 80s…"one pantone shade darker"* starting 1993…and a bright royal today. IMO, the orange has never varied much if at all.
* according to the 1993 yearbook
Paul Lukas | February 11, 2014 at 5:31 pm |
Met blue has varied over the years…kind of purplish in 1969…
I'm gonna pretend you didn't just say that.
I said the p-word…but check this out.
http://3.bp.blogspot.com/-92HawzVFvok/T04E9iMMKrI/AAAAAAAAYpk/ZPkpvtKrtxY/s1600/avatar%2B-%2Bgil%2Bhodges.jpg
I was speaking more to the orange – especially with the middle orange stripe on their shirt-sleeves on the two-button shirts during the Torre/Mazilli years. Could be that the orange was sewn over a larger blue band, and thus appeared to be a darker shade of orange.
Mike Engle | February 11, 2014 at 4:31 pm |
I saw the Expos' cap logo as a M right away. Then again, I grew up after the tri-color cap, meaning that the road jersey of the time had a Mets-ish capital M on the wordmark. That, and the fact that the logo was on blue and not white, helped me see the M more clearly.
brinke | February 11, 2014 at 6:30 pm |
Their logo was surely distinctive, but I'd call it a design failure. With a logo, you should be able to tell immediately what it stands for. With this one, 40+ years after it rolled out…a lot of people still don't know.
I disagree…I know immediately it stands for the Expos and that's all it needs to do. If some people can see bonus meanings in it, that's gravy. It makes you think, like a good work of art.
Having not seen what you wrote 90 minutes prior to my own comment on this point, I fully agree with you.
"Design failure?" I'm going to respectfully disagree. Nothing wrong AT ALL with having a logo that has underlying layers.
Milwaukee Brewers' ball-in-glove. Took me years to see M in the three fingers, and B with the thumb and palm.
Hartford Whalers. W, water spout out of the blowhole, make a H in the negative space.
The hidden arrow in FedEx.
Logo design doesn't have to be an exercise in total instant-gratification disclosure ASAP. Sometimes, it's better when it isn't so.
Good examples…glad we agree…wonder if that type of graphic design has a formal name? It is surely more common today than in the past. The Expos logo may have been a forerunner of this, making it all the more admirable.
hmich176 | February 12, 2014 at 11:30 pm |
I was 20-something when I realized the Milwaukee ball-in-glove was an M. I am still a 20-something (soon to be 29), so it wasn't that long ago.
Hunter | February 11, 2014 at 6:00 pm |
Thought this group would appreciate this video a friend made about the R*dskins name and asking Snyder to change it. He is a lifelong fan and now works for second city. http://m.youtube.com/watch?v=M4n5e5rwmRM&feature=youtu.be&desktop_uri=%2Fwatch%3Fv%3DM4n5e5rwmRM%26feature%3Dyoutu.be
Rydell | February 11, 2014 at 9:52 pm |
The Expos logo always pissed me off, literally.
Now that they are gone and I am that many years older I look at their retro pictures whether it be here or somewhere else and I still find myself studying what the fu** is that logo!!?
I've seen it in black and white on a cap before and the M is clear to see.
Literally? You had to run to the bathroom whenever you saw it?
Rydell | February 11, 2014 at 10:00 pm |
oh yah, it was a scene man.
Steve D | February 11, 2014 at 10:11 pm |
If there is any voting for the best uniform/costume in Sochi, I know there is a lot more to see, but my vote is DONE!
SRP91 | February 12, 2014 at 12:38 am |
Norwegian curlers have different pants for Wednesday, this time they're of the knickerbocker variety, matched withdraws they look straight out of the Payne Stewart collection. The pants can be seen here.
https://www.facebook.com/NOCTP
With hats* stupid autocorrect


text:
Q: Is it possible to join the Apple Developer Program with a Visa Prepaid card? I have just ordered a Visa reLoad card where you simply put money on your card before you buy something. Will this work with an Apple Developers subscription?

A: Visa Pre-Paid is a credit card. It will honored providing they can charge those $99 successfully to it. They don't really care if it's pre-paid, secured or non-secured. If they can charge it, they'll gladly accept it, like any other business would. The money is real either way.

A: It's a safe bet that it ought to. I'm not sure there's any reliable way to tell what account number is a "real" credit card or debit card (i.e., linked to a checking account) vs. a prepaid debit card (like yours).
Bear in mind, though, that when it comes time to renew, the transaction will fail unless you have the funds on the card or change to a new card.

redpajama_set_name: RedPajamaStackExchange


text:
#ifndef NV_NPPS_INITIALIZATION_H
#define NV_NPPS_INITIALIZATION_H

/**
 * \file npps_initialization.h
 * NPP Signal Processing Functionality.
 */

#include "nppdefs.h"

#ifdef __cplusplus
extern "C" {
#endif

/** @defgroup signal_initialization Initialization
 *  @ingroup npps
 */
///@{

/** \defgroup signal_set Set
 */
///@{

/** @name Set
 * Set methods for 1D vectors of various types. The copy methods operate on vector data given
 * as a pointer to the underlying data-type (e.g. 8-bit vectors would
 * be passed as pointers to Npp8u type) and length of the vectors, i.e. the number of items.
 */
//@{

/**
 * 8-bit unsigned char, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_8u(Npp8u nValue, Npp8u * pDst, int nLength);

/**
 * 16-bit integer, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_16s(Npp16s nValue, Npp16s * pDst, int nLength);

/**
 * 16-bit integer complex, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_16sc(Npp16sc nValue, Npp16sc * pDst, int nLength);

/**
 * 32-bit integer, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_32s(Npp32s nValue, Npp32s * pDst, int nLength);

/**
 * 32-bit integer complex, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_32sc(Npp32sc nValue, Npp32sc * pDst, int nLength);

/**
 * 32-bit float, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_32f(Npp32f nValue, Npp32f * pDst, int nLength);

/**
 * 32-bit float complex, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_32fc(Npp32fc nValue, Npp32fc * pDst, int nLength);

/**
 * 64-bit long long integer, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_64s(Npp64s nValue, Npp64s * pDst, int nLength);

/**
 * 64-bit long long integer complex, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_64sc(Npp64sc nValue, Npp64sc * pDst, int nLength);

/**
 * 64-bit double, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_64f(Npp64f nValue, Npp64f * pDst, int nLength);

/**
 * 64-bit double complex, vector set method.
 * \param nValue Value used to initialize the vector pDst.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsSet_64fc(Npp64fc nValue, Npp64fc * pDst, int nLength);

// end of Signal Set
//@}

///@} signal_set

/** \defgroup signal_zero Zero
 */
///@{

/** @name Zero
 * Set signals to zero.
 */
//@{

/**
 * 8-bit unsigned char, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_8u(Npp8u * pDst, int nLength);

/**
 * 16-bit integer, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_16s(Npp16s * pDst, int nLength);

/**
 * 16-bit integer complex, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_16sc(Npp16sc * pDst, int nLength);

/**
 * 32-bit integer, vector zero method.
  * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_32s(Npp32s * pDst, int nLength);

/**
 * 32-bit integer complex, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_32sc(Npp32sc * pDst, int nLength);

/**
 * 32-bit float, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_32f(Npp32f * pDst, int nLength);

/**
 * 32-bit float complex, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_32fc(Npp32fc * pDst, int nLength);

/**
 * 64-bit long long integer, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_64s(Npp64s * pDst, int nLength);

/**
 * 64-bit long long integer complex, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_64sc(Npp64sc * pDst, int nLength);

/**
 * 64-bit double, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_64f(Npp64f * pDst, int nLength);

/**
 * 64-bit double complex, vector zero method.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsZero_64fc(Npp64fc * pDst, int nLength);

// end of Zero
//@}

///@} signal_zero

/** \defgroup signal_copy Copy
 */
///@{

/** @name Copy
 * Copy methods for various type signals. Copy methods operate on
 * signal data given as a pointer to the underlying data-type (e.g. 8-bit
 * vectors would be passed as pointers to Npp8u type) and length of the
 * vectors, i.e. the number of items.
 */
//@{

/**
 * 8-bit unsigned char, vector copy method
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_8u(const Npp8u * pSrc, Npp8u * pDst, int nLength);

/**
 * 16-bit signed short, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_16s(const Npp16s * pSrc, Npp16s * pDst, int nLength);

/**
 * 32-bit signed integer, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_32s(const Npp32s * pSrc, Npp32s * pDst, int nLength);

/**
 * 32-bit float, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_32f(const Npp32f * pSrc, Npp32f * pDst, int nLength);

/**
 * 64-bit signed integer, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_64s(const Npp64s * pSrc, Npp64s * pDst, int nLength);

/**
 * 16-bit complex short, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_16sc(const Npp16sc * pSrc, Npp16sc * pDst, int nLength);

/**
 * 32-bit complex signed integer, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_32sc(const Npp32sc * pSrc, Npp32sc * pDst, int nLength);

/**
 * 32-bit complex float, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_32fc(const Npp32fc * pSrc, Npp32fc * pDst, int nLength);

/**
 * 64-bit complex signed integer, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_64sc(const Npp64sc * pSrc, Npp64sc * pDst, int nLength);

/**
 * 64-bit complex double, vector copy method.
 * \param pSrc \ref source_signal_pointer.
 * \param pDst \ref destination_signal_pointer.
 * \param nLength \ref length_specification.
 * \return \ref signal_data_error_codes, \ref length_error_codes.
 */
NppStatus
nppsCopy_64fc(const Npp64fc * pSrc, Npp64fc * pDst, int nLength);

// end of Copy
//@}

///@} signal_copy

///@} signal_initialization

#ifdef __cplusplus
} // extern "C"
#endif

#endif // NV_NPPS_INITIALIZATION_H

redpajama_set_name: RedPajamaGithub


text:
Bob Boze Bell's Big Bad Book of Bad Diary Entries
If you've ever wondered what it's like to run a magazine or how crazy my personal life is, be sure to read the behind-the-scenes peek at the daily trials and tribulations of running True West. Culled straight from my Franklin Daytimer, it contains actual journal entries, laid out raw and uncensored. Some of it is enlightening. Much of it is embarrassing, but all of it is painfully true. Are you a True West Maniac? Get True West for LIFE...Click here!
When Wyoming Lands In Michigan
I am always fascinated by how readers find True West and today I got an earful. I was in a Design Review meeting with Dan Harshberger, Rebecca Edwards and Robert Ray when Carole Glenn came back to tell me there was a new subscriber up front and he wanted to meet me.
Jim Swanson and BBB, in our war room, 10:10 a.m.
Turns out his name is Ji, Swanson of Wyoming, Michigan (yes, the town he's from is Wyoming). He is 64 and he had never heard of True West magazine before. Two days ago he was on the Apache Trail and he and his wife stopped at Tortilla Flats and inside he saw two issues of True West magazine (June and July) and he bought both, reading them cover to cover. He told his wife he loved this magazine and he wanted to get more.
This morning they were driving up through Cave Creek, "just exploring," he told me. As they drove by 6702 E. Cave Creek Rd., he did a double take and said, "That's the name of my new favorite magazine. I wonder if that's where they do it?" His wife told him no, it was just a similar name and why would they be out here in this small berg in the middle of the desert? Much to his wife's irritation, he turned around and came in. Upon hearing the Cliff Notes version of the above story, I brought him into the meeting so our staff could see what one of our newest readers looks like.
Ron bought a three year subscription and he warned us as he went out the door, "Expect more subscriptions from Wyoming, Michigan!"
We will.
Posted by Bob Boze Bell at 2:51 PM
Bob Boze Bell
Bob Boze Bell's work has appeared in Arizona Highways, Playboy, National Lampoon, the Arizona Republic and True West magazine. For ten years (2002-20012) he did a video version of True West Moments which ran on the Westerns Channel. BBB can currently be seen on the series "Gunslingers" which runs on the American Heroes Channel. Triple B is also the President and executive editor of True West magazine, positions he has held since 1999. He has written a dozen books on Old West characters like Billy the Kid, Wyatt Earp, Doc Holliday, Wild Bill Hickok and a three-part series (so far) on Classic Gunfights which appear in True West. These popular, heavily illustrated books have sold over 90,000 copies, so far. In 2014 he published a visual memoir of growing up on Route 66 called "The 66 Kid," and he is currently working on a bio of Geronimo. As for retirement, BBB says, "Work is only work if you'd rather be someplace else. And I'm exactly where I want to be."
201 Zany Zonies
Wallace Stegner, Ed Abbey & Bruce Babbitt
Beheadings American Style
Is The New Photo Really Billy the Kid?
Mas Redux
Redo Mickey Free Redux Ad Infinitum
A Train Robber's Christmas
The PG Rated Version of An X-Rated Life
Chris Sicurella of Tri Star Boze Books
Bye Bye Grandpa
Robin Williams Reverse Engineering?
Snow Riders & Motorcycle Dismounting No Nos
Beehive Inspiration & Outlaw Christmas Gifts
Seven Sisters Sunset & Outlaw Christmas
BBB On Channel 3
Purgatory Road and Dating Latinas
I Have Seen The Future And It's Deathly Quiet
Billy Cox Channels Billy the Kid
Blue Skies & Trash Can Contenders
Irish Spring vs. The Wham Payroll Robbery
Ratcliff Ridge & Rats In The Flex
The Most Beautiful Woman In Old Sonora
Record Rain
BBB Ain't PC
Long Lost Tunstall Murder Site Map Found!
Honkytonk Sue Begets Dixxy Diamond
A Wary Wyatt And A Sexy Sadie
The Barrio Cafe & Punk Scouts of America

redpajama_set_name: RedPajamaCommonCrawl


text:
c = context :ImmutableStack do
  role :head do
  end
  role :tail do
  end

  def pop
    [@head, @tail]
  end

  def push(element)
    ImmutableStack.new element, self
  end

  def self.empty
    @empty ||= self.new(nil, nil)
  end

  def each
    yield head
    t = tail
    while t != ImmutableStack::empty do
      h, t = t.pop
      yield h
    end
  end

  def initialize(h, t)
    @head = h
    @tail = t
    self.freeze
  end
end

context_class_code = c.generated_class

if context_class_code.instance_of? String
  file_name = './generated/immutable_stack.rb'
  p "writing to: " + file_name
  File.open(file_name, 'w') do |f|
    f.write(context_class_code)
  end
end


Welcome to Faith Assembly's GlobalFaith missions page! We are glad that you have an interest in supporting missions with your time, resources, or prayers. With over 800 missionaries and organizations supported, we have a heart to spread the Gospel to every nation!
A GlobalFaith missions trip is a strategic, seven day experience where teams of 10-30 people serve with our international partners, meeting the physical and spiritual needs of people all over the world. Our vision is for GlobalFaith missions trips to be opportunities for people to pursue spiritual growth and healthy relationships through serving.
Join our GlobalFaith Prayer Group as we pray for our missionaries all over the world. Sunday mornings at 10:25am in Room E204.
Download a free app to help you pray for our missionaries.
Visit the Prayer Room here at Faith Assembly and check out our prayer wall map with the missionary families we're focusing in prayer this year.
If you desire to give to missions in general.
Donate funds to a specific missions trip.
Make a missions promise between you and God.
We have teams leaving almost every month. View our upcoming GlobalFaith missions trips and register for your next missions experience.
Attend the next GO Prepared class. These classes are required before you can attend a trip to ensure proper preparation. Classes are held quarterly in 2019. April 7, July 14 and October 6.


A sweet and balanced coffee with complex, yet soft acidity. Honey notes upfront,followed by dark fruit, like black grape and blackcurrant.
High quality coffee has wide ranging, naturally occurring taste notes. The dominant flavour profile in this coffee is Fruit. Many coffees have fruity notes, not surprising considering that coffee beans are seeds of a fruit. Naturally processed coffees are often fruity as the method enables more of the sugars in the fruit are absorbed in the beans.
Valdir has improved the quality of his coffee while protecting the water and wildlife, planting indigenous trees and avoiding use of herbicides to ensure a sustainable future. He was one of the first producers to join the Bob-o-link sustainability project, linking people with farmers who grow quality coffee in harmony with nature. This project is managed by Fazenda Ambiental Fortaleza, 'Environmental Fortress Farm' or FAF for short. 1719 notes the specific plot where this coffee comes from.
A sweet and balanced coffee with complex, yet soft acidity. Honey notes upfront, followed by dark fruit, like black grape and blackcurrant. Creamy body, especially as the coffee cools down, making it an enjoyable and easy drinking filter coffee.
Nestled in the region of Mococa, Brazil, you'll find one of our longstanding producer partners - Fazenda Ambiental Fortaleza (FAF). Translating to 'Environmental Fortress Farm' in Portuguese – here, farmers produce beautiful coffees, in sustainable and innovative ways.
FAF has been in the Barretto Family since 1850. In 2001, Silvia Barretto inherited the farm, along with her husband Marcos Croce. Together they began to transform what was a traditional farm with 150 farmhands into the farm of their dreams.
Today, FAF has been transformed. Not only is their sustainably-grown, high-quality coffee celebrated by coffee connoisseurs worldwide, but they are a centre for coffee studies, who welcome arts, sustainability projects and volunteering.
FAF's coffee knowledge is shared and is a leading force in the creation of the Bobolink coffees.


As a classic family business with a long tradition, we know all about the special requirements for family celebrations and similar occasions. In a small circle or on a large scale – we make private parties and celebrations for your guests a unique experience and unforgettable enjoyment. Whether wedding, christening, birthday, confirmation or club celebrations: Together with you we develop a needs-based concept, which is based on your wishes to beautify the special occasion in your interest.
You can celebrate directly at the hotel »Zur Krone« or at home.
You can choose one of our attractive partner locations.
Or make your own suggestions.


immoderate beyond reasonable or appropriate limits; excessive.
immolate to kill or offer as a sacrifice, esp. by burning.
immolation an act or instance of killing as a sacrifice, esp. by burning.
immoral not in accordance with established or accepted rules and standards of right and wrong conduct, esp. those deriving from religious teachings.
immortalize to make immortal; endow with unending life or fame.
immortelle a plant whose flowers retain their color when dried.
immune system the bodily system of organs, tissues, cells, and cell products, which protects the body by detecting the presence of, and disabling, disease-causing agents in the body.
immunize to cause to be immune, as by vaccination.
immunocompromised having an impaired or weakened immune system, as by disease or drugs.
immunoglobulin a protein of the immune system that acts as an antibody.
immunology the branch of medicine concerned with antibody production and resistance to disease.


text:
Walter Jordan Net Worth 2018: What is this basketball player worth?
Walter Jordan was a professional basketball player who played Small forward as number 40. Jordan's height is 6 ft 7 in. Jordan was born on February 19, 1956, in Perry, Alabama. This article takes a deep dive into Walter Jordan's net worth.
Walter Jordan Career and Earnings/Salary
Jordan played basketball in college with Purdue Boilermakers men's basketball (1974-1978) and started playing professionally in 1978. In the 1978 draft, Jordan was chosen number 84 in round 4 by the New Jersey Nets. Jordan left the game of basketball in 1986.
Jordan played for the Washington Lumberjacks during 1978-1979 as well as the Utica Olympics in 1979-1980. Later, Jordan played for the Billings Volcanos throughout 1980, the Cleveland Cavaliers over 1980, the Montana Golden Nuggets during 1981-1982, and the CB Valladolid during 1982-1983.
Walter Jordan Net Worth 2018
Basketball player salaries can range between a couple thousand dollars and millions of dollars per year, depending on a number of factors. Although most professional NBA players make a salary of almost $2 million, a small contingent of players with D-league crossover agreements earn as little as $50,000. The salary cap for National Basketball Association players is close to $100 million, although as of today nobody brings in anywhere near that amount. The top players in the league earn approximately $35 million. Outside of the NBA, yearly earnings can be as low as $20,000 annually for minor league teams.
Walter Jordan net worth: basketball salary distribution
So what is basketball player Walter Jordan's net worth in 2018? Our estimate for Walter Jordan's net worth as of 2018 is:
Looking for other basketball players? Check out these basketball net worth articles: Ioannis Bourousis, Zoltán Horváth, Göktürk Gökalp Ural, Tyler Kalinoski, Joel Przybilla, Al Jefferson, Anne Donovan, Marc García, Paoline Salagnac, Felipe Reyes, and David Vaughn III.


text:
TSX: MIN
OTCQX: EXMGF
ESTMA Reporting
Presentations & Reports
In-Situ Recovery
View our latest presentation
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Excelsior Appoints New Chief Financial Officer
Excelsior Mining Corp. (TSX-V: MIN) (FSE: 3XS) (OTCQX: EXMGF) ("Excelsior" or the "Company") is pleased to announce the appointment of Mr. Mark Distler as Chief Financial Officer. Mr. Distler has replaced Carlo Valente who had served as the Company's CFO since December, 2014. The Company thanks Mr. Valente for his invaluable contributions during his tenure. This change is part of an ongoing transition of the Company's management to its Phoenix office as the Gunnison Project reaches an advanced stage.
Mr. Distler brings more than 30 years of experience in the mining industry focusing on financial strategies, regulatory compliance, and core internal operations. He began his career with Phelps Dodge Corporation and has held senior financial positions for a host of major resource companies including Agnico Eagle Mines (Senior Financial Manager), Mercator Minerals (CFO), Curis Resources (Operations Controller) and Frontera Copper Corporation (CFO). A graduate of Pennsylvania State University and is a CPA, Mr. Distler's exceptional skill set in terms of financial structuring and strategic planning will serve Excelsior well as the Company moves through the project financing stage and into commercial production.
Excelsior has granted Mr. Distler, under the terms of its stock option plan, options to purchase up to 200,000 common shares at a price of C$0.36 per share. The options are subject to vesting over a two year period and have an expiry date of April 27, 2021.
Callinan Royalty Option
The final development milestone under the royalty option agreement with Callinan Royalties has been met with the successful administrative review of the Aquifer Protection Permit and the Underground Injection Control and Aquifer Exemption Permit. This resulted in the Company providing notice to Callinan with respect to its option to exercise the final development royalty option. In response, Altius, on behalf of Callinan, provided notice that it will not be exercising the third royalty option.
As noted in Excelsior's October 8, 2015 news release, in May 2015, Altius completed a plan of arrangement whereby Altius acquired all of the issued and outstanding common shares of Callinan and Callinan became a wholly owned subsidiary controlled by the Board and management of Altius. The business model of Altius is to acquire royalty interests in producing mines and to generate its own projects that it then advances through various partner-funding arrangements. Excelsior's Gunnison Project is not yet a producing mine and is a project that was not generated initially by Altius, and as a result it falls outside of the current Altius business model. Altius, through Callinan, continues to hold a 1% Gross Revenue Royalty ("GRR") in the Gunnison Project and holds the remaining option to acquire up to an additional 0.5%GRR for C$5,000,000 based on the remaining Construction Milestone GRR.
About Excelsior Mining
Excelsior Mining "The Copper Solution Company" is a mineral exploration and development company that is advancing the Gunnison Copper Project in Cochise County, Arizona. The project is an advanced staged, low cost, environmentally friendly in-situ recovery copper extraction project that is scheduled for commercial production in 2018.
Further information about the Gunnison Copper Project can be found in the technical report filed on SEDAR at www.sedar.com entitled: "Gunnison Copper Project, NI 43-101 Technical Report, Prefeasibility Study Update" dated effective January 28, 2016.
For more information on Excelsior, please visit our website at www.excelsiormining.com.
ON BEHALF OF THE EXCELSIOR BOARD
"Stephen Twyerould"
For further information regarding this press release, please contact:
Excelsior Mining Corp.
Concord Place, Suite 300, 2999 North 44th Street, Phoenix, AZ, 85018.
JJ Jennex, Vice President, Corporate Affairs
T: 604-681-8030 x240
www.excelsiormining.com
Cautionary Note Regarding Forward-Looking Information
This news release contains "forward-looking information" concerning anticipated developments and events that may occur in the future. Forward looking information contained in this news release includes, but is not limited to, statements with respect to: (i) the timeline for commercial production from the Gunnison Project; (ii) the exercise of the construction royalty option by Callinan and (iii) the ability to mine the Gunnison Project using in-situ recovery mining techniques.
In certain cases, forward-looking information can be identified by the use of words such as "plans", "expects" or "does not expect", "is expected", "budget", "scheduled", "estimates", "forecasts", "intends", "anticipates" or "does not anticipate", or "believes", or variations of such words and phrases or state that certain actions, events or results "may", "could", "would", "might" or "will be taken", "occur" or "be achieved" suggesting future outcomes, or other expectations, beliefs, plans, objectives, assumptions, intentions or statements about future events or performance. Forward-looking information contained in this news release is based on certain factors and assumptions regarding, among other things, the estimation of mineral resources and mineral reserves, the realization of resource and reserve estimates, copper and other metal prices, the timing and amount of future exploration and development expenditures, the estimation of initial and sustaining capital requirements, the estimation of labour and operating costs, the availability of necessary financing and materials to continue to explore and develop the Gunnison Project in the short and long-term, the progress of exploration and development activities, the receipt of necessary regulatory approvals, the completion of the permitting process, the estimation of insurance coverage, and assumptions with respect to currency fluctuations, environmental risks, title disputes or claims, and other similar matters. While the Company considers these assumptions to be reasonable based on information currently available to it, they may prove to be incorrect.
Forward looking information involves known and unknown risks, uncertainties and other factors which may cause the actual results, performance or achievements of the Company to be materially different from any future results, performance or achievements expressed or implied by the forward-looking information. Such factors include risks inherent in the exploration and development of mineral deposits, including risks relating to changes in project parameters as plans continue to be redefined including the possibility that mining operations may not commence at the Gunnison Project, risks relating to variations in mineral resources and reserves, grade or recovery rates resulting from current exploration and development activities, risks relating to the ability to access infrastructure, risks relating to changes in copper and other commodity prices and the worldwide demand for and supply of copper and related products, risks related to increased competition in the market for copper and related products and in the mining industry generally, risks related to current global financial conditions, uncertainties inherent in the estimation of mineral resources, access and supply risks, reliance on key personnel, operational risks inherent in the conduct of mining activities, including the risk of accidents, labour disputes, increases in capital and operating costs and the risk of delays or increased costs that might be encountered during the development process, regulatory risks, including risks relating to the acquisition of the necessary licenses and permits, financing, capitalization and liquidity risks, including the risk that the financing necessary to fund the exploration and development activities at the Gunnison Project may not be available on satisfactory terms, or at all, risks related to disputes concerning property titles and interest, environmental risks and the additional risks identified in the "Risk Factors" section of the Company's reports and filings with applicable Canadian securities regulators.
Although the Company has attempted to identify important factors that could cause actual actions, events or results to differ materially from those described in forward-looking information, there may be other factors that cause actions, events or results not to be as anticipated, estimated or intended. Accordingly, readers should not place undue reliance on forward-looking information. The forward-looking information is made as of the date of this news release. Except as required by applicable securities laws, the Company does not undertake any obligation to publicly update or revise any forward-looking information.
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release, and no securities regulatory authority has either approved or disapproved of the contents of this release.
In-Situ Mining
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text:
July 4, 2019 by Ming Thein
Spot the difference.
I had a rather strange experience at a local specialist photographic bookstore the other day – not just because the books were surprisingly affordable and heavily discounted*, but because I felt like I was looking at my own work – but shot by somebody else. It was almost as though there there was a lost assignment whose contact sheets I'd just discovered. Some color themes and specific subject matter may have been transposed, but for the most part, even those were the same: earthy tones playing off against greys-blues in skies or manmade elements, and a lot of heavy engineering. But those are the most minor of the similarities: it's as though the underlying structure of subject elements and camera angles/ perspectives were very, very similar, too. There's the same use of parallel orientation of cameras relative to subject 'planes'; the use of contextual elements to concentrate framing; leading lines and repeated elements, and above all: a very strong emphasis on emphasis of texture both spatially and through lighting choices. Even the interpretation of color was pretty similar: a mostly faithful but ever so slightly cinematic bias (read: just enough hint of a WB shift to give the image some life).
*Books are heavily taxed in Malaysia; a phonebook with an European MSRP of say EUR39.95 will land up being easily RM400-500 – or 2-2.5x. This is a huge amount compared to relative average monthly income; 20-25% to be precise. Such taxes only discourage erudition; form whatever cynical conclusions you will – they're probably correct.
The book? An anthology of Edward Burtynsky's work: Essential Elements. I of course know of Burtynsky and have seen some of his earlier work in the Water and aerial series, but not to any great level of familiarity. I don't think the similarities can be put down to subconscious influence: none of the earlier stuff I'd seen had these kinds of texturally-focused images in them. My comparison images given as examples here were all shot on various assignments, but almost all of them had briefs focused on documenting the human element of construction rather than the pure hard engineering, and as a result 90% of the images feature man as subject or in important context. These images therefore almost represent the outtakes; most of the time the quasi-abstracted, industrial-wimmelbild texture studies that personally appeal to me (and much less to my clients, but I always include examples of the work I want to do as future encouragement for more of it). Burtynsky, in contrast, is 100% about the metal and concrete and rocks; unapologetically so.
Could the root of our texture fetish be the result of something more fundamental, perhaps? If we take the artist's statement in the book at face value – then there are certain things that affected him and provided the underlying motivation for the work; it's presented as something stronger than visual – rather, being affected at an emotional level by what we humans are doing with our surroundings and being compelled to document it. The presentation is a result of the original motivations and personal preferences of the artist rather than being the end goal. We approach the same subject but with different motivations. Personally, I prefer to focus on the humanise the process, man in context, in control, and the hidden anonymous mensch behind the massive engineering feats we take for granted every day – to educate and inform about back story and hopefully provide a greater degree of appreciation to a wider audience. There is almost always a human present in my frames – either to give context of scale, to add emotion to labor, or to put a face to responsibility. But just occasionally on these assignments, a scene tugs at my subconscious and makes me stop, frame and record: the overlap of our work is to be found here.
I fully admit that it is the opposite thing that attracts me here: the absence of scale; the abstraction of subject into nothing more than color, texture and geometry (or lack of); the removal of context that allows us to evaluate an image at a purely visual level: to avoid dismissal of a potentially interesting scene of this nature simply because of the pedestrian subject. I like the presence of a general structure that encourages an image to be read in a certain order along its dominant lines or color/luminosity gradients. I find it rewarding to get lost in the details and in doing so, feel like I've earned the right of context; there is a sense of achievement in figuring out exactly what I'm looking at after being presented it in a way that's deliberately obfuscating.
I'll be the first to admit that none of the image/set pairs chosen here is a perfect match: there are definite differences in subject, perspective and dominant color palette. But given that Burtynsky had the benefit of curating deliberately for this book and processing the images accordingly, and mine were simply pulled from a contact sheet folder over the course of ten minutes – I'm pretty sure an even better match could be made simply from reviewing all of my files (in the hundreds of thousands for this kind of subject matter) and processing the pairs better to match (my own image pairs were almost all shot years apart on different sites and processed to match other elements on those sites rather than each other). As I've said many times before: curation matters.
What I take away from this is two things: firstly, a lot of these images were shot several years ago. My personal style even for these assignments has evolved; more so for the 'bonus' images I shoot because they interest me rather than because they're part of the core commission. I'm sure Burtynsky too has moved on, given this book is a greatest hits anthology of previous work. I'm glad, because the last thing I want to do is find myself refining a style that turns out to be a duplicate of somebody else's work; I'm past that point in my career and want to make work that is unique to me. This is important commercially because you need to offer something different to play seriously in this game; it's more important creatively because you want to feel like you're advancing your own vision and techniques rather than following a path that's already been trodden. It's also interesting that two people who've spent a lot of time seeing, interpreting and attempting to communicate the same subject landed up producing very similar work. Either there are very few ways to capture the complete essence of such a subject and we've arrived at the same place through a process of conscious or unconscious derivation, or we land up drawing on a common visual language that somewhat transcends subject and local context, but is modified depending on what I can best term 'experience of seeing'. Very complex, information-dense subjects such as these initially only present texture and gross form; fine details are only appreciable with a) patience and closer examination, and b) the appropriate presentation medium. They are multilayered and can be appreciated by different audiences, but of course the level of what one gets out of it will vary – in contrast to a very literal or straightforward image that doesn't yield anything extra when contemplation time or medium changes. In any case: the only way forward is to keep evolving. And I went back and forth about this because it felt weird to buy a book of very familiar images – but objectively, it's worth a recommendation as sequencing and printing are excellent, and I am of course biased towards the images themselves… MT
Edward Burtynsky's Essential Elements is available here from Amazon.
Visit the Teaching Store to up your photographic game – including workshop videos, and the individual Email School of Photography. You can also support the site by purchasing from B&H and Amazon – thanks!
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Images and content copyright Ming Thein | mingthein.com 2012 onwards unless otherwise stated. All rights reserved
Filed Under: Articles, On Photography Tagged With: burtynsky, deja vu, ming, mingthein.com, photography, similarities, style, thein
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Kirk Tuck says:
"land up"? We always say "end up". When did "land up" enter English vocabulary. Not nitpicking but seriously interested.
It's always been 'land up' as far as I know. Perhaps it's a colonial thing post-sailing voyage… 🙂
I think the rest of the English speaking world uses "end up" or "ended up" or "ends up." In all my years as a student, and then a lecturer, at the University of Texas at Austin I never once heard "land up." Can it be that this is a completely different etymology? I generally like your writing but that phrase seems to show up in about every third post and it's like fingernails on a chalkboard to my ear. And since we are using it to mean "when everything is finished and at the end of the process" it just seems that "ended up" makes a hell of a lot more sense. https://www.merriam-webster.com/dictionary/end%20up and https://www.merriam-webster.com/dictionary/lands%20up
US English (including your dictionary), English English (every country I grew up in, studied in and worked in)… 🙂
Alex Carnes says:
I must admit I don't like 'land up' either and I'm English and educated to PhD, although that's offset somewhat by being from Stoke-on-Trent! 😉
To the content of your article: I agree that art shouldn't be too literal, otherwise it can become boring, unable to signify anything beyond the brute facts: in our case, what we've photographed. Too abstract and it doesn't mean enough! Now, abstract can be very pretty – one can reduce what's in front of us to "nothing more than color, texture and geometry (or lack of)" as you put it, and land up (!) with a funky looking photo; but if you overdo it, someone's going to say that it's a clever trick rather than art, and they might have a point. Such is the elusive nature of artistic expression I suppose. I still don't fully understand my own feelings on this, but as the years have gone by, I find I admire gratuitously opaque works of art rather less than I did as a younger person, when I was rather more readily convinced that I was at fault for failing to apprehend their meaning! Like with some modernist poetry – and indeed the works of some academics I could name! – it might sound impressive but mean nothing.
I like the parallels you've identified between your work and Burtynsky's. It's always especially interesting when two people happen to see the world in similar ways rather one person simply influencing the work of another. Rather like the distinction between homologous and analogous evolution!
A work either speaks to you or it doesn't – I don't think there's a right or wrong approach on the part of the artist or audience, here. Such is the nature of anything subjective, which most certainly describes art and photography…
Same in the English Oxford Dictionary…..
pboddie says:
I don't find myself using "land up" much any more, but that is probably a consequence of consuming global English. Nevertheless, to "land up" is very familiar from my British English upbringing. I would hazard a guess that landing up is a bit like surfacing or washing up somewhere, that something or someone having been out of sight reappears somewhere else, for instance. See also: https://dictionary.cambridge.org/dictionary/english/land-up
Cambridge (UK) educated here, and teaching the subject in Japan. Both end up and land up are acceptable usage, the former is far more commonly employed in contemporary society. Land up only surprises in this case because we are not accustomed to seeing or hearing this form very often. Having experienced the sometimes creative use of English ( and in Malaysia too! ) I can understand why you might prefer land up. It's fine. We all understood what you meant. nothing to worry about. Sleep easy people.
Tuco Ramirez says:
I'm using "land up" from now on, because Ming Thein.
Hahaha 😛
David Mantripp says:
Ming, I'm rather surprised that with your justified emphasis on curation, you did not highlight the fact that this collection was curated not by Burtynsky, but by William Ewing, with a very clear objective to put Burtynsky's work in a different light – which indeed it does, by removing his photography from the conceptual contexts he is famous for.
And I'm sure you didn't mean to imply any imitation – but Richard Warren might benefit from 10 seconds of Googling before making such ridiculous claims. Burtynsky is a genuine modern master who has been following his own very unique vision for decades. His "Manufactured Landscapes" is a very unusual example of how "landscape" photography can be devastatingly moving.
richard warren says:
Actually I didn't make any claims. Ridiculous or otherwise.
I'm aware of that, but didn't feel it was important as if Burtynsky hadn't a) captured the images to begin with and b) allowed them to be used, thereby passing his own personal curation in a way – there wouldn't be anything for Ewing to curate from in the first place 🙂
This speaks to me about earlier comments I've made bemoaning the [seeming] difficulty of creating or contributing anything that's truly unique. More than once in my tech career I've encountered someone who's done independent parallel development of a patent-able notion — often within a few months of me. And in photographic art the situation seems much, much more crowded.
I suppose there are fewer numbers at the highest heights of the top of the game, with high visibility and strong professional income, but I have an uncomfortable feeling always that there exist talented others producing very similar images — people we don't know of because they don't have the platform or visibility.
There are a lot of people with sensors. The likelihood that efforts invested would produce work that is merely duplicative of others' is, for me, probably the single most discouraging aspect of the photographic crimson ocean.
There's definitely a lot more restriction when it comes to photography compared to say painting or sculpture. And the subjects tend to be limited to the scope of things we can easily see.
I fully agree with you on talent vs visibility: there are almost certainly a huge number of talented 'seers' who have either not had the opportunity/visibility, not had the hardware, or not even tried photography – but fundamentally have the vision. (One could of course make the same argument in pretty much any field, I guess).
Camera angles/ perspectives…? :
Most of us grow up with a lot of rectilinear structure around us. I find that images of that seem more harmonious when lines make certain angles. Is that because that makes an easier to see three-dimensionality? Are they angles we often and unconsciously see around us before we translate what our eyes see into our inner 3D model of our surroundings?
If so, is this mirrored in art and photography? How much is seeing influenced by art and photo history?
But it *is* fun to speculate!
And Ming, when on assignment perspectives have to satisfy a large audience, you seem to experiment with perspectives much more in your architecture photo essays.
Textures…? :
Now didn't sensor resolution fairly recently (not many years ago) grow large enough to allow fine textures to be significant elements in.digital photos? – inviting photographers to use it.
I think it's a bit more than perspective – perhaps something like underlying structure and how it's arranged in the frame. I agree on the rectilinearity, but most people tend not to try and 'force' that order into the fame as much.
Perspective experimentation on wide appeal images: it's often because the brief is to 'get the whole building in' – which necessitates being creative with camera position and angles to work around other limitations such as line of sight and not being late because of other buildings behind you…
Texture and resolution: we could always go closer. Also, at these reproduction sizes – extra resolution doesn't really make much difference 🙂
Craig Carlson says:
Very cool! and what interesting, varying color palettes. Just put in an order for one of the books, as i felt i had to see the images closer up. Thanks very much for sharing this. Craig
No problem. Enjoy!
Gel says:
(Déjà)
A bit like bumping into someone who is your "double"?
If indeed he did imitate you, Ming, you could take it as flattering. Some might argue "breach of copyright" – but in the world of art, and photography lays some claim to being a corner of that world, imitation has always been the norm – up to a point.
Artists generally learn what to do with the pencils, crayons, charcoals, paints and brushes by imitating great artists – and then going on to develop their own style. Those who succeed may end up as "great" artists too – and there's always going to be a trail of lesser mortals, left in between, but having fun anyway.
Plagiarism in photography up to this point has only been reported back to me, where someone used a photo from a site like Instagram, and entered it a photo competition – then got sprung. Why anyone would be so stupid is beyond me.
As to the tax system in Malaysia – someone has to provide the money that was fraudulently paid to certain politicians!
When I was MUCH younger – in my 'teens and twenties – I used to buy a lot of books. Then I found out most of them were printed in the UK, and whereas it might cost $2.50 there, it was costing $3.75 here. The publishers in that example would produce the book at a trade price of $2 and the British bookshops would sell it for a 20% markup – but the Australian ones wanted a 50% markup on the British retail price! Even after paying postage, it was massively cheaper to buy direct from Britain!
As to your tax rates – anywhere you look, the people controlling countries around the world are in cloud cuckoo land – milking the "poor" and making the lower, middle, and – even – "the lower-upper" classes poorer, and using what they skim to make themselves and their friends richer. Businesses thrive on handouts from these governments and give massive kickback payments (one way or another) to the politicians running those governments. They have a delusional belief that this is self sustaining. It is not. It is like a Ponzi scheme. Eventually it will tank the economy, cause a crash, bankrupt people and businesses all over the place, and have the villains rounded up and at least some of them jailed.
Economies don't work on such a basis – instead, the rich can actually become far richer – and on a sustainable basis – if the strata of society underneath them have more money, and more opportunities. Because that makes the whole economy sounder, and the fallout brings better living standards, more revenues into the exchequer, the possibility of better infrastructure, education, health & welfare, etc, etc, and ultimately lower taxation for everyone.
Greed is NOT good – it is ultimately self destructive.
But these politicians can't see it – and instead of creating, they destroy. Because they don't have the knowledge and understanding of economics to run government. Or the morals, integrity, brains and foresight necessary to do it.
Not imitation by any stretch, but arriving at the same place at the same time as somebody else also going via the same route independently…I can only shrug and look for a new course.
Not paid to so much as removed by. 😦
"Eventually it will tank the economy, cause a crash, bankrupt people and businesses all over the place, and have the villains rounded up and at least some of them jailed."
Every ten years or so, in the modern world. It seems that's about the length of collective memory.
"Economies don't work on such a basis – instead, the rich can actually become far richer – and on a sustainable basis – if the strata of society underneath them have more money, and more opportunities."
Precisely: if there isn't money to circulate, it can't grow and be re-harvested. Selfishness unfortunately precludes common sense most of the time, though.


Lake Nona, known as "The Medical City" is a highly sought after area located on the south side of Orlando Florida. Lake Nona is a diverse, growing community with much to offer its residents.
Lake Nona Town Center is filled with plenty of shopping and entertainment opportunities, including large department stores, retail shops, fashion boutiques and so much more. The town center is also home to two of Lake Nona's crowning prides, The Beacon and The Code Wall. These two pieces were designed to show the very best in architecture, design, and art. They combine the ideas of arts and sciences, which is what Lake Nona was founded on. The Beacon is an incredible six-story structure that at night time offers its audience exciting visual experiences, which include music, videos, and various interactive elements. The Code Wall is constructed of dichroic glass containing messages written in binary code.
The Global Wings Angel Project is human-sized art, angel wings, that people can take pictures with and actually become part of the art. The purpose is to serve as a reminder that there are angels on earth. The art isn't owned by anyone is and is available to everyone. The Glass House is a unique icon in Lake Nona, created by Tom Fruin, it is a beautiful kaleidoscope of repurposed materials.
Lake Nona Nights is a great way to experience the feeling of community with weekly or monthly scheduled events where the community comes together amidst the iconic art structures to enjoy family, friends, entertainment, and good food! The Dr. Phillips Center for the Performing Arts is a great place to catch a show or take a class to strengthen your own skills!
Lake Nona offers plenty of recreational opportunities, including being home to the United States Tennis Association National Campus. This 63-acre facility boasts over 100 courts and multiple training areas. It's perfect for players of all skill levels and ages and is open to the public. The Drive Shack is great for golfers and includes a three-story driving range complete with a lounge, restaurant, bar, and conference rooms. Enjoy plenty of scenic biking and walking trails within the community.
Visitors from all over come to stay at the Lake Nona Town Center hotel is 16 stories high with a modern and sleek design. This iconic hotel features a motor court entrance, luxurious lobby, ballroom with a 200 person capacity, and a stunning rooftop pool with a lounge. The hotel has the capabilities of hosting private events. Transportation to all parts of Lake Nona is offered to all guests by the hotel. There are also frequent connections to nearby Orlando International Airport!
See for yourself why Lake Nona is known for its incredible combination of technology, science and the arts!
Welcome to Lake Nona, Florida. Also known as "The Medical City" is one of the most technologically advanced cities in the nation, being a gigabit community. Lake Nona has much to offer it's residents and is home to two icons, the Beacon and the Code Wall. Not only does Lake Nona have much to offer its residents, but it is also convenient to Orlando's national attractions and to the Orlando International Airport. Call Gitta Sells and Associates to help you find your dream home!


It is official. You have finally gathered the courage to pack your bags, presented your two weeks notification and broke the news about your intent to move to a foreign country to your family and friends. But, before stepping on that plane officially, there are a few key things that you should reflect on. Moving into a new state is not exactly similar to moving down the lane. This kind of transformation needs prior planning and a host of exploration. Picking up life and moving overseas can expose someone to a ton of opportunities and experiences that would never have been attained if they stayed put. Although immigration is a kind of a lifetime adventurous change, it is important for one to conduct a thorough analysis about how to move abroad, the country they are moving to as well as the city they wish to settle down in. Below is a list of the most significant advantages and disadvantages of moving to a foreign country that one should review before considering moving overseas.
Travel Opportunities: Among the greatest perks of immigration is the abundance of new areas, towns, and cities just waiting to be explored.
Personal and Professional Growth: Another merit of moving abroad is that people from various cultures with their set of norms and techniques of working get in touch with one another and imbibe some of the useful and crucial working methods and values of others, therefore growing professionally and individually.
Better living standards: Among the most crucial advantages of immigration (from a personal perspective) I that individuals are able to earn more than they used to do in their native countries, therefore, improving their standards of living.
Expansion of Knowledge: There is a power of learning and knowledge that comes with travel. Traveling abroad presents an opening to learn about diverse languages, cultures as well as histories.
New Relationships: Moving to a foreign country tremendously expands a person's social circle, relationship, and friendships.
There are always potential downsides to every decision. The following are some of the disadvantages of moving to a foreign country.
· Culture Shock: The culture shock that one experiences on arriving in a new country may cause.
· Language Barrier: A bough from culture shock is language barriers. Moving to a state that has a different language that is distinct from a person's mother tank present a challenge of language barriers.
· Finances: It is hard enough for someone moving to a foreign country to balance their expenses and funds, especially during the first few months of arrival.
Health Hazard: people migrating into a new country may at times bring with them some diseases or viruses although it is possible to control that by screening all immigrant before they enter a nation.


← A New Batch … Hot Off The Press!
Released in 1996, Because You Loved Me was written by Diane Warren and produced by David Foster, and served as the theme song from the 1996 film Up Close and Personal, starring Robert Redford and Michelle Pfeiffer.
The song became a worldwide hit, reaching number one in the United States, Canada and Australia, and reaching top ten in many other countries. It was nominated for an Academy Award and a Golden Globe Award and won a Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.
This entry was tagged Celine Dion, David Foster, Diane Warren, Up Close and Personal. Bookmark the permalink.
A Note for Sir rawgod : It appears that I entertained you, at least in some small part, through my overlong comment. My gratitude to you as that proves it not to have been a total waste of space. The conversation between Jill and yourself prompts this note to you. It is my unsolicited opinion that there is beauty on the outside and there is beauty on the inside, both require attention lest they fade into oblivion. Some are fortunate to naturally have both, some unfortunately have neither, but there are choices each can make to have both or neither or one or the other. I have nothing against any woman trying to appear outwardly attractive by whatever means she chooses…many women have made their careers on talent combined with outward beauty and that is their rightful choice. Father Time has traveled across my face and gravity has done it's work on face and body. There are wrinkles around my mouth and eyes that were not there in my youth and I like to think that they are the result of more smiles and laughter than frowns. My "squishy" neck would look better on a turkey, but it delights Benjamin for some unknown reason and he wants one just like mine when he grows up. I chose to grow old as what I like to think is gracefully, there is much to be said for being comfortable in your own skin. I walk and bike alone or with Benjamin, that keeps the joints and muscles mobile…if it whittles away a few pounds that is a plus, but for me, not the goal. Once again, too many words and too much space to say that I agree with you 100% that what is important is to be real! Thank-you!
My pleasure Suzanne! Glad you liked it!
To all women who forego make-up, fancy dresses, back-breaking high-heels, expensive dos, and looks-changing additions, not to mention health-affecting diets, all power to you. Looking natural, naturally, is the purest form of beauty. Yeah, fake men may be attracted by the fakery, but are those the kind of men you really want? Be real, and others will be real to you!
While I do occasionally wear a bit of mascara if I'm going out, I do not even own a dress or a pair of high heels. I own two pair of shoes: tennis shoes and hiking boots. I wash and brush my hair, trim the ends and my bangs (fringes) when necessary. Never died my hair, nor had a face lift, nor would I ever waste the time and money to do so. Funny thing … when I had my eye surgeries last year, the ophthalmologist I first saw recommended I see a plastic surgeon to have my "droopy eyes" repaired. Of course, she would give me a referral to her friend who just happened to be a plastic surgeon. I declined her offer and explained politely that I am who I am, what you see is what you get, and I had better things to do than worry about my looks. I think that I qualify as a natural, though not physically beautiful, woman.
Beauty is not up to you, at least not the modern physical kind. That is in the eye of the beholder. But looking beautiful is mostly up to the real you shining through the physicality. I'm betting you are a physically beautiful person.
Not everybody sees through the same eyes … some lack depth perception, I think. That said, I did have to look in the mirror while brushing my teeth this morning, and the bags under my eyes have grown with the last week of nearly sleepless nights. Sigh.
So we don't always look our best. So what?
I have never been a devoted fan of Celine Dion, although she arguably has a fantastic voice. I own but one of her albums and it is the 1996 "Falling Into You" that features this song, but was purchased for my much loved "It's All Coming Back To Me Now". I am also fond of the title song and "Dreamin' of You" that are also included on the album. Celine Dion captured my interest, not as much for her singing, as for her love and marriage to the much older Rene Angelil. She met him through her brother in 1980 at the tender age of 12, to his then 38 years and he became her manager. They began a relationship 7 years later, became engaged 4 years later, married 3 years later in Quebec and renewed their vows in Las Vegas 6 years later in 2000. This was the third marriage for him and her first. It could be said that they beat the odds against them as they lasted to the "till death do us part", many of us have not. Since his death in 2016, she has continued on her own and has recently announced a 2019/2020 "Courage World Tour" starting Sept. 2019 and of an album by the same name "Courage" slated for a Nov. 2019 release. The April 2, 2019 announcement by L'Oreal Paris that Celine is the newest Global Ambassador for their "Because I'm Worth It" makes this quite the year for her. In my whole life I have never been a make-up and trendy hair style girl, too lazy and cheap to spend time and money on questionable outcomes. I had, however, read the article "Celine Dion on Becoming the New Face of L'Oreal Paris" in Harper's Bazaar on the 2nd that announced this event. There is a photo that will be her debut as the face of the Excellence Hair Color (shade 7.3) on April 22nd. Somewhere I had seen a photo of one of her haute couture fashions that has huge puffed sleeves and a huge gap of coverage between her feminine assets only held together with sheer material…a photo of her at Couture Week in Paris wearing jeans and a hooded sweatshirt that reads "I'm Worth It" was more flattering. Apparently she is quite delighted with this L'Oreal appointment, probably well paid as well, calling it "a miracle" at the age of 51. However, her statement that "when you do your hair or put your make-up on, you're feeling your best" eludes me…perhaps even at my age it is never too late to find out, but I doubt that I will! As I arrive at the end of this indulgence of my propensity for loquacity, even I find it astounding that one song unleashed so much rambling! Apologies offered, all that was of relevance ended with the first three sentences. Thank-you!
No apology needed from you, but one is due from me, for I completely missed this comment when I was answering comments the next day! Once again, you have enlightened me and amazed me by your knowledge. I had no idea Celine Dion was still singing/touring. I like her voice, but have always thought she seemed a bit shallow. Thank you, dear Ellen, for your P for L! As always, I love it!
OOOh Celine Dion! YES, one of my very best by her! 🙂 You nailed it again!
Jennifer Rush did a beautiful song, The Power of Love, sung with all the urgency and emotion the song needed.This woman ruined it. About all I can tolerate from her is My Love will go on and that's only because of the video to it. Sorry, this one gets Nil Point from this jury.
Awwww … I'm sorry. I'll see if I can make up for it tomorrow, okay?


As a former bridesmaid, I know the hassle of planning a bachelorette party. Not only do you have to plan an awesome party from A to Z, but you also need to make sure that the ladies are fully entertained at that party.
There's no point in having fancy cocktails and rainbow cupcakes if everybody is just sitting down with a drink in their hand and barely sketching a smile.
We've decided to give you a helping hand, so we've thought about 3 games that are super-fit for such an occasion. Here it goes!
I'm sure that you've at least heard about this game and you've most likely played it at least once. It's quite popular at parties, especially when people start getting a bit dizzy. In fact, you can consider it the only-truth version of "truth or dare". By taking turns, every one has to say something they have never done and every person who has done that thing, has to drink. If only one person "admits" doing something, then they have to share the details about what happened.
#2: How well do you know the bride?
"Where did [bride] and [groom] first go out on a date?
Every wrong answer should be "punished" with either a drink or a dare. You can give out 1 point for every correct answer. The guest that ends up having the most points when the trivia competition is over, should receive a surprise gift. The gift doesn't have to be expensive; it could be something like a personalized T-shirt or a small goodie-basket.
I know, I know… you're probably wondering what's so special about a scavenger hunt. Why on Earth would you play that at a bachelorette party? That game is for children! Well, not if the items on the list are… let's just say "more provocative". You can hide lingerie items, fuzzy handcuffs, edible underwear or whatever items you feel represent such a party. Beware, this game won't be suitable if you have children attending the party.
What other game ideas do you believe are fit for a bachelorette party?
Life Quote: While we are postponing, life speeds by.
Life Quote: Let it all go. See what stays.


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DEADPOOL Director Tim Miller Will Bring NEUROMANCER to the Big Screen
Posted by Blair Marnell on August 9, 2017
Last year, Deadpool director Tim Miller dropped out of the heavily anticipated sequel over creative differences. However, Miller left the franchise on good terms and he's reuniting with both 20th Century Fox and producer Simon Kinberg for a new adaptation of Neuromancer, the classic cyberpunk novel by William Gibson.
According to Deadline, Miller and his special effects studio, Blur, are developing the new take on Neuromancer "from the ground up." The novel was first published in 1984, and it has proven to be very influential on films, TV series, novels, and even reality. Gibson was the first to use the phrase "cyberspace," which quickly caught on as a shorthand term for the internet.
Much like the novel, the Neuromancer film is likely to follow Henry Dorsett Case, a former hacker who had been stripped of his ability to plug into cyberspace. An enigmatic figure known as Armitage recruits Case to find Peter Rivera, "a perverse psychopath who is able to create holograms with the force of his mind." From there, things get really strange.
This project doesn't currently have a screenwriter or a release date, so it's unclear where it would fall in Miller's schedule. He is already working on adapting Daniel Suarez's Influx at Fox, while also teaming up with James Cameron for a new take on the Terminator franchise.
Are you excited about the potential of a Neuromancer movie? Who would you cast as Henry Dorsett Case on the big screen? Share your picks in the comment section below!
Images: Ace Books
deadpool, Neuromancer, Tim Miller, William Gibson
The Incomplete Onscreen History of Cyberpunk
John Carpenter Narrated a Claymation Music Video
Concept Art for a Defunct NEUROMANCER Film Adaptation
Was THE SIMPSONS' "Homer at the Bat" Lineup Really That Good?


As part of our ongoing commitment to our clients, Purple Palm Vacations spends a lot of time learning about popular destinations by visiting them firsthand. Recently while in the Dominican Republic, we had the pleasure of touring the family friendly All-Inclusive Dreams Palm Beach Punta Cana. This AAA Four Diamond resort impressed us with its palm-studded white sand beach, beautiful tropical grounds and friendly staff.
Take a photo tour and see for yourself the tropical beauty of Dreams Palm Beach Punta Cana. All pictures were taken during our tour and none have been modified or enhanced.
Get a relaxing massage on the beach!
The Dreams Palm Beach is conveniently located only 15 minutes from the Punta Cana International Airport.
It is also located close to great snorkeling and sailing cruises at the Marinarium with its coral reef teaming with marine life.
The resort has 500 spacious rooms and suites with luxury amenities, free wifi and 24 hour room service.
The lush property grounds are a tropical paradise offering some of Punta Cana's most magnificent scenery.
The resort is located on 300 meters of palm-studded white sand beach facing the turquoise Caribbean Sea.
Enjoy 4 different pools with wait service which includes unlimited international and domestic top-shelf drinks.
The Adults Only Preferred Club is an exclusive area for adults which includes an adult only pool and lounge.
There is an onsite 738 square foot casino with slot machines, roulette tables, poker tables and blackjack tables.
Water sports included in the price tag are kayaks, hobie cats, snorkeling, wind surfing and introductory scuba lessons.
The very friendly staff gives amazing customer service.
Enjoy big screen movies on the beach.
Guests have unlimited access to gourmet a la carte dining with no reservations required.
All of these luxuries are included with no wrist bands required.


Sacrilege, perhaps, but should Boof be under a bit of pressure?
I don't mind the cattle, but I think Boof has to take responsibility for the way they prepare mentally.
It has been suspect everywhere except Australia.
They just don't adapt to the conditions overseas.
You can probably blame the overload of the short forms of the game, but a lot comes back to preparation.
I think there Boof should be feeling some pressure. He has been doing it long enough now to have arrested some of these issues.
Probably should be under a bit.
How long can the "we don't play spin well" excuse be used to explain failure? Surely the reply should be - "as coach, what are you doing to address this issue which has been a problem for all of the time you have been in charge?'.


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Q: Efficient index type operations in Redis I am trying to create a set of indexes in Redis, for doing AND operations.
like this:

inx:haircolor:blonde  = set(key1,key2,key3)
  inx:eyecolor:blue = set(key1,key2)

And I can use sinter to find all keys with Blond hair and blue eyes.
I have Hashes like this:

key1: name=Rick haircolor=blonde eyecolor=blue

What is the fastest way to take the resulting keys, and retrieve matching hashes.
This is just demo data to make it easier to understand, I am using this for storing analytics and I would need to do somewhat large sets of key lookups.
The 2 options I can think of are pipelining multi gets + exec
or using Lua scripting to avoid sending a bunch of keys over the wire.
If there is some better way to store object data, and index it OR an efficient way to pull all of those hashes without sending a bunch of id's over the network... please fill me in!
Edit
I ended up using LUA scripting (using the redis scripting branch)
local fkeys = redis.call('sinter', unpack(KEYS))
local r = {}
for i, key in ipairs(fkeys) do
  r[#r+1] = redis.call('hgetall',key)
end
return r

Which keeps all processing on the DB side.

A: Getting the list of keys and then doing something to get the values is pretty much the only way to handle this. It does look like a good use case for the experimental Lua scripting, though even without that you can probably get the keys fairly efficiently - the numbers need to be really large before you see real performance issues.
There are likely additional optimisations you can make, possibly using temporary or sorted sets or only retrieving a single relevant property from each hash, but these are highly dependent on the type of data you are trying to retrieve.


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Ethiopian-biodiversity-institute
Establishment Act
Proclamation No.120/1998 Institute of Biodiversity Conservation and Research Establishment Proclamation
The rights and obligations of the former Plant Genetic Resources Centre and the Wildlife Conservation and Development Organization transferred to the Institute
Proclamation No. 167/1999 Institute of Biodiversity Conservation and Research Establishment (Amendment) Proclamation
Proclamation No. 381/2004 Institute of Biodiversity Conservation and Research Establishment /Amendment Proclamation
A Plant Genetic Resources Center, Ethiopia (PGRC/E) was initially established in May 1976 through a bilateral technical cooperation agreement between the Governments of Ethiopia and Germany. The main objective was to rescue the country's plant genetic resources from adverse impacts of various human activities and natural calamities and thereby, support crop improvement programs. In 1998, it was re-established as the Institute of Biodiversity Conservation and research. (IBCR) broadening its mandate and duties to implement Ethiopia's obligation to the Convention of Biological Diversity (CBD). In 2004, the Institute of Biodiversity Conservation (IBC) was amended. At the moment, the institute is renamed as Ethiopian Biodiversity Institute(EBI).
http://mefcc.gov.et
Arat Killo, Behind Tourist Hotel, Addis Ababa, Ethiopia
Wollo University
Adigrat University
Ministry of Science and Technology
Ministry of Mines,Petroleum and Natural Gas
Ethiopian Horticulture Development Agency
Ethiopian Sugar Corporation
F/F/ Instance Court Kirkos District Bench
Ethiopian Road Authority
Higher Education Relevance and Quality Agency